What are folk genres? Oral folk art is a source of age-old wisdom

Lecture

Folk music (musical folklore) - vocal, instrumental, vocal-instrumental and music-dance creativity of the people, an integral part of folk artistic creativity– FOLKLORE.

TRADITIONAL FOLKLORE– musical and poetic art, created and transmitted by each ethnic environment from generation to generation orally. People store in their memory and musical and playing skills what meets their vital needs and moods.

Traditional folk music, mainly created by the rural population, long time retains relative independence and is generally opposed to professional music. The music of the oral tradition developed more slowly than the written one, but at an increasing pace.

Main difficulty in studying folk music is associated, first of all, with the duration of the period of pre-literate development of musical culture, during which the most fundamental features of folk music were formed. Musical traditions - main component folklore traditions of each people.

For folklore tradition characteristic:

- collectivity - individuality;

- performance - creativity;

- performance - reproduction;

- system of genres - the specificity of individual genres.

When studying folk music, difficulties arise in applying to it such musicological categories as form, mode, rhythm, etc., which often do not coincide with the traditional concept for them. Besides, folk music doesn't exist V pure form, unrelated to specific actions(labor, ritual), with a social stop, etc. Folk art is not only an artistic product, but also a socially active one.

The question of genres of folk music is complicated because plays a huge role in folklore territorial sign: Folk music is limited by space and time, and exists only in specific dialects. In addition, there are traditions of different singers performing the same text to different melodies, as well as texts of different content and function to the same melody. Genres have evolved over the centuries depending, first of all, on the diversity of social and everyday functions of folk music, which in turn are associated with the economic-geographical and socio-psychological characteristics of the formation of society. Folk music has always been not so much entertainment as an urgent need.

Main types of folk music:

2. Song improvisation.

3. Song without words (for example: Chuvash, Jewish)

4. Epic tales (Russian epic)

5. Dance choruses (ditties)

6. Instrumental pieces and tunes (signals, dances)

7. Dance tunes.

Greatest development received folk music in lyrical genres, where simple short tunes of labor, ritual, dance and epic songs or instrumental tunes were replaced by detailed and sometimes complex in form musical improvisations - vocal(for example: Russian long song) and instrumental.

The oldest folk song genres include:

Song “inserts in fairy tales” and other prose stories;

- “song episodes” in large epic tales;

Labor songs (describing work or accompanying work activities);

Wedding (each nation has different wedding traditions; often accompanied by rituals not without the participation of the bride and groom);

Lullabies (with their intonation they not only helped rock the child to sleep, but were also intended to magically protect him from evil forces);

Lamentations (musical laments: funeral and wedding);

Household;

Soldiers', sailors';

Historical;

Revolutionary;

Calendar - agricultural. In song folklore, a special place is occupied by the cycle of calendar songs, most typical for the western, southwestern and some central regions; it consists of small cycles strictly timed to the seasons and holidays of the pagan calendar (dates are often “superimposed” on them Christian holidays). These songs are characterized by strict regulation of short modal and rhythmic formulas and stability.

- Ditties. More recent genres include those that have become widespread since the 19th century: ditties- a genre of Russian verbal and musical folk art, a short song performed quickly. The chastushka especially vividly reveals the soul of a Russian person, opens up a whole world of human characters, experiences, passions. The range of feelings expressed in the ditty extends from a light smile to a poisonous taunt; This genre is not without a certain amount of mischief, expressed in a “salty” word. . Being a kind of response to some event and addressed to a specific person or listeners, the ditty is distinguished by its directness of expression, realism, and expression.

- City lyrical song (romance) - a musical and poetic work for voice with instrumental accompaniment. Some instrumental plays of a melodious nature are also called “romance”. A romance is a vocal composition written on a short poem of lyrical content, mainly love. The vocal part of the romance has a clear and prominent melodic outline and is distinguished by its melodiousness. In a romance, attention is paid more to conveying the general mood of the text than to a detailed illustration of its details. The interest lies mainly in the melody rather than the accompaniment.

Musical epic is verse epic poetry of a narrative nature:

- Spiritual Poems

- Skomoroshins

- Ballads

- Dance songs. They were accompanied by both singing and playing musical instruments. At first they were part of labor, ritual and holiday song cycles.

- Lyrical songs- the most dynamic and most complex genre in the system of traditional folklore; are not limited by topic, but are related to the place and time of execution. This form song folklore developed in the 16th-17th centuries. in Moscow Rus'.

All folk musical cultures can be divided into monophonic them leggy .

So folk music(folklore) - artistic collective creative activity people, reflecting their life, views, ideals. Created by the people and existing in the masses music - songs, instrumental tunes and plays. Folk art in general and folk music in particular, which originated in ancient times, - historical background throughout the world artistic culture, a source of national artistic traditions, an exponent of national self-awareness.

Russian folk music. The origins of Russian folk music go back to the folklore of the Slavic tribes that lived on the territory of Kievan Rus, the first Russian state that emerged in the 10th century. Russian folk music was not homogeneous, just as the tribes that made up the Kievan Rus; in addition to Slavic ones, it included Finno-Ugric, Turkic and other prototypes. Until now, regional, often ethnic (pre-national) traditions are felt in Russian folklore. Thus, the folk song art of the northern, western, southern, central regions, settlements in the basins of large rivers - the Oka, Volga, Don - has its own characteristics. Many types of songs that are still in use today have pagan roots, sometimes combined with the influence of Christian ritual.

Folk instrumental music occupies an incomparably smaller place than vocal music: the church ban on the use of musical instruments in the temple, apparently, also influenced folklore.

Instruments in the folklore tradition are used mainly either in the everyday life of shepherds, or to accompany certain types of dances and songs. Most common stringed instruments- beep, harp. The most famous wind instruments : pipe (aka snuffle, squeaker); zhaleika (horn) - an instrument with one or two wooden trunks, with a bell made of horn; Kuvikly. The chronicles also mention military trumpets, hunting horns, tambourines. From the 19th-20th centuries. Instruments such as the balalaika, mandolin, guitar, and button accordion (accordion) became widespread in folk life.

The first collections of folk songs were published in Russia in the second half of the 18th century: “Collection of Russian simple songs with notes” by V.F. Trutovsky and “Collection of Russian folk songs” with their voices” by N.A. Lvov and Ivan Prach. Subsequently, the collections of folk songs by D. N. Kashin and I. A. Rupin became widely known. Even earlier, in the mid-18th century, the first handwritten collection of epics, historical songs, and spiritual poems was compiled.

One of the first folklore groups in Russia became the Slavic Chapel of D. A. Agrenev-Slavyansky, which promoted Russian and Slavic folk songs in Russia and abroad. At the beginning of the 20th century, the Russian Orchestra arose folk instruments V.V. Andreeva and the Russian folk choir of M.E. Pyatnitsky.

The concept of folklore genre. The set of principles that makes it possible in a given situation to construct a statement of a certain type is called a folklore genre (for a similar thing, see B.N. Putilov). The units of formation of a folklore genre, if the genre is a set of folklore works, are complete utterances, as units of speech communication. Unlike units of speech (words and sentences), an utterance has an addressee, expression and author. The composition and style of the statement depend on these features.

Folklore texts are analyzed in the following aspects:

-social situation that provoked the statement

-speaker's intention

-basic social characteristics of the speaker

-ideological/mental attitudes

-the goal pursued by the speaker

-characterization of the relationship between the fact of the message and the fact itself

-response reaction

-linguistic means for creating utterances(Adonyeva S.B. “Pragmatics..”)

Genre is a set of works united by a common poetic system, everyday use of performance forms and musical structure. Propp we limit ourselves to narrative and lyrical poetry. Dramatic poetry, as well as ditties, proverbs, sayings, riddles and conspiracies, may be the subject of another work.

Propp divides narration into poetry

Prosaic and

Poetic

Folk prose is one of the areas of folk art

Identifies the trace genera and species

fairy tale - neither the performer nor the listener believes in what is being told (Belinsky) this is very important because in other cases there are attempts to convey reality, but here it is deliberate fiction

Fairy tales

According to Propp's definition, they are distinguished by a completely clear composition, by their structural features, by their, so to speak, syntax, which is established scientifically with absolute precision, which is discussed in more detail in the Morphology of Fairy Tales and in the ticket about fairy tales.

Cumulative ones are built on multiple repetitions of everything, creating piles and references. They have a special composition, style, rich colorful language, gravitate towards rhythm and rhyme

For other types of fairy tales, except for magical and cumulative ones, the composition has not been studied, and it is not yet possible to determine and divide them on this basis. They probably do not have unity of composition. If this is so, then some other principle must be chosen as the basis for further systematization. Such a principle, which has scientific and cognitive significance, can be determined by the character of the characters.

We immediately recall the debate at the beginning of Morphology of a Fairy Tale, where the story is about Afanasyev and his classification according to which no one classifies, but it exists. From this we get 1 digit

fairy tales about animals

Tales about inanimate nature (all sorts of forces, the wind of the world)

Tales about objects (bubble, bast shoes, straws)

By type of animal (domestic wild)

Tales of Plants (War of the Mushrooms)

2) tales about people (they are also everyday people) actions, men, women, etc.

This essentially includes the turnip, which is cumulative

Propp divides them into character types in terms of their actions

About dexterous and smart guessers

Wise advisors

Unfaithful/faithful wives

Robbers

Evil and good... and so on

The same division according to the types of s.zhetov, because here the plot is determined by the character of the character, which divides his actions...

In folklore there is no particular difference between everyday tales about people and anektodati (propp)

3) fables - stories about unrealistic events in life (for example, Münchhausen is based on this genre)

4) boring fairy tales - short jokes/rhymes for children when they require fairy tales

From the point of view of propinquity, a fairy tale is not yet a genre; these are the types of fairy tales that we have identified; these are genres; they can be divided into rubrics. Genre is only one of the links in classification.

Lyrical epic and dramatic poetry are types of epic: epic prose\epic poetry

A fairy tale is a kind epic prose it breaks down into the above genres, those into types, and those into versions and variants. Therefore there is a trace diagram

Next area

2) stories that people believe in

Here we have

A) ethnological about the origin of the earth and everything that is on it (creation myths)

B) about animals they are why: why does an elephant have a long nose

C) epics - in most cases these are horror stories about goblin, mermaids and other evil spirits (there were also other things)

D) legends - stories related to Orthodoxy, with characters V, N of covenants since the legend is etymologically what the monks read at meals, then with historical figures this is not true. In addition, the question of the relationship of legends to folklore is controversial. Sokolov considered them legendary tales Aarne, Andreev and Afanasyev considered them separate and published them in separate collections

D) legends - this is where historical persons and events belong

E) skazY - oral memoirs individuals which convey the events that took place and preserve the facts

Verse epic poetry

It is distinguished by the inextricable connection of the musical component with the text, that is, the genre does not matter - they will always sing. RHYTHM. The plot, the verse, the tune are one artistic whole. (remembering Lord’s description of how a storyteller learns to sing an epic) melodiousness expresses a lyrical attitude towards the person portrayed. Although each epic individually does not have its own tune (different epics can be sung with the same tune and vice versa), the style of epic musical performance is, within certain limits, integral and inapplicable to other types of epic creativity.

An epic is one of the types of epic song poetry. The epic itself is not a genre, like a fairy tale, but it includes those same genres. Epics are distinguished by a wild variety of plots, so they are more difficult to classify than fairy tales.

By plot groups, by style and character of the narration, epics are divided into

heroic epics

- “classical” (the plot is the exploits of national Russian heroes, as a prologue, how the hero received power) for example, when after Ilya and Svyatogor the battle between Ilya and the idol begins. Or when, after healing Elijah, he travels to Kyiv, defeating the robber nightingale along the way

Military (in any idea they talk about a battle with a group of enemies, hordes of Tatars for example. ADD TO THE PLOT!!! You can track the history and evolution of ‘b[the epic believes propp)

Single combat (Muromets and Turkish Khan, Alyosha in battle with Tararin)

When 2 heroes meet in the field, they don’t recognize each other and fight (EXAMPLE!!)

Epics about the battle with a monster (can we include an IDOL here?? Or a nightingale?) They are more ancient and from them you will develop something about battles

Epics about the hero's rebellion (one of the signs is actions in the interests of the state)

These are epics about Ilya's rebellion against Vladimir, about Ilya and the tavern goals, about Buyan the Bogatyr, about Vasily Buslaevich and the Novgorodians and about the death of Vasily Buslaevich. One of the signs of heroic epics is that the hero in them acts in the interests of the state. From this point of view, the epic about the Danube and his trip to get a wife for Vladimir undoubtedly belongs to the heroic epics.

What is more correct: to assume that each of these groups constitutes special genre, or to believe that, despite the difference in plots, heroic epics constitute one of the genres of epic creativity? The latter position is more correct, because the genre is determined not so much by plots as by the unity of poetics - style and ideological orientation, and this unity is evident here.

Fairy-tale epics

The antagonist of the hero in these cases is a woman. Unlike fairy tales, in which a woman is most often a helpless creature whom he saves, for example, from a snake and whom he marries, or a wise wife or assistant to the hero, women in epics are most often treacherous and demonic creatures; they embody some kind of evil, and the hero destroys them. Such epics include “Potyk”, “Luka Danilovich”, “Ivan Godinovich”, “Dobrynya and Marinka”, “Gleb Volodyevich”, “Solomon and Vasily Okulovich” and some others. These are epics, not fairy tales. What gives them a fabulous character is the presence of witchcraft, werewolf, and various miracles; These plots are specific to epics and do not correspond to the poetics of the fairy tale plots. Along with this, fairy tales sung in epic verse are also used in the epic epic. Such works do not belong to epic works. Their plots appear in fairy tale indexes (“The Untold Dream”, “Stavr Godinovich”, “Vanka

Udovkin’s son”, “Sunflower Kingdom”, etc.). Such tales should be studied both in the study of fairy tales and in the study of epic creativity, but they cannot be attributed to the genre of epics only on the basis of the use of epic verse. Such epics usually have no options. A special case is an epic about Sadko, in which there is no antagonist of the hero like the insidious women of other epics. Nevertheless, its belonging to fairy-tale epics is quite obvious.

Can we consider that fairy-tale epics constitute the same genre as heroic epics? It seems to us that it is impossible. Although the issue still needs to be studied specifically, it is still quite obvious that, for example, the epic about Dobrynya and Marinka is a phenomenon of a completely different nature than the epic about the Lithuanian raid, and that they belong to different genres, despite the commonality of the epic verse.

Novellistic epics are a number of realistically colored narratives, the plots of which differ from those discussed above, with great variety

– matchmaking with obstacles

On the one hand, the style of a short story and the style of a monumental, heroic or fairy-tale epic are incompatible. On the other hand, the epics contain a number of realistically colored narratives, the plots of which are of a significantly different nature than those discussed above. CONDITIONALLY, such epics can be called novelistic. Their number is small, but they are very diverse. Some of them tell about matchmaking, which, after overcoming some obstacles, ends happily (“Nightingale Budimirovich”, “Khoten Slu-dovich”, “Alyosha and the Petrovich’s sister”). An intermediate position between fairy tale and novelistic epics is occupied by the epic about Dobrynya's departure and Alyosha's unsuccessful marriage. The epic about Alyosha and the Petrovich sister occupies an intermediate position between the epic genre and the ballad genre. The same can be said about “Kozarina”. The epic about Danil Lovchanin also has a ballad character, which we will talk about below when studying ballads. We would classify other stories that usually belong to epics as ballads (“Churilo and Bermyata’s unfaithful wife”).

The plots of novelistic epics can be divided into groups, but we will not do this here. The woman plays a big role in these epics, but there are novelistic epics of a different nature, such as the epic about Duke’s competition with Churila or about Vladimir’s visit to Churila’s father.

songs about saints and their deeds (about Alexei the man of God.)

I express certain religious ideas of the people, but the worldview expressed in them often does not coincide with the dogma of the church, has historical details and has special beauties.

In contrast to them there are buffoons

there are many types of songs about funny events (or about not funny but humorously interpreted ones)

–parodies

-fables

– with sharp social satire

They are not always of a narrative nature; sometimes the subject matter is funny and the essence does not result in much development. Commonality of genres =, first of all, commonality of style.

Significantly different from Western European, the sphere is the world human passions, interpreted tragically

love (family content)

The female sufferer in the leading role. Medieval Russian reality. The actors mostly belong to the middle or upper classes, and are depicted through the eyes of peasants. They tend to depict terrible events; the murder of an innocent woman is a frequent outcome and the killer is often a member of the family. Prince Roman, Fyodor and Marfa, slandered wife.

Long-term absence of one of the family members; in case of an unexpected chance meeting, they do not recognize each other and tragic events(brother robber and ssetsra) song recorded by Pushkin?

2) historical ballads

Real historical heroes, such as Tatars, may act in them, but they do not attack with an army, but kidnap a woman. Concentration of attention around personal history, a characteristic sign of the presence of some intrigue of love or family content

Epics are less focused on personality than ballads; however, there are many transitional cases (EXAMPLES!!)

It is not always possible to draw an exact line between the ballad and other genres. IN in this case we can talk about an epic of a ballad nature or a ballad of an epic type. A number of such transitional or related cases between a ballad and an epic, a ballad and a historical song, or a ballad and a lyrical song can be found, although not a very large number. It is impractical to draw artificial edges. An epic and a ballad can also be distinguished from a musical perspective. The epic has a certain meter and melodies of a semi-recitative nature. The poetic dimensions of the ballad are very diverse, as well as naive. From a musical point of view, ballads do not exist as a folk music genre.

All of the above shows that ballads have such a specific character that we can talk about them as a genre. Those sharp differences that exist in the repertoire of epics or fairy tales are not here. The difference between family ballads, about unrecognized meetings, and so-called historical ballads is a difference of types, not genres.

Historical songs

The question of the genre nature of historical songs is very complex. The very name “historical songs” indicates that these songs are determined from the point of view of content and that the subject of historical songs are historical persons or events that took place in Russian history or at least have a historical character. Meanwhile, as soon as we begin to consider what is called historical song, we immediately discover the extreme diversity and variegation of poetic forms.

This diversity is so great that historical songs do not in any way constitute a genre, if the genre is defined on the basis of some unity of poetics. Here the same thing happens as with fairy tales and epics, which we also could not recognize as a genre. True, the researcher has the right to specify his terminology and conditionally call historical songs a genre. But such terminology would not have educational significance, and therefore B. N. Putilov was right when he called his book dedicated to historical songs “Russian historical song folklore of the 13th-16th centuries” (M.-L., 1960). Nevertheless, the historical song exists, if not as a genre, then as the sum of several different genres different eras and different forms, united by the historicity of their content. A complete and accurate definition of all genres of historical song cannot be our task. But even with a superficial glance, without special and in-depth study, it is possible to establish at least some types of historical songs. The nature of historical songs depends on two factors: the era in which they are created and the environment that creates them. This makes it possible to at least outline the main categories of historical songs.

Songs of the buffoon warehouse

They open a list of rhetorical songs because the first historical song was identified precisely in this genre. About Schelkan Dudentievich, the earliest dates back to the 14th century, songs composed later were of a different nature

songs about Ivan the Terrible, composed in the 16th century, are terrible

Songs created in the Moscow urban environment - gunners (free artillerymen) and songs were created using the means of epics and the people called them antiquities (the wrath of the terrible on his son, the capture of Kazan) in further development they lost connection with the epic

3) songs about internal events to the 16th-early 18th century

Also created in Moscow by ordinary people, these are songs of a certain environment and a certain era. Despite the diversity of poetics, they have a single epic (about the Zemsky Sobor, about the siege of the Osolovetsky monastery)

St. Petersburg songs

With the transfer of the capital to St. Petersburg, this type of urban songs about internal events of Russian history ceases to be productive. In St. Petersburg, individual songs were created about the Decembrist uprising, about Arakcheev and some others, but this genre was in decline in the 19th century. The songs of this group are created by the urban environment, from where they later penetrate into the peasantry.

Songs of the Cossacks 16-17 centuries

Choral performance of lengthy lyrical songs about freemen, about peasant wars. Here the songs about Pugachev are more real than the songs about Razin, since the St. Petersburg songs were influenced by the soldiers

Military soldiers' songs 18-20

With the advent of the regular army, soldiers created the dominant type of fighting from the Battle of Poltava to World War II

Lyrical songs

Forms of existence and use

Round dance games

Performed without movement

2) household use

Labor gatherings, Christmas weddings, etc.

They sing about love, family, separation - human life

Psenia express a different attitude towards the world

Satirical reproaches

Majestic lamenters

3) by execution

Lengthy, intermediate, semi-extended

4)Songs by social groups

Workers, peasants, barge haulers, soldiers

Female, male, young, old, etc., gender

To divide into genres, we start from the following positions

Unity of form and content. It is assumed that the first is the content since it creates the form

Since the creators are representatives of different social groups, their songs are different

A social group of farm laborers will create a song with a certain content and accordingly the song will take a certain form

Songs of peasants uprooted from the land

Workers' songs

Division of songs by social affiliation

Songs of peasants doing agricultural work

Are divided into

Ritual

F) agricultural

Divided according to the holidays on which they were performed

For example, Christmas time = Christmastide, New Year's Eve = sub-tables for guessing

Songs for every holiday = a separate genre

I) family

Propp considers lamentations, they happen

+) funeral

For each moment of the ritual, different for a different performer

+_) wedding

Other lamentations performed by the bride or mourner, as well as sentences of the groomsmen and honorable parents are the main genres of wedding songs

Non-ritual

Here the propp again focused on the lamentations, they are named

A) Recruit songs, as well as those related to some kind of disaster in life, here are the rest of the songs not considered by the propr

According to the form of performance, songs can be divided into those that are performed with body movements and those that are performed without

A) Round dances, games, dances

Round dance, game and dance songs have a special style. Usually they have a verse structure (which is not the case in vocal songs). Such songs have special laws of composition. For example, the last lines of each verse may be repeated with one or two words changed.

Round dance songs are distributed according to the figures that make up the round dance (Balakirev distinguishes “circular” round dance songs, when the round dance moves in a circle, and “walking” songs, when the singers stand or walk one after another.)

Game songs are usually associated with the game, but can also be performed alone as a reminder of past games; they differ in the place of performance and allow one to determine what the game consisted of.

Games and game songs also differ in whether they are performed on outdoors or in a hut. Games in the hut in winter and in the field or on the street in summer are different. Game songs are closely related to games, and very often from the lyrics of the song you can determine what the game consisted of. The game song can be recognized whether it is designated as such by the collector or not. The boundaries between round dance and game songs cannot always be established precisely, since the very conduct of a round dance is a kind of game

In dance songs, the content of the song is less closely connected with the dance itself than the content of play songs with the game. Any frequent song can be used as a dance song; you can dance to any frequent song. However, not every frequent song is necessarily danced to. If a game song can be recognized regardless of whether it is designated as such or not, then a dance song cannot be recognized by its text. It follows from this that dance songs do not actually represent a genre. However, using a song to dance - important sign a number of frequent songs.

Performed by a choir or alone, just sitting or while working

Pronounced lingering

Elegiac, lyrical, expressing deep feelings of singers usually singing sadness

Frequent songs

Have a cheerful, humorous character and are more likely to express collective feelings

For 1.2 the tempo of the song = the nature of the song, for 3 it does not matter

Semi-long

To differentiate the genre of a song, it is important

An indication of a humorous nature, since this is a feature of frequent

Attention to the theme and content of the song

Non-ritual songs include different genres, but they themselves do not constitute a genre

Songs of peasants torn from the land

Songs of the street servants constitute an undoubted, and, moreover, very specific genre. On the one hand, they reflect all the horror, all the humiliation of the peasant, wholly dependent on the tyranny of the master and subjected to severe flogging for the slightest offense. On the other hand, they contain elements of some kind of frivolous or cheeky tone, which is completely alien to peasant songs and which testifies to the corruption of the peasant psyche under the influence of the “civilized” lordly environment.

Lackey city songs we are faced with songs with a social focus

Labor songs created to accompany work, for example, burlatsky ones when a song replaces a command and the like

Delete songs - dedicated to the robbers who broke free and became ruby ​​hoods (but songs about tragic fate are drawn-out)

Soldiers' songs - about the hardships of service and courage for the fatherland, etc.

It’s very important to look at who sings the song; if it’s a girl, then it’s more like some kind of drawn-out or love song, and if it’s a guy, then it’s deleting, etc.

Prison songs – 2 types: those suffering and asking for freedom, and seasoned prisoners flaunting their past

Folklore of the urban bourgeois environment - genre cruel romance about the tragic end of unhappy love

Workers' songs - traditions come from literature, although there are peasant images and appeals and laments too, but the theme is bitter life and the composition of words and images is different. Early labor poetry – 4 st. trochee = ditty. Poems by poets that suit their meaning are transformed into songs. Work songs combine folklore and literature, 3 categories stand out among them

Songs created by the workers themselves

Satirical songs related to class consciousness

Hymn songs and funeral marches were performed collectively

Thus, within the composition of working-class poetry, several groups can be identified that have the character of genres: these are lingering songs of the folklore type, lyric-epic poetic songs with increasing revolutionary content, satirical works, also with increasing revolutionary consciousness, and hymn poetry, already going beyond the boundaries of folklore .

Children's song folklore

Adults sing for children

Lullabies (smooth melody, words from everywhere)

Game tunes, fables

Nursery rhymes for little ones

Children sing by themselves

Game songs that are incomprehensible without games + conventional rhymes

Songs of teasing, ridicule

Children's songs about the life around them (particularly discordant, sometimes a set of words)

The composition and style of the statement depend on these features.

Specifics of folklore: collective and individual principles, stability and variability, the concept of traditionality, way of being.

According to Jacobson and Bogatyrev, folklore gravitates more towards language than towards speech from Saussure’s theory. Speech uses language, and each speaker does so individually. Likewise, in folklore, a certain set of traditions, a body of foundations, beliefs, and creativity is used by the performers of the works and the creators. Tradition acts as a framework, a work is created on its basis, it undergoes collective censorship and after some time turns into a tradition for subsequent works. the existence of a folklore work presupposes a group that assimilates and sanctions it. In folklore, interpretation is the source of the work.

Collective and individual beginnings. In folklore we encounter the phenomenon collective creativity. collective creativity is not given to us in any visual experience, and therefore we must assume the existence of some kind of individual creator, initiator. A typical young grammarian in both linguistics and folkloristics, Vsevolod Miller considered the collective creativity of the masses to be a fiction, because, he believed, human experience had never observed such creativity. This is where the influence of our daily environment undoubtedly comes into play. Not oral creativity, but written literature is for us the familiar and most well-known form of creativity, and thus, habitual ideas are egocentrically projected into the sphere of folklore. Thus, the moment of birth of a literary work is considered the moment of its fixation on paper by the author, and by analogy, the moment when an oral work is first objectified, that is, performed by the author, is interpreted as the moment of its birth, whereas in reality the work becomes a folklore fact only from the moment of its acceptance by the collective .

Supporters of the thesis about the individual nature of folklore creativity tend to substitute anonymous instead of collective. So, for example, in one well-known guide to Russian oral creativity the following is said: “Thus, it is clear that in a ritual song, if we do not know who was the creator of the ritual, who was the creator of the first song, then this does not contradict individual creativity, but only says that the ritual is so ancient that we cannot indicate either the author or the conditions for the origin of the oldest song, closely connected with the ritual, and that it was created in an environment where the personality of the author was of no interest, why the memory of her and not preserved. Thus, the idea of ​​“collective” creativity has nothing to do with it” (102, p. 163). It is not taken into account here that there cannot be a ritual without the sanction of the collective, that this is a contradictio in adjecto and that, even if the source of this or that ritual lay an individual manifestation, the path from it to the ritual is as far as the path from an individual deviation in speech before changes in language.

In folklore, the relationship between a work of art, on the one hand, and its objectification, that is! the so-called variations of this work when performed by different people, on the other hand, are completely analogous to the relationship between langue and parole. Like langue, a folklore work is impersonal and exists only potentially; it is only a complex of known norms and impulses, the outline of an actual tradition, which performers color with patterns of individual creativity, just as parole producers do in relation to langue 2. To what extent are these individual new formations in the language (respectively in folklore) meet the requirements of the collective and anticipate the natural evolution of langue (respectively folklore), so they are socialized and become facts of langue (respectively elements of a folklore work).

The role of the performer of a folklore work should in no way be identified with either the role of the reader or reciter of a literary work, or with the role of the author. From the point of view of the performer of a folklore work, these works are a fact of langue, that is, impersonal, existing independently of the performer, although allowing for deformation and the introduction of new creative and topical material.

An individual beginning is possible in folklore only in theory, that is, if Ch spells a hernia better than Sh, only after the collective of those who know Ch’s method has adopted its version of the spell will become a folklore work, and not just a local feature of a well-known conspiracy (?)

Stability and variability

Folklore text as an oral text shares some features of everyday oral speech, although much more settled. As in everyday speech, in folklore there is a division into small structural units (in songs these links may coincide with a line), which must be linked by certain syntactic means, much less strict than in written speech. But at the same time, folklore texts are traditional and reproducible in the act of performance. This act is ritualized to one degree or another, includes a close relationship between the singer and the audience (his specific and permanent society involved in the knowledge of tradition and ritual restrictions) and, what is especially important, is for the most part not a recitation by heart, but a more or less creative reproduction of the plot , genre and stylistic models. Let us emphasize once again: all kinds of repetitions and verbal formulas, as the most important building blocks, help to store the text in the singer’s memory between acts of playing it in front of an audience. Singers and storytellers are capable of memorizing thousands and thousands of lines by heart, but the mechanism of creative transmission is far from being reduced to simply reciting what has been memorized.

As already mentioned, the greatest degree of memorization and rigor in reproduction occurs in relation to ritual songs, primarily conspiracies (due to the sacredness magic word), as well as proverbs and choral songs (the choral principle itself goes back to the ritual, which A.N. Veselovsky especially insisted on), although within these limits there is a certain minimum of variation. Of course, the variability is minimal in sacred poetry (oral, but professional) such as the Vedic poetry in India or the ancient Irish poetry of the Philids (and previously the Druids), etc. In songs and fairy tales that are no longer ideologically connected with the ritual, the scale of variation is much greater, even when repeated performances by the same singer or storyteller.

In principle, variation is an original feature of folklore, and the search for a single prototype of the original text, as a rule, is a scientific utopia .

In general, archaic folklore, which almost entirely remains within the ritual framework, varies to a much lesser extent than the “classical” folklore that exists alongside literature.

Depending on the audience and other circumstances, the singer-storyteller can shorten his text or expand it through parallelisms, additional episodes, etc. All kinds of repetition, which constitutes the element of folklore and the element of archaic literature with its hegemony of the ritual principle, is the main and the most powerful means structuring of archaic and folklore works and the most important feature of the archaic and folklore style. Having arisen on the basis of ritual and orality, repetition of forms, phraseological units, phonic and syntactic elements are perceived at the same time as a decorative device. Constant epithets, comparisons, contrasting juxtapositions, metaphors, play with synonyms, anaphoric and epiphoric repetitions, internal rhymes, alliteration and assonance increasingly begin to feel like decoration.

As already noted, folklore continues to function even after the advent of book literature, but this traditional or “classical” folklore in some respects differs from strictly archaic, as if primitive, folklore. If such “primitive” folklore is based on ancient mythology and religious system shamanic type, if it is, as it were, immersed in the atmosphere of primitive syncretism with its hegemony of ritual forms, then traditional folklore develops in conditions of the collapse of clan relations and the replacement of tribal unions by early state associations, in conditions of the transition from clan to family, the emergence of state identity (which was decisive for the creation of classical forms of epic), the development of more complex religious and mythological systems, up to “world religions” and the beginnings of historical or at least quasi-historical ideas, which leads to partial deritualization and desacralization of the most ancient plot fund. A very fundamental factor in the difference between earlier and later forms of folklore is the very fact of the existence of book literature and its influence on oral tradition.

Developed folklore experiences the multifaceted influence of literature where the authority and weight of the written word is immeasurably higher both in religious-magical and aesthetic terms. Sometimes the spoken word disguises itself as a book, reproducing the norms of the written language, especially often in solemn, rhythmic speech. On the other hand, folklorization of book sources occurs, which often leads to their archaization. Along with the literary influence itself, it is necessary to take into account the influence of more developed folklore (often already influenced by bookishness) on the creativity of neighboring peoples standing at a more archaic stage of cultural development (for example, the influence of Russian folklore on oral literature some other peoples of the USSR).

(Meltinsky, Novik and others.. status of the word and the concept of genre)

From the fact that each performance is a source of production for the trace of the performer (Jacobson), the variability of the folklore work as such grows. However, all of them together are based on a stable tradition = lounge. Variation is observed within genres,...

The method of existence is oral. Ritual, non-ritual. Traditionality is an orientation towards tradition, a way out of tradition, a close relationship. TOO COMMON QUESTION!!!

This folk art, covering all cultural levels of society. People's lives, their views, ideals, moral principles - all this is reflected both in artistic folklore (dance, music, literature) and material (clothing, kitchen utensils, housing).

Back in 1935, the great Russian writer Maxim Gorky, speaking at the First Congress of Writers of the USSR, accurately described folklore and its significance in public life: "...the most profound heroes exist in folklore, the oral literature of the people. Svyatogor and Mikula Selyaninovich, Vasilisa the Wise, the ironic Ivanushka the Fool, who never loses heart, Petrushka, who always conquers everyone. These images were created by folklore and they are an inseparable part life and culture of our society."

Folklore (“folk knowledge”) is a separate scientific discipline on which research is carried out, abstracts are created, and dissertations are written. In Russian literature of the 19th century, the terms “folk poetry” and “folk literature” were widely used.

Oral folk art, folklore genres

Songs, fairy tales, legends, epics - this is far from full list. Oral folk art is a vast layer of Russian culture that has been formed over the centuries. The genres of folklore are divided into two main directions - non-ritual and ritual.

• Calendar - Maslenitsa songs, Christmas carols, vesnyanka and other examples of folk song creativity.
• Family folklore - wedding songs, lamentations, lullabies, family stories.
• Occasional - spells, counting rhymes, incantations, chants.

Non-ritual folklore includes four groups:

1. Folk drama - religious, nativity scene, Parsley theater.

2. Folk poetry - ballads, epics, spiritual poems, lyrical songs, ditties, children's songs and poems.

3. Folklore prose is divided into fairy-tale and non-fairytale. The first includes fairy tales about animals, everyday life, fairy tales, and chain fairy tales (for example, the story of Kolobok). Non-fairy tale prose is stories from life telling about human encounters with images of Russian demonology - mermaids and merman, sorcerers and witches, ghouls and ghouls. This subcategory also includes stories about shrines and miracles of the Christian faith, about higher powers. Forms of non-fairy tale prose:

• legends;
• mythological stories;
• epics;
• dream books;
• legends;

4. Oral folklore: tongue twisters, well wishes, nicknames, proverbs, curses, riddles, teasers, sayings.

The genres listed here are considered the main ones.

in literature

These are poetic works and prose - epics, fairy tales, legends. Many literary forms are also classified as folklore, which reflects three main directions: dramatic, lyrical and epic. Of course, the genres of folklore in literature are not limited to this, there are many more of them, but the categories listed are a kind of empirics that have been developed over the years.

Dramatic images

Dramatic folk art includes folk dramas in the shape of fairy tales with unfavorable developments and a happy ending. Any legend in which there is a struggle between good and evil can be dramatic. The characters defeat each other with varying degrees of success, but in the end good triumphs.

Genres of folklore in literature. Epic component

Russian folklore (epic) is based on historical songs with extensive themes, when guslars can spend hours telling stories about life in Rus' under quiet strings. This is a genuine folk art passed down from generation to generation. Except literary folklore with musical accompaniment there is oral folk art, legends and epics, traditions and tales.

Epic art is usually closely intertwined with dramatic genre, since all the adventures of the epic heroes of the Russian land are in one way or another connected with battles and exploits for the glory of justice. The main representatives of epic folklore are Russian heroes, among whom Ilya Muromets and Dobrynya Nikitich, as well as the imperturbable Alyosha Popovich, stand out.

Genres of folklore, examples of which can be given endlessly, are built on heroes fighting monsters. Sometimes a hero is helped by an inanimate object that has fabulous powers. This could be a treasure sword that cuts off dragon heads in one fell swoop.

Epic tales tell about colorful characters - Baba Yaga, who lives in a hut on chicken legs, Vasilisa the Beautiful, Ivan Tsarevich, who is nowhere without Gray wolf, and even about Ivan the Fool - happy with an open Russian soul.

Lyrical form

This folklore genre includes works of folk art, mostly ritual ones: love songs, lullabies, funny ditties and lamentations. Much depends on intonation. Even sentences, spells, bells and whistles with the aim of bewitching a loved one, and those can sometimes be classified as folklore lyrics.

Folklore and authorship

Works of a fabulous literary genre(author's) often cannot be formally classified as folklore, such as, for example, "The Tale of the Little Humpbacked Horse" by Ershov or Bazhov's tale " Copper Mountain Mistress" due to the fact that they were written by a certain writer. However, these stories have their own folklore source, were told somewhere and by someone in one form or another, and then transferred by the writer into book form.

Genres of folklore, examples of which are well-known, popular and recognizable, do not need clarification. The reader can easily figure out which of the authors came up with their own plot and who borrowed it from the past. It’s another matter when genres of folklore, examples of which are familiar to most readers, are challenged by someone. In this case, specialists must understand and draw competent conclusions.

Controversial art forms

There are examples when the fairy tales of modern authors, by their structure, literally ask to be folklore, but at the same time it is known that the plot does not have sources from the depths of folk art, but was invented by the author himself from beginning to end. For example, the work “Three in Prostokvashino”. There is a folklore outline - the postman Pechkin alone is worth something. And the story itself is fabulous in essence. However, if authorship is determined, then folklore affiliation can only be conditional. Although many authors believe that differences are not necessary, art is art, regardless of form. Which genres of folklore coincide with literary canons can be determined by a number of characteristics.

The difference between folklore works and literary works

Literary works, such as a novel, short story, story, essay, are distinguished by their measured, unhurried narration. The reader gets the opportunity to analyze what he read on the go, while delving into the idea of ​​the plot. Folklore works are more impulsive, moreover, they contain only their inherent elements, such as a talker or a chorus. Often the narrator slows down the action for greater effect, using duality or trinity of the narrative. In folklore, open tautology is widely used, sometimes even accentuated. Parallelisms and exaggerations are common. All these techniques are organic for folklore works, although they are completely unacceptable in ordinary literature.

Different peoples, incompatible in their mentality, are often united by factors of a folklore nature. Folk art contains universal motifs, such as the common desire for everyone to reap a good harvest. Both the Chinese and the Portuguese think about this, although they live on different ends of the continent. The population of many countries is united by the desire for a peaceful existence. Since people everywhere are the same by nature, their folklore is not much different, if you do not keep in mind the external signs.

The geographical proximity of different nationalities contributes to rapprochement, and this process also begins with folklore. First of all, cultural ties are established, and only after the spiritual unification of the two peoples do politicians come to the fore.

Small genres of Russian folklore

Small folklore works usually intended for children. The child does not perceive a long story or fairy tale, but listens with pleasure to a story about Little Gray Top, which can grab the barrel. In the process of raising children, small genres of Russian folklore appeared. Each work of this form contains a special grain of meaning, which, as the narrative progresses, turns into either a moral or a small moral lesson.

However, most small forms of the folklore genre are chants, songs, and jokes that are useful for the development of a child. There are 5 genres of folklore that are successfully used in raising children:

• Lullaby - the oldest way, allowing you to lull the child to sleep. Usually the melodic melody is accompanied by rocking of the cradle or crib, so it is important to find a rhythm when singing.
• Pestushki - simple rhymes, melodious wishes, affectionate parting words, soothing lamentations for a newly awakened child.
• Nursery rhymes are recitative songs that accompany playing with the baby’s arms and legs. They promote the development of the child, encourage him to act in an unobtrusive playful way.
• Jokes are short stories, often in verse, funny and sonorous, which mothers tell their children every day. Growing children need to be told jokes in accordance with their age so that children understand every word.
• Counting books are small rhymes that are good for developing a child’s arithmetic abilities. They are an obligatory part of collective children's games when lots need to be drawn.

Genres of folk music are several main types musical works that were created by unknown authors and subsequently preserved by the people through oral transmission from one generation to another.

To understand this topic, you first need to find out what the concepts of “genre” and “folklore” mean. Folklore (translated from English as “folk wisdom”) includes not only musical creativity, but also other manifestations of culture. These are fairy tales and legends, conspiracies and spells, proverbs and sayings, dances, fortune telling and signs, various rituals(holiday and religious), as well as games, counting rhymes and even jokes.

Genre is a historically formed type of work with certain features of form and content, with features of performance and a certain life purpose. Symphony, ballet, opera, romance, song - all these are examples of musical genres.

Genres of musical folklore

Their number is extremely high. Therefore, they are divided into vocal (songs), instrumental (tutorials) and, of course, vocal-instrumental. Additionally, most musical genres can be divided into three categories of content - epic (story), lyric (emphasis on feeling), and drama (action).

Special attention should be paid to the genres of Russian folklore songs. Every new type dance or song is a specific genre. For example, round dance, epic, trepak, spring song, lullaby, ditty, carol, etc.

The main genre of Russian folk music is the song. There are a lot of songs and they are all varied. Therefore there is a huge number genre varieties Russian song. The easiest way to remember them is by the event that they accompanied. So, Russian songs are:

1. related to the calendar (meeting spring, spells, summer and early spring Trinity round dances, haymaking songs, carols, Maslenitsa songs);
2. related to events in people's lives (birth or death, baptismal songs, children's round dances, lullabies, wedding songs, spiritual poems);
3. lyrical (love songs, cants and urban suffering;
4. festive and everyday (songs of soldiers and students, barge haulers, peasant songs, comic songs and farce songs, ditties).

To get acquainted with examples of ancient Russian folk music, you can listen to the cants “Oh, wondrous island of Valaam”, “A storm dissolves the sea”, “Peace to the Intercessor” and other works.

Oral folk art - represents traditional verbal creativity people. It can be both ancient and new - created in our days. Its main feature is that this art words are passed down from generation to generation by word of mouth.

There are a lot of genres in verbal folk art. These are myths and legends, epics, epics, proverbs and sayings, riddles, ditties, fairy tales, songs... The list of them can be endless. The creator is not an individual, but a people. That is why not a single work has its own specific, single author.

Over the centuries, the creations of people have evolved into entire verbal forms, which subsequently form rhymes (“verses”). Thanks to this technique, the works were easier to transmit and remember. Thus, ritual, round dance, dance, and lullaby songs appeared.

The subject of folklore creativity completely depended and continues to depend on the culture, beliefs, history and region of residence of the people. But main feature Such creations were and remain a combination of a direct reflection of life and a conditional one. Simply put, in folklore there is not, and was not, a mandatory reflection of life in the form of life itself; convention is always allowed in it.

Genres of folklore

To better understand what oral folk art is, it is necessary to become more familiar with its genres, and in this form verbal art, a great many.

Proverbs and sayings

Let's start with those that we know well and sometimes use in everyday life - with proverbs and sayings. These types of oral art are one of the most interesting genres that have survived to this day.

No one knows for sure when these genres appeared. oral creativity. The undoubted fact remains how accurately and concisely, figuratively, logically complete, the saying expresses the people's mind and experience accumulated over many centuries.

Meanwhile, many of us have long been accustomed to thinking that proverbs and sayings are one and the same thing. Actually this is not true. A proverb is a complete sentence containing folk wisdom. It is written in simple, often rhyming language.

Example of Russian proverbs:

"God saves man, who save himself"

"Small spool but precious"

“A penny saves the ruble”

Then, as a saying, it is an established phrase or phrase. It is intended for decoration.

Example of Russian sayings:

“Stay with your nose” (be deceived)

“Disservice” (help that turns into harm)

“When the cancer whistles on the mountain” (never)

Signs

Signs are another folklore genre that has undergone quite a few changes, but still has not lost its wisdom and has reached modern people.

It appeared in ancient times, when our ancestors were very close to nature, when people observed it, the phenomena occurring around them, and found connections between events. Over time, people put their observations into words. This is how signs appeared, which through the centuries carry the collected knowledge of their ancestors.

Some examples of weather signs:

The larks fly to the warmth, the chaffinch to the cold.

A lot of sap flows from a birch tree - for a rainy summer.

Sparrows bathe in the sand - predicting rain.

Also, many old signs related to home and everyday life have survived to this day. The most common is: “Spilling salt means shedding tears.” It is believed that this sign appeared in the middle of the 17th century, during the times of riots and uprisings in Rus'. Back then, salt was literally worth its weight in gold. This is where the meaning came from - spilling such an expensive “seasoning” like salt will inevitably lead to a quarrel in the house.

A few more examples of everyday signs that are undoubtedly familiar to us:

“If you whistle at home, you’ll miss the money”

“Clothes inside out means hassle”

“If you sew on yourself, you will sew up a memory”

Fairy tales

Individual elements have also been preserved from antiquity children's folklore- fairy tales. Later, this genre of oral art changed greatly. this happened under the influence of aesthetic and pedagogical functions, but still it continues to exist.

However, some genres of verbal art “die out” over time, and humanity gradually forgets about them. This process is a natural phenomenon; it does not indicate the decline of folk art. On the contrary, the process of “dying away” is a sign that, due to changes in the conditions of human existence, the artistic collective creativity of the people is developing, as a result of which new genres appear and old ones disappear.

Epics

These genres include epics (or as they were also called - antiquities - Russian heroic-patriotic songs-tales, the main plot of which was important historical events or heroic deeds heroes and warrior maidens). This genre originated in Ancient Rus', existed until the Middle Ages and gradually began to be forgotten by the 19th century.

In addition, ritual folklore can also be classified as almost forgotten genres. Let's look at its components a little closer.

Calendar folklore and annual song cycle

These small genres appeared in connection with the need to monitor the agricultural cycle, as well as changes occurring in nature and religious holidays.

Many proverbs, signs, advice and prohibitions have developed in calendar folklore. Here are some of which have survived to this day:

“If it melts early, it won’t melt for a long time”

“March sows with snow and warms with sun”

Quite a few songs were composed by the people for the annual song cycle. So on Maslenitsa it was customary to bake pancakes, perform rituals of farewell to winter and sing ritual songs. This and some other old traditions have been preserved to this day.

Family folklore

It included such small genres as: family stories, lullabies, nurseries, nursery rhymes, wedding songs, funeral laments.

The name “Family Stories” speaks for itself, and this genre of verbal art has existed since time immemorial - perhaps as long as a person has lived in this world. It is noteworthy in that it is formed quite separately, as a rule, within the framework of the family and close circle.

In addition, this genre has its own peculiarity, it can form “certain expressions” that are understandable only to family members or people present during the event that led to the appearance of this phrase. For example, in the Tolstoy family there was such an expression as “the architect is to blame.”

The birth of this expression was preceded by an event: when Ilya Tolstoy was five years old, New Year he was given the promised cup. Happy child ran to show everyone his gift. While running across the threshold, he tripped and fell. The cup broke. Little Ilya, justifying himself, said that he was not to blame, but the architect who made this threshold was to blame. Since then, the family of Lev Nikolayevich Tolstoy has had its own expression equivalent to the winged one - “the switchman is to blame.”

Lullabies

Another equally interesting genre in family folklore were lullabies. In the old days, the ability to sing lullabies was considered special art. During the game, mothers taught their daughters how to “cradle” correctly. This ability was necessary so that older girls, already at the age of six or seven, could look after the younger ones. That is why special attention was paid to this skill.

The purpose of lullabies was not only to calm, but also to protect the child. Many songs were “conspiracies.” They were called upon to protect small child from the dangers that could await him in the future. Often lullabies were addressed to spirits and mythological creatures, carriers of sleep - Dream, Sleep. They were called to lull the baby to sleep. Currently, this genre of folk art is almost forgotten.

Pestushki and nursery rhymes

Pestushki and nursery rhymes were short melodies. They helped the child in development and knowledge of the world around him. Perhaps someone remembers from childhood - “Magpie-Crow...”. Such small songs and sayings encouraged the baby to take action, instilled hygiene skills, developed fine motor skills and reflexes, and helped to explore the world.

Wedding songs

Wedding songs were strikingly different from all other small genres of family folklore. Notable was the fact that outside wedding ceremony these songs were not played. Moreover, from a functional point of view, they were extremely important, since they played a kind of “legal role” in this event. Along with wedding songs, lamentations played an important role in the ritual. They were an integral part of the holiday; they were lyrical narratives that described the experiences of the bride, parents and girlfriends.

Glorification also played a significant role. Guests used them in songs to praise the bride and groom and wish the newlyweds well-being and happiness. On top of that, not a single wedding could be complete without reproachful songs. This small component of the wedding ceremony consisted of comic songs. As a rule, they were addressed to matchmakers, because of whom the bride “left” her family, girlfriends and lost her maiden will.

Funeral lamentations or laments are another ancient folklore genre, the time and appearance of which no one knows for certain. It has survived only in “scraps” to this day, but from the title you can easily understand what it’s about. we're talking about and what this genre served for.

The main feature of this oral creativity was that it had its own “formula”, or better yet, a strict sequence, which each mourner “decorated” with his own creative element - a story about the life, love or death of the deceased. Now, for example, part of the ritual, as well as crying, can be seen and heard in the film “Viy” (1967).

Occasional folklore

Folklore that does not correspond to generally accepted use. It had an individual character, determined by a specific situation and occasion. It included such small genres as chants, counting rhymes, and conspiracies.

Calls

Russian folklore is incredibly rich. They were small songs, often not devoid of humor and accompanied by game actions. The plots of this small genre were very different: they could be chants about the weather and weather phenomena, about nature and the seasons, about animals and fairy-tale creatures...

Rain, rain! Rain, rain!

On me and on people!

A spoonful for me.

For people it’s okay.

And for the devil in the forest -

Lei a whole bucket!

Counting books

Counting tables are another small genre of verbal folk art. It arose a long time ago, but has now almost disappeared from modern folklore. Meanwhile, no matter how surprising it may sound, in ancient times, counting rhymes were widely used by adults. Their main function was the distribution of work.

Yes Yes. After all, then many types of work were not only very difficult, but sometimes life-threatening. Therefore, few people at will I wanted to take on something like this. And the counting rhymes made it possible to distribute the work between the participants so that no one would be “offended.” Nowadays this " important role"counting rhymes have been lost, but they still exist and still perform their function in children's games.

CONSPIRACY

And finally, the most amazing, but far from the last, ancient genre of oral folk art, quite complex in its structure, which, oddly enough, continues to live in our time - conspiracy. Function, since its inception of this genre, has not changed. He still continues to play the role of a “magic weapon” designed to fulfill the wish of the speaker. As mentioned above, this genre is quite original in its execution and is often complex in its design - this is its peculiarity.

We can talk about the genres of oral folk art for an infinitely long time, because all directions are interesting and unique in their own way. This article is intended only to acquaint the reader with the immense, multifaceted wealth human culture and wisdom, clearly reflecting the experience of previous generations.