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Oral folk art of the Russian people. Oral folk art: types, genres of works and examples

The word "folklore", which often refers to the concept of "oral folk art", comes from the combination of two English words: folk - "people" and lore - "wisdom". The history of folklore goes back to ancient times. Its beginning is connected with the need of people to realize the natural world around them and their place in it. This awareness was expressed in the inextricably merged word, dance and music, as well as in works of fine, primarily applied, art (ornaments on dishes, tools, etc.), in jewelry, objects of religious worship ... From the depths of centuries they came to us and myths that explain the laws of nature, the secrets of life and death in a figurative and plot form. The richest soil of ancient myths still nourishes both folk art and literature.

Unlike myths, folklore is already an art form. Ancient folk art was characterized by syncretism, i.e. indivisibility of different types of creativity. In a folk song, not only words and melody could not be separated, but also the song could not be separated from the dance, the ritual. The mythological background of folklore explains why the oral work did not have a first author. With the advent of "author's" folklore, we can talk about modern history. The formation of plots, images, motives occurred gradually and over time was enriched and improved by the performers.

The outstanding Russian philologist Academician A. N. Veselovsky in his fundamental work "Historical Poetics" argues that the origins of poetry lie in the folk ritual. Initially, poetry was a song performed by a choir and invariably accompanied by music and dancing. Thus, the researcher believed, poetry arose in the primitive, ancient syncretism of the arts. The words of these songs were improvised on a case-by-case basis until they became traditional, more or less stable. In primitive syncretism, Veselovsky saw not only a combination of the arts, but also a combination of the genres of poetry. “The epic and lyric,” he wrote, “appeared to us as the consequences of the decomposition of the ancient ritual choir” 1 .

1 Veselovsky A. N. Three chapters from "Historical poetics" // Veselovsky A.N. Historical poetics. - M., 1989. - S. 230.

It should be noted that these conclusions of the scientist and in our time represent the only consistent theory of the origin of verbal art. "Historical Poetics" by A. N. Veselovsky is still the largest generalization of the gigantic material accumulated by folklore and ethnography.

Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, historical songs. Lyrical genres include love, wedding, lullabies, funeral lamentations. To dramatic ones - folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and meeting Spring, elaborate wedding ceremonies, etc. One should also remember about small genres of folklore - ditties, sayings, etc.

Over time, the content of the works underwent changes: after all, the life of folklore, like any other art, is closely connected with history. The essential difference between folklore and literary works is that they do not have a permanent, once and for all established form. For centuries, storytellers and singers have perfected the skill of performing works. Note that today children, unfortunately, usually get acquainted with the works of oral folk art through a book and much less often - in a live form.

Folklore is characterized by natural folk speech, striking with the richness of expressive means, melodiousness. Well-developed laws of composition with stable forms of the beginning, the development of the plot, and the ending are typical for a folklore work. His style gravitates towards hyperbole, parallelisms, constant epithets. Its internal organization has such a clear, stable character that even changing over the centuries, it retains its ancient roots.

Any work of folklore is functional - it was closely connected with one or another circle of rituals, performed in a strictly defined situation.

The whole set of rules of folk life was reflected in oral folk art. The folk calendar accurately determined the order of rural work. The rituals of family life contributed to harmony in the family, and included the upbringing of children. The laws of the life of the rural community helped to overcome social contradictions. All this is captured in various types of folk art. An important part of life is holidays with their songs, dances, games.

Oral folk art and folk pedagogy. Many genres of folk art are quite accessible to the understanding of young children. Thanks to folklore, the child more easily enters the world around him, more fully feels the charm of his native land.

childbirth, assimilates people's ideas about beauty, morality, gets acquainted with customs, rituals - in a word, along with aesthetic pleasure, absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is simply impossible.

Since ancient times, there have been many folklore works specially intended for children. This type of folk pedagogy has played a huge role in the upbringing of the younger generation for many centuries and up to the present day. Collective moral wisdom and aesthetic intuition worked out the national ideal of man. This ideal harmoniously fits into the global circle of humanistic views.

Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from oral art adults. That is, the structure of children's folklore is no different from the structure of children's literature.

By studying children's folklore, one can understand a lot in the psychology of children of a particular age, as well as reveal their artistic preferences and level of creative abilities. Many genres are associated with the game, in which the life and work of the elders are reproduced, therefore, the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here.

In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes, jokes, fairy tales and songs created for the little ones. Let us first consider some of these genres, and then other types of children's folklore.

Lullabies. At the center of all "maternal poetry" is the child. He is admired, he is cherished and cherished, decorated and amused. Essentially, it is the aesthetic object of poetry. In the very first impressions of a child, folk pedagogy lays a sense of the value of one's own personality. The baby is surrounded by a bright, almost ideal world, in which love, goodness, and universal consent reign and win.

Gentle, monotonous songs are necessary for the transition of the child from wakefulness to sleep. From this experience, a lullaby was born. Here the innate maternal feeling and the sensitivity to the peculiarities of age, organically inherent in folk pedagogy, affected. In lullabies, everything that a mother usually lives in is reflected in a softened playful form - her joys and worries, her thoughts about the baby, dreams about his future. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is a "gray cat", "red shirt", " a piece of cake and a glass of milk"," crane-

face "... There are usually few words-concepts in a choduel room - you

Fundamental;! Gsholpptok;

without which the primary knowledge of the surrounding world is impossible. These words also give the first skills of native speech.

The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here the mother sings over the cradle:

How much love and ardent desire to protect your child is in this song! Simple and poetic words, rhythm, intonation - everything is directed to an almost magical spell. Often a lullaby was a kind of spell, a conspiracy against evil forces. One can hear in this lullaby echoes of both ancient myths and the Christian faith in the Guardian Angel. But the most important thing in the lullaby for all time remains the poetically expressed care and love of the mother, her desire to protect the child and prepare for life and work:

A frequent character in a lullaby is a cat. He is mentioned along with fantastic characters - Dream and Sandman. Some researchers believe that the references to him are inspired by ancient magic. But the point is also that the cat sleeps a lot - so he should bring the baby sleep.

Often mentioned in lullabies, as well as in other children's folklore genres, and other animals and birds. They speak and feel like people. Giving an animal human qualities is called anthropomorphism. Anthropomorphism is a reflection of ancient pagan beliefs, according to which animals were endowed with a soul and mind and therefore could enter into a meaningful relationship with a person.

Folk pedagogy included in the lullaby not only good helpers, but also evil, scary, sometimes not very understandable ones (for example, the sinister Buku). All of them needed to be appeased, conjured, "taken away" so that they would not harm the little one, and maybe even help him.

A lullaby has its own system of expressive means, its own vocabulary, its own compositional structure. Short adjectives are frequent, complex epithets are rare, there are many transfers.

Baiushki bye! save you

From every cry, From all sorrows, From all misfortunes: From the crowbar, From the evil man - the Adversary.

And have mercy on you, your Angel - your Guardian, From every eye,

You will live and live, Do not be lazy to work! Bayushki-bayu, L yulyushki-lyul yu! Sleep sleep at night

Yes, grow by the clock, You will grow big - You will begin to walk in St. Petersburg, Wear silver and gold.

owls of stresses from one syllable to another. Prepositions, pronouns, comparisons, whole phrases are repeated. It is assumed that the ancient lullabies did without rhymes at all, - the “bayush-naya” song kept its smooth rhythm, melody, and repetitions. Perhaps the most common type of repetition in a lullaby is alliteration, i.e., the repetition of identical or consonant consonants. It should also be noted the abundance of petting, diminutive suffixes - not only in words addressed directly to the child, but also in the names of everything that surrounds him.

Today we have to speak with regret about the oblivion of tradition, about the ever-increasing narrowing of the circle of lullabies. This is mainly because the inseparable unity of "mother-child" is broken. Yes, and medical science raises doubts: is motion sickness useful? So the lullaby goes out of the life of babies. Meanwhile, a connoisseur of folklore V.P. Anikin appreciated her role very highly: “The lullaby is a kind of prelude to the musical symphony of childhood. By singing songs, the baby's ear is taught to distinguish the tonality of words, the intonational structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.

Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of the original folk pedagogy, the simplest lessons in behavior and relationships with the outside world. Pestushki(from the word "nurture" - educate) are associated with the earliest period of a child's development. The mother, undressing him or freeing him from clothes, strokes the little body, unbends the arms and legs, saying, for example:

Sweating goose ki - sips ki, Across - fat women, And in the legs - walkers, And in the hands - grabs, And in the mouth - a talker, And in the head - intelligence.

Thus, pestles accompany the physical procedures necessary for the child. Their content is associated with specific physical actions. The set of poetic means in pests is also determined by their functionality. Pestushki are concise. “The owl is flying, the owl is flying,” they say, for example, when they wave the child’s hands. “The birds flew, sat on their heads,” the child’s arms fly up to their heads. And so on. There is not always a rhyme in pests, and if there is, then most often a pair. The organization of the text of pestles as a poetic work is also achieved by repeated repetition of the same word: “Geese flew, swans flew. Geese flew, swans flew ... "To the pestles

peculiar playful conspiracies are close, for example: "Water from a goose, and thinness from Yefim."

Nursery rhymes - a more developed game form than pestles (although they also have enough elements of the game). Rhymes entertain the baby, create a cheerful mood in him. Like pestles, they are characterized by rhythm:

Tra-ta-ta, tra-ta-ta, A cat married a cat! Kra-ka-ka, kra-ka-ka, He asked for milk! Dla-la-la, dla-la-la, The cat didn’t give!

Sometimes nursery rhymes only entertain (like the one above), and sometimes they instruct, give the simplest knowledge about the world. By the time the child is able to perceive meaning, and not just rhythm and musical mode, they will bring him the first information about the plurality of objects, about counting. A small listener gradually extracts such knowledge from a game song. In other words, it presupposes a certain mental tension. So thought processes begin in his mind.

Forty, forty, the first - porridge,

White-white-sided, Second - mash,

Cooked porridge, Third - beer,

She invited guests. The fourth - wine,

Porridge on the table, And the fifth got nothing.

And the guests - to the yard. Shu, shoo! She flew away, sat on her head.

Perceiving the initial score through such a rhyme, the child is also puzzled by why the fifth did not get anything. Maybe because he doesn't drink milk? That's because the goat butts for it - in another nursery rhyme:

Who does not suck on a pacifier, Who does not drink milk, Togo - boo! - care! I'll put it on the horns!

The instructive meaning of the nursery rhyme is usually emphasized by intonation, gestures. The child is also involved. Children of the age to whom nursery rhymes are intended cannot yet express in speech all that they feel and perceive, therefore they strive for onomatopoeia, for repetitions of the words of an adult, for a gesture. Thanks to this, the educational and cognitive potential of nursery rhymes is very significant. In addition, in the mind of the child there is a movement not only to master the direct meaning of the word, but also to the perception of rhythmic and sound design.

In nursery rhymes and pestushkas, there is invariably such a trope as metonymy - the replacement of one word with another based on the connection of their meanings by adjacency. For example, in the famous game “Okay, okay, where have you been? - At the grandmother's, with the help of synecdoche, the child's attention is drawn to his own hands 1.

joke they call a small funny work, a statement or just a separate expression, most often rhymed. Entertaining rhymes and jokes exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in the joke, the basis of the figurative system is precisely the movement: “Knocks, strums along the street, Foma rides a chicken, Timoshka rides a cat - there along the path.”

The age-old wisdom of folk pedagogy is manifested in its sensitivity to the stages of human maturation. The time of contemplation, almost passive listening, passes. It is being replaced by a time of active behavior, the desire to interfere in life - this is where the psychological preparation of children for study and work begins. And the first funny assistant is a joke. It encourages the child to act, and some of its reticence, innuendo causes the child to have a strong desire to think, fantasize, i.e. awakens thought and imagination. Often jokes are built in the form of questions and answers - in the form of a dialogue. So it is easier for the baby to perceive the switching of action from one scene to another, to follow the rapid changes in the relationships of the characters. Other artistic techniques in jokes are also aimed at the possibility of quick and meaningful perception - composition, imagery, repetitions, rich alliterations and onomatopoeia.

Fables, shifters, absurdities. These are varieties of the joke-exact genre. Thanks to shifters, children develop a sense of the comic precisely as an aesthetic category. This type of joke is also called the "poetry of paradox." Its pedagogical value lies in the fact that by laughing at the absurdity of the fable, the child is strengthened in the correct idea of the world he has already received.

Chukovsky devoted a special work to this type of folklore, calling it "Stupid absurdities." He considered this genre extremely important for stimulating the child's cognitive attitude to the world and very well substantiated why children like nonsense so much. The child constantly has to systematize the phenomena of reality. In this systematization of chaos, as well as randomly acquired scraps, fragments of knowledge, the child reaches virtuosity, enjoying the joy of learning.

1 The pens that visited my grandmother are an example of a synecdoche: this is a kind of metonymy when a part is named instead of the whole.

niya. Hence his increased interest in games and experiments, where the process of systematization, classification is put forward in the first place. A changeling in a playful way helps the child to establish himself in the already acquired knowledge, when familiar images are combined, familiar pictures are presented in a ridiculous mess.

A similar genre exists among other peoples, including the British. The name "Stupid absurdities" given by Chukovsky corresponds to the English "Topsy-turvy rhymes" - literally: "Poems upside down".

Chukovsky believed that the desire to play shifters is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade away even among adults - then it is no longer the cognitive, but the comic effect of “stupid absurdities” that comes to the fore.

Researchers believe that fairy tales-shifters moved into children's folklore from buffoon, fair folklore, in which an oxymoron was a favorite artistic device. This is a stylistic device consisting in the combination of logically incompatible, opposite in meaning concepts, words, phrases, as a result of which a new semantic quality arises. In adult absurdities, oxymorons usually serve to expose, ridicule, while in children's folklore, with their help, they do not ridicule, do not ridicule, but deliberately seriously narrate about a notorious unbelievable story. The tendency of children to fantasies finds its use here, revealing the proximity of an oxymoron to the thinking of a child.

A barn burns in the middle of the sea. The ship runs across the open field. The men on the street are stabbing 1, They are stabbing - they are catching fish. A bear flies through the skies, waving its long tail!

A technique close to an oxymoron that helps the shifter to be entertainingly funny is perversion, i.e. permutation of the subject and object, as well as the attribution to subjects, phenomena, objects of signs and actions that are obviously not inherent in them:

Look, the gates are barking from under the dog... Children on calves,

The village was passing by a peasant,

In a red sundress

Because of the forest, because of the mountains, Uncle Yegor is riding:

Servants on ducks...

Don, don, dilly don,

Himself on a horse, In a red hat, Wife on a ram,

The cat's house is on fire! A chicken runs with a bucket, It floods the cat's house ...

Zakoly- fences for catching red fish.

The absurd shifters attract with the comedy of scenes, the ridiculous depiction of life's incongruities. This entertaining genre turned out to be necessary for folk pedagogy, and it widely used it.

Rhymes. This is another small genre of children's folklore. Rhythms are called funny and rhythmic rhymes, under which they choose a leader, start the game or some stage of it. Rhyming rhymes were born in the game and are inextricably linked with it.

Modern pedagogy assigns the game an extremely important role in the formation of a person, considers it a kind of school of life. Games not only develop dexterity and ingenuity, but also teach to obey generally accepted rules: after all, any game takes place according to predetermined conditions. The game also establishes the relationship of co-creation and voluntary submission to the game roles. The authoritative here is the one who knows how to follow the rules accepted by all, does not bring chaos and confusion into children's lives. All this is working out the rules of behavior in the future adult life.

Who does not remember the counting rhymes of his childhood: “White hare, where did you run?”, “Eniki, beniki, ate dumplings ...” - etc. The very possibility of playing with words is attractive to children. This is the genre in which they are most active as creators, often bringing new elements to ready-made rhymes.

In the works of this genre, nursery rhymes, pestles, and sometimes elements of adult folklore are often used. Perhaps it is in the internal mobility of the counting rhymes that the reason for their wide distribution and vitality lies. And today you can hear very old, only slightly modernized texts from playing children.

Researchers of children's folklore believe that the counting in the counting rhyme comes from pre-Christian "magic" - conspiracies, spells, encryption of some magic numbers.

G.S. Vinogradov called the rhymes of counting rhymes tender, fervent, a true decoration of counting poetry. The rhyme is often a chain of rhyming couplets. The methods of rhyming here are the most diverse: paired, cross, ring. But the main organizing principle of counting rhymes is rhythm. A rhyme-rhyme often resembles the incoherent speech of an agitated, offended, or struck by something child, so that the apparent incoherence or meaninglessness of the rhymes is psychologically explainable. Thus, the rhyme both in form and in content reflects the psychological characteristics of age.

Tongue Twisters. They belong to the genre of amusing, entertaining. The roots of these works of oral art also lie in ancient times. This is a word game that was part of the compound

join the fun festive entertainment of the people. Many of the tongue twisters that meet the aesthetic needs of the child and his desire to overcome difficulties have become entrenched in children's folklore, although they clearly came from an adult.

The cap is sewn, but not in a cap style. Who would have put the cap on Pereva?

Tongue twisters always include a deliberate accumulation of hard-to-pronounce words, an abundance of alliterations (“There was a white-mouthed ram, he re-white-faced all the sheep”). This genre is indispensable as a means of developing articulation and is widely used by educators and physicians.

Undershirts, teasers, sentences, refrains, chants. All these are works of small genres, organic for children's folklore. They serve the development of speech, intelligence, attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.

Say two hundred.

Head in the test!

(Undercoat.)

Rainbow-arc, Don't give us rain, Give us a red sun Kol outskirts!

(Invocation.)

Mishka-pod, Near the ear - a bump.

(Teaser.)

Calls in origin are associated with the folk calendar and pagan holidays. This also applies to sentences close to them in meaning and use. If the former contain an appeal to the forces of nature - the sun, wind, rainbow, then the latter - to birds and animals. These magic spells passed into children's folklore due to the fact that children early joined the work and cares of adults. Later chants and sentences already acquire the character of entertaining songs.

In games that have survived to this day and include incantations, sentences, refrains, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolya

dy, Yarila) and other forces of nature. In the chants and choruses accompanying these games, the faith of the people in the power of the word was preserved.

But many game songs are simply cheerful, entertaining, usually with a clear dance rhythm:

Let's move on to larger works of children's folklore - songs, epics, fairy tales.

Russian folk songs play a big role in shaping children's musical ear, taste for poetry, love for nature, for their native land. In the children's environment, the song exists from time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed ...”), historical (for example, about Stepan Razin and Pugachev), lyrical. Nowadays, children often sing songs that are not so much folklore as author's. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art. If there is a need to turn to songs created many centuries, or even millennia ago, then they can be found in folklore collections, as well as in educational books by K. D. Ushinsky.

Epics. This is the heroic epic of the people. It is of great importance in the education of love for the native history. Epics always tell about the struggle of two principles - good and evil - and about the natural victory of good. The most famous epic heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich - are collective images that capture the features of real people whose lives and deeds became the basis of heroic narratives - epics (from the word "true") or old. Epics are a grandiose creation of folk art. The artistic conventionality inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading devices in epic narration. It gives the characters monumentality, and their fantastic exploits - artistic persuasiveness.

It is important that the fate of the motherland is dearer to the heroes of epics than life, they protect those in trouble, uphold justice, and are full of self-esteem. Taking into account the heroic and patriotic charge of this ancient folk epic, K.D.Ushinsky and L.N.Tolstoy included in children's books excerpts even from those epics that, in general, cannot be attributed to children's reading.

Baba sowed peas -

Baba stood on her toe, And then on her heel, She began to dance Russian, And then squat!

Jump jump, jump jump! The ceiling collapsed - Jump-jump, jump-jump!

The inclusion of epics in children's books is hampered by the fact that they are not completely understandable to children without an explanation of events and vocabulary. Therefore, to work with kids, it is better to use literary retellings of these works, for example, I.V. Karnaukhova (collection "Russian heroes. Epics") and N. P. Kolpakova (collection "Epics"). For an older age, the collection "Epics" compiled by Yu. G. Kruglov is suitable.

Fairy tales. They originated in ancient times. For example, the following fact speaks of the antiquity of fairy tales: in the unprocessed versions of the famous "Teremok", the mare's head, which the Slavic folklore tradition endowed with many wonderful properties, acted as a teremok. In other words, the roots of this tale go back to Slavic paganism. At the same time, fairy tales do not at all testify to the primitiveness of the people's consciousness (otherwise they could not have existed for many hundreds of years), but to the ingenious ability of the people to create a single harmonious image of the world, linking everything that exists in it - heaven and earth, man and nature, life and death. Apparently, the fairy-tale genre turned out to be so viable because it is perfectly suited for expressing and preserving fundamental human truths, the foundations of human existence.

Telling fairy tales was a common hobby in Russia, they were loved by both children and adults. Usually the narrator, narrating about events and heroes, reacted vividly to the attitude of his audience and immediately made some corrections to his narration. That is why fairy tales have become one of the most polished folklore genres. They also meet the needs of children in the best way, organically corresponding to child psychology. The craving for goodness and justice, faith in miracles, a penchant for fantasies, for the magical transformation of the world around - all this the child joyfully meets in a fairy tale.

In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where the correct life paths of a person go, what is his happiness and unhappiness, what is his retribution for mistakes, and how a person differs from a beast and a bird. Each step of the hero leads him to the goal, to the final success. You have to pay for mistakes, and having paid, the hero again gets the right to good luck. In such a movement of fairy-tale fiction, an essential feature of the worldview of the people is expressed - a firm belief in justice, in the fact that a good human principle will inevitably defeat everything that opposes it.

In a fairy tale for children, there is a special charm, some secrets of the ancient worldview are revealed. They find in the fairy tale narrative on their own, without explanation, something very valuable for themselves, necessary for the growth of their consciousness.

An imaginary, fantastic world turns out to be a reflection of the real world in its main foundations. A fabulous, unusual picture of life gives the baby the opportunity to compare it with reality, with the environment in which he himself, his family, people close to him exist. This is necessary for developing thinking, as it is stimulated by the fact that a person compares and doubts, checks and convinces. The fairy tale does not leave the child an indifferent observer, but makes him an active participant in what is happening, experiencing every failure and every victory together with the characters. The tale accustoms him to the idea that evil in any case must be punished.

Today, the need for a fairy tale seems especially great. The child is literally overwhelmed by an ever-increasing flow of information. And although the susceptibility of the psyche in babies is great, it still has its limits. The child becomes overtired, becomes nervous, and it is the fairy tale that frees his mind from everything unimportant, unnecessary, concentrating on the simple actions of the characters and thoughts about why everything happens this way and not otherwise.

For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies any one quality: the fox is cunning, the bear is strong, Ivan is lucky as a fool, and fearless as a prince. The characters in the tale are contrasting, which determines the plot: the diligent, reasonable sister Alyonushka was not obeyed by brother Ivanushka, he drank water from a goat's hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... Thus, a chain of actions and amazing fairy-tale events arises.

The tale is built on the principle of a chain composition, which, as a rule, includes three repetitions. Most likely, this technique was born in the process of storytelling, when the narrator again and again provided the listeners with the opportunity to experience a vivid episode. Such an episode is usually not just repeated - each time there is an increase in tension. Sometimes the repetition is in the form of a dialogue; then children, if they play a fairy tale, it is easier to transform into its heroes. Often a fairy tale contains songs, jokes, and children remember them first of all.

The fairy tale has its own language - concise, expressive, rhythmic. Thanks to the language, a special fantasy world is created in which everything is presented large, convex, remembered immediately and for a long time - the characters, their relationships, the surrounding characters and objects, nature. There are no halftones - there is a glu

side, bright colors. They attract a child to them, like everything colorful, devoid of monotony and everyday dullness. /

“In childhood, fantasy,” wrote V. G. Belinsky, “is the predominant ability and strength of the soul, its main agent and the first mediator between the spirit of the child and the outside world of reality.” Probably, this property of the child's psyche - a craving for everything that miraculously helps to overcome the gap between the imaginary and the real - explains this interest of children in a fairy tale that has not been quenched for centuries. Moreover, fairy-tale fantasies are in line with the real aspirations and dreams of people. Let's remember: flying carpet and modern air liners; a magic mirror showing distant distances, and a TV.

And yet, children are most attracted to a fairy-tale hero. Usually this is an ideal person: kind, fair, beautiful, strong; he necessarily succeeds, overcoming all sorts of obstacles, not only with the help of wonderful assistants, but primarily thanks to his personal qualities - intelligence, fortitude, dedication, ingenuity, ingenuity. This is what every child would like to become, and the ideal hero of fairy tales becomes the first role model.

According to the theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: fairy tales about animals, fairy tales and household (satirical) ones.

Tales about animals. Young children are usually attracted to the world of animals, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human features - they think, speak, and act. In essence, such images bring the child knowledge about the world of people, not animals.

In this kind of fairy tales, there is usually no distinct division of characters into positive and negative ones. Each of them is endowed with any one trait, an inherent feature of his character, which is played out in the plot. So, traditionally, the main feature of the fox is cunning, so it is usually about how she fools other animals. The wolf is greedy and stupid; in a relationship with a fox, he will certainly get into a mess. The bear has a not so unambiguous image, the bear can be evil, but it can also be kind, but at the same time it always remains a klutz. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, and the wolf, and the bear. Reason helps him to win over any opponent.

Animals in a fairy tale observe the principle of hierarchy: everyone recognizes the strongest and the main one. Is it a lion or a bear. They are always at the top of the social ladder. This brings the story closer

ki about animals with fables, which is especially evident from the presence in both of them of similar moral conclusions - social and universal. Children easily learn: the fact that a wolf is strong does not at all make him fair (for example, in a fairy tale story about seven kids). The sympathy of the listeners is always on the side of the just, not the strong.

There are among the tales about animals and quite scary. The bear eats the old man and the old woman because they cut off his paw. An angry beast with a wooden leg, of course, seems terrible to the kids, but in fact he is the bearer of just retribution. The story gives the child the opportunity to understand a difficult situation.

Magic tales. This is the most popular and favorite genre of children. Everything that happens in a fairy tale is fantastic and significant in its task: its hero, getting into one or another dangerous situation, saves friends, destroys enemies - he fights not for life, but for death. The danger seems especially strong, terrible because his main opponents are not ordinary people, "but representatives of supernatural dark forces: the Serpent Gorynych, Baba Yaga, Koshey the Immortal, etc. By defeating this evil spirits, the hero, as it were, confirms his high human principle, closeness to the light forces of nature.In the struggle, he becomes even stronger and wiser, gains new friends and gets the full right to happiness - to the great satisfaction of little listeners.

In the plot of a fairy tale, the main episode is the beginning of the hero's journey for the sake of one or another important task. On his long journey, he meets with insidious opponents and magical helpers. Very effective means are at his disposal: a flying carpet, a wonderful ball or mirror, or even a talking animal or bird, a swift horse or wolf. All of them, with some conditions or without them at all, in the blink of an eye fulfill the requests and orders of the hero. They do not have the slightest doubt about his moral right to order, since the task assigned to him is very important and since the hero himself is impeccable.

The dream of the participation of magical helpers in people's lives has existed since ancient times - since the time of the deification of nature, faith in the Sun God, in the ability to summon light forces with a magic word, witchcraft and ward off dark evil from oneself. " "

Household (satirical) fairy tale is closest to everyday life and does not even necessarily include miracles. Approval or condemnation is always given in it openly, the assessment is clearly expressed: what is immoral, what is worthy of ridicule, etc. Even when it seems like the characters are just fooling around,

amuse listeners, their every word, every action is filled with significant meaning, connected with important aspects of human life.

The constant heroes of satirical tales are "simple" poor people. However, they invariably prevail over the "difficult" - rich or noble person. Unlike the heroes of a fairy tale, here the poor achieve the triumph of justice without the help of wonderful helpers - only thanks to intelligence, dexterity, resourcefulness, and even lucky circumstances.

The everyday satirical fairy tale has for centuries absorbed the characteristic features of the life of the people and their relationship to those in power, in particular to judges and officials. All this, of course, was passed on to the little listeners, who were imbued with the healthy folk humor of the narrator. Fairy tales of this kind contain the "vitamin of laughter" that helps the common man to maintain his dignity in a world ruled by bribe-taking officials, unrighteous judges, stingy rich people, arrogant nobles.

In everyday fairy tales, animal characters sometimes appear, and perhaps the appearance of such abstract characters as Truth and Falsehood, Woe-Misfortune. The main thing here is not the selection of characters, but a satirical condemnation of human vices and shortcomings.

Sometimes such a specific element of children's folklore as a changeling is introduced into a fairy tale. In this case, a shift in the real meaning arises, prompting the child to the correct arrangement of objects and phenomena. In a fairy tale, the changeling becomes larger, grows up to an episode, and is already part of the content. Displacement and exaggeration, hyperbolization of phenomena give the baby the opportunity to both laugh and think.

So, a fairy tale is one of the most developed and beloved genres of folklore by children. It is more complete and brighter than any other kind of folk art, it reproduces the world in all its integrity, complexity and beauty. The fairy tale provides the richest food for children's imagination, develops the imagination - this most important feature of the creator in any sphere of life. And the exact, expressive language of a fairy tale is so close to the mind and heart of a child that it is remembered for a lifetime. No wonder interest in this type of folk art does not dry out. From century to century, from year to year, classical recordings of fairy tales and literary adaptations of them are published and republished. Fairy tales are heard on the radio, broadcast on television, staged in theaters, filmed.

However, one cannot fail to say that the Russian fairy tale has been subjected to persecution more than once. The church struggled with pagan beliefs, and at the same time with folk tales. So, in the 13th century, Bishop Sera-Pion of Vladimir forbade "baying fables", and Tsar Alexei Mikhailovich in 1649 drew up a special letter with the requirement

Animation to put an end to "telling" and "buffoonery". Nevertheless, already in the XII century, fairy tales began to be recorded in handwritten books, included in the annals. And from the beginning of the 18th century, fairy tales began to appear in “front pictures” - publications where heroes and events were depicted in pictures with captions. But still, this century was severe in relation to fairy tales. Known, for example, are sharply negative reviews of the "peasant's tale" by the poet Antioch Cantemir and Catherine II; largely in agreement with each other, they were guided by Western European culture. The 19th century also did not bring the folk tale recognition of the officials of the protective direction. Thus, the famous collection of A. N. Afanasyev “Russian Children's Tales” (1870) caused claims by the vigilant censor as allegedly presenting to the children’s mind “pictures of the most rude selfish cunning, deceit, theft and even cold-blooded murder without any moralizing notes.”

And not only censorship fought the folk tale. From the middle of the same 19th century, well-known teachers took up arms against her. The fairy tale was accused of being “anti-pedagogical”, they were assured that it retards the mental development of children, frightens them with an image of the terrible, weakens the will, develops gross instincts, etc. Essentially the same arguments were advanced by opponents of this type of folk art both in the last century and in Soviet times. After the October Revolution, leftist educators added that a fairy tale leads children away from reality, arouses sympathy for those who should not be treated - for all sorts of princes and princesses. Some authoritative public figures, such as N. K. Krupskaya, also made similar accusations. Reasoning about the dangers of fairy tales stemmed from the general denial of the value of cultural heritage by revolutionary theorists.

Despite the difficult fate, the fairy tale lived, always had ardent defenders and found its way to children, connected with literary genres.

The influence of the folk tale on the literary tale comes through most clearly in the composition, in the construction of the work. The well-known researcher of folklore V.Ya.Propp (1895-1970) believed that a fairy tale strikes not even with fantasy, not with miracles, but with the perfection of composition. Although the author's tale is freer in plot, in its construction it obeys the traditions of the folk tale. But if its genre features are used only formally, if they are not organically perceived, then the author will fail. It is obvious that mastering the laws of composition that have evolved over the centuries, as well as conciseness, concreteness and the wise generalizing power of a folk tale, means for a writer to reach the heights of authorial art.

It was folk tales that became the basis of the famous poetic tales of Pushkin, Zhukovsky, Ershov, fairy tales in prose

(V.F. Odoevsky, L.N. Tolstoy, A.N. Tolstoy, A.M. Remizov, B.V. Shergin, P.P. Bazhov and others), as well as dramatic tales (S.Ya. Marshak, E. L. Schwartz). Ushinsky included fairy tales in his books "Children's World", "Native Word", believing that no one can compete with the pedagogical genius of the people. Later, Gorky, Chukovsky, Marshak and our other writers spoke passionately in defense of children's folklore. They convincingly confirmed their views in this area by modern processing of ancient folk works and writing literary versions based on them. Excellent collections of literary fairy tales, created on the basis of or under the influence of oral folk art, are published in our time by a variety of publishing houses.

Not only fairy tales, but also legends, songs, epics have become a model for writers. Individual folklore themes and plots have merged into literature. For example, the folk narrative of the 18th century about Yeruslan Lazarevich was reflected in the image of the main character and some episodes of Pushkin's Ruslan and Lyudmila. Lullabies based on folk motives are found in Lermontov (“Cossack lullaby”), Polonsky (“The Sun and the Moon”), Balmont, Bryusov and other poets. In essence, “By the Bed” by Marina Tsvetaeva, “The Tale of the Stupid Mouse” by Marshak, and “Lullaby to the River” by Tokmakova are lullabies. There are also numerous translations of folk lullabies from other languages made by famous Russian poets.

Results

Oral folk art reflects the entire set of rules of folk life, including the rules of education.

The structure of children's folklore is similar to the structure of children's literature.

All genres of children's literature have experienced and are experiencing the influence of folklore.

Songs Fairy Tale Games
Not fabulous

Small Folk Rites

forms (genres) Folk songs

Lyrics. Small folklore genres

Poetry of nurturing
Lullabies Pestushki - sentences, the first conscious movements of the child, often a kind of exercise with sentences	Bye-bye! Bye-bye! Sleep soon. Otherwise I'll take it out of the unsteadiness, I'll throw a fish into the sea, Eat, fish, Lilenka, Naughty! Podyagunyushki, pogogunyushki Across the plump, And in the hands - grabbing, And in the legs - walkers, And in the mouth - a talker, And in the head - the mind.
Nursery rhymes - songs and rhymes that accompany the first conscious games with fingers, hands, feet	Magpie - crow, Ladushki, Goat horned ...
Rhymes - plot entertaining songs that are not related to the game	Vanya, Vanya, simplicity I bought a horse without a tail, I sat down backwards And went to the garden.

Russian children's literature is closely connected with the world of folk art. At the same time, the folklorism of children's literature differs from the folklorism of adult literature. And the first thing here is the great, if I may say so, "seriousness" of folklore elements. Where an adult reader, perhaps with an understanding grin, distinguishes borrowing, processing or stylization, the child will see and feel the drama in real life.

Another characteristic feature of the folklorism of children's literature is the influence of children's folklore, not only classical, peasant, but also modern, urban, which, in turn, is strongly influenced by children's literature.

Proverbs - a short, stable saying in speech, which has the ability to use ambiguously in speech. Further into the forest - more firewood. They cut the forest - the chips fly. A wife is not a mitten - you can’t throw it off your hand ..

sayings - a figurative saying that defines any life phenomenon and gives it an assessment. Fell like snow on his head. Tired like a bitter radish ..

Important as expressive, well-aimed in their very form, the least subject to distortion, samples of oral folk speech and as monuments of long-established views on life and its conditions.

Proverbs and sayings merge with all other short sayings of popular experience or superstition: somehow: oaths, signs, interpretations of dreams and medical instructions.

Proverbs and sayings are signs of situations or certain relationships between things. By the nature of situations, everything that exists in nature can be divided into four large groups.

1. Relations between a thing and its properties are modeled (everything that lives is mortal).

2. Relationships between things are modeled (If there is water, there will be fish).

3. Relations between the properties of different things are modeled (From a large mountain and a great shadow).

4. Relationships between things are modeled depending on whether they have certain properties: if one thing has some property, and another thing does not have this property, then the first is better than the second (Own harrow is better than someone else's plow)

Mystery - type of oral art - an intricate allegorical description of an object or phenomenon, offered as a question for guessing; is given in order to test ingenuity, develops the ability for poetic fiction.

In riddles, the people imprinted their ancient views on the world of God: the bold questions asked by the inquisitive mind of man about the mighty forces of nature were expressed precisely in this form. Such a close relation of the riddle to the myth gave it the meaning of a mysterious vision, sacred wisdom, accessible mainly to divine beings. Among the Greeks, the monstrous sphinx asks riddles; Slavic legends attribute riddles to Baba Yaga, mermaids.

The answers of the ancient oracles, the teachings of the Celtic druids, the predictions of prophetic people were usually clothed in this mysterious language and in short sayings went among the people, as an expression of a higher mind and a truthful view of life and nature.

Many attributes of peasant life (for example, utensils, livestock, tools, occupations) are affected in riddles, and therefore one can get an idea of \u200b\u200ba specific historical time from them. From the riddles, conclusions can be drawn about the worldview of the people, about their attitude to nature, to other people, to religion, etc. The riddle testifies to a certain psychological level of development of a given people, to the logic inherent in this people.

The people themselves aptly defined the riddle: without a face in disguise. The subject that is conceived is hidden under a “mask” - an allegory or a hint, a roundabout speech, a bluff. The hidden objects are depicted by means of others that have a certain resemblance to those that are silent. The main poetic device in the riddle is a metaphor (similarity, animation).

omen - a distinctive property, a sign by which to recognize someone or something. In superstitious notions: a harbinger of something . Always points to some ratio.

For example, signs deduced from actual observations. These signs are more or less true, depending on the degree of fidelity of the observations themselves, and many of them perfectly describe the life of a peasant. If during the time when the land is plowed, dust rises and sits on the shoulders of the plowman, then we must expect a fruitful year, that is, the earth is loose and the grain will be free in a soft bed. The moon is pale - for rain, bright - for good weather, reddish - for the wind, if smoke spreads along the ground, then there will be a thaw in winter, rain in summer, and if it rises in a pillar - this is a sign of clear weather in summer and frost in winter.

Many signs seem to be caused by observation of the mores, habits and properties of domestic and other animals. Before a thunderstorm and a storm, cattle moo dully, frogs begin to croak, sparrows bathe in the dust, swallows fly low in the air.

The language and inclination of the people's mind had an important influence on the creation of omens, fortune-telling, dream interpretations and beliefs in general.

· You should not feed a child with fish - before the year is over for him; otherwise, he will not speak for a long time: like a fish is mute.

· One should not eat from a knife, so as not to become evil - in connection with the concepts of murder, massacre and bloodshed with a sharp knife

· Eggs should not be boiled where the hen sits, otherwise the embryos in the eggs laid under it will also die, as in those that are cooked.

Conspiracies (from the word "to speak") - in the early stages community development a verbal formula that supposedly had supernatural power. According to superstitious ideas: magic words that have witchcraft or healing power.

Conspiracies are fragments of ancient pagan prayers and spells, therefore they represent one of the most important and interesting materials for a researcher of prehistoric antiquity. Along with other oral records, they have undergone significant distortions - partly due to the crushing influence of time, partly due to the gap that the adoption of Christianity has made in the consistent development of popular beliefs. Despite this, conspiracies have preserved precious evidence for us.

Conspiracies had various purposes: love spells, lapels, slander, amulets ...

Songs - a musical and poetic art form. Poems for singing.

Ritual. These are wedding, funeral songs, lamentations and lamentations, carols, stoneflies, Trinity, Kupala, etc.

They serve as a necessary explanation of the various ceremonies and games performed on one occasion or another, and retain curious indications of ancient beliefs and a long obsolete way of life.

Calendar-ritual poetry. Ritual folklore includes works of folk art that are performed during any rite, they accompany this rite and are its integral part.

At the heart of the rites are the real concerns of the peasants about the great productivity of their labor, a good harvest, a well-coordinated family life, etc.

At the same time, it should be noted that rituals are one of the oldest types of folk culture. Their origin dates back to ancient times.

The circle of annual (calendar) rites opened with New Year's (Christmas) rites. Christmas time celebrated during the winter solstice (December 24 to January 6). The Christmas rituals are based on the magic of the first day of the year: the rituals performed at this time of the year, according to the performers, should have acted in a certain direction throughout the year.

During the Christmas time, various games, disguise and other actions that have a magical meaning were held. One of the most remarkable phenomena of the Christmas holidays was caroling - this is walking around the yards singing New Year's songs, which were called carols. For these song congratulations, carolers were rewarded with gifts - holiday treats.

Carol, carol"

You give me a pie

Or a slice of bread

Or a chicken with crest!

Cockerel with comb...

The next big annual holiday after Christmas time was Shrove Tuesday.

Pancake week- the most cheerful, the most reckless folk holiday, lasting a whole week (from Monday to Sunday).

Moreover, this celebration included both communal and family motives and was carried out according to a strictly scheduled order, which was reflected in the names of the days of Shrovetide week. Monday was called "meet" - this is the beginning of the holiday. Tuesday - "tricks". From that day on, various kinds of entertainment, disguise, and skating began. Wednesday - "Gourmet" she opened treats in all houses with pancakes and other dishes. Thursday - they called it “revelry”, “breaking point”, “broad Thursday”, this day was the middle of fun and revelry. Friday - "mother-in-law evening", the sons-in-law treated the mother-in-law. Saturday- "sister-in-law gatherings", young daughters-in-law took relatives to visit. Resurrection is the "seeing off", "the kisser", the "farewell day" of the horses of Shrovetide fun.

Pancakes were an obligatory subject of Maslenitsa treats. Shrovetide food had a ceremonial ritual character: it was assumed that the more plentiful the treat on this holiday, the richer the whole year would be.

The rite of meeting Maslenitsa was as follows. They made a stuffed animal out of straw, gave it the appearance of a woman with the help of old clothes, put it on a pole and drove it on a sleigh with songs through the village. Then a scarecrow - Maslenitsa was placed on a snowy mountain and where games and sleigh rides were held.

The rite of farewell to Maslenitsa and the songs accompanying it are already distinguished by a completely different, minor key. If the songs with which they met Maslenitsa were reminiscent of wedding - majestic, then those accompanying the ceremony of seeing off Maslenitsa were similar to "reproach" (from the word reproach - reproach) songs. In them Maslenitsa is reproached for deceiving people: she ruined them, ate everything and put them on a great post.

Meeting

Oh, yes, Maslenitsa, oh, it enters the yard,

Yes, wide, it enters the yard.

Yes, Maslenitsa, go quickly

Yes, wide, oh, come quickly.

Seeing off

Yes, Maslenitsa, oh, is moving out of the yard,

Yes, kurguzay, oh, she’s moving out from a wide courtyard ...

Yes, here, Maslenitsa, a post on a steep hill,

Yes, kurguza, on a steep hill ...

After Maslenitsa, there was a seven-week "great fast", so at that time, of course, there were no celebrations.

Spring meeting

The arrival of spring was expected and actively influenced its speedy arrival. They baked larks from the dough and the children ran down the street from the niches and celebrated Spring. The girls sang special “pearling songs”. In stoneflies, girls turned to larks (and sometimes to waders and bees) so that they would quickly fly in and bring Spring with them. (“red spring”, “warm summer”).

Spring Egoriev's day celebrated April 23rd. On this day, the herd was driven into the field for the first time. This important event of the peasants was furnished with rituals. On the eve of Yegoriev's Day, the youth, as during Christmas caroling, walked around the yards, sang songs that reflected the wishes of the owner and his cattle. These songs, like carols, usually ended with the demand for a gift. If the owners gave good gifts to the performers of the Yegorievsk carols, then they expressed the most good wishes, for example: “hundreds of cows, bulls, seventy heifers”, if they were not presented with gifts, then they said with resentment: “no stake, no yard, no chicken pen.”

Trinity

The seventh week after Easter was called Semitskaya. Thursday of this week was called semikom, and her last day was a holiday Trinity.

The main rite of the Semitsky week was the rite of "curling wreaths"

The girls were curling wreaths. At the ends of individual birch branches, without breaking them off, they wove wreaths, singing a song in which there were the words: “Curl you, birch, curl you curly.”

Let's go girls

Curl wreaths!

Let's make wreaths

Let's roll the green ones.

Stop my wreath

Green all week

And I, young

You've been young for a whole year.

A few days after the “curling”, the girls went to the forest, separated these wreaths from birches and walked with them to the river, where they guessed at the suitors. They threw wreaths into the water: where the wreath floats, there will be the groom.

These songs, accompanying fortune-telling on wreaths, are distinguished by sincerity, lyricism, and sometimes genuine drama.

Kupala holiday

The holiday of Ivan Kupala was celebrated on the day of the summer solstice, on the night of June 23-24. On this night, they collected herbs (especially ferns), which supposedly had healing powers. At the same time they kindled fires and jumped over them, poured water on each other, and bathed. All this, according to popular belief, had a cleansing value.

Ritual songs are based on the spontaneous materialistic worldview of the people. The leading images of these songs are taken from the surrounding peasant reality.

Christmas story. In the stories of this genre, writers embody the main ideas, themes, motifs, images, rooted in the plots of the Bible.

In the works, the writers realize the religious and moral content of the "Christmas kind of literature" and its main plots: about spiritual penetration, the redemption of man.

Ch. Dickens was one of the first in literature to start a "great campaign in defense of Christmas" and regarded his stories as a "Christmas mission".

Thanks to N.S. Leskov, the genre of the Christmas story received a "second birth" in Russian literature.

In the Christmas story, there is always an image of a child, who is most often destitute, lonely, unhappy. The motif of suffering, weeping, rooted in the Gospel, invades the joyful atmosphere of Christmas fun: “Christmas as the threshold of the “passion of the Lord”, which in the future were prepared for the baby Jesus. Also during the Christmas week, the Church commemorates the fourteen thousand babies who were killed on the orders of King Herod in Bethlehem when Christ was born.

The happy denouement is traditional and convincingly touching.

Heroic songs consist in close connection with folk traditions and legends. Their basis is an ancient lyrical legend. The influence of Christianity and further historical life touched only the names and the situation: instead of lyrical heroes, historical figures or saints were substituted, instead of demonic forces - the name of hostile peoples. But the very course of the story, its plot and denouement, its marvelous nature, remained untouched.

The main characters of the Russian epic are Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich.

spiritual verses – a collective concept adopted to refer to folklore and literary musical and poetic works of various genres, united by a common Christian religious content. In terms of their content, spiritual verses go back to book sources (the Bible, the lives of the saints, legends, apocrypha).

Spiritual poems are an integral part of the Russian folk epic. Heroes of spiritual verses - Egory the Brave, Dmitry Solunsky, Anika the warrior, Alexy the man of God. These are also heroes, but special - spiritual heroes, each of which carries out the deepest moral ideas.

The creators of Kaliki's spiritual verses are passable. Epic Kaliki also beg for alms. But at the same time, it is emphasized everywhere that not in strength, not in prowess, they are not inferior to the heroes, and often surpass them.

These kaliki heal and empower Ilya Muromets. Among the epic heroes there is Kalika the bogatyr, beating a strongman who has no estimate, and not just anywhere, but in those fields and on the Kulikovs. No less significant is the image of another epic kalika - the strong wise Ivanishcho, with whom even Ilya Muromets does not dare to engage in single combat.

The famous “Pigeon Book” (wise, deep) quite eloquently testifies to the significance of the poetic creativity of the kaliks of the passers-by.

Children's folklore

This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from the oral folk art of adults. That is, the structure of children's folklore is no different from the structure of children's literature.

V.I. Dahl, K.D. Ushinsky, A.N. Afanasiev, K.I. Chukovsky and others.

Lullabies. At the center of all “maternal poetry” is the child. He is admired, he is cherished and cherished, decorated and amused. Essentially, it is the aesthetic object of poetry. The baby is surrounded by a bright, almost ideal world, in which love, goodness, and universal consent reign and win.

Gentle monotonous songs are necessary for the transition of the child from wakefulness to sleep. In her songs for the baby, the mother includes what is understandable and pleasant to him. These are “gray cat”, “red shirt”, “a piece of cake and a glass of milk”, “crane” ... there are usually few words-concepts. The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle.

fiction – fiction, and living message.

Changelings – from turn over (turn over, turn over).

nonsense – the same as nonsense.

Fables, shifters, absurdities- This is a kind of joke genre. Thanks to the "shifters", children develop a sense of humor, precisely as an aesthetic category. This type of joke is also called the "poetry of paradox." The pedagogical value lies in the fact that, by laughing at the absurdity of the fable, the child is strengthened in the correct idea he has already received about the world.

K.I. Chukovsky devoted a special work to this type of folklore, calling it "Stupid absurdities." He considered this genre extremely important for stimulating the child's cognitive attitude to the world and very well substantiated why children like nonsense so much. The child constantly has to systematize the phenomena of reality. Hence the increased interest in games and experiments, where the process of systematization, classification is put forward in the first place. "Shifters" in a playful way help the child to establish himself in the knowledge already acquired, when familiar images are combined, familiar pictures are presented in a ridiculous mess.

In the midst of the sea, the sheep is on fire.

The ship runs across the open field.

The men on the street beat the stakes.

They beat the stakes - they catch fish.

A bear flies through the sky

Wagging his long tail.

The absurd shifters attract with the comical assessments, the ridiculous depiction of life's incongruities.

invocations - from the word "call" - "call, ask, invite, address."

This is an appeal to the sun, rainbow, rain, birds. Children ask the rain to "let down", "water all day", "pour more", so that the rain streams are equal to the "thick reins".

The sun is referred to as:

The sun is a bucket,

Look out, light up!

Rainbow-arc, kill the rain!

Your children are crying

Drink - want to eat.

Games also belong to children's folklore. "Wolf and sheep"; "Bear in the forest"; "Wolf and Geese"; "Kite", etc.

Tongue Twisters - artificially, for the sake of fun, a reworked phrase with an unpronounceable selection of sounds, which must be pronounced quickly, without stammering.

They gave Clasha porridge with curdled milk,

Klasha ate porridge with curdled milk.

little babbler

Milk chatted, chatted

Don't blurt out.

The tree has needles.

Rhythm - in children's games: a rhyme pronounced in a chant, which is accompanied by the distribution of roles in the game.

The basis is the account. And counting rhymes amaze with a heap of meaningless words and consonances. But nonsense could not live long in folklore, and meaningful disparate phrases, separate words began to penetrate into the counting rhyme. From the words that make up the counting rhyme, some content was woven, and soon plot provisions appeared:

An apple rolled, a hare ran through the swamp

Past the garden, He was looking for a job

Past the garden, Yes, I did not find work,

Past the city. I cried and went

Who will raise

That one will come out.

Rhythms represent a kind of play with words, rhythm, and this is their artistic function. The clear rhythm of the counting rhyme "Aty - baty, soldiers were walking" resembles the step of a soldier's company.

teasers - nicknames and offensive nicknames passed from among adults, but softened. Often appeared as a rhyming addition.

Arkhip is an old mushroom.

Adding some new verse to this nickname turned the nickname into a teaser.

Some of the teasers condemn sneakiness, gluttony, laziness and theft: sneak is trouble, cockroach food; a thief - a thief, stole an axe.

But in the children's environment, teasers caused a protest: "Teased - a dog's snout."

One of the components of the phenomenon of "culture of childhood", along with " artistic creativity” in general and “communicative behavior” is children's folklore as an organic part of the entire folk culture and, at the same time, a completely special, original area of \u200b\u200bpoetic creativity. One layer of children's folklore is traditional, ancient, based on the connection of the child with the adult world and going back to the village tradition with its mythology and imagery. This is classic children's folklore, addressed either to children of lullaby age, or created by children themselves until about 10-11 years old.

School folklore is also directly related to children's folklore. In England, school folklore began to be studied in the 50s of the twentieth century, in the USA and Finland - in the 70s, in our country - in the 80s.

Among the forms and types of school culture there are quite traditional and non-traditional, born of our time. Improvisational games are among the traditional forms.

Among the genres of school folklore, the most prominent are "horror stories" or "horror stories". Children's "horror stories" are a certain version of " scary stories» adults, they synthesized in themselves elements of bylichka, fairy tales and the representation of children from the era of the scientific and technological revolution. An indispensable attribute of horror stories is radio, TV, tape recorder, computer, robot. Ordinary, real objects and phenomena from the surrounding world have become mythological characters: a glove, a sheet, threads, a stain, curtains, a doll, a nail, eyes, a plate, a ribbon, a cookie, a flower, shoes, a piano ...

Another type of traditional culture of teenagers, mostly girlish, is albums, album poems, stories. The poetic texts in the album (mainly about love), with all their naive innocence, bear the stamp of everyday programming and are some kind of guides and advice about love. Three types of primitive poems are clearly identified: instructional poems; wish poems; dedication poems.

Understand that twice two is four

Understand that the earth is spinning

Understand that there is love in the world

Understand that I love you.

If friendship breaks between us,

If there is no love in the heart,

Then you do not need to store my photo:

Look, smile and break.

On many pages of the album there are phrases, sayings of a proverbial nature, heard, taken from songs, less often from books read. They satisfy the girl's need to experience, to suffer the innermost feeling of first love or the expectation of it. Their “function” is to serve as such an edification: “To love a person for appearance, it's like loving a book for its beautiful cover, without knowing its contents.

The albums of the 90s differ little in content and structure from the albums of the 40s, but they contain different songs, a lot of modern hits, and most importantly, they are not so puritanical.

Another traditional genre of school folklore is joke. Per last years many anecdotes about Chapaev, Stirlitz, Cheburashka, Gena the crocodile, Vovochka, celebrities, etc.

Non-traditional genres and types of "school folklore" include "sadistic poetry" which, according to the researchers, occupy a leading position in the school, predominantly boyish environment. However, sadistic poems that cultivate cruelty and sadism should not be published for a wide range of readers.

Folklore and fiction

RESULTS

Oral folk art reflects the entire set of rules of folk life, including the rules of education.

The structure of children's folklore is similar to the structure of children's literature.

All genres of literature for children and youth have experienced and are experiencing the influence of folklore.

& Tasks

Solve the hardest riddle. Find out who is the smartest.

Give examples of proverbs about morality.

Compare proverbs from different nations.

Compare the riddles of different peoples of the world.

MYTHS IN CHILDREN AND YOUTH
READING

Myth and fairy tale. Myth and legend. Ancient literature. Homeric epic. pagan myth.

Fairy tale and myth

Story	Myth
DIFFERENCES
Tells about ordinary people ("noble" or "low" origin)	Tells about the deeds of gods and heroes
Perceived by listeners as fantasy, fiction; is told mainly for the purpose of entertaining (to a lesser extent - with a moralizing)	Perceived by listeners as a reflection of the real world order in images; conveys the worldview and attitude of the people, explains the world, its laws
The narrator and listeners do not believe in what is being told	The narrator and the listener believe in what is being told, perceive it as a revelation
The tale is told by the narrator to the listeners	The myth is often played out in front of listeners - spectators or takes on the appearance of a rite
Public	Has a sacred character ("hidden", secret knowledge)

This is oral folk art. Its genres are very diverse and specific. These works were invented by representatives of the people and passed on to each other orally. There were singers and storytellers, and anyone who wished could become a co-creator.

What are the features of folklore works?

The peculiarity of the oral is its ancient origin, because such works were created at a time when there was no written language. Often many people participated in the creation of one work, each adding something of his own when retelling. This is another feature - variability, because even one storyteller or singer could not repeat the works many times without changes.

Everyone knows what Genres are, almost all of them have survived to this day. Each of them reflects the thoughts and aspirations of the people, their attitude to current events. Ritual folklore occupies a large place in oral folk art. Although this layer of folk culture is almost unknown now.

What are the genres of folklore?

How is folklore used in raising children?

What genres of oral folk art have long been used by parents in raising a child? In addition to fairy tales and epics, children were accompanied by nursery rhymes, jokes and songs from birth. They were used not only to calm and attract the attention of the child. These works are The best way early development of thinking of kids.

Until now, all mothers sing folk lullabies to children, most of them use nursery rhymes and sentences when dressing, bathing and the first games of babies. Rhymes, riddles and tongue twisters are very important for the development of the child's thinking. In the children's environment, teasers, sayings and ditties are common.

Currently, many young people do not know what oral folk art is. Its genres, even the most common ones, began to be forgotten. And the task of parents, educators and teachers is to instill in children a love for folklore as an integral part of folk culture.

Irina Khoreva
Article "History of the emergence of oral folk art".

Education and upbringing of children historically with the development of mankind. In order to preserve themselves as a species on Earth, already primitive people were interested in passing on to the younger generation the experience of obtaining food, protection from bad weather, etc. These initial types of training and education, when the child mastered knowledge, skills, skills in the process of joint activities with adults, imitating them. The new generation, having taken the experience of their ancestors, used it, making improvements. Along with work experience, the experience of communicating with other people was also passed on. These relations from generation to generation were fixed, developed and improved in language, symbols.

With the development of Russian folk culture, there were rules for the education and upbringing of children, advice and instructions, prohibitions and permissions. Already in the oldest Russian chronicles, in oral folk art, especially in fairy tales and proverbs, the idea is affirmed that a person is educated and taught, that the most valuable human quality is virtue and it must be instilled, it must be taught, because the cause of many human vices is ignorance, ignorance. Virtue is the ability to act well, and to act well, in our case, to possess communication skills.

One of the effective means of educating a person, in the family and not only, is folklore like inexhaustible source of art, the foundation folk culture, effective remedy aesthetic education of children, the proven experience of each people. The strength of folklore as a means of family education lies in the fact that its content teaches children to distinguish between good and evil, as well as behavior "it's possible", "it's impossible", "this is good", "this is bad", teaches children to give answers to various life questions.

Listening to the works oral folk art, the child, with the help of his parents, draws conclusions about his behavior, trying to avoid the mistakes of the heroes. Children perceive folklore works well due to their humor, unobtrusiveness, familiar life situations.

Folklore- priceless wealth people, developed over the centuries, a view of life, society and the rules of behavior and communication in it.

Many centuries ago, when there was no written language, oral folklore emerged, fulfilling the same role that the literature later played.

For kids people created wonderful fairy tales, songs, nursery rhymes, riddles, sayings, jokes, etc. Works oral folk art has not lost its impact on the child today. Deep moral ideas, dreams and beliefs are reflected in these works. people. Simple and convincing "He speaks" a fairy tale about the victory of good over evil, truth over lies, about the triumph of justice. The positive hero of a fairy tale always wins. The fairy tale shows work as the basis of life - a hardworking hero is rewarded, a lazy one is punished. Reason, resourcefulness, courage, wisdom are glorified in the fairy tale.

Most of the songs, nursery rhymes, jokes were created in the process of working in nature in everyday life, in the family. Hence their clarity, rhythm, brevity and expressiveness. Over the centuries people took and kept passing from mouth to mouth, from generation to generation, these little masterpieces full of deep wisdom, lyricism, humor. Thanks to the simplicity and melodiousness of the sound, children, when playing, easily memorize them, acquiring a taste for a figurative, apt word, learning to use it in their speech. This draws the depth of influence on the child of small poetic forms. oral folk art. They also have a moral influence - they awaken in the child a sense of sympathy, love for the people around him, for all living things, interest and respect for work.

With amazing teaching talent "leads" people a child from simple play nursery rhymes to complex poetic images of fairy tales; from amusing, soothing lines to situations that require the tension of all mental strength from a small listener.

Related publications:

The use of oral folk art in the mathematical development of preschoolers Introduction Teaching mathematics should not be a boring activity for a child, since children's memory is selective. The child only learns

The educator is faced with the task of laying in children the seeds of love and respect for the book, the artistic word, folklore. I came to the conclusion.

The influence of oral folk art on the moral education of children Municipal Autonomous Preschool educational institution – Kindergarten№141 "Teremok" Consultation "Influence of oral folk art.

The influence of oral folk art on the development of speech of children 4–5 years old Educator: Nikolaenko O. N. Topic: “The influence of oral folk art on the development of the speech of children 4-5 years old” The purpose of the work: combining efforts.

Children junior group"Teremok" and teacher Yarovenko T.V. took part in a regional seminar on the development of speech of preschoolers using.

The use of oral folk art in working with young children The development of a child at an early age, in many respects, determines his personal development, in general. In this regard, it is very important to use.

Immensely oral folk art. It has been created for centuries, there are many varieties of it. Translated from of English language"folklore" is "folk meaning, wisdom". That is, oral folk art is everything that is created by the spiritual culture of the population over the centuries of its historical life.

Features of Russian folklore

If you carefully read the works of Russian folklore, you will notice that it actually reflects a lot: the play of the people's imagination, and the history of the country, and laughter, and serious thoughts about a person's life. Listening to the songs and tales of their ancestors, people thought about many difficult issues of their family, social and working life, thought about how to fight for happiness, improve their lives, what a person should be like, what should be ridiculed and condemned.

Varieties of folklore

Varieties of folklore include fairy tales, epics, songs, proverbs, riddles, calendar refrains, greatness, sayings - everything that was repeated passed from generation to generation. At the same time, the performers often introduced something of their own into the text they liked, changing individual details, images, expressions, imperceptibly improving and honing the work.

Oral folk art for the most part exists in a poetic (poetic) form, since it was it that made it possible to memorize and pass these works from mouth to mouth for centuries.

Songs

The song is a special verbal-musical genre. It is a small lyric-narrative or lyrical work that was created specifically for singing. Their types are as follows: lyrical, dance, ritual, historical. The feelings of one person are expressed in folk songs, but at the same time, many people. They reflected love experiences, events of social and family life, reflections on a difficult fate. In folk songs, the so-called parallelism technique is often used, when the mood of a given lyrical hero is transferred to the nature.

Historical songs are dedicated to various famous personalities and events: the conquest of Siberia by Yermak, the uprising of Stepan Razin, the peasant war led by Emelyan Pugachev, the battle of Poltava with the Swedes, etc. The narrative in historical folk songs about some events is combined with the emotional sound of these works.

epics

The term "epic" was introduced by IP Sakharov in the 19th century. It is an oral folk art in the form of a song, heroic, epic in nature. The epic arose in the 9th century, it was an expression of the historical consciousness of the people of our country. Bogatyrs are the main characters of this kind of folklore. They embody the national ideal of courage, strength, patriotism. Examples of heroes depicted in works of oral folk art: Dobrynya Nikitich, Ilya Muromets, Mikula Selyaninovich, Alyosha Popovich, as well as the merchant Sadko, the giant Svyatogor, Vasily Buslaev and others. The vital basis, while enriched with some fantastic fiction, is the plot of these works. In them, heroes single-handedly overcome entire hordes of enemies, fight monsters, instantly overcome huge distances. This oral folk art is very interesting.

Fairy tales

Epics must be distinguished from fairy tales. These works of oral folk art are based on invented events. Fairy tales can be magical (in which fantastic forces participate), as well as everyday ones, where people are depicted - soldiers, peasants, kings, workers, princesses and princes - in everyday situations. This type of folklore differs from other works in its optimistic plot: in it, good always triumphs over evil, and the latter is either defeated or ridiculed.

legends

We continue to describe the genres of oral folk art. A legend, unlike a fairy tale, is a folk oral story. Its basis is an incredible event, a fantastic image, a miracle, which are perceived by the listener or the narrator as reliable. There are legends about the origin of peoples, countries, seas, about the suffering and exploits of fictional or real-life heroes.

Puzzles

Oral folk art is represented by many mysteries. They are an allegorical image of some object, usually based on a metaphorical rapprochement with it. Riddles in volume are very small, have a certain rhythmic structure, often emphasized by the presence of rhyme. They are designed to develop ingenuity, ingenuity. Riddles are diverse in content and themes. There may be several of their variants about the same phenomenon, animal, object, each of which characterizes it from a certain point of view.

Proverbs and sayings

Genres of oral folk art also include sayings and proverbs. A proverb is a rhythmically organized, short, figurative saying, aphoristic folk saying. It usually has a two-part structure, which is reinforced by rhyme, rhythm, alliteration and assonance.

A proverb is a figurative expression that evaluates a certain phenomenon of life. She, unlike the proverb, is not a whole sentence, but only a part of the statement, which is part of oral folk art.

Proverbs, sayings and riddles are included in the so-called small genres of folklore. What is it? In addition to the above types, they include other oral folk art. The types of small genres are complemented by the following: lullabies, pestles, nursery rhymes, jokes, game refrains, incantations, sentences, riddles. Let's take a closer look at each of them.

Lullabies

Small genres of oral folk art include lullabies. People call them bikes. This name comes from the verb "bait" ("bait") - "to speak". This word has the following ancient meaning: "to speak, whisper." Lullabies got this name not by chance: the oldest of them are directly related to incantation poetry. Struggling with sleep, for example, the peasants said: "Dryomushka, get away from me."

Pestushki and nursery rhymes

Russian oral folk art is also represented by pestushki and nursery rhymes. In their center is the image of a growing child. The name "pestushki" comes from the word "nurture", that is, "follow someone, raise, nurse, carry, educate." They are short sentences that comment on the baby's movements in the first months of a baby's life.

Imperceptibly, the pestles turn into nursery rhymes - songs that accompany the baby's games with fingers and toes. This oral folk art is very diverse. Examples of nursery rhymes: "Magpie", "Okay". They often already have a "lesson", an instruction. For example, in "Magpie" the white-sided woman fed everyone with porridge, except for one lazy person, although the smallest one (the little finger corresponds to him).

jokes

In the first years of children's lives, nannies and mothers sang songs for them of a more complex content, not related to the game. All of them can be designated by a single term "jokes". Their content resembles small fairy tales in verse. For example, about a cockerel - a golden scallop that flew to the Kulikovo field for oats; about a hen ryaba, which "blew peas" and "sowed millet."

In a joke, as a rule, a picture of some bright event is given, or some swift action is depicted in it, corresponding to the active nature of the baby. They are characterized by a plot, but the child is not capable of long-term attention, so they are limited to only one episode.

Sentences, invocations

We continue to consider oral folk art. Its views are supplemented by invocations and sentences. Children on the street very early learn from their peers a variety of nicknames, which are an appeal to birds, rain, rainbows, and the sun. The children, on occasion, shout out the words in a sing-song voice. In addition to the incantations, in a peasant family, any child knew the sentences. They are most often spoken alone. Sentences - an appeal to a mouse, small bugs, a snail. This may be an imitation of various bird voices. Verbal sentences and song calls are filled with faith in the forces of water, heaven, earth (sometimes beneficial, sometimes destructive). Their pronunciation attached to the work and life of adult peasant children. Sentences and invocations are combined into a special department called "calendar children's folklore". This term emphasizes the existing connection between them and the season, the holiday, the weather, the whole way of life and the structure of life in the village.

Game sentences and refrains

Genres of folklore works include play sentences and refrains. They are no less ancient than invocations and sentences. They either connect parts of some game, or start it. They can also play the role of endings, determine the consequences that exist when conditions are violated.

The games are striking in their resemblance to serious peasant occupations: harvesting, hunting, sowing flax. The reproduction of these cases in strict sequence with the help of repeated repetition made it possible to instill in the child from an early age respect for customs and the existing order, to teach the rules of behavior accepted in society. The names of the games - "Bear in the Forest", "Wolf and Geese", "Kite", "Wolf and Sheep" - speak of a connection with the life and life of the rural population.

Conclusion

No less exciting colorful images live in folk epics, fairy tales, legends, songs than in the works of art of classical authors. Peculiar and surprisingly accurate rhymes and sounds, bizarre, beautiful poetic rhythms - like lace weave in the texts of ditties, nursery rhymes, jokes, riddles. And what vivid poetic comparisons we can find in lyrical songs! All this could be created only by the people - the great master of the word.