Oral folk art of the Russian people. Folk songs - texts, words - collection Derzhavinskaya "Bee" in the Cossack way

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17 most beautiful types of Russian folk art.

Folk crafts are exactly what makes our culture rich and unique. Painted objects, toys and fabric products are taken away by foreign tourists in memory of our country.

Almost every corner of Russia has its own type of needlework, and in this material we have collected the brightest and most famous of them.

Dymkovo toy

The Dymkovo toy is a symbol of the Kirov region, emphasizing its rich and ancient history. It is molded from clay, then dried and fired in a kiln. After that, it is painted by hand, each time creating a unique copy. No two toys are the same.

Zhostovo painting

At the beginning of the 19th century, the Vishnyakov brothers lived in one of the villages near Moscow in the former Troitskaya volost (now the Mytishchi district), and they painted lacquered metal trays, sugar bowls, pallets, papier-mâché boxes, cigarette cases, tea caddies, albums and other things. Since then, artistic painting in the Zhostovo style began to gain popularity and attract attention at numerous exhibitions in our country and abroad.

Khokhloma

Khokhloma is one of the most beautiful Russian crafts, which originated in the 17th century near Nizhny Novgorod. This is a decorative painting of furniture and wooden utensils, which is loved not only by connoisseurs of Russian antiquity, but also by residents foreign countries.

Intricately intertwined herbal patterns of bright scarlet berries and golden leaves on a black background can be admired endlessly. Therefore, even traditional wooden spoons, presented on the most insignificant occasion, leave the kindest and longest memory of the donor in the recipient.

Gorodets painting

Gorodets painting has existed since the middle of the 19th century. Bright, laconic patterns reflect genre scenes, figures of horses, roosters, floral ornaments. The painting is done with a free stroke with a white and black graphic stroke, decorates spinning wheels, furniture, shutters, doors.

Filigree

Filigree is one of the oldest types artistic processing metal. Elements of a filigree pattern are very diverse: in the form of a rope, lace, weaving, Christmas trees, paths, smooth surface. Weaves are made of very thin gold or silver wires, so they look light and fragile.

Ural malachite

Known deposits of malachite are in the Urals, Africa, South Australia and the USA, however, in terms of color and beauty of patterns, malachite from foreign countries cannot be compared with the Urals. Therefore, malachite from the Urals is considered the most valuable in the world market.

Gusevskoy crystal

Products made at the crystal factory in the city of Gus-Khrustalny can be found in museums around the world. Traditional Russian souvenirs, household items, sets for the festive table, fine jewelry, caskets, handmade figurines reflect the beauty native nature, its customs and native Russian values. Colored crystal products are especially popular.

Matryoshka

chubby and plump cheerful girl in a scarf and Russian folk dress won the hearts of lovers of folk toys and beautiful souvenirs around the world.

Now matryoshka is not just folk toy, the keeper of Russian culture: this is a memorable souvenir for tourists, on the apron of which game scenes, fairy tale plots and landscapes with sights are finely drawn. Matryoshka has become a precious collectible that can cost more than one hundred dollars.

Enamel

Vintage brooches, bracelets, pendants, which have rapidly “entered” into modern fashion, are nothing more than jewelry made using the enamel technique. This kind applied arts originated in the 17th century in the Vologda region.

Masters depicted floral ornaments, birds, animals on white enamel using a variety of colors. Then the art of multi-colored enamel began to be lost, it began to be replaced by monochromatic enamel: white, blue and green. Now both styles are successfully combined.

Tula samovar

IN free time Fedor Lisitsyn, an employee of the Tula Arms Plant, liked to make something from copper, and once made a samovar. Then his sons opened a samovar establishment, where they sold copper products, which were wildly successful.

The Lisitsyn samovars were famous for their variety of shapes and finishes: barrels, vases with chasing and engraving, egg-shaped samovars with dolphin-shaped taps, loop-shaped handles, and painted ones.

Palekh miniature

Palekh miniature is a special, subtle, poetic vision of the world, which is characteristic of Russian folk beliefs and songs. The painting uses brown-orange and bluish-green tones.

Palekh painting has no analogues in the whole world. It is made on papier-mâché and only then transferred to the surface of caskets of various shapes and sizes.

gzhel

Gzhel bush, a district of 27 villages located near Moscow, is famous for its clays, which have been mined here since the middle of the 17th century. In the 19th century, Gzhel masters began to produce semi-faience, faience and porcelain. Of particular interest are still products painted in one color - blue overglaze paint applied with a brush, with graphic rendering of details.

Pavlovo Posad shawls

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. This folk craft appeared at the end of the 18th century at a peasant enterprise in the village of Pavlovo, from which a handkerchief manufactory subsequently developed. It produced woolen shawls with a printed pattern, very popular at that time.

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

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

Small genres of Russian folklore:

Russian folk proverbs

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

Russian folk rhymes

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

Russian folk jokes

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

Russian folk tales

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

Russian folk tongue twisters

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

What Russian does not like to sing? Do you have a voice and hearing or a bear has come into your ear, but such a moment comes - and the heart itself will ask for a song: native, artless, hysterical. It is believed that folklore songs came to us from time immemorial, passing from generation to generation a mysterious people's soul. But it turns out that many of the favorite "primordially Russian" songs are not folk at all!

Climbing "Kalinka-Malinka"

This song occupies a special place in Russian folklore. “Kalinka-malinka” and “There was a birch in the field” became almost a symbol of Russian folk songs. Countless restaurants of Russian cuisine, souvenir shops both in Russia and abroad are called "Kalinka-Malinka", orchestras folk instruments they perform a dashing dance chorus, it would seem that you will not find a more popular one. "Kalinka" is danced everywhere - from children's matinees and

F. Malyavin. Folk song, 1925

And this song appeared in 1860, in Saratov, its author is a former officer, musical critic and composer Ivan Petrovich Larionov. He wrote it for an amateur performance - and the Saratov people liked the song, at least that's how they wrote about it in local newspapers.

Kalinka, Kalinka, my Kalinka!

There is a raspberry in the garden, my raspberry!

D. S. Agrenev-Slavyansky, the leader of a choir known throughout Russia and himself a passionate folklorist, begged Larionov, his friend, to “give” a song to his team - and in the performance of the Slavyansky choir (a kind of predecessor of the Turetsky choir), “Kalinka-Malinka” became quite popular, stepping outside of Saratov. Well, the song was made a real world hit by Professor A. V. Aleksandrov, having processed it for his Red Banner Song and Dance Ensemble. The song literally thundered - and now this melody is recognized from the very first notes all over the world.

The most famous number of figure skaters I. Rodnina and A. Zaitsev "Kalinka" finally approved "Kalinka-Malinka" as a musical business card Russian folklore. Unfortunately, Ivan Petrovich Larionov never found out what amazing fame fell to his creation: he died in 1889, and they completely forgot about him - even his grave was not preserved in Saratov. But "Kalinka-Malinka" does not fade.

"Black Raven" and green willow

If everyone knows “Kalinka-Malinka”, but only a few sing - long, sing-song verses and a rollicking chorus are combined very intricately - then the song about a black raven that hovering over a dying fighter is known to everyone. She is an indispensable attribute of a spiritual feast, she is constantly sung in karaoke, many performers include her in their repertoire.

It would seem - the most that neither is the people. Nevertheless, the song has an author. His name was Nikolai Verevkin, he served as a non-commissioned officer in the Nevsky Regiment under Nicholas I, fought with the Turks and Persians - and during his service he composed several songs that the whole army sang with pleasure.

You don't wave black Raven,

Over my head!

You can't wait for prey

I am still alive!

The brave non-commissioned officer knew his business perfectly: his songs were simple, uplifting, rude and utterly patriotic, so other regiments willingly adopted them. The soldiers sang about their glorious victories, about the soldier's life, about regimental exercises, reviews, the most, one might say, routine thing in the Nikolaev army, and also about the wisdom of the officer fathers and the happiness of fighting for the Russian Tsar. Veryovkin, as they would say now, was engaged in “creating an attractive image of army life in the eyes of the population”:

Right, our lives

There is no more fun!

Vodka and cabbage soup with porridge

We have for lunch.

The texts of Verevkin's soldiers' songs were published in cheap songbooks and dispersed throughout Russia. His song with words about the black crow called "Under the Green Willow" was published in 1837.

IN Soviet time non-commissioned officer Nikolai Verevkin was forgotten - and now we do not know anything about him, except for his name and the regiment in which he served. And, apparently, we will never know. The brave regimental poet has sunk into the past, and the eerie song about the raven has remained with us.

"Oh, frost, frost" with a happy ending

What Russian folk song is most loudly and most readily sung in tipsy companies - from Moscow to the outskirts? In Dostoevsky's time, "Khutorok" was the unconditional hit of the tavern, a little later, "Noisy reeds" were considered the most "drunk" song, and since the middle of the 20th century, nothing compares to "Oh, frost, frost."

Oh frost, frost

Don't freeze me

Don't freeze me

My horse.

There is everything in this song: length, and melancholy, and lyrics - and, what is important, - a good, optimistic end. The coachman, most likely, gets home, to his young beautiful wife. But what is strange is that this text was not found in any pre-revolutionary songbook - and folklorists collecting songs from villages did not record a single version until a certain time.

But already in the 70s, “Oh, frost” was sung everywhere. The favorite folk song first appeared in 1956 on a record of the Voronezh Russian Choir, performed by its soloists, spouses Maria Morozova and Alexander Uvarov. And two years earlier, Maria Morozova wrote this song, and the choir director included it in the repertoire, like other works of her soloist.

The song was performed as a folk song, without revealing the incognito of the author. When the record was recorded, the authorship was also not noted - in order to avoid unnecessary bureaucratic fuss. Then neither Maria nor Alexander somehow thought about copyright and copyright. The choir toured a lot - and everywhere this song was received with a bang, they demanded to perform an encore, the whole hall sang along with the choir.

The song became especially popular after 1968, when it was sung from the movie screen by actor Valery Zolotukhin in the film "Master of the Taiga". By the way, he himself was sure that the song was folk. Then the last verse appeared - with a return home and hugs, but who invented it is completely unknown.

In the original version, everything ended with the wife “waiting, sad.” The author herself reacted rather coolly to the unexpected happy ending. In 2008, Maria Morozova, who at that time was 84 years old, tried to prove her authorship through the courts, but the case stalled: by that time, almost everyone who could testify in her favor had already died.

T. Yushmanova. Gatherings, 2000.

This is not the only song about the coachman that the Russian people know. There is a tragic ballad "When I served as a coachman at the post office", where the coachman finds his beloved, frozen to death on a winter road, and, of course, "Steppe and steppe all around"- there, too, the case takes place in the winter, but the coachman himself dies and asks to pass last words hello to your family. Both of these songs also had their own authors and also went to the people. The ballad was written by the Belarusian poet Vladislav Syrokomlya (Ludwig Kondratovich), and translated by Leonid Trefolev. Initially, it was called "The Postman" - and F. Chaliapin performed it superbly. And the famous “Steppe and steppe all around” is a fragment of the poem “In the steppe” processed by the people by Ivan Zakharovich Surikov, a self-taught peasant poet.

English spleen and Russian melancholy

But a truly stunning story happened to Cossack song "The day of my beauty will wake up". This poignant, amazingly beautiful song was recorded in many in different villages and villages from the Kuban to the Urals, wherever the Cossacks lived. It is performed with pleasure by various Cossack choirs and ensembles. The words, however, are not always clear, as well as the logic of the development of the plot, but the song captivates with its whimsical rhythmic pattern, the overflow of voices, and some unearthly wild melancholy.

The day of my beauty will wake up,

It is decorated with all God's light.

I see the sea, sea, ay and heaven

Father's house, we will drink the house in a herd,

Will grow green grass. 2p

Ah, green grass will grow.

Dog, faithful, faithful, and he is my animal,

Barks at my gate. 3r

The heart will ache, it will sadden the heart.

I should not be in that, in that native country. 2p

I should not be in that native country,

in which I was born

And to be me in that, that foreign country,

In which the boy was destined. 3r

Above the roof, an owl, an owl, and he shouted,

He rang out through the woods. 2p

Wake up children, children and wife,

The little ones will ask about me ... 3p

What was the surprise of philologists when it turned out that this song was a folk arrangement of a fragment from the first chapter of Byron's poem "Childe Harold"! This fragment entitled “Good night” was translated into Russian by the poet I. Kozlov; the hero says goodbye to his homeland, sailing away into unknown distances. His companions are sad - someone yearns for his wife and children, someone has left his old parents ... Only Childe Harold has no one to yearn for, no one will remember him. Everything is quite Byronian, the canons of romanticism are fully respected. In Kozlov's translation, an excerpt from the poem reads as follows:

Forgive, forgive, my native land!

You have already disappeared in the waves;

Killer whale winds, night wind

Plays in sails.

Already drowning fiery rays

In the bottomless blue...

My native land, sorry, sorry!

Good night to you!

The day will wake up; its beauty

God's light comforts;

I see the sea, the sky,

And there is no more home!

I left my father's house;

It will be overgrown with grass;

my faithful dog

Howling will be at the gate.

How did it happen that these poems got into the people? Either one of the yard servants heard the gentlemen read sonorous verses, and remembered how he could. Either one of the literate people accidentally read it - and could not help but respond to the piercing lines with his soul: he shared it with his fellow villagers.

Well, what they couldn’t understand, they thought of it: the hero was going to a foreign land obviously not of his own free will, this was exile for some kind of offense, and even his father’s house had already been drunk on this occasion. And the owl, whose “tongue” is heard through the forests, is needed for a gloomy color, Byron did not have any owl. But the people took the severe anguish and doom of Childe Harold to heart. Not only the nobles dressed up in "Harold's Cloaks"- Peasants and Cossacks also strongly sympathized with the rebellious lord. True, in your own way.

By the way, this is not the only contribution of I. Kozlov to the treasury folk songs. Famous "Evening call, evening Bell", which inspires many thoughts, is also his translation. This time Kozlov translated the Irish poet Thomas Moore, but the song quickly became folklore. Although it has not undergone such a popular rethinking as Good Night.

Derzhavin "Bee" in the Cossack way

One of the most fun and daring Cossack songs, "Golden Bee", we are indebted to Gavrila Romanovich Derzhavin. True, the glorious poet, who blessed the young Pushkin, hardly valued folk love, - it certainly would not have occurred to him to indicate his authorship: his “Bee” has changed too much compared to the original version.

Derzhavin wrote the elegant "Bee" in 1796, already being an important statesman, president of the College of Commerce, that is, the Minister of Trade.

Golden bee!

What are you buzzing about?

Flying all around

Are you flying away?

Or do you love

my Lisa?

Are honeycombs fragrant

In yellow hair

Roses or fires

In scarlet lips

Is sugar white

That's something without which it is absolutely impossible to imagine a Russian person - it's without a song. And it’s not at all because all-food is fun to live - this explains well folk wisdom“not for joy even a bird in a cage sings”, “not everyone is cheerful who sings and cries for a song”.
It's just that the song has become an integral part of life since ancient times - both everyday and spiritual.
A man is born - lullabies are sung to him.
Youth has come - it is accompanied by round dance, love, game songs.
And as for the wedding ceremony, almost every gesture of the bride is accompanied by songs.
And how many family songs have been heard in Russian open spaces from century to century!
And separately - soldier, Cossack, coachman, street, barge, robber, prison-slave.
In other words, the whole life of both the person and the people as a whole is reflected in the songs. It is not for nothing that the people themselves say that “a fairy tale is a fold, and a song is a true story, a fairy tale is a lie, and a song is true”, confirming by this, first of all, the realism of song art. Indeed, now, from the lyrics, you can reliably find out how and from what the cradle for the child was made (“wooden estimates, a pewter ring”, etc.), how the roles in the family were distributed, who performed what work, how the acquaintance most often occurred future husband and wife, why such an attitude was towards the father-in-law, mother-in-law, sister-in-law ..
And what kind of treasure historical information- songs about Pugachev and Razin, about military campaigns, about Ivan the Terrible, Peter the Great.

Probably, there is no such event in the life of our people that would not be reflected in the songs, whether it be a long-standing yoke (“And it happened in the horde ..”), or the conquest of Siberia (“Ermak son Timofeevich staggered and dangled”), or Northern War ("Writes, writes Charles Swedish"), or Patriotic War with the French (“About Platov the Cossack”), not to mention such recent ones as the Civil War and the Great Patriotic War .. Rereading these songs, you understand why N. Gogol called them folk history full of truth.
The modern researcher S. Lazutin writes in an encyclopedic article about the song as one of the forms of verbal and musical art that “the most important historical events over the millennium have been reflected in the epics and historical songs of the Russian people. One of the central ideas of these song genres is the idea of ​​patriotism, the defense of the fatherland.

But patriotic - in the deepest sense of the word - almost all folk songs: calendar, lyrical, dance, game, because the tradition continues to live in them, the spirit itself is preserved in them folk life. And if now maternity and christening songs, carols and carols, kupala and mowing, stoneflies and stubble songs are rarely heard, this does not mean at all that they are forgotten as unnecessary. Maybe forgotten for a while, but for other reasons. And it is worth any of them to sound - and the soul will immediately reach out towards the melody, open up, because it recognizes, feels something dear. Moreover, Russian songs, like no other, are multifaceted and multi-genre. For example, one of the best modern connoisseurs of Russian ritual songs, Yu. Kruglov, writes: “What was sung and called carols is actually a complex of genres. You can talk about ritual carols, carols-spells, carols-magnifications and carols-roots. Among the Shrovetide songs, it is definitely possible to single out ritual, incantatory, laudatory and reproaches songs.
Many books and articles have been written about the essence of folk songs, about their patterns and features, about their influence and distribution. But this collection is intended primarily for the general reader, who is primarily interested in the lyrics themselves, because so many beautiful songs have been lost and forgotten over time. Memory is not the strongest thing on earth. Therefore, songbooks were and remain quite popular publications, starting with those that appeared in the eighteenth century, such as Musical Amusements, Collection of Russian Simple Songs with Notes, Collection of Various Songs, Pocket Songbook, or Collection of the Best Secular and Folk Songs ”, “Soldier’s Songbook” and others, and ending with those published now.

Singing folk songs, we, as a rule, do not think about the fact that entire generations of Russian folklorists collected, recorded, published them precisely in order to preserve them for us and for our grandchildren. Which bright personalities in this glorious galaxy - N. Lvov, P. Rybnikov and P. Kireevsky, A. Sobolevsky and P. Yakushkin, P. Shein, N. Lopatin, V. Prokudin, F. Istomin, S. Lyapunov and many others. Thanks to their truly titanic selfless work, tens of thousands of texts have found a second life.
The folk song inspired A. Pushkin and M. Lermontov, N. Nekrasov and A. Koltsov, I. Surikov, N. Yazykov and other poets, whose poems then also became folk songs, whether it was “Don’t make noise, rye” or “Steppe and the steppe all around.

But doesn't it still inspire millions of Russians to this day? Not only because “it helps to build and live”, although V. Dahl notes in his dictionary that “it is merrily sung - merrily spun”, but also because it retains the idea of ​​​​beauty, kindness, love, honor, o friendship and also - it saves the soul, not letting it forget about flight, about soaring, about wings. And, of course, about the beautiful Russian language, which the song tries to preserve in all its purity and versatility.
The book that you are holding in your hands contains songs that represent life in its various forms. As a rule, the texts are taken from pre-revolutionary publications. The compiler, without setting the task of publishing ethnographic materials, nevertheless tried to treat the text as carefully as possible. Punctuation, as necessary, brought to modern requirements. As for spelling, it is not always possible to fully follow the principles adopted now, especially in cases where we are talking about rhythm (for example, “movo horse” is hardly worth correcting, because “my horse” is already a different rhythm), and it is not always necessary, since excessive “modernization” of an old folk song deprives the publication of meaning. It's like a bouquet of lilacs, devoid of smell.

I hope the reader shares my conviction that the song exists to be sung, not recited from the sight. Therefore, the text should be practically the same for all potential singers, especially if a choral performance is expected.
Arrange folk songs according to any one principle - genre, chronological, thematic, functional, etc. - It's hard enough. Therefore, for convenience, the collection is compiled in such a way that the songs in it "grow up" along with the person - from the cradle to independent living. The book ends with author's works, a significant part of which over time began to be perceived as folk songs. For reasons of volume of the book outside this collection there were calendar and historical songs, lamentations and ditties, but - everything has its time and its books.

From early childhood, when we hear a Russian song - now a drawling drinking song, now a daring dance song, then a melodious lyrical one - we ourselves do not notice how it affects our national character.
No wonder it was invented - "whose mind you live, that you will sing a song." But how often does it sound now, a Russian folk song, from TV screens, in radio programs, at stadium concerts of modern pop stars? Much less often than it could. Far less than we all need. And if this collection helps someone remember and - God forbid - sing a few folk songs, it means that it was not in vain that it was published. As they say, although you can’t feed a horse with a song, it’s true that you can’t throw words out of it.

Ivan Pankeev

LULLABIES
gray cats
Already you, drench-dream
Dream yes nap
Sleep walks in the hallway
Buy-pobay yes rye loaf
Bye bye, go to sleep
Sleep, my good
Bai-cuddles
Bye-bye, do not break the cradle
And bye-bye-bye
Hush, Little Baby, Do not Say a Word
Cat-cat, gray tail
tales
And bye-bye-bye, a man lived on the edge
Ay lyushenki-lyuli

ROUND SONGS
I walked along the perch
Early in the morning, at dawn
Oh you, little one
Behind the forest
Like a river
Like ours at the nobles' gates
Like under a white birch
Like people live in people
The girl in the white face
I will field, I will field a beam
Girls in the garden, red in the garden
I walked on the grass
I am the evening, young
Red girls came out
As in the distance, distance.
Like along the river, along the Kazanka.
Katenka asked for leave from her dear father.
Mother Dunya decided to call home.
On the street, mother, girls round dance
Just like in the meadow-meadow
This bush is not cute
I walk young along the Danube
The burner, the burner is new.
From the east side.
The falcon flew high, yes high
On the mountain, viburnum
How the waves beat on the sea
At the bottom of flax, flax
Like ours at the gate
The girls were walking in the mountains
On the mountain, the loaches curl,
Down, down
From the evening two traces
girl's night, girl's night
Young, young, young.
More boats on the sea
The goat jumped into the garden
I am evening, young, I was at a feast
The girls sowed flax
I have already sowed, sowed flax
On a mountain, on a mountain, on a high
Still dare to sing a song
Will I rise
I will sow a swan on the shore.
I went from chamber to chamber
Mother-in-law fertilized to son-in-law

LOVE SONGS
Ah, if only the flowers were not frost
Oh, mother, sickening
Spilled mother hollow water
The reeds rustled, the trees bent
My twist, my twist
Will I sow baby
You, my thought, my thought
Because of the forest, dark forest
You do not blow, the winds are violent
Someone is missing, someone is sorry
If only I knew, knew
Mother Volga is flowing
Rejoice, my darling
You are a wormwood, a wormwood
If I were a free bird
Flowers bloomed, flowers bloomed and faded
I can't sleep, red girl
It's boring, mother, to live alone in the spring
Oh beautiful girl
Oh, you nights, my nights
Along the pavement street
I evening, good fellow, took a walk.
Ustinyushka walked up the hill
Pear, my pear
Tanya walked across the field
Like the father's tower
My meadow, meadow
You are my dubrovka, dubrovushka
It's good for him to live in the world
Oh, who would I, oh, my dear
Oh you, winter-winter
The nightingale was talking to the cuckoo
Don't sit, girl, late at night
A dear friend told me, ordered
You can, you can walk around the grove
Oh, why are you, why, rowanberry.
Among the field, field-field
Oh you winds, violent winds
It was in the spring, red in the spring
How a fellow walks down the street
A good fellow walks along the street
My head hurts
Canary, canary, canary
Not dust, not a chicken rose in the field
At sunrise red sun
Oh, darling, you are a beautiful girl
My heart spoke
The falcon will tremble, sitting on the oak
In an open field near the valley
Not a falcon flies through the sky
Fog, fog at the valley
What are you talking about, bitter cuckoo
It was at dawn, at dawn
The red maiden walked along the bank
I'll go, young, I'm along the valley
My nightingale, nightingale
Kalinushka with raspberry, azure color
The girls sewed a carpet
Near the river, near the bridge
Are you my side, side
Oh you, my stone, pebble
hazy red sun
Oh, what are you, my dear, you are not sitting cheerful
You are my blue, my little white dove
Ahti, grief, melancholy
The head will hurt, the heart will ache
Girlfriends, doves
valley-valley
In the mountains, and I went through the mountains
Young girl seventeen years old
Whether in the garden, in the garden:
my dear, good
It's full, the sun, it's getting light because of the forest
Oh, the fog spread along the street
As on a hill, on a mountain, on an embellishment on such
Not rust in our swamp eats all the grass
I'm already in the evening, good fellow
A strong berry was born in the forest
I told my dear friend
Do the winds vein from the field
Down the Volga River from the Lower City
A bright falcon flew to its native side
Have fun girlfriends
Don't sing, don't sing, nightingale
Don't fly, don't fly, my blue dove
What bloomed, flowers bloomed in the field
Willow, willow, my green
I didn’t break the Kalinushka
Like a rattlesnake's key
There is a nice little meadow
Like two doves on a oak tree
manul guy girl
Walked-walked well done
It was in the forests, in forests-pine forests
My nightingale, loud little bird
What was in the light room
Spin, my spin, spin, don't be lazy
Sovereign my dear father
Far away in the open field
Farewell, father-Irtysh, with steep mountains
The falcon soared high
Ah, not alone, not alone
From under the mountains, young, I'm going
Down the street youngster
The poor bird flew out to the valley
Down the river, down the fast
I'm in a quiet in a humble in a conversation
My nightingale, nightingale, young
I'll go out the gate
In the well it was in the cold
Not dear to my beloved
Like a young man walked the path
Already you, my gardens, gardens
Oh, captivity, captivity - the boyar court.
Oh you night, dark night
As in the city in St. Petersburg.
Evening night to the girl
Is it not the dawn, the evening dawn, the dawn faltered
You scatter-ko, inflate-ko, curly rowanberry
In the village, the village of Pokrovsky
Do not fly, falcon, along the new hallway,
Time passes, time flies

WEDDING SONGS
Like a swallow and a killer whale
In the middle was the kingdom of Moscow
Where was the falcon, where was the falcon?
As if on a bridge, bridge
As if on a mountain, mountain
Early in the morning at dawn
Yesterday was a girl's party
Deer in the field - golden horns
The moon shines over the mountain
Gold to gold pours
On the edge of the blue sea
On the mountain, on the mountain, on the high. :
Around Kazan, around the city
You are the Yacht stone
That a falcon flew
The falcon flew over the cherry
The storm beat before the cloud
From the field, field-polichka
How we did this year
rolled out skaten pearls
On the sea, on the sea of ​​a spleen.
Oh you apple trees, you apple trees
My heart, you are my heart
Spring water spilled
Polechko, polechko utorenny track
Ai fees, fees Lukeryushkina
Not violent winds inspired
That not the keys blurted out
I beg, beautiful girl
Through the meadows in spring
I went young
Thank you, steamy soap baenka
My frisky legs do not carry
Thank you dear mother
Now I will lift my clear eyes
Don't be afraid, the house is a warm nest
Stupid young wild head
Get loose, people, good people
Lord Jesus Christ Son of God
Sleep well, it's time to get up
Glory to God, glory to the Lord
What is a sister to a dear brother
Get up, my doves
In the Kremlin Kitay-gorod
It was in the garden, in the garden
The weather rose
Oh smoky, oh sultry

SONGS ABOUT FAMILY LIFE
I look like a mountain, I’ll look through the window
My winds, winds, you are violent winds
Pava flew across the street
A young widow walked and walked
For a long time I, for a long time, was with my father
Came, baby, all the meadows and swamps
They give me to hell
Oh, not raw forest lights up
The sun goes low
Is it my stripe and stripe
It's not sleep that drives my head.
Outside it's raining, it's snowing
Eagle on the sea
Mother gave away in marriage
And gossips drink, doves drink
Splinter, birch splint
Destiny is you, my destiny
Get green, get green, my little green garden
Kalina with raspberries water understood
Pine, young pine
Near the garden, young, I go.
Past the garden, past the green
Like a blue-gray young drake
You disperse, make way, good people
I walk near the river, young
I sleep, baby, doze.
Kalina, viburnum, my viburnum
Oh, yes, the nightingale's wings have flailed
Like a river.
I'll go, I'll go for a walk in the green garden
Oh, my hop, hop, cheerful head
Oh, and the widow cried.
With oak flax, flax
Mother gave me
I was born to my mother
One was in the field track
Oh you youth, my youth
High, high maple leaf
Pine, pine
I was my mother's beloved daughter,
In an open field, a field.
At Father's Gate
Through the woods, the woods are dark
Grape, sweet berry

SOLDIER AND COSSACK SONGS
.Black Raven
My father had, my mother had three beloved sons
Along the St. Petersburg, Moscow along the path
Our valiant little heads are victorious
You bake, bake, red sun
Not a cuckoo in a damp forest cuckooed
It's sickening to live a widow with orphans
Like a swallow, a killer whale
You are my curls, curls
It is not clear the falcon flew
Toril Vanyushka the path
How father gave me in marriage
My dawn, dawn
How not the dust in the field became dusty
There was one, one from the father, from the mother
Snows are not white in an open field
Drank something my violent little head
Curled, twisted my kudertsy.
How Vanya's head hurts
You are already a v^ter, rogue, wind-breeze
Mother gave birth to me
The kid was walking along the road
My path, the path is glorious St. Petersburg
By dawn - dawn heart heard
You are my nights, dark nights
There was a tree in an open field
Bitter something in the grass field, bitter wormwood
A beaten new track
That the victorious little heads of soldiers.
Are you my side, side.
How not from the mountains, not from the valleys, strong weather
Are you my valley, valley, wide expanse
You are winter, winter
Is my road, dear
From the evening, from midnight
Midday weather
Far away are you, expanse, in an open field
Ah, poor little heads of soldiers
What curled my rus curls
Oh you are my fogs, fogs
Not a grass, not a feather grass staggers in the field
Not from clouds, not from thunder, not from the sun
They will sing, the father raised us.
Not a white birch leans to the ground
Like a key had a fluid one
As no one knows about it, does not know
Ah, the fog fell on the blue sea
Beyond the Urals beyond the river
Oh, mother Moscow river
You lancers
Behind the mountains there were high
Not black blueberry turned black
At dawn it was in the morning
Quietly blue sea became
Our glorious was indignant Quiet Don
As on the glorious it was on Round Lake
Cossacks came from the Black Sea

SONGS OF BURLAKOV
Yes you guys take it together
Not the evening dawn, brothers, subsided
Ah, on the platform, the bridge
Isn't it time for us, brothers-children
In the morning it was early, early
Before our gates.
Free bird birdie quail point

ROBBER AND PRISON SONGS
Don't make noise, mother green dubrovushka.
You are vagabonds, you are vagabonds.
You are a mountain ash, you are curly,
You are an orphan child
Volga, you are mother Volga
Orphan, you, orphan, bitter orphan
Not a feather grass in the field, the grass staggers
The edge of the track, the edge is wide
Not an epic in an open field staggered
What else are you guys thinking?
The young clear falcon grew cold
The thief Kopeikin is going
It wasn't far, it was far
What is from Nizhny Nova-Gorod
You rise, red sun
Are you my orphan, orphan
On the steppe, the steppe on the Saratov
Did I live with a friend, I'm with a friend in conscience
Already you, will, my will
Not for-for me, well done, the prison is built
You, my forests, forests, dark forests
The falcon used to have time.
Good fellows all live in the wild
You sing, sing, young lark.
As it happened to me, I’m clear to the falcon, but it’s time.
No nightingales in the green forest whistle loudly
All people live like flowers bloom.
You are a villain and a glutton, a fierce snake
Oh, what are you, my blue dove

AUTHOR'S SONGS BECOME FOLK
Ammosov A. Khas-Bulat daring
Veltman A. What is foggy, clear dawn
Vyazemsky P. Troika
Glinka F. Troika
Comb E. Black eyes
Greinz R. Cold waves are splashing
Davydov D. Glorious sea - sacred Baikal
Zhukovsky V. Ring of the Maiden Soul
Kozlov I. Evening bells
Kozlov I. The day will wake up - its beauty
Koltsov A. Oh, why did they give me away by force.
Koltsov A. Over the river on the mountain
Koltsov A. Over the Don the garden blooms
Koltsov A. Don't make noise, rye
Kugushev V. Don't wake me, young
Lermontov M. In the deep gorge of Darial
Lermontov M. I go out alone on the road
Lermontov M. Open the dungeon for me
Lermontov M. Sleep, my beautiful baby.
Makarov N. The bell rings monotonously
Merzlyakov A. Among the flat valley
Nekrasov N. I did not walk with a flail in a dense forest.
Nekrasov N. It was good for the kid
Nekrasov N. Troika
Nikitin I. No stake, no yard
Olkhin A. Dubinushka
Pleshcheev A. I grew up with my mother in the hall
Polonsky Ya. In a familiar street
Polonsky Y. My fire in the fog shines
Pushkin A. I look like a madman at a black shawl
Pushkin A. Once at midnight sometimes
Razorenov A. Do not scold me, dear
Repninsky Ya. Upstairs you, comrades, all in their places.
Ryleev K. The storm roared, the rain roared
Sokolov N. Shumel, Moscow fire burned
Stromilov S. It is not the wind that bends the branch
Surikov I. Like the sea at the hour of the surf
Surikov I. You sleep, sleep, my dear
Surikov I. Steppe and steppe all around
Surikov I. Quietly skinny horse
Trefolev L. When I served as a coachman at the post office
Tsyganov N. Do not sew for me, mother
Tsyganov N. What are you, nightingale
Languages ​​N. From a country, a distant country:
Yazykov N. Our sea is unsociable
Literature
Alphabetical index

Ministry of Education and Science of the Russian Federation

Federal Agency for Education

Komi State Pedagogical Institute

Faculty of Pedagogy and Methods of Primary Education

Specialty "Preschool Pedagogy and Psychology"

Department of Pedagogy

Extramural

Test

in children's literature

Exercise 1

Run full analysis Russian folk tales (by type):

a) a fairy tale - a social fairy tale or

b) a fairy tale about animals - a fairy tale or

c) a fairy tale is a cumulative fairy tale.

When analyzing fairy tales, make extracts from the recommended literature that define the features of each type of fairy tale.

It is terrible to think that folklore, traditionally passed down orally from generation to generation for many centuries, in the middle 19th century entered a time of crisis, when the creative thought of the people, disturbed by social novelty, rushed to new objects - and the full-fledged art of telling fairy tales became less and less common. After all, fairy tales have preserved the entire depth of meaning, the richness of fiction, the freshness of the people's moral feeling expressed in them, the brilliance of the poetic style.

Russian folk tale "The Greedy Old Woman". (“Folk Russian fairy tales by A.N. Afanasyev in three volumes.” Edited by V.P. Anikin.)

Social fairy tale about how an old man in the forest found a magic tree that granted wishes for the fact that the old man did not cut it down. But the old woman, the wife of the old man, filled with exorbitant pride and greed, ruined herself and her husband. There is a magical element in the fairy tale - a tree, which at the beginning of the fairy tale embodies the dreams of the heroes, and in the finale punishes them for their excessive pride and greed. It is based on one plot action - an old man's trip to the forest.

Composition.

Zachin: "An old man lived with his old woman."

The action unfolds dynamically long descriptions. A repetition of the action is used: an old man's trip to the forest with an ax to a tree. Each time the old man's demands on the tree increase; The action is escalating. The denouement is the transformation of an old man and an old woman into a bear and a she-bear. The ending - "... and they ran into the forest."

Images.

In the fairy tale there is an assistant object - a tree that fulfills the wishes of the hero of the fairy tale (old man).

The male image is an old man. A poor man who is uninitiated, under the influence of his wife and meekly fulfilling her instructions, dreams of happiness. “The old woman is tired of being a general’s wife,” she says to the old man:

“Is it a big deal, General! ... Go to the tree, ask what would make you a king, and me a queen.”

The female image is an old woman. A despotic, greedy and ambitious woman, dreaming of power, who wished to become a goddess at the end of a fairy tale.

fairy tale language.

Folklore elements are used in the fairy tale: “What do you need?”, “Go to the tree”, “Go with God”, “What kind of self-interest”, “The old man came back”, “He turned into a bear”.

Russian folk tale "The Frog Princess". ( “Folk Russian fairy tales by A.N. Afanasyev in three volumes. Ed. V.P. Anikina.)

Fairy tale. The tale of the search for the bride and her deliverance from the captivity of witchcraft. In the fairy tale there is a mythical hero - Baba Yaga.

The father wants to marry his sons and for this he decides to shoot arrows
to search for brides, the sons find them and play weddings, but the father decides to check his brides and sets them tasks. At this time, Ivan Tsarevich burns the skin of a frog and loses his bride, and then goes in search of her, during which he meets Baba Yaga on the way, and she helps to rescue Elena the Beautiful.

Composition.

Saying: "In the old days, in the old days, one king had three sons - they are all at an age."

Zachin: "The big son shot ..." Here the sons shoot arrows to search for brides and find them: the eldest gets the "prince's daughter", the middle one - the "general's daughter", and the youngest - the frog. Playing a wedding.

The development of the action: “The king once wanted to see gifts from his daughters-in-law, which of them is the best craftswoman. I gave the order." The king checks the skill of his daughters-in-law: who sews, bakes, dances best of all.

Climax: “The ball was on its way out. Ivan Tsarevich rode ahead, found a shroud somewhere, took it and burned it. Ivan Tsarevich meets the sisters of Baba Yaga and they help rescue the bride.

Ending: “Suddenly, Elena the Beautiful appeared, began to say hello ... Elena the Beautiful took the flying carpet from the old woman, sat on it, and rushed like birds flew.”

The final order: "and they flew home, everyone was happy, they began to live and be and make their stomachs - to the glory of all people."

Character characteristics:

Ivan Tsarevich - the ideal of the people, the son of the king, but acquires ideal features in the process of initiation. He falls in love with his bride and for the sake of her salvation goes to any difficulties, communicates with Baba Yaga. Open, honest.

Elena the Beautiful - a woman with magical qualities, is a wife, part of the male world.

Baba Yaga - the era of patriarchy, a guide to world of the dead, helps the hero to rescue the bride: “The old woman gave her food and drink, and put her to sleep,” tells how to break the evil spell.

National language style- Russian.

All compositional elements are present in the fairy tale. The heroes of the fairy tale are realistic and mythical. Description of the appearance of the heroes: “she became a beautiful girl”, “dressed like a miracle”, “what a beauty”; description of time: "Here a year has passed", "It's been a long time."

Common vocabulary is used with the use of folklorisms: “kaka”, “shot”, “frog”, “do”, “cunning”, “koska”, etc., neologisms: “coolie-muli”

Diminutive nouns are used: “Oh, child, how long (have you been)”, “spindle”.

All parts of speech are used in the fairy tale: nouns, adjectives, verbs, short adjectives: "princely", "general's". The syntax uses complex and simple sentences, complex. Dialogue is used in inversion.

Task 2

A) show the general and distinctive features Russian and Komi folk tales. Comparison by type:

a) magical: fairy tales about the snake Gorynych and "Gundyr" or

b) household: for example, "Woe" and "The tailor and omeli", "Intractable Petra" or

c) about animals: “Cat, fox and rooster” and “Fox and hare”.

B) Prove that Pera the Bogatyr is an original national hero Komi fairy tales.

A) We will take for comparison the fairy tales about animals “The Cat, the Fox and the Rooster” (in the arr. A.N. Afanasyev) and “The Fox and the Hare” (in the arr. F.V. Plesovsky).

It has long been noticed features of great similarity in the tales of peoples living in different corners Russia. Sometimes these are simply recent borrowings. In both fairy tales, human vices are ridiculed, good triumphs over evil; therefore, they are similar, first of all, in their edification. With this undeniable similarity - the plots do not coincide, there are differences in the content, depiction of images, which is associated with the peculiarities of social and family relations, life, folklore traditions of each people.

In fairy tales, there is a sharp distinction between positive and negative. Meanwhile, the images do not match. National traits fairy tales are determined to a large extent by the folklore traditions of the people, their inherent special poetic look. In a Russian fairy tale, the hare usually acts as a coward, and the fox in them is cunning. In the Komi fairy tale, on the contrary, a brave hare taught a lesson to a stupid fox. Reflected in these tales animal world the area where they appeared. Animals in them are both similar and not similar to real ones. With their speech and behavior, they resemble the people who created the fairy tale.

At the origins of Komi literature is a rich and varied folklore (in the 19th century, Russian scientists began to collect and write it down). The first monuments of ancient Komi writing, founded by the missionary Stefan of Perm, belong to the 14th - 16th centuries.

In the fairy tales of the Komi people, the surrounding reality, as a creation of God, was not subject to human knowledge, a person obeyed the phenomena of nature, as manifestations of higher powers.

So let's sum it up:

– Common features:

The heroes of fairy tales have typical human features that acquire artistic conventionality: the fox is cunning, boastful; hare - cowardly, but resourceful. In the center is the conflict between animals as representatives of different human types. In the Russian folk tale "The Cat, the Rooster and the Fox" there is a conflict between the fox and the domestic animals the cat and the rooster. In the Komi folk tale "The Fox and the Hare" - between a boastful fox and a resourceful hare. The plot is dynamic: in a Russian fairy tale, the friendship of a cat and a rooster defeats the cunning of a fox; in a Komi fairy tale - a resourceful hare taught a lesson to a fox. Idea content- the glorification of positive human traits: mutual assistance, modesty, resourcefulness.

In order to reveal the features of the actions of the characters, speech, animal dialogues are used. In fairy tales, the inversion technique is used: “If the fox comes to call for a visit.”, “The fox was already spinning to fry him (the rooster)” - Russian. nar. fairy tale "Cat, rooster and fox"; “I have already managed to get myself a Moscow caftan.” - Komi Nar. Fairy tale "The Fox and the Hare"

- Distinctive features:

In the Russian folk tale “The Cat, the Rooster and the Fox”, the plot is simple, dynamic, there are practically no descriptions, the repetition of the action is used (the theft of a rooster by a fox). In the fairy tale there is a threat to the life of the hero (rooster) and therefore in the denouement there is a physical victory over the fox (“He (the cat) killed her and saved the cockerel from death”). The fox here is cunning, insidious, lures the rooster by deceit: "Let's go to the Gumenians, roll golden apples." When addressing each other, animals use diminutive forms: kochetok, kochetunyushka, kitty, kotunyushka, fox ...

In the Komi folk tale "The Fox and the Hare" the plot is more detailed. The hare not only taught the boastful fox a lesson from vices, unfastening it with rods:

- Oh, you don't eat chickens,