Fine expressive means in the epic Ilya Muromets. What is the main artistic technique used in the epic "Volga and Mikula Selyaninovich"
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The structure of the epic is characterized by the so-called general or typical places or formulas. These are the enduring elements of the story. Commonplaces, in fact, can be beginnings, since their texts usually hardly change, only slightly adapting to one or another epic. Stable places are the bragging of a hero at a feast, drinking wine, saddling a horse, describing the terrible appearance of the enemy or the large number of his troops; The description of how the hero enters the princely chambers is very stable: he laid the Cross according to the written word, He bowed according to the scientist, Bowed low to all three by four, to Prince Vladimir himself, he would still be kneeling to all his princes. This is how Ilya Muromets behaves when entering the chambers of Vladimir, this is how Duke behaves when entering the church where Vladimir is praying. Certain types of repetitions, especially triple repetitions, where the same episode is quoted verbatim three times must be attributed to stable structural elements. This type of repetition is also found in fairy tales, but episodes of a different kind are repeated there. In the epics, the hero three times enters into a duel with the enemy, three times Alyosha woo Dobrynya's wife, three times throws Sadko into the water the gifts of the sea king. A peculiar kind of repetition is the use of a leitmotif, which can be repeated many times in the same epic and emphasize its main theme. P. G. Bogatyrev in his article "Functions of leitmotifs in the Russian epic" considered this issue on the material of the epic "Ilya Muromets and Kalin-Tsar" sung to Gilferding by T. G. Ryabinin. PG Bogatyrev expresses this leitmotif with the formula present in the epic: "... to stand for the faith, for the fatherland." In this epic it is repeated ten times, which has not only structural, but also ideological significance, emphasizing the basis of the epic. Vladimir's daughter and he himself regret that there is no Ilya and there is no one "to stand now for the faith, for the fatherland"; the prince's daughter asks Ilya to stand up for the faith, for the fatherland; Ilya asks the heroes to stand up for the faith, for the fatherland; Ilya answers Kalin to the offer to serve him, that he will “serve ... for the faith, for the fatherland”; and once again Ilya repeats this to Kalina. So the leitmotif marks the essence of the epic, which is a typical epic device. There are also stable endings or outcomes in the epics. The ending "It is old, then deed" is very common. She is found in many epics. Some endings mark the end of the epic: And here they sing to that old-fashioned and glory, And in the old places, the old-fashioned thing is over. Often in the endings we are talking about the glory of the hero: Here they will say a century about Dobrynya antiquity, And to the blue sea to silence, And to good people to obey. All these features of the traditional structure of epics correspond to the solemn, majestic style, serve to highlight the ideological essence of the works. This is also served by the structure of the plot, the course of development of the action. The basis of the plot is usually an important, significant event, but in the center of the epic there is always a hero: he acts, he achieves a certain goal. His actions are dramatic. Acute tension is created when enemies clash and during conflicts between a hero and a prince, during competitions in wealth, and so on. The narrative, like the action itself, develops in a single line, without introductory episodes. There are, however, the so-called retardation-slowing down of action as a result of a detailed description, for example, saddling a horse or repetition of situations, for example, the ambassador's exact repetition of the prince's instructions. The events in the epics are not only important, but also extraordinary: the hero defeats the enemy, liberates Kiev from the siege, saves the girl from the field; Danube kills Nastasya and commits suicide himself; Chur Ila and Duke amaze everyone with their wealth, Ilya meets his son and kills him; Dobrynya kills a snake, and Alyosha kills Tugarina. The image of the hero is to some extent individualized; Ilya, Dobrynya, Alyosha and other heroes differ among themselves. In the creation of their images, a plot disclosure plays an important role, which is quite natural in an epic work. The direct characteristics of the heroes are rare and brief. Dialogue takes an important place: it is a dramatic explanation of the characters, in which the goals of their actions and states of mind are clarified. The depiction of the inner world of the characters in epics is not developed, but it is more developed than in a fairy tale! So, in the epic “Ilya of Muromets and Kalin the Tsar,” the prince's daughter understands what he himself does not understand: you cannot put a hero in the cellar. The prince realized this later, while he was walking along the little furnace and shedding tears; when Ilya saved Kiev from the enemy, Prince Vladimir embraces him by the neck by the white, Presses from his zealous heart to his. Before us is a motivated movement of feeling. It should be said that in the epics a certain aspect of the depiction of the inner world of the heroes dominates - the connection of personal feelings with those great events that occur in the work. The high moral structure of the hero's feelings, his inner world is revealed. Ilya stands out especially: his feelings and thoughts are subordinated to the concerns of his native land. The significance of the events and heroes of the epics determined the general character of their depiction - exaggeration. In the epics, the entire depicted world is hyperbolic: the heroes themselves, events, the objective world. Hyperbolization consists in a special type of situations, for example, when a hero fights with a club "in ninety poods", when he, grabbing the enemy by the legs, beats a strong army: the street swings to the right, the lane swings to the left. In epics, the size of objects is enormous, the weight of the handbag with the earth's thrust is enormous, the height of Svyatogor is enormous, the distances that the heroes overcome on their wonderful horses. The enemies are also huge, which allows you to emphasize the strength and courage of the heroes who enter the fight with them. This is a special world - hyperbolic. The image of such a world serves to exalt the heroes and ridicule their enemies. The artistic world of epics is not only hyperbolic, but also contrasted. Contrast plays a multifaceted role. First of all, the images of the hero and the enemy are contrasted: Ilya and Idolischa, Dobrynya and the Serpent, Alyosha and Tugarin, Vasily Ignatievich and Batyga. This opposition distinguishes them not only in appearance (an ordinary person is a giant), but also in character (the defender of his native land is an invader, the savior is full - a rapist, a Russian and a Christian - a foreigner and a non-believer, rotten). Oppositions can create special tensions: father-son, husband-wife (Ilya-Sokolnik, Danube-Nastasya). Oppositions of the situational plan are especially frequent: everyone brags - one does not brag, the initial underestimation of the hero and the subsequent disclosure of his real qualities, action and an unexpected result. The stylistic originality of epics is determined, on the one hand, by the traditionality of the expressive means of the genre, and, on the other, by their evaluative character, according to the content of the works and images of the characters. In epics, such expressive and pictorial means as epithets, comparisons, tautological turns are most commonly used. They are both traditional and evaluative at the same time. These expressive means are also found in other genres, but they are more characteristic of epics. Let us give an example of epithets inherent in epithets: "chubby druzhinushka", "white tents", "kalena arrow", "open spear", "strong mighty heroes", "capital Kiev city", "at the affectionate prince at Vladimir", " tables are white-oak "," gusli are ringing. " In other genres, they are not. The epic definitions are also typical: "heroic horse", "heroic dream"; tautological epithets: "light house", "dark dungeon", "salted salt", "honey honey", "old age". Tradition leads to the stability of tautologies and epithets. Prince Vladimir is called affectionate even when he is angry; Ambassador Kalina, speaking with Vladimir about his tsar, calls him "the dog Kalin-tsar." The opposition causes such paired diminutive and magnifying forms: Idolische, arms like a rake, head with a tub, eyes, Ilyushenka, Dobrynyushka, Aleshenka, Ivanushko (Godenovich), Ovdotyushka. From what has been said, it is clear that tradition, hyperbolicity, contrast, evaluativeness are the principles that determine the stylistic expressive and pictorial means of epics, correspond to the content and ideological and artistic essence of the genre. Historical and cultural significance of the Russian epic epic. The historical and cultural significance of the Russian epic epic is enormous. It has exceptional educational value. The epics reflected the peculiar features of the time of their addition and active existence. The works of this genre conveyed the spirit of the times, the mood of the Russian people during the years of terrible trials. They represent the artistic history of the Russian people during the period of feudalism. They expressed people's aspirations and ideals. The ideological significance of epics is enormous. They brought up love for their native land, pride in its wealth, power and beauty. The epics contributed to the formation and development of the national identity of the Russian people. In the era before the Mongol-Tatar invasion, they served to rally the Russian people to fight the Pechenegs and Polovtsians. During the years of Mongol-Tatar rule, they strengthened the spirit of the Russian people, testified to their disobedience and intransigence. The ideas of unity, independence and protection of Russian lands are expressed in epics with exceptional power. The images of heroes for centuries have been an example of high patriotism and ideal moral qualities. Epics have high artistic merit: rich life content, ideological content, aesthetic brightness, skill in creating pictures of heroic deeds and images of people of an era far from us. The slenderness of the composition, the economy and expressiveness in artistic means, the accuracy of the definitions make the epics examples of perfection. Epics played a prominent role in the development of Russian art - literature, music, painting. Pushkin, Nekrasov, Tolstoy, Gorky turned to the creative experience of epics. Rimky-Korsakov in the opera Sadko and Grechaninov in the opera Dobrynya Nikitich, Vasnetsov in The Three Heroes and The Knight at the Crossroads, Repin in Sadko were inspired by plots and images of epics, enriching Russian literature with the experience of folk art. ... Russian epics are widely translated into many languages of the world and studied in other countries. Soviet and foreign scholars unanimously recognize the enormous historical and cultural significance of
November 4, 2016Of great importance for understanding Old Russian literature is the question of what were the features of the epics. This type of genre was very popular among our distant ancestors, therefore, the consideration of the problem posed is still relevant. School literature classes should be preceded by a small explanation of the teacher on the topic, as this will help to understand their content, style features, meaning and ideological load.
Literary techniques
Features of epics can be easily traced based on the most famous works of this genre. When reading at least a few texts, repetition is immediately apparent. With their help, anonymous authors sought to strengthen the main idea and basic meaning. In addition, in this way the ancient storytellers achieved a special sound and melodiousness of works.
It should be noted here that these ancient epic songs were performed on especially solemn occasions, so it was very important to tune the listeners in a certain way. Based on the foregoing, it can be added that the features of the epics reflected the spirit of their time, when the military enterprises of the princely squad became objects of respect and glorification.
The role of epithets
This means of artistic expression plays perhaps the most important role in the transfer of words to the visual picture of what is happening. Unknown authors spared no pains, praising the strength and power of ancient knights and warriors. The peculiarities of epics are easily explained by the purpose for which they were created: the desire to praise and perpetuate the heroic deeds of the heroes.
To emphasize their glory and greatness, the singers used the same epithets, which, with constant repetition, created an expressive and colorful picture of the battle in the listener's imagination. As a rule, epithets were used to describe the appearance of a warrior, his horse, and also the enemy. The descriptions of ancient Russian cities are unusually beautiful: princely chambers, palaces, squads.
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Hyperbole
The artistic features of the epics reflect the thinking of the medieval Russian man, who was inclined to exalt the feats of his beloved heroes. To this end, the authors used hyperboles that were supposed to capture the listener's imagination. Indeed, the heroic deeds of the knights are presented in unusually epic tones. For example, in ancient legends, the hero with one stroke and blow strikes the enemy, from the blow by the hoof of his horse, the earth trembles and leaves fall from the trees. The same techniques apply to the description of negative characters. For example, the Robber Nightingale whistles so much that all living things scatter around, a strong wind rises.
Accents
The artistic features of the epics reveal some of the features of the musical art of our ancestors. These ancient epic songs were built according to special rules that gave them melodiousness, regularity and a certain rhythm of sound. Several stresses are used in the lines of these works, as a rule, three. They were placed on the third syllables from the beginning and from the end.
This principle was not mandatory, but it was applied quite often. Such a performance gave the epics a special sonic expressiveness and epic character. However, sometimes, to enhance the melodiousness of the text, syllables were sung as one word, without divisions and pauses.
Composition
No less important is the question of what features of the construction of the epic were used most often. All works of the genre under consideration began with an opening - an opening word that revealed the time and place of action. Here, the attention of schoolchildren should be drawn to a high degree of historical reliability: legends always indicate the real city, talk about the prince who ruled at the time the events described took place, sometimes the author mentioned specific places, which gave the narrative credibility and truthfulness.
This is followed by the plot and culmination, which are revealed literally in one breath, without pauses, delays or retreats. Thus, the storytellers painted one picture of the event, not allowing the listener to be distracted for a single minute. The denouement came, as a rule, rather quickly: it speaks of the honors that the hero received as a reward for his feat.
Subject
Features of Russian epics reveal the inner world of an ancient Russian person. Thanks to these amazing legends, we can understand what exactly interested our distant ancestors. Of course, the most beloved subject was the stories of the exploits and military battles of the heroes. However, in addition to this, there were also themes dedicated to the glorification of ordinary toilers-farmers. There were epics about the extraordinary adventures of heroes, for example, fairy tales about the merchant Sadko were very popular. In these epics, not the heroic valor of the knights are glorified, but such traits of characters as cunning, daring, worldly wisdom, which allowed them to find a way out of the most difficult situations.
Epics are created by tonic (it is also called epic, folk) verse. In works created by tonic verse, lines of poetry may have a different number of syllables, but there should be a relatively equal number of stress. In an epic verse, the first stress, as a rule, falls on the third syllable from the beginning, and the last stress on the third syllable from the end.
The epics are characterized by a combination of real images that have a clear historical meaning and are conditioned by reality (the image of Kiev, the capital prince Vladimir), with fantastic images (the Serpent Gorynych, the Nightingale the Robber). But the leading in epics are images generated by historical reality.
Often the epic begins with solo... It is not associated with the content of the epic, but presents an independent picture preceding the main epic story. Exodus- this is the ending of the epic, a short conclusion that summarizes, or a joke ("now the old days, now the deed", "that's where the old days ended").
The epic usually starts with inception, which determines the place and time of the action. Following it is given exposition, in which the hero of the work stands out, most often using the technique of contrast.
The image of the hero is at the center of the whole story. The epic grandeur of the image of the epic hero is created by revealing his noble feelings and experiences, the qualities of the hero are revealed in his actions.
Threefoldness or the trinity in epics is one of the main methods of depiction (there are three heroes at the bogatyr outpost, the bogatyr makes three trips - "Three trips of Ilya", Sadko three times the Novgorod merchants do not invite to the feast, he casts lots three times, etc. ). All these elements (trinity of persons, triple action, verbal repetitions) are present in all epics. Hyperboles, used to describe the hero and his heroic deeds, also play an important role in them. The description of enemies (Tugarin, Nightingale the robber), as well as a description of the strength of a warrior-hero is hyperbolic. This is where fantastic elements emerge.
In the main narrative part of the epic, the techniques of parallelism, stepwise narrowing of images, and antithesis are widely used.
The text of the epic is subdivided into permanent and transitional places. Transitional passages are parts of the text created or improvised by storytellers during performance; permanent places - stable, slightly changeable, repeated in various epics (heroic battle, rides of a hero, saddle of a horse, etc.). Storytellers usually learn more or less accurately and repeat them in the course of the action. Transitional passages, on the other hand, the narrator speaks freely, changing the text, partially improvising it. The combination of permanent and transitional places in the singing of epics is one of the genre features of the Old Russian epic.
The work of the Saratov scientist A. P. Skaftmov "Poetics and the genesis of epics" is devoted to the clarification of the artistic originality of Russian epics and their poetics. The researcher believed that "the epic knows how to create interest, is able to excite the listener with anxiety of expectation, infect with delight of surprise and capture the winner with an ambitious triumph." 1
DS Likhachev in his book "The Poetics of Old Russian Literature" writes that the time of action in epics refers to the conditional era of the Russian past. For some epics - this is the idealized era of Prince Vladimir of Kiev, for others - this is the era of Novgorodian freedom. The epics take place in the era of Russian independence, the glory and power of Russia. In this era, Prince Vladimir reigns "forever", heroes live "forever". In the epics, all the time of the action is attributed to the conditional era of Russian antiquity. 2
3. Epic "Ilya Muromets and Nightingale the Robber"
Ilya Muromets - the main character Kiev cycle epics. The most important of them are: "The Healing of Ilya Muromets", "Ilya and the Nightingale the Robber", "Ilya and Sokolnik", "Ilya in a Quarrel with Prince Vladimir", "Ilya and Kalin the Tsar", "Ilya and the Rotten Idolische". The most ancient are the epics about the fight between Ilya Muromets and the Nightingale the Robber and about the fight with Sokolnik (his son).
Back in the 19th century, scientists thought about who was behind the epic image of the enemy of the Russian hero - the Nightingale the Robber. Some saw him as a mythical creature - the personification of the forces of nature, a tree-darting bee keeper, others expressed an opinion about borrowing this image from the folklore of other peoples. Still others adhered to the view that the Nightingale is an ordinary person engaged in robbery. For his ability to whistle loudly, he was nicknamed the Nightingale. In the epic narrative, the Nightingale the Robber is depicted as a creature living in the forests with all its brood.
The epic tells about the military exploits of Ilya. He goes from home, from the village of Karacharovo, near Murom, to the capital city of Kiev to serve in the service of Prince Vladimir. On the way, Ilya accomplishes his first feat. At Chernigov, he defeats the enemy army that besieged the city.
Does that city of Chernigov
Black and black silushki have been overtaken,
And it is black as black as a crow.
So no one is walking around here with infantry,
No one drives a good horse here,
The black raven bird does not fly by,
Let the gray beast not sprout.
And Ilya, "a stout good fellow", began to trample this great power with his horse and stab it with a spear. And he beat this great power. For this, the Chernigov peasants invited him to Chernigov as a voivode, but the hero did not agree, since he was on his way to serve the entire Russian land.
He is warned that the road to Kiev is hectic and dangerous:
Started the path, got numb,
Like the one at the Mud at the Black,
Yes, the one near the birch has a gag ...
The Nightingale the Robber sits with cheese oak,
Sitting Nightingale the robber Odikhmantiev 1 son. 2
Ilya's adversary is depicted in the epic in an exaggerated manner, his formidable strength is exaggerated. This is a villainous robber. He "whistles like a nightingale", "shouts to the beast." From this "the grass-ants are devoured, all the azure flowers are crumbled, the dark woods all bow to the ground, and if there are people, then all lie dead."
However, Ilya was not frightened by the warning of the Chernigov peasants. He chooses "straight road". Ilya's good heroic horse, hearing Nightingale's whistle, "rests, stumbles over the baskets." But the hero is fearless. He is ready to accomplish his second feat. The fight is described succinctly, in the epic tradition. Ilya takes a tight "explosive" bow, pulls on a "silk string", puts on a "red-hot arrow" and shoots. He straps the defeated Nightingale to the "damask stirrup" and takes him to Kiev. This is the first visit of the hero to Kiev, no one here knows him yet. The prince himself turns to Ilya with questions:
"You tell me, you are cheeky,
Burly kind fellow,
Somehow, well done, you are called by your name,
Do they magnify, daring, for the fatherland? "
The prince does not believe Ilya's story, doubts that it is possible to drive along the road where many forces have been overtaken and the Nightingale the Robber rules. Then Ilya leads the prince to the Nightingale. But the robber recognizes only the power of Elijah over himself, seeing in him a worthy opponent and victor, he honors him above the prince. To Vladi-mir's order to demonstrate his art, the Nightingale replies:
"It is not at your place that I am having dinner today, prince,
And it’s not you I want to listen to.
I dined at the old Cossack Ilya Muromets,
Yes, I want to listen to him. "3
Then Ilya Muromets orders him to whistle "half a nightingale's whistle" and "half an animal's cry". But the Nightingale disobeyed and whistled with all his might. "The poppies on the towers were twisted, and the sides in the towers scattered from him, whistling Solovyin, that there are little people, then all are dead." And Vladimir the prince "hides himself in a weasel with a little fur coat." Only Ilya stayed on his feet. With the words: "you are full of whistling yes in a nightingale, you are full of tears and fathers and mothers, you are full of widows and young wives, you are full of letting orphans of little children go!" he chops off the Nightingale's head.
Ilya's feat was filled with special meaning for his contemporaries who advocated the unification of the Russian lands, for the integrity of the ancient Russian state. The epic affirms the idea of serving Russia, of accomplishing a national heroic deed in her name.
The epic "Ilya of Muromets and the Nightingale the Robber" possesses features characteristic of the artistic originality of epics. It's a story genre. Events are depicted in development, characters in action. There were no peculiar expressive and pictorial means: triple repetitions (in the description of a silushka near Chernigov, a heroic whistle), hyperbole (the image of the Nightingale the robber, Ilya's heroic horse), comparisons, metaphors, epithets (dark forest, grass-ants, azure flowers), diminutive suffixes, etc. Fantastic and real images are intertwined in the epic (Nightingale - Ilya).
4. Epic "Dobrynya and the Serpent"
Dobrynya Nikitich - the second most important hero of epics Kiev cycle... He replaced the ancient Danube, but he is not only a hero-snake-fighter, but also a hero-diplomat. In a number of epics, Dobrynya performs various diplomatic assignments of Prince Vladimir.
In the epic Dobrynya and the Serpent, he performs a feat of arms - he defeats the Serpent, who brought a lot of grief to the Russian land. The plot of the epic came out of the most ancient fairy tale folklore. The epic begins with a story about how her mother does not order Dobryna to go to the Puchai River to swim:
Dobrynyushka, mother said,
Yes, Nikitich was punished by mother:
"You don't go far into the open field,
On that mountain and Sorochinskaya,
Do not trample the young snakes
Don’t help out the full of Russians,
Do not swim, Dobrynya, in the Puchai River -
The buzz-river is very fierce,
The middle trickle cuts like fire. "2
Fairy tales usually begin with this fabulous prohibition. Just like in a fairy tale, Dobrynya does not listen to his mother's advice and swims far away. At this moment the Serpent swoops in on him:
There is no wind, but the cloud has drifted,
There are no clouds, but as if rain is raining,
And there is no rain, but only thunder is thundering,
Thunder thunders and lightning whistles.
How the Snake Gorynishche flies
And the twelve about the trunks. 3
The battle of the hero with the Serpent is depicted briefly: Dobrynya the Serpent struck, knocked off all his "trunks" and took his word not to fly to Russia anymore. Returning to Kiev, Dobrynya learns that the Serpent again flew through Kiev and took away the niece of Prince Vladimir - Zabava Putyatichna.
Dobrynya sets off on a long journey to the Serpent caves. But, unlike the fairytale hero who fights the monster for his own personal interests (the liberation of the bride), he represents a new hero advocating for public interests in the struggle for the integrity of Russia and its borders. The fabulous motive of the struggle for a woman becomes the motive of the struggle for the Russian meadow. In the epic Dobrynya is presented as the liberator of the Russian land. The epic sings the glory of the hero, who freed not only Vladimir's niece, but also many other prisoners languishing in the Serpent's dungeon:
Then Dobrynya went into the hole,
Into those holes and deep.
There sits forty kings, forty princes,
Forty kings and princes
A simple force - that and the estimate is not.
Then Dobrynyushka Nikitinich
He spoke to the kings and he to the princes
And to those kings and princes:
"You go there now, from the place brought.
And you, young Zabava daughter Putyatichna,
For you, I now wandered like this,
Let's go to the city of Kiev,
And oh to the affectionate prince to Vladimir. "4
Dobrynya in all epics expresses his heroic qualities, jealously protects the dignity of the Russian soldier, he is reasonable in speech, restrained, tactful, caring son and faithful spouse. All epics reveal these features of his appearance.
5. Epic "Volga and Mikula"
The epic "Volga and Mikula" refers to Novgorod cycle epics. Already the first researchers drew attention to the acute social sound of the epic, where the image of the peasant-plowman Mikula Selyaninovich is clearly opposed to the image of Prince Volga Svyatoslavich, the nephew of the Kiev prince Vladimir. At the same time, other assumptions were made, according to which the images of not just a peasant and a prince, but two pagan gods were recreated in the epic: the god of agriculture - Mikula and the god of the hunt - Volga. This is the interpretation of the famous 19th century mythologist Orest Miller, who saw Mikul Selyaninovich as "the patron saint of agriculture in Russia." At the same time, Vsevolod Miller drew attention to the everyday features in the epic, reflecting the peculiarities of agricultural labor in the north:
Shouts in the field battle, pushes,
The bipod at the warrior creaks,
Omeshiki mark pebbles,
It turns roots, stones,
Yes, he throws great stones into the furrow.
"This is an accurate picture of northern plowing," wrote V.F. Miller. 2
The story of the epic is based on the story of the meeting of Prince Volga and his squad with the plowman-peasant Mikula. The epic opens with a story about the birth of Volga, about his maturity:
How did Volga grow up here,
Volga wanted a lot of wisdom:
Pike-fish for him to walk in the deep seas,
Fly him like a bird-falcon under the shell,
To roam like a gray wolf through the open fields.
Volga gathered himself a brave druzhinushka. The nephew of the Kiev prince received from Vladimir three cities as a gift: Gurchevets, Orekhovets, Krestyanovets. He goes for tribute and in the open field sees the plowman Mikula, who, working in the field, shows remarkable strength: "he twists the peña roots, knocks big stones into the furrow." The plowman asks the prince how far he is on his way, and having found out where he is going with his retinue, he tells him what kind of robbers live in these cities. Volga, seeing his strength, invites the plowman to go with him "in comrades." The plowman agrees that his participation in the trip is necessary - the fight against robbery alone is beyond the power of the princely squad.
Mikula asks the prince's vigilantes to pull his plow out of the ground and throw it under the bush. However, it turns out that neither the squad nor Volga can do this work. And only the heroic strength of Mikula allows him to playfully, with one hand, pull the bipod out of the ground.
This ends some versions of the epic. According to others, Volga and Mikula come to cities in which the prince appoints Mikula as governor, the townspeople ambush Volga, and Mikula saves his life.
Mikula is a folk hero. He, like a hero-hero, expresses the best qualities of an ordinary person. The epic affirms respect for the hard work of the farmer, in which one must also show strength and heroism. Mikula's strength is in connection with the land, the common people.
This epic has its own artistic characteristics. The element of the national language is striking. It is characterized by repetitions, epithets. A special poetic world is created with the help of epithets. For example, the extraordinary plow plowed by Mikula:
The bipod of the orai maple,
Omeshiki on a bipod damask,
Silver bipod attachments,
And the stag at the bipod is red gold. 3
With the help of epithets, a portrait of the hero is created:
And the yelling curls sway,
That not rolled pearls are crumbling;
The screaming eye is clear to the falcon,
And his eyebrows and a black sable. 4
The storytellers describe the hero's clothes: boots made of green morocco, a downy hat, a caftan made of black velvet.
Mikula allegorically reveals his folk roots. To Volga's question: "What is your name, is it your fatherland?" said oratai-oratayushko:
Oh, you Volga Svyatoslavovich!
I'll plow something like rye and put it in stacks,
I'll put it in stacks and take it home,
I'll drag it home and grind it at home,
And I'll brew beer and give the peasants a drink,
And then the peasants will praise me:
Young Mikula Selyaninovich! "5
The artistic means in the epic are aimed at capturing the characters and their actions, setting in the most vivid way, and expressing an attitude towards them.
6. Epic "Sadko"
Events in the epic take place in the city of Novgorod. It splits into two parts (Sadko receives wealth and Sadko from the Sea King). The main character is the guslar Sadko. At the beginning of the epic he was neglected by the Novgorod boyars, they stopped calling him to feasts. Offended, Sadko goes to Lake Ilmen, sits on the "white-combustible stone" and begins to play "guslki yarchaty". The Sea King liked his game:
As soon as in the lake the water became in love,
The king of the sea appeared,
I left Ilmen from the lake,
He himself spoke these words:
"Oh, you, Sadke Novgorodsky!
I don’t know what will you welcome
For your joy for the great,
For your tender play. "1
The Sea King decided to help Sadko, to endow him with untold wealth. I told him to make a bet with the merchants of Novgorod that he would catch a fish in the lake - a golden feather. The tsar will send this fish to Sadko on the net.
Guslyar did just that and won three shops of red goods in a dispute with the merchants, became rich, erected magnificent chambers, decorating them with marvelous paintings:
He arranged everything for Sadke in a heavenly way:
The sun is in the sky and the sun is in the chambers,
There is a month in heaven - and a month in the wards,
There are stars in the sky, and stars in the chambers. 2
Sadko "invited noble guests to his feast for a feast," who ate, got drunk and boasted about boasting. " shops, in the morning new and new ones brought from all over Russia appeared in them. And Sadko realized that he was not a rich Novgorod merchant - richer than his glorious Novgorod. that he is richer and stronger than an entire merchant city, devoid of the sympathy of the people. Bylina makes him recognize the victory of Novgorod. It clearly expresses the idea of the trading power of the great city of northern Russia.
In the second part of the epic, Sadko, a wealthy merchant, equips ships and goes with his comrades to trade overseas:
The weather was strong on the blue sea,
Ships stagnated on the blue sea:
And it beats with a wave, tears the sails,
Breaks blackened boats;
And the ships do not move from their place on the blue sea. 3
This is how the landscape is introduced into the epic. The ships stood at sea - the Sea King does not let Sadko in, demands a ransom from him. First, the shipbuilders try to pay off with a barrel of pure silver, red gold, and the wave hits everything, tears the sails, and "all the ships do not go from their place on the blue sea." Sadko guesses that the Sea King is demanding "a living head in the blue sea." Three times they throw lots to whom to go to the Sea King. And as Sadko did not dodge, the lot fell on him. Taking only the psaltery, Sadko throws himself into the depths of the sea.
The image of the underwater kingdom in the epic is real, the landscape is realistic:
In the blue sea at the very bottom.
I saw the red sun shimmering through the water,
Evening dawn, morning dawn.
Saw Sadko: in the blue sea
There is a white-stone chamber ...
Before us is not fantasy, but a certain amount of convention. The King of the Sea himself is also depicted. In the epic, only one detail of his portrait is given: "the king's head is like a heap of hay." The singers use the technique of exaggeration: the tsar's head is compared to a heap of hay, which indicates its significant size and introduces an element of comic.
How Sadko began to play in the spring goose,
As the king of the sea began to dance in the blue sea,
How the king of the sea danced.
I played Sadke for a day, played others too,
Yes, I also played Sadke and others,
And all the king dances in the blue sea. 5
Grateful for the fun, the Sea King began to persuade Sadko to marry one of his thirty daughters. Meanwhile, in the blue sea, the water fluctuates, ships are broken, righteous people are drowning.
In reality, an Orthodox person, in search of deliverance from misfortunes, always turns to Christian saints, which is reflected in the epic: "the people began to pray to Mikola Mozhaisky." It is no coincidence that the image of the Christian patron Mikola, the patron saint of all seafarers and sailors, is introduced into the epic. This is the manifestation of the general Christian idea of Russian folklore:
The saint appeared before Sadko on the seabed:
He turned around and looked at Sadke Novgorodsky:
There is also a gray old man standing.
Sadke Novgorodsky spoke:
"I have no will of my own in the blue sea,
Ordered to play in the gosilki yarchaty ".
The old man says these are the words:
"And you pluck the strings,
And you poke out the pins.
Say: "I didn't have any strings,
And the pins were not useful,
Nothing else to play with:
The verrucous gussells have stuck. "6
Saint Mikola teaches the unlucky guslar how to return to Novgorod. In his bride, he must choose the last daughter of the Sea King - the girl Chernavushka. After listening to wise advice, the next morning Sadko found himself on land, and the girl he chose turned out to be a Novgorod river. In gratitude, Sadko built the cathedral church of Mikola Mozhaisky.
In the Novgorod Chronicle under 1167, the name of a certain Sadko Sytinets is mentioned, who founded the church. Epic Sadko coincides with a real historical person.
VG Belinsky wrote about the Novgorod epics, that before them all the rest of the Russian fairy tale poetry is visible. A new and special world is visible, which served as the source of the forms and the very spirit of Russian life, and therefore of Russian poetry. About Sadko, he writes: "The entire poem is imbued with extraordinary animation and is full of poetry. This is one of the pearls of Russian folk poetry."
Test questions for self-study of students
- History of Russian epics (a practical overview of the opinions and time of the formation of the epic).
- Scientific schools in Russian folklore studies about the origins of epics (mythological school, theory of borrowing, historical school).
- The problem of the historicism of Russian epics (use the plots of the epics "Volkh Vseslavievich", "Ilya and Svyatogor", "Dobrynya and Marinka", "Ilya Muromets and Nightingale the robber", "Ilya's quarrel with Vladimir").
- Socio-political structure, economy, culture and life of Russia in the image of epics (work on texts).
a) main:
1. Anikin, VP Russian oral folk art [Text]: Textbook. / V.P. Anikin. - M.: Higher. shk., 2009 .-- 735 p. (30 copies).
2. Karpukhin, IE Russian oral folk art [Text]: Teaching aid. / I.E. Karpukhin. - M., Higher. shk., 2005 .-- 280 p. (75 copies).
3. Shafranskaya, E.F. Oral folk art [Text]: a study guide for a flock of higher education. Ped. educational institutions / E.F. Shafranskaya. - M .: Publishing Center "Akdenmiya", 2008. - 352 p. (1 copy)
b) additional:
1. Anikin, VP Theory of folklore. Course of lectures [Text] / V. P. Anikin. - M.: KDU, 2004 .-- 432 p. (1 copy).
2. Buslaev, F. I. Folk epos and mythology [Text] / F. I. Buslaev. - M.: Higher. shk., 2003 - 400 p. (6 copies).
3. Zhirmunsky, VM Folklore of the West and East [Text] / IM Zhirmunsky. - M.: OGI, 2004 .-- 464 p. (1 copy).
4. Meletinsky, EM Hero of a fairy tale [Text] / EM Meletinsky. - M. - SPb. : Academy of Culture Research¸Traditions, 2005. - 240 p. (1 copy).
5. Morokhin, VN Methods of collecting folklore [Text] / VN Morokhin. - M.: Higher school, 1990 .-- 86 p. (5 copies).
6. Pomerantseva, E. V. Russian oral prose [Text] / E.V. Pomerantseva. - M.: Education, 1975. - 271 p. (10 copies).
7. Propp, V. Ya. Russian fairy tale [Text] / V. Ya. Propp. - M.: Labyrinth, 2005 .-- 384 p. (3 copies).
8. Propp, V. Ya. Poetics of folklore [Text] / V. Ya. Propp. - M.: Labyrinth, 1998 .-- 352 p. (8 copies).
9. Propp, V. Ya. Morphology of a fairy tale [Text] / V. Ya. Propp. - Leningrad: Academia, 1928 .-- 152 p. Or any other edition (2 copies), or: [Electronic resource] - 1 electron. wholesale disk (CD-POM).
10. Propp, V. Ya. Historical roots of a fairy tale [Text] / V. Ya. Propp. - M.: Labyrinth, 2002 .-- 336 p. (5 copies).
11. Propp, V. Ya. Russian heroic epic [Text] / V. Ya. Propp. - M.: Labyrinth, 1999 .-- 640 p. Or any other edition (3 copies).
12. Putilov, BI Excursions into the theory and history of the Slavic epic [Text] / BI Putilov. - SPb. : Nauka, 1999 .-- 288 p. (1 copy).
13. Savushkina, N.I. Russian folk drama / N.I.Savushkina.- Moscow: Publishing house of Moscow. state University, 1988 .-- 232 p. (2 copies)
c) Information support of the FEB discipline: Fundamental electronic library “Russian literature and folklore: http: ///feb-web.ru/ Open Russian Electronic Library: http: // orel / rsl / ru / Student Electronic Library: yttp: // studlib / ru / Folklore and post-folklore: structure, typology, semiotics: www / ruthenia / ru / folrlore / avantext / html / Russian folklore in modern records: http://www.folk.ru/
Topic 3. HISTORICAL SONGS
The purpose of the lecture is to familiarize future culturologists with oral folk art as one of the foundations of Russian national culture.
Objectives of the course:
1. To help the student understand the basic laws of the functioning of folklore as part of the national spiritual culture in the process of its emergence and development.
2. To develop the skills of working with scientific literature, to teach students the active use of the scientific apparatus in the process of theoretical comprehension of the laws of the development of folklore.
3. To reveal the meaning of folk poetry as one of the foundations of Russian national culture, its artistic and ethical value.
4. To promote awareness of the possibilities of using the moral potential of folk poetry in the subsequent cultural and educational activities of future specialists.
Plan
1. The song "Avdotya Ryazanochka".
2. Historical songs about Ermak and Ivan the Terrible. "Pravezh".
3. Songs about Stenka Razin. "Esaul reports on the execution of Razin."
1. The song "Avdotya Ryazanochka".
Historical songs depict events related to Russian history. In the XIII-XV centuries, they are thematically connected with the Tatar-Mongol invasion, the struggle of the people against the foreign yoke. These include songs about Avdotya Ryazanochka, Shchelkan, Tatar captivity. They are patriotic in nature.
The song "Avdotya Ryazanochka" reflects an episode of the Tatar-Mongol invasion, the capture of Ryazan. Ryazan was destroyed, its inhabitants were killed and driven into slavery:
Yes, he ruined Kazan 1 - the city under the forest,
Ruined Kazan-de-city for nothing
He knocked out all the boyar princes in Kazan,
And the boyar princesses -
I took those alive in full.
He filled the people with many thousands,
He took him to his Turkish land ... 2
The song tells how King Bahmet of Turkey took away all the surviving residents from the city. Only Avdotya remained in Ryazan, and she went to Bakhmet to rescue her loved ones from trouble. Her path was difficult and difficult. The conquerors left three great outposts on the roads:
The first great outpost -
Launched rivers, deep lakes;
Another great outpost -
The open field is wide,
Becomes robber thieves;
And the third outpost is dark forests,
He let the fierce beasts go.
And Avdotya went into the Turkish land.
She walked not the way, not the road,
Yes, the rivers are deep, the lakes are wide
She swam in pilaf,
And small rivers, wide lakes
She swam in pilaf,
And small rivers, wide lakes,
Whether she was wandering about. 4
Finally Avdotya came to the king. He was struck by the woman's unheard-of courage, her love for her loved ones, her patriotic feeling of love for her native land. In Avdotya's conversation with the king, elements of allegory appear, a kind of riddle. Bakhmet says:
"Yes, she knew how to speak with the king,
Yes, be able to ask the king for a full head,
Yes, which little head for more than a century bude (-t) ".
It sounds like a riddle, and Avdotya Ryazanochka answers him that she will have a husband, a father-in-law, a son, a daughter-in-law, and a mother-in-law, so that there will not be a beloved brother. The king, struck by her wisdom, not only endowed her with a golden treasury, but also returned all the captured Ryazan residents. And they all returned home, and built the city of Ryazan in a new place. And this is a real fact.
The plot of the song, and possibly the image of Avdotya, are fictional. Fiction is based on epic and fairytale traditions. They are associated with pictorial means, a hyperbolic image of the enemy (description of Avdotya's path), solving riddles. In the song, the life story of Avdotya and her family is manifested as an expression of the people's national tragedy.
2. Historical songs about Ermak and Ivan the Terrible. "Pravezh"
Other songs tell about events in the personal life of Ivan the Terrible, his struggle against treason. One of these songs is the song about the murder of his son by Ivan the Terrible.
The contradictory image of the tsar is presented in different ways in these songs, which is also revealed in everyday life. So, in the song "Pravezh" (in Ancient Rus this was the name of the court, accompanied by physical punishment), the tsar is a witness to the massacre on the square over a good fellow, who is beaten in the right way, having placed a naked, barefoot and barefoot stone on a white combustible stone. The description of the poor fellow is repeated three times, which reinforces the tragic moment of the massacre:
A fellow is worth - he will not shake himself,
Russes his curls will not flicker,
Only burning tears from my eyes.
This picture is seen by the king passing by. He stops and asks the question: "Why are you torturing a good fellow?" And, having received an answer, he does not agree with the decision of the court to punish the young man for stealing the gold treasury and the "colored" dress, which he did not steal himself, but recaptured from the thieves-robbers. The king believed the young man. He was also satisfied with the answer that he carried all these riches to the drinking houses and watered all the meat of the tavern: "And I watered all the meat of the tavern, and dressed all our barefoots in a colored dress." The king made a just decision:
"Oh, you goy thou, burmists-kissing men!
Pay him fifty rubles for each blow,
And for dishonor, pay him five hundred rubles! ". 1
And this decision was really just, since the young man spent this wealth not on himself, but endowed the people. The tsar was not only formidable, but also Orthodox (he judged the truth). These epithets are repeated several times in the song.
3. Songs about Stenka Razin. "Esaul reports on the execution of Razin"
In the 17th century, songs told about the events of the Time of Troubles (foreign intervention) and about the peasant uprising led by Stepan Razin. The songs, first of all, reflect the image of Razin himself with the real features of the historical prototype. According to the traditions of oral poetry, he is depicted as a good fellow: fair-haired curls, a beautiful face with falcon eyes and sable eyebrows, a caftan belted with a wide belt, plush trousers, morocco boots. In songs, the people call him a good fellow, a daring Cossack, a daring atamanushka. The epithets emphasize the people's love for Razin. The songs of this cycle are characterized by the use of constant epithets: open field, dark forests, clear eyes, white hands. The image of Razin influenced contemporary folklore. These songs are filled with specific content. In describing individual episodes of the uprising, they are close to the truth of life. The songs tell about campaigns, about the capture of cities, about defeats and failures. The people mourn over the death of Razin.
In the song "Esaul reports on the execution of Razin", there is sympathy and mental pain:
At dawn it was, brothers, in the morning,
At the rising of the red sun
At the sunset of a bright month.
It was not a falcon that flew through the skies
Yasaul walked around the garden ...
Ataman is no longer with us,
Stepan Timofeevich is gone,
Nicknamed Stenki Razin.
They caught a good fellow,
White hands are tied,
They drove to stone Moscow
And on the glorious Red Square
They chopped off the riot's head. 1
Songs about Razin's "son" occupy a special place in Razin folklore, ie. about his scout, the chieftain's messenger. They were widespread everywhere, including in the Volga region, and were distinguished by artistic expressiveness, capacity and dynamism. It is believed that the historical basis of the songs about the "son" is made up of real facts. So, in the song "Son" Razin in Astrakhan "it is sung:
Like in a city in Astrakhan
An unknown person appeared here.
Purely, scrupulously walks around Astrakhan,
Smur caftan, black zapanchik wide open, walks,
The Persian sash in his right hand carries a plate ...
This kid does not bow to anyone,
He does not hit the headquarters or officers with his forehead,
Will not go to the Astrakhan governor on trial. 2
And even when they catch the "son" and bring him to the governor, he also behaves independently:
"I am not from St. Petersburg, not Kazan and not Astrakhan,
In the morning my father will visit you. "
Historical songs about Peter I and Pugachev. "Peter I will be recognized in a Swedish city", "The trial of Pugachev. Panin"
Historical songs were also dedicated to the reformer of Russian life, Peter I. In the songs, Peter is shown as an outstanding commander. They express the sympathy of the people for their activities. In the songs, he is an ideal king, caring for the welfare of his subjects, a brilliant commander, an organizer of military victories. So, in the song "Peter I will be recognized in a Swedish city" it is said about one episode of the reign of Peter I. The tsar secretly goes to the Swedish kingdom under the guise of a merchant. The song says that no one knows or knows about it. In order to appear as a rich merchant, he fills his ships with pure silver, decorates with pure gold and takes "very little silushka" with him. Peter orders to call himself not a sovereign, but an overseas merchant.
However, he is recognized in the "glass state" (Stockholm). The Swedish queen shouts to her subjects:
"Oh you goy thou, my Swedish generals!
Lock your collars tight,
You catch the white king soon! "
Talking about this event, the song emphasizes Peter's courage and resourcefulness:
He guessed all the Swedish plans,
To the peasant, he soon rushed into the yard:
"You take it, take it, the peasant has plenty of money,
Take me to the edge of the blue sea. "
On ships, the king escapes the pursuit. Enemies try to capture him, but to no avail. In an effort to catch the Russian tsar, the queen sends in pursuit twice. And the persecutors ask Peter to take them with him, since there is no turning back for them:
"You take it, take it, the white king, with you,
But you won't take us, father, with you,
We shouldn't be bitter, alive in the world. "
After the king's refusal, "the whole pursuit in the blue sea was abandoned." 1
The people call Peter "our father". This address shows the people's love for the autocrat.
There are much fewer historical songs about Pugachev, because in the minds of the people he was a legitimate tsar, and not a free Cossack robber. It was impossible to add robbery songs about him. In Pugachev's songs, the people idealized the image of Pugachev, saw him as a defender, a hero, portrayed him as rebellious, proud even in difficult life situations. This is shown in the song "The Trial of Pugachev. Panin", in which the ataman behaves proudly, independently, answering the question of the tsar's nobleman Panin:
Count Panin tried the thief Pugachev here:
Say, say, Pugachenko, Emelyan Ivanovich,
Have you hanged many princes and boyars?
Outweighed your brothers seven hundred and seven thousand.
Thank you, Panin, for not getting caught:
I would add something to the rank,
"Tasks for oral counting" - Mathematics. Computational skills. V.P. Kovalenko "Didactic games in mathematics lessons". Verbal counting. Interdisciplinary line. Finding the values of mathematical expressions. Solving equations. Why are verbal counting skills needed? Oral calculations. Writing numbers in standard form. Bogdanov-Belsky. Comparison of mathematical expressions.
"Fast counting" - Tricks for fast counting. To acquaint classmates with the techniques of fast counting. The basis of order in the head. Attention. Multiplication by 11. Techniques for fast counting develop memory. Examples. Multiplying a two-digit number by 111. Collecting material. Knowledge.
"Techniques of oral multiplication and division" - - The transposable, combinatory and distributive properties of multiplication; -properties of dividing the amount by the number. What is the rule for pairing expressions? What groups can all expressions be divided into: I the child argues as follows: 37 * 2 = 37 + 37 = 74, then 38 * 2 = 76 and 39 * 2 = 78. Is it true that the values of the expressions in each pair are the same?
Counting Methods - Fingers. Old Russian method of multiplication on the fingers. Relevance. Target. Problem. Eights count. Hypothesis. All trade transactions were counted in pairs. North European finger counting. Many number systems go back to finger counting. Counting on the fingers. Count in tens. Counting with nines. The giant figure of the two-faced god Janus.
"Verbal counting in mathematics" - 1. In one bag there were x kg of potatoes, and in the other two times more. 3. The speed of the pedestrian is 5 km / h, and the speed of the cyclist is 20 km / h. No knuckles. Finding the values of mathematical expressions. Well, pencils aside! Combined. Teacher control over the state of students' knowledge. Find unknown components.
"Counting in Math Lessons" - Solve equations. Calculate orally. Multiplication of numbers. Verbal counting. What is this formula. Calculate orally and choose an answer. Solve the problem. Calculated orally. How much is the number 3456> number 466. The goose flew 300 km. Finding the values of mathematical expressions. Compare. Which direction of movement corresponds to the solution.
There are 24 presentations in total
Information sheet.
Check out the theoretical material in your information card. Listen to the teacher's message. Complete the card with the information you think is necessary.
Epic is a work of oral folklore, glorifying …………………
…………………………………………………………………………………………………..
The epic consists of the following parts:
1) solo (introduces the reader to the world of folk art);
2) the beginning (the place of action, the name of the main character are indicated);
3) setting (important event);
4) culmination (central event);
5) denouement (victory of the positive hero);
6) ending (glory to the hero is given).
Artistic features of the epic:
1) repetitions of words, expressions, episodes;
2) appeals;
3) trinity (the number three or multiples of three numbers is often found).
An epic verse is a special verse based on an equal number of stresses in the lines (more often in line 3 stresses) and the same arrangement of stressed syllables at the end of each line (more often the stressed syllable is the 3rd from the end of the line).
Appendix # 2
Epics. Artistic features of epics.
Oral folk poetry arose many centuries ago, when people still could not read or write. (Slide 2 ends here)
Folk art is rich and varied. In fairy tales, songs, people talked about important historical events, about their work, about their worries and sorrows, dreamed of a happy, just life. (Slide 3 ends here)
Folk wisdom, observation, accuracy and expressiveness of folk speech are embodied in proverbs, sayings, riddles. (Slide 4 ends here)
Of exceptional interest among the works of folk art are epics - artistic and historical songs about heroes, folk heroes. (Slide 5 ends here)
The main cycles of epics: Novgorod and Kiev (Slide 6 ends here)
The action in most epics is timed to Kiev. Some epics tell about the life, events and people of another largest city of ancient Russia - Novgorod (epics about Sadko, about Vasily Buslaev). (Slide 7 ends here)
Kiev epics are heroic (or heroic) epics. Heroic epics tell about the courageous defense of the homeland, about the heroes, their struggle against the nomadic enemies who attacked the country. (Slide 8 ends here)
Epics are built according to a specific plan.
Most of the epics begin with a beginning. It usually talks about the place of action or about where and from where the hero went (This is where slide 9 ends)
From that city from Murom, `` From that village and Karacharova '' A distant, burly, kind fellow was leaving. glorious to the city to Chernigov, `` At that city of Chernihiv '', the silushki are black-black, and black-black, like a black crow. (Slide 10 ends here)
Events in epics are presented in a strict order, sequentially. The story is slow, unhurried. (Slide 11 ends here) Since the epics lived in oral transmission, the performer told them to focus the attention of the audience on especially important, in his opinion, places. For this, repetitions are widely used in epics, usually three times. So, in the epic about Ilya Muromets and Nightingale the robber, the description of the strength of the Nightingale the robber is repeated three times. (Slide 12 ends here)
To give melodiousness to the epic, to make its presentation more expressive, musical, individual words are often repeated in epics.
The straight track is frozen
The path has become numb, it has become numb.
In the capital city in Kiev,
At the affectionate prince at Vladimir. (Slide 13 ends here)
Repetitions are found not only in the text of the same epic. In different epics, similar actions are described in the same way, phenomena, for example, the saddle of a heroic horse, a feast at Prince Vladimir, enemy force, the battle of heroes with enemies, etc. Such similar descriptions found in different epics (and in fairy tales) are called common places. (Slide 14 ends here)
Sometimes epics end with a special ending - the conclusion from the entire content of the epic:
Either old man, now deyyanie,
that is, it was so in the old days, it is a reality. (Slide 15 ends here)
The main character of the epics is a Russian hero. To more vividly represent the strength of the hero, the technique of hyperbole (exaggeration) is used. For example, here is how the battle of a hero with an enemy force is described. If the hero waves his right hand, a street is formed among the enemy camp, and a lane with his left. The hero's club (sword) weighs forty or even ninety poods. (Slide 16 ends here)
If the hero falls asleep, then "a heroic dream for twelve days" (days). To match the hero and his horse: "The first gallop of a horse is many miles, and the second gallop is impossible to find." To emphasize the strength of the Russian hero, his enemy is hyperbolically portrayed. The enormous forces of the enemy "the gray wolf ... cannot leap for a day, the black raven cannot fly around in a day." (Slide 17 ends here)
In epics, as well as in the works of oral folk poetry in general, every word is precise and expressive. Over the centuries, folk singers and poets have improved the language of their poetic works, achieving the most accurate and vivid, expressive disclosure through the word of the most essential qualities of the heroes and their actions. So, epithets are very rich and diverse in oral poetry - colorful definitions indicating the most essential feature of people, objects, and phenomena of life. (Slide 18 ends here)
Often the same epithets constantly characterize certain heroes, objects, phenomena of life, nature, etc. Therefore, they are called constant epithets. In bylinas, for example, there are such constant epithets: a burly good fellow, great strength, glorious capital Kiev city, a tight bow, a silk bowstring, red-hot arrows. (Slide 19 ends here)
Comparisons are often used in epics:
Black and black silushki have been overtaken,
Black as black as a crow.
Volgo walk like a pike in the blue seas,
Fly like a falcon to Volga under the shells,
Prowl like a wolf in clear fields (slide 20 ends here)
Negative comparisons are used:
Not a soggy oak is leaning to the ground,
Not paper sheets are spread
The son bows before the priest ... (Slide 21 ends here)
Wanting to emphasize any shade of the meaning of the word, which, according to the folk singer, is important for understanding the narrative, the storytellers of epics widely use synonyms: “Volga began to grow up and grow up”; "And yell and plow and peasants,"; “Then Ilya felt for the offense, for the great annoyance ...” (This is where slide 22 ends)
An important role in the language of epics is played by nouns with diminutive and affectionate suffixes. They express the popular assessment of the heroes of the epics. Bogatyrs are often called petting names: Ilyushenka, Dobrynyushka Nikitich, Mikulushka Selyaninovich, etc. (Slide 23 ends here) Suffixes of affectionate meaning are also used in words denoting objects belonging to a hero. He has "red-hot arrows", "saddle", "bridles", "felt", "sweatpants", etc. (This is where slide 24 ends)
The epic is chanted. Obeying the melody, the narrator puts stress on certain words, while other words, without stress, seem to merge into one word ("mothersyrazemlya", "polish"). In this regard, sometimes the word has different stresses in the same epic ("Nightingale-Nightingale", "young", "young", "young"). (Slide 25 ends here)
In ancient oral folk poetry, there are epics that tell about the peaceful, working life of the Russian people. These were everyday epics. The most important of them is the epic about Volga and Mikul. It glorifies the work of the people. In Ilya Muromets, the people glorified the peasant warrior, the hero - the defender of the homeland. In the image of Mikula, he glorified the peasant-grain-grower, the hero - the breadwinner of the country.