Genres of musical folklore. What genres of musical folklore exist
\u003e\u003e Folklore and fiction
Appearance fiction preceded a long period when, still long before in-
writing, for many centuries, ancient peoples created genuine art artistic word - Folklore. "The beginning of the art of the word is in folklore," Alexey Maksimovich Gorky rightly argued. Reflecting on the main features (signs) in the life of the ancient people and the understanding of them around the world, Gorky wrote:
"The signs of these reached us in the form of fairy tales and myths, in which we heard the exhaust work on the tearing of animals, on the discovery of the healing herbs, the invention of workers. Already in deep ancient times, people dreamed of the possibility of flying through the air - they tell us the legends about Faeton, Dedalie and the Son of His Ikara, as well as fairy tales about the "carpet-plane". Dreamed of accelerating the movement on the ground - a fairy tale of "Spear boots". Thought about the possibility of spinning and weave in one night a huge amount of matter - created a biller, one of the oldest tools of labor, a primitive manual machine for textiles and created a fairy tale about Vasilis Wolly ... "
In ancient Russia, new types of oral poetic creativity were created: songs, legends, legends, epics, explaining the origin of cities, villages, a tract 1, Kurganov, who tell me heroic exploits Defenders of native land.
Many of them entered the first works of written literature - the chronicle. So, the chronicle of the "Tale of Bygone Years" (XI-XII centuries) contains folk legends about the foundation of Kiev in three brothers - Kiwa, cheek and choriv, \u200b\u200bwhich were known even in Tsargrad, where they gave them a great honor. In the "Tale of Bygone Years" you can find both oral-poetic legends about Russian princes - Oleg, Igor, Olga, Svyatoslav, etc. Legend of Oleg, for example, talks about the outstanding Old Russian commander, which won the Greeks
not only by force, but also wise ingenuity.
Later, with the spread of writing and the appearance of the first books, oral folk art not only did not lose their role in the life of the people, but also had the most beneficial effect on the development of fiction.
Poss deeper to penetrate the essence people's LifeMany writers screamed from folklore not only information about the life, but also topics, stories, images, ideals 2, studied art bright, expressive speech. In most people's literatures, works have been created, which had spread in folklore: songs, ballads, romances8, fairy tales.
You know well that your wonderful ballad "Song about things Oleg"Alexander Pushkin wrote on
the basis of the folk legend he heard about the death of Prince Oleg, allegedly predicted by the Magi (priest of the Slavic God of Perun). In his fabulous poem, Ruslan and Lyudmila, Pushkin widely used since childhood, from the words of Nanny Arina Rodionna, who remembered the fabulous episodes and images.
The imagination of readers amazes the entry into this poem ("at the Lukomorya Oak green ..."), in which amazing manner There are familiar to everyone since childhood fabulous images Mermaids, a hut on curiped legs, women of Yaga with a step, wrapped and other magic from Russian fairy tales. The poet exclaims: "There is a Russian spirit, there it smells!"
Tract - A plot that differs from the surrounding area, such as a swamp, forest among the field.
Ideal- What is the highest goal of activities, aspirations.
Romance- Small vocal work lyrical character.
Pushkinskaya "Tale of dead Tsarevna And about seven heroes "is the poetic processing of the Russian folk fairy tale" Self-behable mirror ".
Based folk plots Written their wonderful fairy tales Dane Hans Christian Andersen ("Wild Swans"), French Charles Perra (Cinderella), Germans Brothers Wilhelm and Jacob Grimm ("Bremen Musicians") and others.
In the minds of people of many generations, the fairy tales of writers merged with the fairy tales of the people. And this is explained by the fact that every writer, no matter how original his own creativity, is experiencing a deep connection with the folklore of its people. It is in oral folk creativity that the writers found bright examples loyalty to moral polls, the expression of the dream of the people about a fair, happy life.
Great place in Russian folklore occupy episodes of heroic songs telling about the mighty Russian heroes, defenders of the Motherland. Heping the warriors, the eyes were called to the feat of the glory of the Fatherland, raised the spirit of the people into the hard way, brought up in young love for their native land and the desire to protect it from conquerors. The epics of invincible heroes inspired Russian writers and poets to create their own works on the fearless and glorious warriors of the Russian land. Get acquainted with the passage of the poem Nikolai Rynkov, in which the poet told his impressions from the epics about Ilya Muromets, who told him grandfather. This is how he represented the hero of the hero:
Winter and childhood. Evening evening
Under the crown of close housing.
Stands up over the grandfather's epic
Peasant Muromets Ilya.
Not to amaged in the pure field,
He hurries in Kiev without roads,
And nightingale robber whistle
He could not stop him.
Many writers, seeking deeper to show the life of the people, the national characteristics of the heroes, use folk songs, legends, legends and other species of oral in their works folk creativity. Recall how I worked on my book "Evening on the farm near Dikanka" Nikolai Vasilyevich Gogol. In a letter to the mother, he asked to tell him everything she knows about the nravas and customs of his countrymen: "This is very, very, very necessary ... if there is, in addition, any houses, then about them more about them with their names and affairs ; A lot is broken between simply nations Believe, terrible legends, legends, different jokes, etc., and so on., and so on. Everything will be extremely entertaining for me ... "
You know from literature lessons, how unprecedented was the success of the first book of "Evenings on the farm near Dikanka". Pushkin wrote: "Now I read the" Evenings on the farm near the Dikanka. " They amazed me. Here is real fun, sincere, relaxed, without a fanishness of 1, without prim. And places what kind of poetry! What sensitivity! All this is so unusually in Pasha literature that I did not make a job. Congratulations to the public with a truly fun book ... "
In the future, your knowledge of the inextricable communication of the folklore with works of fiction will be expanded and deepened, but it should always be remembered by the main thing: for artists the words folklore - an inexhaustible source of unshakable submissions of the people about good, justice, true love and wisdom.
Let's talk
1. What types of oral poetic creativity created the people long before the emergence of fiction? Name those of them that entered the first annals.
2. Why do writers in their work often turn to folk work?
3. Name the work of oral folk creativity, which formed the basis of the literary works known to you.
4. Among Russian folk fairy tales there is a fairy tale called " gold fish", The plot of which completely coincides with the Pushkin" fairy tale about fisherman and fish. " Why do you think this folk tale has become the basis for creating one of the most beloved and popular fairy tales of the Great Poet?
5. If you know well the content of the "nights on the farm near Dikanka" Nicholas Gogol, remember what popular beliefs, legends used a writer in his posts "Evening on the eve of Ivan Kupala", "May night, or a drowning", "terrible revenge."
6. In 1785, the German writer Rudolph Erich was published published the book "Adventures of Baron Münhgausen", which was literary processing fantastic story truly living in Germany Baron Münhhausen. Over time, this book has acquired worldwide fame. Which of the adventure described in the book do you know? What do you think, this book attracts readers around the world?
7. Why A. M. Gorky argued that "the beginning of the art of the word in folklore"?
L. A. L_Teatura: Perchnik for 7 CL. Zagalinosvіtnіh in the forefronts of Movyov's Movie. - K.: Pepha, 2007. 288 p.: Іl. - Mova Rosіyska.
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Only one side of the case is defined by all: this is determined by the social nature of the folklore, but this has not yet been said about all other signs of it.
The above features are clearly not enough to highlight folklore in special view creativity, and folkloristic - special science. But they define a number of other signs, already specifically folk in essentially.
First of all, we install that folklore is a product of a special type of poetic creativity. But poetic creativity is also literature. And indeed, between folklore and literature, there is a closest connection between folkloristic and literature.
Literature and folklore primarily coincide in their poetic clauses and genres. True, genres that are specific only for literature and are impossible in folklore (for example, novel) and, on the contrary: there are genres specific for folklore and impossible in the literature (for example, a conspiracy).
Nevertheless, the very fact of the presence of genres, the possibility of classification here and there by genre, there is a fact belonging to the field of poetics. Hence the community of some tasks and techniques for the study of literary studies and folklores.
One of the tasks of folklores is the task of the allocation and study of the category of the genre and each genre separately, and this task is literary.
One of the most important and most difficult tasks of folklores is a study of the internal structure of works, in short, is the study of the composition, building. Fairy tale, epos, riddles, songs, conspiracies - all this has some more studied laws of addition, structure. In the field of epic genres, there is a study of the string, the course of action, junction, or, otherwise, the laws of the plot structure. The study shows that folklore and literary works are built differently that the folklore has its own specific structural laws.
It is not possible to explain this specific pattern of literature, but it is possible to establish it only by receptions of literary analysis. The region includes the study of the funds of the poetic language and style. The study of the funds of the poetic language is a purely literary task.
Here again it turns out that the folklore has specific means for it (parallelism, repetition, etc.) or that the usual means of the poetic language (comparison, metaphors, epithets) are filled with completely different content than in the literature. This can be installed only by literary analysis.
In short, the folklore has a completely special, particular poetic poetic for him other than the poetics of literary works. The study of this poetics will open extraordinary artistic beauties laid down in folklore.
Thus, we see that there is not only a close relationship between folklore and literature, but that folklore is such a phenomenon of literary order. He is one of the species of poetic creativity.
Folklore in the study of this side of the folklore, in its descriptive elements - the science of literary. The connection between these sciences is so close that there is often a sign of equality between the folklore and literature and the corresponding sciences; The method of studying the literature is fully transferred to the study of folklore, and this is limited.
but literary analysis Maybe we see, only to establish the phenomenon and the pattern of folklore poetics, but it is unable to explain them. To protect yourself from a similar error, we must establish not only the similarity between the literature and the folklore, their relatives and to some extent are unique, but also to establish the difference between them, to determine their difference.
Indeed, folklore has a number of specific features, so much distinguishing it from literature that the methods of literary research is not enough to permit all problems associated with folklore.
One of the most important differences is that literary works are always and certainly have the author. Folklore works may not have the author, and in this one of the specific features of the folklore.
The question must be supplied with all possible clarity and clarity. Or we recognize the presence of folk creativity as such as phenomena of public and cultural historical life Peoples, or we do not recognize it, argue that it is poetic or scientific fiction and that there is only the work of individual individuals or groups.
We stand on the point of view that folk art is not a fiction, but it exists exactly as such, and that studying it is the main task of folklores as science. In this regard, we solidify with our old scientists, like F. Buslaev or O. Miller. The fact that the old science felt instinctively, expressed naively, ineptly, and not so much scientifically, how much emotionally, it should be cleared of romantic errors and raised to the proper height of modern science with its thoughtful methods and accurate techniques.
Brought up in school literary traditions, we often cannot imagine that the poetic work can arise differently than arises literary work With individual creativity. It seems to us that someone had to compose it or fold the first.
Meanwhile, completely different ways of the emergence of poetic works are possible, and their study is one of the main and very complex problems Folklores. There is no possibility to enter the entire width of this problem. It is enough to indicate here only that genetically folklore should be closer not with literature, but with a language that also does not invent anyone and has neither the author nor authors.
It occurs and varies completely naturally and regardless of the will of people, everywhere where the relevant conditions have been created in the historical development of peoples. The phenomenon of global resemblance does not represent problems for us. For us, it would be an inexplicable lack of such similarity.
Similarity indicates a pattern, and the similarity of folklore works is only private case historical pattern leading from the same forms of material culture to the same or similar social institutions, to similar produces of production, and in the field of ideology - to the similarity of the forms and categories of thinking, religious representations, ritual life, languages \u200b\u200band folklore, all this lives, is interdependent, changes, changes , grows and dying.
Returning to the question of how to empirically imagine the occurrence of folklore works, here it will be enough to indicate at least that the folklore can initially compose the integrating part of the rite.
With the degeneration or fall of the ritual folklore will be offended from it and begins to live independent life. It's only an illustration for general Regulations. Proof can be given only by concrete research. But the ritual origin of the folklore was clear, for example, A. N. Veselovsky in the last years of his life.
The difference here is so fundamentally that it already forces it to allocate folklore into a special type of creativity, and folkloristic is special science. The historian of literature, wanting to explore the origin of the work, looking for his author.
V.Ya. Proppage Folklore poetics - M., 1998
Folk creativity is originally multifaceted and in nature is closely connected with the musical start. Hence such an incredible variety and the film forms in which genres expressed music folklore.
What is folklore?
Folklore is called folk art. This is music, poetry, theater, dance, which were created by the people and are closely related to traditions, religious beliefs, and history.
The word "folklore" itself has English roots and translated as " folk wisdom" By nature, the folklore is diverse and includes fairy tales, legends, legends, myths, proverbs, sayings, conspiracies, signs, a variety of ways of divination, all sorts of rites, dances and much more. It is not surprising, but the folklore also rates, readers and jokes. And the genres of musical folklore are just one of the parts of folk creativity.
Genre is it?
We have already mentioned several times (due to the concept of folklore) the word "genre", but what is understood under it? The genre is a type of work characterized by certain features of form and content. Each genre has its purpose, a way of existence (for example, oral or written) and execution (singing, declamation, theatrical formulation, etc.). As an example, the following genres can be given: symphony, song, ballad, story, story, novel, etc.
What are called musical folklore?
Chastushki.
A chastushka is a small rhymed song consisting of 4-6 lines. It is usually performed in a rapid pace and describes some one event from a person's life. Chastushki were popular both among rural residents and among the working class. The roots of this genre go in the XVIII century, but he reached the greatest popularity in the 20th century.
Topics of chastushki is a reflection of the lifespan, the most pressing and topical problems and bright events. The main orientation of these short songs is social, household or love.
Study of folklore at school
All school secondary programs Designed to ensure that the children can explore the genres of musical folklore. Grade 5 begins to get acquainted with the genre variety of folk creativity, but to study his samples of students start in elementary school.
The main focus on the middle school link makes the connection of literature and history, therefore the epic singing are being studied. In addition, students introduce the main song genres. At the same time, the teacher talks about the parallels and the relationship of people's creativity and literature, about basic traditions and continuity.
Output
Thus, the genres of musical folklore, whose list we tried to draw up, are inextricably linked to the life of the people. Any change in everyday life or the whole country immediately found its reflection in song creativity. Therefore, lists all the genres of folklore, created throughout the existence of humanity, is impossible. In addition, and today, folk art continues to develop, evolves, adapts to new conditions and lives. And it will live as long as humanity exists.
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1. Introduction …………………………………………………………………………….………………. 3.
2. Main part ................................................................................................ four
2.1 Genres of Russian folklore ..................................................................... ... 4
2.2 Place of folklore in Russian literature ................................................... 6
3. Conclusion .........................................................................................................................1.1
4. List of references used .................................................................. .13
Introduction
Folklore - [English Folklore] Folk creativity, a set of folk action.
The relationship of literature with oral folk creativity is an urgent problem. modern literary studies In the context of the development of world culture.
IN recent decades In the domestic literature, a whole direction of the creative use of folklore was determined, which was represented by talented prose plates disclosing the problems of reality at the level of intersection of literature and folklore. Deep and organic development different shapes Oral folk creativity has always been an integral property of genuine talent
In the 1970-2000s, many Russian writers working in a variety of literary directions appear to interpretation of folk creativity. What are the reasons for this literary phenomenon? Why at the turn of the centuries writers of various literary directions, styles turn to folklore? First of all, two primary factors must be taken into account: intrasectural patterns and socio-historical situation. There is no doubt the tradition plays his role: the writers treated to the oral folk creativity throughout the entire time of development of literature. Another, no less important, the cause is the border of the centuries, when Russian society, summing up the next century, again trying to find answers to important questions Being, returning to the national spiritual and cultural origins, and the richest folklore heritage is the poetic memory and history of the people.
The problem of the role of folklore in Russian literature on the threshold of the XXI century is natural because it has now acquired a special philosophical and aesthetic value.
Folklore is an archaic, impersonal, collective type of artistic memory that has become a literature cradle.
Main part.
Genres of Russian folklore.
Russian national poetic creativity has passed a significant path of historical development and the multilaterally reflected the life of the Russian people. The genre composition is rich and diverse. Genres of Russian folk poetic creativity will appear in front of us in next scheme: I. Ritual poetry: 1) Calendar (Winter, Spring, Summer and Autumn Cycles); 2) family-household (maternity, wedding, funeral); 3) conspiracies. II. Bad Poetry: 1) Epic Prose Genres: * a) Fairy Tale, B) Tradition, c) Legend (and Byilichka as its appearance); 2) Epic poems genres: a) epics, b) historical songs (first of all the older), c) ballad songs; 3) Lyrical poems genres: a) songs of social content, b) love songs, c) Family songs, d) Small lyrical genres (chastushki, debris, and so on.); 4) Small Neliric genres: a) proverbs; o) sayings; c) riddles; five) dramatic texts and acts: a) rude, games, dances; b) scenes and plays. In scientific folkloristic literature, you can find a question of the issue of mixed or intermediate generic and genre phenomena: about lyric epic songs, about legends fairy tales, etc.
However, it must be said that this kind of phenomenon in Russian folklore is very rare. In addition, the introduction of such a type of works in the classification of genres is controversial because mixed or intermediate genres have never been stable, no in one period of the development of Russian folklore was not the main and did not determine its common picture and historical movement. The development of childbirth and genres is not to be mixed, but in the creation of new artistic forms And death of old. The occurrence of genres, as well as the formation of their entire system, is determined by many circumstances. First, the public need for them, and consequently, the tasks of the cognitive, ideological and aesthetic nature, which raised the most diverse reality for the folk creativity. Secondly, the originality of the reality reflected; For example, the epics arose in connection with the struggle of the Russian people against nomads-Pechenegs, Polovtsy and Mongol-Tatars. Third, the level of development of the artistic thought of the people and its historical thinking; In the early stages could not be created complex forms, the movement went, probably from simple and small forms to complex and large, for example, from the proverbs, parables ( short story) To the fairy tale and legend. Fourth, preceding artistic legacy and traditions previously established genres. Fifth, the influence of literature (writing) and other types of art. The occurrence of genres -protsess is legitarious; It is determined by the external socio-historical factors, and the internal laws of the development of folklore.
The composition of the genres of the folklore and their connection between themselves is also due to the problem of multilateral reproduction of reality for them, and the functions of genres are distributed in such a way that each genre has its own particular task - an image of one of the parties of life. The works of one group of genres have their subject story of the people (epics, historical songs, legends), the other - labor and life of the people (calendar ritual songs, labor songs), the third - personal relationships (family and love songs), the fourth - the moral views of the people and His life experience (proverbs). But all the combined genres together are widely covered by life, labor, history, public and personal relations of people. The genres are interconnected in the same way as interconnected different sides and phenomena of reality itself, and therefore form a unified ideological and artistic system. The fact that the folklore genres have the general ideological essence and the overall task of multilateral artistic reproduction of life, causes the well-known community or similarities of them, plots and heroes. For folk genres, the generality of the principles of folk aesthetics is characteristic - simplicity, brevity, economy, story, the poetry of nature, the certainty of moral estimates of the heroes (positive or negative). Genres of oral folk creativity are interconnected by the general system artistic means Folklore -Souvere compositions (leitmotif, unity of theme, chain connection, screensaver -cardin nature, types of repetitions, shared places), symbolism, special types of epithets. This system historically developing has pronounced national peculiarity, caused by the peculiarities of the language, life, history and culture of the people. Relationship of genres. In the formation, development and coexistence of the genres of folklore, the process of complex interaction occurs: mutual influence, mutual enrichment, adaptation to each other. The interaction of genres has diverse forms. It serves as one of the reasons for significant changes in oral folk art.
Place of folklore in Russian literature.
"The Russian people created a huge ouste literature: wise proverbs and clear riddles, funny and sad ritual songs, solemn epics, - told the nationality, under the son of the string, - about the glorious feats of the heroes, the defenders of the land of the people - the heroic, magical, household and swinging fairy tales.
Folklore - This is a folk creativity, very necessary and important for studying people's psychology today. Folklore includes works that transmit the main most important submission of the people about the main life values: work, family, love, public debt, homeland. Our children are raised on these works now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.
In folklore, the initial text of the work is almost always known, since the author of the work is not known. The text is transmitted from the mouth to the mouth and up to this day it comes to the form in which writers recorded it. However, writers retell them in their own way to make it easy to read and understand. Currently, a lot of collections have been released, including one or several genres of Russian folklore. These are such, for example, as "epics" L. N. Tolstoy, "Russian People's Poetic Creativity" T. M. Akimova, "Russian Folklore" edited by V. P. Anikina, "Russian ritual songs" Yu. G. Kruglov, "Rounded strings: essays about Russian folklore" V. I. Kalugina, "Russian Soviet Folklore" edited by K. N. Femenkov, "On Russian Folklore" E. V. Pomeranceva, "People's Russian legends" and "People-artist: Myth, folklore, literature "A. N. Afanasyev," Slavic mythology"N. I. Kostomarova," Myths and Traditions "K. A. Zurabova.
In all editions, the authors distinguish several genres of folklore - these are fortune-law, conspiracies, ritual songs, epics, fairy tales, proverbs, sayings, riddles, fasting, cubs, shallows, chastushki, etc. Due to the fact that the material is very huge, and for a short time It is impossible to study it, I use only four books issued to me in our work central Library. These are "Russian ritual songs" of Yu. Kruglov, "String Rockotha: Essays about Russian folklore" V. I. Kalugina, "Russian Soviet Folklore" edited by K. N. Femenkov, "Russian People's Poetic Creativity" T. M. Akimoy.
Modern writers often used folklore motifs In order to give the narrative is a fatal character, combine individual and typical.
Oral People's Poetry and Book Literature originated and developed on the basis of the national wealth of the language, their subjects were associated with historical and social life Russian people, his life and work. In folklore and literature, the poetic and prosaic genres were largely created, childbirth and species of poetic art arose and improved. Therefore, creative ties between the folklore and literature are completely natural and regularly are naturally naturally, their permanent ideological and artistic mutual influence.
Oral folk poetic creativity, arising in deep antiquity and achieving perfection by the time of introduction in Russia, it became for old Russian literature Natural ever, a kind of "poetic cradle." Based on the richest poetic treasury of Folklore to a large extent, and originally Russian written literature arose. It was the folklore, according to many researchers, made a strong ideological and artistic jet in the work of the Old Russian literature.
Folklore and Russian literature represent two independent areas of Russian national art. At the same time, the history of their creative relationships was supposed to be the subject independent study and folklores, and literary studies. However, such targeted studies in Russian science appeared not immediately. They were preceded by the long stages of the autonomous existence of folklore and literature without proper scientific understanding of the processes of their creative influence on each other.
The creativity of Tolstoy, facing children, extensively in volume, polyphonic sounding. It exhibits its artistic, philosophical, pedagogical views.
Everything written by Tolstoy about children and for children marked new epoch In the development of domestic and largely world literature for children. After the life of the writer, his stories from the "ABC" were translated into many languages \u200b\u200bof the peoples of Russia, they were distributed in Europe.
The theme of childhood in the work of Tolstoy received philosophically deep, psychological meaning. The writer introduced new topics, a new reservoir of life, new heroes, enriched the moral problematics of works facing young readers. The huge merit of a fat, writer and teacher, in that literature (ABC), traditionally worn applied, functional character, he raised to the level of this art.
Lion Tolstoy is a fame and pride domestic literature. Start pedagogical activity Tolstoy refers to 1849. When he opened his first school for peasant children.
Problems of education and upbringing Tolstoy did not leave attention to last days Life. In the 80s and 90s, he was engaged in the publication of literature for the people, I dreamed of creating for peasants encyclopedic Dictionary, series of textbooks.
Permanent interest L.N. Tolstoy to Russian folklore, to the folk poetry of other nations (primarily Caucasian) - the fact is well known. He not only written himself and actively promoted fairy tales, legends, songs, proverbs, but also used them in their artistic creativity, in pedagogical activities. Especially fruitful in this plan were the 70s of the XIX century - the time of intensive work on the "alphabet" (1872), the "new alphabet" and complementary books to read (1875). Initially, in the first edition, the "ABC" was a single complex of educational books. Tolstoy summarized teaching experience in the Yasnocation School, recycled stories for children printed in annex to " Casual Polyana" First of all, I would like to mention a serious, thoughtful attitude of L.N. Tolstoy to folk material. The author of both "ABC" was strictly focused on the original sources, avoided arbitrary changes and interpretations and allowed himself some adjustments only to adapt the folk texts difficult to perceive. Tolstoy studied the experience of Ushinsky, critical responded about the language of study books of his predecessor, too, from his point of view, conditional, artificial, did not accept the descriptions in the stories for children. The positions of both teachers were close in assessing the role of oral folk creativity, the experience of spiritual culture in the development of the native language.
Proverbs, sayings, riddles in the "alphabet" alternate with short sketches, microscopes, small stories from folk life 3 ("Katya went on the mushrooms," "Vari had chizh", "found hedgehogs", "carried bone bone"). They are all close peasant child. Read in the book, the scene is filled with special significance, exacerbates the observation: "put the skids. It was hot, it was difficult, but everyone sang. " "My grandfather was bored at home. The granddaughter came, sang a song. " Characters of small stories Tolstoy, as a rule, generalized - mother, daughter, sons, old man. In the traditions of folk pedagogy and the Christian morality, Tolstoy spent a thought: Love work, respect the elders, are good. Other household sketches are made so masterfully that they gain a high generalized meaning, approach the parable. For example:
"The grandmother had a granddaughter; Before, the granddaughter was small and all slept, and grandmother baked breads, chalk hungry, soap, sewn, nailed and failed on her granddaughter; And after the grandmother became old and lay down on the stove and he slept. And the granddaughter of the bake, soap, sewn, failed and nailed to the grandmother. "
Several lines of simple double words. The second part is almost a mirror reflection first. And what is the depth? The wise course of life, the responsibility of generations, the transfer of traditions ... everything is concluded in two sentences. Here every word as if weighing, specially accented. Classic became parables about the old man, planting apple trees, "Old Grandfather and granddaughters", "Father and Sons".
Children are the main characters of the stories of Tolstoy. Among his characters, kids, simple, peasant guys and Barsky children. Tolstoy does not focus on the social difference, although in each story children in their environment. Rustic kid of Philippoints, in the Big Father's Cap, overcoming fear, fighting against other people's dogs, goes to school. No less courage costs a small hero of the story "As I learned to ride the top" to simplify adults to take it into a playpen. And then, without frightening the fall, it is again on the Chervonchik.
"I missed me, I understood everything. I am a persecution passion, "Phillip speaks about himself, defeated his name on warehouses. Such "trouble and deft" heroes are many in the stories of Tolstoy. Boy Vasya selflessly protects the kitten from hunting dogs ("kitten"). And an eight-year-old Vanya, manifesting an enviable moderator, saves the life of a small brother, sister and an old grandmother. The plots of many stories are thick dramatic. Hero - a child must overcome himself, decide on the act. This plan is characterized by the tense dynamics of the story "Jump". four
Children are often disobedient, incorrect actions, but the writer does not seek to give them a direct assessment. The moral conclusion to the reader will have to make himself. A conciliation smile can cause Vany's misconduct, secretly eating a plum ("bone"). The carelessness of seryl ("bird") was worthwhile to see. And in the story of the "cow", the hero in the situation is even more difficult: the fear of punishment for broken glass He led to severe consequences for a large peasant family - the death of the burnishch's cormalitsa.
Famous teacher dd. Semenov, the contemporary of Tolstoy, called his stories "the riding perfection, as in psychological. And in artistic terms ... What is the expressiveness and image patterns, that for power, compression, simplicity, at the same time, the grace of speech ... In every thought, in every story, there is a morality ... Moreover, it does not get into the eyes, It does not bother children, but hidden in an artistic image, and therefore it asks in the soul of the child and deeply chosen in it "5.
The talent of the writer is determined by the significance of its literary discoveries. Immortally what does not repeat and uniquely. The nature of the literature does not tolerate the secondaryness.
Writer creates his image real Mirawithout satisfying a stranger on reality. The more this image reflects the essence, and not the visibility of phenomena, the deeper the writer penetrates into the first-axis of being, the more precisely, their immanent conflict is expressed in his work, which is a paradigm of the genuine literary "conflict", the more durable work is the work.
Number forgotten works Find things that reduce the idea of \u200b\u200bthe world and man. This does not mean that the work is intended to reflect a holistic picture of reality. Just in the "private truth" of the work should be a conjugacy with a universal meaning.
Question about nationalitya particular writer cannot be resolved to the end without analyzing his connection with folklore. Folklore - impersonal creativity, closely connected with the archaic world.
Conclusion
Thus, the creation of a thick cycle " folk stories"1880 - 1900s are due to both external and internal reasons: social and historical factors, laws. literary process end XIX. - The beginning of the 20th century, religious and aesthetic priorities of the late Tolstoy.
In the conditions of socio-political instability in Russia, 1880 -1890s, the trends of the radical reorganization of the Company by violent methods that sowing a disintegration, disagreement of people, Tolstoy enforces the idea of \u200b\u200b"active Christianity" - a religious and philosophical teaching on spiritual enlightenment on the basis of Christian axiomatics, Earned for a quarter of a century, and the following, according to the writer, should inevitably lead to the spiritual progress of society.
Objective reality, being unnatural, receives aesthetic condemnation by a writer. In order to oppose reality, the image of harmonious reality, Tolstoy develops the theory religious artAs the most relevant needs of the day, and radically changes the nature of its own creative method. The "spiritual truth" elected Tolstoy method, synthesizing the real and ideal as a way to implement a harmonious reality, was most pronounced in the cycle of works with conditional genre definition "Folk stories."
In the context of the growing interest of modern literary studies, the study of "people's stories" in the context of the spiritual prose of the end of the 19th - the beginning of the 20th century, which makes it possible to represent the spiritual literature of this period as an integral phenomenon.
Bibliography.
1. Akimova T. M., V.K. Arkhangelskaya, V. A. Bakhtin / Russian People's Poetic Creativity (a guide to seminar classes). - M.: Higher. School, 1983. - 208 p.
2. Gorky M. Sob. cit., vol. 27
3. Danilevsky I.N. Ancient Russia The eyes of contemporaries and their descendants (XI - XII centuries). - M., 1998. - P. 225.
5. Kruglov Yu. G. Russian ritual songs: studies. Manual for ped. In-Tovpospeps "Rus. Yaz. or T.". - 2nd ed., Act. and add. - M.: Higher. shk. 1989. - 320 p.
6. Semenov D.D. Election Ped. Op. - M., 1953
Unnexted oral folk creativity. It was created for centuries, there are many types of its varieties. Translated from the English language "Folklore" is " national meaning, wisdom. "That is, oral folk creativity is everything that is created by the spiritual culture of the population for the century of his historical 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 Ermacom, the rebellion of Stepan Razin, the 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 folk 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 sharing are combined into a special department called "Calendar children's folklore". The term this emphasizes the existing link between them and the time of the year, the holiday, the weather, all the life and building of the village's life.
Game sentences and chorus
Genres of works of oral folk creativity include game 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 with the help of multiple repetitions made it possible to instill with the child from an early age respect for customs and existing order, teach the rules 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 epics, 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 - great master the words.