Musical folklore of the peoples of the Urals. Ural Historical Encyclopedia - musical folklore of the Urals

In the Urals, a collection of Kirsha Danilov "Ancient Russian poems collected by Kirsha Danilov" was created - an outstanding folklore collection, the materials of which "have world significance as: the first genuine recordings of epics and historical songs." It is known that it already existed in the 40-60s of the 18th century. A version of the collection has come down to us, made in the 80s, probably at the request of the breeder and well-known philanthropist P. A. Demidov. Scientists consider the Urals or adjacent regions of Siberia to be the place where the collection was compiled. It presents almost all the main plots of the Russian epic epic. These are epics about Ilya Muromets, Danube, Dobryn, Mikhail Kazarin, Gorden Bludovich, Ivan Gostinny son and other famous epic heroes, and among them are very archaic epics about Mikhail Potok, Duke Stepanovich, Stavr Godinovich, Volkh Vseslavievich. The epics develop the themes of the defense of the Motherland, the struggle for its independence, while the heroes are always true patriots, infinitely brave and courageous. Next to the epics, historical songs of the 16th-18th centuries can be placed: “Shchelkan Dudentevich” (about the uprising of 1327 in Tver against the Tatar-Mongol yoke), songs about Yermak and Razin, etc. It is precisely the historical songs that existed in the robber, Cossack environment and included in the collection, attracted the attention of V. G. Belinsky. He singled out in these songs "the dominant element - daring and youthfulness, and, moreover, ironic gaiety as one of the characteristic features of the Russian people."

Kirsha Danilov was also keenly attracted by the theme of human happiness, the theme of fate, love, so he includes songs such as “Oh! to live in grief - to be unruly”, “When it was time for a young man, great time”, “Across the valleys the girl dug fierce roots”, “The grass is trampled before ours”, etc., including epic ballads. The collection includes two spiritual poems - "Forty Kalik", "Pigeon Book" and about 20 satirical, comic songs, humorous epic songs, parodies. We emphasize that comic songs are not a thoughtless joke, fun. In the collection, as in the epic system, they are forms of expression of human nature. Indeed, in comic songs, a person appears, as it were, from the other side: if in epics, historical songs, spiritual poems mainly his social affairs and actions are depicted, then here a person is immersed in the atmosphere of life, home and family, he is all in his everyday life, everyday life, everyday life. More than 150 epic heroes, biblical and demonic characters, historical figures, ranging from the epic Sadko, Dobrynya and ending with Yermak, Stepan Razin and Peter I, are in the field of view of Kirill Danilov. Numerous nameless shipbuilders, kissers, housekeepers, mother nannies act in the songs of the collection , hay girls, in general, representatives of all classes, social strata, groups - from princes, boyars to peasants, Cossacks, dragoons, sailors, cripples, beggars. Various traditions and legends continued to exist in the Urals. In the XVIII century. Ermakov's legends were strongly influenced by the legends about robbers: robbery deeds of other free people were attributed to Yermak. In the popular mind, the "great warriors" Ermak and Razin were constantly compared. There was a plot interchange between the Ermakov and Razin cycles. In folk legends, the fate of Razin largely coincides with Ermakov's: Razin's parents are ordinary people, as a child he falls into a gang of twelve robbers, cooks porridge for them; instead of his real name, he receives another - a robber, Stepan, among the robbers he undergoes training, matures. The folklore of the region is inconceivable without proverbs and sayings. V. N. Tatishchev was very interested in folk art , in particular, he compiled a collection of folk aphorisms, containing approximately 1.5 thousand works. Tatishchev sent his collection in 1736 from Yekaterinburg to the Academy of Sciences, where it is still kept. The themes of folk proverbs collected by V. N. Tatishchev are very different: good, evil, wealth, poverty, the fate of a person, family relations, honor, dignity, love ... Proverbs are distinguished that express the respectful attitude of the people towards work and the working person: “ Honor cannot be found without difficulty”, “Craft is good everywhere”, “Do not rush with your tongue, but do not be lazy with your hands”, “Work praises the masters”, “Work, you won’t cut it, you won’t dress up in a row”, “Crafts don’t hang over your shoulders, but good with them." “The handicraft will also find crippled bread” and many other proverbs in which labor is recognized as the basis of life and a source of high morality. Folk proverbs and figurative sayings recorded by V. N. Tatishchev testify to the active existence of this genre, to the productive word creation of the people. This is a true monument of living Russian speech of the 18th century. The folklore of workers and the folklore of other sections of the population should not be separated by a wall. Strictly speaking, folklore has no clear social boundaries: entire complexes of ritual, lyrical, prose, and dramatic works, to varying degrees, satisfied the needs of different strata of Russian society. Ural XVIII - the first half of the XIX century. is no exception: the same songs, fairy tales, traditions, legends, rituals, games existed in the working, peasant, and urban environments. Another thing is that these genres could "adapt" to the spiritual needs, everyday requirements of a certain environment, could be significantly transformed up to a change in their ideological and genre appearance. And of course, in each professional and social environment, their own works were created, expressing the vital, important, special of this particular environment, so it is legitimate to talk about the oral poetic work of the Ural workers. One of the main genres of the folklore of the Ural workers is family and clan legends, representing the oral history of the family, the working dynasty. They transmitted information about several generations, could include an uncommented list of members of the genus. In the seemingly ingenuous stories about how “our parents mined ore or coal, worked at a factory,” there was a simple and wise thought: a person lives and is glorious by work. The old people, through family and family traditions, brought up the youth, passed on their work and life experience to them, instilled in young family members a respectful attitude towards grandfathers and ancestors, simple workers. In your "breed" there are no idlers, tumbleweed - such an idea was constantly instilled in the young by old people, keepers of traditions. In family legends, the founder of a dynasty or one of the distant ancestors is a first settler, or a peasant taken out of the central regions of Russia, or a person who possessed some extraordinary qualities: strength, rebelliousness, fearlessness, labor dexterity, social activity. P. P. Bazhov wrote that in the old working environment, “every first miner, discoverer of a mine or a mine was somehow connected with a secret,” and secret played a greater role among miners and ore miners than among coal miners or blast furnace workers. Therefore, fictitious explanations of luck or knowledge, the experience of this or that worker were often spread in any village, such motives penetrated into family and clan traditions. Family and tribal traditions preserved information about inventors, gifted craftsmen who made any improvements in the production process. For example, in the Alapaevsky mining district, everyone knew I. E. Sofonov as the inventor of a water turbine with a vertical axis, which revolutionized hydraulic engineering. The working dynasty of the Sofonovs has been known in Alapaevsk since 1757 to the present day. Family and tribal traditions contained valuable information on the history of a particular craft. Among the work songs of that time is "On the washing by hand", composed by teenagers. The whole song is, as it were, a complaint against a contractor who gives back-breaking work, “beats with rods”, makes him work even on holidays. Labor is portrayed as hard labor. Motives of doom, hopelessness permeate this song. Among the workers of the Demidov mining plants in Altai and the Urals, there was a song “Oh, se mining work”, which depicts not only exhausting work, but also a forced, joyless life. The song is very specific, it mentions the types of work, tools: “there is a trough and rows, ore-cutting hammers ...”, the numbers of “parts”, that is, work shifts, the names of the installers are called. In general, it can be said that the early working songs do not contain generalizing images, capacious artistic solutions. The songs rather state the plight of miners, coal burners, and factory workers. In the working environment, there was always a biting word, a humorous and satirical joke, a bike. For example, in the "Journal of incoming and outgoing cases of the Polevskaya factory office" the following fact is recorded: on May 4, 1751, "the worker Pyotr Ushakov was punished by a batozh for writing a mask and empty lies with charcoal on the wall of the board near the food shed." It must be assumed that in the working environment there were songs and legends about Emelyan Pugachev, Salavat Yulaev, although the records of that time have not reached us. Hypothetically, one can speak of a folk drama that was played out in industrial settlements. Most likely, the workers used the entire corpus of lyrical and ritual songs from the repertoire of the settlers, while male daring songs were used from the repertoire of the runaways. And of course, during that period, many themes appeared in the folklore of workers related to the discovery and exploitation of deposits of gold, iron, copper, gemstones and other minerals. These themes could be implemented in different genres, including with a significant amount of poetic fiction: such zoomorphic images appeared as an earthen cat guarding underground riches, a goat with golden horns associated with gems, an owl-prophet bird, a mountain spirit in the guise of an old man or werewolf women, etc. There was a belief noted by P. S. Pallas about Poloz everywhere. Sometimes he was considered a snake king, the main custodian of gold. In the legends of the workers, he acted as a donor of gold to poor people, although he did not give it into his hands, but as if he indicated the place where the gold was to be found. In the folklore of workers, the production theme is aestheticized, just like the business qualities of workers. P. P. Bazhov wrote that in pre-revolutionary times, the workers of rolling mills and miners had a cult of the strength of an apprentice or a powerful miner, among miners, miners - a cult of skills, among stone cutters, cutters - a cult of art. In the 30s of the XIX century. Ural folklore was recorded by A. S. Pushkin and V. I. Dal. The work on the "History of Pugachev" prompted A. S. Pushkin to come to the Urals in order not only to inspect the places associated with the uprising, but also to see people who remembered Pugachev and hear folk legends about him. A. S. Pushkin was in the Urals for only a few days in the second half of September 1833. He was accompanied by V. I. Dal, who served in Orenburg as an official for special assignments under the military governor. V. I. Dal knew the history of the region well, on business trips he constantly got acquainted with folk art, wrote down dialect vocabulary, sayings, fairy tales. Both writers talked a lot on folklore topics, retold folk tales. In the Berdskaya Sloboda, A. S. Pushkin talked for a long time with old-timers who remembered Pugachev. The poet felt the respectful attitude of the Cossacks to Pugachev. He wrote: "The Ural Cossacks (especially the old people) are still attached to the memory of Pugachev" 6. More than 60 folk songs, recorded by A.S. Pushkin, among them several were recorded by him in the Urals. For example, the soldiers' songs "From Guryev's Town", "Not a white birch tree bends to the ground", the family song "In the dense forests", the recruiting song "Mother had one, one son." The last song, which tells about the grief of parents who lose their only breadwinner, about the destruction of a young family, was very popular in the 30s of the last century, when they introduced a heavy duty for the people - annual recruitment kits. Ural folklore records were used by A. S. Pushkin in the "History of Pugachev" and the story "The Captain's Daughter". V. I. Dal served in the Urals from 1833 to 1841. The folklore works he recorded were included in the collections “Songs collected by P. V. Kireevsky”, “Proverbs of the Russian people” and the famous “ Dictionary living Great Russian language. Some of the recorded fairy tales he processed and published under the pseudonym "Cossack Lugansk", and in general he handed over all the collections of folk tales to A. N. Afanasyev, who selected about 150 fairy tales and placed them in his collection. In addition, V. I. Dal was one of the first to turn to the working life and recorded the wedding ceremony that existed at the Suksun ironworks. His manuscript "Wedding Songs in the Mining Plants of the Urals" has been preserved. A very valuable source is the travel essays of writers who visited the Urals in the first half of the 19th century. For example, P. I. Melnikov-Pechersky was struck in the Urals by “the Russian spirit in genuine simplicity.” Tambov province to Siberia. P. I. Melnikov-Pechersky expounded many folklore works in some detail. Thanks to him, Ural folklore appeared in the central periodicals (“Travel notes” were published in “ Domestic notes” in 1841), and, apparently, this publication prompted local folklore lovers. They begin to describe the sights with the obligatory fixation of existing folklore works. We note the former serf of the Demidovs D.P. Shorin, the teacher I.M. Ryabov, the officer of the Ural Cossack army I. Zheleznov, the peasant A.N. Zyryanov. Collecting takes on a mass character and gives rise to the local lore movement.
During the XVIII - the first half of the XIX century. the dialectal features of the Russian language of the inhabitants of the region have developed. The Urals were populated by Russians mainly from the northern, northeastern and central regions of Russia, so initially there were mostly various North Russian bordering dialects here. They interacted not only with each other, but also with a small number of aka dialects, which were brought by settlers from the new provinces and were located in islands on the territory of the Urals. Let us note the main features of the Ural old-timer dialects. In the field of vocalism - full okaniye, i.e. the vowel sound "o" is pronounced both under stress and in unstressed and stressed words (milk, soon); transition "a" to "e" between soft consonants under stress (sing); before soft, and sometimes before hard consonants in a stressed position, “i” is pronounced in place of the old “yat” (vinik, divka); in stressed syllables after consonants before a hard one and at the end of a word, sometimes in the first pre-stressed syllable, “o” is pronounced instead of “e” - the so-called “skunk” (will, shoptal, lie down); the loss of a stressed iot between vowels and the subsequent contraction of these vowels (we know, the dress is red, what a song). The pronunciation of consonants in the old-timer dialects of the Urals also has a number of general patterns. So, the sound "l" before consonants and at the end of the word turns into a non-syllable "y" (chitaw, spider); back-lingual "k" (sometimes "g", "x") softens after soft consonants and yot (Ankya, Vankya); as a result of assimilation, there is a transition of "bm" to "mm" and "dn" to "nn" (ommanul, obinno); in verbs of the 2nd person singular. h. instead of "shsha" a long hard "sh" (boishsha) is pronounced; in reflexive verbs, the separate pronunciation of the consonants "t" and "s" (to fight, fights) is preserved; in combinations "nr" and "er" the sound "d" is sometimes inserted (I liked it, in vain), and in the combination "cp" the sound "t" (stram) is inserted. Finally, let's name a number of morphological features of the Ural dialects. In the dative and prepositional cases, nouns of the 3rd declension always have the ending "e" (to the daughter, on the horse); personal nouns male to “shka” they change like neuter nouns to “o”, according to the 2nd declension (grandfather, to grandfather, with grandfather); instrumental case pl. h. in nouns coincides with the dative case form "am" (shake heads, do hands); the comparative degree of adjectives is formed using the suffixes "ae", "yae" (closer, faster); verb stems ending in "g" and "k" are aligned according to the 1st person singular. h. (shore, cherish, cherish, cherish, cherish, cherish); sometimes the form of the infinitive appears on "kchi", "gchi" (pekchi, beregchi); the Urals often use the particle “that”, changing or not changing it (home, lady-te). The speech features of individual regions or even settlements were so obvious that they became the basis of collective nicknames that have always been common in the Urals. For example, residents of the Bakalsky mines were called “bats” for the habit of introducing the word “bat” (contraction from “baet”), people from the Kaluga province were called “gamayuns” for their melodious dialect, immigrants from the Samara province - “kaldykamn” for the habit of saying “kaldy " instead of "when"; in the Trans-Urals lived "needlers" who said "yoke" instead of "his" and g.p.

An interesting and representative list of sources, which includes works of different times from 1893 to 1994. It is a pity that it did not include M. Lipovetsky's book "The Poetics of a Literary Fairy Tale" (Sverdlovsk, 1992) and M. Petrovsky's book "Books of Our Childhood" (M.) 1986). The first could have the significance of a historical and theoretical study on the fairy tale genre of the 20th century for the special course, and the second could help to see new trends in the literary fairy tale at the beginning of the century, because it examines new types of literary and folklore connections among fairy tale writers and not only among them (A . Blok), when there is a synthesis of cultures - high with folklore, mass and even kitsch.

Undoubtedly, the appearance of the book by T.V. Krivoshchapova is another step towards creating a complete history of the Russian literary fairy tale, as well as restoring the picture of the complex path of aesthetic, ideological, philosophical searches of writers and poets at the turn of the 20th and 20th centuries.

T.A. Ekimov

COLLECTOR OF URAL FOLKLORE

Once Vladimir Pavlovich Biryukov admitted that until the mid-1930s, being a convinced local historian, he had little interest in folk songs, fairy tales, ditties, although he wrote them down on occasion. Only after the First Congress Soviet writers, Where

A.M. Gorky uttered memorable words to everyone (“Collect your folklore, study it”), when the collection of folklore became a truly mass movement in our country, and not just the occupation of specialists,

B.P. Biryukov became interested in this activity. In fact, his first performance as a folklorist was the article "The Old Urals in Folk Art", published in the newspaper "Chelyabinsk Rabochy" on November 24, 1935. Soon the well-known collection “Pre-revolutionary folklore in the Urals” (1936) was published, and about V.P. Biryukov immediately started talking among the folklorists of Moscow and Leningrad. I remember how in 1937, we, a first-year student at the Moscow Institute of History, Philosophy and Literature, Academician Yu.M. Sokolov, at a lecture on working folklore, stated that the collection of V.P. Biryukova - big scientific discovery. And then, instead of the traditional lecture, he began to expressively read and enthusiastically comment on the texts from the book. He enthusiastically noted the tales of P.P. Bazhov (published for the first time in this collection). Immediately after the lecture, I rushed to the institute's library and greedily "swallowed" the book, which struck me with its inconsistency.

commonplace, Soon I began to work in a special folklore seminar by Yu.M. Sokolov and I remember how in the spring of 1938 my teacher once announced to us that in Leningrad, at the Institute of Ethnography, a scientific conference was held, at which V.P. Biryukov made a report on his collecting activities.

Here happy man! - said Yu.M. Sokolov. - Attacked a gold mine! We, folklorists, think in the old fashioned way that folk art should be collected in a peasant environment, we send expeditions to the wilderness. But Biryukov and his comrades walked around the old Ural factories and taught us all a lesson. Go, my dears, and you will go to some Moscow factory, write songs there. After all, the Moscow proletariat deserves the same attention of folklorists as the workers of the Urals.

So, long before we met, V.P. Biryukov, without knowing it, determined the beginning of my work as a collector of folklore. I went to the Bogatyr factory and throughout the spring of 1938 I recorded folk songs there among hereditary Moscow workers.

With the rapid entry of V.P. Biryukov, one amusing misunderstanding is connected with folklore. At the session of our seminar new works of Soviet folklorists were discussed. The student, who was instructed to review the folklore collections of those years, began briskly: "The young Ural folklorist Biryukov ...". Yu.M. Sokolov burst into laughter and interrupted the speaker: “Do you know that this young man is already ... fifty years old!” At that time we did not know what V.P. Biryukov was already great experience and authority of the local historian. And only then did we understand that the compiler of the collection “Pre-revolutionary folklore in the Urals” was not just a lucky man, from the young and early, who accidentally attacked a gold mine, but a prospector who went along and across his native land and came to folklore not from a student’s bench, as we, but from "grassroots" science, closely connected with the life of the people.

Several years passed, and my generation of front-line folklorists traveled a lot around their native land before they were able to go on expeditions that they dreamed about in the peaceful pre-war years ... And although in the breaks between battles we did not forget to write down soldiers' songs and stories, Indeed, of course, our professional activities resumed after the war.

Demobilized from Soviet army, I was assigned to work at the Chelyabinsk Pedagogical Institute, where I began to read a course in folklore and ancient Russian literature. My strongest desire was to meet V.P. Biryukov, who already at that time turned out to be a semi-legendary personality. From all sides I heard about him

the most controversial opinions. Some spoke of him as an erudite, overwhelming his interlocutor with his universal knowledge. Others - as about an unsociable hermit, an impregnable keeper of innumerable riches, which he holds behind seven castles. Still others - as about an eccentric and a tramp, an indiscriminate collector of all sorts of things. Not without a joke about how V.P. Biryukov once lost his hat and since then, at any time of the year and in any weather, he walks with his head uncovered ... I retained in my soul the impression that his book made on me in my student years, and therefore a completely different image appeared in my mind - a kind of Ural patriarch, a sgarets-ascetic. But already at our first meeting, I realized how far from the truth were the superficial ironic characteristics of V.P. Biryukov and my own idealized, icon-painting idea of ​​him.

V.P. Biryukov lived in those years in quiet Shadrinsk, taught folklore at the local pedagogical institute and occasionally traveled to Chelyabinsk on business. On one of his visits, he went to G.A. Turbin, when I was visiting him (we were preparing for our first joint folklore-dialectological expedition), and my acquaintance with V.P. Biryukov began with a business conversation.

It has arrived in our regiment! - V.P. was delighted. Biryukov and immediately began to generously share with me his advice and addresses. I was amazed at his simplicity in getting around, even unexpected rusticity for me. And later I noticed that the person who first met V.P. Biryukov, did not immediately guess that he was dealing with an intellectual who had graduated from two higher educational institutions who know foreign languages ​​and collaborated with academic institutions. There was nothing in his manner of bearing and speaking that could be mistaken for a sense of superiority, and this showed his worldly wisdom and tact. Then, in the house of G. A. Turbin, he did not teach me and did not demonstrate his knowledge in the field of folklore and ethnography, on the contrary, as it seemed to me, he even tried to belittle his professional experience. But in front of him was just a novice teacher and a completely unknown folklorist. This softness and delicacy of his soul immediately allowed me to reach out to him trustingly. Without losing any respect, I felt in him not only a mentor, but also a comrade in a common cause. And I was also struck by his appearance. I was not surprised at his more than modest attire (in those first post-war years no one flaunted), but I expected to meet a venerable old man, and in front of me sat a cheerful and youthful man, with blond curls falling almost to his shoulders, with fervently gleaming gray eyes and not leaving his lips, although hidden in a low-flowing mustache, smile. I easily introduced him cheerfully and tirelessly

walking with a hiking bag along the Ural roads and, despite the difference in years, felt like his "companion".

We easily became close, and soon our scientific cooperation turned into friendship. In 1958, when Vladimir Pavlovich's seventieth birthday was celebrated, he sent me to Leningrad the book "Soviet Urals" published for the anniversary with the inscription dear to me: "... in the year of the decade of our friendship ...". Yes, that memorable decade was marked by many significant events for me of our joint friendly work, mutual support and help in difficult days for each of us...

Modesty and shyness of V.P. Biryukova exceeded all limits. When in 1948 my article about his sixtieth birthday was published in the Chelyabinsk Rabochiy newspaper, at the very first meeting he “reprimanded” me: - Well, why did you write such a thing about a living person! I have been portrayed as such a Holy Russian hero that now I am ashamed to appear in front of people! And no matter how I tried to convince him that I wrote not so much for his glory, but for the sake of the cause that we both serve, he could not calm down and kept saying: - You should only write praiseworthy words! The case speaks for itself.

And about his seventieth birthday, he wrote to me in Leningrad (in a letter dated August 7, 1958): “You have long known that I am generally against the anniversary of a living person and I was already planning to escape from Shadrinsk, as they told me:“ You can’t! - the regional jubilee commission was created...». I had to obey ... Where, from whom did all this come from, I'm at a loss. Suddenly such attention! They even published a book about me. That way, only academics are lucky. What's the matter?" Very typical for V.P. intonations of bewilderment and self-irony!

I also remember how I urged him to write his memoirs. He even got offended. - Well, do you think that my song is sung? After all, memoirs are written when there are no years for any other business!

But nevertheless, one day he brought me to Chelyabinsk a manuscript called “The way of the collector (autobiographical sketch)” and jokingly demanded from me: - Only you testify that I did this not of my own free will, but was forced by you. And then he unexpectedly and mischievously admitted: - This essay has been ready for me for a long time, but I kept quiet.

"The way of the collector" appeared, as is known, in the sixth issue of the almanac "Southern Urals", although this publication did not bring much joy to the author. And even a few years later (in a letter dated as follows: “On the morning of January 26, 1957”), he regretfully recalled that the editor “greatly distorted” his essay and introduced some distortions and factual inaccuracies. By the way, I have preserved the first galleys of the "Way of the Gatherer", containing many interesting details, to

unfortunately omitted from the published text. Biographers and researchers of V.P. Biryukov, on this occasion, it is better to refer not to the journal text, but directly to the manuscript of his memoirs, stored in the archive that remained after him.

What to write about the modesty of V.P. Biryukov, manifested in his attitude to anniversaries and memoirs, even if he was persuaded to speak at a meeting of the folklore and ethnographic circle of the Chelyabinsk Pedagogical Institute or in front of the participants of our folklore expedition, it was not an easy task (he believed that I had already taught them everything and he had nothing to say to them). Heading the Department of Literature, I decided to involve V.P. Biryukov to give lectures on folklore for correspondence students. I spoke to him on this topic at every meeting, wrote him private and official invitations, but in vain. It seemed to him that he was not “academic” enough for a “capital university” (as he called the Chelyabinsk Pedagogical Institute, alluding to the saying “Chelyabinsk is the capital of the Southern Urals” then in use). And he agreed only when I told him that since he refuses to teach a folklore course, I must do it myself and therefore I will have to sacrifice the summer expedition. Hearing this, he got excited:

No, no, how can you! I'll help you out - go, go!

My little trick was designed for V.P. camaraderie - how could he allow me to sacrifice the expedition! And after that, for several years he accompanied and admonished me with the students on an expedition to the Southern Urals, and he himself read a folklore course to correspondence students, which is now immortalized, to my joy, on a memorial plaque, on one of the columns of the pediment of the Chelyabinsk Pedagogical Institute.

I recall another episode that characterizes the modesty of V.P. Biryukov. In January 1949, the seventieth birthday of the famous P.P. Bazhov. Writers, journalists, critics gathered. Among the most desired guests for the hero of the day was V.P. Biryukov. I had the honor to represent the Chelyabinsk Writers' Organization. We took pictures after the conference. P.P. Bazhov, who was sitting in the center of the first row, invited V.P. to take a seat in the same row. Biryukov. The experience of his call and other oldest writers of the Urals. But V.P. Biryukov waved his hands in fright and took quick steps towards the exit from the hall. I rushed to catch up with him, and he eventually perched behind everyone, climbing onto a chair next to me (I keep this photo among the most dear to me).

In the evening P.P. Bazhov and his family invited a small group of conference participants to visit them. Of course, V.P. was also invited. Biryukov. I followed him into the hotel room and found him sitting

sitting at the table, immersed in their notebooks. I see that he does not even think of going to the party, I say:

Time to go.

I'm not well, I'll probably go to bed ...

From the tone, I feel that this is an excuse.

Do not dissemble, Vladimir Pavlovich. Offend the good

They know me - they won't be offended.

Well, I won't go without you!

He sat down at the table, took out his notebook from his pocket and also began to write something into it. We sit, we are silent. Vladimir Pavlovich could not stand it, jumped up and, stammering slightly, threw out:

Don't ride on someone else's horse!

I did not immediately realize what he wanted to say by this, and then I guessed: they say, writers will gather, and our folklorist brother has nothing to do there.

Why, Pavel Petrovich rode into literature on the same horse, - I objected to him in tone.

Then he drove in, but he re-harnessed the horses for a long time - he couldn’t catch up ...

For a long time we bickered in the same spirit, but at last he gave in,

making sure that, indeed, without him I would not go, but to deprive me of the opportunity to spend the evening in the family of P.P. Bazhov, he did not dare.

What a folklorist I am! - he modestly remarked V.P. in one of his conversations with me. Biryukov. - I am not a folklorist at all, moreover, I am not a scientist, I am a local historian.

Indeed, V.P. Biryukov cannot, strictly speaking, be called a folklorist in the usual sense of the word, and yet his name has firmly entered the history of Soviet folklore. Folklore studies were only a small and, I would say, subordinate area in his diverse, extensive local history activities. He looked at folklore as an organic part of the entire spiritual culture of the people, inseparable from labor, life, struggle, philosophy, and practical morality of the working masses. In the collecting activity of V.P. Biryukov, initially spontaneously, and then consciously implemented the program of Russian revolutionary democrats - to study folklore as "material for characterizing the people" (Dobrolyubov).

There was another feature in the work of V.P. Biryukov as a collector - although he wrote in one of his methodological articles that the collective, expeditionary method of collecting material is the best (see: “Folklore and dialectological collection of the Chelyabinsk Pedagogical Institute”, Chelyabinsk, 1953, p. 140), however, he himself

he still preferred individual searches, conversations and recording. At the same time, he combined a systematic stationary method of collecting in one place and from several persons - with long and distant trips with a certain thematic goal(so he traveled almost the entire Urals, collecting the folklore of the civil war).

V.P. Biryukov was helped in his work not only by vast experience, but also by intuition, the ability to win people over, knowledge of folk speech. He did not imitate the manner of the interlocutor, but quickly grasped the peculiarities of the dialect and could always pass for a fellow countryman. He never parted with a notebook anywhere and kept notes literally continuously, everywhere, in any situation - on the street, in a tram, at the station, even while at home or being treated in a sanatorium and in a hospital. He did not neglect anything and no one, he entered into a notebook any well-aimed word, any message that struck him, a fragment of a song, even one verse of it ... singing (at night or in the rain), but every time he conscientiously stipulated this in his manuscripts, so as not to mislead those who would use his materials. The collection of folklore has become

for him a vital need, and one can easily imagine what a misfortune for him was gradually developing deafness. In December 1963 he wrote to me: “Remember how I was with you in 1958. Then the deafness was already beginning, and now it has intensified ... Because of the deafness, we have to leave the recording of folklore.”

It is not surprising that V.P. Biryukov alone managed to collect such a colossal folkloric and ethnographic archive that any scientific institution could be proud of. His house on Pionerskaya Street in Shadrinsk was a unique repository of a wide variety of materials on the life and spiritual culture of the Ural population, which was listed in the official lists. The archive occupied several cabinets and shelves in the brick closet of his house, specially adapted by him for storing manuscripts. The practical inaccessibility of the archive for specialists brought V.P. Biryukov is very upset. Naturally, he began to think about transferring his collections to some scientific institution or about organizing an independent archive in the Urals on the basis of his collections. He had high hopes for Chelyabinsk. The writers' organization and friends fussed about moving V.P. Biryukov. But for some reason this did not materialize. In the letter I have already quoted of December 29, 1963, V.P. Biryukov wrote bitterly: “Next year it will be 20 years since the question arose of my moving to Chelyabinsk and organizing a literary archive there on the basis of my collection. Over the past 19 years, an inexhaustible amount of blood has been spoiled.<...>Now the issue has been finally and irrevocably settled, so that I can already calmly talk and write to my friends. Since October, the transfer of our assembly to Sverdlovsk began ...> So far, six and a half tons have been transported and the same amount remains to be transported. Thus ended his Odyssey... In Sverdlovsk, as is known, on the basis of V.P. Biryukov, the Ural Central State Archive of Literature and Art was created, and V.P. Biryukov became its first custodian.

no matter how great literary heritage V.P. Biryukov, but his books included only a part of the materials he collected on the folk culture of the Russian population of the Urals. The fate of his books was not always easy. I recall, for example, the preparation of the collection "Historical tales and songs", in the publication of which I was involved. The manuscript had already been edited and approved, when unexpected doubts arose in the publishing house - is it worth publishing a book dedicated to the events of pre-revolutionary times? Then the saving thought came to me to turn for support to the oldest and honored Moscow folklorist and literary critic I.N. Rozanov, who knew V.P. Biryukov, and he agreed to put his name on the title page,

and I wrote a special preface to explain the value and relevance of the materials included in the collection. And yet, despite all these precautions, a sacramental phrase appeared in the review of the collection published in the newspaper Krasny Kurgan (May 31, 1960, No. devoid of shortcomings. It is composed out of touch with the present." And this is about a collection of historical songs and tales, where most of the materials are related to the liberation and revolutionary movement! When the book came out. V.P. Biryukov gave it to me with the inscription: "To my editor and printer." On the title page, above the name of the collection, it is indicated: “Folklore of the Urals. First issue." But, unfortunately, he remained the only one conceived by V.P. Biryukov series of similar scientific folklore collections.

Fortunately, other books by V.P. were published in Sverdlovsk and Kurgan. Biryukov: "Ural in its living word" (1953), "Soviet Ural" (1958), "Winged words in the Urals" (1960), "Notes of the Ural local historian" (1964), "Ural piggy bank" (1969).

V.P. Biryukov created a peculiar type of folklore collections. They clearly manifested the principles of his approach to folklore, which I mentioned above in connection with his collecting activities and which he himself well formulated in the preface to the collection “The Urals in its living word”: “Through oral folk art, through vernacular- to the knowledge of the native land. It is enough to look at the composition of V.P. Biryukov, on the titles and composition of their sections, to make sure that the main thing for him was history or state of the art of this or that folklore genre, not the transfer of certain ideological and artistic features of folklore, but, first of all, the desire to give a holistic view of this or that historical event, about one or another side of the life and life of the people, about the features of this or that social group, about one form or another labor activity. Therefore, all genres in his collections within one thematic section are interspersed, and a fairy tale, a song, a documentary story, a ditty, a proverb, and sayings, and lyrics, and satire, can stand side by side - in a word, everything, which helps to cover the topic of interest with the utmost completeness. I often heard from colleagues and even read unfounded reproaches against V.P. Biryukov, which are the result of a misunderstanding of the creative concept and purpose of his collections. Meanwhile, the collections of V.P. Biryukov should not be measured by a common academic yardstick, look for in them what is excluded by their very nature, the originality of the principles of their compiler. We must appreciate what V.P. Biryukov gave to science and what no one else could give. In collections

V.P. Biryukov, one should first of all look for something new and original that they contain and perceive folklore in its historical, social and everyday contexts, more clearly see the inseparable connection of folklore with the life, life and work of the people. If we touch on the fact that V.P. Biryukov was not always guided in the selection of material by aesthetic criteria, he himself did not hide this - after all, he did not create anthologies of literary texts, but books that could serve as a reliable historical source.

Merits of V.P. Biryukov have long been recognized. There were people who appreciated his folklore activities. Suffice it to mention Yu.M. Sokolov and P.P. Bazhov, constantly supported V.P. Biryukov in all trials, contributed to the appearance of his books, A.A. Shmakov, V.P. Timofeev, D.A. Panov... The more time separates us from those years when we witnessed the versatile activities of V.P. Biryukov, the clearer becomes its significance for national science and culture. And, as always happens after the death of an outstanding person, the sad thought does not leave him that after all, not enough has been done so that he can work comfortably and calmly.

The last time we saw each other was in the winter of 1969, when V.P. Biryukov came to Leningrad on business of his depository. One evening the bell rang, and at the door I saw a gray-haired old man in a sheepskin coat that I knew well, taking off mittens attached to a string, stretched out into his sleeves. We embraced, and before I had time to seat him in a chair, he already, with his usual delicacy, began to apologize that he would soon have to leave. Of course, we talked all evening, without once looking at the clock, and when I begged him to stay overnight, he gently but unwaveringly refused, trying to assure that in the hotel of the Academy of Sciences, where he was given a separate room, not finished ones were waiting for him, but things planned for today. An eternal, tireless worker, he really could not sleep peacefully at a party. The next day, I took him to the train, and we, as if foreseeing that we were seeing each other for the last time, did not say the usual “see you again” ...

But before my mind's eye, he appears not as a tired, stooping old man entering a carriage, but as I knew him in the good old days: slender, youthful, with a sly look in his eyes, dressed in tight old-fashioned trousers, shod in big hiking boots, with a battered leather "paramedic's" trunk in one hand and a "knotty stick" in the other, cheerfully pacing unmeasured miles along the rocky Ural road.

folklore musical Ural

multinational by nature, which is due to the diversity of nat. composition of us. region. The areas of settlement of peoples on the territory. U. intertwined, this contributes to the emergence of decomp. ethnic contacts, which are also manifested in music. folklore. Naib. studied Bashk., Komi, Udm., Rus. music-folk. traditions.

Bashk. music folklore. Head roots. folklore in the culture of the Turkic pastoral tribes who lived in the south. U. from the end of IX to the beginning. 19th century The folklore of the Bashkirs combined echoes of pagan and Muslim beliefs. Main the holidays were in spring and summer; the eve of field work was celebrated with Sabantuy, the plow holiday. Among the song genres are epic, ritual, drawn-out lyrical, dance, ditties.

Ancient epic genre kubaira, used nar. sesen tellers. The combination of poetic and prose presentation is typical for irteks. Baity lyrical-epic story songs-tales (XVIII-XIX centuries). Epic songs have a recitative melody (hamak-kuy) and were often performed accompanied by dombra. ritual folklore represented by wedding songs (the lamentations of the bride senlyau and her greatness calf). A complex rhythmic basis, ornamentality are characteristic of lingering songs and instrumental improvisations of the Bashkirs (ozon-kui or uzun-kui long tune). Dance songs and program-pictorial instrumental pieces kyska-kuy (short melody). These include takmaki, a kind of ditties, often accompanied by dancing.

The fret base of the head. songs and tunes is pentatonic with elements of diatonic. Most of the muses genres are monophonic. Two-voice is typical for the art of uzlyau (playing the throat) singing for playing the kurai, where one performer simultaneously. intones a bourdon bass and a melody consisting of overtone sounds.

Traditional head. instruments bow kyl kumyz, kurai (reed longitudinal flute), kubyz (vargan).

Komi music. folklore make up a trace. song genres: work, family, lyrical and children's songs, lamentations and ditties. There are also local forms of Izhevsk labor songs-improvisations, Severnokomi Bogatyr epic, Vym and Upper Vychegoda epic songs and ballads.

Solo and ensemble singing is widespread, usually in two or three voices.

Folk instruments: 3-string sigudek (bowed and plucked); brungan 4 and 5-string percussion instrument; wind chipsans and pelyans (pipes, a kind of multi-barreled flutes), ethics of pelyan (pipe with a notched single striking tongue), syumed pelyan (birch pipe); percussion totshkedchan (kind of mallet), sargan (ratchet), shepherd's drum. A significant place in everyday life is occupied by Russian. balalaikas and harmonicas. On the national instruments, onomatopoeic shepherd tunes, hunting signals, song and dance tunes are performed in the form of improvisations or in couplet-variant form. In Nar. practice, in addition to solo, there is also an ensemble song-instrumental music.

Russian music. folklore. Formed at the end of the XVI-XVIII centuries. among the first settlers of immigrants from Rus. S., from Middle Russian. region and the Volga region. In Prikamye and Sr.U. detects connections in the main. from North-Russian, to South.U. and in the Trans-Urals from the North-Russian, Middle-Russian. and Cossack traditions. Local folk music system incl. genres of song and instrumental folklore. The early layer is formed by timed ritual (calendar, family) and non-ritual (round dance, lullaby, play) genres. Among the calendar naib. the ancient songs are Christmas, Shrovetide, Trinity-Semitsky. An important role in the local calendar is played by non-ritual genres of round dance, lyrical, ditties, acting in the meaning of seasonally timed. Performed in the main children, unmarried youth, mummers (shulikuns). Muses. Traditional weddings are made up of lamentations and songs. The first ones, which accompanied the farewell episodes of the ritual, exist in U. in solo and ensemble performances. Two forms of chanting can sound at the same time. Wedding songs are divided into farewell, glorifying, reproachful and commenting on the ritual situation. Performed by female ensembles. Related to funeral rite the funeral chant combines singing, lamentation in a melody; often accompanied by "lashing" by falling to the grave, table, etc. Performed solo. Ritual genres are characterized by polytext melodies (performed with several texts).

Round dance songs belong to the group of non-ritual timed ones. Naib. 4 choreographic varieties of round dances are typical: "steam", "sex", "kissing" (couples walk along the hut along the floorboards or in a circle and kiss at the end of the song); "wall to wall" (ranks of girls and boys alternately come forward); "circles" (participants of the round dance walk around, or dance, moving in a circle; sometimes the content of the song is played out); "processions" (participants freely walk along the street singing "walking", "walking" songs). Steam round dances are performed in huts at youth parties. The rest, called "meadow" and "elan", were driven in the spring and summer in the meadows, often timed to coincide with calendar holidays. Lullabies and pestle are also timed solo female songs addressed to the child. During the games, children play songs, fairy tales, and nursery rhymes.

Untimed genres are of later origin and often reveal the influence of mountains. song culture. One of them is lyrical vocal songs, among which, in the local tradition, are love, recruit, historical, prison. Nar. the expression "swing the motive" is wide, with melodic bends to sing the words. In present voices are performed by women, less often mixed ensembles. Dance songs exist in the U. with three types of dances: circular dances, dances, quadrilles, and their varieties (lancei, etc.). Quadrilles are performed accompanied by instrumental tunes, to songs or ditties. Quadrille "under the tongue" are common. The choreography of quadrilles is based on the change of dec. dance figures (5-6, less often 7), each of which is based on one key movement. Dance songs are performed by solo and ensembles (vocal female and mixed, vocal-instrumental) in decomp. household environment. As untimed, and sometimes as a second time dedicated to calendar holidays, wires to recruits, weddings, there are local ditties ("chants", "slander", "turntables"). In each of us. point common Russian. and local ditty melodies, referred to by name. With. or der. Nar. performers differentiate ditty tunes into fast ("cool", "frequent", "short") and slow ("stretching", "sloping", "long"). It is often performed solo, by a duet or by a group of singers unaccompanied or to the balalaika, harmonica, mandolin, violin, guitar, instrumental ensembles, "under the tongue". Among ur. spiritual verses are popular among the Old Believers. Special region. music folklore U. is nar. instrumental music.

Collection and research. Russian music folklore in U. late XIX early 20th century associated with the activities of the Uole (P.M. Vologodsky, P.A. Nekrasov, I.Ya. Styazhkin), Perm. scientific-industrial music, Perm. lips. scientific archaeographic commission (L.E. Voevodin, V.N. Serebrennikov), Rus. geogr. about-va and Mosk. Society of Natural Science Lovers (I.V. Nekrasov, F.N. Istomin, G.I. Markov), with ser. 20th century Lv. state conservatory (V.N. Trambitsky, L.L. Christiansen) and the Regional House of Folklore.

Marisky music. folklore. The folklore of the Eastern Mari has a developed system of traditional genres: heroic epic(mokten oilash), legends and legends (oso kyzyk meishezhan vlakyn), fairy tales and comic stories (yomak kyzyk oylymash), proverbs and sayings (kulesh mut), riddles (shyltash). Among the songs with action, the following stand out: 1) family ritual wedding (suan muro), lullabies (ruchkymash), songs of Mari etiquette; 2) calendar; 3) short songs (takmak).

Wedding songs are characterized by a strict attachment of the poetic text (muro) to the melody (sem). Among the Eastern Mari, the term muro (song) exists in the meaning of poetic texts, the term sem (melody) in the meaning of a musical text. Of the songs dedicated to the wedding ceremony, include: glorious groom (erveze vene), bride (erveze sheshke), newlyweds (erveze vlak), parents of the newlyweds and other official actors, reproachful (onchyl shogysho), girlfriend (shayarmash muro vlak), wishes (to newlyweds, friends and girlfriends), notifications (ver tarmesh). A special group in the musical and song folklore of the Mari are songs of Mari etiquette, which are the result of strong tribal relationships. These songs are very diverse both in terms of verses and melodies. These include: guest (? una muro), drinking (port koklashte muro), street (urem muro) songs.

Guest songs were performed mainly on the occasion of the arrival or arrival of guests. They can be divided into the following thematic groups: wishes, reflections on moral and ethical topics, magnification, reproachful, thanksgiving addressed to any of those present. Drinking songs (port koklashte muro) were performed, as a rule, on holidays. They are characterized by a joint emotional and philosophical understanding of life, a desire to meet sympathy for an exciting topic in the absence of a direct appeal. Street songs (urem muro) were also performed in the circle of relatives, but outside the feast. Among them: comic, philosophical songs-reflections (about nature, about God, about relatives, etc.). The genre boundaries of songs of Mari etiquette are very mobile. In addition, their poetic text is not strictly attached to the melody.

The calendar songs include: prayer readings, Christmas, Shrovetide songs, songs of spring-summer agricultural work, including game (modysh muro), meadow (pasu muro), reaping (muro turemash), mowing (shudo solymash muro); songs of seasonal women's work, such as hemp cultivation (kine shulto), yarn (shudyrash), weaving (kuash), fabric dyeing (chialtash), knitting (pidash), embroidery (choklymash), sit-round, spring-game songs.

A large place in the folklore of the Eastern Mari belongs to the untimed takmak genre. In structure, they do not differ from Russian ditties, as a rule, they are limited to a seven-eight syllable base and have, in general, a strict metric. Most of the shorties' songs (takmak), diverse in themes and types, have a light dance character. Another part of them is characterized by narrative and smoothness, which bring them closer to the lyrical song.

In Group lyrical songs songs-meditations (shonymash), songs-experiences (oygan) and songs without words prevail. This genre widespread predominantly in the female environment. Its emergence was facilitated by the special warehouse of the psychology of the Mari, who tend to spiritualize all natural phenomena, objects, plants and animals. A characteristic feature of songs-meditations and songs without words is their intimacy of existence. Shonymash is often based on direct comparison, sometimes opposition to natural phenomena. The most common thoughts are about the past, about the dead, about human vices, about feelings for the mother, about fate, about the end of life, about separation, etc. Songs of experiences are inherent (oygan) great emotionality.

The songs of social lyrics include soldier's (soldier muro vlak) and recruit songs. Urban folklore is represented by lyrical ballads and romances.

The "rope" belongs to the traditional folk dances (the name is given, obviously from the drawing of the dance, another name is "kumyte" "three together"). The dance existed both among young people with characteristic rhythmic divisions, and among the elderly (shongo en vlakyn kushtymo semysht) with slow movements and a light "shuffling" step. Quadrille (quadrille) are also characteristic.

The folk musical instrumentation of the Eastern Mari is quite extensive, if we include not only widespread, but also obsolete instruments. In the list of musical instruments for which information is currently available:

1) group percussion instruments a drum (tumvyr), the wooden base of which was covered with ox skin, made a dull sound when played, it was usually customary to play the drum with special massive mallets (ush), a scythe (owl), a washboard (childaran ona), a washing mallet (childaran ush) variety Russian valka, wooden spoons (sovl), a noisy instrument in the form of a box with a handle (pu kalta), a wooden drum (pu tumvyr), as well as various other household utensils were used as noise instruments.

2) a group of wind instruments with families: flute shiyaltash (pipe) a musical instrument with 3-6 holes, which was made from reed wood of mountain ash, maple or linden bark (aryma shushpyk nightingale); pipe udyr bunch (maiden pipe); clarinets shuvyr (bagpipes). The unique property of this tool is that there is no special bourdon tube (although one of the tubes can play this role). Both tubes (yytyr) of the Mari bagpipes are in principle adapted for playing a melody. Traditionally, bagpipe pipes were made from the bones of the legs of a swan or other long-legged birds (herons, sometimes geese); tuko (horn); chirlyk, ordyshto, chyrlyk puch, umbane (such as zhaleika), acacia kolt (whistles); umsha kovyzh (vargan), sherge (comb).

3) the group of stringed instruments is subdivided into:

a) bowed ones, which include a musical bow (con-con), a violin (violin) with two strings and a bow made of horsehair, similar to the old Russian whistle, which was customary to play from the knee;

b) gusli (kusle) with a semicircular body.

In addition, well-known mass musical instruments are widely used among the Mari: Mari harmonica (marla accordion), talyanka, two-row, Saratov, minorka.

Udm. music folklore. The origins of udm. nar. music goes back to the muses. culture of the ancient ancestors. tribes. On the formation of udm. music folklore was influenced by the art of neighboring Finno-Ugric, Turkic, later Russian. peoples. Naib. early examples of udm. song art - improvisational fishing (hunting and beekeeping) songs of a declamatory warehouse. Main The traditional genre system of the Udmurts is made up of ritual songs: agricultural calendar and family-ritual wedding, guest, funeral and memorial songs, recruit songs. With the transition to Orthodoxy, the ancient pagan rites were influenced by him. In udm. Non-ritual folklore includes lyrical and dance songs.

In udm. nar. claim-ve stand out two DOS. local traditions - sowing. and south. In the genre system, sowing. traditions are dominated by family ritual songs; songs. Special region. make up polyphonic song improvisations without a meaningful text (krez) and solo autobiographical ones (vesyak krez). In the system of genres of the south. Udmurts are dominated by songs of the agricultural calendar: akashka (beginning of sowing), gershyd (end of sowing), semyk (trinity), etc. In contrast to the north-Udm. songs of the south performed solo or by an ensemble in unison. In the style of the southern Udm. Turkic influences are tangible in the songs.

Udm. nar. instruments krez, bydzym krez (harp, great harp), kubyz (violin), dombro (dombra), balalaika, mandolin, chipchirgan (trumpet without a mouthpiece), uzy guma (longitudinal flute), tutekton, skal sur (shepherd's horn), ymkrez , ymkubyz (vargan), one- and two-row accordion.

The Ural tales of Pavel Bazhov, familiar and beloved since childhood, have formed for millions of readers an impression of the culture of the Ural land, its past, traditions and values. The stories about Danil the Master and the Silver Hoof are so harmoniously inscribed in the ideas about this mountainous region that you have to make an effort to believe: all this is not a folk epic, but pure water fiction writer.

Childhood, the Urals and the stories of grandfather Slyshko

Pavel Petrovich Bazhov (real Bazhev) was born in 1879 in the Urals, in Sysert, a town in the Yekaterinburg district of the Perm province, in the family of a mining master. Pavel's childhood was filled with stories and observations of the work of miners, miners, and in hometown, and in Polevsky, where the family moved in 1892. The boy graduated with honors from the factory school, then entered the Yekaterinburg Theological School, then graduated from the seminary. Before the 1917 revolution, Bazhov taught Russian, was a member of the Socialist-Revolutionary Party, and later became a Bolshevik.

Bazhov actively participated in the development new government, led the red partisan detachments during the Civil War, and then devoted himself to journalism and literature.

"Ural working folklore"

In 1931, Bazhov was commissioned to compile a collection dedicated to pre-revolutionary folklore in the Urals. The requirements were strict - no references to religious topics, rude vernacular, stories about peasant life. Emphasis had to be placed on collective labor and the life of the working class. The writer's predecessor, Uralologist and local historian Vladimir Biryukov, who had previously received such an assignment, stated that it was impossible to find him. Bazhov, whose searches also did not give the desired result, nevertheless wrote several Ural tales - “The Mistress of the Copper Mountain”, “About the Great Poloz”, “Dear Name”, allegedly written down from the words of Vasily Khmelinin, or grandfather Slyshko.

Khmelinin was indeed an acquaintance of Bazhov - in the childhood of the writer, who passed at the Polevsk copper smelter, this former miner, who worked as a watchman, loved to tell the children of the miners the legends of the Ural land. Nevertheless, childhood memories of the Ural legends served Bazhov as a source of inspiration rather than real material for "tales". The writer later admitted that all works are the product of his own composition.

Cartoon frame silver hoof

Folklore or Fakelore?

Meanwhile, it is obvious that the success of Bazhov's fairy tales was predetermined precisely by the similarity with folklore texts - in rhythm, in mood, in sound. The books also included characters borrowed from ancient Ural beliefs, and those that nevertheless had prototypes in folk tales. For example, the galloping fire trap from Bazhov's tale is close to the image of the Golden Baba from the ancient beliefs of the Siberian peoples. As for the Mistress of the copper mountain, the malachite woman, she personifies the pagan spirit of the keeper of the wealth of the Urals, helps the miners and judges everyone who ended up in her possessions. The hostess cannot be called a positive character, "to meet her is bad - grief, and good - there is little joy."

Sculpture of the Mistress of the copper mountain in the city of Berezovsky near the Yuzhnaya mine

Observing the ban received from customers on the inclusion of religious elements in the tales, Bazhov reflected the much more ancient, deep ideas of the Urals about the structure of the world - the worship of the powerful forces of nature, their deification. But main idea tales - the glorification of the master, his skillful and talented hands, his work. She was in tune with the political climate. Soviet era, but also fully reflected Bazhov's values. Serving one's cause is an example not only of his father's life, but also of his own, one cannot but admit that Bazhov was a real master in literature, which was the reason for his recognition by the reader.

Shot from the film "Stone Flower"

The tales have received real recognition, in the Ural cities, no, no, and you will find a sculptural image of the Mistress of the Copper Mountain, and cartoons and full-length films have been created based on books. Folklore - or faklore - Bazhov outlived both the creator himself and the Soviet government, for the service of which he was created. It is quite possible that, centuries later, the Ural tales will become truly popular, deserving the same status of a folk epic.

And in continuation of the theme of folk legends - whose culture is not only richer than it usually seems to Europeans, but also fraught with many unsolved mysteries.

The study of the native land at the lessons of literature through folklore.

Author of the work: Pechnikova Albina Anatolyevna, teacher of literature, MOU "Zaikovskaya secondary school No. 1"
Job title:
Description of work:
This paper contains methodological recommendations on the inclusion of works by UNT in the program on literature or speech development in grades 5-7. Ural folklore explores the diversity of small genres: interesting material about proverbs, sayings, fables, riddles, fairy tales, lullabies, incantations. The study of the native land in the lessons of literature through folklore may be of interest to teachers of primary and secondary levels of the school community. The use of the publication is possible for any teacher with a slight adjustment in relation to his region and the traditions of the area.
Target: preservation and transmission of the heritage of the Ural folklore
Tasks:
1) instill interest in native word through acquaintance with the traditions of the Urals;
2) include research materials on proverbs, sayings, fables, riddles, fairy tales, lullabies, incantations and other small genres in the literature program;
3) to form the cognitive activity of schoolchildren and the rapprochement of the parent community and the school.

Piggy bank of folklore traditions of the Urals.

It would be naive to think that rural children absorb folklore with their "mother's milk", it would seem that they are closer to natural sources than urban children, children are almost not interested in the works of UNT.
The literature program in grades 5-7 involves the study of CNT, which includes an interesting research material about proverbs, sayings, fables, riddles, fairy tales, lullabies, incantations, but there are very few such lessons. In order to implement the new standard of education of the Federal State Educational Standard, I consider it expedient to include additional lessons on the study of the folklore of the Urals in the literature program. Perhaps these will be lessons on speech and culture of communication, or extracurricular activities on NQF. Children become collectors folk traditions their families, which undoubtedly contributes to the formation of cognitive activity of schoolchildren and the rapprochement of the parental community, and as a result, serves to strengthen family ties. The children receive creative tasks, ask relatives, grandparents, older brothers and sisters, other relatives, what proverbs and sayings they know. Then, in the home circle, children and parents draw up their work, for someone they will fit on a piece of paper - “Proverbs and sayings of my family”, someone will get a small handmade baby book “Folklore in my family” or “Collection of proverbs and sayings used in our home." As a rule, such a joint work of adults and children is very attractive to students, the guys are happy to perform in front of a class team, do not feel discomfort (even those who do poorly), get high marks and arrange an exhibition in the reader's corner, tell their friends about their successes. In the 19th century, the works of UNT were recorded famous writers, scientists, folklorists and ethnographers.

Pavel Petrovich Bazhov wrote: “Everyone brought something of his own to the Urals in everyday life, his own terminology, his own in songs, in fairy tales, in jokes. The piggy bank of the Ural folklore contains many samples of ancient Russian folk poetry and songwriting, a lot of variants of all-Russian folklore, as well as unique works created by folk craftsmen the edges". In a broad sense, folklore is everything that is combined with the word and verbal art. Since folklore is closely connected with the history of the region, acquaintance with the phenomena of folk culture can be presented in a wide range of local forms taken from literary sources. Appeal to local roots, I think, raises the importance of the local in the eyes of schoolchildren. traditional art, will help to strengthen weakened ties with parents, relatives and, perhaps, will allow to overcome the negative and dismissive attitude towards oral folk art in general.

Preparation for lessons on folklore can be conditionally divided into several stages. First of all, this is an acquaintance with the history of the region, with people who carry folklore traditions (and there are fewer of them every year). Since children from different villages study at our school, I offer search tasks: learn the history of your village, tell about an interesting person, write an essay about the nature of the native land, interview the "old-timers" of the village, compose poems about the small homeland, and so on.

I spend lessons in the 6th grade as a journey through the pages of the national agricultural calendar, a kind of encyclopedia of the workers of the earth, expressed with the help of a poetic word. There are 2 main sections in calendar poetry:
1) folklore associated with the preparation of the land and the growth of bread;
2) folklore, glorifying the end of the year, harvesting and harvesting.
In this order, the calendar year went on the earth, so I build my lessons, for which I take 3 hours.
The class is optionally divided into groups that creatively protect the calendar cycles. Spring rituals merged with the celebration of Easter. The summer cycle was associated with the feasts of the Trinity and the Day of John the Baptist. Ritual poetry works will come to life on the pages of the calendar: songs, omens, riddles, proverbs, games, rituals, myths. The last (testing) lesson gives children the opportunity to “finish” this or that page of the calendar, talk about the peasant holidays of their grandmothers or great-grandmothers, various rituals of the Urals as a result of collecting work. The marriage ceremony is especially interesting for children, the children learn about the sacrament of marriage, they are interested in the wedding of their parents.

The literature program allows schoolchildren to get acquainted with folk ideas about the world of our ancestors through myths about gods associated with nature and various rituals. Much is now lost, forgotten, and only quiet echoes of legends, legends, beliefs are reflected in mythology. I try to give children a clear idea of ​​the myth. The popular, agricultural cult was the solar cult. The solar deities personified the sun, which fertilized the earth.

It turns out that many Ural families have preserved scarves, towels, on which patterns are visible that resemble the rays of the sun and the work of a tiller. The cult of the sun has found a vivid embodiment in architecture. The “sacred” image of a horse (the idea of ​​the daytime path of the sun across the sky on horseback) crowned the most high point Houses. The children found out that this amulet made the house "clean", evil could not penetrate inside. Such a shelter protected all family members. In the ornament of the towel - various variants of the rhombic figure - the idea of ​​infinity and eternity of the world is conveyed, closely connected with the idea of ​​fertility. At their grandmothers' houses, the children learned that a rhombus with a hook is an ancient image of the goddess of fertility, and on the towels used to greet the young at weddings, this sign was held in high esteem.

There are a lot of game songs in the village of Zaikovo, so I give a creative task: what deity is mentioned in the song “And we sowed millet, there is a fret, sowed?” Or I ask schoolchildren to conduct a survey of old people and find out what "spirits" still live in the Ural villages? “Susedka” is an unclean spirit, no one has seen the “neighbour”, most often they come to a person in a dream and strangle him. The watchmen say that in order not to die, one must ask: “For worse or for good?” "Susedka" will blow and disappear. The next day, a person will find out whether the “neighbor” blew for good or for bad. "Poludinka" - a female creature, lives in the garden, most often in cucumber beds.
"Poludinka" scared small children so that they would not trample the beds. Working at the lessons of speech and culture of communication with children, I give tasks of a creative nature: write an essay - a reasoning or an essay on the topics: “Love and protect nature”, “My village is spacious ...”, “History of the village of Zaikovo”, “Retnevsky dawns”, “ A word about a small homeland. Skorodum village. Students not only write interesting work, but also compose poems, draw up drawings, make up a family tree, lovingly select photographs of native land and then present their best work to the school community.