Oral folk art represents an extensive layer of Russian culture, formed over many centuries. The works of Russian folklore reflect many of the feelings of the people and their experiences, history, serious thoughts about the meaning of life, humor, fun and much more. Most of the works of oral folk art exist in poetic form, which made it possible to memorize them well and pass them on from generation to generation orally.

Small genres of folklore include works of small volume: ditties, nursery rhymes, jokes, proverbs, riddles, lullabies, fables, tongue twisters. Sometimes they are referred to children's folk art, because in ancient times a person's acquaintance with these works occurred at an age when he did not even speak. These works are interesting for their brightness, accessibility, understandable form for everyone.

Small genres of Russian folklore:

Russian folk proverbs

Russian proverbs and sayings - are a short, rhythmically organized, figurative folk statement, often instructive, instructive content, these are a kind of folk aphorisms. They often consist of two parts, supported by rhyme, have rhythm, characteristic alliteration and assonances.

Russian folk rhymes

Folk rhymes are rhymed short stories, songs and rhymes, combined with simple movements, designed to entertain the child, train his memory, develop fine motor skills of hands and coordination of movements, harmonious development of the child as a whole, through an unobtrusive play form.

Russian folk jokes

Jokes or amusements are small, funny, often rhyming works that tell in a bright, entertaining way about interesting events that happened to its heroes. They are distinguished by dynamic content, energetic actions of the characters, designed to interest the child, develop his imagination, bring positive emotions.

Russian folk tales

Russian folk tales are small fairy tales, sometimes presented in a rhymed form, the plot of which is built on meaningless, illogical events. Their task is to amuse the listener, instill in the child a sense of humor, logic, imagination and develop the whole process of thinking as a whole.

Russian folk tongue twisters

Russian tongue twister is a short humorous phrase built on a combination of hard-to-pronounce sounds, invented by our ancestors for entertainment and now used to correct problems with speech and diction.

Russian folk ditties

Russian ditties - the breadth of the soul of a Russian person, his subtle sense of humor and the beauty of the poetic soul in short, biting, soul-stirring, making you laugh and cry in melodic rhymed quatrains.

Russian folk riddles

The Russian riddle is an interrogative allegorical description of objects and phenomena, a special kind of entertaining, witty genre, designed to make a person think, be quick-witted, develop his memory and attention.

Russian folk lullabies

The Russian lullaby is a quiet, rhythmic and melodic tune designed to calm the child and put him to sleep, accompanied by a slight rocking of the baby cradle.

Introduction

There is a huge number of works devoted to the forms of manifestation of folklore consciousness, folklore texts. Linguistic, stylistic, ethnographic features of folklore texts are researched; their compositional structure, including images and motifs; analyzes the moral aspect of folklore and, accordingly, the importance of folklore in the upbringing of the younger generation, as well as much more. In this huge stream of literature on folklore, its diversity and diversity is striking, ranging from folk wisdom and the art of memory to a special form of social consciousness and a means of reflecting and cognizing reality.

Folklore includes works that convey the main important ideas of the people about the main values ​​of life: work, family, love, public duty, homeland. Our children are brought up on these works even now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.

Folklore is a synthetic art form. Often in his works elements of various types of art are combined - verbal, musical, choreographic and theatrical. But the basis of any folklore work is always the word. Folklore is very interesting to study as the art of the word.

Folklore

The emergence of oral folk art

The history of oral folk art has general patterns covering the development of all its types. The origins to be sought in the beliefs of the ancient Slavs. Folk art is the historical basis of the entire world culture, the source of national artistic traditions, the spokesman for the people's self-consciousness. Verbal creativity in ancient times was closely connected with human labor activity. Reflected his religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Man sought to influence his destiny, the forces of nature through various spells, requests or threats. That is, he tried to negotiate with the "higher forces" and neutralize hostile forces. To do this, a person needed strict adherence to a number of rules that showed their salvation in the time of their ancestors. However, if these rules are not observed, then turmoil will begin in nature, and life will become impossible. The totality of rites is the only effective guarantee against all kinds of bad influences that inspire fear and fear. The rites were a reproduction of mythological stories and included dancing, singing, disguise.

At the heart of Russian artistic culture is ancient Slavic mythology. Many ancient peoples created their own mythological pictures of the structure of the Universe, which reflected their belief in numerous gods - the creators and rulers of the world. Explaining the origin of the world as the deeds of the gods, ancient man studied creativity. He himself could not create mountains, rivers, forests and land, heavenly bodies, which means that such myths reflected belief in supernatural forces that participated in the creation of the universe. And the beginning of all things could only be the primary element, for example, the world egg or the will of the gods and their magic word. For example, the Slavic myth about the creation of the world tells:

That it all started with the god Rod. Before the white light was born, the world was shrouded in pitch darkness. In the darkness was only Rod - the Progenitor of all things. In the beginning, the Family was enclosed in an egg, but the Family gave birth to Love - Lada, and by the power of Love destroyed the dungeon. Thus began the creation of the world. The world is filled with Love. At the beginning of the creation of the world, He gave birth to the kingdom of heaven, and under it created the heavenly. With a rainbow he cut the umbilical cord, and with a stone firmament he separated the Ocean from the heavenly waters. He erected three vaults in the heavens. Divided Light and Darkness. Then the god Rod gave birth to the Earth, and the Earth plunged into a dark abyss, into the Ocean. Then the Sun came out of His face, the Moon - from His chest, the stars of heaven - from His eyes. Clear dawns appeared from Rod's eyebrows, dark nights from His thoughts, violent winds from His breath, rain, snow and hail from His tears. Rod's voice became thunder and lightning. By birth, heaven and all under heaven were born for Love. Rod is the Father of the gods, He is born by himself and will be born again, He is what was and what is to be, what was born and what will be born.

It was inherent in the mythological consciousness of our ancestors to connect various gods, spirits and heroes with family and clan relations.

The ancient cult of the gods is associated with certain rituals - conventionally symbolic actions, the main meaning of which is communication with the gods. The ancient Slavs performed rituals in temples and sanctuaries - specially equipped places for worshiping the gods. They were usually located on hills, in sacred groves, near sacred springs, etc.

Ancient myths gave rise to and reflected various forms of religious life of people, in which various types of artistic activity of people were born (singing, playing musical instruments, dance, the basics of fine and theatrical art).

As noted earlier, folklore originates in ancient times. It originated and arose when the vast majority of mankind did not yet have a written language, and if it did, then this was the lot of a few - educated shamans, scientists and other geniuses of their time. In a song, a riddle, a proverb, a fairy tale, an epic, and other forms of folklore, people first formed their feelings and emotions, imprinted them in an oral work, then transferred their knowledge to others, and thereby saved their thoughts, experience, feelings in the minds and heads of their future generations. descendants.

Life in those distant times was not easy for the majority of living people, it remains so and will inevitably always be so. Many have to work hard and routinely, earning themselves only a small bread, with difficulty providing a tolerable existence for themselves and their loved ones. And people have long guessed that you need to distract yourself, those around you and your colleagues in misfortune from everyday work, with something fun, distracting attention from topical everyday life and unbearable conditions of hard work.

• What is oral folk art? Tell using key words.
  author-people, word of mouth, dream of happiness, small folklore works, fairy tales (about animals, household, magic), magical objects, fabulous transformations.

Oral folk art is small folklore works created by anonymous authors and passed from mouth to mouth. The story is one of ancient species oral folk art. Fairy tales are divided into magical, everyday, about animals. Because the storytellers were simple people, they kept and passed on to each other only those stories that corresponded to their ideas about beauty, kindness, honesty, justice and nobility of the soul, carried the dream of happiness. The events in the fairy tale take place in such a way as to repeatedly test the hero: his strength, courage, kindness, love for people and animals. Therefore, the hero is often rescued by fabulous items and miraculous transformations.

• Complete your statement. Find the information you need in a handbook, encyclopedia, or the Internet.

Oral folk art - works created by anonymous authors and passed from mouth to mouth. Songs, fairy tales, epics, proverbs, sayings, riddles - these are all works of oral folk art. In ancient times, they were composed by talented people from the people, but we do not know their names, because beautiful songs, fascinating tales, wise proverbs were not written down, but were transmitted orally from one person to another, from one generation to another. When telling a fairy tale or performing a song, each storyteller or singer added something from himself, omitted something, changed something to make the fairy tale even more entertaining and the song even more beautiful. That is why we say that the author of songs, epics, fairy tales, proverbs, ditties, riddles is the people themselves. Acquaintance with the treasures of folk poetry helps to get to know our Motherland more deeply.

• What types of folk art do you know?

Fairy tales, riddles, incantations, fables, epics, tales, songs, tongue twisters, nursery rhymes, proverbs, sayings.

• Make a list of books with a friend that can be placed in the exhibition "Folk Art".

Russian folk tales. Proverbs and sayings. Puzzles. Jokes and jokes. Folk lyric songs. Legends. Epics. Spiritual verses. Ballads. Jokes. Chastushki. Fables. Tongue Twisters. Lullaby songs.

• Prepare a story about one of the Russian folk crafts (Gzhel, Khokhloma, Dymkovo toy). Perhaps, in the place where you live, some other kind of folk art is developed. Prepare a message about him, first make a plan for your story.

Dymkovo toy

Dymkovo toy is one of the Russian folk clay art crafts. It originated in the settlement Dymkovo, near the city of Vyatka (now in the territory of the city of Kirov). This is one of the oldest crafts in Russia, which arose in the XV-XVI centuries. For four centuries, the Dymkovo toy has reflected the way of life of many generations of craftsmen. The appearance of the toy is associated with the spring holiday Whistle, for which the female population of the Dymkovo settlement sculpted clay whistles in the form of horses, rams, goats, ducks and other animals; they were painted in different bright colors. Later, when the holiday lost its significance, the craft not only survived, but also received further development. Dymkovo toy is a handmade product. Each toy is the creation of one master. Making a toy from modeling to painting is a creative process that never repeats. There are no and cannot be two absolutely identical products. For the production of Dymkovo toys, local bright red clay is used, thoroughly mixed with fine brown river sand. The figurines are molded in parts, individual parts are assembled and molded using liquid red clay as a binder. Traces of molding are smoothed out to give the product a smooth surface. For more than four hundred years of the existence and development of the Dymkovo craft, traditional themes, plots and images have developed in it, the expressive means inherent in very plastic red pottery clay, simple (geometric pattern) mural ornaments, which are dominated by red, yellow, blue, have been displayed and consolidated. , green colors. Halftones and imperceptible transitions are generally alien to the Dymkovo toy. All of it is an overflowing fullness of feeling the joy of life. Bright, elegant Dymkovo toy does not like "loneliness". Quite often, the masters of the Dymkovo craft create whole thematic compositions in which there is a place for both people and animals, both animate and inanimate objects. Not only a person, a horse, a dog or a deer can appear before the audience, but also a tree, a decorative fence, a carriage, a sleigh, a Russian stove ... In the 19th century, from 30 to 50 families of toy makers lived and worked in the Dymkovo settlement. Entire dynasties were formed - Nikulins, Penkins, Koshkins ... The shape and proportions, color and ornament in their products had their own characteristics. At that time, the Dymkovo toy consisted of single figures of people, animals, birds, whistles, carrying ancient images - people's ideas about the world. Dymkovo toy has become one of the symbols of the Kirov region, emphasizing the originality of the Vyatka region, its ancient history.

Genres of folklore and literature. Epos, lyrics and drama in oral folk art and literature. Similarities and differences between folk and literary fairy tales.

Theme: Epic genres UNT and literary genres

Lesson: UNT epic genres and literary genres

Hello! Today we will talk about genres. We already know that a genre is the “clothing by which a work is greeted, these are the general signs by which works can be recognized and put on a par with others that are similar. Ie .. group The concept of a genre is characteristic of each type of art, and of course, for literature too.

In the past lessons, we got acquainted with such a genre of oral folk art as a fairy tale, we learned that a folk tale has its own genre features.

But can we say that the fairy tale is the only genre of oral folk art? Of course not.

And can we say that "The Scarlet Flower", "The Traveling Frog", "The Black Hen, or Underground Inhabitants", "The Town in a Snuffbox" are not fairy tales, because they do not belong to oral folk art - they were created by writers? No, it's just a fairy tale.

I must say that genres are also grouped - into genres of literature)

It turns out that the genre is like brothers from one mother, and the genus is a combination of several families

There are three kinds of literature: epic, lyric, and drama or "theatre".

Lyrics combine works where it is important to convey the feelings of an individual. In a lyrical work, the author always speaks in the first person: "I". It can be a folk song or a poem written by a poet, for example.

Drama is what is made to be presented on stage.

An epic is all works that convey a view of events, thoughts about events from the perspective of a group of people, society, people. The author always speaks from the point of view of "we", it is interesting for the reader to follow the development of the action. Epic are both works written by someone, and folk works.

Who divided literature into epic, lyric and drama?

Epos (ancient Greek ἔπος - “word”, “narration”) - a heroic story about the past

Lyrics (from the Greek lýga - a musical instrument, to the accompaniment of which poems, songs were performed

Drama (ancient Greek δρᾶμα - act, action)

All these words are of Greek origin. This is no coincidence. For the first time, the genres of literature were divided by the Greek thinker - the philosopher Aristotle.

Rice. 1. Sculptural portrait of Aristotle

He lived almost 400 years BC, that is, 2 and a half thousand years ago. He is the creator of many independent sciences. In addition, he was the mentor of the great Alexander the Great and inspired him to reach the ends of the earth. Without Aristotle, perhaps, there would not have been the captivating campaigns of the great Alexander.

We will talk more about the genres of the epic today.

Yes, of course, because we are eagerly following the development of the plot, we are interested to know what will happen next

And in a fairy tale invented by a writer, is it important, interesting to follow the plot twists? Also interesting. So, this is also an epic genre. So, a fairy tale is an epic genre that is characteristic of both oral folk art and literary, author's). Large genres of oral folk art include: a fairy tale, an epic, a legend, a tale ...

And what genres do the works of different writers belong to? It will probably be easier to start from the names of writers you know. So: What did Hans Christian Andersen write? - fairy tales. And Bazhov's "Silver Hoof" and "Stone Flower" are a tale (history is a border guard between a fairy tale and a story) And Nikolai Nosov's "Patch" - what is it? That's right, a story. Short story with a small amount heroes and one event. And if it is a captivating imagination, often an adventurous story of one event, it is called a short story. When there are several events and more heroes than in a story, this is already a story. “Timur and his team” by Arkady Gaidar has a whole team of boys, and a lot of events happen in their lives. How about more stories? When the years of a hero's life pass before us, can you fit them into a story? No. It's already a novel. Perhaps you have read the novels by Jules Verne "Children of Captain Grant" or Alexandre Dumas "The Three Musketeers" Fairy tales can be folk, or they can be invented by the writer on the basis of a folk tale or completely independently. Such fairy tales are called literary. The laws for creating such fairy tales are somewhat different from the “rules” for telling folk tales, and we will definitely discuss what this difference is. Today was a very difficult lesson. Theoretical. A very important lesson. In order to better understand a literary work, it is very important to be able to immediately consider, “by clothes”, “what we are dealing with.” And knowledge about the genres of literature will help us in this.

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 different types 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 took place 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” claims 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 art forms, but also a combination of 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 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 toward hyperbole, parallelism, 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 the oral creativity of 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 conquer.

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 clear 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 can perceive meaning, and not just rhythm and musical mode, they will bring him the first information about the plurality of objects, about the account. 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 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 the 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 he has already received about the world.

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 absurdity 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 a leader is chosen, the game or some stage of it starts. 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 their 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.

A 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-faced ram, he changed all the rams”). 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 exploits 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 epos, 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 perfect for expressing and preserving fundamental human truths, the foundations of human existence.

Telling fairy tales was a common hobby in Rus', 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 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 achieves success, 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 to 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 invoke 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 fortunate circumstances.

For centuries, the everyday satirical tale has 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, A. N. Afanasiev’s famous collection “Russian Children’s Tales” (1870) provoked the claims of a vigilant censor as allegedly presenting to the children’s mind “pictures of the most rude self-serving 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 the 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 takes 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 folklore researcher 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.