Collecting folklore. I

Scientific publications Russian folklore began to appear in the 30-40s of the 19th century. First of all, these are collections by Moscow University professor I.M. Snegirev "Russian common holidays and superstitious rituals" in four parts (1837-1839), "Russian folk proverbs and parables" (1848).

Valuable materials are contained in the collections of the folklorist scientist I.P. Sakharov “Tales of the Russian people about the family life of their ancestors” (in two volumes, 1836 and 1839), “Russian folk tales” (1841).

Gradually, wide public circles became involved in the work of collecting folklore. This was facilitated by the Imperial Russian Geographical Society created in 1845 in St. Petersburg. It had an ethnography department that was actively involved in collecting folklore in all the provinces of Russia. From nameless correspondents (rural and urban teachers, doctors, students, clergy and even peasants) the Society received numerous recordings of oral works, which formed an extensive archive. Later, much of this archive was published in “Notes of the Russian Geographical Society for the Department of Ethnography.” And in Moscow in the 60-70s, the “Society of Amateurs” was engaged in the publication of folklore Russian literature". Folklore materials were published in the central magazines "Ethnographic Review" and "Living Antiquity", in local periodicals.

In the 30-40s P.V. Kireevsky and his friend the poet N.M. Languages ​​widely expanded and led the collection of Russian folk epic and lyrical songs (epics, historical songs, ritual and non-ritual songs, spiritual poems). Kireevsky was preparing materials for publication, but his untimely death did not allow him to fully implement his plans. During his lifetime, the only collection was published: spiritual poems. “Songs collected by P.V. Kireevsky” were first published only in the 60-70s of the 19th century (epics and historical songs, the so-called “old series”) and in the 20th century (ritual and non-ritual songs, “new series” ).

In the same 30-40s, V.I.’s collecting activities took place. Dalia. He recorded works of various genres of Russian folklore, however, as a researcher of the “living Great Russian language,” Dahl focused on preparing a collection of small genres that are closest to colloquial speech: proverbs, sayings, proverbs, etc. In the early 60s, Dahl’s collection was published "Proverbs of the Russian people." In it, all the texts were grouped for the first time according to a thematic principle, which made it possible to objectively present the people’s attitude to various phenomena of life. This turned the collection of proverbs into a genuine book of folk wisdom.

Another detailed folklore publication was the collection of A.N. Afanasyev’s “Russian Folk Tales”, to which Dahl also made a great collecting contribution, who gave Afanasyev about a thousand fairy tales he recorded.

Afanasyev's collection was published in 8 issues from 1855 to 1863. There are a little more than a dozen fairy tales recorded by Afanasyev himself; he mainly used the archives of the Russian Geographical Society, the personal archives of V.I. Dalia, P.I. Yakushkin and other collectors, as well as materials from ancient handwritten and some printed collections. Only the best material was published in the first edition. Approximately 600 texts in the collection covered a huge geographical space: the places of residence of Russians, as well as partly Ukrainians and Belarusians.

The publication of Afanasyev's collection caused a wide public response. It was reviewed by prominent scientists A.N. Pypin, F.I. Buslaev, A.A. Kotlyarevsky, I.I. Sreznevsky, O.F. Miller; in the Sovremennik magazine, N.A. gave a positive assessment. Dobrolyubov.

Later, fighting Russian censorship, Afanasyev managed to publish the collection “Russian Folk Legends” (1859) in London and the collection “Russian Treasured Tales” anonymously in Geneva in 1872.

Afanasyev's collection was partially translated into various foreign languages, and completely translated into German. In Russia it went through 7 complete editions.

From 1860 to 1862, simultaneously with the first edition of Afanasyev’s collection, a collection by I.A. Khudyakov "Great Russian Tales". New trends were expressed in the collection by D.N. Sadovnikov "Tales and legends of the Samara region" (1884). Sadovnikov is the first who paid close attention to an individual talented storyteller and recorded his repertoire. Of the 183 tales in the collection, 72 were recorded from Abram Novopoltsev.

In the middle of the 19th century, a significant event occurred in the history of collecting Russian folklore: an actively existing living epic tradition was discovered in the Olonets region. Its discoverer was P.N., who was exiled to Petrozavodsk in 1859 for political activities. Rybnikov. While working as an official in the governor's office, Rybnikov began to use official travel to collect epics. Over the course of several years, he traveled around a vast territory and recorded a large number of epics and other works of oral folk poetry. The collector worked with outstanding storytellers T.G. Ryabinin, A.P. Sorokin, V.P. Shchegolenko and others, from whom other folklorists subsequently recorded.

In 1861-1867, a four-volume edition of “Songs collected by P.N. Rybnikov” was published, prepared for publication by P.A. Bessonov (1 and 2 volumes), Rybnikov himself (3 volumes) and O. Miller (4 volumes). It included 224 recordings of epics, historical songs, and ballads. The material was located according plot principle. In the 3rd volume (1864), Rybnikov published “A Collector’s Note,” in which he outlined the state of the epic tradition in the Onega region, gave a number of characteristics to the performers, and raised the question of the creative reproduction of epics and the personal contribution of the storyteller to the epic heritage.

Following in the footsteps of Rybnikov, in April 1871, the Slavic scholar A.F. went to the Olonets province. Hilferding. In two months, he listened to 70 singers and recorded 318 epics (the manuscript was more than 2000 pages). In the summer of 1872, Hilferding again went to the Olonets region. On the way, he became seriously ill and died.

A year after the collector’s death, “Onega epics, recorded by Alexander Fedorovich Hilferding in the summer of 1871. With two portraits of Onega rhapsodes and melodies of epics” (1873) were published. Hilferding was the first to apply the method of studying the repertoire of individual storytellers. He arranged the epics in the collection according to the storytellers, with biographical information provided. As a general introductory article Hilferding's last journal publication, “Olonets Province and Its Folk Rhapsodes,” was published.

The 60-70s of the 19th century were a true heyday of collecting activity for Russian folkloristics. During these years, the most valuable publications of various genres were published: fairy tales, epics, proverbs, riddles, spiritual poems, spells, lamentations, ritual and extra-ritual songs.

At the beginning of the 20th century, work continued on collecting and publishing folklore. In 1908, a collection by N.E. was published. Onchukov "Northern Tales" - 303 tales from Olonets and Arkhangelsk provinces. Onchukov arranged the material not according to plots, but according to storytellers, citing their biographies and characteristics. Later, other publishers began to adhere to this principle.

In 1914, a collection by D.K. was published in Petrograd. Zelenin "Great Russian Tales" Perm province". It includes 110 fairy tales. The collection is preceded by Zelenin's article "Something about storytellers and fairy tales of the Yekaterinburg district of the Perm province." It characterizes the types of storytellers. The material in the collection is arranged according to the performers.

The collection of brothers B.M. became a valuable contribution to science. and Yu.M. Sokolov "Tales and songs of the Belozersky region" (1915). It includes 163 fairy tale texts. The accuracy of the recording can serve as a model for modern collectors. The collection is compiled based on materials from the expeditions of 1908 and 1909 to the Belozersky and Kirillovsky districts of the Novgorod province. It is equipped with a rich scientific apparatus. Subsequently, both brothers became famous folklorists.

Thus, in the 19th and early 20th centuries, a huge amount of material was collected and the main classic editions Russian oral folk art. This was of enormous importance both for science and for the entire Russian culture. In 1875, writer P.I. Melnikov-Pechersky in a letter to P.V. Sheinu described the significance of the work of folklorists-gatherers as follows:

“For a quarter of a century I traveled a lot around Russia, wrote down a lot of songs, legends, beliefs, etc., etc., but I could not have set foot if there had not been the works of the late Dahl and Kireevsky, there had not been your published works from Bodyansky, the works of L. Maykov, Maksimov and - may the Lord calm his drunken soul in the depths of Abraham - Yakushkin. I find your comparison of your work with the work of an ant not entirely fair.<...>You are bees, not ants - your job is to collect honey, our job is to cook honey (hudromel). If it weren’t for you, we would be brewing some kind of dank kvass, not honey.<...>Not even half a century will pass before the people's ancient traditions and customs dry up, old Russian songs will fall silent or become distorted under the influence of tavern and tavern civilization, but your works until distant times, until our later descendants, will preserve the features of our ancient way of life. You are more durable than us." 1

In the first decades of the 20th century, Russian folkloristics finally defined itself as a scientific discipline, separating itself from other sciences (ethnology, linguistics, literary criticism).

In 1926-1928, the brothers B.M. went on an expedition “in the footsteps of P.N. Rybnikov and A.F. Hilferding.” and Yu.M. Sokolovs. The materials of the expedition were published in 1948. Records of epics of 1926-1933 from the collections of the Manuscript Repository of the Folklore Commission at the Institute of Ethnography of the USSR Academy of Sciences were included in the two-volume publication by A.M. Astakhova "Epics of the North". The collection of epics continued throughout the war and post-war years. The materials of three expeditions to Pechora (1942, 1955 and 1956) made up the volume “Epics of Pechora and the Winter Coast”.

Many new recordings of fairy tales, songs, ditties, works of non-fairy tale prose, proverbs, riddles, etc. were made. In the publication of new materials, firstly, the genre, and secondly, the regional principle prevailed. Collections reflecting the repertoire of a particular region, as a rule, consisted of one or a few related genres.

Collectors began to purposefully identify workers' folklore, folklore of hard labor and exile. Civil and Great Patriotic War also left their mark on folk poetry, which did not escape the attention of collectors.

Classic collections of Russian folklore were republished: collections of fairy tales by A.N. Afanasyeva, I.A. Khudyakova, D.K. Zelenin, collection of proverbs by V.I. Dahl, a collection of riddles by D.N. Sadovnikova and others. Many materials from old folklore archives were published for the first time. Multi-volume series are published. Among them are “Monuments of Russian Folklore” (Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences, St. Petersburg) and “Monuments of Folklore of the Peoples of Siberia and the Far East” (Russian Academy of Sciences; Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Novosibirsk).

There are centers for the philological study of Russian folklore, with their own archives and periodicals. This is State republican center Russian folklore in Moscow (publishing the magazine "Living Antiquity"), the Russian folk art sector of the Institute of Russian Literature (Pushkin House) Russian Academy Sciences in St. Petersburg (yearbook "Russian folklore: Materials and research"), Department of Folklore of the Moscow state university them. M.V. Lomonosov (collections "Folklore as the Art of Words"), as well as regional and regional folklore centers with their archives and publications ("Siberian Folklore", "Folklore of the Urals", "Folklore of the Peoples of Russia", etc.). 2

In the study of folklore, one of the leading places is occupied by the Saratov School of Folklore Studies, the history of which is connected with the names of Moscow University professor S.P. Shevyrev, songwriter N.G. Tsyganov, local historian A.F. Leopoldov, member of the Saratov Scientific Archival Commission A.N. Mincha; subsequently - professors at Saratov State University - B.M. Sokolova, V.V. Bush, A.P. Skaftymova. Professor T.M. made a great contribution to the study of folklore. Akimov and V.K. Arkhangelskaya. 3

Records of folklore during the period of Old Russian literature (XI-- 391 XVII centuries). As was said in the previous chapter, Russian literature makes extensive use of folklore already at the earliest stages of its formation and development. Various genres of folklore (traditions, legends, songs, fairy tales, proverbs and sayings) are included in the chronicle collection “The Tale of Bygone Years” (beginning of the 12th century), in “The Tale of Igor’s Campaign” (end of the 12th century), “Zadonshchina” ( the end of the XIV century), “The Tale of Peter and Fevronia” (XV century), “The Tale of Misfortune-Grief” (XVII century) and other monuments of ancient Russian literature.

It is possible that some folklore works, before getting into literature, they were first written down. For example, scientists believe that “Zadonshchina” and “The Tale of Peter and Fevronia” were created on the basis of recorded folklore legends and stories. In manuscripts of the 16th century. Scientists have discovered records of fairy tales. From the 17th century The names of collectors of Russian folklore have reached us. For example, it is known that for the English traveler Richard James in 1619-1620. In the Arkhangelsk region, historical songs were recorded about the events of the era of “Troubles”. Another English traveler, Collins, wrote down two tales about Ivan the Terrible between 1660 and 1669. In 1681, folk lyrical songs were recorded by P. A. Kvashnin-Samarin.

In the 17th century works of almost all genres of Russian folklore were recorded. For example, the fairy tales “About Ivan Ponomarevich”, “About the Princess and Ivashka the White Shirt”, etc., epics about Ilya Muromets, Mikhail Potyk and Stavr Godinovich, many legends, songs, proverbs and sayings.

By the 17th century The tradition of compiling handwritten folklore collections is ascending. At this time, there were many handwritten songbooks among the people, which, in addition to literary poems with spiritual content, also included folk songs. From the 17th century A handwritten collection of “Tales or popular proverbs in alphabetical order” has reached us. The collection included about 2800 proverbs.

Collection, study and publication of folklore in the 18th century. The tradition of compiling handwritten folklore collections continues in the 18th century. There are especially many handwritten songbooks that contain literary and folk songs. The 18th century marks the beginning of the development of folkloristic thought in Russia. Scientific interest in folklore in the first half of the 18th century. associated with the names of V. N. Tatishchev, V. K. Trediakovsky and M. V. Lomonosov.

V.N. Tatishchev (1686-1750) turned to the study of folklore while working on “Russian History...”. He draws on folklore as a historical source. Tatishchev studies folklore from chronicles and in real life. Characterizing ancient Russian history, Tatishchev touches on the epics about Ilya Muromets, Alyosha Popovich, Nightingale the Robber and Duke Stepanovich. He was also interested in other genres of folklore. Tatishchev, for example, compiled a small collection of proverbs.

Unlike the historian V.N. Tatishchev, the poet V.K. Trediakovsky (1703-1768) had a philological, rather than historical, interest in folklore. Trediakovsky studies folklore as a source of poetic phraseology and the national metric system. In the practice of Russian literature before Trediakovsky's reform, syllabic versification was used. Having studied the features of Russian folk versification, Trediakovsky, in his treatise “A New and Brief Method for Composing Russian Poems” (1735), proposed a system of syllabonic versification, which was later used by all Russian literary poetry. Trediakovsky’s individual remarks about the peculiarities of the language of Russian folk poetry are interesting. In particular, he notes the constant folklore epithets “tight bow”, “white tent”, etc.

More higher value in the study of Russian folk poetry are the works and individual statements of M.V. Lomonosov (1711-- 1765). Growing up in the North, Lomonosov was well acquainted with all genres of Russian folklore (fairy tales, epics, songs, proverbs and sayings). He also studies folklore from chronicles and handwritten collections. In his works, Lomonosov talks about folklore as a valuable source of information in pagan rituals, talks about conducting calendar holidays. Following Trediakovsky, Lomonosov studies folk versification and in his work “Letter on the Rules of Russian Poetry” (1739) further develops the theory of syllabic-tonic versification. Lomonosov studies the language of folk poetry to understand the national characteristics of the Russian language. Folk proverbs and he uses sayings in his works “Rhetoric” (1748) and “Russian Grammar” (1757). In his works on the history of Russia, Lomonosov uses folklore as a historical source.

IN mid-18th century V. S. P. Krasheninnikov is engaged in collecting folklore for historical and ethnographic purposes. In 1756, the first volume of his work “Description of the Land of Kamchatka” was published, which talks about the rituals of the Kamchadals and contains a number of folk songs. A.P. Sumarokov responded to S.P. Krasheninnikov’s book “Description of the Land of Kamchatka” with a review that expressed his views on folk poetry. Sumarokov evaluates the folklore of the Kamchadals mainly from an aesthetic point of view. The pathos of Sumarokov's review is the struggle for simplicity and naturalness in poetry.

The work of collecting Russian folklore intensified in the last third of the 18th century. If earlier folklore records were concentrated in handwritten collections, now they, like literary works, are published. For the first time, samples of Russian folklore were published in N.G. Kurganov’s “Pismovnik” (1796). More than 900 proverbs, about 20 songs, several fairy tales and anecdotes were published in the appendices to the “Pismovnik”.

In the future, separate collections are dedicated to various genres of Russian folklore. So, M.D. From 1770 to 1774 Chulkov published “Collection of Various Songs” in four parts, N.I. Novikov in 1780-1781. publishes in six parts “New and complete collection Russian songs", V. F. Trutovsky for the period from 1776 to 1795 published in four parts "Collection of Russian simple songs with notes." At the end of the 18th century. Less significant songbooks are also published:

“New Russian Songbook” (parts 1--3,

1790--1791), “Selected Songbook” (1792),

“Russian Erata” by M. Popov (1792), “Pocket Songbook” by I. I. Dmitriev (1796), etc.

The greatest value for us is the collection of N. Lvova --I. Pracha “Collection of Russian folk songs with their voices...” (1790). This is the only collection of the 18th century in which folk songs are published in their original form, without any editorial changes. In the period from 1780 to 1783, V. A. Levshin’s collection “Russian Fairy Tales” was published in 10 parts. Literary and folk works are presented here in processing. In addition to fairy tales of a magical and heroic nature, the collection also contains everyday fairy tales, in which satirical elements predominate. Folk tales in processed form are also published in the collections 394 “A Cure for Thoughtfulness” (1786), “Russian Fairy Tales Collected by Pyotr Timofeev” (1787), “Peasant Tales” (1793), in the collection of V. Berezaisky “Anecdotes of the Ancient Poshekhonets” ( 1798) etc.

Collections of proverbs appear. Thus, A. A. Barsov published “Collection of 4291 ancient proverbs” in 1770. N.I. Novikov republished this collection in 1787. Two years earlier, the poet I. F. Bogdanovich published the collection “Russian Proverbs,” in which folklore material was selected biasedly and subjected to significant literary processing.

The second merit of Russian enlighteners half of the XVIII V. (N.G. Kurganova, M.D. Chulkova, V.A. Levshina, N.I. Novikova and others) is that they were able to correctly assess the importance of Russian folklore in the development national literature, have done a great job of publishing (albeit in edited form) folk songs, fairy tales, proverbs and sayings. In his literary creativity they used folklore to depict folk customs and morals.

In the person of A. N. Radishchev (1749--1802) Russian educational thought of the 18th century. receives its highest development, rises to a truly democratic, revolutionary consciousness.

Radishchev's revolutionary beliefs determined the special nature of his use of folklore, a fundamentally new understanding of folk art. Radishchev speaks for the first time about folklore as an exponent of the people's worldview. In folk songs, Radishchev saw “the formation of the soul of our people.” They, according to Radishchev, reflected not only the everyday side of life, but also the social ideals of the people. They serve to comprehend the Russian national character. In “Journey from St. Petersburg to Moscow” (1790), Radishchev draws on folk art as material that reveals the true soul of the oppressed people, their painful situation under serfdom. It is for these purposes that in the chapter “Gorodnya” he cites the laments of the mother and bride for the recruit. Let us note that this is the first publication (albeit of literary treatment) of folk laments.

A.N. Radishchev uses folklore as a means of achieving not only nationality, but also genuine realism and deep psychologism. Thus, in the chapter “Copper”, against the background of a cheerful round dance song “There was a birch tree in the field,” Radishchev, in contrast, deeply truthfully, with great psychological force, depicts the picture of the sale of serfs. The problem of the folk singer, first put forward by Radishchev, is of no small importance both for literature and for folklore studies. The image of the folk singer is drawn by Radishchev in the chapter “Wedge” of “Travels from St. Petersburg to Moscow.” The singing of the old blind singer as portrayed by Radishchev is true art, “penetrating into the hearts of the listeners.” Then Radishchev once again turned to the topic of folk singers in his poem “Songs Sung at Competitions in Honor of Ancient Slavic Deities” (1800-1802). Here folk singers and poets act as the spiritual leaders of the people. It is curious that Radishchev’s “Songs...” in its poetic imagery and style have some features of “The Tale of Igor’s Campaign,” which Radishchev, like many of his contemporaries, considered not a literary, but a folklore monument.

From what has been said, it is obvious that the 18th century represents an important stage in the prehistory of Russian folkloristics as a science. At this time, significant folklore material is collected and published, and its significance as a phenomenon of national culture is correctly assessed. Radishchev expresses the most valuable idea about 396 folk songs as an expression of the soul of the people.

At the same time, it should be noted that in the 18th century. Russian folkloristics has not yet formed as a science. Folklore has not yet been recognized as an independent object of research; it is not yet clearly separated from literature. In most collections, folklore works are placed together with literary works. Folk works published in literary form. At this time, specifically folkloristic research methods and techniques had not yet been developed.

Epics. Historical songs. Ballads

Compiled by A. Kalugina, V. Kovpik

The book that we offer to the reader publishes the best examples of the song epic of the Russian people: epics, historical and ballad songs, as well as skomoroshins. They reflected in poetic form, on the one hand, historical consciousness people, the idea of ​​serving the Motherland, love for the native land, for agricultural work, for close people, and on the other hand, denunciation of enemies encroaching on Rus' and ruining cities and villages, condemnation of atrocities, ridicule human vices and base actions.

Epics - heroic epic Russian people, dating back to the times of Kievan Rus - until the middle of the 20th century. were preserved mainly in the Russian North (Arkhangelsk region, Karelia) in the mouths of storytellers who called these songs “old times” or “old-time songs”. The term “epic” in relation to them was introduced in the 30s. XIX century collector and publisher of folklore I.P. Sakharov, who borrowed it from “The Tale of Igor’s Campaign” (the author of which tells the story “according to the epics of this time,” and not according to the ancient “glory” songs in honor of the princes, created by the prophetic singer Boyan).

Now this may seem strange, but back in the middle of the 19th century. our domestic science did not have information either about the existence of epics or about their performers - and this at a time when the Bogatyr epic, as we now know, was still widespread in Russia! The reason for this phenomenon can be found in Peter’s reforms, as a result of which the educated strata of Russian society joined European culture and at the same time they alienated themselves from the bulk of their people - the peasants - so much so that they had only the most approximate understanding of Russian folk art (and sometimes of the language itself: it is no coincidence that Pushkin’s Tatyana, “Russian in soul,” “speaks bad Russian knew” and “expressed herself with difficulty in her native language”). The situation began to change only in the era of romanticism, which awakened the attention of educated Russian society to the creations of the “national spirit”, transmitted orally among the largely illiterate peasantry. In the 1830-1850s. Activities began to collect works of folklore, organized by the Slavophile Pyotr Vasilyevich Kireevsky (1808–1856). Kireyevsky's correspondents and himself recorded about a hundred epic texts in the central, Volga and northern provinces of Russia, as well as in the Urals and Siberia, but these recordings saw the light only in 1860–1874, when Kireyevsky's collection of folk songs was published by P. A. Bessonov.

Until the middle of the 19th century. epics were known to the Russian reader only from the collection of Kirsha Danilov, the first (heavily abridged) edition of which, entitled “Ancient Russian Poems,” was published in Moscow in 1804, the second (much more complete) in 1818 (“Ancient Russian Poems” , collected by Kirsha Danilov"). It was believed, however, that the songs presented in this book had already ceased to exist among the people. The very identity of the compiler of this collection of works of folk song epic, as well as the place, time and circumstances of its origin, remained a mystery until recently, when, through the work of scientists who undertook extensive historical and archival research, it was established that Kirill Danilov was a factory foreman in Demidov Nizhny Tagile. Possessing an extensive folklore repertoire, in the middle of the 18th century. recorded it (or dictated it for recording) on ​​behalf of the owner of the factories, Prokofy Akinfievich Demidov, who, in turn, wanted to convey these songs as important historical source famous historian, Academician Gerard-Friedrich (“Fedor Ivanovich”, as he was called in Russian) Miller. It is very likely that Kirill Danilov ended up beyond the Urals not of his own free will: in Russia, for a different song, one could be exiled “to places not so distant” both in the 20th and 18th centuries. The phrase dropped by P. A. Demidov in a letter to G.-F makes one think so. Miller on September 22, 1768: “I got [this song] from the Siberian people, because all the intelligent fools are sent there, who past history sing with their voices."

A real shock for the scientific world was the discovery in the middle of the 19th century. living tradition of the epic epic, and not far from St. Petersburg - in the Olonets province. The honor of this discovery belongs to Pavel Nikolaevich Rybnikov (1831–1885), a populist exiled to Petrozavodsk under police supervision. Serving in the provincial statistical committee, Rybnikov in 1859-1863. made business trips around the province, during which he discovered dozens of epic experts - storytellers - and wrote down 165 texts of epics from them, which he published in 1861–1867. This is how the collector describes his first meeting with epics (during an overnight stay on Shui-navolok, an island 12 versts from Petrozavodsk):

“I lay down on a sack near a skinny fire, made myself some tea in a saucepan, drank and ate from the travel supply, and, warming myself by the fire, quietly fell asleep; I was awakened by strange sounds: before that I had heard a lot of songs and spiritual poems, but I had never heard such a tune. Lively, whimsical and cheerful, sometimes it became faster, sometimes it broke off and in its harmony resembled something ancient, forgotten by our generation. For a long time I didn’t want to wake up and listen to the individual words of the song: it was so joyful to remain in the grip of a completely new impression. Through my drowsiness, I saw that several peasants were sitting three steps away from me, and a gray-haired old man with a full white beard, quick eyes and a good-natured expression on his face was singing. Squatting down by the extinguished fire, he turned first to one neighbor, then to the other, and sang his song, sometimes breaking it up with a grin. The singer finished and began to sing another song: then I realized that the epic was being sung about Sadka the merchant, the Rich Guest. Of course, I was immediately on my feet, persuaded the peasant to repeat what he sang and wrote down his words. He began to ask if he knew anything. My new acquaintance, Leonty Bogdanovich, from the village of Seredki, Kizhi volost, promised to tell me many epics: about Dobrynyushka Nikitich, about Ilya Muromets and about Mikhail Potyk son Ivanovich, about the daring Vasily Buslavevich, about Khotenushka Bludovich, about forty Kalik with Kalika, about Svyatogor Bogatyr..."

Encouraged by P. N. Rybnikov’s find, domestic folklorists in the 2nd half of the 19th – early 20th centuries. undertook many expeditions, mainly to the Russian North, where new centers of preservation of the song epic were discovered and thousands of epic texts were recorded from hundreds of storytellers (in total, the epic researcher Professor F. M. Selivanov counted about 3,000 texts representing 80 epic plots by 1980 ). Unfortunately, by our time, epics have completely disappeared from living existence and are now only majestic cultural heritage the bygone past of our country and people. The condition for the preservation of the epics was the complete faith of the storytellers in the veracity of the events they described (this was repeatedly noted by folklorists), in the reality of the Bogatyrs who single-handedly defeated enemy troops, the Nightingale the Robber, who knocked down the Bogatyr’s horse with a whistle, the winged Serpent of Tugarin and other wonders of the artistic world of the epic epic. . Shocks of the 20th century in the world and society, the spread of school education, changes in the worldview and life of the Russian peasant destroyed this naive faith, and epics were doomed to extinction.

The question of the relationship between the epic epic and historical reality(the so-called “problem of historicism of the Russian epic”), which caused heated debate in both the 19th and 20th centuries (especially between historians and philologists).

Collectors and researchers of folklore have long paid attention to the “foldability” of Russian proverbs.

A study by I. I. Voznesensky “On the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.” is specifically devoted to the consideration of the poetic form of proverbs and genres close to them. (Kostroma, 1908), which has not lost its significance to this day.

At the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that “the proverb for the most part appears in measured or folded form" or that "the form of a proverb is more or less short saying“, often expressed in folded, measured speech, often in metaphorical / poetic / language,” but there is still no detailed research on the question of what exactly “warehouse and measure” are.

In proverbs, not only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence. Here are examples of such proverbs: “If you endure, you will fall in love”; “What’s said and done”, “It was and it was gone”.

We will look at several areas of folklore collectors.

Since we started with proverbs and sayings, we will begin the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection “Proverbs of the Russian People,” was half Danish by blood and Lutheran by religion.

Returning from the voyage, Dahl was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on a crossroads. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: “Rejuvenates...

And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dal takes out a notebook and writes: “To rejuvenate” - otherwise cloudy - in the Novgorod province means to be covered with clouds, when talking about the sky, it tends towards bad weather. This entry became the seed from which the Explanatory Dictionary grew 45 years later.

But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.

Dahl saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's talk and all the shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new, previously unheard words.

In 1832, V.I. Dal’s serious literary activity began. Capital magazines publish his articles under the pseudonym “Vladimir Lugansky” or “Cossack Lugansky” - after the name of his hometown. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.

He agrees with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works quickly gain enormous success.

In the spring of 1832, Dahl again sharply turned his fate - he went to distant Orenburg as an official of special assignments under the military governor. Dahl is a collegiate assessor official of the 8th class, which corresponds to a major in the army.

Traveling around Cossack villages and nomadic camps, Dal discovered for himself the special world of the troubled Russian borderland. He not only observed orders and customs, not only wrote down words, he acted, treated the sick, interceded for the offended. “Fair Dal,” the steppe people called him.

In Orenburg, he met with Pushkin, who came to the distant region to collect material on the history of the Pugachev rebellion. Together they traveled to the places where Pugachev’s movement began and asked old people. Then Pushkin advised Dahl to study literature seriously; he probably also suggested the idea of ​​taking up the dictionary in earnest.

Dahl's last meeting with Pushkin took place in the tragic December days of 1837 in St. Petersburg, where Dahl arrived on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend’s apartment and did not leave him until the end.

Pushkin was treated by palace doctors, Dahl was a military doctor.

Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded man throughout the last night.

The publication of an explanatory dictionary and a collection of Russian proverbs required huge money. Dahl made the decision to work and earn money, save for the future, so that in old age he would be able to devote himself to what he loves.

In the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled about Dahl: “Taking advantage of his position, he sent out circulars to all officials inside Russia, instructing them to collect and deliver to him local morals, songs, sayings, etc.” But it was not officials who made up Dalev’s collections with their offerings. The fame of Dahl, not only a writer and essayist, but also an ascetic, who took on a national cause on his shoulders, spread more and more widely. From all over Russia, well-wishers send him their meetings, lists of rare words and sayings. It was a time of awakening interest in society in everyday life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent out an “Ethnographic Circular” to all parts of Russia with a proposal to study the life of the population of all regions.

The time has ended when the geography of France and life Ancient Rome educated people knew more than their own, domestic ones. Magazines, one after another, inform the public about Dahl’s asceticism and ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

“During his ten-year stay in the Nizhny Novgorod province, Dahl collected a lot of materials to geographically indicate the distribution of various dialects,” writes Melnikov-Pechersky.

The Nizhny Novgorod province presents a remarkable uniqueness in this regard.

Still would! The famous Makaryevskaya fair was an event of European significance. Here trade routes of East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, textiles and industrial goods from the West - everything that was produced in the vast expanses Russian Empire, everything that was imported from neighboring countries was exhibited and sold in the lowland space filled with shops near the mouth of the Oka. 86 million rubles in silver - this was the trade turnover of the Makaryevskaya Fair in those years.

The new era uprooted peasants from their centuries-old homes and mixed them into common boiler, and so the language was created, which Dahl called living Great Russian .

Dahl perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dahl on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. “He grew up exactly in the village, was fed in the tents, was given water on the stove,” they used to say about him, “and how well he felt, how pleased he was when he was among our kind and intelligent people!”

Dahl was by nature oberuk - that is, he could handle both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whichever hand was convenient), he was just as oberuk in relation to his fate: we cannot I can only call it a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a collection of proverbs, including more than thirty-one thousand sayings, literary works occupying almost four thousand pages of text, numerous articles, a collection of songs, fairy tales, etc.

In his declining years, Dahl settled in Moscow. His house has been preserved - a spacious mansion on Presnya. Here Dahl’s titanic, ascetic work was completed - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary. Dahl devoted three to four hours a day to this activity for decades. He rewrote the collected proverbs in duplicate and cut them into “straps.” One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. Another one was pasted into the alphabet notebook for the key word - these are examples for the Explanatory Dictionary. Over half a century, Dahl explained and provided examples in about two hundred thousand words. If you derive the “average figure,” it turns out that with a twelve-hour working day, he wrote down and explained one word every hour for half a century. But he not only collected and recorded, he created, served, lived!...

The explanatory dictionary of the living Great Russian language contains: “Sayings written, conversational, common, general, local, regional, everyday, scientific, trade and craft, foreign language, learned and re-used, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into its wealth, you cannot believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

Now, from a temporary distance, we deeply thank Dahl for his tremendous work. A dictionary, essays on everyday life, a collection of proverbs are for us one of the sure keys to unlocking a bygone era. Dahl brilliantly accomplished his task - to give in words, proverbs, pictures of everyday life an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further it goes, the more valuable it will be for future generations. -

Volgogradsky

State Institute of Arts and Culture

ABSTRACT

By subject: "Ethnography and folklore"

On this topic : "Folklore Collectors"

Completed

Group student

3RTP AND OZO

Makarov Gennady

Checked by the teacher:

Slastenova I.V.

VOLGOGRAD 2005

Collectors of Russian folklore.

WITHCollectors and folklore researchers have long paid attention to the “foldability” of Russian proverbs.

A study by I. I. Voznesensky “On the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.” is specifically devoted to the consideration of the poetic form of proverbs and genres close to them. (Kostroma, 1908), which has not lost its significance to this day.

INAt the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that “a proverb is mostly in measured or folded form” or that “the form of a proverb is a more or less short saying, often expressed in folded, measured speech, often in metaphorical / poetic / language,” but on the question of what exactly consists of “warehouse and measure”, there are still no detailed studies.”

ANDNot only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence in proverbs. Here are examples of such proverbs: “If you endure, you will fall in love”; “Said and done”, “It was and it was gone”.

MWe will consider several directions of folklore collectors.

Since we started with proverbs and sayings, we will begin the story about them.

MFew people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection “Proverbs of the Russian People,” was half Danish by blood and Lutheran by religion.

INHaving returned from the voyage, Dahl was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on a crossroads. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: “Rejuvenates...

And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dal takes out a notebook and writes: “To rejuvenate” - otherwise cloudy - in the Novgorod province it means to be covered with clouds, when talking about the sky, it tends towards bad weather. This entry became the seed from which the Explanatory Dictionary grew 45 years later.

But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.

Dahl saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's talk and all the shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new, previously unheard words.

INIn 1832, V.I. Dal’s serious literary activity began. Capital magazines publish his articles under the pseudonym “Vladimir Lugansky” or “Cossack Lugansky” - after the name of his hometown. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.

He agrees with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works quickly gain enormous success.

INIn the spring of 1832, Dahl again abruptly turned his fate - he went to distant Orenburg as an official of special assignments under the military governor. Dahl is a collegiate assessor official of the 8th grade, which corresponds to a major in the army.

ABOUTdriving through Cossack villages and nomadic camps, Dal discovered for himself the special world of the Russian troubled borderland. He not only observed orders and customs, not only wrote down words, he acted, treated the sick, interceded for the offended. “Fair Dal,” the steppe people called him.

In Orenburg, he met with Pushkin, who came to the distant region to collect material on the history of the Pugachev rebellion. Together they traveled to the places where Pugachev’s movement began and asked old people. Then Pushkin advised Dahl to study literature seriously; he probably also suggested the idea of ​​taking up the dictionary in earnest.

PDahl's last meeting with Pushkin took place in the tragic December days of 1837 in St. Petersburg, where Dahl arrived on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend’s apartment and did not leave him until the end.

PUshkin was treated by palace doctors, Dahl was a military doctor.

Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded man throughout the last night.

ANDthe building of an explanatory dictionary and a collection of Russian proverbs required huge amounts of money. Dahl made the decision to work and earn money, save for the future, so that in old age he would be able to devote himself to what he loves.

INIn the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled about Dahl: “Taking advantage of his position, he sent out circulars to all officials inside Russia, instructing them to collect and deliver to him local morals, songs, sayings, etc.” But it was not officials who made up Dalev’s collections with their offerings. The fame of Dahl, not only a writer and essayist, but also an ascetic, who took on a national cause on his shoulders, spread more and more widely. From all over Russia, well-wishers send him their meetings, lists of rare words and sayings. It was a time of awakening interest in society in everyday life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent out an “Ethnographic Circular” to all parts of Russia with a proposal to study the life of the population of all regions.

TOThe time has ended when educated people knew more about the geography of France and the life of Ancient Rome than their own people. Magazines, one after another, inform the public about Dahl’s asceticism and ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.

INIn 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

« INDuring his ten-year stay in the Nizhny Novgorod province, Dal collected a lot of materials to geographically indicate the distribution of various dialects,” writes Melnikov-Pechersky.

The Nizhny Novgorod province presents a remarkable uniqueness in this regard.

Still would! The famous Makaryevskaya Fair was an event of European significance. Here the trade routes of East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, manufactures and industrial goods from the West - everything that was produced in the vast expanses of the Russian Empire, everything that was imported from neighboring countries , was exhibited and sold in a low-lying space filled with benches near the mouth of the Oka. 86 million rubles in silver - this was the trade turnover of the Makaryevskaya Fair in those years.

NThe new era uprooted peasants from their centuries-old homes and mixed them in a common cauldron, and thus the language that Dahl calledliving Great Russian .

DAl has perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dahl on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. “He grew up exactly in the village, was fed in the tents, was given water on the stove,” they used to say about him, “and how well he felt, how pleased he was when he was among our kind and intelligent people!”

Dal was by nature oberuk - that is, he could handle both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whichever hand was convenient), he was just as oberuk in relation to his fate: we cannot I can only call it a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a collection of proverbs, including more than thirty-one thousand sayings, literary works occupying almost four thousand pages of text, numerous articles, a collection of songs, fairy tales, etc.

Nand in his declining years Dahl settled in Moscow. His house has been preserved - a spacious mansion on Presnya. Here Dahl’s titanic, ascetic work was completed - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary. Dahl devoted three to four hours a day to this activity for decades. He rewrote the collected proverbs in duplicate and cut them into “straps.” One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. Another one was pasted into the alphabet notebook for the key word - these are examples for the Explanatory Dictionary. Over half a century, Dahl explained and provided examples in about two hundred thousand words. If you derive the “average figure,” it turns out that with a twelve-hour working day, he wrote down and explained one word every hour for half a century. But he not only collected and recorded, he created, served, lived!...

TThe Olkov Dictionary of the Living Great Russian Language contains: “Sayings written, conversational, common, general, local, regional, everyday, scientific, trade and craft, foreign language, learned and re-used, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into its wealth, you cannot believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

TNow, from a temporary distance, we deeply thank Dahl for his tremendous work. A dictionary, essays on everyday life, a collection of proverbs are for us one of the sure keys to unlocking a bygone era. Dahl brilliantly accomplished his task - to give in words, proverbs, pictures of everyday life an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further it goes, the more valuable it will be for future generations. –

Part 2

PRINCIPLES OF PUBLICATION. COMPOSITION AND STRUCTURE
SERIES “Epics” OF THE COLLECTION OF RUSSIAN FOLKLORE

Belinny epic as an expression of the artistic genius of the Russian people - outstanding monument universal human culture. Entering the East Slavic cultural and ethnic core, acting as the custodian of the most ancient epic legacy, epics combine in their plot composition the features of epics before the state, the era of Kievan Rus and the period of Moscow centralization. Imbued with the ideas of patriotic heroism, epic works were one of the most important factors ensuring the consolidation of the Russian nation and Russian statehood. The monumental images of heroes - warriors and plowmen, defenders and builders of the Fatherland - created by the epic have become symbols of our people.

ANDThe construction of epics in the series provides for the release of monuments of folk song Russian epic at a level equivalent to the level of academic publications of Russian writers.

BThe ylins completed their thousand-year development and almost entirely passed into the category of cultural monuments. For folkloristics today, the opportunity is open to create, on the basis of an exhaustive account of all epic material recorded in the 17th-20th centuries, not just another anthology, but a stock national library, a corpus of Russian epic epic, which will ensure the preservation and further popularization of one of the indigenous forms of national culture.

ANDResearchers and specialists in various social sciences still do not have a reliable basic library of Russian epics capable of satisfying their diverse needs, which leads to the deliberate preliminary nature of many conclusions, duplication of search processes, and ultimately to unacceptable waste of scientific effort. The publication of the “Epic” series of the Code of Russian Folklore involves the creation of a factual foundation for Russian epic studies.

WITHThe series “Epics” is the first in the order of creation of the Code of Russian Folklore. This is dictated not only by the high social and aesthetic significance of this range of cultural monuments, but also due to the scientific preparedness of domestic folkloristics for the publication of this type of folk poetry ( big number research of epics in philological, historical, musicological aspects; a solid tradition of publishing epic songs, starting with the works of K. F. Kalaidovich, P. V. Kireevsky, P. N. Rybnikov, A. F. Gilferding). The volume of material - including data on archival accumulations, materials from expeditions of the Soviet era and current years - is realistically observable.

Nthe scientific term “epics”, as well as the popular term “old times”, in the practice of research and publication of Russian folklore often, and not without serious reasons, come together, embracing all varieties of oral song epic, which together form the repertoire of performers of epics (Russian North) and epics songs (South of Russia, Volga region and some other areas), namely:

bepics (heroic or heroic epics, short stories, epics on local themes, epics on fairy tales, comic epic);older historical songs (XIV - early XVII centuries);older ballads; songs from ancient Russian books, influenced by epic epics (apocryphal songs, or spiritual poems, parable songs, etc.); epic songs; ballad songs.

ANDFrom the above-mentioned varieties of song epics, the “Epic” series, based on the similarity of content, stylistic and poetic form, plot-genetic relationship, functional similarity, stability of performing and musical traditions, combines works of category “A” (with the exception of epic-like transcriptions fairy tales, as well as stylizations - “novin”) and “D”.

Papproximately a third of the epic epic material identified to date (meaning total records - 3 thousand units of text-variants of works) has not been published and has not been involved in systematic research. The collections that were published are diverse, different in their concepts, variegated in composition, and do not have identical textual settings.

NScience has publications of a consolidated type that relate to the early, romantic period of development of folkloristics (for example, the I-V editions of P. V. Kireevsky’s Collection of Folk Songs contain 100 epic versions for 35 stories about heroes) and therefore cover only a relatively small part of the currently known records; has classic collections of epic songs of various genres regional type. These collections give general idea about the composition of the Russian epic epic or about the state local tradition of a certain time in the volume of material that became known to the collector, but they do not create either a cumulative characteristic of the Russian epic or a holistic picture of the life of epic-epic art in a given region throughout the records. There are also publications, which are not exhaustive, of the repertoire of one performer. There are anthologies of epic works about a number of heroes of the Kyiv and Novgorod cycles of epics, where the leading plots and their versions are presented in selected versions. There are also other valuable publications of epic folklore. But they do not pursue the goal of reuniting the monuments of the epic epic into a single series capable of concentrating in forms acceptable to a relatively wide range of readers all the thousand-year-old wealth of Russian epic culture and at the same time preserving maximum information about this type of Russian folk art. Records and retellings of works of folklore found in Old Russian manuscripts or publications of the 18th century are transmitted preserving the phonetic and morphological features of the source text, but with the elimination of archaic features of graphics and spelling (reference letters in a line; continuous spelling.-

Part 3

Russian folklore (V.S. Galkin. “Siberian Tales”) (review)

WITHsoon the tale tells...Saying The magical world of fairy tales has been created since time immemorial, when man knew not only the printed word, but also the handwritten word. The fairy tale lived on and was passed on from mouth to mouth, passed from generation to generation. Its roots are deeply folk. And the fairy tale will live as long as the sun shines in the sky. Of course, the fairy tale of our time is not oral folk art, but an essay written by a professional writer. It inevitably differs both in form and style from old fairy tales. But the fairy tale has not lost its precious original qualities to this day. This is cunning, kindness, the search for the best, noble principles in a person’s character, a fierce determination in overcoming evil. I recently read Vladimir Galkin’s book “Siberian Tales” and rejoiced at the author’s success in developing Russian fairy tale traditions. The book about the author says that he is a teacher and has been collecting folklore for many years in order to compose new tales based on it. V. Galkin harmoniously combines the details of the real life of modern Siberia and its past with magic fairy world. Therefore, reading “Siberian Tales”, it’s as if you inhale the aroma of the perfumed bread leaven that many rural housewives still have, and you get burned by the fresh Siberian frost when you go out into the forest in the morning along with the heroes of the fairy tales. The plots of the tales are simple. For example, in the tale “Yeremey’s Word” we are talking about the old man Eremey Stoerosov, who lived in the village by weaving baskets for mushrooms and berries. But the thing is that during this work he loved, it’s interesting to tell different stories. Often his hut was full of people. Everyone wanted to listen to Eremeev’s tales. And the people gathered like this: “Some boy’s mother will come and make noise: “He’s listening to stories, but you won’t wake up in the morning!” But others shush her: “Take your little one, aunt, and don’t bother us!” Baba will shut up. He’ll stand and stand and sit down in the corner: “Evon says it so well!” With this short fragment the author identified two moral principles in the life of the Russian people: first, work is not an end in itself for him, and he always tries to somehow decorate it with a song or a word, in other words, to turn everyday life into holidays; second, when he sees someone else's joy, he forgets his own difficulties and sorrows. But it cannot be done without envious people. There is a guy in the village, Oska Ryabov, nicknamed Ryabok. Everyone in the village dislikes him. Envious: “The neighbor will bring a scarf from the city to his wife for the holiday, Ryabok whispers around the village: “Why is Makar dressing Marya up? Still didn’t come out with a snout.” Of course, such a person was jealous of the good reputation of Eremey the storyteller and tried to tease him. He sits and sits, and suddenly, out of the blue, he blurts out: “They’re all lies!” Eremey treated this diameter calmly, although the villagers tried to intercede for him many times: “Eremey would drive Ryabka away, what is he putting up with?” And other people added fuel to the fire: “Oska must have cut him off!” The author describes situations where the different characters of the heroes are clearly manifested. Eremey is especially good here. He is not at all offended by Ryabok, but still kindly decides to teach him a lesson, or rather, to set him on the right path. To achieve his goal, Eremey chooses an old Russian fairy tale option: to ridicule the diameter through some intricate incident. He goes to a hunter he knows and asks him for several live hares, knowing that he knows how to catch them not with loops, but in holes. Eremey placed Zaitsev in a box and began to wait for the guests to arrive - to listen to his stories. The guests arrived, and with them the diameter of Ryabok. Here Eremey says: “I’ll catch hares, why waste time. I’ll read the conspiracy and they’ll come rushing in while I’m telling you stories.” Of course, only Ryabok doubted and agreed to argue with Eremey. Whoever loses bets a bucket of mead. But here too Eremey shows a generous nature: while the conspiracy was whispered, the guests treated themselves to his own mead. Of course, Eremey won the argument. While his hares jumped out of the box and ran away into the forest, everyone laughed at Ryabok. He had science for his whole life. You can think about this fragment more broadly. It can be seen that the hunter “sometimes hunted with a gun, but carried it more for force.” There should be more such hunters! And you main character Tale Eremey is not a vengeful and generous person. Even though he won the argument, he still put out his mead. And it was the bunnies who helped restore justice. I immediately remember a fairy tale about how a hare, in the role little brother, took part in the race and won. That is, the author has preserved the Russian fairy tale tradition. In conclusion, I would like to say that we don’t have many folklore collectors. Therefore, every meeting with such a collector of seminal folk words as Vladimir Galkin is always a joy. [5].

Part 4

FROM THE HISTORY OF COLLECTING SONG FOLKLORE OF THE SAMARA REGION

ANDThe history of collecting song folklore of the Samara region goes back more than a hundred years. The first publications were collections and scattered publications, which contained exclusively song lyrics without notographic recording of the tunes. In some works, the authors recorded the dialectal features of local dialects.

ABOUTOne of the first major publications dedicated to the song folklore of the Samara province was the work of a prominent folklorist-collector, researcher of folk art, translator V.G. Varentsov "Collection of songs of the Samara region". The book contains more than 170 lyrics of songs recorded by students of the Samara district school in several villages of the Samara province. The author supplements the collection with personal comments about the genre features of local folklore, notes the influence of immigrants from the Voronezh, Nizhny Novgorod, and Simbirsk provinces on the local song style.

NSeveral Samara round dance songs from the Stavropol district were included in the famous “Collection of Russian Folk Songs” by M.A. Balakireva.

IN1898 The first volume of P.V.’s book was published. Shane "Great Russian in his songs, rituals, customs, beliefs, legends, etc." . The publication includes many Samara wedding, dance, children's and other songs.

Nand at the turn of the century, the largest work devoted to traditional songs over the past century was published - the seven-volume book “Great Russian Folk Songs, Published by Prof. A.I. Sobolevsky". The collection includedincludes a large number of Samara songs of different genres, recorded in Buzuluksky, Stavropol districts, the cities of Nikolaevsk, Syzran, Samara.

` ABOUTbottom of the first major works XX century was the book of the famous folklorist, publicist, archaeographer P.V. Kireevsky. The multi-volume edition includes hundreds of song lyrics recorded in different regions of Russia. Among them are the first published songs of the Samara province, collected in the middle of the 19th century by the Russian poet and lyricist P. M. Yazykov.

ANDis of great interest genre diversity song lyrics. Almost disappeared in the Samara region epic genre here it is represented by ten epics, military, Cossack, recruit, soldier, sailor, lyrical, wedding songs, ballads, spiritual poems are also recorded.

INIn the 20s and 30s of the 20th century, publications of song lyrics were often dispersed in local periodicals. Notable work towards popularizing traditional folk art was carried out by the folklorist collector R. Akulshin. So, in 1926, he published the texts of Samara ditties in the local newspapers “Krasnaya Niva” and “Music and Revolution”. Several soldiers' songs recorded by R. Akulshin in the Kuibyshev region were published by the Volzhskaya Nov newspaper. The same publication in the section “ Folk songs" placed on its pages 16 texts of ancient wedding and war songs collected by R. Akulshin in 1923.

POf interest is the description of an old Russian wedding, recorded by S. Lukyanov in 1929 in the village. Utyovka. The article contains expeditionary material describing the wedding event, presented in the words of the ceremony participants themselves, starting from the moment of matchmaking and ending with the second day of the wedding feast. The article also published the texts of some wedding songs performed by a local ethnographic ensemble.

INIn 1937, a collection compiled by V. Sidelnikov and V. Krupyanskaya “Volga Folklore” was dedicated to the folklore of our region. It includes expeditionary materials from 1935, reflecting the picture of the existence of oral folk art in the Kuibyshev region. The collection includes samples of local fairy tales, traditions, legends, more than 30 texts of historical, wedding, everyday and other songs, 354 texts of Soviet ditties. During the recording, the territory of the Volga coast was examined - the Krasnoyarsk region (villages of Malaya and Bolshaya Tsarevshchina, Shiryaevo), Stavropol region (villages of Russkaya Barkovka, Stavropol, Khryashchevka), as well as some villages of the Ulyanovsk region.

BA large number of song texts from the Kuibyshev region were included in the 1938 collection “Volga Songs”. In addition to songs dedicated to revolutionary-Stalinist themes, more than 20 texts of historical, lyrical, wedding and dance songs have been published. Among them, “The Nightingale persuaded the cuckoo,” “Widely Volozhka spilled,”

“Oh, you garden, you are my garden”, “Oh, the fogs, you little fogs”, “Blow, blow, you little weather”, “Oh, father, drink, don’t drink me away”, “Vanya’s mother sent me”, “ Spinning wheel under the bench”, etc.

NStarting from the late 40s, songs from our region were published scatteredly in some major metropolitan publications, , , .

PThe first sheet music publications of songs recorded in the Samara region appeared in 1862 and 1876-77. We find three tunes in the collection of M. Balakirev, published in 1891. The composer took a special trip along the Volga; he was the first of the collectors who began recording songs not in the city, but in the village from the peasants. The author gives each tune its own treatment - harmonization.

WITHcollector Lipaev I.V. in the newspaper "Russian Musical Newspaper" he published the tunes and texts of the wedding lamentation "You, my breadwinner, father" and the labor artel "Here he comes, he will go."

TThree tunes, recorded in 1901 by A. Maslov, were published in the collection “Songs from the Volga Region” in 1906. In 1926, songs collected by R. Akulshin were published.

ABOUTSome songs from the Samara Volga region were included in various collections of the 30s and 40s. One, recorded by V. Zakharov in 1934 in the Bor region, is included in his work “Thirty Russian Folk Songs”. Three songs were published by the Kuibyshev ODNT in 1944.

EThree more, notated from a phonograph, were included in the Moscow collection “Ten Russian Folk Songs”. Four tunes are included in V.I.’s brochure. Volkov "Seven Russian folk songs". Several song samples were included in other editions of , , , , , .

BLarge expeditionary work in the Samara Volga region in the late 40s and early 50s was carried out by a group of Leningrad folklorist researchers who were part of scientific expedition Institute of Russian Literature of the USSR Academy of Sciences. Planned field work to collect and record works of local oral folk art was carried out in the Elkhovsky, Utevsky, Stavropol, Bogatovsky, Kinel-Cherkassky and Novodevichensky districts of the Samara region.

RThe result of the Leningrad expeditions was a number of publications dedicated to Samara song folklore, published in the late 50s and early 60s.

ABOUTThe main result of the expedition trips of 1948, 1953, 1954 was the collection “Russian folk songs of the Volga region,” which became the first major publication dedicated to the folklore of the Samara region. As the newspaper wrote: Soviet culture", "...among the materials [of the expedition] are more than one and a half thousand Volga ditties, ancient lyrical and play tunes." The work has a foreword and an introductory article by N. Kolpakova, which reveals a number of issues in the history of the settlement of the Kuibyshev region, and also analyzes current state folk art in the region.

INthe collection included 100 Russian folk songs. It is divided into two sections: Soviet songs (20) and ancient folk songs (80). Of the 100 songs published, 83 were recorded using a tape recorder and 17 by ear. It seems especially valuable that “...[the songs] were recorded directly from the voice of the people...” without the author’s musical processing or arrangement. Unfortunately, the poetic texts are edited according to generally accepted literary transcription, which deprives them of their original dialect flavor.

RThe work on collecting and studying Samara Russian song folklore noticeably intensified with the opening of the Department of Folk Choral Art at KGIK in 1979. Expeditionary trips to the regions have become more planned and systematic. Since that time, students and teachers of the university have carried out a huge research— hundreds of folk songs were recorded and analyzed, collected most interesting material on history, ethnography of the Samara region, , , , , .

ABOUTOne of the notable publications among recent publications was O. Abramova’s book “Living Springs”. Along with song material collected in the Bogatovsky, Borsky, Neftegorsky, Krasnoyarsk regions, the collection contains information about traditional culture, ethnography of our region, and an analytical article “Cadenzas in folk songs of the Samara region.”

INIn 2001, a wonderful book was published in Samara, dedicated to the famous collector of Middle Volga folklore M.I. Chuvashev " Spiritual heritage peoples of the Volga region: living origins". It includes hundreds of samples of traditional Mordovian and Russian songs, recorded by the researcher from 1964-1971 in the northern and central regions of the Samara region. Of interest are Russian folk songs that exist in villages with a mixed Russian-Mordovian population. 49 song samples of different genres from Pokhvistnevsky, Shentalinsky, Chelno-Vershinsky, and other districts reflect the specifics of the existence of the Russian song tradition in a foreign language environment.

ABOUTdays from latest publications, dedicated to the folklore of the Samara region, were collections published in 2002 by the Syzran College of Arts. Both works include original song material recorded in the Volga and Shigonsky regions. The songs presented in the collections reflect the characteristics genre specificity local folklore; labor songs, wedding songs, lullabies, dance songs, round dances, lyrical songs and romances were collected and notated.

TOTo date, published song material recorded by researchers over the years has hundreds of samples. A huge expeditionary work was done, the results of which were not only literary publications, but also priceless sound recordings made decades ago. But, on an all-Russian scale, the Middle Volga (and Samara as a component) song tradition still remains one of the most poorly studied. This is largely explained by the national heterogeneity of the local population, which definitely makes it difficult to find authentic Russian ensembles. However, songs that exist in conditions of “national diversity” are of great interest to the researcher. V.G. Varentsov in his book “Collection of Songs of the Samara Territory” noted: “...those colonists who live surrounded on all sides by foreigners retain their special features much longer, living among the Chuvash and Mordovians, they still retain their costumes and dialect.” Thus, the primary tasks of folklorists-local historians are to collect new material in little-studied areas of the region, such as Khvorostyansky, Koshkinsky, Klyavlensky, Bolshechernigovsky, etc. and classify samples from the already existing fund of records.

Used Books

Part 1

1 . Sokolov Yu. M. Russian folklore. M., 1941, p. 212.

2 . Cm.:Dal V.I. Proverbs of the Russian people. M., 1957 (in

Text: D., p. ...Ch.Rybnikova M. A. Russian proverbs and

sayings. M., 1961.

3 . Page 3-to-6

V.I. Dal - “Proverbs of the Russian people.” 1-2-3 volume.

Moscow. "Russian book" 1993.

Part 2

4 .- The author's work on the first two volumes was carried out by A. A. Gorelov (“Preface”, “Principles of publication. Composition and structure of the series “Epics” of the Code of Russian Folklore”); V. I. Eremina, V. I. Zhekulina, A. F. Nekrylova (textological preparation of the corpus of epic texts, “Principles of distribution of verbal material”, “Textological principles of publication”, passport and textual commentary, “Biographical information about the performers”); Yu. A. Novikov (plot-variant commentary). Authors of the article “Russian epic epic”:

Part 3

5 . ALLSoch.ru: Galkin V.S. Miscellaneous Russian folklore (V. S. Galkin. “Siberian Tales”) (review)

Part 4

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