What is folklore and what genres does it include? Folklore genres. Examples of folklore genres

Folklore is a system of systems. Like literature, it is divided into poetic genres: epic, lyric, drama. Genera are divided into types (song, fairy tale, non-fairy tale prose, etc.), and types are divided into genres. Some genres have a combination of characteristics of different types (lyric epic songs). If the classification is based on the way in which works exist, then folklore will be divided into ritual and non-ritual. Based on volume, small genres are distinguished.

Genre is the basic unit of study of folklore. Each genre is a typical structural model that has the ability to implement a certain life attitude. In the oral folk poetic tradition, genres are interconnected and interact.

Many genres are universal (for example: proverbs, riddles, fairy tales, legends, epic songs). Being perfect forms of artistic exploration of reality, they lived for centuries in the folklore of different peoples.

Folklore developed depending on changes in everyday life, the social life of the people and their consciousness. Many elements of folklore changed, processed, and transformed. There was a gradual replacement of the outdated system of genres with a new artistic system.

Russian folklore has its own history. Its roots go back to the ancient Slavic period, and then to the times of the united ancient Russian nationality. The feudal era led to the flourishing of classical folklore. Later, urban folklore, folklore of industrial workers, etc. appeared.

Early traditional folklore, classical folklore, late traditional folklore — art systems, historically replacing one another.

Folklore genres:

I. Early traditional folklore (work songs, fortune telling, spells).

II. Classic folklore:

1. Ritual.

2. Non-ritual:

a) Prose genres (fairy tale, tradition, legend, epic);

b) Poetic genres (epic, historical song, ballad);

c) Children's folklore (jokes, teases, pestushka, nursery rhyme, joke, counting rhyme, etc.);

d) Small genres (proverb, saying, sign, curse, tongue twister, etc.).

III. Late traditional folklore: (ditties, WWII poetry, workers' folklore).

The foundations of artistic imagery of oral folk art were formed in the prehistoric period, when early traditional folklore appeared simultaneously with language (human speech).

Early traditional folklore is a set of ancient genera and types of folklore, an archaic system that preceded the formation of the actual artistic creativity of the people.

The question of the early stages of the development of folklore cannot be considered based on the material of only one people. It is necessary to take into account the ancient kinship of close peoples (for example, the Slavs), as well as the universal, typological laws of the development of society and culture that operated everywhere.

Researchers of early traditional folklore turn to data from history and language. They conduct observations on the life and culture of ethnic groups that are delayed in their development, as well as on the remnants of primitive culture in the folklore of civilized peoples. This approach is called retrospective.

Labor songs.

In the origin and development of folklore huge role labor activity played a role.

During labor processes that required constant rhythmic efforts, labor songs arose already in ancient times. They are known among all nations and were performed during lifting weights, driving piles, plowing fields, drawing water, manually grinding grain, dressing flax, while rowing, etc. Such songs could be performed when working alone, but they were especially important when working together. The songs contained commands for simultaneous action. Their main element was rhythm, which organized the labor process.

In Russian folklore, echoes of ancient work songs have been preserved and have reached our time, without losing their productive functions. These are the so-called “dubinushki” - choruses in burlatsky songs performed on the Kama, Don and especially on the Volga. They were sung by barge haulers, porters, boatmen, and loaders. Depending on the type of work and its rhythm, a rhythmic pattern of the chorus was created.

Fortune telling. Conspiracies.

Signs, fortune telling, witchcraft, and conspiracies are known among all nations. They are based on a mythical perception of the world, which gave the environment a special, hidden meaning. In ancient times, they were based on figurative, metaphorical thinking, assimilation by analogies. The persistence of these phenomena is amazing: superstition and witchcraft, especially in a modernized guise, still exist today.

Divination- a means of recognizing the future. The fortuneteller does not try to influence the natural course of events, but only strives to penetrate the hidden secrets. To recognize the future, one had to turn to evil spirits Therefore, fortune telling was perceived as a sinful and dangerous activity (for example, fortune tellers took off their crosses).

For fortune-telling, places were chosen where, according to the people, it was possible to come into contact with the inhabitants of the “other world” (crossroads, bathhouse, cemetery, etc.), as well as the time of day at which this contact was most likely (evening , midnight, until the first rooster). Nevertheless, Christian images also penetrated into fortune telling.

In fortune-telling, people sought to get an answer to one or another important question for them: about health, about the harvest and offspring of livestock, about the fate of those who had gone to war... The most numerous were the fortune-telling of girls about their upcoming marriage.

The most artistically developed were festive fortune-telling - collective fortune-telling about the future. The symbolism of special sub-dish songs played a primary role in them.

The name "podblyudnye" comes from a type of fortune telling. Having gathered in a hut, the participants (most often girls) took a dish (bowl), put rings or other small objects in it, taking off themselves, poured water into the dish and covered it with a scarf. (A version of this ritual without water is also known.)

The choir sang songs - poetic predictions, and someone, without looking, took out the objects placed there from the dish. First they gave honor to the bread and only then sang other songs. They could portend wealth, wedding, continuation of girlhood, misfortune, death. Whose item was taken out, the prediction related to that. The number of songs depended on the number of fortune tellers.

Russian Christmas fortune telling with chickens.1858. Lubok

CONSPIRACY(or spell) is a work of a magical nature, pronounced with the aim of influencing the surrounding world, its phenomena and objects, in order to obtain the desired result. Conspiracies - component witchcraft. The pronouncing of a conspiracy was often accompanied by actions with water, fire, various objects, etc., as well as the sign of the cross. When pronouncing healing spells (for example, in a bath), the patient was given infusions of medicinal herbs, spat on, massage, and elements of hypnosis were used.

Conspiracies were passed down from eldest to youngest, often through relatives. There was a belief that sorcerers had to get rid of their knowledge before death and that they could do this by deception (for this they only had to touch another person).

They also believed that the text of the conspiracy could not be changed, otherwise its power would weaken. Therefore, not relying on memory, conspiracies were written down in notebooks. There was even a written form of their everyday life. However, despite this, conspiracies, like any folklore phenomenon, were subject to variability.

Classic folklore- a rich system of developed, artistically valuable genres. It functioned productively for centuries and was closely connected with feudal life and the patriarchal consciousness of the people.

Works of classical folklore are usually divided into ritual and non-ritual.

Ritual folklore consisted of verbal, musical, dramatic, game, and choreographic genres that were part of traditional folk rituals.

Non-ritual folklore.

In oral prose there are two large sections: fairy tales And non-fairy prose. The basis for their distinction is the different attitude of the people themselves towards fairy tales as fiction and “events” as truth. From the point of view of the people, fairy tales have no other purpose than to act on fantasy. They amaze, surprise, delight, and are interesting with their unusual humorous situations.

Tradition is a story about the past, sometimes very distant. Tradition depicts reality in everyday forms, although fiction and sometimes even fantasy are always used. The main purpose of legends is to preserve the memory of national history. Traditions began to be written down before many folklore genres, as they were an important source for chroniclers. A large number of legends exist in the oral tradition even today.

Traditions are an “oral chronicle,” a genre of non-fairy tale prose with an emphasis on historical authenticity. The word “delivery” itself means “transfer, preserve.” Legends are characterized by references to old people and ancestors. The events of legends are concentrated around historical figures who, regardless of their social status(be it a king or the leader of a peasant uprising) are most often presented in an ideal light.

Any legend is historical at its core, because the impetus for its creation is always a genuine fact: a war with foreign invaders, a peasant revolt, large-scale construction, a crowning of the kingdom, etc. At the same time, legend is not identical to reality. As a folklore genre, it has the right to artistic invention and offers its own interpretation of history. Plot fiction arises on the basis historical fact(for example, after the hero of the legend has been at a given point). Fiction does not contradict historical truth, but, on the contrary, contributes to its identification.

Legends- these are prose works in which events associated with the phenomena of inanimate nature, with the world of plants, animals, and people (tribes, peoples, individuals) are fantastically comprehended; with supernatural beings (God, saints, angels, unclean spirits ). The main functions of legends are explanatory and moralizing. Legends are associated with Christian ideas, but they also have a pagan basis. In legends, man turns out to be immeasurably higher than evil spirits .

Folk demonological stories- These are superstitious narratives associated with characters from the category of lower mythology.

The pagan worldview of peasants in the mid-19th century. captured by I. A. Goncharov. He wrote: “In Oblomovka they believed everything: werewolves and the dead. If they were told that a haystack was walking across the field, they would not think twice and believe it; would anyone miss the rumor that this was not a ram, but what something else, or that such and such Marfa or Stepanida is a witch, they will be afraid of both the ram and Martha: it will not even occur to them to ask why the ram became not a ram, and Martha became a witch, and they will even attack him “Whoever would think to doubt this, the belief in the miraculous is so strong in Oblomovka!”

In science, demonological stories were first called blades of epic. - those. short stories about goblins, brownies, devils and devils, half-believers, sorcerers - in a word, about representatives of dark, evil spirits.

Demonological stories are addressed to the present, what happened in them is incredible, the narrator experiences a feeling of fear. The main goal pursued by a story or story is to convince listeners of the truth of what is being reported, to influence them emotionally, and to instill fear of a demonic creature. The plots of tales and incidents are usually not big size, single-motive. The characters are a human and a demonic creature. The devil (devil) was very popular - a universal image denoting any “evil spirit”. Various characters in fairy tales could be called devils.

The time, place of the event, and the image of the demonic creature (its portrait and behavior) are characteristic. Demons appear at the “unclean”, borderline times of the year and day: at Christmas time, on Kupala night, at noon, at midnight, before dawn, after sunset. Everything happens at dusk, in the dark night, in the fog, in the light of the moon...

A person meets them where they are: as a rule, in deserted and dangerous places. These are wastelands, forest wilds, swamps; intersections and points of deserted roads; caves, pits, reservoirs, especially whirlpools (for example, near mills), whirlpools; wells, even vessels with water. Demons live in trees (birches and willows, in hazel); in undergrounds and attics, in abandoned houses, in bathhouses, barns, barns; and even in the hut - under the stove or behind it.

Epics- these are epic songs in which heroic events or individual episodes of ancient Russian history are sung. In their original form, epics took shape and developed during the period of early Russian statehood (in Kievan Rus), expressing national consciousness Eastern Slavs. (about Vladimir Svyatoslavovich, Vladimir Monomakh, Dobrynya, Sadko, Alexander Popovich, Ilya Muromets, etc.)

Historical songs- these are folk epic, lyric-epic and lyrical songs, the content of which is dedicated to specific events and real persons of Russian history and expresses the national interests and ideals of the people. They arose in connection with important phenomena in the history of the people - those that made a deep impression on the participants and were preserved in the memory of subsequent generations. (Songs about Ivan the Terrible, about the “Time of Troubles”, about Stepan Razin, about Peter’s time, about the Pugachev uprising, about the Patriotic War of 1812)

Folk ballads- these are lyric-epic songs about a tragic event. Ballads are characterized by personal, family and everyday themes. The ideological orientation of ballads is associated with folk humanistic morality. At the center of the ballads are moral problems: love and hatred, loyalty and betrayal, crime and repentance.

Late traditional folklore is a collection of works of different genres and various directions, created in peasant, urban, soldier, worker and other environments since the beginning of the development of industry, the growth of cities, and the collapse of the feudal countryside.

Late traditional folklore is characterized by a smaller number of works and a generally lower artistic level compared to classical folklore - a rich, developed, centuries-old culture, generated by feudal life and a patriarchal worldview.

Late traditional folklore is distinguished by a complex interweaving of the new with the old. In the village repertoire there was a transformation of classical genres, which began to be influenced by literary poetics. Proverbs and sayings, anecdotal tales, folk songs of literary origin, and children's folklore have shown their viability.

The ancient lingering song was greatly supplanted by the city's "cruel romances", as well as quickly and widely spreading ditty. At the same time, epics, old historical songs, old ballads and spiritual poems, and fairy tales were gradually forgotten. Folk rituals and the poetry that accompanied them over time lost their utilitarian-magical meaning, especially in urban conditions.

From the end of the 18th century. in Russia, the first state-owned factories and serf-owned manufactories appeared, in which civilian workers from impoverished peasants, convicts, passportless vagabonds, etc. worked. In this motley environment, works arose that laid the foundation for a new phenomenon - workers' folklore. As capitalism developed and the proletariat grew, the topics expanded and the number of works increased oral creativity workers, which was characterized by the influence of book poetry.

The emergence of the working class, a layer of artisans, led to the formation of a new branch in folklore, which over time becomes a noticeable and specific phenomenon.

From peasant folklore, this creativity inherited the most democratic, socially, morally and aesthetically valuable traditions, experience, forms, and repertoire that meet the spirit of the time and the needs of “its” class.

Their critical rethinking took place, taking into account the demands of the working class, its position, as can be seen in the example of the Russians folk songs, which existed in Russia in the second half of the 19th - early 20th centuries.

At the first stage, the emerging songs of workers were nourished by the traditions of peasant folk songs of social protest, songs of literary origin, Decembrist, populist songs. Peasant songs often served as the basis for the creation of highly social songs of workers.

The work song and urban romance, which by that time had formed into an independent branch of creativity, began to actively spread among the peasants, in turn influencing the development of new forms of peasant folklore.

The acquisition of workers' folklore of its own original shape, the borrowing of various elements from other spheres of creativity and their processing is a process full of drama. It involves both the denial of peasant folklore and, in a certain sense, its genre reworking, updating, and simplification.

The destruction of the patriarchal way of life, which began especially violently in the second half of the 19th century V. - since the abolition of serfdom and the capitalization of Russia, it has fundamentally changed the situation in traditional creativity. Folklore gradually moved to other positions in the cultural environment. 20th century folklore is just one paradigm cultural development with all that follows from here dramatic changes the foundations of its existence.

Folklore, translated from English, means " folk wisdom, folk knowledge.” was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, wood carving, etc.), and sometimes the material (housing, clothing) culture of the people. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: oral folk art.

Folklore is an art that has been formed over many centuries and changes over time.

Only all 3 of these factors, present AT THE SAME TIME, are a sign of folklore and distinguish it from literature.

Syncretism is the unity and indivisibility of various types of art, characteristic of the early stages of its development. Artistic creativity is not separated from other types of activity and, together with them, is directly included in practical life. Syncretism is an undeveloped state of early traditional folklore. The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times it was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions through which primitive sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of words was closely connected with other types of primitive art - music, dance, decorative art. In science this is called “primitive syncretism.” Traces of it are still visible in folklore.

The Russian scientist A.N. Veselovsky believed that the origins of poetry are in folk ritual. Primitive poetry, according to his concept, was originally a choir song accompanied by dancing and pantomime. The role of the word at first was insignificant and entirely subordinated to rhythm and facial expressions. The text was improvised according to the performance until it acquired a traditional character.

As humanity accumulated more and more significant life experience that needed to be passed on to subsequent generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore.

Types of folklore: Epic (legends, fairy tales, traditions, epics - genres) Lyric-epic genre (transitional) - romance

Lyrics (songs, ditties); Drama (folklore theater)

Types of folklore: Archaic - folklore develops among peoples at the primitive stage of development. There is no written language yet; culture is oral. The folklore of people with mythological thinking covers the entire culture of the ethnic group. Classical - folklore takes shape in the era when states are formed, writing and literature emerge. Here artistic fiction is formed, a genre system is formed. Modern is post-folklore, which developed in Russia after the abolition of serfdom. His element is the city. Epic songs, fairy tales and traditional lyrical songs are being replaced by songs of a new formation, ditties, and anecdotes.

Folklore (according to V.E. Gusev) – verbally – musically – choreographically – dramatic part folk art(spiritual component folk culture) – not material art. Materially expressed (DPI) – folk art.

Folklore is a syncretic and synthetic art, because combines various types of art.

Signs of folklore: Orality (not only the form of dissemination, but the form in which it has the greatest aesthetic impact); Impersonality (the work has an author, but is not identified); Collectivity (as an aesthetic category. The quality of the project accepted by the team corresponds to folk tradition. Collectivity = tradition + improvisation); Traditionality (works are inserted on the basis of traditions); Variability (different options in different territories); Improvisation; Nationality (aesthetic category, expression of ideals, interests, aspirations of the people).

Tradition is stable patterns, artistic techniques and means used by a community of people for many generations and passed on from generation to generation. Tradition is understood as the most general principles of creativity, and in folklore - a set of stable plot forms, types, heroes, and poetic forms.

Folklore genres:

The folklore genre is a set of works united by a common poetic system, everyday use, forms of performance and musical structure. (V.Ya. Propp) Genre is a unit of classification of folklore

Ph-r is divided into genera (epic, lyric, drama), genera - into types (eg, songs, fairy tales, etc.), and types into genres. If the method of existence of works is used as the basis for the classification, then the genre will be divided into ritual and non-ritual.

The epic reproduces reality in narrative form in the form of objective pictures. Divided into: Songs (poems)

Epics; historical songs; ballads; spiritual poems; Prose; Fairytale prose; Animal Tales; Fairy tales; Jokes

Novels; Non-fairy prose; Legends; Legends; Bylichki (demonological stories).

In epic folklore genres, the main artistic feature is the plot. It is built on a conflict, which is based on the hero's clash with supernatural or real opponents. The plot can be both simple and complex, the events can be perceived as both real and fictional, and the content can be related to the past, present and future.

Lyrics - lyrics poetically depict the inner, state of mind person, his subjective experiences

Songs of Ditties; Lamentations; Dramatic genres of folklore have a spectacular and playful nature, and convey an attitude to reality in play action; Ritual games; Dramatic games; Late theatrical genres; Theater of live actors; Puppet show; Rayok;

According to the method of existence of works, folklore is divided into: Ritual; Ritual calendar; Ritual family; Non-ritual.

In addition, there are small genres of folklore: paremias; Proverbs and sayings; Puzzles

As well as such types as children's folklore (lullabies, teasers, horror stories, chants, etc., folklore of workers (songs, ditties, prose), folklore of the Second World War (ditties, front department, rear, driven into occupation, Victory, etc.)

Each folklore genre has its own circle of heroes, its own plots and stylistic devices, however, all folklore genres in their natural existence are interconnected and form a system. In this system, outdated f.zh. are destroyed. and on their basis new ones are born.

Folklore researchers: V.N. Tatishchev (18th century), Slavophiles P.V. Kirievsky, N.M. Yazykov, V.I. Dahl et al.; 1850-60s: F.I. Buslaev, A.N. Afanasyev, A.N. Veselovsky, V.F. Miller; beginning of the Soviet era: B.M. and Yu.M. Sokolovs, D.K. Zelenin, M.K. Azadovsky, N.P. Andreev. Second floor. 20 in: V.I. Chicherov, V.Ya. Propp, N.N. Veletskaya, V.K. Sokolova, L.N. Vinogradova, I.E. Karpukhin, V.P. Anikin, E.V. Pomerantseva, E.M. Meletinsky, V.A. Bakhtin, V.E. Gusev, A.F. Nekrylova, B.N. Putilov, etc.

Folklore how special kind art is a qualitatively unique component of fiction. It integrates the culture of a society of a certain ethnicity on a special level historical development society.

Folklore is ambiguous: it reveals both boundless folk wisdom and folk conservatism and inertia. In any case, folklore embodies the highest spiritual powers of the people and reflects elements of national artistic consciousness.

The term “folklore” itself (from English word folklore - folk wisdom) is a common name for folk art in international scientific terminology. The term was first coined in 1846 by the English archaeologist W. J. Thomson. It was first adopted as an official scientific concept by the English Folklore Society, founded in 1878. In the years 1800-1990, the term came into scientific use in many countries of the world.

Folklore (English folklore - “folk wisdom”) - folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; poetry created by the people and existing among the masses (legends, songs, ditties, anecdotes, fairy tales, epics), folk music(songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theatre), dance, architecture, fine and decorative arts.

Folklore is creativity for which no material is required and where the means of embodiment artistic design is the man himself. Folklore has a clearly expressed didactic orientation. Much of it was created specifically for children and was dictated by the great national concern for young people - their future. “Folklore” serves the child from his very birth.

Folk poetry reveals the most essential connections and patterns of life, leaving aside the individual and special. Folklore gives them the most important and simple concepts about life and people. It reflects what is generally interesting and vital, what affects everyone: human work, his relationship with nature, life in a team.

The importance of folklore as an important part in education and development in modern world is generally known and generally accepted. Folklore always responds sensitively to people's needs, being a reflection of the collective mind and accumulated life experience.

Main features and properties of folklore:

1. Bifunctionality. Each folklore work is an organic part of human life and is determined by practical purpose. It is focused on a specific moment in people's life. For example, a lullaby - it is sung to calm and put a child to sleep. When the child falls asleep, the song stops - it is no longer necessary. This is how the aesthetic, spiritual and practical function of a lullaby is manifested. Everything is interconnected in a work; beauty cannot be separated from benefit, benefit from beauty.

2. Polyelement. Folklore is multi-elemental, since its internal diversity and numerous relationships of an artistic, cultural-historical and socio-cultural nature are obvious.

Not every folklore work includes all artistic and figurative elements. There are also genres in which there is a minimum number of them. The performance of a folklore work is the integrity of the creative act. Among the many artistic and figurative elements of folklore, the main ones are verbal, musical, dance and facial expressions. Polyelementity manifests itself during an event, for example, “Burn, burn clearly so that it doesn’t go out!” or when studying a round dance - the game “Boyars”, where movements take place row by row. In this game all the main artistic and figurative elements interact. Verbal and musical are manifested in the musical and poetic genre of the song, performed simultaneously with choreographic movement (dance element). This reveals the polyelement nature of folklore, its original synthesis, called syncretism. Syncretism characterizes the relationship, integrity of the internal components and properties of folklore.

3.Collectivity. Absence of author. Collectivity is manifested both in the process of creating a work and in the nature of the content, which always objectively reflects the psychology of many people. Asking who composed a folk song is like asking who composed the language we speak. Collectivity is determined in the performance of folklore works. Some components of their forms, for example, the chorus, require the mandatory inclusion of all participants in the action in the performance.

4. Illiteracy. The orality of the transmission of folklore material is manifested in the unwritten forms of transmission of folklore information. Artistic images and skills are transferred from the performer, the artist, to the listener and viewer, from the master to the student. Folklore is oral creativity. It lives only in the memory of people and is transmitted in live performance “from mouth to mouth.” Artistic images and skills are transferred from the performer, the artist, to the listener and viewer, from the master to the student.

5.Traditionality. The variety of creative manifestations in folklore only outwardly seems spontaneous. Over the course of a long time, objective ideals of creativity were formed. These ideals became practical and aesthetic standards, deviations from which would be inappropriate.

6.Variability. Variation network is one of the stimuli of constant movement, the “breathing” of a folklore work, and each folklore work is always like a version of itself. The folklore text turns out to be unfinished, open to each subsequent performer. For example, in the round dance game “Boyars”, children move “row by row”, and the step may be different. In some places this is a regular step with an accent on the last syllable of the line, in others it is a step with a stamp on the last two syllables, in others it is a variable step. It is important to convey the idea that in a folklore work creation - performance and performance - creation coexist. Variability can be considered as the changeability of works of art, their uniqueness during performance or other forms of reproduction. Each author or performer complemented traditional images or works with his own reading or vision.

7. Improvisation is a feature of folklore creativity. Each new performance of the work is enriched with new elements (textual, methodological, rhythmic, dynamic, harmonic). Which the performer brings. Any performer constantly contributes to famous work own material, which contributes to the constant development and change of the work, during which the standard artistic image crystallizes. Thus, the folklore performance becomes the result of many years of collective creativity.

IN modern literature A broad interpretation of folklore as a set of folk traditions, customs, views, beliefs, and arts is widespread.

In particular, the famous folklorist V.E. Gusev in his book “Aesthetics of Folklore” considers this concept as an artistic reflection of reality, carried out in verbal, musical, choreographic and dramatic forms of collective folk art, expressing the worldview of the working masses and inextricably linked with life and everyday life. Folklore is a complex, synthetic art. His works often combine elements of various types of art - verbal, musical, theatrical. It is studied by various sciences - history, psychology, sociology, ethnography. It is closely connected with folk life and rituals. It is no coincidence that the first Russian scientists approached folklore broadly, recording not only works of verbal art, but also recording various ethnographic details and the realities of peasant life.

The main aspects of the content of folk culture include: the worldview of the people, folk experience, housing, costume, work, leisure, crafts, family relationships, folk holidays and rituals, knowledge and skills, artistic creativity. It should be noted that, like any other social phenomenon, folk culture has specific features, among which we should highlight: an inextricable connection with nature, with the environment; openness, the educational nature of Russian folk culture, the ability to contact the culture of other peoples, dialogicality, originality, integrity, situationality, the presence of a targeted emotional charge, preservation of elements of pagan and Orthodox culture.

Traditions and folklore are a wealth developed by generations and transmitted in an emotional and figurative form historical experience, cultural heritage. In the cultural and creative conscious activity of the broad masses, folk traditions, folklore and artistic modernity merge into a single channel.

The main functions of folklore include religious - mythological, ceremonial, ritual, artistic - aesthetic, pedagogical, communicative - informational, social - psychological.

Folklore is very diverse. There is traditional, modern, peasant and urban folklore.

Traditional folklore is those forms and mechanisms of artistic culture that are preserved, recorded and passed on from generation to generation. They capture universal aesthetic values ​​that retain their significance outside of specific historical social changes.

Traditional folklore is divided into two groups – ritual and non-ritual.

Ritual folklore includes:

· calendar folklore (carols, Maslenitsa songs, freckles);

· family folklore (wedding, maternity, funeral rites, lullabies, etc.),

· occasional folklore (spells, chants, spells).

Non-ritual folklore is divided into four groups:

· folklore of speech situations (proverbs, sayings, riddles, teasers, nicknames, curses);

Poetry (ditties, songs);

· folklore drama (Petrushka Theater, nativity scene drama);

· prose.

Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose is again divided into two groups: fairy-tale and non-fairytale. Fairy-tale prose includes: a fairy tale (which, in turn, comes in four types: a fairy tale, a fairy tale about animals, an everyday tale, a cumulative fairy tale) and an anecdote. Non-fairy tale prose includes: tradition, legend, tale, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, songbooks).

Ritual folklore is folklore genres performed as part of various rituals. Most successfully, in my opinion, the definition of the ritual was given by D.M. Ugrinovich: “Rite is a certain way of transmitting certain ideas, norms of behavior, values ​​and feelings to new generations. The ritual is distinguished from other methods of such transmission by its symbolic nature. This is its specificity. Ritual actions always act as symbols that embody certain social ideas, perceptions, images and evoke corresponding feelings.” Works of calendar folklore are dedicated to annual folk holidays that were of an agricultural nature.

Calendar rituals were accompanied by special songs: carols, Maslenitsa songs, vesnyankas, Semitic songs, etc.

Vesnyanka (spring calls) are ritual songs of an incantatory nature that accompany the Slavic ritual of calling out spring.

Carols are New Year's songs. They were performed during Christmas time (from December 24 to January 6), when caroling was going on. Caroling - walking around the courtyards singing carols. For these songs, carolers were rewarded with gifts - a festive treat. The main meaning of the carol is glorification. Carolers give an ideal description of the house of the person being celebrated. It turns out that before us is not an ordinary peasant hut, but a tower, around which “stands an iron tyn”, “on each stamen there is a crown”, and on each crown “a golden crown”. The people living in it are a match for this tower. Pictures of wealth are not reality, but a wish: carols perform, to some extent, the functions of a magic spell.

Maslenitsa is a folk holiday cycle that has been preserved by the Slavs since pagan times. The ritual is associated with seeing off winter and welcoming spring, lasting a whole week. The celebration was carried out according to a strict schedule, which was reflected in the name of the days of Maslenitsa week: Monday - “meeting”, Tuesday - “flirt”, Wednesday - “gourmet”, Thursday - “revelry”, Friday - “mother-in-law’s evening”, Saturday - “mother-in-law’s gatherings” ", resurrection - "seeing off", the end of Maslenitsa fun.

Few Maslenitsa songs have arrived. According to theme and purpose, they are divided into two groups: one is associated with the rite of meeting, the other with the rite of seeing off (“funeral”) Maslenitsa. The songs of the first group are distinguished by a major, cheerful character. This is, first of all, a majestic song in honor of Maslenitsa. The songs accompanying the farewell to Maslenitsa are in a minor key. The “funeral” of Maslenitsa meant farewell to winter and a spell, welcoming the coming spring.

Family and household rituals are predetermined by the cycle of human life. They are divided into maternity, wedding, recruiting and funeral.

Maternity rites sought to protect the newborn from hostile mystical powers, and also assumed the well-being of the infant in life. A ritual bath of the newborn was performed, and health was charmed with various sentences.

Wedding ceremony. It is a kind of folk performance, where all the roles are written and there are even directors - matchmaker or matchmaker. The particular scale and significance of this ritual should show the significance of the event, play out the meaning of the ongoing change in a person’s life.

The ritual educates the behavior of the bride in her future married life and educates all participants in the ritual. It shows patriarchal character family life, her way of life.

Funeral rites. During the funeral, various rituals were performed, which were accompanied by special funeral lamentations. Funeral lamentations truthfully reflected the life, everyday consciousness of the peasant, love for the deceased and fear of the future, tragic situation families in harsh conditions.

Occasional folklore (from the Latin occasionalis - random) - does not correspond to generally accepted use, and is of an individual nature.

A type of occasional folklore are conspiracies.

CONSPIRACIES - a folk-poetic incantatory verbal formula to which magical power is attributed.

CALLS - an appeal to the sun and other natural phenomena, as well as to animals and especially often to birds, which were considered the harbingers of spring. Moreover, the forces of nature were revered as living: they make requests for spring, wish for its speedy arrival, and complain about winter.

COUNTERS are a type of children's creativity, small poetic texts with a clear rhyme-rhythm structure in a humorous form.

The genres of non-ritual folklore developed under the influence of syncretism.

It includes folklore of speech situations: proverbs, fables, signs and sayings. They contain a person’s judgments about the way of life, about work, about higher natural forces, and statements about human affairs. This is a vast area of ​​moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior. In a word, their functionality covers almost all worldview areas.

RIDDLE - works with hidden meaning. They contain rich invention, wit, poetry, figurative structure colloquial speech. The people themselves aptly defined the riddle: “Without a face in a mask.” The object that is hidden, the “face,” is hidden under a “mask” - an allegory or allusion, a roundabout speech, a circumlocution. Whatever riddles you can come up with to test your attention, ingenuity, and intelligence. Some consist of a simple question, others are similar to puzzles. Riddles are easily solved by those who have a good idea of ​​the objects and phenomena in question, and also know how to solve them in words. hidden meaning. If a child looks at the world around him attentively, with keen eyes, noticing its beauty and wealth, then every tricky question and any allegory in the riddle will be solved.

PROVERB - as a genre, unlike a riddle, is not an allegory. In it, a specific action or deed is given an expanded meaning. In their form, folk riddles are similar to proverbs: the same measured, coherent speech, the same frequent use rhymes and consonances of words. But a proverb and a riddle differ in that a riddle needs to be guessed, and a proverb is a teaching.

Unlike a proverb, a PROVERB is not a complete judgment. This is a figurative expression used in an expanded sense.

Sayings, like proverbs, remain living folklore genres: they are constantly found in our everyday speech. The proverbs contain a capacious humorous definition of the inhabitants of a locality, city, living nearby or somewhere far away.

Folklore poetry is an epic, a historical song, a spiritual verse, a lyrical song, a ballad, a cruel romance, a ditty, and children's poetic songs.

EPIC is a folk epic song, a genre characteristic of the Russian tradition. Such epics are known as “Sadko”, “Ilya Muromets and Nightingale the Robber”, “Volga and Mikula Selyaninovich” and others. The term “epic” was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov. The basis of the plot of the epic is some heroic event, or a remarkable episode of Russian history (hence popular name epics - “old man”, “old woman”, implying that the action in question took place in the past).

FOLK SONGS are very diverse in composition. In addition to songs that are part of the calendar, wedding and funeral rites. These are round dances. Game and dance songs. A large group of songs are lyrical non-ritual songs (love, family, Cossack, soldier, coachman, bandit and others).

A special genre of song creativity is historical songs. These songs talk about famous events Russian history. The heroes of historical songs are real personalities.

Round dance songs, like ritual songs, had a magical meaning. Round dance and game songs depicted scenes from wedding ceremonies and family life.

LYRICAL SONGS are folk songs that express the personal feelings and moods of the singers. Lyrical songs are unique both in content and in artistic form. Their originality is determined by their genre nature and specific conditions of origin and development. Here we are dealing with a lyrical kind of poetry, different from epic in the principles of reflecting reality. ON THE. Dobrolyubov wrote that folk lyrical songs “express an inner feeling excited by phenomena ordinary life", and N.A. Radishchev saw in them a reflection of the people's soul, spiritual sorrow.

Lyrical songs are a vivid example of the artistic creativity of the people. They introduced a special artistic language and examples of high poetry into the national culture, reflected spiritual beauty, ideals and aspirations of the people, moral foundations of peasant life.

CHASTUSHKA is one of the youngest folklore genres. These are small poetic texts of rhymed verses. The first ditties were excerpts from large songs. Ditty - comic genre. It contains a sharp thought, an apt observation. The topics are very diverse. The ditties often ridiculed what seemed wild, absurd, and disgusting.

CHILDREN'S FOLKLORE is usually called both works that are performed by adults for children, and those composed by the children themselves. Children's folklore includes lullabies, pesters, nursery rhymes, tongue twisters and chants, teasers, counting rhymes, nonsense, etc. Modern children's folklore has been enriched with new genres. These are horror stories, mischievous poems and songs (funny adaptations famous songs and poems), jokes.

There are different connections between folklore and literature. First of all, literature traces its origins to folklore. The main genres of dramaturgy that have developed in Ancient Greece, - tragedies and comedies - go back to religious rites. Medieval chivalric novels, telling about travels through imaginary lands, about fights with monsters and about the love of brave warriors, are based on the motifs of fairy tales. Literary lyrical works originate from folk lyrical songs. The genre of small action-packed narratives - short stories - goes back to folk tales.

Very often writers deliberately turned to folklore traditions. Interest in oral folk art and passion for folklore awoke in the pre-romantic and romantic eras.

The tales of A.S. Pushkin go back to the plots of Russian fairy tales. Imitation of Russian folk historical songs- “Song about Tsar Ivan Vasilyevich...” by M.Yu. Lermontov. N.A. Nekrasov recreated the stylistic features of folk songs in his poems about the difficult lot of peasants.

Folklore not only influences literature, but also experiences the opposite influence. Many of the author's poems became folk songs. The most famous example is the poem by I.Z. Surikov “Steppe and steppe all around..”

Folklore drama. These include: Parsley Theater, religious drama, nativity scene drama.

VERTEP DRAMA got its name from the nativity scene - a portable puppet theater in the shape of a two-story wooden box, whose architecture resembles a stage for performing medieval mysteries. In turn, the name, which came from the plot of the main play, in which the action developed in a cave - nativity scene. Theater of this type was widespread in Western Europe, and it came to Russia with traveling puppeteers from Ukraine and Belarus. The repertoire consisted of plays with religious themes and satirical scenes - interludes that were improvisational in nature. The most popular play is "King Herod".

PETRUSHKA THEATER – glove puppet theater. The main character of the play is the cheerful Petrushka with a large nose, a protruding chin, a cap on his head, with the participation of which a number of scenes are played out with various characters. The number of characters reached fifty, these are characters such as a soldier, a gentleman, a gypsy, a bride, a doctor and others. Such performances used techniques of folk comic speech, lively dialogues with play on words and contrasts, with elements of self-praise, using action and gestures.

The Petrushki Theater was created not only under the influence of Russian, Slavic, and Western European puppet traditions. He was a kind of folk theatrical culture, part of the extremely developed (spectacular folklore) in Russia. Therefore, it has a lot in common with folk drama, with the performances of farce barkers, with the verdicts of the groomsmen at the wedding, with amusing popular prints, with the jokes of the raeshniks, etc.

The special atmosphere of the city's festive square explains, for example, Petrushka's familiarity, his unbridled gaiety and indiscriminateness in the object of ridicule and shame. After all, Petrushka beats not only class enemies, but everyone in a row - from his own fiancée to the policeman, often beats him for nothing (a blackamoor, an old beggar woman, a German clown, etc.), and in the end he gets hit too: the dog mercilessly tugs at his nose. The puppeteer, like other participants in the fair, square fun, is attracted by the very opportunity to ridicule, parody, beat, and the more, louder, more unexpected, sharper, the better. Elements of social protest and satire were very successfully and naturally superimposed on this ancient basis of laughter.

Like all folklore entertainments, “Petrushka” is filled with obscenities and curses. Original meaning These elements have been studied quite fully, and how deeply they penetrated into the folk culture of laughter and what place swearing, verbal obscenity and demeaning, cynical gestures occupied in it, is fully shown by M.M. Bakhtin.

Performances were shown several times a day in different conditions (at fairs, in front of booths, on city streets, in the suburbs). "Walking" Parsley was the most common use of the doll.

For the mobile folk theater, a light screen, dolls, miniature backstage and a curtain were specially made. Petrushka ran around the stage, his gestures and movements creating the appearance of a living person.

The comic effect of the episodes was achieved using techniques characteristic of the folk culture of laughter: fights, beatings, obscenities, the imaginary deafness of a partner, funny movements and gestures, mimicking, funny funerals, etc.

There are conflicting opinions about the reasons for the extraordinary popularity of the theater: topicality, satirical and social orientation, comic character, simple play that is understandable to all segments of the population, the charm of the main character, acting improvisation, freedom of choice of material, the sharp tongue of the puppet.

Parsley is a folk holiday joy.

Parsley is a manifestation of popular optimism, a mockery of the poor at the powerful and rich.

Folklore prose. It is divided into two groups: fairy tale (fairy tale, anecdote) and non-fairy tale (legend, tradition, tale).

TALE - the most famous genre folklore This is a type of folklore prose, distinctive feature which is fiction. Plots, events and characters in fairy tales are fictitious. Modern reader folklore works reveals fiction in other genres of oral folk art. Folk storytellers and listeners believed in the truth of tales (the name comes from the word “byl” - “truth”); the word “epic” was invented by folklorists; Popular epics were called “old times.” Russian peasants who told and listened to epics, believing in their truth, believed that the events depicted in them took place a long time ago - during the times mighty heroes and fire-breathing snakes. They did not believe fairy tales, knowing that they told about something that did not happen, does not happen and cannot be.

It is customary to distinguish four types of fairy tales: magical, everyday (otherwise known as novelistic), cumulative (otherwise known as “chain-like”) and fairy tales about animals.

MAGIC TALES differ from other fairy tales in their complex, detailed plot, which consists of a number of unchanging motifs that necessarily follow each other in a certain order. These are fantastic creatures (for example, Koschey the Immortal or Baba Yaga), and an animated, human-like character denoting winter (Morozko), and wonderful objects (a self-assembled tablecloth, walking boots, a flying carpet, etc.).

Fairy tales preserve the memory of ideas and rituals that existed in deep, deep antiquity. They reflect ancient relationships between people in a family or clan.

EVERYDAY TALES tell about people, about their family life, about the relationship between the owner and the farmhand, the gentleman and the peasant, the peasant and the priest, the soldier and the priest. A commoner - a farm laborer, a peasant, a soldier returning from service - is always more savvy than a priest or landowner, from whom, thanks to cunning, he takes money, things, and sometimes his wife. Usually, the plots of everyday fairy tales are centered around some unexpected event, an unforeseen turning point that occurs thanks to the hero’s cunning.

Everyday tales often satirical. They ridicule the greed and stupidity of those in power. They do not talk about wonderful things and travels to the distant kingdom, but talk about things from peasant everyday life. But everyday fairy tales are no more believable than magical ones. Therefore, the description of wild, immoral, terrible actions in everyday fairy tales does not evoke disgust or indignation, but cheerful laughter. After all, this is not life, but a fable.

Everyday fairy tales are a much younger genre than other types of fairy tales. IN modern folklore The heir to this genre was the anecdote (from gr.anekdotos - “unpublished”

CUMULATIVE TALES built on repeated repetition of the same actions or events. In cumulative (from Latin Cumulatio - accumulation) fairy tales, several plot principles are distinguished: accumulation of characters in order to achieve the necessary goal; a heap of actions ending in disaster; a chain of human or animal bodies; escalation of episodes, causing unjustified experiences of the characters.

The accumulation of heroes helping in some important action is obvious in the fairy tale “Turnip”.

Cumulative tales- a very ancient type of fairy tale. They have not been studied enough.

TALES ABOUT ANIMALS preserve the memory of ancient ideas, according to which people descended from ancestors - animals. Animals in these fairy tales behave like people. Cunning and cunning animals deceive others - the gullible and the stupid, and this trickery is never condemned. The plots of fairy tales about animals are reminiscent of mythological stories about heroes - rogues and their tricks.

Non-fairy tale prose is stories and incidents from life that tell about a person’s meeting with characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith with forces of a higher order.

BYLICHKA is a folklore genre, a story about a miraculous event that supposedly happened in reality - mainly about a meeting with spirits, “evil spirits”.

LEGEND (from Latin legenda “reading”, “readable”) is one of the varieties of non-fairy tale prose folklore. A written legend about some historical events or personalities. Legend is an approximate synonym for the concept of myth; an epic story about what happened in time immemorial; the main characters of the story are usually the heroes in in every sense words, often gods and other supernatural forces are directly involved in events. Events in the legend are often exaggerated, and a lot of fiction is added. Therefore, scientists do not consider legends to be completely reliable historical evidence, without denying, however, that most legends are based on real events. In a figurative sense, legends refer to the events of the past, covered in glory and arousing admiration, depicted in fairy tales, stories, etc. As a rule, they contain additional religious or social pathos.

Legends contain memories of ancient events, an explanation of some phenomenon, name or custom.

The words of Odoevsky V.F. sound surprisingly relevant. remarkable Russian, thinker, musician: “We must not forget that from an unnatural life, that is, one where human needs are not satisfied, a painful state occurs... in the same way, idiocy can occur from inaction of thought..., a muscle is paralyzed from an abnormal state of the nerve, “In the same way, a lack of thinking distorts artistic feeling, and the lack of artistic feeling paralyzes thought.” In Odoevsky V.F. you can find thoughts about the aesthetic education of children on the basis of folklore, consonant with what we would like to implement in our days in the field of children's education and upbringing: “... in the field of human spiritual activity I will limit myself to the following remark: the soul expresses itself either through body movements, shapes , colors, or through a series of sounds forming singing or playing a musical instrument"

Folklore is oral folk art. Fairy tales, proverbs, and sayings reflect the wisdom of the people, the experience accumulated over centuries, ideas about the structure of the world, and the practical experience of peasants. Folklore works are still popular and can often be seen folk dances, hear songs. Children enjoy reading Russian folk tales. Unfortunately, in the 21st century, not all genres of folklore are known, many are completely forgotten.

1) Problem. Previously, in Rus' there were many genres of small, or children's, folklore. Only riddles, proverbs, sayings and tongue twisters have survived to this day. What other genres of small folklore are there? Let's try to answer this question.

2) Goal. Find examples of different small genres of folklore

3)Tasks:

Ask your classmates what genres of folklore they know, write down examples.

Find examples in the literature.

Find the definition of each genre.

4) Methods: survey, observation, search.

The object of study is the genres of Russian folklore.

The subject of study is small genres of folklore.

SMALL GENRES OF FOLKLORE

Small genres of folklore- These are small folklore works. In some works there is a definition children's folklore, since such folk works enter a person’s life very early, long before mastering speech.

Types of small genres of folklore

Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retains elements of a talismanic conspiracy. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad and scary in a dream, then in reality it will not happen again. That is why you can find the “little gray wolf” and other frightening characters in the lullaby. Later, lullabies lost their magical elements and acquired the meaning of good wishes for the future. So, a lullaby is a song used to lull a child to sleep. Since the song was accompanied by the measured swaying of the child, rhythm is very important in it.

Pestushka(from the word nurture, that is, to nurse, groom) - a short poetic chant of nannies and mothers, with which they accompany the actions of a child that he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes and caresses him, saying:

Stretchers, stretchers,
Across the fat girl
And in the hands of the veil,
And in the mouth there is a talk,
And in the head there is reason.

When a child begins to learn to walk, they say:

Big feet
Walked along the road:
Top, top, top,
Top, top, top.
Little feet
Running along the path:
Top, top, top, top,
Top, top, top, top!

Nursery rhyme- an element of pedagogy, a song-sentence that accompanies playing with a child’s fingers, arms and legs. Nursery rhymes, like pesters, accompany the development of children. Small rhymes and songs allow you to game form encourage the child to take action while simultaneously performing a massage, physical exercise, stimulating motor reflexes. In this genre children's folklore there are incentives to play out the plot with the help of fingers (finger games or Ladushki), hands, and facial expressions. Nursery rhymes help instill in a child the skills of hygiene, order, and develop fine motor skills and the emotional sphere.

Examples

joke(from bayat, that is, to tell) - a poetic, short, funny story that a mother tells her child, for example:

Owl, owl, owl,
Big head,
She was sitting on a stake,
I looked to the side,
Turned his head.

Proverbs teach something.

The road is a spoon for dinner.
If you're afraid of the wolf, don't go into the forest.
Birds of a feather flock together.
You can’t even pull a fish out of a pond without difficulty.
Fear has big eyes.
The eyes are afraid, but the hands are doing.
A rolling stone gathers no moss.
There is no need for treasure if there is harmony in the family.
Don't have 100 rubles, but have 100 friends.
An old friend is better than two new ones.
A friend in need is a friend indeed.
If I had known where you would fall, I would have laid out straws.
You make a soft bed, but sleep hard.
The Motherland is your mother, know how to stand up for her.
Seven do not wait for one.
If you chase two hares, you won't catch either.
The bee is small, but it also works.
Bread is the head of everything.
Being a guest is good, but being at home is better.

Games

There were special songs for the games. Games could be:

kissing. As a rule, these games were played at parties and get-togethers (usually ending with a kiss between a young guy and a girl);

ritual. Such games were characteristic of some kind of ritual, holiday. For example, Maslenitsa festivities (typical fun: removing a prize from the top of a pole, tug of war, competitions for dexterity, strength);

seasonal. Particularly common among children, especially in winter. We played the so-called “Warmers”: the leader shows some movements, and everyone else repeats. Or the traditional “collar” and “stream”.

An example of a kissing game:

The drake chased the duck,
The young man was driving sulfur,
Go home, Ducky,
Go home, Gray,
Duck has seven children,
And the eighth Drake,
And the ninth itself,
Kiss me once!

In this game, the "Duck" stood in the center of the circle, and the "Drake" outside, and played like a game of "cat and mouse". At the same time, those standing in the round dance tried not to let the “drake” into the circle.

Calls- one of the types of invocation songs of pagan origin. They reflect the interests and ideas of peasants about the economy and family. For example, the spell of a rich harvest runs through all the calendar songs; For themselves, children and adults asked for health, happiness, and wealth.

Calls are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the harbingers of spring. Moreover, the forces of nature were revered as living: they make requests for spring, wish for its speedy arrival, and complain about winter.

Larks, larks!
Come and visit us
Bring us a warm summer,
Take the cold winter away from us.
We're tired of the cold winter,
My hands and feet were frozen.

Counting book- a short rhyme, a form of drawing lots to determine who leads the game. A counting table is an element of the game that helps establish agreement and respect for the accepted rules. Rhythm is very important in organizing a counting rhyme.

Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
How much does it cost?
Aty-baty, three rubles
Aty-baty, what is he like?
Aty-baty, golden.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
How much does it cost?
Aty-baty, three rubles.
Aty-baty, who's coming out?
Aty-baty, it's me!

Patter- a phrase built on a combination of sounds that makes it difficult to quickly pronounce words. Tongue twisters are also called “pure twisters” because they contribute and can be used to develop diction. Tongue twisters can be both rhymed and non-rhymed.

Greek rode across the river.
He sees a Greek: there is a cancer in the river,
He stuck the Greek's hand into the river -
Cancer for the hand of a Greek - DAC!

The bull was blunt-lipped, the bull was blunt-lipped, the bull's white lip was dull.

From the clatter of hooves, dust flies across the field.

Mystery, like a proverb, is a short figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscure form. As a rule, in a riddle one object is described through another based on similar features: “The pear is hanging - you can’t eat it” (lamp). A riddle can also be a simple description of an object, for example: “Two ends, two rings, and a nail in the middle” (scissors). This is both a folk pastime and a test of ingenuity and intelligence.

The role of riddles and jokes was also played by inverted fables, which for adults appear as absurdities, but for children - funny stories about something that does not happen, for example:

From behind the forest, from behind the mountains, Grandfather Egor is coming. He is on a gray cart, on a creaking horse, belted with an axe, a belt tucked into his belt, boots wide open, a zipun on his bare feet.

CONCLUSION

Oral folk art (folklore) existed even in the pre-literate era. Works of folklore (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized them by ear. This contributed to the emergence of different versions of the same folklore work.

Oral folk art is a reflection of the life, way of life, and beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.

Our hypothesis was confirmed; with the help of surveys and observation, we found out that not much children’s folklore remains to this day, but in fact there are a lot of genres.

Depending on the stage of development, folklore is usually divided into early traditional folklore,classical folklore And late traditional folklore. Each group belongs to special genres, typical for a given stage of development of folk art.

Early traditional folklore

1. Labor songs.

These songs are known among all nations, which were performed during labor processes (when lifting heavy objects, plowing a field, grinding grain by hand.). Such songs could be performed when working alone, but they were especially important when working together, since they contained commands to simultaneous action. Their main element was the rhythm that organized the labor process.

2. Fortune telling and conspiracies.

Fortune telling is a means of recognizing the future. To recognize the future, one had to turn to evil spirits, so fortune telling was perceived as a sinful and dangerous activity. For fortune telling, places were chosen where, according to the people, it was possible to come into contact with the inhabitants of the “other world”, as well as the time of day at which this contact was the most likely. Fortune telling was based on the technique of interpreting “signs”: accidentally heard words, reflections in water, animal behavior, etc. To obtain these “signs,” actions were taken in which objects, animals, and plants were used. Sometimes actions were accompanied by verbal formulas.

Classic folklore

1. Rituals and ritual folklore

Ritual folklore consisted of verbal, musical, dramatic, game and choreographic genres. Rituals had ritual and magical significance and contained rules of human behavior in everyday life and work. They are usually divided into work and family

1.1 Labor rites: calendar rites

The observations of the ancient Slavs on the solstice and the changes in nature associated with it developed into a system of mythological beliefs and practical work skills, reinforced by rituals, signs, and proverbs.

Gradually, the rituals formed an annual cycle, and the most important holidays were timed to coincide with the winter and summer solstice. There are winter, spring, summer and autumn rituals.

1.2. Family rituals

Unlike calendar rituals, the hero of family rituals is a real person. Rituals accompanied many events in his life, among which the most important were birth, marriage and death.

The most developed was wedding ceremony, it had its own characteristics and laws, its own mythology and its own poetry.

1.3. Lamentations

This is an ancient genre of folklore, genetically related to funeral rites. The object of the lamentation image is the tragic in life, therefore the lyrical principle is strongly expressed in them, the melody is weakly expressed and in the content of the text one could find many exclamatory-interrogative constructions, synonymous repetitions, unity of beginning, etc.

2. Small genres of folklore. Proverbs.

Small folklore genres include works that differ in genre, but have a common external feature - a small volume.

Small genres of folklore prose, or proverbs, are very diverse: proverbs, sayings, signs, riddles, jokes, proverbs, tongue twisters, puns, well wishes, curses, etc.

4. Non-fairy prose

Non-fairy tale prose has a different modality than fairy tales: its works are confined to real time, real terrain, real persons. Non-fairy-tale prose is characterized by not being distinguished from the flow of everyday speech and the absence of special genre and style canons. In the most general sense, we can say that her works are characterized by the stylistic form of an epic narrative about the authentic. The most stable component is the character around whom all the rest of the material is united.

An important feature of non-fairy tale prose is the plot. Usually the plots have an embryonic form (single-motive), but can be conveyed both concisely and in detail.

The following genres belong to non-fairy tale prose: tales, legends and demonological stories.

Bylinas are epic songs in which heroic events or individual episodes of ancient Russian history are sung.

As in fairy tales, epics feature mythological images of enemies, characters are reincarnated, and animals help the heroes.

The epics have a heroic or novelistic character: the idea of ​​​​heroic epics is the glorification of the unity and independence of the Russian land; in the novelistic epics marital fidelity, true friendship were glorified, personal vices (bragging, arrogance) were condemned.

6. Historical songs

Historical songs are folk epic, lyric epic and lyrical songs, the content of which is dedicated to specific events and real persons of Russian history and expresses the national interests and ideals of the people.

7. Ballads

Folk ballads are lyric-epic songs about a tragic event. Ballads are characterized by personal, family and everyday themes. At the center of the ballads are moral problems: love and hatred, loyalty and betrayal, crime and repentance.

8. Spiritual Poems

Spiritual poems are songs with religious content.

The main feature of spiritual verses is the contrast between everything Christian and the worldly.

Spiritual poems are heterogeneous. In oral existence they interacted with epics, historical songs, ballads, lyrical songs, and lamentations.

9. Lyrical non-ritual songs

In folk lyrics, word and melody are inseparable. The main purpose of songs is to reveal the worldview of the people by directly expressing their feelings, thoughts and moods.

These songs expressed the characteristic experiences of a Russian person in different life situations.

10. Folklore theater.

Folklore theater is the traditional dramatic creativity of the people.

Specific features of folk theater are the absence of a stage, the separation of performers and audience, action as a form of reflection of reality, the transformation of the performer into another objectified image, the aesthetic orientation of the performance.

Plays were often distributed in written form and pre-rehearsed, which did not exclude improvisation.

Folklore theater includes: booths, traveling picture theater (rayok), folk puppet theater and folk dramas.

11. Children's folklore.

Children's folklore is a specific area of ​​oral artistic creativity, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its own speakers.

A general, generic feature of children's folklore is correlation literary text with the game.

Works of children's folklore are performed by adults for children (mother's folklore) and by the children themselves (children's folklore proper)

Late traditional folklore

Late traditional folklore is a collection of works of different genres and different directions, created in peasant, urban, soldier, worker and other environments since the beginning of the development of industry, the growth of cities, and the collapse of the feudal countryside.

1. Ditties

A chastushka is a short rhyming folk song that is sung at a fast tempo to a specific melody.

The themes of the ditties are varied. Most of them are devoted to love and family themes. But they often reflect the modern life of the people, the changes that are taking place in the country, and contain sharp political hints. The ditty is characterized by a humorous attitude towards its characters, irony, and sometimes sharp satire.

2. Folklore of workers

Workers' folklore is oral folk works that were created in the working environment or assimilated by it and processed so much that they began to reflect the spiritual needs of this particular environment.

Unlike ditties, workers' folklore did not turn into a national, all-Russian phenomenon. His characteristic feature– locality, isolation within a particular industrial territory. For example, workers in factories, factories and mines in Petrozavodsk, Donbass, the Urals, Altai and Siberia knew almost no oral works of each other.

Song genres predominated in workers' folklore. The songs depicted the difficult working and living conditions of a simple worker, which were contrasted with the idle life of the oppressors - business owners and overseers.

In form, the songs are monologues-complaints.

3. Folklore of the period of the Great Patriotic War.

Folklore of the period of the Great Patriotic War consists of works of various genres: songs, prose, aphoristic. They were created by the participants in events and battles, workers of factories, collective farm fields, partisans, etc.

These works reflect the life and struggle of the peoples of the USSR, the heroism of the country's defenders, faith in victory, the joy of victory, fidelity in love and love betrayals.