Lesson on the topic “Yakut folklore”. General and special artistic characteristics of Chabyrgakh
Folklore is the basis of Yakut musical art
In loving memory of my husband, friend
Zakharov Timofeevich Tyungyuryadov
dedicated to
Before the Great October Revolution socialist revolution The Yakut people did not have their own professional art. Among the indigenous population there was not a single person with higher or secondary musical education, not a single professional composer, musician, or artist. Yakut musical folklore has not been recorded or studied. However, this does not give reason to believe that the Yakuts did not have their own musical culture at all. Extraordinarily original and diverse, it was carefully passed on in the form of oral folk art - olonkho, dances, songs.
In terms of genre, Olonkho should be classified as a major musical-epic work, which is a kind of dialogical (along with singing, the use of spoken dialogue) unaccompanied opera. The creators of this vast epic tale about the exploits of the heroes of the Middle World are called olonkhosuts.
Olonkhosut is a highly gifted artist who came from the people, must have an extraordinary memory, the gift of musical and poetic improvisation, a bright voice and dramatic talent, since he is the sole performer of large-scale works telling about the struggle of heroes against evil, for a peaceful, abundant, equal life for all . Although the basic melodies of an olonkho are relatively stable, each olonkhosut develops its own unique style of performance and creates many new variations of melodies.
Olonkho, as a musical work, has not yet become the subject of scientific research. The Yakut branch of the USSR Academy of Sciences has collected several hundred texts recorded from the best olonkhosuts.
Some musical notations in pre-revolutionary publications were fragmentary (episodic) in nature. Three songs from “olonkho” (melodies without text), taken from rollers based on the phonographic recordings of Y. Strozhetsky, were notated by A.P. Maslov and published in 1908. Essentially, these are conventional recordings of Yakut songs of the ametric style in general. They are preceded by the title: “Spells of the “olonkho” of Yakut shamans.” But, as you know, shamanic rituals and olonkho are not the same thing, they cannot be mixed. A.P. Maslov also encloses a short article “On the tunes of Yakut songs”, in which he tries to give an analysis of the given melodies, concluding: “... the melodic singing of the Yakuts is at a low level of development and, perhaps, is only experiencing the “era of quarts” . Apparently, this pre-revolutionary musicologist could not assume anything different in the musical culture of the “foreigners” - the Yakuts, hence the categorical assessment.
Serious study of Yakut music began only after the Great October Socialist Revolution, thanks to the efforts Soviet composers and musicologists.
The greatest expert and researcher of the musical culture of the peoples of the USSR, Professor V. M. Belyaev wrote: “The Yakut people were distinguished in the past by their exceptional musicality, ... in the absence of writing, they existed, however, developed creativity and their own musical culture... in terms of content, the epic-fairy-tale and song creativity of the Yakuts is extremely rich and diverse.” He is the author of the first scientific work devoted to musical folklore “Yakut folk songs”, published in 1937. The article was written based on an analysis of the collection of Yakut songs by F.G. Kornilov and his recordings of Olonkho melodies about the hero Ala Murgun.
In 1940, composer N.I. Peiko and musicologist I.A. Steinman published an article “On the Music of the Yakuts,” where they cite and analyze several fragments from the olonkho as musical examples. Moscow musicians were sent by the Department of Arts under the Council of People's Commissars of the RSFSR to Yakutsk to collect folklore materials. In the summer of 1939, in Yakutsk and in the Megino-Kangalassky region, they recorded Yakut melodies. On the stage of the collective farm club they saw a theatrical performance of olonkho performed by amateur artists, including folk singer, member of the Union of Writers of the USSR N.I. Stepanov (hero of the Middle World).
N.I. Peiko recorded several olonkho melodies, and for the first time published fragments of the tunes of new characters - the white udaganka, the tree fairy and the bride of the hero of the Middle World.
N. Peiko and I. Steinman were the first to point out the presence of an extended second interval and a stable tritone in Yakut melodic music. Using the example of the melody of Baba Yaga's song (according to the text, this is the song of the old woman Simehsin), the authors correctly noted the unstable nature of the Yakut mode. At the beginning, the melody "presents a continuous build-up, achieved by a gradual extension of the melodic step in an upward movement and an intense rhythmic development." Then “an unexpected decline,” and again “a gradual expansion of the melodic step, combined with an increase in register,” begins. However, the researchers considered this unusual method of mode formation not a pattern, but explained the phenomenon as “archaic disorder” of singing. This is not true.
The pattern of unstable mode formation in the Yakut song was confirmed by composer G. A. Grigoryan (1919-1962). “Often a Yakut singer,” he writes, “starting a song in harmony with a narrow range, as it progresses, he “opens” the mode, expanding it to a large range.” G. A. Grigoryan designated it with the term “opening fret”. The theory of mode formation of the Yakut tune, set forth by G. A. Grigoryan, is confirmed by folklorist researcher, candidate of art history E. E. Alekseev, he writes that its more complete and accurate definition is not “unfolding”, but “evolving”.
Composer-ethnographer S. A. Kondratyev gives him the following scientific justification: “Usually the upper sounds of the mode show a tendency to increase, and the lower sound either decreases during the performance or remains unchanged,” this is “a form of mode formation firmly rooted in Yakut singing.” . He called these modes “modulating,” “for their original tones often disappear into new ones.”
M.N. devoted many years to recordings of Yakut folk music. Zhirkov. The original melodies of the Olonkho, sung to him by the Olonkhosut U.G. Nokhsorov, formed the basis of the opera “Nyurgun Bootur”, and were used in other works. In the archives of M. N. Zhirkov, stored in the Ministry of Culture of the Yakut Autonomous Soviet Socialist Republic, there are 32 records made by him, many of which have been processed. In 1947, in the first issue of the series “The Heroic Epic of the Yakuts”, prepared by the Research Institute of Language, Literature and History of the Yakut Autonomous Soviet Socialist Republic, five musical notes of the olonkho by M. N. Zhirkov were published, the melodies of songs: Nyurgun the Swift, the sister of the hero of the Lower World, the black udaganka Ytyk Khahaidaan, the sister of the hero of the Middle World, the white Udagan woman Aiyy Umsuur, the duet of the heroes of the Middle World, Yuchyugey Yukeideen and Oruluos Dokhsun, as well as the hero of the Lower World, Wat Usutaaki.
Several versions of the songs of the two main characters of the Olonkho - Kyys Kyskyydaan and Ayyy Umsuur - were notated in full and with great care for the first time by S. A. Kondratyev, including three with text in the Yakut language. It is characteristic that all three songs of Kyys Kyskyydaan, which have a single musical leitmotif and were recorded from the voices of different performers (S. A. Zverev, U. G. Nokhsorov and K. E. Kononov), differ significantly in their melodic structure. This is one of the performing features of olonkho, as a complex musical epic work.
Descriptive and narrative parts (olonkho) are recited in recitative patter, and the own text of all the characters and their dialogues are conveyed in songs.
Olonkho P. A. Oyunsky “Nyurgun Bootur the Swift”, according to our calculations, consists of 36,768 poetic lines, including: recitatives - 23,259 and songs - 13,509. Of course, the given example is not a certain standard and a mandatory ratio for all olonkhos, although in the two previously published ones, recitatives also made up no more than two-thirds, and songs - more than one-third of the total text.
However, from all of the above, one should not conclude that olonkho is primarily a textual-recitative work, which many pre-revolutionary researchers were inclined to believe, considering it a Yakut fairy tale.
True, some even then noted the song nature of olonkho. “Individual roles in a fairy tale,” wrote academician Middendorf in 1843 in his travel notes, “are pronounced by the narrator in a singsong voice, so I was very surprised when, waking up in the dead of a dark night, I heard sharp singing from a neighboring yurt, which woke me up.” . To my question: “What does this mean?”, they answered me: “This is an old man telling a fairy tale... Here is a girl singing... here is a horse...”.
The famous Russian folklorist revolutionary Karakozovo I.A. Khudyakov, who served exile in Verkhoyansk in 1867-1874, wrote that “The Yakut fairy tale (olonkho - G.K.) is the embryo of folk opera. All prayers (algysy - G.K.), almost all conversations, every long speech, so often mentioned in fairy tales, are not told, but sung by the storyteller, which greatly enlivens the story.” In fact, olonkho is the song creativity of olonkhosuts, in which songs occupy most of the time.
For example, the duration of a complete performance of the olonkho “Nyurgun Bootur the Swift” by P. A. Oyunsky (based on the average calculation of 40 poetic lines of recitative and 12 lines of a song per minute according to the recording) would be 28 hours 27 minutes, and the singing sounds - 18 hours 46 minutes, recitatives 9 hours 41 minutes.
Whatever the merits of the literary poetic material, the image and character of the heroes are mainly created by the performing skill of the olonkhosut, the strength of his voice, and knowledge of various melodies. In Yakut folk art, a tune without any instrumental or choral accompaniment is a completely finished musical work. Olonkhosut creates melodies corresponding to the character and image of each character, and in each work he tries to find new ones, different from others, while naturally preserving existing traditions... However, many olonkhosuts in different olonkhos use the same melodies, slightly changing them according to the nature of the image.
Olonkho is usually performed by the best singers who are fluent in the national style “dyeretii yrya”, which was born along with the formation of the independent Yakut people, as a unique form of song creativity. He constantly improved, reaching his highest peak in oral folk art - from toyuk to olonkho.
The first musical notation of the dyeretiya yrya was made by the Russian scientist A. F. Middendorf in 1843 during his trip to Siberia. The Soviet folklorist S.A. Kondratyev called songs of this type ametric, that is, not subordinate to a clearly defined meter, in contrast to another, metrical style of singing - degeren yrya, the tunes of which fit into a certain time signature. Ametric songs are freely improvisational in nature, and predominantly epic in nature. They are characterized by an abundance of kylysakhs - specific guttural overtones and unique decorations.
Some olonkho songs are performed in another style of natsial singing - degeren yrya, the musical notation of which was first published in 1896 in the ethnographic monograph by V. L. Seroshovsky “Yakuts”. They differ from ametric songs in a wider range, developed melody, modal and rhythmic certainty. This style is characteristic of lyrical, patriotic, labor, comic, and dance songs. On the basis of the metrical style of degeren yrya, the following images are created in olonkho: the guy-herdsman Soruk Bollur, the cow-slave old woman Simehsin, the light udagankas, the sister of the hero of the Lower World. At its core, this singing is a further development, or rather a special form of development of the original dyeretiya yrya.
Diereti yrya and degeren yrya are interconnected and enrich each other. Toyuksuts sing in an ametric style, the best of whom become olonkhosuts. The latter, to create their monumental epic-heroic works of olonkho, use both styles of singing to the same extent, thereby achieving melodic diversity.
There is also another unique national type of Yakut singing - tagalai yryata (palate song). After pronouncing the first syllable of an untranslatable word, the performer interrupts the singing with a sharp inhalation, touching the palate with the tip of his tongue, and then, exhaling, lowers his tongue and finishes the word. At the same time, the palatal clicking of the tongue can be clearly heard, which gives a unique national flavor. Songs of this style with the words “һyt-tya, һyt-tya” are very popular among the people. Olonkhosuts, using palatal songs, conveyed melodies characterizing mythical birds.
Another type of Yakut singing is also known - “khabarga yryata” (throat singing), based on wheezing exclamations “hr-hr”. However, it has not yet been performed by olonkho, so it can be assumed that it is not used in these works.
How many melodies are there in olonkho? Pre-revolutionary researchers tried to answer this question. I. A. Khudyakov wrote: “...the motives of the songs (olonkho - G.K.) are mostly monotonous; experts count them to only twenty.” Soviet researchers V.M. Belyaev, N.I. Peiko, I.A. Shteinman, S.A. Kondratyev, who studied olonkho, do not give an answer, since they did not have the opportunity to familiarize themselves with the full recording of the melodies.
However, today we, having many records, including the record of the olonkho “Nyurgun Bootur”, cannot accurately answer this question. The number of olonkho melodies depends on the number of images created and on the olonkhosut’s ability to decorate each of them. You can count the number of melodies in individual olonkhos, but it cannot be taken as a criterion for determining the number of melodies in an olonkho in general, as in a musical genre.
Olonkho P. A. Oyunsky “Nyurgun Bootur the Swift” consists of 72 main and secondary images, of which G. G. Kolesov created 34 in the recording version. He performed 131 songs, including: Nyurgun Bootur - 23, Yuryun Walana and Wat Usutaaki - 15 each, Tuyaryma Kuo and Aiyy Umsuur - 8 each, Kyys Nyurgun - 6, Ogo Tulaayakha, Wat Usumu and Timir Dyybyrdaana - 5 each, Kyun Dzhiribine and Kyys Kyskyydaan - 4 each. Repeating them as the action progresses. G. Kolesov tried to vary and change the melody while maintaining its basis (this is how olonkho-suts create images of their heroes). The exact number of melodies he created can be established only by notating all the songs presented in the recording and studying each one separately.
However, in any olonkho everything depends on the improvisational talent, experience and vocal abilities of the olonkhosut. And although all the main characters are endowed with relatively stable musical formulas-characteristics - a certain timbre of sound, rhythm, tessitura (register) - the performers modify the leitmotifs, vary them with their individual data, and correlate them with local artistic traditions district. This happens on almost every replay. Only the fundamental leitmotifs that make up the main musical material of the olonkho remain unshakable.
They were created and improved over the centuries by the skill of many generations of national singers. Having received recognition from the people, they became traditional synonymous melodies and have survived to this day. The main images are preserved in almost all olonkho, only the names of the heroes and other characters, situations and plots of the work change. The presence of melodies of a leitmotif character confirms our conclusion that olonkho has long been considered a major musical epic work, the pinnacle of the singing art of the Yakut people.
Olonkhosuts of the southern regions of the republic use 30 well-known melodies of a leitmotiv nature. How many of them there were in the past is unknown, since they were not recorded before. According to the stories of listeners and eyewitnesses, the northern regions have their own traditions - many mixed images, different leitmotifs. However, limit total Olonkho melodies with the number of leitmotifs would be wrong, because it would impoverish our understanding of Olonkho music. Moreover, the olonkhosut uses many melodies to create the olonkho, in his own performance. And the leitmotif characteristics, in turn, have countless diversity.
In this work it is not possible to give musical examples of all leitmotifs and give their analysis. This is the subject of special research. Let us dwell on the general concepts of leitmotif characteristics.
Olonkho leitmotifs mostly consist of three parts. The first part of the song begins with a chorus that has no semantic content. It is repeated several times, and sometimes even in the middle or at the end of the song. Each main image has its own specific chorus, which, as it were, precedes the leitmotif of the image, helps its creation, giving a musical and semantic coloring. In Evenki (Tungus) tales, where all monologues are also sung, there is a mandatory chorus - a refrain, which is the name of the clan, tribe or the character’s own name. This is a musical and poetic formula of the image, similar to the olonkho chant.
The second part is the main melody (with variations), a statement of the content of the song. The third part is the conclusion, often ending with an initial chorus or two or three words: blessings, gratitude, good wishes, oaths. The songs vary in length. For example, Nyurgun's song from the second part (song) of olonkho P. A. Oyunsky consists of 224 poetic lines. It would take 56 minutes to perform.
Olonkho leitmotifs can be divided into five groups.
The first, characterizing the inhabitants of the Middle World, makes up almost half of all olonkho leitmotifs. Among them, the heroic ones stand out: the songs of the main character, the powerful hero, are sung in the bass tessitura, the second hero of the Middle World - in the baritone, the young hero - in the tenor, the female hero - in the contralto, as well as songs - the call of the heroic horse and algys (prayer) - the good wishes of a hero when parting (farewell) with his homeland.
The songs of the heroes of the Middle World begin with the chant: “de-buo!” “Kor-da bu!” The first is used not only in olonkho, it is the beginning of all toyuks. Therefore, songs like “dyeretii yrya” are often called “dye-buo” songs, which, figuratively translated into Russian, means: “Well, there you go!”
The songs of the forefathers - the father and mother of the bride and the heroes - are performed very slowly, sedately, as if conveying the age and solidity of the characters. The same chant “de-buo” is also present in the bride’s song. A special leitmotif characterizes the cry of the bride languishing in the Lower World. It is expressed in the words: (Yy-yy, yyybyn!" (interjection imitative of crying).
There are several variants, the leitmotif of the comedic image of the slave-guy Soruk Bollur, performed in the style of degeren yrya. The chant is the words “oulaata, oulaata”. Soruk Bollur always sings at a fast pace, as if choking and “swallowing” the words, which emphasizes the comic fussiness of the image. It should be noted that the Soruk Bollur chant is also found among other peoples. For example, the main motif of the Kyrgyz heroic epic “Manas” is similar to it. Some olonkho depict the image of the folk sage Seerken Sesen, who is characterized by the osuokhai dance melody “cheyiҥ-cheyiҥ, chekiyder” in the style of degeren yrya.
The motive of the song of another comedic image of the slave-old woman Simehsin, which is sometimes introduced instead of Soruk Bollur, is contradictory. In some olonkhosuts, the leitmotif approaches the main motive of the black udaganka, the sister of the hero of the Lower World (a musical example is given in the analysis of the article by V. M. Belyaev). In such cases, the chant is the words: “Ihilikpin-tagylykpyn.” Others give this image an independent leitmotif and give it almost the same fussy character as Soruk Bolluru, with the chant: “Aanaibyn-tuonaibyn!” (“How sad I am!”). This split image is observed when Simehsin plays a cameo role in the olonkho and sings only one song.
But usually old lady Simehsin sings two songs that have their own leitmotifs. The first is joyful, in which she reports the news about the arrival of the groom of the hero of the Middle World, starting with the words: “Alaatan-ulaatan!” The leitmotif is close in character to the Soruk Bollur tune, but at the same time is significantly different melodically. Second leitmotif Simehsin with chorus:
“Aanaibyn-tuonaibyn” contains a tragicomic element. The bride, leaving her home with her groom, is told a fiction about the tragic death of her father and mother, about a fire in her home. Rarely are two Simehsins (two ancestors) introduced into the olonkho, but the leitmotifs remain the same.
The leitmotifs of the inhabitants of the Lower World are not numerous, but melodically and rhythmically they are very characteristic. The participation of a powerful hero - the titan of the Lower World usually begins with the chant "Buya-buya, buyaka." However, in his, as well as in the songs of other heroes of the Lower World, there are different chants: “Daya-daya, dayaka”, “Aart-diaaly, aart-tatay”, etc., the melodies of the leitmotifs vary in the course of events. In Evenki legends, the chorus of the permanent enemies of the taiga hunters, the Avakhs (in Yakut “abaasy”), are the same words: “Dyngdy-dyngdy” (the word “dyng” is formed from imitation of the sound of metal).
The leitmotiv character is the dying song of the hero of the Lower World with the chant: “Abytaybyn-khalakhaybyn.” The great interest of researchers was attracted by the song of the sister of the hero of the Lower World - the black Udagan woman with the chant: “Ihilikpin-tagylykpyn!”, “Iedeenikpin-kuudaanykpyn!” The leitmotifs of the negative images of olonkho - the characters of the Lower World - are completely different in character and melodic structure from the leitmotifs of the inhabitants of the Middle World. They are characterized by a wide range, leaps at large intervals (septima, tritone), emphasized angularity in the melody, instead of melismatic decorations - extra-tonal exclamations, interjections, a sharp, clear rhythmic pattern, fast tempos.
The leitmotifs of the inhabitants of the Upper World are close to the tunes of Aiyy Aimak. The songs of Yuryun Aar Toyon, just like those of the ancestor - the father of the Middle World, are sung widely, sedately, at a slow tempo, but are more militant and strong-willed in nature. The chant: “Bo-bo, boyoko,” and sometimes “Die-buo.” The heavenly messengers, the servants of Yuryun Aar Toyon Dieseldyuta have a special leitmotif with the chant: “Neey-buyakka.”
The leitmotif of the sister of the hero of the Middle World, the heavenly Udagan (Aiyy Umsuur), one of the positive images of the Olonkho with the chants “Doom-eni-doom” or “Die buo!” is original.
The leitmotif of Aiyysyt - the goddess of childbirth, the patroness of the female gender - is sung with the chant: “Che duo-chel baraan!” and is distinguished by great warmth and tenderness.
The leitmotifs of the Tungus Olonkho characters differ significantly from those listed above in the nature of their execution.
Tunguska characters are episodic, present only in some olonkhos, but their leitmotifs are very unique, original, based on the characteristic intonations of the tunes of northern peoples, but differ from the leitmotifs of Tunguska legends. The most characteristic are three leitmotifs: the powerful Tunguska hero - the shaman Ardyamaan-Dyardyaman, the Tunguska hero who pretends to be a freezing poor man to kidnap a girl, and the old Tunguska woman. The chant for everyone is the words: “O-lee-te, o-lee-te! Ataskan! They are sung abruptly and with a lisp. Olonkhosuts vary these leitmotifs in different ways, but the best performer was considered to be D. M. Govorov, the author of the olonkho “The Stumbling Muldyu the Strong,” but no recordings of his voice were made.
The leitmotif of the blacksmith Kytai Bakhsy is close to the tunes of Abaasy Aimak, despite the fact that this character is not negative, he is an assistant to the heroes of the Middle World. His chant: “Boo-ya, boo-ya! Buyaka! Dayaka!
Finally, the last group: leitmotifs of inspired images of animals, birds and nature.
In Olonkho, heroic horses, mythical animals and birds are endowed with intelligence and human speech - Mek Tugui, Eksyokyu, Khardai, Kytalyk (Siberian Crane), Khara Suor (black raven) and others. They all have their own individual characteristics and special leitmotifs. Olonkhosuts always endowed their images with interesting melodies, onomatopoeic techniques, and special epithets. I. A. Khudyakov, who listened to the best olonkhosuts a hundred years ago in the city of Verkhoyansk, writes: “The songs of the ravens begin: “Surt-sart surdurgas, duk-dah dogunas, ikkel-takhal”; songs of the birds: “chilim-roan, chilim-roan! - chachynnyar.”
Unfortunately, most of the melodies of animals and birds have been forgotten, and no recordings have survived. Modern olonkhosuts avoid performing these images traditionally, but sing in the usual style of dyeretii yrya. G. G. Kolesov performs the part of the heroic horse Dyuluskhan Subuya Syuryuk in tenor tessitura to the motif of the hero of the Middle World without any special decorations. The heroic horse “talks” (sings) with the owner in two cases: as an adviser, warning the hero about an accident, and when competing in a race with the horse of the hero of the Lower World. The leitmotif is the same with the chant: “An-nya-kha-an-nyaha” (imitation of the neighing of a horse).
Among the images of mythical animals and birds, the leitmotifs are: exekyu (like an eagle), kytalyk (siberian crane) and black raven (auxiliary images of olonkho). The chant of the kytalyk: “Kyn-kyykyy”, for the rest - as indicated above in the quotation from the work of I. A. Khudyakov. All these chants are performed in folk style tagalai yryata (palate song), onomatopoeic to the cry of an eagle, the singing of a kytalyk, and the croaking of a raven.
The leitmotif of the spirit - the Mistress of the earth, nesting in the sacred Aal Duub tree, Aan Alahchyn Khotun is closer to the leitmotifs of Aiyy aimag and begins with the chant: “Kyykyr-haakyr” or “Die-buo!” The leitmotif of Bayanai, the god of hunting and fishing, is rarely performed. It is sung to motives close to the tunes of Aiyy aimag. Chorus: “Haa-haa-haa! Huk die!
The main motives we have listed do not exhaust all the leitmotifs of the olonkho. We do not know the leitmotifs of Dyilga Toyon, Arsan Duolaya, the images of which the Olonkhosuts sing in different ways. Apparently, they were forgotten over time due to the fact that these characters are rarely represented in the olonkho. We do not show the leitmotifs of the guy Suodalba, half-man, half-devil - the positive hero of Olonkho. Perhaps its leitmotif has not been established, since each performer interprets the image in his own way. Some auxiliary images of olonkho do not have stable leitmotifs. Or maybe they are not known to us?
The presence of a large number of leitmotifs is, first of all, explained by the fact that olonkho is a product of diverse characters and multifaceted images. According to folklorist researchers, in ancient times attempts were sometimes made to perform olonkho collectively, in which the songs of individual heroes were assigned to different olonkhosuts, and elements of theatrical action were introduced into the performance.
The first olonkho dramatized in the Yakut language were “The Beautiful Man Bariet Bergen” and “The Hero Kulantay Riding the Red Horse Kulun” in 1906-1907. in Yakutsk. Folk singers and famous olonkhosuts acted as performers.
The monumental nature of images and vivid imagery characteristic of Olonkho, the underlying drama of the action, the extremely developed art of impersonation of olonkhosuts in the performing and singing manner - all this served as an important starting point in the formation of the national theatrical culture. And it is no coincidence that it was olonkho that formed the basis of the first Yakut opera.
For the development of Yakut musical art, the olonkho drama by P. A. Oyunsky “Tuyaryma Kuo” based on the plot of his olonkho “Nyurgun Bootur” was of great importance. Original: the handwritten version was staged on the stage of the Yakut Theater on February 16, 1928. Although, as can be seen from the author’s review, the singers did not cope with the roles with the exception of the performer Nyurgun Bootur, this work is the first stage embodiment of olonkho on the stage of the national theater.
A second attempt was made after the final edition of Tuyarim Kuo in 1937, with partial musical accompaniment. M. N. Zhirkov’s music for this production was subsequently used in the opera “Nyurgun Bootur”. It is based on authentic melodies sung by Olonkhosut U. G. Nokhsorov.
It should be noted that the performers of the first Olonkho musical drama “Tuyaryma Kuo” M.V. Zhirkov (Nyurgun Bootur), A.I. Egorova and A.F. Novgorodova (Tuyaryma Kuo), V.A. Savvin (Wot Usutaaki) and others became part of the main cast of performers of the opera “Nyurgun Bootur”.
The melodies of the main style of olonkho dyeretii yrya were the first to be symphonized (recreated in orchestral sound) by Honored Artist of the RSFSR N. I. Peiko in Yakut professional music. It is difficult to overestimate his contribution to the development of the musical art of Yakutia.
The tunes of the Yakut olonkho, unique in their melody, mode formation, and rhythms, have enormous potential. Olonkho melodies are a fertile source for the development of Yakut professional art. If the music of the opera “Nyurgun Bootur” is created entirely from olonkho melodies, then thanks to creative comprehension national folklore people have created and are creating Yakut musical works of large forms - operas, ballets, symphonies.
Galina Mikhailovna Krivoshapko,
Ch. symphony orchestra conductor
Yakut television and radio;
honorable and folk art. YASSR, honored art. RSFSR,
honorable artist of the RSFSR
480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays
Nogovitsyn Vasily Andreevich. Chabyrgakh as a genre of Yakut folklore: dissertation... Candidate of Philological Sciences: 01/10/09. - Yakutsk, 2005. - 158 p. RSL OD,
Introduction
Chapter I. Genre characteristics of Chabyrgakh 22
1.1. Definition of genre 22
1.2. Genre classification 44
1.3. Folds of deaf Peter 71
Chapter II. Tradition and innovation in the Chabyrgakh genre .87
2.1. General and special artistic characteristics of Chabyrgakh 87
2.2. Yakut literature and Chabyrgakh 105
2.3. Chabyrgakh and amateur performances 116
Conclusion 131
List of sources 139
References 142
Appendix 149
List of abbreviations
Introduction to the work
Relevance of the topic. IN In Yakut oral folk art, the chabyrgakh genre occupies a special place. In the past, chabyrgi, as a genre of satire and humor, was one of the popular and favorite genres of folklore of the Yakut people. In amateur performances and professional art and at present it is enjoying particular success. However, chabyrgakh as a genre of oral folk poetry of the Sakha (Yakuts) has not yet been the object of special research.
Due to the fact that in Yakut folklore there is no special monographic study on this topic, the dissertation author chose to study chabyrgakh as a genre of Yakut oral folk art
Based on this, it became necessary to identify traditional and modern chabyrgakhs by content and structure, thereby achieving a deeper definition and understanding of one of the small genres of Yakut folklore - chabyrgakh.
This work is the first attempt to translate the allegorical words of chabyrgakh into Russian.
We mostly stuck to scientific translation. But in the sections
where it is not possible to translate a literary text, we gave preference to a literal translation and in the notes to these texts we tried to give a scientific version of the translation based on the genesis of texts (concepts).
Since 1985, public life has been built on the principles of democratization and humanization. In recent years, the “Concept for the renewal and development of national schools in the Republic of Sakha (Yakutia)” has been developed, aimed at reviving education in the native language.
There are enthusiastic teachers and cultural workers who have achieved considerable success in promoting Yakut folklore, including chabyrgakh. In 1990, the republican chabyrgakhsyt competition was successfully held, in which amateur groups from many uluses took an active part. The authors of many chabyrgakh texts on a modern topic were identified - Gerasimova M.A., Matakhova M.N., Mestnikova E.K., etc. Collections of chabyrgakhs by the above-mentioned authors were published, in which the content of the texts, their compositional structure in the form of satirical poems - tongue twisters shows, on the one hand, popularity and demand, and on the other, a misunderstanding of the artistic features of this genre, its secrecy, allegory and abstruseness. Thus, the relevance of the topic of the proposed work is caused by the increased interest of the people in oral folk art in general and, in particular, in the chabyrgakh genre.
Goals and objectives of the study. The dissertation author believes that the traditional genre feature of chabyrgakh is allegory, abstruseness, wordplay, poetics of the genre, etc. and the ways of development of the genre in modern Yakut folklore still remain completely unexplored and require special monographic study. Due to this purpose dissertation work is to determine the role and place of chabyrgakh in the system of genres of Yakut oral folk art, the path of its development and functional significance in modern conditions, i.e. outside the traditional folklore environment.
To achieve this goal, the following specific tasks are set:
studying the origins and evolution of the genre;
structural analysis and classification of chabyrgakhs;
analysis of the poetics and semantics of traditional and modern forms of chabyrgakh;
The study of its development and modern existence in modern times.
Object of study is the traditional genre of Yakut oral folk art - chabyrgakh and its place in modern reality.
The subject of the research is the history of collection and research of chabyrgakh, the degree of prevalence, definition and classification, poetics and development of the genre.
Methodology and research methodology.
The work uses descriptive, typological, comparative-historical methods, as well as the principle of systematicity and semantic analysis. The theoretical basis of the proposed work is based on early research by famous folklorists, literary scholars and linguists related to the study of the problem of genre classification of folklore works, poetic analysis, poetics of folklore and literature (V.M. Zhirmunsky, 1974; V.P. Propp, 1976; A. E. Kulakovsky, 1957, 1978, 1979; A.I. Sofronov (Kyayygyyap), 1926; P.A. Oyunsky, 1959, 1993; G.M. Vasiliev, 1940, 1965, 1973; N.N. Toburokov, 1985 ; N.V. Pokatilova, 1999, and others).
Chronological framework. Second half of the 19th century. - 20th century.
The degree of knowledge of the topic. The collection and study of materials from Yakut oral folk art began in the first half of the 18th century. Thus, early researchers, G. Miller, I. Gmelin, J. Lindenau (1733-1743 II Kamchatka Expedition), based on materials from historical legends, made the first assumptions about the ancestors of the Yakuts and the origin of the Yakut language. In 1842-1845. Academician A.F. Middendorf collected song lyrics, olonkho, and information about the “circular dance.” It is also known that in 1847 A.Ya. Uvarovsky included riddles and the text of the olonkho in his Memoirs. R.K. Maakom in 1854-1855. during
expedition to the Vilyuisky district, the texts of two olonkhos and riddles were recorded.
The first travelers who studied the history and life of the Yakut people had no observations about chabyrgakh. The first information about chabyrgakh is available in the work of the famous Russian folklorist, political exile IA Khudyakov (1842-1875) “A Brief Description of the Verkhoyansk District”.
Remarks and individual notes about this genre of Yakut folklore are found in the works of V.L. Seroshevsky [Yakuty, 1993]. Participant of the Sibiryakov expedition, political exile E.K. Pekarsky in his famous “Dictionary of the Yakut Language” defined chabyrgakh as a play on words and meanings.
S.A. Novgorodov in 1914, while a student at St. Petersburg University, was sent by the Russian Committee for the Study of Central and East Asia to Yakutia to collect folklore materials. During his expedition S.A. Novgorodov recorded two chabyrgakhs [Novgorodov 1991, 77-78]. In two of his articles, he noted chabyrgi as a special independent genre of Yakut folklore [Novgorodov 1991, p. 19; 1997, p.68].
Perhaps Chabyrgakhov was involved in recording texts before him
founder of Yakut literature, great connoisseur and collector
Yakut folklore A.E. Kulakovsky. In 1912 he wrote
literary chabyrgah. This work was published in his
collection of 1925:
Ollur-bollur Nevpovad-irrhythmic
Ekir-bukur At random
Yunkuleehteen, Dancer,
Erii-buruu Sweeping and awkward
Taibaahidaan, Let's wave,
Hey-goy Hey-ohy 7
Yllaamakhtaan, Drinking,
Isiehein ere, dogor! Come on, friends!
Iehey-chuokhay yllaamakhtaan, sing loudly and loudly,
Ieen-tuoyan ytaamakhtaan, Heartfeltly, with lamentations
please cry
Iehey-maahai daibaahaydaan, wave joyfully, sweepingly-
Hey-doguy yunkyuleehteen... With exclamations of hey-ohy
dance... [AYANTS SB RAS, f.5, op.Z, storage unit. 658 a, l.1]
In the introductory part of both texts there is grammatical and semantic repetition. There is no similar text in archival and published materials. And the time difference between the first (1912) and second (1945) options is 33 years. Therefore, it can be assumed that the once widespread text of this chabyrgakh was forgotten or was not used by the performers. There is no doubt that A.E. Kulakovsky in his work used the chabyrgakh motif, popular among the people at the beginning of the 20th century. We can say that he recorded the archaic, now forgotten text of one of the traditional Yakut chabyrgakhs
Our guess was confirmed by the fact that in his letter to E.K. Pekarsky A.E. Kulakovsky wrote that for the development of written Yakut literature, he collected folklore materials and provided a list of collected materials. Chabyrgakh was also included in this list, along with works of other genres [Toburokov et al. 1993, p. 94].
In 1926, one of the founders of Yakut literature A.I. Sofronov, in the article "Chabyrgakh", published in the magazine "Cholbon" (No. 2), expressed the idea of the possibility of developing chabyrgakh as literary genre. Also in the article he attempted to define chabyrgakh as a genre. A.I. Sofronov tried to identify the “real chabyrgah” and in
Chabyrgakh Dyuley Diaakypa "Itege-tetege" was cited as an example. According to the note of A.I. Sofronova, the real name of this chabyrgakhsyt is Yakov Vasilyevich Titov (1833-1916), but among the people he was also known as Dyulei Byukaeni, i.e. Deaf Peter (hereinafter Dyulei Byukaeni or Deaf Peter - V.N.). He was a native of Bakhsyt nasleg b. Meginsky ulus [Novgorodov 1991, p. 108].
In the same article A.I. Sofronov came to the interesting conclusion that the author’s “Folds about what was seen and heard” by Gyulei Bükeene cannot be recognized as real chabyrgakhs. It is obvious to us that A.I. Sofronov collected and analyzed the texts of the Chabyrgakhs. It is valuable that he was the first to draw attention to the existence of folk and literary (author's) texts Yakut chabyrgakh[Kyayygyyap 1926, p.29-30].
In 1999, a collection of the legendary chabyrgakhsyt Glukhoy Peter, “Folds about what was seen and heard: Tongue Twisters,” was published. In the collection, all texts are arranged chronologically [Titov 1999, p. 121]. As the compiler of the collection G.V. suggests. Popova/the first texts “Uluu tunui diakhtarga” and “Dyösögöyten telkelah” were recorded in 1926 by E.E. Makarov [Titov 1999, pp. 121, 125]. Unfortunately, in the texts of E.E. Makarov did not provide any information about the informant or the location where the said texts were recorded.
In 1927, on September 14, in the village of Chapchylgan, Amga ulus, another text “Sakhalyy chabyrgah” was recorded from T. Toyuktaakh. According to the note by G.V. Popov, this record was found in the materials of I.P., a participant in the complex expedition of the USSR Academy of Sciences to study the productive forces of the Yakut Autonomous Soviet Socialist Republic in 1925-27. Soikonen [Titov 1999, p. 126].
Thus, the records of E.E. Makarov and I.P. Soikonen laid the foundation for the fixation of chabyrgakh in Soviet time.
In published by E.I. Korkina’s book “Olonkho, songs, ethnographic notes” contains correspondence from G.U. Ergis with M.N. Androsova-Ionova. In one of the letters from M.N. Androsova-Ionova reports: “I wrote several chabyrgakhs, when you arrive, I will show them to you” [Androsova-Ionova 1993, p. 353]. This book includes one of these texts.
In 1938, under the leadership of the SI. Bolo and A. A. Savvin organized a folklore and dialectological expedition to the Vilyui group of regions of Yakutia. In order to more fully cover the vast territory of this group of regions, the expedition worked along two routes. Judging by the certification of materials, during the work of the expedition, the collectors relied on the records of teachers and students of rural schools. Along with recordings of olonkho texts, historical legends, folk songs, riddles, proverbs and sayings, special attention was paid to the collection of chabyrgakhs.
An analysis of the chabyrgakh records shows that most of the texts were collected by A.A. Savvin. In one Vilyui region, he recorded 41 texts: from the Kyrgydai nasleg - 14, Yugyulet - 9, Togus - 5, from the Khalbaaki and Khampa naslegs 4 each, Borogontsov - 3, II Kyulet - 2.
From a 79-year-old resident of N.M. Alexandrova from the village of Kugdar, Nyurba district, recorded 5 texts. Expedition members from 73-year-old I.G. Kytakhov, a resident of the village of Allyn, Suntar ulus, recorded 13 chabyrgakhs. In the village of Suntar - 6, Tyubey Jarhan - 8. And 9 more texts were written down by schoolchildren. All these texts are currently stored in the archives of the YSC SB RAS.
In addition to these areas, the expedition worked in two naslegs of the Kobyai ulus, where in the village II Lyuchyun from G. Kychikinov and in nasleg II Sitte according to P.G. Kolmogorov were recorded from one text. Thus, the expedition led by A.A. Savvina enriched the archival material with 84 texts of the Chabyrgakhs.
During these years, the archives of the Institute of Language and Culture received chabyrgakhs I.G. Ivanov (recorded by S.I. Bolo). According to a resident of the village of Kuochui, Kobyai district, D.G. Pavlov wrote down the text attributed to Deaf Peter “Onoyorkoon ayakhtanan”. Also from a resident of the same area, I.T. Sofronova P.P. Makarov wrote down the text of "Tanara Chabyrgaga".
In 1939, the archive fund of the said institute continued to receive texts of chabyrgakhs from correspondent collectors. In naslegs of Kobyai region II Sitte and Kuokuy P.P. Makarov wrote down one chabyrgakh each. In Churapchinsky district E.E. Lukin recorded two texts “Kepselge kiirbit” and “Dyrgyydaan-durguydaan”. According to V.D. Lukin, a resident of the village of Khaptagai, Megino-Kangalas region, wrote down the text “Syp-sap”.
In 1939-1941. The Institute of Language and Culture organized an expedition to the northern regions of Yakutia, led by SI. Bolo and A.A. Savin. She worked on two routes. Chabyrgakhs were mainly collected in the Momsky district under the leadership of the SI. Bolo and Abyi region under the leadership of A.A. Savvina.
In 1941, the folklore and dialectological expedition of the institute worked in the Amginsky, Gorny and Kobyaisky regions. HER. Lukin, a participant in this expedition, collected 2 chabyrgahs from the residents of the village of Altansy in the Amga region, and one chabyrgakh was collected from the residents of the villages of Abaga, Somorsun, Emis, and Omollon. In the same year, in the Churapcha district from a resident of the Alagar nasleg, Lytkina SI. 4 chabyrgahs were recorded. And also in the naslegs of II Sitte, Kokuy of the Kobyai region and from II Atamai of the Mountain region, one text was recorded.
In addition to expeditionary materials, during these years the archives of this institute continued to receive records of Chabyrgakhs from its correspondents.
Institute of Language and Culture from 1938 to 1941 Work on collecting folklore materials was widely launched. Over the years, about 150 chabyrgakh texts have been collected.
In the first years of the war in 1941-1943. For obvious reasons, the collection of folklore materials was temporarily stopped. In 1944, the archive fund was replenished with 10 more texts. In the same year, according to the words of the famous folk singer S.A. Zverev from the Suntarsky region of Yakutia and from a resident of the Megino-Kangalassky region, the famous shaman Abramov-Alaadya, the texts of the Chabyrgakhs were recorded. Also from the Abyisky, Megino-Kangalassky, Suntarsky and Churapchinsky districts of Yakutia, several chabyrgakhs were received into the archive fund.
More than 10 texts were recorded in 1945. And in the period from 1946 to 1947, the archive fund was replenished with more than ten texts of the Chabyrgakhs. They were recorded in the Ust-Aldan, Vilyui, Suntar and Ordzhonikidze (now Kangalassky ulus - V.N) regions by correspondent collectors.
The archives of the YSC SB RAS contain the texts of the Chabyrgakhs, recorded from the words of the famous olonkhosut of the Tattinsky region E.D. Kulakovsky-Wat Hoyostoon and from Moma resident R.P. Uvarovsky. There is also a 1949 recording of the chabyrgakh-fold “About what was seen and heard” from an 80-year-old resident of Tatta A.S. Totorbotova. The archive also received chabyrgakhs collected by schoolchildren of the literary circle of the Markhinskaya school in the Nyurba district.
In 1951, 1956-1958 from the Vilyuisky district according to I. Lebedkin, Nyurbinsky district according to P.S. Spiridonova, I.M. Kharitonov, Momsky district, according to R.P. Uvarovsky, Verkhoyansky district from A.E. Gorokhova, N.F. Gorokhov, several chabyrgakhs were recorded and archived.
Thus, it can be argued that the collection of folklore materials on the genre we are studying was mainly carried out in the 30s and 40s.
Fruitful work on collecting chabyrgakhs was carried out by a folklore expedition that worked in 1960 in the Nyurba region of Yakutia. 2 texts were recorded in the Megezhek nasleg, one each in the Chukar nasleg, I Kangalas and in the regional center of Nyurba several texts were recorded.
In the same year E.I. Korkina, P.S. Danilova, P.E. Efremov in the Tattinsky district according to N.P. Dzhorgotov, Ust-Maisky district from the words of I.P. Adamova, S.N. Atlasova, D.G. Ivanova and T.K. Kochelasov recorded several chabyrgakhs.
In 1962, 1965, 1966, one chabyrgakh each came from the Tattinsky and Megino-Kangalassky districts. In 1972, the chabyrgakh riddle was recorded by P.N. Dmitriev in the Ordzhonikidze district. Six texts “Altan atyyrdaakh”, “Tyuyun-tyyun tereebut”, “Chuo-chuo cholbon”, “Kilietin kilyu”, “Myuchchu ketyuten” and “Kuogai-iegey” were recorded by P.N. Dmitriev from the 70-year-old performer Pavel Innokentyevich Zamorshchikov.
In 1972, a republican folklore festival was held in the city of Yakutsk. Many chabyrgakhs were performed. During the festival, previously unrecorded texts were identified and archived U Chabyrgakhov: 2 from performers of the Tattinsky district and 4 texts from A. Romanov from the Megino-Kangalassky district.
In 1973, the texts of the chabyrgakh folk singer, olonkhosut from the Ust-Aldan region R.P. were submitted to the archives of the YSC SB RAS. Alekseeva.
The archive also contains the text of Chabyrgakh G.S. Semenov-Dyrbyky Khabyryys, recorded by V.P. Eremeev in 1974. In 1986, the archive fund was replenished with the texts of several chabyrgakhs, previously recorded from the words of Konon Sergeev in the Nyurba region.
Thus, the first records of the Chabyrgakhs were made even before the October Revolution, but a targeted collection of materials was carried out in 1938-1941. Rich material was collected by folklore and dialectological expeditions of the YALI Institute. Most of the texts were collected by SI. Bolo, A.A. Savvin, E.E. Lukin, P.P. Makarov, I.P. Pakhomov.
Judging by the passport of records, chabyrgakhs were collected from most of the territory of the republic. Chabyrgakhs did not gather in the Kolyma group of uluses, in some northern and southern uluses, where expeditionary work was not carried out.
Having grouped the texts of the Chabyrgakhs, recorded in different uluses and stored in the archives of the YSC SB RAS, we received the following picture:
Vilyuisky - 47;
Suntarsky - 32;
Nyurbinsky-19;
Megino-Kangalassky - 16;
Alekseevsky (now Tattinsky ulus) - 14;
Momsky and Abyisky - 12 each;
Amginsky, Ordzhonikidze (now Kangalassky ulus), Churapchinsky, Ust-Aldansky, Kobyaisky - 9 each;
Ust-Maysky - 4;
Namsky-2;
10. Tomponsky, Yansky, Verkhne-Vilyuisky - one text each.
So, the archives of the Yaroslavl Scientific Center SB RAS currently contain more than
two hundred texts recorded from 90 performers from 17 uluses. About a hundred texts were recorded in the Vilyui group of uluses, 58 in the central group of uluses, and 39 from the northern groups. These data indicate that chabyrgakh is widespread and is a favorite genre of the Yakut people.
An interesting fact is that in comparison with the Vilyui group of uluses, a smaller number of Chabyrgakhs were recorded in the central uluses. As you know, it was in these uluses that most of the famous olonkhosuts, singers and experts on antiquity were born and lived. E D Androsov, the author of a popular science essay in two parts “Olonkhosuts and singers of Tatta,” writes: “all the famous olonkhosuts of the Tatta ulus were also skilled chabyrgakhsyts” [Androsov 1993].
In our opinion, this issue can be explained by the following circumstances: firstly, the collection and study of oral folk art of the central district of Yakutia began and was more or less fully carried out even before the October Revolution. It was in this district that the famous Sibiryakov expedition worked (1894-1896), the participants of which were political exiles who were well acquainted with Yakut life and had a fairly good command of the Yakut language; secondly, the first researchers and enthusiastic collectors of Yakut folklore mostly came from the central uluses. Apparently, the Institute of Language and Culture considered that in the central uluses the collection of folklore materials was going more or less well. Therefore, they decided to focus on covering the remote uluses of the republic. In this regard, the first professionally trained folklorists of SI. Bolo and A.A. Savvin was sent to the Vilyui and northern uluses.
As a result, more chabyrgakh texts were recorded in the Momsky and Abyysky uluses than in some central uluses, where since ancient times oral folk art was more developed than in the peripheries of Yakutia, in particular, such central uluses as Amginsky, Kangalassky and Ust-Aldansky .
Passport data of 39 texts of chabyrgakhs recorded in the northern uluses, at first glance, create the impression that chabyrgakhs in the north in
It was mainly distributed in Mom and Abyye. However, according to informant G.P. Potapov follows that, although chabyrgakh was recorded in the Abyi ulus, it also existed in the Yanek ulus (now Verkhoyansk - V.N.): “Bu kisi Dyaana I Baida kisite. -40 s." - “This man is a native of I Baida Yanek (apparently the Yansky ulus - V.N.) There he learned from one elderly old woman, even when he was in his homeland” [Archive of the Yaroslavl Scientific Center SB RAS, f.5, op.Z, unit. file 481, l.8].
In 1999, during our folklore expedition in the village of Dulgalakh, Verkhoyansk ulus, indigenous resident Vera Vasilievna Vasilyeva (born in 1935, 7th grade education) said the following: “Iyem chabyrgakhtyyryn ister buolarym: “Khankys-kunkus, // Kurbuu-dyrbii, // Elemaet -telemeet,// Eppit-tyyimmyt,// Esiekei-dyerenkey..." Bert usunnuk eteechchi yes, umnaasbippin. Manik kyys tusunan bysyylaah ete. "Erien daba yrbaahylaah." enin dien. "Chorbuonus dobuolien" nuuchchalaasynnaah byutesiger" - "Sly shala mother's tongue twisters: "Nods and sways, // Around and around, // Pieces and shreds, // The one who said and exhaled, // The round dance and jump..." I performed for quite a long time, but I forgot. It seems it was about a playful girl “With a colorful dress...”, etc. She ended in Russian (distorted in the Yakut way - V.N.) “The Chervonets is happy.”
From a resident of the village. Dulgalakh, Verkhoyansk ulus Sleptsov Gavril Aleksandrovich-Sebieskei Ganya (born 1932, 7th grade education) in the same year the following information was recorded: “Basykaan Aanyskata (nickname of Vasilyeva A.G., natural mother of the above-named Vasilyeva V.V. - V.N.) I think she performed tongue twisters... I remember at the boarding school I rarely performed tongue twisters as a joke. In those days, tongue twisters were even in textbooks.
It was in 1942, probably... then in my childhood" (Dulgalakh village. "Ysyakh yspyt" locality. 08/21-1999).
During the expedition, we became acquainted with six traditional texts of the Chabyrgakhs, which were recorded in the village of Sartan, Verkhoyansk region, by a first-year student of the Faculty of History and Philology of the Yakut State University, Nina Ignatievna Sleptsova (now Filippova - V.N.), dated 1966. The texts were typed on a typewriter and are stored in the archives of the Verkhoyansk Museum “Pole of Cold” and in the possession of the collector herself.
Thus, the lack of recording of samples of works of certain genres in certain uluses does not indicate the oblivion of any genre in individual uluses, but speaks of the unevenness of field work on collecting folklore materials in Yakutia.
We were interested in the fact that in the three Kolyma uluses, where the folklore and dialectological expedition was carried out (1939-1941), not a single chabyrgakh text was recorded. This can be explained by the following reasons: firstly, the great distance from the cultural center of the republic, i.e. central uluses, did not allow scientists to visit the uluses when the genre existed; secondly, the small population of the districts did not allow the genre to actively exist and served as the reason for its extinction, and then disappearance from active use, thirdly, the head of the folklore and dialectological expedition, SI Bolo, apparently paid the main attention to the collection of historical legends. It is known that there is a prepared for printed the manuscript “The Past of the North of the Yakut Autonomous Soviet Socialist Republic”, where Sesenem Bolo, based on the historical legends of the northern Yakuts, attempted to study the history of the Yakuts’ development of the valleys of the Indigirka and Kolyma rivers [Vinokurov 1993, p.39].
In addition, we have established that during the expedition to the Vilyui group of districts in 1938-39, SI. Bolo recorded only
three texts by the Chabyrgakhs and then only from one informant [F.5, op.Z,
storage unit 5, l. 12]. Perhaps this did not satisfy the management of the Institute,
therefore, in the first settlement of the expedition route on
g North, in the Momsky district S. Bolo recorded 15 texts of the Chabyrgakhs. Further,
Probably, the desire to study the history of the region took over, and he switched only to recording historical legends and stories. For this reason, it seems to us, in the Kolyma group of uluses SI. Bolo did not record a single text of the chabyrgakh.
All of the above allows us to conclude that chabyrgakh was widespread throughout the territory of settlement of the Yakuts, including in the extreme northeast, since the genre itself is an integral part of the folklore of the people and lives in the memory of rhapsodists in any spatiotemporal relationship any territory,
1 which is mastered by the nomad of the north - the Yakut hunter, the Sakha reindeer herder and
herdsman
So, in the history of research and collection of the genre, we have identified four stages: 1) 1870-1911; 2) 1912-1934; 3) 1935-1974; 4) 1989-2001.
The first stage gives us scanty, but the first necessary information about chabyrgakh, important for studying the genesis of it as a genre. Political exiles: Russian folklorist I.A. Khudyakov, Polish writer, ethnographer V.L. Seroshevsky, compiler of the Yakut language dictionary, academician E.K. Pekarsky was considered a play on words, an example of wit, puns, and jokes. V.L. Seroshevsky suggested that chabyrgakh originates from the ritual poetry of the Yakuts, incomprehensible to outside listeners.
At the second stage (1912-1934), attempts to define the genre and
„ some comments about the specifics and features of chabyrgakh were
expressed by the first galaxy of Yakut intelligentsia - A.E. Kulakovsky,
S.A. Novgorodov, A.I. Sofronov and P.A. Oyunsky. At this time, the chabyrgi were preserved in their traditional forms and continued to exist, as in pre-revolutionary time.
The third stage (1935-1974) was a period of flourishing collecting activity with the assistance of the Institute of Language and Culture at the Council of People's Commissars of the Yakut Autonomous Soviet Socialist Republic, opened in 1935 (later the Institute of Language, Literature and History of the Yaroslavl Branch of the Siberian Branch of the USSR Academy of Sciences).
An archive was organized at the institute, where more than 200 texts were deposited, which formed the basis of our research and were subjected to detailed analysis.
From 1975 to 1988, according to our data, no research work on the collection and analysis of chabyrgakhs was carried out. But at the same time, chabyrgakh as a satirical genre was in demand for castigating individual shortcomings of society and human vices, and became popular in amateur performances. This allowed the genre not only to survive, but also to receive further development. The evolution of chabyrgakh received a new impetus: the texts were transformed, and sometimes written anew, i.e. development received a second authorial life, one might say, a new ideological and social orientation.
Purposeful scientific study of chabyrgakh as a genre of Yakut folklore began only in the late 90s. XX in So, in 1989, an article by G.A. Frolova “Chabyrgakh” [Frolova 1989, p.96-100]. After it, separate collections of texts by amateur authors and articles in local newspapers and magazines dedicated to chabyrgakh appeared. The main content of the articles was that the genre is viable and in demand, and needs assistance for further development as a colloquial and satirical genre of amateur performances.
mastery of the Chabyrgakhsyts But these articles did not resolve controversial issues and did not provide anything new in the matter of defining and classifying the genre. In the articles by A.G. Frolova, then in ours the question was raised that “folds about what was seen and heard” by Deaf Peter cannot be classified as a genre of chabyrgakhs.
Separately, it is necessary to note the article by E.N. Romanova "Children's folklore of the Yakuts: text and metatext", where the author considers Yakut tongue twisters as "the first speech in the sacred tradition" and considers it the basis for the emergence of poetic speech [Romanova 1998]. Later, her hypothesis was supported in an article by L.I. Novgorodova and L.F. Rozhina “Chabyrgakh: text and metatext (to the problem of non-ritual forms of Yakut folklore)” [Novgorodova, Rozhina 2001].
In the book by N.V. Pokatilova’s “Yakut alliterative poetry” examines in detail the construction of chabyrgah; as a manifestation of the early literary stage of development of Yakut alliterative verse. It identifies the poetic features of chabyrgakh as an archaic genre of Yakut oral poetic creativity [Pokatilova 1999].
A number of collections of chabyrgakhs by A. D. Skryabina “Methods of teaching chabyrgakhs (tongue twisters)” were also published. Texts by chabyrgakhs on modern topics were published by active participants in amateur artistic performances M. Matakhova, M. Gerasimov, etc.
Thus, at the fourth stage of the study, the main attention was paid to identifying the differences between traditional and modern chabyrgakhs, the features of the genre and its forms, as well as analyzing the creativity of chabyrgakhsyts. Along with this, this period can be considered the period of the revival of chabyrgakh as a genre of satire in Yakut oral folk art.
Source base of the research. The study was carried out on the following groups of sources:
archival, handwritten materials from the collections of the Institute for Scientific Research of the SB RAS;
works of Yakut writers and texts of modern Chabyrgakhsyts, published separately, as well as published on the pages of republican newspapers and magazines in the Yakut language;
field materials of the dissertation candidate, collected in 1993-2003. in the Amginsky, Verkhoyansky, Kangalassky, Megino-Kangalassky, Olekminsky, Ust-Aldansky, Churapchinsky uluses of Yakutia and materials collected by students of the Yakut State University and the College of Culture and Art of the Republic of Sakha (Yakutia) during educational folklore practice under the guidance of the dissertation candidate.
Novelty of the work is that it is the first to systematize and provide a generalized analysis of chabyrgakh as a traditional genre of Yakut folklore. For the first time, based on a wide range of folklore material through a comprehensive study, an interpretation of its genesis is given, the evolution of chabyrgakh is shown, and the paths of its modern development are revealed.
Theoretical and practical significance of the work. The research undertaken in the dissertation contributes to the study of the previously insufficiently studied genre of Yakut oral folk poetry, defines chabyrgakh as a special genre, determines the artistic and aesthetic possibilities of the genre, reveals structural and semantic features, poetics and specificity of Yakut tongue twisters. The results of the dissertation research can be used in the preparation of scientific and methodological manuals, for further study of Yakut versification by students-philologists, teachers and methodologists in Yakut literature and folklore, as well as propagandists of the folklore traditions of the Sakha people, participants in amateur art groups, authors-writers of chabyrgakhs on modern Topics. The dissertation materials can be
involved in comparative analysis of similar genres of oral folk art of other peoples.
Approbation of work. The main provisions of the dissertation are presented in
d speeches and theses at scientific conferences, including
Republican scientific and practical conference “S.A. Zverev:
Folklore and modernity" (Yakutsk, 2000); Republican scientific-
practical conference “Christianity in art, folklore and
education" (Yakutsk, 2000); III International Symposium
“Baikal Meetings: Cultures of the Peoples of Siberia” (Ulan-Ude, 2001);
Republican Scientific and Practical Conference “Spirituality -
the dictates of the time" (Yakutsk, 2001); scientific-practical conference
“Sofronov Readings” (Yakutsk, 2001); Republican scientific-
practical conference "Current problems of modern Yakut"
1 philology" (Yakutsk, 2002); I interregional scientific conference
"Language. Myth. Ethnoculture" (Kemerovo, 2003); IV International
symposium “Ethnocultural education: improving
training specialists in the field of traditional cultures" (Ulan-Ude,
2003). The applicant also made a presentation at the Republican
scientific and practical seminar of cultural workers “Chabyrgakh
(tongue twisters): tradition and modernity" (village Balyktakh, Megino-
Kangalassky ulus, Republic of Sakha (Yakutia), 2002).
The dissertation author teaches a special course “Chabyrgakh as a genre of oral folk poetry” to philology students at Yakut State University, as well as to students of the College of Culture and Art in Yakutsk.
Structure of the dissertation work consists of an introduction, two
chapters, conclusion, list of sources and references,
X
applications.
Definition of genre
Before starting to define the genre, we considered it necessary to make an attempt to identify the genesis of chabyrgakh. There is no definite hypothesis about the origin of this genre in Yakut folklore. However, resolving the issue of the origin and formation of folklore genres is of particular importance. As S. G. Lazutin writes, elucidating the genesis and ideological and artistic specificity of genres gives us “the opportunity to more accurately determine their place in modern folklore, to express more realistic considerations about the prospects for their further development” [Lazutin 1989, p.Z].
Therefore, it is of paramount importance to highlight the issue of the origin of chabyrgakh - which is of interest as a play on words, and as a genre of satire and humor.
Judging by individual comments, chabyrgakhs arose in ancient times. Back at the end of the 19th century, V.L. Seroshevsky noticed that children's tongue twisters “contain fragments of ancient spells” [Seroshevsky 1993, p. 515].
As noted by A.I. Sofronov, some words used in chabyrgakh are sometimes incomprehensible even to the performer himself. They, apparently, are words of ancient origin that have not been preserved in modern vocabulary and no one now knows their true meaning [Kyayygyyap 1926, p. 29].
There is an interesting remark by G.V. about the antiquity of the origin of the genre. Ksenofontov in the work "Uraanghai sakhalar. Essays on ancient history Yakuts" [Op. cit. vol. 1. P. 338]. The author cites two lines of a children's tongue twister consisting of paired words, the exact meaning of which, according to him, was “not entirely clear to them”:
“Anghara-Dzhanghara Walbara-Chuolbara...” As he explained, here the word “Anghara” is associated with the Angara River, flowing from Lake Baikal. G.V. At the same time, Xenofontov cited an ancient Buryat legend about Lake Baikal, where “Lake Baikal is a very old man who has many sons - rivers and rivulets, who bring their waters to the parental bosom, but... on the other hand, the old man has one and only wasteful daughter, the beautiful Angara, who he takes his father’s acquired waters with him somewhere to the north as a dowry of goods” and thereby ruins the old man of Baikal. This is perhaps the only text that preserves the name of the river, where, according to G.V. Ksenofontova, once upon a time there lived our ancestors/acquaintances with the legend of the beautiful Angara. This version can be supported by the explanation of G.U. Ergis that “Dyengkere Baikal is clear-water Baikal, Anghara Baikal is Angara Baikal” [Orosin 1947, p. 39]. That is, the name of the Angara river is precisely indicated here. And the word “walbara” is a modified verb from “wallara” (wal - dry + steam verb of the incentive voice + a affix singular 3 l.) meaning dries up or dehydrates. Thus, interlinear translation of this text is: “Angara-Dzhangara Dries-Drains...” An interesting remark by P.A. Oyunsky that “the first ancient Yakut creator of artistic expression, before ascending to the highest level of olonkho, began with the form chabyrgakh...” [Oyunsky 1962, p. 104]. Here he gives an example from Olonkho: Iegel-kuogal Iil-tapyl\
Ingkel-tanghal Iedeen-kuudaan A literal translation of this text into Russian is impossible, so we will give an interlinear translation: Swinging and bending // Scattering back and forth // Swaying from side to side // Grief and misfortune have come. Thus, P.A. Oyunsky believed that chabyrgakh is the “first step” of olonkho. Consequently, we should look for the historical roots of chabyrgakh in the texts and images of olonkho.
V.V. Illarionov emphasized that “the description of the appearance of the heroes abasy, udaganok in the form of the verse is similar to chabyrgakh, and therefore it is no coincidence that the majority of olonkhosuts are chabyrgakhsyts” [Illarionov 1990, p.4.].
In the anthology "Yakut folklore" D.K. Sivtsev-Suorun Omolloon noted that mythological images oral folk poetry of the Yakuts are “the basis for the further development of Yakut folklore” [Sivtsev 1947, p. 17].
According to P.A. Oyunsky, “the ditties of this most ancient type of folk art contain neither an object nor an action, they contain only a subject with its own qualities” [Oyunsky 1993, p. 61]. This is how the hero aiyy Kyun Diiribine calls the hero of the Lower World Wat Uputaaki: Buor sirey Earthy muzzle, Burgaldy soto Yoke-shaped shin, Haannaah ayah Bloody mouth, Khara tyokun... Evil robber... [Oyunsky 1959, p.81]. In the olonkho "Buura Dokhsun" the image of the hero from the Lower World Yeseh Dyuksul (literally - a clot of blood, the Finishing One) is conveyed in the following figurative words: Yonneeh Selegey, With wormy juice, Buor sirey, Earthy muzzle, Burgaldy soto, Yoke-shaped shin, Argah ayah, Burlog mouth, Ardiaah tiis... With sparse, large teeth... [Erilik Eristiin 1993, p.60] Negative images are described by any olonkhosut satirically, with mockery. For example, in the olonkho text "Nyurgun Bootur the Swift" in the form of a chabyrgakh, mainly images of udagankas are depicted.
Genre classification
In 1937 G.U. Ergis developed a “Program for collecting Yakut artistic folklore”, where the section devoted to collecting chabyrgakh already classifies it, pointing to an intra-genre variety. This classification was published in the methodological manual by G.U. Ergis "Companion to the Yakut folklorist" (1945) and in his "Memo to collectors of Soviet folklore" (1947). According to G.U. Ergis, there are the following types of chabyrgakhs: “a) quickly pronounced short tongue twisters, for example: etege-tetege or chuo-chuo cholbon, etc. b) folds about what is seen and heard. c) tongue twisters with descriptive-figurative content.. ." [AYANTS SB RAS, f.5, op.Z, storage unit.Z, l.8]. Thus, G.U. Ergis was the first to attempt a scientific classification of chabyrgakh. But, in our opinion, this genre requires a more detailed consideration and identification of several types of chabyrgakh, since the definition of G.U Ergis does not fully reflect the specifics of the genre.
Genre chabyrgah D.K. Sivtsev classifies into two types: with figurative and direct meanings. He identified children's chabyrgakh by its functional meaning with Russian tongue twisters [Yakut folklore 1947, p. 144]. Chabyrgakh as a genre of humor and satire in terms of the severity of the content and the nature of the composition, from the point of view of D.K. Sivtsev, close to Russian ditties. The conclusions of DK Sivtsev are interesting, but there is a lot of confusion in them. Common functional purpose of folklore works different nations does not indicate their interaction or mutual influence, but speaks only of the commonality of tasks that the ethnic group solves with the help of folklore. Classification by type of content - hidden, veiled and not hidden (direct) - is ineffective for studying the genesis and essence of chabyrgakh. Thus, satire can be hidden or specific, addressed to a real character. This kind of chabyrgakh, of course, belongs to one type of chabyrgakh.
Having repeated his main conclusions about chabyrgakh as a special genre of Yakut folklore, G.M. Vasiliev emphasized the stability of the genre and noted the flourishing of chabyrgakh in amateur performances [Vasiliev, 1973, p. 167]. He saw the further development of chabyrgakh in its formation as a genre of satire, which has now been confirmed.
G.M. Vasiliev characterizes in more detail the distinctive features of the genre and the ways of its development. At the same time, G.M. Vasiliev did not give a clear classification of this genre of Yakut folklore.
When classifying chabyrgah, we proceed from the fact that chabyrgah in its functional meaning (broad sense) is diverse. If chabyrgahs of the type “bilbit-kerbut” - “learned, heard” or “sireyinen kepsiir” - from the “first person” can be attributed to a certain group, then the classification of humorous or amusing chabyrgakhs according to their purpose presents certain difficulties, due to the fact that in most cases it is impossible to unravel the contents of such chabyrgakhs.
From Grigoriev Kapiton Grigorievich (83 years old) from the village of Ynakhsyt, Nyurba ulus, in 1960, schoolchildren from the Markhinsky literary circle recorded three chabyrgakhs. He could not say what these chabyrgakhs were about and when they arose. Explained that. “They used to say this when I was a child. Imitating them, we said such chabyrgakhs to each other.” He said that people, not understanding what they were talking about, laughed and asked each other: “What did you say, what did you say?!” [AYANTS SB RAS, f.5, op.6, d.353, l.7].
N.V. Emelyanov classified the genre “according to the common genesis, internal content and compositional and structural organization.” He grouped chabyrgakhs according to their functional purpose: "1) children's play; 2) amusing or humorous; 3) satirical; 4) folds about what he learned." Thus, N.V. Emelyanov proposed a more complex intra-genre classification [Ibid., pp. 325-339].
From the field of view of N.V. Emelyanov covered the most ancient forms of chabyrgakh, such as allegorical, chabyrgakh-riddles, as well as the use of chabyrgakh in the heroic epic.
N.V. Emelyanov writes that modern chabyrgakhsyts perform many chabyrgakhs only according to established tradition. And listeners perceive this as a play on words [Ergis 1974, p. 330].
Judging by the texts, many chabyrgakhs simultaneously contain elements of humor, fables, so to speak, “teasers,” so it is extremely difficult to attribute each of them to any specific group. When analyzing chabyrgakhs, we found it possible to classify individual samples of them as one or another species, based on an assessment of which of these elements predominates in a given chabyrgakh.
From the above it follows that the chabyrgakh genre has been the object of attention of many researchers, however, there is still no complete classification of chabyrgakh, and the questions of its genesis, semantics and evolution during the post-October revolution remain insufficiently studied.
All of the above allows us to conclude that Yakut chabyrgakhs should be classified into children's chabyrgakhs and chabyrgakhs for all listeners - adults and children. As you know, the Yakuts in the past lived in yurts, which were not divided into separate rooms. Meals and festive feasts were common to all family members. Children were present at all rituals during the performance of olonkho. And chabyrgakhs were performed for general entertainment.
Children's chabyrgakhs can be divided into works whose purpose was to form correct diction; development of imaginative thinking, knowledge of the surrounding world, satire. As noted above, to develop speech, children were forced to make puns.
General and special artistic characteristics of Chabyrgakh
Chabyrgakh is a unique poetic genre of Yakut oral folk art. Perhaps chabyrgakh is the initial stage of Yakut alliterative verse [Pokatilova 1999].
In this case, “in the absence of alliteration... it is metrically felt like verse due to its distinct division into commensurate segments” [Pokatilova 1999, p. 31]. According to N.V. Pokatilova, this “type of chabyrgakh represents an earlier stage in the development of alliterative verse...” [Pokatilova 1999, p.31]. As she writes, chabyrgakh is the basis of “the most archaic verse... Conventionally, this phenomenon can be designated as relics of the “pre-alliterative” coherence of the verse” [Pokatilova 1999, p. 35]. Along with alliteration, rhymes play a significant role in the structural organization of chabyrgakh. As is known, verbal rhymes predominate in Yakut poetry, because in the Yakut language the verb usually comes at the end of the sentence. The specificity of chabyrgakhs should be recognized as the fact that they rhyme mainly nouns and adjectives. Analysis of archival materials shows that such rhymes are found in approximately 80% of the available records of Chabyrgakhs. Words in chabyrgakh are often rhymed using suffixes like “laakh” and its variants: “looh”, “deeh”, “daah”, etc. For example: Ogdyogurkaan oioolooh, With a short caftan, Sagdyakyrkaan samyylaakh, With thin hips, Emtegiykeen enerdeeh, With a short apron, Byrykaikaan byardaah, With a poor appendage, Bultegirkeen berdeekh.
Folklore works are characterized by stable, constant epithets. In Yakut oral folk poetry, epithets are the favorite means of poetically characterizing objects. In Chabyrgakh, epithets clearly characterize the distinctive features of the appearance of animals. At the same time, they are described in the form of an enumeration, a sequential characteristic of the animal’s appearance. For example: Sartaayar tanyylaah, With wide nostrils, Sandalas harakhtaah, With widened eyes, Sabaary tyuyosteeh, With a wide chest, Dallygyr kulgaahtaah, With splayed ears, Sallagar bastaah, With a big head, Kugus moonnyulaah, With a thin neck, Koygyogyor isteeh, With a big belly , Sibie sisteekh, With a strong back, Bydagai argastaakh, With a high crest, Chabydygas tuyakhtaakh With clattering hooves Taba kyyl baar. There is an [animal] deer. [AYANTS SB RAS, f.5, op.Z, archive unit YuO, l.ZZ] Or, image of a cow: Sytykan yyraakh, Stinking hoof, Syllaran tamyk, Skinned knee, Chorookh kuturuk, Sticking tail, Turuoru muos, Straight horn, Tokur siye. Crooked back. [AYANTS SB RAS, f.5, op.Z, storage unit 675, l.98]
When characterizing a person, figurative and descriptive epithets are also used in the form of a number of definitions: Mylachchy bergese Yoryu yutyuluk Neetle son Kuolaidyyr keenche Syppakalyyr emchiire Borbuiduur syaya Syryy aatym "Sygynyk" Dyosun aatym "Soppuruonap" Nyky aatym "Nykylay" [ AYANTS SB RAS, f.5, op.Z, unit of record.Z, l.8] The first six lines list the appearance, clothing: Hat on the top of the head // Knitted mittens // Worn out coat // Legs on bare legs // Wet tortoises // Nataznik up to the knee fold//, the last three lines give a characterization of the hero from his “I”: famous name (i.e. he was a famous olonkhosut) “Sygynyk” // Worthy name “Sofronov” // People's name"Nikolai". Homogeneous phrases (adjective + noun) serve as rhythm-forming elements in these chabyrgs.
In chabyrgakhs, epithets of a figurative nature are also used, “the so-called picture words are a special national type of figurative epithets” [Romanova 2002, p. 41]. Such epithets highlight “signs of appearance, morals, manners and movements” [Romanova 2002, p. 41]. In the article “Yakut language” A.E. Kulakovsky wrote: “The Yakut language represents the height of perfection in terms of descriptiveness of the external forms of an object or person (shapes, figures, types of movement, etc.) ...” [Kulakovsky 1979, p. 385].
For example, the image of a riotous, frivolous, scandalous woman is created with the help of epithets that characterize her manners (see pp. 81-82).
Epithets are often used to depict the appearance of animals. For example, in chabyrgakh, where a horse is described, the following words are used: Seniyete semeldiye, [his] chins swayed, Tanyyta tartallyya, [his] nostrils twitched, Tiise yrdyalliya, [his] teeth glistened, Kaneriite mölöryuye - The bridge of [his] nose slid turda and etc. steel, etc. [AYANTS SB RAS, f.5, op.Z, storage unit 44, l.1-3]. The appearance of a cow in chabyrgakh is lovingly described by the following epithets: Chorogurkaan kuturuktaakh, With a swivel tail, Khotogorkoon sisteekh, With a arched back, Khorogorkoon muostaakh, With pointed horns, Dallagarkaan muostaakh, With splayed ears, Maltagarkaan syusteekh, With a bulging forehead, Chaachygyras yyraakhtaah. With clattering forks on the hooves. [AYANTS SB RAS, f.5, op.Z, unit of records YuO, l.ZZ] Analysis of the epithets used in chabyrgakh shows that in these works there are no such detailed descriptions as are often found in olonkho. Chabyrgakhs use short epithets that have become almost stable formulas. The most common epithets in Chabyrgakh are “dardyr syarga” - “thundering sleigh”, “oonnuur bagana” - “playful pillar”, etc. In the chabyrgas of the Yakuts, the technique of hyperbolization is quite often used. For example: Bylyty bysa surbut With the cloud cutting the running Byrdya erien ogustaakh, With the light-colored bull Hallaany haya surbut With the sky splitting with the running Khara saadyagai ynakhtaakh... A cow with a black ridge... [AYANTS SB RAS, f.5, op.Z, storage units 417, l.6] Hyperbole is also used in the hunter’s allegorical speech about the size of the prey: Badyilesteegi meiitinen, Along the top of an impassable place, Kylystaagi kyryytynan, Along the edge of a place overgrown with sedge, Yotteegi yurdyunen, Along the top of a place _ overgrown with willow Manchaarylaagy bassinan, Along the upper reaches places where sedge grows [obtained], / Uon at olbuora, Cargo for ten horses, Bies at belbiere And luggage for five horses Suburuta diarda, Straight-tailed spoiled, Tonsuruku kirdieles! The pecking one pecked! [AYANTS SB RAS, f.5, op.Z, storage unit. 417, l.14-15] Or: Ballayan-ballayan Swelling-swelling Balagan saga, The size of a booth, Yulleyen-yulleyen Swelling-swelling Yullyuk saga. The size of a bear. [AYANTS SB RAS, f.5, op.Z, storage unit 100, l.13] In this example, the appearance of a person is clearly shown with the help of a hyperbole. In Yakut chabyrgas comparisons are sometimes used. This technique is more often found in humorous and satirical chabyrgs. For example: Kirgil kinees, Prince - woodpecker, Kukaaky kuluba, Head - jay, Sakhsyrga saryyssa, Queen - fly, Chachchygynyar chachchyyn, Foreman - thrush, Neteeki terepiesinnyik, Solicitor - bat, Khakhan happaraal, Corporal - owl, Suor suruksut, Clerk - raven, Turaakh narodnay, People's [assessor] - crow, Elie eteechchi, Informer - kite, Chyychaakh tylbaaschyt, Interpreter - bird, Soluon judge, Judge - elephant, Andy agabyit, Pop - scoter, Cherkyoy lechёk, Sexton - teal, Anyr akkyyrai. .. Bishop - heron... [AYANTS SB RAS, f.5, op.Z, storage unit 100, l. 13] Thus, with the help of comparisons, officials of the royal administration and ministers of the church in Chabyrgakh were aptly characterized. Yulluk is a tanned bear skin used as bedding [EKP, volume III, stlb 3119]. One of the features of chabyrgakh poetics is the use of onomatopoeic words. For example, the word "las" - "clap": ... las-las... clap-clap Kharana oyuurdaah... S dark forest... [AYANTS SB RAS, f.5, op.Z, unit archive 658, l.1] This word is sometimes used as the ending of a chabyrgakh: Alloon buku, las Leg on leg, clap Las-las-las! Clap-clap-clap! [AYANTS SB RAS, f.5, op.Z, storage unit 562, l. 13] In chabyrgakh there are onomatopoeic words close in meaning to the word “las”: “lyky-lyky lynkyr” - “don-don ringing”, “laky-laky lankyr” - “booh-booh thundering”, “lah-lah lachyrgyyr” - “squelch-squelch squelching” [AYANTS SB RAS, f.5, op.4, item 116, l.6].
Yakut literature and Chabyrgakh
Chabyrgakh as a literary genre was first used in the works of the founders of Yakut literature A.E. Kulakovsky and A.I. Sofronov. Later, P.A. turned to chabyrgakh as a genre of satire. Oyunsky, V.M. Novikov-Kyunnyuk Uurastyrov, P.N. Toburokov, etc.
This chabyrgakh in the monograph “History of Yakut Literature” is assessed as “an artistically completely independent tongue twister of its own” [Toburokov 1993, p. 100]
In the article “Yakut language” A.E. Kulakovsky wrote that in the Yakut language there are words that do not have “a common citizenship and are immediately invented by the speaker only and solely for a given case... Each such word draws several signs of an object at once, expressing at the same time the movement of the object of conversation” [Kulakovsky 1979, p.385]. This hypothesis is also acceptable for traditional chabyrgakh. The technique of such word creation was very successfully used by A.E. Kulakovsky in the above work: Ollur-bollur, Ekir-bukur, Edien-hodyon Yunkyuleehteen Eri-buru Taibaahyydaan, Egey-dogoy
A description of the “external forms of an object or person” (which is typical for chabyrgakh - V.N.) can be found in many works by A.E. Kulakovsky. For example, a description of the image of a stingy rich man ("The Stingy Rich Man", 1907). As I.V. correctly noted. Pukhov, analyzing this work, A.E. Kulakovsky follows the “long tradition of Yakut folk poetry”: The back is closed, The side is covered, The head is withered, The knees are bony, The eyes are watery, The face is flat, The body is hard, Extremely ignorant Well, what a man! [Pukhov 1980, p.55] The translation is literal, but nevertheless conveys the image of a person who is not interested in what is happening around him, ignorant and very stingy. This passage can be considered as an example of a real chabyrgakh. Also in his poem “City Girls” there are many lines full of subtle humor and descriptiveness. They, as in chabyrgakhs, are composed of onomatopoeic words. In them, in addition to onomatopoeia, movement, you can smell: Bylaachyalara tyalyrda, Tellehtere teleerde, Bachyynkalara baachyrgaata, Kurusubalara kuugunaata, Dukuulara tunuida, Pamaadalara ankylyida... [Kulakovsky 1957, p. .172] Translation: The dresses rustled, // Their hems began to spin, // Their shoes creaked, // The lace rustled, // Their perfume smelled, // Their lipstick smelled... Here are expressions that give the smell of perfume "tunuida" and the smell of lipstick "ankylyida" "The words are synonyms; it is very difficult to accurately translate them into Russian. When translated, they lose their specificity. In the Yakut language, they are colored in a certain shade and convey the smell very subtly. “Tunuida” gives a pleasant, enveloping scent of perfume, and “ankylyida” gives a sharper, pungent smell. Moreover, if translated more precisely, the word “tunuyda” will mean the gradual spread of the smell, and “ankylyyda”, on the contrary, is a pungent smell that can be immediately felt when approaching. Thus, one can once again be convinced of the expressive capabilities of the Yakut language. Vowel harmony is observed in every line. The words of the first line “bylaachchyyalara” and “tyalyrda” are in the same grammatical form with the words of the next line “tellekhtere” (plural noun) and “teleerde” (present tense verb). They create interline sound rhyme and a fast reading rhythm. Or: Chonosuybut-cholosuybut, Chobuguraabyt-choluguraabyt, Chabylaybyt-chalygyraabyt, Nyulluguraabyt-nuuchchalaabyt, Achykyl ammyt-chasyylammyt... Tyyrangnaabyt-tyrahachyybyt. [Kulakovsky 1957, p. 165]
This example very aptly describes the image of a fashionista of that time, every movement, gait, demeanor, appearance, where “in one word a whole picture series of ideas is expressed” [Kulakovsky 1979, p. 385]. This text is also impossible to translate literally; if translated, the character’s portrait will take not six, but more lines.
For example, the expression “chonosuibut-cholosuibut” means that he walks straight, playing with his shoulders, quickly, and at the same time throwing his head back.
Each line of the passage consists of two paired figurative verbs of the positive form. They divide the line into two parts, forming rhymes that create a fast pace of reading the verse, i.e. in execution they are identical to chabyrgakh. These two excerpts, quoted from a poem by A.E. Kulakovsky can be considered the first examples of modern literary satirical chabyrgakh.
As mentioned above, A.I. also turned to the chabyrgakh genre or its forms. Sofronov. One can name individual poems by this author “Kyuygenneeh-aidaannaah” [Sofronov 1996, p. 85], “Olokh syuryugyun dorgoono (odon-dodon hosoon)” [Ibid., pp. 89-95], etc., which can undoubtedly be considered chabyrgakhs. But we, without delving into the analysis of the entire poetic heritage of the author, will consider only two of his works, which are called “Chabyrgakh” [Sofronov 1976; 1996;].
As you know, in 1923 A.I. Sofronov wrote his own “Chabyrgakh”, which was published later in his collection of poems. The work consists of 28 lines, each of them, like the traditional chabyrgakh, has four syllables. Here, in the form of a chabyrgakh, he narrates the events that took place during the civil war in Bulun (the northernmost ulus of Yakutia): Oloh-diasakh, Serekh kuttal, Sek-suk, Kistasii, Keresii, Keteh kepsetii. Dylys-malis, Dyylga-tankha. [Sofronov 1976, p. 73] Interlinear translation: Life-existence, // Caution-fear, // Fear, // Secrets-denunciations, // Secret negotiations.// Disappearance, // Fortune-teller.
Each line of chabyrgakh is mainly composed of two nouns (Olokh-diasakh, Sereh kuttal) in the nominative case, which achieves the brevity of the verse. And as noted above, chabyrgakh is written in “easy artistic language”, where “every seemingly incoherent word, in fact, acutely touches some aspects of the life of the people...” [Kyayygyyap 1926, p.ZO]. This case reflects the disturbing events of the civil war in Bulun.
In 1996, a collection of previously unpublished works by A.I. was published. Sofronov's "Swan Song", where his second "Chabyrgakh" was published [Decree. Sat., p.80-81]. In the note of the book it is written: "Moskvaga baryan ere innine Dyokuuskaiga, ebeter ayannaan isen suruibut badakhtaah." (Apparently written before leaving for Moscow in Yakutsk or on the way) [Ibid., p.312].
“Gogoleva Marina Trofimovna YAKUT FOLKLORE: EDUCATIONAL POTENTIAL Monograph Krasnodar UDC 372.882 BBK 74 G 585...”
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The nature of the existence of Yakut folklore in the pre-revolutionary era contributed to the widespread dissemination of genres in the traditions of oral verbal creativity. Constancy was observed in the functioning of only some genres of folklore: some genres could be considered an everyday occurrence in everyday life, others were performed only if there were appropriate conditions and as needed. The first include small genres of folklore: riddles, proverbs, sayings, fairy tales, partly folk singing, chabyrgahi tongue twisters. Their performance did not require special skills; the existence of these genres was dictated by the everyday need for education and entertainment with the family. The evening was considered a favorite time, when one could take a break from the monotony of everyday worries and communicate with children, teach them the wisdom of life. The process of raising a child in a family is involuntary; the child masters the cultural values of his people without coercion, and when familiarity with folk wisdom is given great importance in the family, he grows up in an environment artistic perception peace. Periods and methods of using folklore in educating the younger generation in general outline outlined because they are dictated by the urgent needs of an ethnic group interested in the continuation of cultural and historical traditions, as well as by the age characteristics of children.
The principle of nature-conformity of upbringing suggests a productive idea - those genres of folklore that can be adapted to the child’s level of development of thinking and speech are more appropriate for the initial stage of children’s development. Children's rhymes, humorous poems, children's songs, fairy tales, riddles, proverbs, sayings are traditionally considered small genres of folklore, they are easy to remember, easy to use in raising young children, they are indispensable in the development of thinking, memory, speech skills, the creation of a special psycho- emotional sphere in the personal development of a child.
In another conditionally selected group folklore genres are aimed at a more mature age, when a person, on the basis of mastering the ideological and artistic values of oral folk art, consciously approaches the problem of moral and ethical choice, the development of his abilities, and the formation of ideological attitudes. The genres of the first group require close attention to the psychological aspect of children's development, and the second - to general pedagogical problems. This explains the fact that we consider the above-mentioned genres of the first group separately, where the main attention is paid to understanding the psychological and pedagogical problems of the process of familiarization with folklore genres. And the syncretic genres of folklore: ritual songs, lyric epic works-toyuki, heroic epic olonkho, mythological stories, historical traditions, legends - having a rich arsenal of means of influencing the formation of various personality traits of children, are presented from the point of view of their general pedagogical value. We also included proverbs and sayings related to small genres in this group due to their concentrated “generalization of the life experience of the people in the form of complete, complete judgments, conclusions, teachings.”
We have undertaken a conditional division in order to avoid repetition in the pedagogical characteristics of genres, which reflect the entire process of formation of a person’s personality in aspects:
development of speech and thinking - nursery rhymes, riddles, chabyrakh (tongue twisters);
formation of morality - fairy tales, mythological stories, olonkho, proverbs, sayings;
aesthetic education - children's songs, poems, osuokhai dance, olonkho;
formation of a worldview - historical legends, myths, olonkho, ritual folklore.
Proverbs, sayings as pedagogical sayings Any genre of folklore has educational function, this statement especially applies to such common types as chabyrgakh, proverbs, sayings, and fairy tales. The proverb, the smallest genre of folklore, is distinguished by its pronounced pedagogical content. In modern literary criticism, a proverb is defined as “a short, rhythmically organized, stable in speech, figurative folk saying.” As G.U. correctly noted. Ergis: “Not every judgment becomes a proverb. A proverb is a traditional judgment (teaching, conclusion, etc.) that has become part of the everyday speech of an entire group of people, nationalities, and nations. Traditionality requires easy memorability, which is achieved by a refined artistic form and visual means. Therefore, many Yakut proverbs, like the sayings of other peoples, represent short poems". The subject of the statement is considered in the light of generally accepted truth, and an aphoristically condensed sentence is created according to the principle of analogy. Proverbs as laconic sayings, representing moral teachings in artistic form, could not help but attract the attention of teachers. So, G.N. Volkov, when defining a proverb as a pedagogical means, points to important point– temporal correlation with today: “Proverbs are not antiquity, not the past, but the living voice of the people: the people retain in their memory only what they need today and will need tomorrow. When a proverb talks about the past, it is assessed from the point of view of the present and the future - it is condemned or approved depending on the extent to which the past, reflected in the aphorism, corresponds to people's ideals, expectations and aspirations." Famous scientists have studied the pedagogical value of proverbs and revealed the main ideas expressed in folk sayings. The author’s conclusion about the need to comment on proverbs is important for us: “Commenting on proverbs in judgments, in conversation, in disputes has always been widespread among the people. Such commentary in many cases transfers into the category of pedagogical those proverbs that at first glance are not so.” In school practice, commenting on proverbs is not always important, considering the meaning they contain to be generally known. As you know, of all the genres of folklore, the proverb is the most commonly used in people’s everyday speech, therefore, it has the greatest impact on the consciousness of the younger generation.
The pedagogical potential of aphoristic means and forms of education among the peoples of the North Caucasus, studied by Z.B. Tsallagova, gives an idea of the similarity in the development of forms of artistic expression among different peoples as common aspirations of the human soul. The researcher’s conclusions about “the mechanism of functioning of these genres, which consists in cohesion with the integral system of traditional education, encryptedness, brevity and imagery of information, anthropocentrism, situational adaptation” are also characteristic of Yakut proverbs and sayings.
The original proverbs of various peoples are very interesting as national characteristics of the vision of the world:
Adyghe paremiological tirade (one hundred truths), Adyghe khorybza, Ossetian anti-curse, Abkhazian omission.
NOT. Emelyanov, through a comparative study, established Turkic-Mongolian parallels of Yakut proverbs. In the early medieval texts of M. Kashgari, “Lugat it-Turk” by Yusup Balasaguni, in “Samples of folk literature of the Turkic tribes living in Southern Siberia and the Dzungar steppe,” collected eight centuries later by the Turkologist V.V. Radlov, one can find sayings similar to Yakut proverbs, which speaks in favor of the assumption of the presence of common roots. The special appeal of proverbs and sayings that are widespread among related peoples, apparently, is that they, reflecting the general picture of the vision of the world, through images understandable to everyone, contribute to the civic education of the younger generation.
Folk song as an effective means of aesthetic education
Genres of oral folk art that require special training from the performer include:
2) heroic epic - olonkho;
3) historical legends and epic poems.
These genres are performed by talented singers, storytellers, experts in antiquity, and olonkho by olonkhosut storytellers, especially revered
- people who were put on a par with blacksmiths and shamans for their important role in the life of Yakut society.
The most widespread and accessible of the syncretic genres of folklore is considered to be folk song, which has traditionally been given great educational significance. The first collectors and ethnographers were amazed by the rich artistic world of songs: S.E. Malov, S.V. Yastremsky, V.L. Seroshevsky, I.A. Khudyakov, having become acquainted with the song creativity of the Yakuts, noted the remarkable poetic abilities of the people.
Folk song is a huge layer of folklore creativity, including verbal, musical, stylistic diversity, united under the general name “singing” only by the nature of the performance.
In Yakut folklore, four sections are distinguished according to thematic content:
1) songs about nature and the native land;
2) songs about love, marriage and family life;
3) songs about work and life;
4) songs and poems with social protest against oppression and justice.
But not all songs fit into this framework in terms of their main characteristics; we are talking about varieties of Yakut musical and song folklore, which in terms of content and the nature of performance also belong to this genre of folklore. For example, kuturuk salayar yrya (final distracting song - literally control of the stern or tail - our note - G.M.) when performing olonkho; the lost art of khabar yryat - throat singing with text (only in Lately single imitators appeared), singing accompanied by a khomus (a small lyre-shaped musical instrument), etc. In Yakut folkloristics, the issues of classification, genre characteristics, and poetics of folk songs received quite detailed coverage. In 1976, the academic publication of a four-volume collection of Yakut songs was started. The first part is “Yakut folk songs.
Songs about nature" (1976); the second part - “Songs about work and life” (1977);
the third part - “Songs of the Soviet period” (1980); fourth part – “Yakut folk poems- toyuki" (1983) - these publications, with the exception of the last one, which included large works of lyric-epic style - toyuki, were compiled according to the classification accepted at that time by G.U. Ergis on a thematic basis.
Until recently, song folklore was the most widespread and beloved of all types of oral folk art. The establishment of Soviet power and the people's faith in a bright future led to the birth of a new song expressing new revolutionary content. The first Yakut writers created songs with new content, using artistic and visual techniques of folk songs. Many songs based on poems by poets A.I. Sofronova, P.A. Oyunsky, V.M. Novikova, A.G. Abaginsky, S.R. Kulachikov were recognized as folk and became widespread. From among the folk singers, talented singer-songwriters emerged, who at the end of the 30s joined the Union of Writers of the USSR: among them were S.A. Zverev, E.I. Ivanova, N.I. Stepanov, D.M. Govorov, P.P. Yadrikhinsky. The peculiarities of the existence of folk songs in new conditions and the process of transformation of the genre that emerged with the emergence of written folklore contributed to the fact that folk songs gradually turned from a mass phenomenon into an individual form of creativity. The scientific study of folk songs continues, in the latest research there is a desire of folklorists to delve into theoretical issues through a functional-structural analysis of texts.
Musical characteristics song folklore
Researcher of Yakut folk poetry G.M. Vasiliev considered music the only condition for the real existence of folk song.
Musical folklore, embodied in folk songs and olonkho, occupies a significant place in the cultural heritage of the Yakuts. Works of F.G. Kornilova, V.M. Belyaeva, M.N. Zhirkova, G.A. Grigoryan, G.M. Krivoshapko, E.E. Alekseeva, A.P. Reshetnikova, A.S. Larionova and others were introduced to the world of Yakut ethnomusic, distinguished by vivid images and great originality. In the article by A.P. Reshetnikova about the music of the olonkho “Kyys Debiliye” says that already in the first musicological studies two main styles of folk song degeren yrya and dzhieretii were identified: “Collectors of Yakut musical folklore noted that the style of degeren, due to its inherent clearly expressed musical formulaicity and clear The rhythm was quite easy to record. Another song style - dzhieretii - turned out to be so unusual in sound delivery, rhythm and mode that the authors of the first notations expressed their regret about the impossibility of conveying in notes all the intonation originality of the songs of this type". Let us note that not only for the first researchers, but also for their followers, the greatest difficulty was the iconic image of the complex two-timbre sound of kylysah - a purely specific phenomenon in national music. We find the characteristics of this sound in E.E. Alekseeva: “Kylysakhs, distinguished by their high and pure timbre, like sometimes sharp, sparkling blows, sometimes sparks flickering, as if in the distance, are layered on the sound of the main melody, often giving rise to the illusion of a split singing voice. By decorating and coloring it, they give Yakut singing a unique originality.” The researcher further emphasized that the method of their formation changes depending on the nature of the song and the timbre-register conditions [ibid.]. In the major epic works of Kholonkho there are many songs, for example, by G.G. Kolesov performed 131 songs during the recording of “Nyurgun Bootur the Swift”. There are no special works on how good singers were brought up in the old days. brief remarks You can trace the process of becoming a singer: “Having heard enough of the masters singing, young people decided to perform in the presence of old singers in order to listen to their opinions. The young singers willingly accepted the comments and advice of their older comrades. This is how they gained experience and mastered the skill of singing. The stock of songs was enriched, the singer’s voice matured and strengthened.” "The lack of a certain musical form This is precisely what explains the fact that improvised lyrical songs usually remained in the individual repertoire of the singer-songwriter himself... Other singers, if they had to listen to these songs, as a rule, did not adopt them entirely and completely, but creatively mastered them, borrowing only the motives they liked and images, individual artistic means and techniques, but always creating something new. This is how a well-known exchange of creative experience took place between singers, the development of collective poetic skills, techniques and traditions in song improvisation.”
The interest of the listener and the talent of the singer-improviser are highlighted here as necessary conditions for creating songs. The Yakuts valued singing so much that they believed in its magical power, supposedly from good singing the dried tree turns green. It is not surprising that the singers enjoyed universal respect, and this had great educational significance for the younger generation.
In introducing children to the folk song genre, it is advisable to highlight two points:
1) attention to the ideological and thematic content, poetics of works;
2) taking into account the musical and choreographic side with the conditions of performance, which goes back to the traditional ritual culture of the people.
In the pedagogical literature, we have not found any special works that study folk songs from the point of view of their pedagogical value, with the exception of the works of G.N. Volkov, where separate chapters are devoted to folk song and its pedagogical potential. He revealed new facets in the pedagogy of folk song: “The lullaby is the greatest achievement of folk pedagogy; it is inseparably connected with the practice of raising children precisely at that very tender age, when the child is still a helpless creature requiring constant caring attention, love and tenderness, without which he simply won’t survive.” “Everyone sings and listens to songs... Of course, songs also have their own “favorite age”: girls of fifteen to twenty years old sing as many songs as they did not sing before that age and will not sing for the rest of their lives.” The last remark reflects the specifics of the Chuvash folk song; as for the Yakuts, singing is a favorite pastime for a person of any, even the most advanced age. A detailed review in this regard was undertaken by G.U Ergis; he formulated the main conclusion: “Folk singers expressed their attitude towards the surrounding nature, aesthetically assessed it from the point of view of the people of their time, and not only described what they saw and heard. Nature is glorified as the source of life, it waters and feeds a person, provides him with well-being in life, joyful feelings of perception of beauty. The songs in this section reflect the poetic views of the Yakuts on nature, love for their native land, and the beginnings of folk patriotism. The chanting of natural phenomena reveals the skill of the singers and the richness of the visual techniques of folk poetry.” It is noteworthy that the author highlighted changes in the nature of the image of reality from contemplation to the expression of dissatisfaction with social conditions, which reflects the dynamics of the development of the consciousness of the working masses, but in accordance with the ideological guidelines of his time, he defined “the social consciousness of the Yakut masses as backward”, since “they do not contain a call for an open revolutionary struggle of the masses against the exploiters." While accepting the idea that some songs are appropriate for a certain age in general, we would not strictly distinguish between age categories thematic and genre diversity songs, since young people learned to sing from the older generation, and children imitated them in performing the songs they liked. These were the features of the existence of songs, with the exception of ritual ones, which required certain preparation and an appropriate performance environment. Further delving into the study of genre characteristics of song folklore allowed researchers to approach the explanation of the choice of objects of chanting in works from a slightly different perspective. “The narrative part of the ceremonial song is not dedicated to the chanting of animals, birds, Ysyakh and the spring blossoming of nature. It plays a different role in the composition of the song (...) The main organizing link of the narrative component is the method of cause-and-effect coupling of images, narrowing of images or their coupling.” This understanding of the function of images is attractive because they highlight the features of folk poetics, which clearly reflects the national vision of the world.
The song “Wal oo barakhsan” (“Good fellow”) glorifies the ideal of a young man whose “right hand is money” - this is his earnings, and “his left hand is sable” - trades, and “who always cares about tomorrow,” “even being old and weak,” he knows how to be useful to people, “and who can compare with him if his heart is good.” The song glorifies the image of a wonderful young man, strong, smart, kind, with an honest soul. The wisdom of the people is manifested in the fact that the song speaks specifically about a young man - the hope and support of people, so that the young man from an early age realizes his destiny - to be the main one and responsible for the fate of the people. Of course, songs of this nature are intended for effective education. From simple everyday songs to philosophical toyuks glorifying the universe, from playful, playful to serious, intended to accompany various rituals - the Yakut folk song is as diverse as life itself.
The improvising singer uses generally accepted, formulaic structures and expressions, but at the same time the performer is given the right to introduce elements of his own creativity. In the art of creating an artistic image, only the singer who has his own style and variety of artistic depiction techniques is truly valued. “In the art of a singer-improviser, what has always been decisive - if not to talk about his natural ability - is the ability to use the richest arsenal of figurative means of language and the possession of great skill in the technique of free alliterative poetic speech.”
Mastering the artistic and visual means of folk poetry - Long procces spiritual enrichment through comprehension of the techniques of artistic perception of the world. The cognitive significance of studying images of folk poetry is convincingly stated by researcher N.Z. Kopyrin: “Studies of poetic imagery, visualization of literature are necessary, on the one hand, for the comparative study of literatures, their characteristics, relationships, mutual influences and rapprochements, and on the other hand, for knowledge of aesthetic and ethical views, psychology, the nature of perception and understanding of the surrounding world, how they change, enrich, etc.” .
This statement is true for all genres of Yakut oral folk art. The theme and imagery of the folk song are prompted by the living conditions in the northern region and reflect the unique mentality of the people; in this regard, Yakut songs can be considered a complex, syncretic phenomenon of art.
Osuokhai – a syncretic genre of folklore
Osuokhai is a synthesis of song and dance arts.
Circular dances, according to researchers, in ancient times reflected the cult of the sun, and initially singing and dance moves had a sacred meaning - the praise of the god Aiyy in the form of a heavenly body. Over time, having lost its hidden meaning, osuokhai was transformed into a mass art form that could be performed at any celebrations, but mostly in the summer, during the celebration of the Yakut New Year. The singers competed in eloquence, strength and beauty of the sound of their voices, and the ability to hold a tyusulge - a circle of dancers. Famous singers could improvise on a variety of topics for two or three days in a row. S.A. became famous as an unsurpassed singer-improviser. Zverev, a native of the Suntarsky ulus. The Yakuts themselves relate Osuokhai to the art of dancing rather than to singing; this genre is denoted by the Yakut word k, the etymology of which goes back to the meaning of “worship”.
The beneficial effects of osuokhai on a growing person are noted:
1) how dance art– develops physical qualities;
2) as a song genre of folklore, it contributes to aesthetic development;
3) as verbal art - develops speech, imagination, creative abilities.
The obvious advantages of osuokhai include the psychological aspect of the issue; It has been established that during dance a person receives a huge charge of energy, is relieved of stress, and feels spiritual unity with other people. Unfortunately, today this art is also losing its mass character, although individual enthusiasts are actively working to promote this genre among the population: the Osu Okhai association has been created, annually, on the initiative of cultural institutions, singing competitions are organized, texts and popular science books are published. Philologist N.E. Petrov wrote a manual for schoolchildren, “Osuokhai at School,” which includes Osuokhai texts for students from fourth to eleventh grade (1989). The experience of teachers in the Verkhnevilyuisky and Suntarsky uluses of the Republic of Sakha (Yakutia) indicates that the effectiveness of mastering the osuokhai dance directly depends on how early children began learning this art, since the necessary performance skills and the ability to improvise are instilled only as a result of painstaking work with students.
Educational value of ritual poetry
Ritual songs stand out as a separate layer in song folklore due to the multidimensionality and syncretism of the material. Using the example of the study of ritual poetry, we will consider the modern formulation of the question of classification of the genre. G.U. Ergis, completely justifiably considering the concept of ritual poetry in inextricable unity with the mythological views of the people, gave the main characteristics of this complex phenomenon: “Thus, myth and ritual, mutually related, become the basis for the development of a special type of poetic creativity - ritual poetry. In Yakut rite, ritualism is called “duom”
or “tuom”, the custom, the rule is “sier”, and the wishes, blessings or spells, prayers, dedicatory chants performed during the ritual are called “algys” (from the verb algaa - to bless, to wish well, to greet, to conjure, to pray, to glorify). When classifying (following V.Ya. Propp) he proceeded from the theme of algyses, as fundamental signs that determine the essence of the phenomenon. “Based on the collected materials, the ritual poetry of the Yakuts can be divided into the following groups: 1) pastoral,
2) trade, 3) rituals and algys of blacksmiths, 4) family and household, 5) tribal.
Shamanic rituals and rituals stand apart.” The development of folkloristics, in particular, its methodological guidelines, has led to an understanding of the need to take into account diverse essential features when classifying genres. In this regard, a detailed study of S.D.’s system of genres is of great interest. Fly spitting. Based on the analysis of the works of previous authors and the use of the functional-poetic principle, the researcher proposed a reasonable classification of Yakut ritual songs. To show how complex a phenomenon the concept of ritual song represents, let us give an example from this work: “Combining the concept of genre and type, we can say that the genres of Yakut ritual songs are incantatory songs, ritual and plaintive. The genre of spell song consists of such types as song - agreement, song - command, song - narration; genre of ritual song - from ceremonial song and warning song; the genre of plaintive - from the “author’s” song and role-playing. The types of songs, for their part, are divided into subtypes according to their everyday use: maternity, wedding, calendar, etc. Ritual songs not only fall into genres, types and subtypes. In general, they are divided into two large groups. One group consists of genres that are poetic and musical in nature. Another group includes poetic, musical and choreographic genres, i.e. songs performed at circle dances". This division of songs allows us to take into account important aspects of scientific interest: functional diversity, poetics, syncretism of the genre. Folk environmental education in the form of ritual poetry constitutes an important part of the spirituality of the people. The cognitive significance of ritual poetry is great; every detail in it is informative and significant, since the variety of rituals reflects the entire complex of ideas about the relationship between man and nature, where the idea of the unity of man with nature is fundamental.
Ecological function of algys
The Yakuts had a folk calendar corresponding to the lunar calendar, in which every fourth year had an “extra” month - “tirge yya” in August, that is, the month of catching ducks with homemade devices from twigs, called tirge. The Yakut year began in May, when the long-awaited Yakut spring arrived after eight to nine months of cold weather and stormy days. During the year everything important events were accompanied by various rituals, during which spells and blessings were necessarily performed, united by the single term algys. The most important National holiday Yakuts - Ysyakh - initially reflected the ancient cult of the sun, then the worship of the sun was replaced by a ritual of appealing to the celestial gods so that they would send down the next year fruitful, favorable and happy for people. Rituals and spells on Ysyakh were performed by a specially trained person - algyschyt - a spellcaster, from among the most respected and talented, and in the old days this mission was entrusted to white shamans, a kind of priests of the Aiyy cult. Ethnographic literature records many examples of such spells, where each word has a sacred meaning. There were many rituals in everyday life: on the occasion of moving to letnik-sayylyk, calving of cows; blessing of the spirits of fire, localities, good wishes in honor of weddings and other celebrations, the birth of children; the spell of Bayanai - the patron saint of hunters, spirits of rivers, lakes, so that there is no hunger; algys – request – protection from evil spirits and vices, etc. – many of them, according to the established sier-tuom (rules of conduct), were improvised at the time of performance; for this purpose, a proper environment with indispensable attributes was created. At the same time, the words of everyday algys-spells were easily and naturally remembered, thanks to the formulaic nature of the language and the static structural and stylistic organization of the texts.
An example of the existence of ritual poetry sheds light on the question of traditional methods, methods of introducing young people to certain genres of oral folk art: creating an atmosphere, serious attitude to the performance of ritual, unquestioning observance of ritual, instilling faith in the magical power of algys words, learning in practice, reverence for nature, attention to the inner world of a person. A person brought up on the traditions of respect and love for the surrounding nature does not find it in himself to be aggressive towards others. This is the ecological meaning of ritual poetry. Algys attracts people with a general psychological attitude towards the success of the undertaking, the positive attitude of the participants, and the denial of the bad sides of life. During the times of a nihilistic attitude towards folklore, some types of algys acquired new content, corresponding to the spirit of the times, so the tradition of blessing and good wishes did not go away with the time that gave birth to it, like other types of algys - shamanic spells. Our research confirms that Algys is currently experiencing a period of growth in the new Yakut reality; this can be explained by the fact that human nature is responsive to a kind word, and a positive attitude is always and everywhere in demand. In pedagogical practice, the above-mentioned features of algys could bring undoubted benefits in the psychological rehabilitation of children and in solving many practical issues in everyday life.
Pedagogical content of mythology
Initially, mythological stories had a socially significant purpose - the interpretation of the surrounding reality from a moral standpoint. A widely circulated version of the story “A Gathering of Birds” tells of a woodcock who, out of envy of the large birds, tries to kill himself.
People do not favor this bird, this is clear from the hidden irony. Everyone has their own destiny, do not envy anyone - this is the moral of the myth. Most of myths refers to the living nature of the northern region. Sparing words, but very accurately convey the distinctive features of the animal world. These myths cannot be considered only a naive explanation of natural phenomena and the origin of the animal world; such stories testify to the keen observation of the creators and their moral and ethical views.
Let's look at examples:
Grouse and pike Grouse and pike fought, shooting at each other from a bow. The black grouse shot from above and hit the pike in the back with an arrow. And she shot from below, and her arrows hit the legs of the black grouse. One still has those arrows on his back and the other on his legs.
Some myths explain a behavioral pattern among a certain group of people united by ties of kinship or beliefs. The origins of these beliefs go back centuries, sometimes discovered by researchers at the opposite end of the world among many peoples. This is the attitude towards the eagle totem in the story below. It is noteworthy that the design of the tangalay caftan has a sacred meaning. Knowledge of such moments allows us to understand the roots of folk traditions and common origins.
Ancestor of the Batyly people A man named Batyly arrived in modern Buustakhsky in ancient times (...). The ancestor of this Batyly was, they say, a bird - an eagle. The Batylin residents do not kill him and honor him very much. Women of the Batyly clan, if they see a soaring eagle, they say they put on a rovduz caftan, called tangalay, honoring it as the daughter-in-law of their father-in-law. Here we come from Batyly.
The moral lesson in myths is presented as an unshakable truth that does not need proof. In the perception of a modern child, myth does not lose its attractiveness due to its original imagery, fantastic nature, and at the same time, the relief and simplicity of the depicted world. Myths of this kind touch upon issues of honor, fidelity to duty, gratitude for kindness, compassion for the grief of others, and poverty. Below is the text of the myth recorded by ethnographer-political exile V.M. Ionov.
The orphan boy and the moon The Yakuts say this about the spots that are visible on the moon. In ancient times, one orphan was a slave to one rich family. The lady said: “Go on the water.”
Then the boy, taking a bucket and a rocker, went to fetch water. Returning with water, he stopped at a young larch tree and, leaning against it, began to cry, saddened by the fact that he was an orphan. At this time the moon came down to him and took him to her.
It is a sin to offend an orphan. If you make an orphan cry, then his cry passes through the nine heavens and becomes audible to the Aiyy Toyon. Then Ayyy toyon will punish the person who offended the orphan.
The study of myths helps to broaden one’s horizons, cultivate morality, and develop intercultural competence in the younger generation.
Cognitive significance of historical legends and traditions
The most widespread genre of Yakut folklore is undoubtedly considered kepseenner - stories. Under the general name bylyrgy kepseenner, sesenner prose genres of Yakut folklore are presented: from small everyday stories - everyday stories, to stories about outstanding personalities, from romantic legends to religious-mystical stories and historical legends. The unpretentiousness of living conditions and the participation of almost anyone in telling entertaining stories made this genre of folklore very popular among all ages. Particularly revered were skilled masters of words, guardians of antiquity, they were called sesennyitter - storytellers.
The pedagogical value of these works is great; their impact on the formation of ideological, moral and ethical qualities of students’ personalities has not yet been studied; in the works of ethnographers, historians, and folklorists, only individual information was given regarding the functional role of folk prose genres. The main feature of the most significant genre - historical legends - is that for the most part they truthfully reflected various events and facts that took place in the history of the people. This was noted by A.E. Kulakovsky, G.V. Ksenofontov, G.U. Ergis, G.M. Vasiliev and other researchers who had to compare folklore information with archaeological and archival data. Historical legends have great historical and ethnographic value, the cognitive value of which is difficult to overestimate. The high accuracy of the information contained in them was ensured by strict rules of narration - the heard legend had to be retold, without adding or subtracting anything from oneself. Truthfulness is perhaps the main personal quality of the Yakuts; apparently, this is exactly how they were brought up in the old days.
Over time, some facts were erased from the memory of generations - traditions turned into legends - stories with fantastic and mythological elements. Legends perpetuate the unusual destinies of people, important, significant events in the life of the people. Stories about famous runners, successful hunters, skilled blacksmiths, tireless mowers, famous heroes, singers, etc. excited the mind and imagination, gave confidence and charged with energy. Compiling a family tree, undertaken by many today, is evidence of an increased level of culture, a desire to find support in the experience of the past. In the legends, the ancestors of the Yakuts Omogoi and Elley are contrasted to each other precisely in cultural terms. The noble head of the Buryat family Omogoi is smart and rich, hospitable, fair in his own way, but lives in the old fashioned way. A young man of the Tatar tribe named Elley arrives along the Lena River, having only a head on his shoulders and skill in any matter. Having hired himself as a worker, Elley works tirelessly: he cuts windows in the yurt, improves the stove - builds a chimney, builds pens for livestock, etc. Even in choosing a wife, he is guided by the qualities necessary for procreation and the improvement of everyday life. Elley’s actions reveal pragmatism, dictated by the need to survive in the harsh conditions of the Yakut nature. There is no antagonism in the relationship between Omogoy and Elley, despite the tragic circumstances in connection with Elley’s marriage to Omogoy’s unloved daughter. The legend states: the adoption of a higher level of culture by the Yakuts occurred of their own free will; the basis of the Yakut culture was laid by the Turkic-Mongolian tribes. As the story goes, Elley fled from his fellow tribesmen, saving his elderly father from imminent death, on the way wise advice fathers protect their son from many dangers. Elley is calm and patient, does not harbor a grudge against Omogoi when he kicks him out with his wife, but extends his hand for reconciliation - invites him to the Ysyakh holiday, receives the blessing of the elderly. From this blessed union the Yakuts originated. Many generations were brought up on such examples. This legend is also notable for the fact that it mentions the Buryats and Tatars. According to legend, Mongolian and Turkic tribes took an equal part in the formation of the Yakut people; this version is partially confirmed in the works of researchers. A.P. Okladnikov, based on a comparative study of Buryat and Yakut legends, established the similarity of motives: “the basis of the legends about Elley and Omogoy is the ancient world plot about the innocently persecuted divine twin heroes and that it cannot be considered as a specific historical chronicle of the journey of the ancestors of the Yakuts of the Baikal region or Southern Siberia to Lena." On the issue of the historicism of the legend, we are more impressed by the cautious statement of G.U Ergis: “It is possible that both Buryat and Yakut genealogical legends contain ancient motifs about persecuted heroes, but the main content of the legends that have reached us reflects historical phenomena rather than mythological ones. Regarding the Kurykan origin of the story about Omogoy and Elley, as well as about Ajirai Buhe and Kharamtsai Mergene, it is difficult to say anything to confirm or refute A.P.’s guess. Okladnikov, since we do not know any specific monuments of Kurykan folklore.” This version is also supported by pedigree tables, where the ancestors of all known genera are presented in a descending line to their modern representatives.
A significant part of historical legends consists of stories about outstanding people, especially revered by the Yakuts. The cult of physical strength, endurance, and speed can be seen in stories about famous strongmen, wrestlers, and runners. Particularly popular were the Strongman Ivan, who raised a fifty-pound bell, the invincible national wrestler - hapsagayu Mas Mekhaele, the Runner Nechcheke, who outstripped a horse over a distance of several tens of kilometers, national hero Manchaars - Yakut Robin Hood and others. The heroes of these stories are endowed with the best human qualities, and strength and dexterity are glorified only among those who are kind and modest, for a true hero of tradition always stands up for the poor and downtrodden. With such examples we are once again convinced that what is truly national is always international. Bogatyrs from Russian epics, heroes of Central Asian epic tales, Greek myths, Western European epics - all are united by a heightened sense of justice, patriotism, and love for people.
In Yakut historical legends, a significant place is given to the depiction of labor. The attitude towards work is exalted, and this is not surprising, because in order to survive in the north, everyday hard work is necessary. On the verge of the fantastic and the real, the story tells about unique labor records: how the old woman Mogoos defeats all the mowers while mowing, how another one chopped several dozen cartloads of firewood. Surprisingly, these stories, in fact, did not turn out to be an exaggeration. G.M. Vasiliev gives the following example from real life: “A collective farmer from the Terasinsky nasleg of the Tattinsky ulus, Egor Romanovich Tolstoukhov, on the shock day of August 1, 1937, mowed down 4.88 hectares in the Nammara Trd area... it happened when a lumberjack, armed only with an ax, cut down a day up to 70 cartloads of long-life firewood, or up to 5 fathoms (10 cubic meters) of firewood by firewood.” The legend ennobles even hard physical labor, for this is a necessary condition for the existence of the people, therefore the labor achievements of people are elevated to the rank of a feat - such is the educational value of these stories.
In the variety of everyday stories, stories about shamans and various spirits stand out as a separate topic, but these stories belong more to the realm of fantasy, which has entertainment value, than to superstition itself. Some of the “horror stories” concern shamanic legends, in whose supernatural abilities many Yakuts believed. But even in them, the affirmation of moral principles prevails: you cannot treat people badly, violate the laws of hospitality, destroy nature, be intemperate in your tongue, etc. After all, you have to answer for everything. In pre-revolutionary times, stories of religious and mystical content were very common, but nowadays they have lost their former meaning, and can only be read with the corresponding comments.
Artistically, the prose genres of folklore are distinguished by great compositional and stylistic diversity; techniques for depicting events in the retelling of the narrator are presented from simple stories to revealing satire and dramatic collisions. Researchers also note the predominance of hyperbole in these genres of folk prose, but “more moderately than in the heroic epic Olonkho.”
The positive experience accumulated during the active existence of genres, in the critical analysis of works from the point of view of their pedagogical appropriateness and the validity of the choice of material, can be effectively used in the process of school education. In this regard, we would like to especially highlight stories about the ancestors of the tribe, stories about outstanding people, events that have special cognitive and educational significance.
– – –
native tales telling about the heroic struggle of the heroes of the epic Aiyy tribe with evil monsters from other worlds. The average size of these legends is 10–15 thousand poetic lines, and according to Olonkhovo expert I.V. Pukhov, the largest recorded olonkho contains 52 thousand lines of poetry. Olonkho in a special artistic and aesthetic form reflects the form of social consciousness of the people, their worldview, historical memory and level of spiritual culture. The figurative word olonkho represents the highest form of development of oral poetry of the Yakuts. It contains the germs of many types of folk art: music, singing, poetry, theatrical and visual arts. The exceptional importance of olonkho for the spiritual development of the Yakuts was emphasized by past researchers, ethnographers, and members of expeditions of the Russian Geographical Society, in whose works the first fixed examples of folk epic appeared. The term olonkho was first used by academician O.N. Betlingkom in his fundamental work “On the Language of the Yakuts”
AND I. Uvarovsky, author of “Memoirs”, the first literary monument of the Yakuts. In the future, we will use this term both in the genre designation of the heroic epic and in the meaning of individual works of this genre, as is customary in scientific literature.
The diversity of olonkho is due to the indivisibility of poetry and music, characteristic of the syncretic form of culture that arose at the intersection of mythological and real perception of the world. Apparently, this diversity made it difficult to define the olonkho genre in early stage research. When defining the genre, the first collectors of Yakut oral literature were based on the content of the epic, on the similarity of plots and motifs with mythological stories, as well as on the fantastic nature of the elements, which gave some commonality with fairy tales, which made it possible to classify olonkho as a fairy tale genre.
According to folklorists, the Yakuts themselves designated both heroic epics and fairy tales under the general name olonkho; they only distinguished between olonkho with singing (yryalaakh olokho) and olonkho without singing (saty olokho). The term fairy tale in the designation of the heroic epic was used until the 30s.
The scope of application of the generally accepted term is also evidenced by the fact that P.A. Oyunsky, being an olonkhosut himself, undoubtedly, like no one else, knew the difference between an olonkho and a fairy tale, but he entitled his article, published in 1927: “The Yakut fairy tale (olonkho), its plot and content.”
Arguing the position about the historical-stage development of folklore, the founders of the historical-typological theory pointed to some separate genre feature of olonkho, common with the epics of other peoples, therefore there are various definitions: “epic poems”, “archaic epic poems”, “heroic tales” . The last term was proposed by V.M. Zhirmunsky: “The heroic epic, if it existed in this ancient era (which in principle is not excluded), probably had the character historical epic(like works of the feudal era, such as Kazakh zhyrs or even the Kyrgyz “Manas”); it should have approached a more archaic type of heroic tale, far from specific memories of the history of the people and the state and colored with elements of fairy-tale-mythological fiction - like the epic of the Altaians, Shors, Khakassians, Tuvinians, Yakuts, which preserved this ancient tradition from the times of the Turkic Kaganate and before until the recent past."
Fairytale-mythological fiction is the main feature of the archaic epic, just like in E.M. Meletinsky. “A purely mythological figure of the “mother” or “mistress” of demonic heroes is typical for archaic epic.
Such are the old shaman Abaasy in Yakut poems, the old partridge woman - the mother of Altai monsters, the ugly Mangadhayka among the Buryats, the “swan old women” among the Khakass, the mistress of the North Louhi among the Finns and Karelians.
With the advent of special works, folklorists dealing with the problems of the Yakut epic in their works adhere to the term “heroic epic”, justified by I.V. Pukhov: “So, the plot and composition, the historicism and heroic nature of the content, the language and style of narration, the poetic rhythm and character of performance, and finally, the volume of works - all this convinces that the Yakut olonkhos undoubtedly belong to the genre of heroic epic, and not to the genre of fairy tales, including the heroic fairy tale, as its variety or some kind of transitional form from a fairy tale to a heroic epic." I.V. Pukhov, a recognized authority in olonkho studies, here draws attention to those aspects by which the olonkho genre is determined.
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LESSON ON THE TOPIC “YAKUT FOLKLORE”.
The talented and hardworking Yakut people, like other peoples, have a rich and unique folklore. Yakut folklore has various genres that reflect the characteristics of the historical development of the people.
This is a rich mythology, fairy tales, the heroic epic-Olonkho, ritual poetry, folk songs, historical stories and legends, proverbs and sayings, riddles, tongue twisters-chabyrgakhs.
Researchers believe that the ancient ancestors of the Yakuts lived in the south of Siberia, in the Baikal region, and from there, gradually being pushed back, moved north and reached the banks of the Lena River. Here they met with the indigenous inhabitants of the North - the ancient tribes of the modern Evens, Evenks, and Yukaghirs. These were taiga hunters and reindeer herders. Sea hunters.
And the ancient Yakuts, who called themselves Uraankhai - Sakha, belonged to the group of Turkic peoples. They were cattle breeders and in their new homeland they taught northern tribes raise horses and cattle, and from them they learned animal husbandry and hunting.
But the Yakuts did not forget their distant warm south; its description was preserved in folklore.
Ritual poetry.
Ritual poetry arose when ancient people explained the world around them and natural phenomena in their own way. According to their concepts, every mountain, lake, river, valley, as well as every plant, grass, and any object had its own special spirit - ichchi. In the sky lived good deities - aiys, who ruled the world. In the Lower World lived evil creatures - abaas, who caused evil to people.
Ancient people treated the upper deities and spirits -ichchi with admiration, tried to earn their favor and not anger them. Therefore, various rituals were performed in their honor with sacrifices and praise in their honor. These praises or prayers were called spell songs - algys. These songs, based on the characteristics of each ritual, are divided into different types. Among them, birth songs, wedding songs, and calendar songs in honor of various celebrations stand out.
The most complete in terms of rituals and algys is summer holiday Ysyakh. According to the calendar ideas of the ancient Yakuts, June is the New Year. At ancient Ysyakhs, the White shaman offered an incantation song to the upper deities - aiyy and spirits - ichchi of nature. The shaman tried to come into contact with them and asked the deities for the organized holiday of universal grace for those gathered, fertility for cattle and horses.
Literature.
"Yakut folk songs"
Yakut book publishing house. 1988
Puzzles.
In the old days, the Yakuts had a custom of amulet, when some things were not called by their proper names. In such cases, people used “secret” speech. Hunters especially used this language. They thought that spirits and animals understood human language, therefore, in order not to reveal their hunting secrets, they used “secret” speech. According to scientists, the riddles are close in their images to these words of the amulet. The main thing in riddles is figurative allegory in the form of an intricate question. A person who solved riddles practiced ingenuity and quick intelligence; it was a kind of mental gymnastics.
Literature.
"Yakut mysteries." Compiled by S. P. Oyunsky.
Yakut book publishing house 1975
Who is the most valuable person in the world? (Mother)
They say the golden cup floats on its own. (Sun)
There is a golden bucket without a bottom (Sun)
In the middle of the alas there is a golden pillar (Sun)
Burns, burns, but does not burn out (Sun)
More expensive than gold, more alive than sable. (Human)
They say that white flowers bloom at night but wither in the morning.
They say that one shepherd grazes thousands of cows. (Moon and stars)
They say the silk sash hung down. (Rainbow)
They say there is an old Mumbling Talker who knows all languages.
They say he is invisible and very fierce. (Freezing)
They say the cauldron is boiling in the forest. (Anthill)
Without seeds, but it grows. (Hair)
And in severe frost the ice hole does not freeze. (Eyes)
The two twins always walk together. (Legs)
They say that a Russian girl sits at the table as the eldest in the family.
(Samovar)
They say that a one-eyed old woman from the southern side comes here and embroiders patterns. (Needle)
There is, they say, something that is smaller than a berry, but stronger than a bull. (Bullet)
Proverbs and sayings.
Proverbs are short folk sayings that summarize the life experience of the people in the form of complete judgments, conclusions and teachings.
Proverbs are short sayings that figuratively define an object or phenomenon.
The main feature of proverbs is their brevity.
Literature.
“Collection of Yakut proverbs and sayings” Compiled by N.V. Emelyanov.
Yakut book publishing house 1965
Conscience is not a gray horse; you can’t borrow it from anyone.
The seed loves fertilized soil, the people love a kind person.
The most valuable thing for a deer is a fawn, for a gun - gunpowder, for a person - health.
You don't find a good friend quickly.
A bird with its color, a man with his mind.
Don’t covet someone else’s, you’ll lose yours.
A good name and great fame have swift wings.
The bad and the good go together in an embrace.
A child who does not cry is not fed.
Don’t be proud that you’re rich, don’t be humiliated that you’re poor.
The hearth of the poor is warm, the hearth of the rich is cold.
Advice from an old man brings happiness.
A kind word is more valuable than wealth.
It's easy to break, difficult to do.
A stupid man with no eyes and no ears.
Even fire makes a family with children happy.
Thesis
Nogovitsyn, Vasily Andreevich
Academic degree:
Candidate of Philology
Place of thesis defense:
HAC specialty code:
Speciality:
Folkloristics
Number of pages:
CHAPTER I. GENRE CHARACTERISTICS OF CHABYRGAH.
1.1. Definition of genre.
1.2. Genre classification.
1.3. Folds of Deaf Peter.
CHAPTER II. TRADITION AND INNOVATION IN THE CHABYRGI GENRE
2.1. General and special artistic characteristics of chabyrgakh
2.2. Yakut literature and chabyrgakh.
2.3. Chabyrgakh and amateur performances.
Introduction of the dissertation (part of the abstract) On the topic "Chabyrgakh as a genre of Yakut folklore"
Relevance of the topic. The chabyrgakh genre occupies a special place in Yakut oral folk art. In the past, chabyrgi, as a genre of satire and humor, was one of the popular and favorite genres of folklore of the Yakut people. Even today he enjoys particular success in amateur and professional art. However, chabyrgakh as a genre of oral folk poetry of the Sakha (Yakuts) has not yet been the object of special research.
Due to the fact that in Yakut folklore there is no special monographic study on this topic, the dissertation author chose to study chabyrgakh as a genre of Yakut oral folk art
Based on this, it became necessary to identify traditional and modern chabyrgakhs by content and structure, thereby achieving a deeper definition and understanding of one of the small genres of Yakut folklore - chabyrgakh.
This work is the first attempt to translate the allegorical words of chabyrgakh into Russian.
We mostly stuck to scientific translation. But in sections where not! It is possible to translate a literary text, we gave preference to a literal translation and in the notes to these texts we tried to give a scientific version of the translation based on the genesis of the texts (concepts).
Since 1985, public life has been built on the principles of democratization and humanization. In recent years, the “Concept for the renewal and development of national schools in the Republic of Sakha (Yakutia)” has been developed, aimed at reviving education in the native language.
There are enthusiastic teachers and cultural workers who have achieved considerable success in promoting Yakut folklore, including chabyrgakh. In 1990, the republican chabyrgakhsyt competition was successfully held, in which amateur groups from many uluses took an active part. The authors of many chabyrgakh texts on a modern topic were identified - Gerasimova M.A., Matakhova M.N., Mestnikova E.K., etc. Collections of chabyrgakhs by the above-mentioned authors were published, in which the content of the texts, their compositional structure in the form of satirical poems - tongue twisters shows, on the one hand, popularity and demand, and on the other, a misunderstanding of the artistic features of this genre, its secrecy, allegory and abstruseness. Thus, the relevance of the topic of the proposed work is caused by the increased interest of the people in oral folk art in general and, in particular, in the chabyrgakh genre.
Goals and objectives of the study. The dissertation author believes that the traditional genre feature of chabyrgakh is allegory, abstruseness, wordplay, poetics of the genre, etc. and the ways of development of the genre in modern Yakut folklore still remain completely unexplored and require special monographic study. In this regard, the purpose of the dissertation work is to determine the role and place of chabyrgakh in the system of genres of Yakut oral folk art, the path of its development and functional significance in modern conditions, i.e. outside the traditional folklore environment.
To achieve this goal, the following specific tasks are set:
Study of the origins and evolution of the genre;
Structural analysis and classification of chabyrgakhs;
Analysis of the poetics and semantics of traditional and modern forms of chabyrgakh;
The study of its development and modern existence in modern times.
The object of the study is the traditional genre of Yakut oral folk art - chabyrgakh and its place in modern reality.
The subject of the research is the history of collection and research of chabyrgakh, the degree of prevalence, definition and classification, poetics and development of the genre.
Methodology and research methodology.
The work uses descriptive, typological, comparative-historical methods, as well as the principle of systematicity and semantic analysis. The theoretical basis of the proposed work is based on early studies of famous folklorists, * literary scholars and linguists related to the study of the problem of genre classification of folklore works, poetic analysis, poetics of folklore and literature (V.M. Zhirmunsky, 1974; V.P. Propp, 1976; A E. Kulakovsky, 1957, 1978, 1979; A. I. Sofronov (Kyayygyyap), 1926; P. A. Oyunsky, 1959, 1993; G. M. Vasiliev, 1940, 1965, 1973; N. N. Toburokov, 1985; N.V. Pokatilova, 1999, and others).
Chronological framework. Second half of the 19th century. - 20th century.
The degree of knowledge of the topic. The collection and study of materials from Yakut oral folk art began in the first half of the 18th century. Thus, early researchers, G. Miller, I. Gmelin, J. Lindenau (1733-1743 II Kamchatka Expedition), based on materials from historical legends, made the first assumptions about the ancestors of the Yakuts and the origin of the Yakut language. In 1842-1845. Academician A.F. Middendorf collected song lyrics, olonkho, information about the “circular dance.”) It is also known that in 1847 A.Ya. Uvarovsky included riddles and the text of the olonkho in his Memoirs. R.K. Maakom in 1854-1855. During the expedition to the Vilyuisky district, the texts of two olonkhos and riddles were recorded.
The first travelers who studied the history and life of the Yakut people had no observations about chabyrgakh. The first information about chabyrgakh is available in the work of the famous Russian folklorist, political exile IA Khudyakov (1842-1875) “A Brief Description of the Verkhoyansk District”.
Remarks and individual notes about this genre of Yakut folklore are found in the works of B.JI. Seroshevsky [Yakuty, 1993]. Participant of the Sibiryakov expedition, political exile E.K. Pekarsky in his famous “Dictionary of the Yakut Language” defined chabyrgakh as a play on words and meanings.
S.A. Novgorodov in 1914, while a student at St. Petersburg University, was sent by the Russian Committee for the Study of Central and East Asia to Yakutia to collect folklore materials. During his expedition S.A. Novgorodov recorded two chabyrgakhs [Novgorodov 1991, 77-78]. In two of his articles, he noted chabyrgi as a special independent genre of Yakut folklore [Novgorodov 1991, p. 19; 1997, p.68].
Perhaps, before him, the founder of Yakut literature, a great expert and collector of Yakut folklore A.E., was recording the texts of the Chabyrgakhs. Kulakovsky. In 1912 he wrote a literary chabyrgakh. This work was published in his 1925 collection:
Ollur-bollur Nevpovad-irrhythmic
Ekir-bukur At random
Yunyuoleehteen, Dancer,
Erii-buruu Sweeping and awkward
Taibaahidaan, Let's wave,
Hey-goy Hey-ohy 7
Yllaamakhtaan, Drinking,
Isiehein ere, dogor! Come on, friends!
The YSC archive contains chabyrgakh, which was recorded by M.
Naumovsky in 1945:
V Iehey-chuokhay yllaamakhtaan, Sing loudly and loudly,
Ieen-tuoyan ytaamakhtaan, Cry with your soul, with lamentations,
Iehey-maahai daibaahaydaan, Waving joyfully and sweepingly,
Egiy-doguy yunkyuleehteen. Dance with exclamations of hey-ohy.
AYANTS SB RAS, f.5, op.Z, storage unit. 658 a, l.1]
In the introductory part of both texts there is grammatical and semantic repetition. There is no similar text in archival and published materials. And the time difference between the first (1912) and second (1945) options is 33 years. Therefore, it can be assumed that the once widespread text of this chabyrgakh was forgotten or was not used by the performers. There is no doubt that A.E. Kulakovsky in his work used the chabyrgakh motif, popular among the people at the beginning of the 20th century. We can say that he recorded the archaic, now forgotten text of one of the traditional Yakut chabyrgakhs
Our guess was confirmed by the fact that in his letter to E.K. Pekarsky A.E. Kulakovsky wrote that for the development of written Yakut literature, he collected folklore materials and provided a list of collected materials. Chabyrgakh was also included in this list, along with works of other genres [Toburokov et al. 1993, p. 94].
In 1926, one of the founders of Yakut literature A.I. Sofronov, in the article “Chabyrgakh”, published in the magazine “Cholbon” (No. 2), expressed the idea of the possibility of developing chabyrgakh as a literary genre. Also in the article he attempted to define chabyrgakh as a genre. A.I. Sofronov tried to identify the “real chabyrgah” and cited the chabyrgah of Dyuley Diaakyp “Itege-tetege” as an example. According to the note of A.I. Sofronova, the real name of this chabyrgakhsyt is Yakov Vasilyevich Titov (1833-1916), but among the people he was also known as Dyulei Byukeni, jr.e. Deaf Peter (hereinafter Dyulei Byukaeni or Deaf Peter - V.N.). He was a native of Bakhsyt nasleg b. Meginsky ulus [Novgorodov 1991, p. 108].
In the same article A.I. Sofronov came to the interesting conclusion that the author’s “Folds about what was seen and heard” by Gyulei Bukaene cannot be recognized as real chabyrgakhs. It is obvious to us that A.I. Sofronov collected and analyzed the texts of the Chabyrgakhs. It is valuable that he was the first to draw attention to the existence of folk and literary (author's) texts of the Yakut chabyrgakh [Kyayygyyap 1926, pp. 29-30].
In 1999, a collection of the legendary chabyrgakhsyt Glukhoy Peter, “Folds about what was seen and heard: Tongue Twisters,” was published. In the collection, all texts are arranged chronologically [Titov 1999, p. 121]. As the compiler of the collection G.V. suggests. Popov/the first texts of “Uluu tunui diakhtarga” and “Dyösögöyten telkelah” were recorded in 1926 by E.E. Makarov [Titov 1999, pp. 121, 125]. Unfortunately, in the texts of E.E. Makarov did not provide any information about the informant or the location where the said texts were recorded.
In 1927, on September 14, in the village of Chapchylgan, Amga ulus, another text “Sakhalyy chabyrgah” was recorded from T. Toyuktaakh. According to the note by G.V. Popov, this record was found in the materials of I.P., a participant in the complex expedition of the USSR Academy of Sciences to study the productive forces of the Yakut Autonomous Soviet Socialist Republic in 1925-27. Soikonen [Titov 1999, p. 126].
Thus, the records of E.E. Makarov and I.P. Soikonen laid the foundation for the fixation of chabyrgakh in Soviet times.
In published by E.I. Korkina’s book “Olonkho, songs, ethnographic notes” contains correspondence from G.U. Ergis with M.N. Androsova-Ionova. In one of the letters from M.N. Androsova-Ionova reports: “I wrote several chabyrgakhs, when you arrive, I will show them to you” [Androsova-Ionova 1993, p. 353]. This book includes one of these texts.
In 1938, under the leadership of S.I. Bolo and A. A. Savvin organized a folklore and dialectological expedition to the Vilyui group of regions of Yakutia. In order to more fully cover the vast territory of this group of regions, the expedition worked along two routes. Judging by the certification of materials, during the work of the expedition, the collectors relied on the records of teachers and students of rural schools. Along with recordings of olonkho texts, historical legends, folk songs, riddles, proverbs and sayings, special attention was paid to the collection of chabyrgakhs.
An analysis of the chabyrgakh records shows that most of the texts were collected by A.A. Savvin. In one Vilyui region, he recorded 41 texts: from the Kyrgydai nasleg - 14, Yugyulet - 9, Togus - 5, from the Khalbaaki and Khampa naslegs 4 each, Borogontsov - 3, II Kyulet - 2.
From a 79-year-old resident of N.M. Alexandrova from the village of Kugdar, Nyurba district, recorded 5 texts. Expedition members from 73-year-old I.G. Kytakhov, a resident of the village of Allyn, Suntar ulus, recorded 13 chabyrgakhs. In the village of Suntar - 6, Tyubey Jarhan - 8. And 9 more texts were written down by schoolchildren. All these texts are currently stored in the archives of the YSC SB RAS.
In addition to these areas, the expedition worked in two naslegs of the Kobyai ulus, where in the village II Lyuchyun from G. Kychikinov and in nasleg II Sitte according to P.G. Kolmogorov were recorded from one text. Thus, the expedition led by A.A. Savvina enriched the archival material with 84 texts of the Chabyrgakhs.
During these years, the archives of the Institute of Language and Culture received chabyrgakhs I.G. Ivanov (recorded by S.I. Bolo). According to a resident of the village of Kuochui, Kobyai district, D.G. Pavlov wrote down the text attributed to Deaf Peter “Onoyorkoon ayakhtanan”. Also from a resident of the same area, I.T. Sofronova P.P. Makarov wrote down the text of "Tanara Chabyrgaga".
In 1939, the archive fund of the said institute continued to receive texts of chabyrgakhs from correspondent collectors. In naslegs of Kobyai region II Sitte and Kuokuy P.P. Makarov recorded one chabyrgakh each. In Churapchinsky district E.E. Lukin recorded two texts “Kepselge kiirbit” and “Dyrgyydaan-durguydaan”. According to V.D. Lukin, a resident of the village of Khaptagai, Megino-Kangalas region, the text “Syp-sap” was written down.
In 1939-1941. The Institute of Language and Culture organized an expedition to the northern regions of Yakutia, led by S.I. Bolo and A.A. Savin. She worked on two routes. Chabyrgakhs were mainly collected in the Momsky district under the leadership of S.I. Bolo and Abyi region under the leadership of A. A. Savvin.
In 1941, the folklore and dialectological expedition of the institute worked in the Amginsky, Gorny and Kobyaisky regions. HER. Lukin, a participant in this expedition, collected 2 chabyrgakh from the residents of the village of Altansy in the Amga region, and one chabyrgakh was collected from the residents of the villages of Abaga, Somorsun, Emis, and Omollon. In the same year, in the Churapcha district, from a resident of the Alagar nasleg, Lytkina S.I. 4 chabyrgahs were recorded. And also in the naslegs of II Sitte, Kokuy of the Kobyai region and from II Atamai of the Mountain region, one text was recorded.
In addition to expeditionary materials, during these years the archives of this institute continued to receive records of Chabyrgakhs from its correspondents.
Institute of Language and Culture from 1938 to 1941 Work on collecting folklore materials was widely launched. Over the years, about 150 chabyrgakh texts have been collected.
In the first years of the war in 1941-1943. For obvious reasons, the collection of folklore materials was temporarily stopped. In 1944, the archive fund was replenished with 10 more texts. In the same year, according to the words of the famous folk singer S.A. Zverev from the Suntarsky region of Yakutia and from a resident of the Megino-Kangalassky region, the famous shaman Abramov-Alaadya, the texts of the Chabyrgakhs were recorded. Also from the Abyisky, Megino-Kangalassky, Suntarsky and Churapchinsky districts of Yakutia, several chabyrgakhs were received into the archive fund.
More than 10 texts were recorded in 1945. And in the period from 1946 to 1947, the archive fund was replenished with more than ten texts of the Chabyrgakhs. They were recorded in the Ust-Aldan, Vilyui, Suntar and Ordzhonikidze (now Kangalassky ulus - V.N) regions by correspondent collectors.
The archives of the YSC SB RAS contain the texts of the Chabyrgakhs, recorded from the words of the famous olonkhosut of the Tattinsky region E.D. Kulakovsky-Wat Hoyostoon and from Moma resident R.P. Uvarovsky. There is also a 1949 recording of the chabyrgakh-fold “About what was seen and heard” from an 80-year-old resident of Tatta A.S. Totorbotova. The archive also received chabyrgakhs collected by schoolchildren of the literary circle of the Markhinskaya school in the Nyurba district.
In 1951, 1956-1958 from the Vilyuisky district according to I. Lebedkin, Nyurbinsky district according to P.S. Spiridonova, I.M. Kharitonov, Momsky district, according to R.P. Uvarovsky, Verkhoyansky district from A.E. Gorokhova, N.F. Gorokhov, several chabyrgakhs were recorded and archived.
Thus, it can be argued that the collection of folklore materials on the genre we are studying was mainly carried out in the 30s and 40s.
Fruitful work on collecting chabyrgakhs was carried out by a folklore expedition that worked in 1960 in the Nyurba region of Yakutia. 2 texts were recorded in the Megezhek nasleg, one each in the Chukar nasleg, I Kangalas and in the regional center of Nyurba several texts were recorded.
In the same year E.I. Korkina, P.S. Danilova, P.E. Efremov in the Tattinsky district according to N.P. Dzhorgotov, Ust-Maisky district from the words of I.P. Adamova, S.N. Atlasova, D.G. Ivanova and T.K. Kochelasov recorded several chabyrgakhs.
In 1962, 1965, 1966, one chabyrgakh each came from the Tattinsky and Megino-Kangalassky districts. In 1972, the chabyrgakh riddle was recorded by P.N. Dmitriev in the Ordzhonikidze district. Six texts “Altan atyyrdaah”, “Tyuyun-tyyun tereebut”, “Chuo-chuo cholbon”, “Kilietin kiliye”, “Myuchchu ketyuten” and “Kuogai-iegey” were recorded by P.N. Dmitriev from the 70-year-old performer Pavel Innokentyevich Zamorshchikov.
In 1972, a republican folklore festival was held in the city of Yakutsk. Many chabyrgakhs were performed. During the festival, previously unrecorded texts were identified and archived; Chabyrgakhov: 2 from performers of the Tattinsky district and 4 texts from A. Romanov from the Megino-Kangalassky district.
In 1973, the texts of the chabyrgakh folk singer, olonkhosut from the Ust-Aldan region R.P. were submitted to the archives of the YSC SB RAS. Alekseeva.
The archive also contains the text of Chabyrgakh G.S. Semenov-Dyrbyky Khabyryys, recorded by V.P. Eremeev in 1974. In 1986, the archive fund was replenished with the texts of several chabyrgakhs, previously recorded from the words of Konon Sergeev in the Nyurba region.
Thus, the first records of the Chabyrgakhs were made even before the October Revolution, but a targeted collection of materials was carried out in 1938-1941. Rich material was collected by folklore and dialectological expeditions of the YALI Institute. Most of the texts were collected by S.I. Bolo, A.A. Savvin, E.E. Lukin, P.P. Makarov, I.P. Pakhomov.
Judging by the passport of records, chabyrgakhs were collected from most of the territory of the republic. Chabyrgakhs did not gather in the Kolyma group of uluses, in some northern and southern uluses, where expeditionary work was not carried out.
Having grouped the texts of the Chabyrgakhs, recorded in different uluses and stored in the archives of the YSC SB RAS, we received the following picture:
1. Vilyuisky - 47;
2. Suntarsky - 32;
3. Nyurbinsky - 19;
4. Megino-Kangalassky - 16;
5. Alekseevsky (now Tattinsky ulus) - 14;
6. Momsky and Abyisky - 12 each;
7. Amginsky, Ordzhonikidze (now Kangalassky ulus), Churapchinsky, Ust-Aldansky, Kobyaisky - 9 each;
8. Ust-Maysky - 4;
9. Namsky-2;
10. Tomponsky, Yansky, Verkhne-Vilyuisky - one text each.
So, the archive of the Yaroslavl Scientific Center SB RAS currently stores more than two hundred texts recorded from 90 performers from 17 uluses. About a hundred texts were recorded in the Vilyui group of uluses, 58 in the central group of uluses, and 39 from the northern groups. These data indicate that chabyrgakh is widespread and is a favorite genre of the Yakut people.
An interesting fact is that in comparison with the Vilyui group of uluses, a smaller number of Chabyrgakhs were recorded in the central uluses. As you know, it was in these uluses that most of the famous olonkhosuts, singers and experts on antiquity were born and lived. E D Androsov, the author of a popular science essay in two parts “Olonkhosuts and singers of Tatta,” writes: “all the famous olonkhosuts of the Tatga ulus were also skilled chabyrgakhsyts” [Androsov^993].
In our opinion, this issue can be explained by the following circumstances: firstly, the collection and study of oral folk art of the central district of Yakutia began and was more or less fully carried out even before the October Revolution. It was in this district that the famous Sibiryakov expedition worked (1894-1896), the participants of which were political exiles who were well acquainted with Yakut life and had a fairly good command of the Yakut language; secondly, the first researchers and enthusiastic collectors of Yakut folklore mostly came from the central uluses. Apparently, the Institute of Language and Culture considered that in the central uluses the collection of folklore materials was going more or less well. Therefore, we decided to focus on covering the remote areas of the republic. In this regard, the first professionally trained folklorists S.I. Bolo and A.A. Savvin was sent to the Vilyui and northern uluses.
As a result, more chabyrgakh texts were recorded in the Momsky and Abyysky uluses than in some central uluses, where since ancient times oral folk art was more developed than in the peripheries of Yakutia, in particular, such central uluses as Amginsky, Kangalassky and Ust-Aldansky .
The passport data of 39 chabyrgakh texts recorded in the northern uluses, at first glance, creates the impression that chabyrgakh in the north was mainly distributed in Mom and Abyye. However, according to informant G.P. Potapov follows that, although chabyrgakh was recorded in the Abyi ulus, it also existed in the Yanek ulus (now Verkhoyansk - V.N.): “Bu kisi Dyaana I Baida kisite. -40 s." - “This man is a native of I Baida Yanek (apparently the Yansky ulus - V.N.) There he learned from one elderly old woman, even when he was in his homeland” [Archive of the Yaroslavl Scientific Center SB RAS, f.5, op.Z, unit. file 481, l.8].
In 1999, during our folklore expedition in the village of Dulgalakh, Verkhoyansk ulus, indigenous resident Vera Vasilievna Vasilyeva (born in 1935, 7th grade education) said the following: “Iyem chabyrgakhtyyryn ister buolarym: “Khankys-kunkus, // Kurbuu-dyrbii, // Elemaet -telemaet,//Eppit-tyyimmyt,//Esiekei-dierenkey." Bert usunnuk eteechchi yes, umnaasbippin. Manik kyys tusunan bysyylaah ete. "Erien daba yrbaahylaah." enin dien. "Chorbuonus dobuolien" nuuchchalaasynnaah byutesiger" - "Rumors shala mother tongue twisters : "Nods and sways, // Around and around, // Pieces of shreds, // Said-exhaled, // Round dance-jumping." I performed for quite a long time, but I forgot. It seems it was about a playful girl "With a colorful dress ", etc. She ended in Russian (distorted in the Yakut way - V.N.) “Chervonets is pleased."
From a resident of the village. Dulgalakh, Verkhoyansk ulus Sleptsov Gavril Aleksandrovich-Sebieskei Ganya (born 1932, 7th grade education) in the same year the following information was recorded: “Basykaan Aanyskata (nickname of Vasilyeva A.G., natural mother of the above-named Vasilyeva V.V. - V.N.) seems to have performed tongue twisters. I remember at the boarding school I rarely performed tongue twisters as a joke. In those days, tongue twisters were even in textbooks.
This was probably in 1942. then in my childhood" (village of Dulgalakh. Locality "Ysyakh yspyt". 08/21-1999).
During the expedition, we became acquainted with six traditional texts of the Chabyrgakhs, which were recorded in the village of Sartan, Verkhoyansk region, by a first-year student of the Faculty of History and Philology of the Yakut State University, Nina Ignatievna Sleptsova (now Filippova - V.N.), dated 1966. The texts were typed on a typewriter and are stored in the archives of the Verkhoyansk Museum “Pole of Cold” and in the possession of the collector herself.
Thus, the lack of recording of samples of works of certain genres in certain uluses does not indicate the oblivion of any genre in individual uluses, but speaks of the unevenness of field work on collecting folklore materials in Yakutia.
We were interested in the fact that in the three Kolyma uluses, where the folklore and dialectological expedition was carried out (1939-1941), not a single chabyrgakh text was recorded. This can be explained by the following reasons: firstly, the great distance from the cultural center of the republic, i.e. central uluses, did not allow scientists to visit the uluses when the genre existed; secondly, the small population of the districts did not allow the genre to actively exist and served as the reason for its extinction, and then disappearance from active use, thirdly, the head of the folk-dialectological expedition, S.I. Bolo, apparently paid the main attention to the collection of historical legends. It is known that there is the manuscript “The Past of the North of the Yakut Autonomous Soviet Socialist Republic” prepared for publication, where Sesenem Bolo, based on the historical legends of the northern Yakuts, attempted to study the history of the Yakuts’ development of the valleys of the Indigirka and Kolyma rivers [Vinokurov 1993, p.39].
In addition, we have established that during the expedition to the Vilyui group of districts in 1938-39, S.I. Bolo recorded only three texts of the Chabyrgakhs, and then only from one informant [F.5, op.Z, item archive 5, fol. 12]. Perhaps this did not satisfy the leadership of the Institute, so in the first settlement of the expedition route to the North, in the Momsky district, S. Bolo recorded 15 texts of the Chabyrgakhs. Then, probably, the desire to study the history of the region took over, and he switched only to recording historical legends and stories. For this reason, it seems to us, in the Kolyma group of uluses S.I. Bolo did not record a single text of the chabyrgakh.
All of the above allows us to conclude that chabyrgakh was widespread throughout the territory of settlement of the Yakuts, including in the extreme northeast, since the genre itself is an integral part of the folklore of the people and lives in the memory of rhapsodists in any spatiotemporal relationship any territory that is developed by the nomad of the north - the Yakut hunter, Sakha reindeer herder and herdsman.
So, in the history of research and collection of the genre, we have identified four stages: 1) 1870-1911; 2) 1912-1934; 3) 1935-1974; 4) 1989-2001.
The first stage gives us scanty, but the first necessary information about chabyrgakh, important for studying the genesis of it as a genre. Political exiles: Russian folklorist I.A. Khudyakov, Polish writer, ethnographer B.JI. Seroshevsky, compiler of the Yakut language dictionary, academician E.K. Pekarsky was considered a play on words, an example of wit, puns, and jokes. B.J1. Seroshevsky suggested that chabyrgakh originates from the ritual poetry of the Yakuts, incomprehensible to outside listeners.
At the second stage (1912-1934), attempts to define the genre and individual comments about the specifics and features of chabyrgakh were expressed by the first galaxy of Yakut intelligentsia - A.E. Kulakovsky,
S.A. Novgorodov, A.I. Sofronov and P.A. Oyunsky. At this time, chabyrgakh was preserved in its traditional forms and continued to exist, as in pre-revolutionary times.
The third stage (1935-1974) was a period of flourishing collecting activity with the assistance of the Institute of Language and Culture at the Council of People's Commissars of the Yakut Autonomous Soviet Socialist Republic, opened in 1935 (later the Institute of Language, Literature and History of the Yaroslavl Branch of the Siberian Branch of the USSR Academy of Sciences).
An archive was organized at the institute, where more than 200 texts were deposited, which formed the basis of our research and were subjected to detailed analysis.
From 1975 to 1988, according to our data, no research work on the collection and analysis of chabyrgakhs was carried out. But at the same time, chabyrgakh as a satirical genre was in demand for castigating individual shortcomings of society and human vices, and became popular in amateur performances. This allowed the genre not only to survive, but also to receive further development. The evolution of chabyrgakh received a new impetus: the texts were transformed, and sometimes written anew, i.e. development received a second authorial life, one might say, a new ideological and social orientation.
Purposeful scientific study of chabyrgakh as a genre of Yakut folklore began only in the late 90s. XX in So, in 1989, an article by G.A. Frolova “Chabyrgakh” [Frolova 1989, p.96-100]. After it, separate collections of texts by amateur authors and articles in local newspapers and magazines dedicated to chabyrgakh appeared. The main content of the articles was that the genre is viable and in demand, and needs assistance for further development as a colloquial and satirical genre of amateur performances.
In the introductory articles of the jj published collections, attempts were made to identify the features of the genre and analyze the mastery of the Chabyrgakhsyts. But these articles did not resolve controversial issues and did not provide anything new in the issue of defining and classifying the genre. In the articles by A.G. Frolova, then in ours the question was raised that “folds about what was seen and heard” by Deaf Peter cannot be classified as a genre of chabyrgakhs.
Separately, it is necessary to note the article by E.N. Romanova "Children's folklore of the Yakuts: text and metatext", where the author considers Yakut tongue twisters as "the first speech in the sacred tradition" and considers it the basis for the emergence of poetic speech [Romanova 1998]. Later, her hypothesis was supported in an article by L.I. Novgorodova and L.F. Rozhina “Chabyrgakh: text and metatext (to the problem of non-ritual forms of Yakut folklore)” [Novgorodova, Rozhina 2001].
In the book by N.V. Pokatilova "Yakutskaya" alliterative poetry" the construction of chabyrgakh^ is considered in detail as a manifestation of the early literary stage of development of the Yakut alliterative verse. It outlines the poetic features of chabyrgakh, as an archaic genre of Yakut oral poetic creativity [Pokatilova| 1999].
A number of collections of chabyrgakhs by A. D. Skryabina “Methods of teaching chabyrgakhs (tongue twisters)” were also published. Texts by chabyrgakhs on modern topics were published by active participants in amateur artistic performances M. Matakhova, M. Gerasimov, etc.
Thus, at the fourth stage of the study, the main attention was paid to identifying the differences between traditional and modern chabyrgakhs, the features of the genre and its forms, as well as analyzing the creativity of chabyrgakhsyts. Along with this, this period can be considered the period of the revival of chabyrgakh as a genre of satire in Yakut oral folk art.
Source base of the research. The study was carried out on the following groups of sources:
Archival, handwritten materials from the collections of the Scientific Research Center SB RAS;
Works of Yakut writers and texts of modern Chabyrgakhsyts, published separately, as well as published on the pages of republican newspapers and magazines in the Yakut language;
Field materials of the dissertation candidate, collected in 1993-2003. in the Amginsky, Verkhoyansky, Kangalassky, Megino-Kangalassky, Olekminsky, Ust-Aldansky, Churapchinsky uluses of Yakutia and materials collected by students of the Yakut State University and the College of Culture and Art of the Republic of Sakha (Yakutia) during educational folklore practice under the guidance of the dissertation candidate.
The novelty of the work lies in the fact that it is the first to systematize and provide a generalized analysis of chabyrgakh as a traditional genre of Yakut folklore. For the first time, based on a wide range of folklore material through a comprehensive study, an interpretation of its genesis is given, the evolution of chabyrgakh is shown, and the paths of its modern development are revealed.
Theoretical and practical significance of the work. The research undertaken in the dissertation contributes to the study of the previously insufficiently studied genre of Yakut oral folk poetry, defines chabyrgakh as a special genre, determines the artistic and aesthetic possibilities of the genre, reveals structural and semantic features, poetics and specificity of Yakut tongue twisters. The results of the dissertation research can be used in the preparation of scientific and methodological manuals, for further study of Yakut versification by students-philologists, teachers and methodologists in Yakut literature and folklore, as well as propagandists of the folklore traditions of the Sakha people, participants in amateur art groups, authors-writers of chabyrgakhs on modern Topics. The dissertation materials can be used for comparative analysis of similar genres of oral folk art of other peoples.
Approbation of work. The main provisions of the dissertation are presented in speeches and theses at scientific conferences, including the Republican Scientific and Practical Conference “S.A. Zverev: Folklore and Modernity” (Yakutsk, 2000); Republican Scientific and Practical Conference " Christianity in art, folklore and education"(Yakutsk, 2000); III International Symposium " Baikal meetings: Cultures of the peoples of Siberia"(Ulan-Ude, 2001); Republican Scientific and Practical Conference “Spirituality - the Command of the Time” (Yakutsk, 2001); scientific-practical conference " Sofronov readings"(Yakutsk, 2001); Republican scientific-practical conference " Current problems of modern Yakut philology"(Yakutsk, 2002); I interregional scientific conference “Language. Myth. Ethnoculture" (Kemerovo, 2003); IV International Symposium “Ethnocultural Education: Improving the Training of Specialists in the Field of Traditional Cultures” (Ulan-Ude, 2003). The applicant also made a presentation at the Republican Scientific and Practical Seminar of Cultural Workers “ Chabyrgakh (tongue twisters): tradition and modernity"(village Balyktakh, Megino-Kangalassky ulus, Republic of Sakha (Yakutia), 2002).
The dissertation student conducts a special course “ Chabyrgakh as a genre of oral folk poetry» Philology students at Yakut State University, as well as students of the College of Culture and Art in Yakutsk.
The structure of the dissertation consists of an introduction, two chapters, a conclusion, a list of sources and references, and an appendix.
Conclusion of the dissertation on the topic "Folkloristics", Nogovitsyn, Vasily Andreevich
Conclusion
Analysis of the theoretical conclusions of early researchers and texts of chabyrgakh, stored in the archives of the YSC SB RAS, shows that this genre is an archaic genre of Yakut oral folk art, its genetic roots are associated with “ancient traditional rituals of the Yakuts” [Seroshevsky 1993, Romanova 1998, etc. etc.] and go back to the first origins of the artistic language of the Yakuts [Oyunsky 1962, Pokatilova 1999].
The first necessary information about chabyrgakh as a joke, pun or wit was noted in the works of political exiles in the second half of the 19th century [Khudyakov 1969, Seroshevsky 1993, Pekarsky 1959]. Attempts to define and individual comments about the chabyrgakh genre were expressed by the first galaxy of Yakut intelligentsia - A.E. Kulakovsky, SA. Novgorodov, A.I. Sofronov and P.A. Oyunsky. Also, the first recordings of the texts were made by A.E. Kulakovsky and S.A. Novgorodov. But chabyrgakh, as a genre of oral folk art of the Sakha (Yakut) people, has not yet been the topic of special research.
In the dictionary E.K. Pekarsky "chabyrgakh" is defined as a joke, tongue twister, verbosity. Yakut researchers in their first works, along with the term “chabyrgah”, used the term “tongue twister” (Kulakovsky, Novgorodov, Sofronov) or “ditty” (Oyunsky, Sivtsev). It is noteworthy that S.A. Novgorodov, A.E. Kulakovsky, A.I. Sofronov saw the difference between tongue twisters and chabyrgakh.
Based on the root of the word “chap” (sharp clap) and rgaa (repeat quickly) and x (the suffix forming a noun), it can be argued that the term “chabyrgah” means short, apt, witty.
The main purpose of the traditional chabyrgakh was humor, ridicule, satire and allegory, i.e. secret speech of an everyday nature. And also just a play on words, an exercise for the development of children's speech. Chabyrgakhs were performed very quickly as recitatives or half sung. Used in chabyrgakh whole line poetic techniques of Yakut oral folk art - alliteration, rhymes. The imagery of characters in chabyrgakh was achieved through the widespread use of epithets, hyperboles, repetitions, comparisons, parallelism, and onomatopoeic words. Chabyrgakh's verse was laconic and rhythmic.
Based on the functional significance of chabyrgakhs, the following classification is proposed in the work:
1) Children's chabyrgakhs, which in turn are divided into three subgroups: a) tongue twisters for the development of children's speech; b) f chabyrgakhs to instill imaginative thinking in children; 3) children's satirical chabyrgakhs;
2) Chabyrgakh-riddles;
3) Amusing or humorous chabyrgakhs;
4) Fable-satirical chabyrgakhs.
Children's chabyrgakhs mainly consisted of counting tongue twisters, but they also contained puns, which served in Yakut ethnopedagogy as a means of developing speech in children. The group of children's chabyrgakhs included traditional descriptive chabyrgakhs, which promote the development of imaginative vision of various objects of the surrounding world - animals, beasts, birds, etc. In terms of their functional significance, they are close to riddle chabyrgahs. Recently, more and more chabyrgakhs of a satirical nature are being written, intended for children, participants in amateur performances, in which the character flaws and behavior of children are ridiculed. Therefore, children's satirical chabyrgakhs can still be distinguished.
Chabyrgakh-riddles are a more complicated version of children's chabyrgakhs of the second subgroup. These chabyrgakhs provide not only a poetically intricate description of an object, but also a spatial description of the environment and life of the Sakha (Yakut) people in allegorical content. These chabyrgakhs were intended for adults and older children.
Funny or humorous chabyrgakhs are a traditional type of chabyrgakh. Their words are archaic, and therefore sometimes incomprehensible even to the performers themselves. Translating the texts of such chabyrgakhs into Russian is almost impossible, the main content of which is “absurd” of a certain everyday nature. They are full of light humor, sometimes caustic irony, or may have “obscene content,” or simply a play on words.
In fable-satirical chabyrgas, the bad qualities of people are criticized - immodesty, arrogance, frivolity, debauchery, etc. Slobs, lazy people and truants were condemned in chabyrgakhs. In Soviet times, shamans, rich people, church workers, and employees of the tsarist administration were ridiculed. In these chabyrgakhs the form of the traditional chabyrgakh is preserved but, apparently, they were written mainly in Soviet times “on the topic of the day.” At this time, a tendency was laid towards the development of chabyrgakh only as a genre of satire. Thus, these chabyrgakhs can be considered prototypes of modern author’s satirical chabyrgakhs, designed for performance by participants in amateur performances.
A controversial point in the genre definition of chabyrgakh in Yakut folklore is the question of folds about what was seen and heard by Deaf Peter - Yakov Vasilyevich Titov. In our opinion, it is impossible to classify these works as chabyrgakh genre. Firstly, in size they gravitate toward the epic “toyuk” genre. in them narrative form, in addition to a colorful description of nature, it tells about various famous people of that time, as well as about animals and birds living in Yakutia. Folds consist of an introductory and main part, and almost all options have a final part. Each option consists of 200 to 400 lines. The folds are characterized by parallelism of construction, consisting of alliterative poems. They create a peculiar rhythm of performance at a fast pace, characteristic of the narrative part of the Yakut epic work - olonkho. Thus, only by the nature of the performance, i.e. Based on one criterion that defines the genre, we cannot call “folds about what was seen and heard” - chabyrgakhs.
The narration in the folds is conducted on behalf of one person. The folds about what Deaf Peter saw and heard are the author’s works, the initial form of Yakut oral folk verse. There are no abstruse or allegorical words here, the main distinctive feature traditional chabyrgakhs. Thus, they can be called a new type of Yakut oral folk art, original poems of an epic nature.
Chabyrgakh as a traditional genre of Yakut folklore is based on a number of poetic techniques of Yakut oral folk art. Chabyrgakhs are distinguished by their brevity and, like folk versification, “gravitate” towards equal complexity of lines, which is due to the clear rhythm of their execution. In chabyrgakhs, the main role is played by horizontal alliteration. Vertical alliteration in chabyrgakh covers no more than two or three parallel lines.
Vowel harmony and internal rhyme of lines, i.e. “functional alliteration and rhyme” [Dyachkovskaya 1998, p. 25], in chabyrgakh perform the rhythm-forming function of its rapid execution. Also, the final rhyme in chabyrgakh, as in epic verse, “is a structural element of sound organization” [Decree. cit., p.29]. Thus, in the structure of chabyrgakh, both internal and final rhymes and cross rhymes play a significant role. They mainly rhyme nouns and definitions, and verbal rhymes are found only in descriptive chabyrgakhs.
The favorite means of poetics of this genre are various kinds of epithets. The short formulaic epithets “chuo-chuo cholbon” (bright Venus), “dardyr syarga” (thundering sleigh), etc. are most often used in chabyrgakh. Chabyrgakhs use hyperboles, comparisons, parallelisms and repetitions. They also skillfully use “pictorial” and onomatopoeic words to characterize objects figuratively. Thus, poetic techniques * of Yakut oral folk art are widely used in chabyrgakh. Euphemisms and allegories are also skillfully used. The peculiarity of traditional chabyrgakhs is their brevity and rhythm.
The founders of Yakut literature A.E. Kulakovsky, A.I. Sofronov treated chabyrgakh, as well as other oral and poetic genres of Yakut folklore, creatively. The content of their chabyrgakhs is more or less veiled. In form and content they are close to traditional chabyrgakh. But in their works, unlike traditional ones, there is a storyline. They reflect not everyday events, but general civil ones, social significance. And therefore, we can say that the works of the first Yakut writers laid a new level of development of chabyrgakh, namely, as a genre of allegorical, descriptive nature, which then did not receive further development in the works of Soviet writers.
Although, in the works of Soviet writers P.A. Oyunsky, V.M.
Novikova-Kyunyuk Urastyrov there are poems close to chabyrgakh, but there is no allegory or secrecy in them. In such works, the negative phenomena of modern society are openly ridiculed. Essentially they are poems t of satirical content and in their structure are intended for quick execution.
Children's chabyrgakh-folds, in the form of separate works, are found in the works of K.N. Tuyarsky, P.N. Toburokov, but only as isolated cases. And therefore, Yakut writers are faced with the task of working on the chabyrgakh genre, namely, as a genre of abstruse, allegorical and satirical content.
After the October Revolution, the fate of the Yakut people began new stage life. At this time, chabyrgakh as a satirical genre for castigating individual shortcomings of society became popular in amateur artistic performances. Author's chabyrgakhs of folk singers, olonkhosuts S.A. appeared. Zvereva, R.P. Alekseev, where in a sarcastic style (close to the characterization negative characters olonkho - V.N.) lazy people were ridiculed. The repertoire of amateur artistic groups included texts of a proclamatory nature unknown authors which were satirical in nature. They exposed the shortcomings of the old world and Soviet society.
Currently, local newspapers and magazines publish individual texts by amateur authors. Separate collections are also published, which include chabyrgakhs intended for ensemble performance.
Chabyrgakh lost its traditional environment during Soviet times. It has become a popular genre of satire and humor for amateur artists. Performers and authors of chabyrgakhs, like S.S. Egorov, I.E. Efimov, M.I. Danilova, M.G. Gerasimova and others received high recognition during this period. They composed chabyrgakhs on modern themes, castigating relics of the past and negative facts in the life of the people.
Results of the 1990 and 2003 competitions. showed that chabyrgakh as a genre is currently loved and in demand by the people, and is part of mass culture. However, in the repertoire of amateur performances, traditional chabyrgakhs are inferior to chabyrgakhs of a satirical nature. As a result, a one-sided understanding of chabyrgakh only as a genre of satire can lead to the final loss of the main content of the traditional Yakut chabyrgakh - wordplay, riddles, humor and allegory.
It should be noted that our attention was drawn to an interesting remark by D.K. Sivtseva that chabyrgakh “is not a common genre in the folklore of other nations. But they are similar to Russian tongue twisters, except perhaps children’s rhymes.” Indeed, as we know, certain peoples of Siberia have a genre of tongue twisters, which are designated by the Tuvans as “türgen chugaa” or by the Altaians “medern sisters”, i.e. fast speech. Among the Buryats and Mongols, tongue twisters are called "Turgen Khelelge" or "Turgen Helle". "Turgen" - quickly; "helelge" or "helle" - speech, i.e. "quick speech" But the Buryats and Mongols have texts of tongue twisters, which are called “zhoroo uge-khuurnuud” and “zhoroo ug”, 4X0 literally means “zhoroo” - “ambling [horses]”, “uge” - “word”, khuur" - “narration.” Buryats and Mongols also distinguish between children’s rhymes “Ukhibuudei toolomzho” (children’s counting rhyme) [Baldaev 1960, pp. 361-362; Dashdorzh 1966, p. 118]. Therefore, in our opinion, the statement about “not widespread "a genre similar to chabyrgakh among other peoples is premature. In the folklore of the above-mentioned peoples, the genre of tongue twisters has not yet become the object of special research.
Thus, a comparative study of the genesis of the chabyrgakh genre is possible with the appearance of works devoted to the tongue twisters of peoples related to the Yakuts. 1
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