Communication between folklore and literature. Art features of small genres of folklore (an essay in literature)
Russian folklore
Folklore, in translation, means "folk wisdom, folk knowledge." Folklore - folk art, artistic collective activities of the people, reflecting his life, view and ideals, i.e. Folklore is a national historical cultural heritage of any country in the world.
Works of Russian folklore (fairy tales, legends, epics, songs, chastushki, dancing, legends, applied art) Help recreate the characteristic features of the people's life of their time.
Creativity in antiquity was closely related to labor activity man and reflected mythical, historical ideas, as well as routines scientific knowledge. The art of the word was closely connected with other types of art - music, dancing, decorative art. In science, this is called "syncretism".
Folklore was an art organically inherent folk beed. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which laid the frontier between mythology and actually folklore, was the appearance of fairy tales, the stories of which were based on a dream, for wisdom, to ethical fiction.
In Antichny I. medieval society The heroic epos (Irish saga, Russian epic and others). Legends and songs, reflecting various beliefs, also arose (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory.
Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing and dance, told and playing).
With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused to life: romances, jokes, worker, student folklore.
Now new Russian folk fairy tales does not appear, but the old are still told and they take the cartoons on them and art films. Sing and many old songs sing. But there are almost no historical songs in the lively execution.
Throughout the millennium, all the peoples folklore had the only form of creativity. Folklore of every people unique, as well as his story, customs, culture. And some genres (not only historical songs) reflect the story of this nation.
Russian folk musical culture
There are several points of view, treating folklore as a folk artistic culture, as an oral poetic creativity and as a combination of verbal, musical, gaming or artistic species folk creativity. With all the manifold of regional and local folklore forms inherent common features, such as anonymity, the collectivity of creativity, traditional, close relationship with work, life, the transfer of works from generation to generation in oral tradition.
Narodi musical art originated long before the occurrence of professional music orthodox church. In the public life of ancient Russia, Folklore played a much larger role than in subsequent times. Unlike medieval Europe, the ancient Rus did not have secular professional art. In her musical culture The folk creativity of the oral tradition developed, including various, including "semi-professional" genres (the art of teachers, guzzlyers, etc.).
By the time of Orthodox gemmography, Russian folklore had already had a centuries-old history that the system of genres and means musical expressiveness. folk music, folk art firmly entered the life of people, reflecting the most diverse verge of social, family and personal life.
Researchers believe that the gloor period (that is, before the ancient Russia has developed) east Slavs Already had a fairly developed calendar and family household folklore, heroic epos and instrumental music.
With the adoption of Christianity, the pagan (Vedic) knowledge will be eradicated. The meaning of the magical acts that spawned one or another type of national activity was gradually forgotten. However, purely external forms of the ancient holidays were extremely stable, and some ritual folklore He continued to live as if out of connection with his ancient paganism.
The Christian Church (not only in Russia, but also in Europe) very negatively belonged to traditional folk songs and dances, considering them by the manifestation of sinfulness, devilish eyes. This assessment is recorded in many chronicle sources and in canonical church decrees.
Torn, funny festivities With elements of theatrical act and with the indispensable participation of music, the origins of which should be sought in the ancient Vedic rites, fundamentally differed from the temple holidays.
The most extensive area of \u200b\u200bfolk musical creativity Ancient Russia Makes up a ritual folklore, indicating the high artistic gifting of the Russian people. He was born in the depths of the Vedic painting of the world, the deification of natural elements. The most ancient are calendar and ritual songs. Their content is associated with the ideas about the cycle of nature, with the agricultural calendar. These songs reflect various stages of the life of farmers. They were entered in winter, spring, summer rites that correspond to the turning points in the change of seasons. Making this natural ritual (songs, dancing), people believed that they would hear the mighty gods, the forces of love, the kind, the sun, the water, the Earth and the healthy children will be born, there will be a good harvest, there will be a livetle rating, life will develop life in love and harmony.
In Russia, weddings were played since ancient pore. In each area, there was a custom of wedding actions, exemptions, songs, sentences. But with all the infinite variety of weddings were played by the same laws. Poetic wedding reality transforms what is happening in the fantastic fabulous world. As in the fairy tale, all images are diverse and the rite itself is poetically interpreted, appears a peculiar fairy tale. Wedding, being one of the most significant events of human life in Russia, demanded a festive-solemn framing. And if you feel all the rituals and songs, delving into this fantastic wedding world, You can feel the delicious beauty of this ritual. Colorful clothes will remain "for the stem", a wedding train, a multi-voice "Pereselnits" choir and guide melodies, the sounds of waxers and dodgers, harmony and balalalak - but the poetry of the wedding resurrects - pain care from the parent home and the high joy of the festive state of the soul - Love.
One of the most ancient Russian genres - dance songs. In Russia, dance drove rounds throughout almost a year - to Kolletov New Year), Maslenitsa (Wires and Spring Wires and Meeting), Zelen Week (gorors of girls around birch), Yarilo (sacred bonfires), oxen (Harvest holidays). Raturated dance games and historical processions. Initially dangling songs were included in agricultural rites, but over the centuries they became independent, although the images of labor were preserved in many of them:
And we got sown, sowed!
Oh, Did Lado, sowed, sowed!
Preserved to our days, dance songs accompanied men and female dancing. Men's - personified strength, courage, courage, female - tenderness, love, statism.
Over the centuries, the musical epic begins to be replenished with new topics and images. The epics, talking about the struggle against the Ordans, about traveling to distant countries, the emergence of the Cossacks, folk uprisings.
People's memory has kept for a long time for centuries many beautiful ancient songs. In the XVIII century, during the formation of professional secular genres (opera, instrumental music), folk art is first becoming the subject of study and creative implementation. Educational attitude towards Folklore vividly expressed a wonderful writer by Humanist A.N.radishchev in the penetrated lines of his "travel from St. Petersburg to Moscow": "Who knows the voices of Russian folk songs, he admits that there are something in them, pain spiritual meaning ... in They will find the formation of the soul of our people. " In the XIX century, the evaluation of the folklore as the "education of the soul" of the Russian people became the basis of aesthetics composer school From Glinka, Roman Corsakov, Tchaikovsky, Borodin, to Rakhmaninov, Stravinsky, Prokofiev, Kalikina, and the People's song itself was one of the sources of formation of Russian national thinking.
Russian folk songs of the XVI-XIX centuries - "As a Golden Mirror of the Russian People"
The folk songs recorded in various parts of Russia is a historical monument of the life of the people, but also a documentary source, imprinted the development of the folk creative thought of their time.
The fight against the Tatars, the peasant riots - all this was postponed for each specific locality imprint on folk song traditionsStarting with epic, historical songs and to ballad. As, for example, the ballad about Ilya Muromets, which is connected with the river nightingale flowing in the area of \u200b\u200bthe lugguro, there was a struggle between Ilya Muromers and the Solovy-robber who lived in these territories.
It is known that in the development of oral folk arts played the conquest of Ivan the Terrible Kazan Khanate, the campaigns of Ivan the Terrible laid the beginning of the final victory over tatar-Mongolian igwho liberated many thousands of Russian prisoners from the Polon. Songs of this time became a prototype for the epics of Lermontov "Song about Ivan Tsarevich" - the chronicle of the folk life, and A.S. Pushkin in his works used oral folk creativity - Russian songs and Russian fairy tales.
On the Volga not far from the village of Undora, there is a cape called - Stenka Razin; There were songs of that time: "On the steppes, the Saratov steppes", "we had in the Holy Rus." Historical events end of XVII started XVIII century. They are captured in compilation on the campaigns of Peter I and its Azov campaigns, about the execution of Sagittarov: "Just as in the sea is blue," the Cossack is walking on Don.
With military reforms of the beginning of the XVIII century, new historical songs arise, these are not lyric, but epic. Historical songs retain the most ancient images of the historic epic, the songs about the Russian-Turkish war, about the recruit sets and war with Napoleon: "Thief Frenchman has praised Russia to take Russia", "You are not the noise of your mother Green Dubravushka."
At this time, the epics about the "Surovs of Suzdal" were preserved, about "Dobryne and Aleche" and a very rare tale of Gorge. Also in the work of Pushkin, Lermontov, Gogol, Nekrasov used Russian epic folk songs and legends. The ancient traditions of folk playing, richness and special performing culture of Russian song folklore are preserved.
Russian folk theatrical art
Russian folk drama and folk theatrical art as a whole - the most interesting and significant phenomenon of Russian national Culture.
Dramatic games and ideas still in late XVIII And at the beginning of the twentieth century, they constituted the organic part of the festive people's life, be it rustic sites, soldiers and factory barracks or fair boals.
The geography of the spread of the folk drama is extensive. People's peculiar theatrical "foci" of the gatherers of our days were discovered in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kame, in Siberia and in the Urals.
Folk drama, contrary to the opinion of some scientists, is the natural sergement of folklore tradition. Pressed in it creative experienceaccumulated by dozens of generations of the widest layers of the Russian people.
On urban, and later, rural fairs were arranged Carousel and Balagans, on the stage of which played performances on fabulous and national historical themes. The performances seen at fairs could not fully affect the aesthetic tastes of the people, but they expanded his fabulous and song repertoire. Funds and theatrical borrowings largely determined the originality of the plots of the folk drama. However, they "lay down" on the ancient gaming traditions of folk playing, richness, i.e. on the special executive culture of Russian folklore.
Generation of creators and folk drama performers developed certain techniques Plotches, characteristics of characters and style. Strong passions and unsolvable conflicts, continuity and speed of replacing actions are inherent in the expanded folk drama.
Special role Songs playing songs that performed by heroes in different moments or sounding choirs play in the People's Drama - as comments. Songs were a kind of emotional psychological element of the presentation. They were performed for the most part Fragmentary, revealing the emotional meaning of the scene or the state of the character. We had mandatory songs at the beginning and end of the presentation. The song repertoire of popular drams consists mainly of the copyright in all layers of the Society of the XIX Song of the XX centuries. This and the soldiers' songs "traveled the White Russian Tsar", "Malbruck went to the campaign", "Praise, praise you, hero," and the romances "I'm in the evening in the meadow", "I'm in the desert I am reminding", "that I was bold " and many others.
Late genres of Russian folk art - Gulia
Flowering festivals falls on the XVII-XIX century, although separate species And genres folk artThe indispensable affiliation of the fair and urban festive area was created and was actively extended long before the designated centuries and continue, often in a transformed form, exist to this day. Such is a puppet theater, the bearish fun, partly the traveners of merchants, many circus numbers. Other genres were generated by the fairground and left life together with the cessation of festivities. These are comic monologues of the bolagan named, Raek, the presentation of the beabred theaters, the dialogues of the clowns-parsley.
Typically, during the festivities and fairs in traditional places, whole enlightenment towns with boalas, carousers, swings, tents, in which were sold - from lumpy paintings Before singing birds and sweets. In winter, ice mountains were added, access to which was completely free, and the descent on sleds from a height of 10-12 m. Delivered incomparable pleasure.
With all the diversity and the motley, the urban folk holiday was perceived as something whole. The integrity of this created a specific atmosphere of the festive area, with its free word, familiarity, the unrestrainedness of laughter, food and beverages; equality, fun, festive perception of the world.
The festive square itself was hit by an incredible combination of all sorts of details. Accordingly, it also appeared to be a colorful loud chaos. Bright, diverse clothes of walking, catchy, unusual costumes of "artists", screaming plagan signs, swings, carousels, shops and restaurants, transfusions with all the colors of the rainbow products of handfuls and the simultaneous sound of scammers, pipes, flutes, drums, exclamations, songs, shouts of merchants , Loud laughter from the jokes of the "Balagan grandfather" and clowns - everything merged into a single fair firework, which fascinated and fun.
For large, famous walking "under the mountains" and "under the swings", there was a lot of touring from Europe (many of them are the mains of the Balagans, Panorars) and even southern countries (magicians, tamers of animals, silica, acrobats and others). Foreign speech and overseas wondermen were familiar on the capital's festivals and large fairs. It is clear why urban spectacular folklore appeared often as a kind of mixing "Nizhny Novgorod with French."
The base, the heart and soul of the Russian National Culture is Russian folklore, this is the Klastiene, this is what was filled with ancient times of the Russian man from the inside and this inner Russian folk culture gave rise to the end of the XVII-XIX centuries a whole Pleiad of the great Russian writers, composers, artists, scientists , military, philosophers who know and honor the whole world:
Zhukovsky V.A., Ryleev K.F., Tyutchev F.I., Pushkin A.S., Lermontov M.Yu., Saltykov-Shchedrin M.E., Bulgakov M.A., Tolstoy L.N., Turgenev I.S., Fonvizin D.I., Chekhov A.P., Gogol N.V., Goncharov I.A., Bunin I.A., Griboedov A.S., Karamzin N.M., Dostoevsky f ., Kubrin A.I., Glinka M.I., Glazunov A.K., Mussorgsky M.P., Rimsky-Korsakov N.A., Tchaikovsky PI, Borodin A.P., Balakirev M .A., Rakhmaninov S.V., Stravinsky I.F., Prokofiev S.S., Kramskaya I.N., Vereshchagin V.V., Surikov V.I., Polenov V.D., Serov V.A. ., Ivazovsky I.K., Shishkin I.I., Vasnetsov V.N., Repin I.E., Reerich N.K., Vernadsky V.I., Lomonosov M.V., Sklifosovsky N.V., Mendeleev D.I., Sechenov I.M., Pavlov I.P., Tsiolkovsky K.E., Popov A.S., Bagrationon P.R., Nakhimov P.S., Suvorov A.V., Kutuzov M ., Ushakov F.F., Kolchak A.V., Solovyov V.S., Berdyaev N.A., Chernyshevsky N.G., Dobrolyubov N.A., Pisarev D.I., Chaadaev P.EE ., There are thousands of thousands who, anyway, knows the whole earthly world. These are world pillars that have grown in Russian folk culture.
But in 1917, the second attempt to interrupt the connection of times, to interrupt the Russian cultural heritage of the ancient generations. The first attempt was carried out in the years of the baptism of Russia. But she failed in full, as the power of Russian folklore was based on the life of the people, on its Vedic natural worldview. But already somewhere to the sixtieth years of the twentieth century, Russian folklore has become gradually crowded out by pop-popular genres of Pop, disco and how it is customary to speak chanson (prison-cooled folklore) and other types of arts of the Soviet sense. But a special blow was inflicted in the 90s. The word "Russian" was inexplicitly banned even to pronounce, allegedly, this word marked - inciting the national retail. This position is still preserved.
And there was no single Russian people, it was scattered, they were well, and at the genetic level began to destroy. Now in Russia - here the non-Russian spirit of Uzbeks, Tajiks, Chechens and all other residents of Asia and the Middle East, and in the Far East, the Chinese, Koreans, etc., and everywhere the active, global Ukrainization of Russia is carried out everywhere.
Signs, Folklore properties
The researchers are notified by many features, properties characteristic of folklore and allowing to approach understanding its essence:
Bifunctionality (combination of practical and spiritual);
Polyelectivity or syncretism.
Any folk product of polyelement. We use the table:
Mimic element
Genres of oral prose
Sliver element
Pantomime, Mimic Dances
Ritual action, dance spent, folk drama
Wonderful musical (song genres)
Dance element
Music-choreographic genres
music element
Collectivity;
Safe;
Variable multiplicity;
Traditional.
For phenomena associated with the development of folklore in other types of culture, the name is folklorism - (introduced at the end of the 19th century by the French researcher P. Sebio), as well as the "secondary life", "secondary folklore".
In connection with its widespread, the concept of a folklore actually arose, its clean forms: so, the term authentic (from Greek AUTENTICUS- genuine, reliable) was established.
Folk creativity is the basis of the whole national culture. The wealth of its content and genre diversity - Sayings, proverbs, riddles, fairy tales and other. A special place of songs in the works of the people accompanying human life from the cradle to the grave, reflecting it in the most diverse manifestations and representing the overall imperative ethnographic, historical, aesthetic, moral and high artistic value.
Features of the folklore.
Folklore (FOLK-LORE) - International term of English origin, first introduced into science in 1846 by the scientist William Toms. In a literal translation, it means "People's Wisdom", "People's Knowledge" and means different manifestations of folk spiritual culture.
Other terms were entrenched in Russian science: People's Poetic Creativity, People's Poetry, People's Literature. The name "Oral Creativity of the People" emphasizes the oral nature of the folklore in his difference from written literature. The name "People's Poetic Creativity" indicates artistic as a sign that is distinguished by a folklore product from beliefs, customs and rites. Such a designation puts folklore in one row with other types of folk artistic creativity and fiction. 1
Folklore is complex synthetic art. Often, elements are connected in its works. different species Arts - verbal, musical, theatrical. It is studied by different sciences - history, psychology, sociology, ethnology (ethnography) 2. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scientists approached folklore widely, recording not only the works of verbal art, but also fixing various ethnographic details and realities of the peasant life. Thus, the study of folklore was for them a peculiar area of \u200b\u200bthe class 3.
The science studies folklore is called folkloristic. If under the literature to understand not only written artistic creativity, and verbal art in general, then the folklore is a special department of literature, and folklicy, thus, is part of literary studies.
Folklore is verbal oral creativity. He is inherent in the properties of the word art. This is close to literature. At the same time, it has its own specific features: syncretism, traditional, anonymity, variability and improvisation.
The background of the appearance of folklore appeared in the primitive-communal strict with the beginning of the formation of art. The ancient art of the word was inherent utility - the desire to practically influence nature and human affairs.
The oldest folklore was in syncretic condition (from greek words Synkretismos - connection). Syncretic state is a state of fusion, absentia. Art was still not separated from other types of spiritual activities, existed in conjunction with other types of spiritual consciousness. Later, the state of syncretism was followed by the allocation of artistic creativity along with other species. public consciousness in an independent area of \u200b\u200bspiritual activity.
Folklore works anonymous. Their author is the people. Any of them is created on the basis of tradition. At one time V.G. Belinsky wrote about the specifics of the folklore work: there are no "famous names, because the author of the literature is always the people. No one knows who has folded his simple and naive songs in which the inner life of the young people or the tribe, and the tribe, is so undisputed and bright. Song from the kind in the genus, from generation to generation; and it changes over time: it will see it, it will be lengthened, then they will convert it with another song, then the other song will be built in addition to it - and here the poems come out of the songs Which the author can only call himself the people. " four
Certainly Rights Academician D.S. Likhachev, who noted that the author in the folklore product is not only because information about it, if he was lost, but also because it falls out of the poetics of folklore; It is not needed from the point of view of the structure of the work. In folk art, there may be a performer, a narrator, a teacher, but there is no author in it, writer as an element of the most artistic structure.
Traditional continuity Encompasses large historical gaps - whole century. According to Academician A.A. Pottny, folklore occurs "from memorable sources, i.e. it is transmitted from memory from the mouth to the mouth as much as the memory is enough, but certainly passed through a significant layer of popular understanding" 5. Each folklore carrier creates within the boundaries of the generally accepted tradition, leaning on the predecessors, repeating, changing, complementing the text of the work. The writer and reader are present in the literature, and in Folklore, the performer and listener. "On the works of Folklore always lies with the seal of the time and the environment in which they lived for a long time, or" existed ". For these reasons, folklore is called folk mass creativity. He has no individual authors, although there are many talented performers and creators, perfectly Owning with generally accepted traditional techniques of affiliation and singing. Folklore is directly peoped on the content - that is, according to thoughts and feelings, in it expressed. Folklore People's and in style - i.e., in the form of transmission of the content. Folklore People by origin, for all signs and the properties of traditional figurative content and traditional style forms. " 6 This consists of the collective nature of the folklore. Traditional - the most important and basic specific property of folklore.
Any folk product is in large quantities. options. Option (lat. Variantis - changing) - Each new execution of the folklore product. Oral works They had a moving variation.
A characteristic feature of the folk work is improvisation. It is directly related to text variability. Improvisation (IT. Improvvisazione - unforeseen, suddenly) - the creation of a folk product or its parts directly during the execution process. This feature More is characteristic of lamenting and crying. However, improvisation did not contradict the tradition and was in certain artistic framework.
Given all these signs of the folklore product, we give the extremely quick definition Folklore, given V.P. Anica: "Folklore is the traditional artistic creativity of the people. It equals both to the interpretation, verbal and other visual arts, both to the old creativity and to the new one, created in the new time and creative today." 7.
Folklore, like literature, is the art of the word. This gives reason to use literary terms: epos, Lyrics, Drama. They are called childbirth. Each race covers a group of works defined type. Genre - type of art form (fairy tale, song, proverb, etc.). This is a narrower group of works than genus. Thus, there is a method of image of reality, under the genome - the type of artistic form. The story of Folklore is the story of changing his genres. They are in folklore have greater stability, compared with literary, genre borders in literature wider. New genre forms in folklore arise not as a result creative activity individuals, as in the literature, and should be supported by the entire mass of the participants in the collective creative process. Therefore, their shift does not occur without the necessary historical grounds. At the same time, genres in folklore are not unchanged. They occur, develop and die off, are replaced by others. For example, the epics arise in ancient Russia, develop in the Middle Ages, and in the XIX century are gradually forgotten and die away. With the change in the conditions of the existence, the genres is collapsed and conjured. But this does not testify to the decline of folk art. Changes in the genre composition of folklore is a natural consequence of the development of artistic collective creativity.
What is the relationship between reality and its display in folklore? Folklore combines a direct reflection of life with conditional. "There is no compulsory reflection of life in the form of life itself, conventionality is allowed." 8 It is characteristic of associativity, thinking by analogy, symbolism.
© 2015-2019 Site
All rights to belong to their authors. This site does not pretend to authorship, but provides free use.
Page Creation Date: 2017-06-11
Unnexted oral folk creativity. It was created for centuries, there are many types of its varieties. Translated by S. of English language "Folklore" is "popular value, wisdom." That is, the oral folk creativity is everything that is created by the spiritual culture of the population for the century of his historic life.
Features of Russian folklore
If you carefully read the works of Russian folklore, it can be noted that it actually reflects a lot: and the game of fantasies of the people, and the history of the country, and laughter, and serious Duma about the human life. Listening to the songs and fairy tales of the ancestors, people thought about the many difficult questions of their family, social and labor life, reflected how to fight for happiness, improve their lives, which should be a person to make fun and porous.
Varieties of folklore
Varieties of folklore include fairy tales, epics, songs, proverbs, riddles, calendar chorus, the grade, sayings - everything that was repeated, passed from generation to generation. At the same time, the performers made often in the favorite text of something, changing individual details, images, expressions, imperceptibly improving and honing the work.
Oral folk creativity for the most part exists in the poetic (poems) form, since it was she allowed to memorize and transmit these works from the mouth for centuries.
Songs
The song is a special verbal musical genre. It is a small volume lyrical-narrative or lyrical workwhich was created specifically for singing. The types are as follows: lyrical, dance, ritual, historical. Expressed B. folk songs Feelings of one person, but at the same time a variety of people. They found a reflection of love experiences, social events and family lifeReflections on hard fate. In folk songs, the so-called submission of parallelism is often used when they are transferred to the nature of the mood of this lyrical hero.
Historical songs are devoted to various famous personalities and events: the conquest of Siberia Yermak, the rebellion of Stepan Razin, peasant War Under the leadership of Emelyan Pugachev, the battle of Poltava with the Swedes and others. The narration in historical folk songs about some events is combined with the emotional sound of these works.
Epics
The term "epic" was introduced by I. P. Sakharov in the 19th century. It is an oral folk creativity in the form of a song, heroic, epic character. There were epics in the 9th century, it was an expression of the historical consciousness of the people of our country. Bogatyri - the main characters of this kind of folklore. They embody the people's ideal of courage, strength, patriotism. Examples of the Bogatyurians, whom the works of oral folk art were depicted: Dobrynya Nikitich, Ilya Muromets, Mikula Selyaninovich, Alyosha Popovich, as well as a merchant Sadko, Giant Svyatogor, Vasily Buslaev and others. Life foundation, while enriched with some fantastic fiction, constitutes the plot of these works. In them, heroes alone overpowers whole hordes of enemies, fighting with monsters, overcome instantly huge distances. It is very interesting this oral folk creativity.
Fairy tales
We need to distinguish from fairy tales. These works of oral folk art are based on invented events. Fairy tales can be magical (in which fantastic forces are involved), as well as household, where people are depicted - soldiers, peasants, kings, workers, princesses and princes - in a daily atmosphere. From other works, this type of folklore is distinguished by an optimistic plot: it always triumphs over evil, and the latter or tolerate defeat, or ridicule.
Legends
We continue to describe genres of oral folk creativity. Legend, unlike a fairy tale, is a popular oral story. The basis of it is an incredible event, a fantastic image, a miracle that is perceived by a listener or a storytellor as reliable. There are legends on the origin of the peoples, countries, seas, the suffering and exploits of fictional or actually existed heroes.
Puzzles
Oral folk creativity is represented by many riddles. They are an allegoric image of a certain object, usually based on a metaphorical convergence with it. The riddles in volume are very small, have a certain rhythmic structure, often underlined by the presence of rhymes. They are created in order to develop intelligence, guess. Riddles are diverse in content and subject. There may be several of their options about the same phenomenon, an animal, subject, each of which from a certain side characterizes it.
Proverbs and sayings
Genres of oral folk creativity also include sayings and proverbs. The proverb is rhythmically organized, brief, figurative saying, aphoristic folk statement. It usually has a two-part structure, which is supported by rhythm, rhythm, alliterations and associations.
The saying is a figurative expression that evaluates some phenomenon of life. She, unlike the proverb, is not a whole proposal, but only a part of the statement, which is in oral folk creativity.
Proverbs, sayings and riddles are included in the so-called small genres of folklore. What is it? In addition to the above species, it includes other oral folk creativity. Types of small genres complement the following: Lullabous songs, Pestushki, Pestech, Supports, game chorus, sharing, sentences, riddles. Let's stop a little more on each of them.
Lullabous songs
Small genres of oral folk creativity include lullaby songs. In the people they are called bikes. The name did this happen from the verb "Bat" ("Bailat") - "talk". This word has the following ancient value: "Tap, whisper". Lullaby songs got this name is no coincidence: the oldest of them have a direct relation to the conspiracy poetry. Fighting with a dream, for example, the peasants said: "Dundushka, get away from me."
Pottushki and fun
Russian oral folk creativity also represent the pests and functions. In their center there is an image of the younger child. The name "Pestus" comes from the word "to dream", that is, "go for someone, raise, nursing, wearing in your hands to raise." They are short sentences that in the first months of the baby's life comment on his movements.
You are unnoticed by the Pests go to the fun - the songs accompanying the Games of the baby with the fingers of the legs and the handles. It is very diverse this oral folk creativity. Examples of drills: "Forty", "Ladushka". They often have a "lesson", instruction. For example, in the "forty" Beloboka all fed a porridge, except for one lazy, albeit the smallest (it corresponds to the little finger).
Supports
In the first years of the life of children, nanny and mother sang songs already more complex content that are not related to the game. All of them can be denoted by a single term "add-on". By content they resemble small fairy tales in verse. For example, about the rooster - a gold scallop, flying on a Kulikovo field for oats; About chicken in a row, which "peas of Lesales" and "millet sowed".
In addition, as a rule, a picture of some bright event is given, or it depicts some rapid effect that corresponds to the active nature of the kid. They are noticeable to the plot, but the child for long-term attention is not capable, so they are limited to only one episode.
Sentences, Slashki.
We continue to consider oral folk creativity. Its species are complemented by shafts and sentences. Children on the street are very early to study in the peers in various shallows, which are an appeal to birds, rain, rainbow, the sun. Datvora at the case shouting the name of the word in the case. Besides chain, in peasant family Any child knew sentences. They are most often pronounced one by one. Sentences - appeal to the mouse, small bugs, snail. It may be imitued with various bird voices. The verbal sentences and songs are filled with faith in the strength of water, sky, land (then beneficial, then destructive). Their pronunciation acquired to work and the lives of adult peasant children. Sentences and shakes are combined into a special department called "Calendar Children's Folklore". The term emphasizes the existing link between them and the time of the year, the holiday, weather, all the life and building of the village's life.
Game sentences and chorus
Genres of works of oral folk creativity include gaming sentences and chorus. They are no less than ancient than shafts and sentences. They or associate parts of some game, or begin it. They can also perform the role of the ending, determine the consequences that exist when violating conditions.
Amazed games similarity with serious peasant activities: harvest, hunting, sowing flax. Reproduction of these cases in a strict sequence using multiple repetitions made it possible to instill with early years Child respect to customs and existing order, teach the rules of behavior adopted in society. Game names - "Bear Bor", "Wolf and Geese", "Korshun", "Wolf and Sheep" - talk about communication with life and life of the rural population.
Conclusion
IN folk epic, fairy tales, legends, songs live no less exciting colorful images than in artwork Classic authors. A peculiar and surprisingly accurate rhymes and sounds, bizarre, beautiful poetic rhythms - as if lace woven in texts of chastushki, flows, booms, riddles. And what bright poetic comparisons we can find in lyrical songs! All this could create only the people - the Great Wizard of the Word.
The term "folklore" (translated "Folk wisdom") for the first time introduced the English scientist U.J. Toms in 1846. At first, this term covered all the spiritual (beliefs, dances, music, wood carving, etc.), and sometimes material (housing, clothing) the culture of the people. In modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in the initial meaning: an integral part of the people's life, closely intertwined with its other elements. From the beginning of the 20th century The term is used in a narrower, more specific meaning: verbal folk creativity.
The oldest types of verbal art arose in the process of forming human speech in the era upper Paleolithic. The verbal creativity in antiquity was closely related to human labor and reflected religious, mythical, historical ideas, as well as the primitive scientific knowledge. Ritual actions by which primitive It sought to influence the forces of nature, on fate, were accompanied by words: spells were pronounced, conspiracies, to the forces of nature were treated with various requests or threats. The art of the word was closely connected with other species. primitive art - music, dancing, decorative art. In science, this is called "primitive syncretism" traces of it and are now noticeable in folklore.
Russian scientist A.N.Veselovsky believed that the origins of poetry were in folk rite. Primitive poetry, according to his concept, originally represented the song of the choir, accompanied by a downtry and a pantomime. The role of the word at first was insignificant and fully subordinate to Rhythm and Mimic. The text was improvised according to the implementation of the execution, until it acquired a traditional character.
As humanity has accumulated increasingly significant life experience, which it was necessary to convey the following generations, the role of verbal information increased. The allocation of verbal creativity into an independent type of art is the most important step in the prehistory of folklore.
Folklore was verbal art organically inherent folk house. The various purpose of the works gave rise to genres, with their diverse themes, images, style. In the oldest period, most peoples were generic legends, labor and ritual songs, mythological stories, conspiracies. The decisive event, which lasted the frontier between mythology and actually folklore, was the appearance of a fairy tale, the plots of which were realized as fiction.
In an antique and medieval society, the heroic epos (Irish saga, Kyrgyz Manas, Russian epics, etc.). There were also legends and songs reflecting religious beliefs (for example, Russian spiritual poems). Later, historical songs depicting real historical events and heroes appeared, which they remained in popular memory. If the ritual lyrics (rites, accompanying calendar and agricultural cycles, family ritesAssociated with birth, a wedding, death) originated in deep antiquity, then the lyrics are impaired, with her interest in an ordinary person, appeared much later. However, over time, the border between the ritual poetry is erased. So, a chastushki sing at the wedding, while at the same time, some of the wedding songs are moving into an unjuginary repertoire.
Genres in folklore are also distinguished by the method of execution (solo, choir, chorus and soloist) and various combination of text with melody, intonation, movements (singing, singing and dance, told, playback, etc.)
With changes in the social life of society in Russian folklore, new genres arose: Soldier, Yamchichsky, Burlats songs. The growth of industry and cities caused romances, jokes, working, school and student folklore to life.
In folklore, there are genres of productive, in the depths of which new works may appear. Now these are chastushki, sayings, urban songs, jokes, many species children's folklore. There are genres unproductive, but continuing their existence. So, new folk fairy tales does not appear, but the old are still told. Sing and many old songs sing. But there are almost no historical songs in the lively execution.
Science of folklore - folklorism - all works of people's verbal creativity, including literary, refers to one of their three genera: Epos, lyrics, drama.
Through thousands of years, all peoples folklore had the only form of poetic creativity. But even with the advent of writing for many centuries, up to the period of late feudalism, the oral poetic creativity was widespread not only among the labor people, but also among the highest sections of society: nobility, clergy. Having aroused in a specific social environment, the work could become a nationwide heritage.
Collective author.Folklore is a collective art. Each work of oral folk creativity not only expresses the thoughts and feelings of certain groups, but also collectively created and applies. However, the collectivity of the creative process in folklore does not mean that individual individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes they created songs, chastushki, fairy tales, which, in accordance with the laws of oral folk creativity, were already empty by the author. With the public division of labor, peculiar professions arose related to the creation and execution of poetic, and musical works (ancient Greek rapes, Russian Houchrs, Ukrainian Kobzari, Kyrgyz Akyna, Azerbaijani Ashugi, french chanson etc.).
In Russian folklore in 18-19 V.V. There was no developed professionalization of singers. Fairy tales, singers, patches remained peasants, artisans. Some genres of popular poetic creativity had a mass distribution. The execution of others required a well-known sweating, a special musical or acting gift.
Folklore of every people unique, as well as his story, customs, culture. So, the epics, chastushki are inherent in only Russian folklore, the Duma - Ukrainian, etc. Some genres (not only historical songs) reflect the history of this people. Different composition and shape of ritual songs, they can be confined to the periods of agricultural, cattle, hunting or fishing calendar, join a variety of relations with the rites of Christian, Muslim, Buddhist or other religions. For example, the scottled ballad has acquired clear genre differences, while Russians are close to a lyrical or historical song. In some nations (for example, Serbs), poetic rituals are distributed, in others (including Ukrainians) - they existed in the form of simple prosaic exclamations. Each people has their own arsenal metaphor, epithets, comparisons. So, the Russian proverb "Silence - Gold" corresponds to the Japanese "Silence - Flowers".
Despite the vivid national color of folk texts, many motives, images and even plots of different peoples are similar. Thus, a comparative study of the European folklore plots led scientists to the conclusion that about two thirds of the plots of fairy tales of each people have parallels in the fairy tales of other nationalities. Veselovsky called similar plots "stray", creating "theory stray plots"Which was repeatedly criticized by Marxist literary studies.
For peoples with a single historical past and related languages \u200b\u200b(for example, Indo-European Group), such similarities can be explained by general origin. This is a similarity genetic. Similar features in folklore peoples belonging to different language familiesBut has long been contacting each other (for example, Russian and Finns) are explained by borrowing. But in the folklore of peoples living on different continents, and probably never communicated, there are similar topics, plots, characters. So, in one Russian fairy tale, the poor man says, who was planted for all his practices in the bag and they are going to drown, but he, deceiving the Barin or Pop (they say, the huge shoals of beautiful horses graze under water), plant him in the bag instead of themselves. There are the same plot in the fairy tales of Muslim peoples (history about Hadju Nasreddin), and among the peoples of Guinea, and the inhabitants of the island of Mauritius. These works arose independently. Such similarity is called typological. At the same stage of development, similar beliefs and rites, forms of family and public life are added. And, consequently, the ideals and conflicts are the opposition of poverty and wealth, mind and nonsense, hard work and laziness, etc.
From mouth to mouth.Folklore is stored in the memory of the people and played orally. The author of the literary text is not necessary to communicate directly with the reader, the product of the folklore is executed if there are listeners.
Even the same narrator at each execution voluntarily or involuntarily changes something. Moreover, the following performer transfers the content. And fairy tales, songs, epics, etc. pass through thousands of mouth. The listeners not only affect the performer (in science it is called feedback), but sometimes they are connected to execution. Therefore, any product of oral folk creativity has many options. For example, in one fairy tale Princess Frog Tsarevich listens to the Father and marries a frog without any conversations. And in the other - wants to get away from her. Different in fairy tales helps the frog, narrowed to perform the tasks of the king, which are also the same everywhere. Even such genres, like epics, song, a chastushka, where there is an important restraining beginning - rhythm, entanglement, have excellent options. For example, a song recorded at 19 V. In the Arkhangelsk province:
Soloveyushka premium
You can fly everywhere:
Fly to cheerful countries
In the glorious city of Fethi Yaroslavl ...
Around the same years in Siberia sang on the same motive:
You are my darling,
Everywhere you can fly,
Flying you to countries in other people's
In the glorious city of Eruzlan ...
Not only in different territories, but also in various historical epochs, the same song could be performed in the options. So, the songs of Ivan Grozny were converted to the songs of Peter I.
To remember and retell or sing a piece (sometimes quite voluminous), the people have developed intakes polished by centuries. They create a special style distinguishing folklore from literary texts. Many folk genres have a common stained. So, the folk response knew in advance how to start a fairy tale - In some kingdom, in some state ... or Lived once…. Epics often began with words As in a glorious city in Kiev .... Some genres are repeated and ending. For example, the epics often end like this: Here he and glory sing .... The magic fairy tale almost always ends with a wedding and a pyrse with a promsion I was there, honey beer drank, flowed across the mustache, and did not get into my mouth or And they began to live-wait and well.
Meet in folklore and other, most diverse reasons. Separate words can be repeated: Past at home, past the stone, // past the garden, green gardens, or start rows: At the dawn, it was on the dawn, // at the dawn it was in the morning.
Repeat entire lines, and sometimes several lines:
On Don walks, it walks along Don
Cossack is walking on Don
Cossack is walking on Don
And the Virgo is sprinkling, and Deva rides
And Virgo shoes over the fast river,
A virgin shoes over a fast river.
In the works of oral folk art, not only words and phrases are repeated, but also entire episodes. On a three-time repetition of the same episodes, episodes, and fairy tales are built and songs. So, when the caligics (stray singers) heal Ilya Muromsz, they give him a drink "Piece Breaking" three times: after the first time he feels a lack of force, after the second - an excess and only drinking for the third time, he gets so much strength as He needs.
In all genres of folklore, there are so-called common, or typical, places. In fairy tales - fast movement of the horse: Horse runs - the earth trembles. "Numbness" (politeness, pupil) of the epic hero is always expressed by the formula: Cross, he put in writing, yes, but a scientist conducted. There are beauty formulas - Neither in a fairy tale say no pen. Remedies are repeated: Stand in front of me like a leaf before grass!
Repeat definitions so-called permanent epithetsthat are not unremitted with the defined word. So, in Russian folklore, the field is always clean, month is clear, the girl is red (red), etc.
Other artistic techniques helps perception. For example, the so-called taking step narrowing of images. Here is the beginning of the folklore song:
In the glorious city in Cherkassk,
Built there with new stone stones there,
In the steamers, the tables are all oak,
At the table, a young man sits.
The hero may be allocated by opposition. At the feast of Prince Vladimir:
And how are everyone sitting here, drink, eat and boast,
But only one sits, does not drink, does not eat, does not eat ...
In a fairy tale, two brothers are smart, and the third ( the main character, winner) for the time being a fool.
Sustainable qualities are fixed for certain folklore characters. So, Lisa is always tricky, the hare is a cowardly, wolf - evil. There are folk poetic creativity and certain symbols: nightingale - joy, happiness; Cuckoo - Mountain, trouble, etc.
According to the estimates of researchers, from twenty to eighty percent of the text, it seems from the finished material that does not need memorization.
Folklore, literature, science.Literature appeared much later than folklore, and always, to one degree or another, used his experience: themes, genres, techniques - excellent in different epochs. So, plots antique literature Rely on myths. In European and Russian literature, author's tales and songs, ballads appear. Due to the folklore, a literary language is constantly enriched. Indeed, in works of oral folk creativity, many old and dialect words. With the help of stuffing suffixes and freely used consoles, new expressive words are created. Girl sadness: You are parents, deserted, my roses .... The guy complains: You, Milka-Cool, cool wheel, tied me a head. Gradually, some words are included in the conversational, and then into a literary speech. It was not by chance that Pushkin called: "Read the common fairy tales, young writers to see the properties of the Russian language."
Folklore techniques were especially widely used in the works of the people and for the people. For example, in the poem of Nekrasov Who lives well in Russia? - numerous and varied repetitions (situations, phrases, words); Sympticking suffixes.
At the same time, literary works penetrated the folklore and influenced its development. As works of oral folk art (without the name of the author and in various versions), Rubai Hahifes and Omar Khayam, some Russian tale of the 17th century, were extended. Prisoner and Black shawl Pushkin, Beginning Korobeinikov Nekrasova ( Oh, full, full of battleship, // There are sits and a brocade. // Sick, my gaznobushka, // youtello shoulder ...) and much more. Including the beginning of the fairy tales of Ershov The Little Humpbacked Horsewhich became the inspired by many folk fairy tales:
Beyond the mountains, behind the forests,
Over wider seas
Against the sky on earth
Lived an old man in one village.
Poet M.Sakovsky and composer M. Blanter wrote a song Katyusha (Blowed apple and pears ...). Her people were singing, and about one hundred different appeared Katyusha. So, during the Great Patriotic War sang: Do not bloom here apple trees and pears ..., Fascists' fascists and pears .... Katyusha's girl in one song became a nurse, in another - a guerrilla, in the third one-sense.
In the late 1940s, three student - A.Ohrimenko, S. Kriste and V. Shreiberg - composed a comic song:
In an old and noble family
Lion Lion Nikolayevich Tolstoy,
Neither fish nor meat he eaten
I walked on the Alleam Bosaoy.
To print such poems at that time it was impossible, and they spread herself. All new and new options for this song began to be created:
Great Soviet writer
Lion Nikolaevich Tolstoy,
He did not eat fish and meat
I walked on the Alleam Bosaoy.
Under the influence of literature in Folklore, rhyme appeared, (all chastushki rhymed, there is a rhyme and late folk songs), division into stanzas. Under the direct influence of romantic poetry ( see also Romanticism), in particular ballads, arose new genre Urban romance.
Learn the oral folk poetic creativity not only literary critics, but also historians, ethnographers, cultureologists. For the oldest, complementary times, folklore often turns out to be the only source, reported to this day (in veiled form), certain information. So, in a fairy tale, the bridegroom receives his wife for some merits and feats, and most often he marries not in that kingdom, where he was born, but from where his future spouse comes from. This detail of the magic fairy tale born in deep antiquity, says that in those days a wife was taken (or kidnapped) from another kind. There are B. magic fairy tale And the exhaust of the ancient rite of initiation is to initiate boys in men. The rite of this was usually in the forest, in the "male" house. In fairy tales, the house standing in the forest inhabited by men is often mentioned.
Late time folklore is the most important source of study of psychology, worldview, aesthetics of this or that nation.
In Russia at the end of 20 - early 21 centuries. Increased in the folklore of the 20th century, the aspects that have not yet remained so long outside official science. (Political joke, some chastushki, folklore of the Gulag). Without studying this folklore, the idea of \u200b\u200bthe life of the people in the era of totalitarianism will inevitably be incomplete, distorted.
Lyudmila Polikovskaya
Azadsky MK History of Russian folklores. TT., 1-2. M., 1958-1963
Azadsky MK Articles about folklore literature. M., 1960.
Muletinsky E.M. The origin of the heroic epic(early forms and historical monuments). M., 1963.
Bogatyrev P.G. Questions theory of folk art. M., 1971.
Propp V.Ya. Folklore and reality. M., 1976.
Bakhtin VS From epics to counting. Stories about folklore. L., 1988.
Veselovsky A.N. Historical poetics. M., 1989.
Buslaev F.I. National Epos. And mythology. M., 2003.
Zhirmunsky V.M. West Folklore and East: Comparative Historical Essays. M., 2004.
Find "folklore" on
Folklore is the basis on which individual creativity develops. Outstanding figures of different areas of the art of the past and present clearly aware of the value of folklore. M. I. Glinka said: "We can't create people; We only write and arrange "\\ A. S. Pushkin still at the beginning of the XIX century. I wrote: "The study of vintage songs, fairy tales, etc. It is necessary for the perfect knowledge of the properties of the Russian language. Critics are in vain with them despise. " Turning to the writers, he pointed out: "Read prime fairy tales, young writers to see the properties of the Russian language."
The covenant of appeal to folk art followed and follow the creators of classical and modern literature, Music, Fine Arts. There is not a single prominent writer, artist, composer who would not add to the springs of folk art, because they are reflected life of the people. The list of musical works, creatively developing the art of the people, is huge. On the folk plots Created supports such as "Sadko", "Kashche" and others. Images and plots of folk art entered into art. Pictures of Vasnetsova "Bogatyry", "Alenushka", Vrubel "Mikula", "Ilya Muromets", Repin "Sadko", and so on. Entered the treasury of world art. A. M. Gorky pointed out that the basis of the generalizations created by an individual genius is the work of the people: "Zeus created the people, FIDI embodied him to marble." It is argued here that art of writer, artist, sculptor only then reaches the vertices when it arises as an expression of ideas, feelings, people's views. Gorky did not drive the roles of an individual artist, but emphasized that his power of talent, the skill attach special expressiveness, the perfection of the form of creating collective creativity of the masses.
Communication of literature and folklore does not boil down to the use of content and form writers individual works folk art. This connection expresses an incomparably broader and general phenomenon: the organic unity of the artist with the people, and the arts with the creative folk experience.
Consequently, both individual and collective creativity only then acquire a huge ideological and aesthetic value in the life of society, when they are associated with the life of the people and truthfully, artically absolutely absolutely. But at the same time, it is necessary to take into account that, firstly, the nature and ratio of collective and individual creativity at different stages of the development of human society are different and, secondly, the fact that collective and individual creativity are peculiar historically arising methods for creating an artistic work.
A. M. Gorky rightly said that the collective creativity of the masses was Maternal Lone for the creativity of the individual, that the beginning of the art of the word, literature - in folklore. In early periods of history, the proximity of the literature and folk art was so great that it is impossible to clearly distinguish them. "Iliad" and "Odyssey" are considered to be the works of ancient literature and at the same time as the most beautiful creativity of collective folk art relating to the "infant period of human society." The same non-priesthood of individual and collective creativity is noted in a number of works in many nations.
In the initial period of its existence, literature has not yet separated from collective folk art. With the development of class society, the division of individual and collective creativity is gradually deepened. But, of course, the most concepts of collective and individual creativity cannot be interpreted abstractly, equally and consistently for all times and peoples. Individual and collective arts have historical validity features.
In class Society Collective creativity was a artistic and figurative reflection of the reality of that time, the generalization of the views and representations of the tribe, the primitive community, from which the identity has not yet separated. Under conditions, when the tribe remained the boundary of the person and in relation to the stranger from another tribe, and in relation to itself, when a separate person was unconditionally subordinated to his feelings, thoughts and actions of the tribe, the genus \\ collective work was the only possible form artistic activities individual individuals. Participation of the whole mass of the tribe in generalization life experience, the general desire to understand and change the reality was the basis of the reporting epic that had reached us preferably in late recycling. An example of such epic tales originating in the conditions of a professional society, at least the runes of "Kalevaly", Yakutsky Oloid, Georgian and Ossetian legends about Amirane, North Caucasian and Abkhaz Tale of Narts, etc.
In the reporting society, the collectivity of creativity not only merged with individuality, but subordinate it. Here, even the most outstanding person perceived as the embodiment of the strength and experience of the entire tribe; Thus, an image of the masses of the people through the image of the hero (Weineenen, Prometheus, Balder, later, Russian warriors and other images of heroic ledgers) was originated for the epic and early literary creativity.
The development of class relations could not not change collective creativity. With the advent of class society, the ideology of antagonistic classes clearly affects various interpretation of images, stories and song scenes. Examples from the epic of the peoples of the USSR confirm this. Discussion of the ideological essence of the Kyrgyz ledges about Manas, the Buryat and Mongolian epic "GESER", the discussions on the problems of the epic revealed the facts of anti-people distortion by feudal circles of creativity of the working people.
There is a constant interaction of literature and folklore. Folklore and literature, collective and individual artistic creativity accompany each other in a class society. So, the Russian folk creativity of the XI-XVII centuries. He had a huge impact on the works of ancient Russian literature, as eloquently testify the "Word about the regiment of Igor", "Tale of Peter and Fevronia", "Zonechina". At the same time, artistic literature images were all wider in the use of oral poetic creativity. In the future, this process has become even more intense. Lermontov, Gogol, Ji. Tolstoy, Nekrasov, Gorky believed that the folklore enriches the individual creativity of a professional artist. At the same time, all outstanding masters of Russian literatrines emphasized that the writer should not copy folklore, should not become on the path of stylization. A real artist boldly invades the oral poetic creativity of the people, selects the best and creatively develops it. To make sure that it is enough to remember the fairy tales A. S. Pushkin. "He decorated folk song and a fairy tale with glitter of his talent, but left unchanged their meaning and strength, "wrote A. M. Gorky
The interaction of folklore and literature flows in different forms. For example, professional artist It often uses and enriches topics, plots, folklore images, but it can use folklore and not reproducing its plots and images directly. The authentic artist is never limited to reproduction of the form of folklore works, and enriches and develops the traditions of oral poetic creativity, revealing the life of the people, his thoughts, feelings and aspirations. It is known that the best, most progressive representatives of the dominant classes, by refringing social injustice and truthfully depicting life, rose over class limitations and created works that responded to the interests and needs of the people.
Live connection of literature with folklore is confirmed by the work of the best writers of all nations. But no matter how tangle the connection of works of writers with people's poetry in class society, collective and individual creativity is always distinguished by the method of creating artistic works.
In the class society there were differences in the creative process of creating works of literature and mass folk poetry. They are primarily as follows: the literary work is created by the writer - indifferently, the writer is by profession or not - individually or in the Commonwealth with another writer; While the writer is working on it work, the work is not the property of the masses, the masses are involved only after it receives the final edition attached in the letter. Hence, in the literature, the process of creating the canonical text of the work is separated from the immediate creative activities of the masses and is associated with it only genetically.
Other business - works of collective folk art; Here personal and collective starts are combined in the creative process so closely that individual creative individuality dissolve in the team. Works of folk art do not have a final edition. Each artist of the work creates, develops, grinds the text, acts as co-author of the song, led people belonging to the people.