Scientific publications of Russian folklore began to appear in the 30-40s of the 19th century. First of all, these are collections by Moscow University professor I.M. Snegirev "Russian common holidays and superstitious rituals" in four parts (1837-1839), "Russian folk proverbs and parables" (1848).
Valuable materials are contained in the collections of the folklorist scientist I.P. Sakharov “Tales of the Russian people about the family life of their ancestors” (in two volumes, 1836 and 1839), “Russians folk tales" (1841).
Gradually, wide public circles became involved in the work of collecting folklore. This was facilitated by the Imperial Russian Geographical Society created in 1845 in St. Petersburg. It had an ethnography department that was actively involved in collecting folklore in all the provinces of Russia. From nameless correspondents (rural and urban teachers, doctors, students, clergy and even peasants) the Society received numerous recordings of oral works, which formed an extensive archive. Later, much of this archive was published in “Notes of the Russian Geographical Society for the Department of Ethnography.” And in Moscow in the 60-70s, the “Society of Lovers of Russian Literature” was engaged in publishing folklore. Folklore materials were published in the central magazines "Ethnographic Review" and "Living Antiquity" and in local periodicals.
In the 30-40s P.V. Kireevsky and his friend the poet N.M. Languages widely expanded and led the collection of Russian folk epic and lyrical songs (epics, historical songs, ritual and non-ritual songs, spiritual poems). Kireevsky was preparing materials for publication, but his untimely death did not allow him to fully implement his plan. During his lifetime, a single collection was published: spiritual poems. “Songs collected by P.V. Kireevsky” were first published only in the 60-70s of the 19th century (epics and historical songs, the so-called “old series”) and in the 20th century (ritual and non-ritual songs, “new series”).
In the same 30-40s, V.I.’s collecting activities took place. Dalia. He recorded works of various genres of Russian folklore, however, as a researcher of the “living Great Russian language,” Dal focused on preparing a collection of small genres that were closest to colloquial speech: proverbs, sayings, proverbs, etc. In the early 60s, Dahl’s collection “Proverbs of the Russian People” was published. In it, all the texts were grouped for the first time according to a thematic principle, which made it possible to objectively present the attitude of the people to various phenomena of life. This turned the collection of proverbs into a genuine book of folk wisdom.
Another detailed folklore publication was the collection of A.N. Afanasyev's "Russian Folk Tales", to which Dahl also made a great collecting contribution, who gave Afanasyev about a thousand fairy tales he recorded.
Afanasyev's collection was published in 8 issues from 1855 to 1863. There are a little more than a dozen fairy tales recorded by Afanasyev himself; he mainly used the archives of the Russian Geographical Society, the personal archives of V.I. Dalia, P.I. Yakushkin and other collectors, as well as materials from ancient handwritten and some printed collections. The first edition was published only best material. Approximately 600 texts in the collection covered a huge geographical space: the places of residence of Russians, as well as partly Ukrainians and Belarusians.
The publication of Afanasyev's collection caused a wide public response. It was reviewed by prominent scientists A.N. Pypin, F.I. Buslaev, A.A. Kotlyarevsky, I.I. Sreznevsky, O.F. Miller; in the Sovremennik magazine, N.A. gave a positive assessment. Dobrolyubov.
Later, struggling with Russian censorship, Afanasyev managed to publish the collection “Russian Folk Legends” (1859) in London and the collection “Russian Treasured Tales” anonymously in Geneva in 1872.
Afanasyev's collection was partially translated into various foreign languages, and completely translated into German. In Russia it went through 7 complete editions.
From 1860 to 1862, simultaneously with the first edition of Afanasyev’s collection, a collection by I.A. Khudyakov "Great Russian Tales". New trends were expressed in the collection by D.N. Sadovnikov "Tales and legends of the Samara region" (1884). Sadovnikov is the first who paid close attention to an individual talented storyteller and recorded his repertoire. Of the 183 tales in the collection, 72 were recorded from Abram Novopoltsev.
IN mid-19th centuries in the history of collecting Russian folklore occurred significant event: an actively existing living epic tradition was discovered in the Olonets region. Its discoverer was P.N., who was exiled to Petrozavodsk in 1859 for political activities. Rybnikov. While working as an official in the governor's office, Rybnikov began to use official travel to collect epics. Over the course of several years, he traveled around a vast territory and recorded large number epics and other works of oral folk poetry. The collector worked with outstanding storytellers T.G. Ryabinin, A.P. Sorokin, V.P. Shchegolenko and others, from whom other folklorists subsequently recorded.
In 1861-1867, a four-volume edition of “Songs collected by P.N. Rybnikov” was published, prepared for publication by P.A. Bessonov (1 and 2 volumes), Rybnikov himself (3 volumes) and O. Miller (4 volumes). It included 224 recordings of epics, historical songs, and ballads. The material was arranged according to the plot principle. In the 3rd volume (1864), Rybnikov published “A Collector’s Note,” in which he outlined the state of the epic tradition in the Onega region, gave a number of characteristics to the performers, and raised the question of the creative reproduction of epics and the personal contribution of the storyteller to the epic heritage.
Following in the footsteps of Rybnikov, the Slavic scholar A.F. went to the Olonets province in April 1871. Hilferding. In two months, he listened to 70 singers and recorded 318 epics (the manuscript was more than 2000 pages). In the summer of 1872, Hilferding again went to the Olonets region. On the way, he became seriously ill and died.
A year after the collector’s death, “Onega epics, recorded by Alexander Fedorovich Hilferding in the summer of 1871. With two portraits of Onega rhapsodes and melodies of epics” (1873) were published. Hilferding was the first to apply the method of studying the repertoire of individual storytellers. He arranged the epics in the collection according to storytellers, with premise biographical information. Hilferding’s latest journal publication, “Olonets Province and Its Folk Rhapsodes,” was included as a general introductory article.
The 60-70s of the 19th century were a true heyday of collecting activity for Russian folkloristics. During these years, the most valuable publications of various genres were published: fairy tales, epics, proverbs, riddles, spiritual poems, spells, lamentations, ritual and extra-ritual songs.
At the beginning of the 20th century, work continued on collecting and publishing folklore. In 1908, a collection by N.E. was published. Onchukov "Northern Tales" - 303 tales from Olonets and Arkhangelsk provinces. Onchukov arranged the material not according to plots, but according to storytellers, citing their biographies and characteristics. Later, other publishers began to adhere to this principle.
In 1914, a collection by D.K. was published in Petrograd. Zelenin "Great Russian fairy tales of the Perm province." It included 110 fairy tales. The collection is prefaced by Zelenin's article "Something about storytellers and fairy tales of the Yekaterinburg district of the Perm province." It describes the types of storytellers. The material in the collection is arranged by artist.
The collection of brothers B.M. became a valuable contribution to science. and Yu.M. Sokolov "Tales and songs of the Belozersky region" (1915). It includes 163 fairy tale texts. The accuracy of the recording can serve as a model for modern collectors. The collection is compiled based on materials from the expeditions of 1908 and 1909 to the Belozersky and Kirillovsky districts of the Novgorod province. It is equipped with a rich scientific apparatus. Subsequently, both brothers became famous folklorists.
Thus, in the 19th and early 20th centuries, a huge amount of material was collected and the main classical publications of Russian oral history appeared. folk art. This was of enormous importance both for science and for the entire Russian culture. In 1875, writer P.I. Melnikov-Pechersky in a letter to P.V. Sheinu described the significance of the work of folklorists-gatherers as follows:
“For a quarter of a century I traveled a lot around Russia, wrote down a lot of songs, legends, beliefs, etc., etc., but I could not have set foot if there had not been the works of the late Dahl and Kireevsky, there had not been your published works from Bodyansky, the works of L. Maykov, Maksimov and - may the Lord calm his drunken soul in the depths of Abraham - I find your comparison of your work with the work of an ant not entirely fair.<...>You are bees, not ants - your job is to collect honey, our job is to cook honey (hudromel). If it weren’t for you, we would be brewing some kind of dank kvass, not honey.<...>Not even half a century will pass before the people's ancient traditions and customs dry up, old Russian songs will fall silent or become distorted under the influence of tavern and tavern civilization, but your works until distant times, until our later descendants, will preserve the features of our ancient way of life. You are more durable than us." 1
In the first decades of the 20th century, Russian folkloristics finally defined itself as a scientific discipline, separating itself from other sciences (ethnology, linguistics, literary criticism).
In 1926-1928, the brothers B.M. went on an expedition “in the footsteps of P.N. Rybnikov and A.F. Hilferding.” and Yu.M. Sokolovs. The materials of the expedition were published in 1948. Records of epics of 1926-1933 from the collections of the Manuscript Repository of the Folklore Commission at the Institute of Ethnography of the USSR Academy of Sciences were included in the two-volume publication by A.M. Astakhova "Epics of the North". The collection of epics continued during the war and post-war years. The materials of three expeditions to Pechora (1942, 1955 and 1956) made up the volume “Epics of Pechora and the Winter Coast”.
Many new recordings of fairy tales, songs, ditties, works of non-fairy tale prose, proverbs, riddles, etc. were made. In the publication of new materials, firstly, the genre, and secondly, the regional principle prevailed. Collections reflecting the repertoire of a particular region, as a rule, consisted of one or a few related genres.
Collectors began to purposefully identify workers' folklore, folklore of hard labor and exile. Civil and Great Patriotic War also left their mark on folk poetry, which did not escape the attention of collectors.
Classic collections of Russian folklore were republished: collections of fairy tales by A.N. Afanasyeva, I.A. Khudyakova, D.K. Zelenin, collection of proverbs by V.I. Dahl, a collection of riddles by D.N. Sadovnikova and others. Many materials from old folklore archives were published for the first time. Multi-volume series are published. Among them are “Monuments of Russian Folklore” (Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences, St. Petersburg) and “Monuments of Folklore of the Peoples of Siberia and the Far East” (Russian Academy of Sciences; Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Novosibirsk).
There are centers for the philological study of Russian folklore, with their own archives and periodicals. This is the State Republican Center of Russian Folklore in Moscow (publishing the magazine "Living Antiquity"), the sector of Russian folk art of the Institute of Russian Literature (Pushkin House) Russian Academy Sciences in St. Petersburg (yearbook "Russian folklore: Materials and research"), Department of Folklore of the Moscow state university them. M.V. Lomonosov (collections "Folklore as the Art of Words"), as well as regional and regional folklore centers with their archives and publications ("Siberian Folklore", "Folklore of the Urals", "Folklore of the Peoples of Russia", etc.). 2
In the study of folklore, one of the leading places is occupied by the Saratov School of Folklore Studies, the history of which is connected with the names of Moscow University professor S.P. Shevyrev, songwriter N.G. Tsyganov, local historian A.F. Leopoldov, member of the Saratov Scientific Archival Commission A.N. Mincha; subsequently - professors at Saratov State University - B.M. Sokolova, V.V. Bush, A.P. Skaftymova. Professor T.M. made a great contribution to the study of folklore. Akimov and V.K. Arkhangelskaya. 3
Scientific publications of Russian folklore began to appear in the 1830s-1840s. First of all, these are collections of a professor at Moscow University
1) I. M. Snegireva"Russian common holidays and superstitious rituals" in four parts (1837-1839), "Russian folk proverbs and parables" (1848), " New collection Russian proverbs and parables" (1857).
2) collections of a self-taught scientist I. P. Sakharova"Tales of the Russian people about the family life of their ancestors"(in two volumes, 1836 and 1839), "Russian folk tales" (1841).
However, then, and in subsequent years, in publications of this kind it was still considered acceptable to “correct” the style of folk works, to compile consolidated texts from different options, etc.
Gradually, wide public circles became involved in the work of collecting folklore. This process was given an organized character by the official state center: created in 1845 in St. Petersburg
3) Imperial Russian Geographical Society(RGO). It had an ethnography department that was actively involved in collecting folklore in all the provinces of Russia. -> extensive archive of the Russian Geographical Society.
Subsequently, much of this archive was published in "Notes of the Russian Geographical Society on the Department of Ethnography". And in Moscow in the 1860-1870s, valuable publications of folklore were published
4) "Society of lovers of Russian literature".
Folklore materials were published in central
5) in magazines "Ethnographic Review", "Living Antiquity" etc., in local periodicals (“Provincial Gazette”, “Diocesan Gazette” etc.).
In the 1830s-1840s P. V. Kireevsky and his friend the poet N. M. Yazykov widely developed and led the collection of Russian folk epic and lyrical songs (epics, historical songs, ritual and non-ritual songs, spiritual poems). The work yielded brilliant results: thanks to the efforts of many collectors, a grandiose collection of works of various song genres appeared.
6) Kireevsky: "Russian folk poems" 1848 "Songs collected by P.V. Kireevsky" were first published only in the 1860-1870s. (epics and historical songs, the so-called “old series”) and in the 20th century. (ritual and non-ritual songs, “new series”).
7) In the same 30-40s. collecting activity took place V.I. Dahl. He recorded works of various genres of Russian folklore, however, as a researcher of the “living Great Russian language” (as he called his famous explanatory dictionary). Dahl focused on preparing a collection of small genres that are closest to colloquial speech: proverbs, sayings, empty phrases, proverbs, etc.
Due to censorship obstacles, collection Dahl"Proverbs of the Russian people" was published very late - in the early 60s. (M., 1861-1862). Readings in Imp. Society of Russian History and Antiquities at Moscow University).
8) A. N. Afanasyev"Russian folk tales", to which V.I. Dal also made a great collecting contribution: Afanasyev received about a thousand fairy tales written down by him.
Afanasyev’s collection was published in 8 issues from 1855 to 1863. There are a little more than a dozen fairy tales recorded by Afanasyev himself; he mainly used the archives of the Russian Geographical Society, the personal archives of V. I. Dahl, P. I. Yakushkin and other collectors, as well as materials from old handwritten and some printed collections
Afanasyev was forced to retreat before secular and spiritual censorship, which demanded to “protect religion and morality from printed blasphemy and desecration,” Afanasyev still managed to publish in London collection "Folk Russian Legends" (1859) and anonymously in Geneva in 1872 collection "Russian treasured tales."
9) From 1860 to 1862 collection was published I. A. Khudyakova"Great Russian Tales". In three editions of the collection, 122 fairy tale texts were published without any system. Khudyakov began his path as a folklorist as a student; at the age of 21, as a collector, he was awarded a medal from the Russian Geographical Society. Khudyakov traveled across the vast expanses of European Russia, and he recorded especially many fairy tales in the Ryazan province.
10) New trends expressed in the collection D .N. Sadovnikova
"Tales and legends of the Samara region"(SPb., 1884). Sadovnikov is the first who paid close attention to an individual talented storyteller and recorded his repertoire. Of the 183 tales, 72 were recorded from Abram Novopoltsev. Earlier, in 1876, another valuable collection was published D. N. Sadovnikova - “Mysteries of the Russian People.
11) In 1908, a collection was published N. E. Onchukova"Northern Tales"- 303 tales from Olonets and Arkhangelsk provinces. Onchukov arranged the material not according to plots, but according to storytellers, citing their biographies and characteristics. Later, other publishers began to adhere to this principle.
12) In 1914, a collection was published in Petrograd D .TO. Zelenina
"Great Russian fairy tales of the Perm province." It included 110 fairy tales + "Great Russian Fairy Tales of the Vyatka Province" (1915).
13) collection B.M. and Yu.M. Sokolovs"Tales and songs of the Belozersky region"(M., 1915). It includes 163 fairy tale texts. The accuracy of the recording can serve as a model for modern collectors.
14) In 1861-1867. A four-volume edition was published Songs collected by P. N. Rybnikov", prepared for publication by P. A. Bessonov (1 and 2 volumes), Rybnikov himself (3 volumes) and O. F. Miller (4 volumes). It included 224 recordings of epics, historical songs, ballads. The material was located according to the plot principle.
15) In the second year after the collector’s death, “Onega epics, recorded by A.F. Hilferding in the summer of 1871. With two portraits of Onega rhapsodes and melodies of epics” (St. Petersburg, 1873) were published. This publication was published in one volume. Subsequently, Hilferding's collection was republished in three volumes.
Hilferding was the first to apply the method of studying the repertoire of individual storytellers. He arranged the epics according to the storytellers, with biographical information provided.
16) The turn of the 19th-10th century - extensive expeditionary work of the historical school to collect epics on the White Sea coast => "White Sea epics, "recorded by S. A. Markov" (M., 1901); "Arkhangelsk epics and historical ones, collected by A. D. Grigoriev in 1899-1901." "Pechora epics. Recorded by N. Onchukov" (St. Petersburg, 1904).
At the beginning of the 20th century. The first collections of ditties 4 appeared.
Folklore material collected in the 19th and early 20th centuries was stored in large quantities in archives and scattered among provincial publications. He needed unification. As a result, collections of individual folklore genres appeared: "Epics of new and recent recordings from different places in Russia" edited by V.F. Miller (M., 1908); "Historical songs of the Russian people of the XVI-XVII centuries." under his own editorship (Pg., 1915); "Great Russian folk songs. Published by Prof. A. I. Sobolevsky: In 7 volumes."(St. Petersburg, 1895-1902); "Collection of Great Russian fairy tales from the archives of the Russian Geographical Society. Published by A. M. Smirnov. - Issue 1-2"(Pg., 1917).
Thus, in the XIX - early XX centuries. A huge amount of material was collected and the main classical publications of Russian oral folk art appeared.
3. Academic schools (scientific directions) in folklore studies.
Schools (directions) unite researchers whose works are based on a common scientific concept and are similar in their problems and methodology. The names “school” and “direction” (sometimes “theory”) are conventional, assigned to one or another group of researchers.
Academic schools were largely connected with Western European science, applying its methods to Russian and all Slavic material.
1) Mythological school.
Brothers Grimm: mythology was recognized as the source of art.
Russian myth. school 1840-1850s - Buslaev.
Buslaev's works developed the idea that popular consciousness manifested itself in two important forms: language and myth. Myth - form popular thought And national consciousness. Buslaev as a mythologist is characterized by the major work “Historical Sketches of Russian Folk Literature and Art”
Method – comparative study of ethnic groups.
Representatives of the Russian school of junior mythologists: A. N. Afanasyev.
Throughout history, myths have undergone significant revision. Afanasyev posed significant theoretical problems in folklore: about the essence of myths, about their origin and historical development. He proposed a coherent concept.
2) Folkloristics of the late XIX - early. XX centuries. Historical school.
In 1859, a German scientist T. Benfey expressed the idea of cultural borrowing in folklore, which changed the idea of the ascent of similar plots to common sources. His theory became dominant in folkloristics, in fact, until the end of the 20th century. In Russia subject migration was studied Buslaev and V. F. Miller, A. N. Veselovsky and many others. IN late XIX century, two original trends emerged - the theory of Academician Veselovsky, and the so-called historical school, based mainly on the works of Academician Miller, who moved away from the theory of borrowing. The historical school found many supporters; folklorists wrote their works in the spirit of its views. A. V. Markov, S. K. Shambinago, brothers B. M. and Yu. M. Sokolov . The essence this direction was search for the historical foundations of folklore works, search attempt historical events, which became the impetus for the creation of this or that plot. The main ideas of the school were attention to geographical reference of works folk art, as well as compiling indexes of fairy tale plots and runes. Aarne’s book “Index of Fairy Tale Types” (“Verzeichnic der Marchentypen”) made a great contribution to the study of fairy tales. The school influenced both Russian and European folklore studies.
XX century - present time. Neo-historical school..
Neo-historical (Rybakov, Azbelev)
- historical and typological (Proppa, Skaftymov, Putilov)
In the 1930s, geographical and historical approaches began to be replaced by typological ones, both in the USSR and in the world. In the USSR, this was associated, first of all, with the defeat of the historical school in 1936, and in fact, a ban on the use of the terminology and methods of this school; however, since the 1920s, it was in crisis due to the need to align with sociological methods dictated by the ideology of the state. By the 1950s, two directions predominated in Soviet folkloristics: neohistorical school, which became a revival of the principles of the destroyed historical school, as well as the school historical-typological approach, which emerged through paleontological research into folklore. The main topic discussed between representatives of these directions was the historicism of epics, which researchers of the historical school defined as a direct relationship of historical events with the plot of the epic, and researchers of the historical-typological direction - as an expression of the aspirations of the era, without connection with specific messages historical sources. The revived historical school was headed by B. A. Rybakov
, wrote works in the spirit of her views S. N. Azbelev
.
TO historical-typological school, in addition to B itself . J. Proppa
, belonged A. P. Skaftymov, B. N. Putilov
. In the 1970s, research in these areas continued, but they did not bring radically new ideas and discoveries. To date, the development of epic studies in Russia continues in line with the trends established in the mid-20th century. The attention of current folkloristics research is shifting to clarifying modern creative processes among the people, and the related topic of authenticity, to research in the field of urban folklore, problems of personal narrative and oral history, modern folklore (including Internet folklore), “anti-folklore” and “post-folklore” (the concept of N. I. Tolstoy, S. Yu. Neklyudova).
4. Early traditional folklore: genres and their poetics.
The foundations of artistic imagery of oral folk art were formed in the prehistoric period, when early traditional folklore appeared simultaneously with language (human speech).
Early traditional folklore is a collection of ancient genera and types of folklore, an archaic system that preceded the formation of the artistic creativity of the people.
The development of folklore occurred as a layering of new artistic tradition to the old system. Echoes of ancient folklore, more or less pronounced, were preserved in later times and have survived to this day. They appear in many genres of classical folklore: fairy tales, epics, ballads, ritual poetry, proverbs, riddles, etc.
In this chapter we will look at work songs, fortune telling and spells - in the form in which they were already in later times.
Volgogradsky
State Institute of Arts and Culture
ABSTRACT
By subject: "Ethnography and folklore"
On topic : "Folklore Collectors"
Completed
Group student
3RTP AND OZO
Makarov Gennady
Checked by the teacher:
Slastenova I.V.
VOLGOGRAD 2005
Collectors of Russian folklore.
WITHcollectors and folklore researchers have long paid attention to the “foldability” of Russian proverbs.
A study by I. I. Voznesensky “On the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.” is specifically devoted to the consideration of the poetic form of proverbs and genres close to them. (Kostroma, 1908), which has not lost its significance to this day.
INAt the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folkloristics cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that “a proverb is mostly in measured or folded form” or that “the form of a proverb is a more or less short saying, often expressed in folded, measured speech, often in metaphorical / poetic / language,” but on the question of what exactly consists of “warehouse and measure”, there are still no detailed studies.”
ANDNot only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence in proverbs. Here are examples of such proverbs: “If you endure, you will fall in love”; “Said and done”, “It was and it was gone”.
MWe will consider several directions of folklore collectors.
Since we started with proverbs and sayings, we will begin the story about them.
MFew people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection “Proverbs of the Russian People,” was half Danish by blood and Lutheran by religion.
INHaving returned from the voyage, Dahl was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on a crossroads. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: “Rejuvenates...
And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dahl gets notebook and writes: “To rejuvenate” - otherwise to become cloudy - in the Novgorod province it means to be covered with clouds, when talking about the sky, it tends towards bad weather. This entry became the seed from which the Explanatory Dictionary grew 45 years later.
But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.
Dahl saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's talk and all the shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new, previously unheard words.
IN1832 begins serious literary activity V.I.Dal. Capital magazines publish his articles under the pseudonym “Vladimir Lugansky” or “Cossack Lugansky” - after the name of his hometown. A gifted storyteller, a sociable person. Dal enters easily literary world St. Petersburg.
He agrees with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works quickly gain enormous success.
INIn the spring of 1832, Dahl again abruptly turned his fate - he went to distant Orenburg as an official of special assignments under the military governor. Dahl is a collegiate assessor official of the 8th grade, which corresponds to a major in the army.
ABOUTdriving through Cossack villages and nomadic camps, Dal discovered special world Russian troubled borderland. He not only observed orders and customs, not only wrote down words, he acted, treated the sick, interceded for the offended. “Fair Dal,” the steppe people called him.
In Orenburg, he met with Pushkin, who came to the distant region to collect material on the history of the Pugachev rebellion. Together they traveled to the places where Pugachev’s movement began and asked old people. Then Pushkin advised Dahl to study literature seriously; he probably also suggested the idea of taking up the dictionary in earnest.
PDahl's last meeting with Pushkin took place in the tragic December days of 1837 in St. Petersburg, where Dahl came on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend’s apartment and did not leave him until the end.
PUshkin was treated by palace doctors, Dahl was a military doctor.
Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded man throughout the last night.
ANDthe building of an explanatory dictionary and a collection of Russian proverbs required huge amounts of money. Dahl made the decision to work and earn money, save for the future, so that in old age he would be able to devote himself to what he loves.
INIn the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled about Dahl: “Taking advantage of his position, he sent out circulars to all officials inside Russia, instructing them to collect and deliver to him local morals, songs, sayings, etc.” But it was not officials who made up Dalev’s collections with their offerings. The fame of Dahl, not only a writer and essayist, but also an ascetic, who took on a national cause on his shoulders, spread more and more widely. From all over Russia, well-wishers send him their meetings, lists of rare words and sayings. It was a time of awakening interest in society in everyday life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent out an “Ethnographic Circular” to all parts of Russia with a proposal to study the life of the population of all regions.
TOThe time has come when the geography of France and life Ancient Rome educated people knew more than their own, domestic ones. Magazines, one after another, inform the public about Dahl’s asceticism and ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.
INIn 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.
« INDuring his ten-year stay in the Nizhny Novgorod province, Dahl collected a lot of materials for the geographical indication of the distribution of various dialects,” writes Melnikov-Pechersky.
The Nizhny Novgorod province presents a remarkable uniqueness in this regard.
Of course! The famous Makaryevskaya fair was an event of European significance. Here the trade routes of East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, manufactures and industrial goods from the West - everything that was produced in the vast expanses of the Russian Empire, everything that was imported from neighboring countries , was exhibited and sold in a low-lying space filled with benches near the mouth of the Oka. 86 million rubles in silver - this was the trade turnover of the Makaryevskaya Fair in those years.
NThe new era uprooted peasants from their centuries-old homes and mixed them in a common cauldron, and thus the language that Dahl calledliving Great Russian .
DAl has perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dahl on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. “He grew up exactly in the village, was fed in the tents, was given water on the stove,” they used to say about him, “and how well he felt, how pleased he was when he was among our kind and intelligent people!”
Dal was by nature oberuk - that is, he could handle both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whichever hand was convenient), he was just as oberuk in relation to his fate: we cannot I can only call it a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a set of proverbs, including more than thirty-one thousand sayings, literary works, occupying almost four thousand pages of text, numerous articles, collections of songs, fairy tales, etc.
Nand in his declining years Dahl settled in Moscow. His house has been preserved - a spacious mansion on Presnya. Here Dahl’s titanic, ascetic work was completed - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary. Dahl devoted three to four hours a day to this activity for decades. He rewrote the collected proverbs in duplicate and cut them into “straps.” One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. The other was pasted into the alphabet notebook for the key word - these are examples for the Explanatory Dictionary. Over half a century, Dahl explained and provided examples in about two hundred thousand words. If you derive the “average figure”, it turns out that with a twelve-hour working day, he wrote down and explained one word every hour for half a century. But he not only collected and recorded, he created, served, lived!...
TThe Olkov Dictionary of the Living Great Russian Language contains: “Written, conversational, common, common, local, regional, everyday, scientific, trade and craft sayings, foreign language, learned and re-used, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.
Plunging into its wealth, you cannot believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.
TNow, from a temporary distance, we deeply thank Dahl for his tremendous work. A dictionary, essays on everyday life, a collection of proverbs are for us one of the sure keys to unlocking a bygone era. Dahl brilliantly accomplished his task - to give in words, proverbs, pictures of everyday life an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further it goes, the more valuable it will be for future generations. –
Part 2
PRINCIPLES OF PUBLICATION. COMPOSITION AND STRUCTURE
SERIES “Epics” OF THE COLLECTION OF RUSSIAN FOLKLORE
BThe epic epic as an expression of the artistic genius of the Russian people is an outstanding monument of universal human culture. Entering the East Slavic cultural and ethnic core, acting as the custodian of the ancient epic heritage, epics combine in their plot composition the features of epics before the state era Kievan Rus and the period of Moscow centralization. Imbued with the ideas of patriotic heroism, epic works were one of the most important factors ensuring the consolidation of the Russian nation and Russian statehood. The monumental images of heroes created by the epic - warriors and plowmen, defenders and builders of the Fatherland - have become symbols of our people.
ANDThe construction of epics in the series provides for the release of monuments of folk song Russian epic at a level equivalent to the level of academic publications of Russian writers.
BThe ylins completed their thousand-year development and almost entirely passed into the category of cultural monuments. For folkloristics today, the opportunity is open to create, on the basis of an exhaustive account of all the material recorded in the 17th-20th centuries, not just another anthology, but a stock one. national library, a body of Russian epic epic that will ensure the preservation and further popularization of one of the indigenous forms of national culture.
ANDResearchers and specialists in various social sciences still do not have a reliable basic library of Russian epics capable of satisfying their diverse needs, which leads to the deliberate preliminary nature of many conclusions, duplication of search processes, and ultimately to unacceptable waste of scientific effort. The publication of the “Epic” series of the Code of Russian Folklore involves the creation of a factual foundation for Russian epic studies.
WITHThe series “Epics” is the first in the order of creation of the Code of Russian Folklore. This is dictated not only by the high social and aesthetic significance of this range of cultural monuments, but also due to the scientific preparedness of domestic folkloristics for the publication of this type of folk poetry ( large number research of epics in philological, historical, musicological aspects; a solid tradition of publishing epic songs, starting with the works of K. F. Kalaidovich, P. V. Kireevsky, P. N. Rybnikov, A. F. Gilferding). The volume of material - including data on archival accumulations, materials from expeditions of the Soviet era and current years - is realistically observable.
Nthe scientific term “epics”, as well as the popular term “old times”, in the practice of research and publication of Russian folklore often, and not without serious reasons, come together, embracing all varieties of oral song epic, which together form the repertoire of performers of epics (Russian North) and epics songs (South of Russia, Volga region and some other areas), namely:
bepics (heroic or heroic epics, short stories, epics on local themes, epics on fairy tales, comic epic);older historical songs (XIV - early XVII centuries);older ballads; songs from ancient Russian books, influenced by epic epics (apocryphal songs, or spiritual poems, parable songs, etc.); epic songs; ballad songs.
ANDFrom the named varieties of song epics, the “Epic” series, based on the similarity of content, stylistic and poetic form, plot-genetic relationship, functional similarity, stability of performing and musical traditions, combines works of category “A” (with the exception of epic-like transcriptions fairy tales, as well as stylizations - “novin”) and “D”.
Papproximately a third of the epic epic material identified to date (meaning the total number of records - 3 thousand units of text variants of works) has not been published and has not been involved in systematic research. The collections that were published are diverse, different in their concepts, variegated in composition, and do not have identical textual settings.
NScience has publications of a consolidated type relating to the early, romantic period of development of folklore studies (for example, in the I-V issues of the Collection folk songs P. V. Kireevsky contains 100 epic versions for 35 stories about heroes) and therefore covers only a relatively small part of the currently known records; has classical collections of epic songs of various genres of regional type. These collections give a general idea of the composition of the Russian epic epic or the state of local tradition certain time in the volume of material that became known to the collector, but do not create either a cumulative characteristic of the Russian epic or complete picture the life of epic-epic art in this region throughout the records. There are also publications, which are not exhaustive, of the repertoire of one performer. There are anthologies of epic works about a number of heroes of the Kyiv and Novgorod cycles of epics, where the leading plots and their versions are presented in selected versions. There are also other valuable publications of epic folklore. But they do not pursue the goal of reuniting the monuments of the epic epic into a single series, capable of concentrating in acceptable for relatively wide range readers forms all the thousand-year-old wealth of Russian epic culture and at the same time preserve maximum information about this type of Russian folk art. Records and retellings of works of folklore found in Old Russian manuscripts or publications of the 18th century are transmitted preserving the phonetic and morphological features of the source text, but with the elimination of archaic features of graphics and spelling (reference letters in a line; continuous spelling.-
Part 3
Russian folklore (V.S. Galkin. “Siberian Tales”) (review)
WITHsoon the tale tells...Saying The magical world of fairy tales has been created since time immemorial, when man knew not only the printed word, but also the handwritten word. The fairy tale lived on and was passed on from mouth to mouth, passed from generation to generation. Its roots are deeply folk. And the fairy tale will live as long as the sun shines in the sky. Of course, the fairy tale of our time is not oral folk art, but an essay written by a professional writer. It inevitably differs both in form and style from old fairy tales. But the fairy tale has not lost its precious original qualities to this day. This is cunning, kindness, the search for the best, noble principles in a person’s character, a fierce determination in overcoming evil. I recently read Vladimir Galkin’s book “Siberian Tales” and rejoiced at the author’s success in developing Russian fairy tale traditions. The book about the author says that he is a teacher and has been collecting folklore for many years in order to compose new tales based on it. V. Galkin harmoniously combines the details of the real life of modern Siberia and its past with magic fairy world. Therefore, reading “Siberian Tales”, it’s as if you inhale the aroma of the perfumed bread leaven that many rural housewives still have, and you get burned by the fresh Siberian frost when you go out into the forest in the morning along with the heroes of the fairy tales. The plots of the tales are simple. For example, in the tale “Eremeevo’s Word” we're talking about about the old man Eremey Stoerosov, who lived in the village by weaving baskets for mushrooms and berries. But the thing is that during this work he loved, it’s interesting to tell different stories. Often his hut was full of people. Everyone wanted to listen to Eremeev’s tales. And the people gathered like this: “Some boy’s mother will come and make noise: “He’s listening to stories, but you won’t wake up in the morning!” But others shush her: “Take your little one, aunt, and don’t bother us!” Baba will shut up. He’ll stand and stand and sit down in the corner: “Evon says it so well!” With this short fragment, the author outlined two moral principles in the life of the Russian people: first, work is not an end in itself for him, and he always tries to somehow decorate it with a song or a word, in other words, to turn everyday life into holidays; second, when he sees someone else’s joy, he forgets his own difficulties and sorrows. But it cannot be done without envious people. There is a guy in the village, Oska Ryabov, nicknamed Ryabok. Everyone in the village dislikes him. Envious: “The neighbor will bring a scarf from the city to his wife for the holiday, Ryabok whispers around the village: “Why is Makar dressing Marya up? Still didn’t come out with a snout.” Of course, such a person was jealous of the good reputation of Eremey the storyteller and tried to tease him. He sits and sits, and suddenly, out of the blue, he blurts out: “They’re all lies!” Eremey treated this diameter calmly, although the villagers tried to intercede for him many times: “Eremey would drive Ryabka away, what is he putting up with?” And other people added fuel to the fire: “Oska must have cut him off!” The author describes situations where the different characters of the heroes are clearly manifested. Eremey is especially good here. He is not at all offended by Ryabok, but still kindly decides to teach him a lesson, or rather, to set him on the right path. To achieve his goal, Eremey chooses an old Russian fairy tale option: to ridicule the diameter through some intricate incident. He goes to a hunter he knows and asks him for several live hares, knowing that he knows how to catch them not with loops, but in holes. Eremey placed Zaitsev in a box and began to wait for the guests to arrive - to listen to his stories. The guests arrived, and with them the diameter of Ryabok. Here Eremey says: “I’ll catch hares, why waste time. I’ll read the conspiracy and they’ll come rushing in while I’m telling you stories.” Of course, only Ryabok doubted and agreed to argue with Eremey. Whoever loses bets a bucket of mead. But here too Eremey shows a generous nature: while the conspiracy was whispered, the guests treated themselves to his own mead. Of course, Eremey won the argument. While his hares jumped out of the box and ran away into the forest, everyone laughed at Ryabok. He had science for his whole life. You can think about this fragment more broadly. It can be seen that the hunter “sometimes hunted with a gun, but carried it more for force.” There should be more such hunters! And myself main character Tale Eremey is not a vengeful and generous person. Even though he won the argument, he still put out his mead. And it was the bunnies who helped restore justice. I immediately remember a fairy tale about how a hare, in the role of a younger brother, took part in a race and won. That is, the author has preserved the Russian fairy tale tradition. In conclusion, I would like to say that we don’t have many folklore collectors. Therefore, every meeting with such a collector of seminal folk words as Vladimir Galkin is always a joy. [5].
Part 4
FROM THE HISTORY OF COLLECTING SONG FOLKLORE OF THE SAMARA REGION
ANDcollection history song folklore The Samara region dates back more than a hundred years. The first publications were collections and scattered publications, which contained exclusively song lyrics without notographic recording of tunes. In some works, the authors recorded the dialectal features of local dialects.
ABOUTOne of the first major publications dedicated to the song folklore of the Samara province was the work of a prominent folklorist-collector, researcher of folk art, translator V.G. Varentsov "Collection of songs of the Samara region". The book contains more than 170 lyrics of songs recorded by students of the Samara district school in several villages of the Samara province. The author supplements the collection with personal comments about the genre features of local folklore, notes the influence of immigrants from the Voronezh, Nizhny Novgorod, and Simbirsk provinces on the local song style.
NSeveral Samara round dance songs from the Stavropol district were included in the famous “Collection of Russian Folk Songs” by M.A. Balakireva.
IN1898 The first volume of P.V.’s book was published. Shane "Great Russian in his songs, rituals, customs, beliefs, legends, etc." . The publication includes many Samara wedding, dance, children's and other songs.
Nand at the turn of the century, the largest work devoted to traditional songs over the past century was published - the seven-volume book “Great Russian Folk Songs, Published by Prof. A.I. Sobolevsky". The collection includedincludes a large number of Samara songs of different genres, recorded in Buzuluksky, Stavropol districts, the cities of Nikolaevsk, Syzran, Samara.
` ABOUTOne of the first major works of the 20th century was a book by the famous folklorist, publicist, and archaeographer P.V. Kireevsky. The multi-volume edition includes hundreds of song lyrics recorded in different regions Russia. Among them are the first published songs of the Samara province, collected in the middle of the 19th century by the Russian poet and lyricist P. M. Yazykov.
ANDis of great interest genre diversity song lyrics. Almost disappeared in the Samara region epic genre here it is represented by ten epics, military, Cossack, recruit, soldier, sailor, lyrical, wedding songs, ballads, spiritual poems are also recorded.
INIn the 20s and 30s of the 20th century, publications of song lyrics were often dispersed in local periodicals. Notable work towards the popularization of traditional folk art was carried out by the folklorist collector R. Akulshin. So, in 1926, he published the texts of Samara ditties in the local newspapers “Krasnaya Niva” and “Music and Revolution”. Several soldiers' songs recorded by R. Akulshin in the Kuibyshev region were published by the Volzhskaya Nov newspaper. The same publication, in the “Folk Songs” section, placed on its pages 16 texts of ancient wedding and military songs collected by R. Akulshin in 1923.
POf interest is the description of an old Russian wedding, recorded by S. Lukyanov in 1929 in the village. Utyovka. The article contains expeditionary material describing the wedding event, presented in the words of the ceremony participants themselves, starting from the moment of matchmaking and ending with the second day of the wedding feast. The article also published the texts of some wedding songs performed by a local ethnographic ensemble.
INIn 1937, a collection compiled by V. Sidelnikov and V. Krupyanskaya “Volga Folklore” was dedicated to the folklore of our region. It includes expeditionary materials from 1935, reflecting the picture of the existence of oral folk art in the Kuibyshev region. The collection includes samples of local fairy tales, traditions, legends, more than 30 texts of historical, wedding, everyday and other songs, 354 texts of Soviet ditties. During the recording, the territory of the Volga coast was examined - the Krasnoyarsk region (villages of Malaya and Bolshaya Tsarevshchina, Shiryaevo), Stavropol region (villages of Russkaya Barkovka, Stavropol, Khryashchevka), as well as some villages of the Ulyanovsk region.
BA large number of song texts from the Kuibyshev region were included in the 1938 collection “Volga Songs”. In addition to songs dedicated to revolutionary-Stalinist themes, more than 20 historical, lyrical, wedding and dance songs. Among them, “The Nightingale persuaded the cuckoo,” “Widely Volozhka spilled,”
“Oh, you garden, you are my garden”, “Oh, the fogs, you little fogs”, “Blow, blow, you little weather”, “Oh, father, drink, don’t drink me away”, “Mother sent Vanya”, “ Spinning wheel under the bench”, etc.
NStarting from the late 40s, songs from our region were published scatteredly in some major metropolitan publications, , , .
PThe first sheet music publications of songs recorded in the Samara region appeared in 1862 and 1876-77. We find three tunes in the collection of M. Balakirev, published in 1891. The composer took a special trip along the Volga; he was the first of the collectors who began recording songs not in the city, but in the village from the peasants. The author gives each tune its own treatment - harmonization.
WITHcollector Lipaev I.V. in the newspaper "Russian Musical Newspaper" he published the tunes and texts of the wedding lamentation "You, my breadwinner, father" and the labor artel "Here he comes, he will go."
TThree tunes, recorded in 1901 by A. Maslov, were published in the collection “Songs from the Volga Region” in 1906. In 1926, songs collected by R. Akulshin were published.
ABOUTSome songs from the Samara Volga region were included in various collections of the 30s and 40s. One, recorded by V. Zakharov in 1934 in the Bor region, is included in his work “Thirty Russian Folk Songs”. Three songs were published by the Kuibyshev ODNT in 1944.
EThree more, notated from a phonograph, were included in the Moscow collection “Ten Russian Folk Songs”. Four tunes are included in V.I.’s brochure. Volkov "Seven Russian folk songs". Several song samples were included in other editions of , , , , , .
BLarge expeditionary work in the Samara Volga region in the late 40s and early 50s was carried out by a group of Leningrad folklorist researchers who were part of a scientific expedition of the Institute of Russian Literature of the USSR Academy of Sciences. Planned field work to collect and record works of local oral folk art was carried out in the Elkhovsky, Utevsky, Stavropol, Bogatovsky, Kinel-Cherkassky and Novodevichensky districts of the Samara region.
RThe result of the Leningrad expeditions was a number of publications dedicated to Samara song folklore, published in the late 50s and early 60s.
ABOUTThe main result of the expedition trips of 1948, 1953, 1954 was the collection “Russian folk songs of the Volga region,” which became the first major publication dedicated to the folklore of the Samara region. As the newspaper wrote: Soviet culture", "...among the materials [of the expedition] are more than one and a half thousand Volga ditties, ancient lyrical and play tunes." The work has a foreword and an introductory article by N. Kolpakova, which reveals a number of issues in the history of the settlement of the Kuibyshev region, and also analyzes current state folk art in the region.
INthe collection included 100 Russian folk songs. It is divided into two sections: Soviet songs (20) and ancient folk songs (80). Of the 100 songs published, 83 were recorded using a tape recorder and 17 by ear. It seems especially valuable that “...[the songs] were recorded directly from the voice of the people...” without the author’s musical processing or arrangement. Unfortunately, the poetic texts are edited according to generally accepted literary transcription, which deprives them of their original dialect flavor.
RThe work on collecting and studying Samara Russian song folklore noticeably intensified with the opening of the Department of Folk Choral Art at KGIK in 1979. Expeditionary trips to the regions have become more planned and systematic. Since that time, students and teachers of the university have carried out a huge research work - hundreds of folk songs have been recorded and analyzed, interesting material has been collected on the history and ethnography of the Samara region, , , , , .
ABOUTOne of the notable publications among recent publications was O. Abramova’s book “Living Springs”. Along with song material collected in the Bogatovsky, Borsky, Neftegorsky, Krasnoyarsk regions, the collection contains information about traditional culture, ethnography of our region, analytical article “Cadenzas in folk songs of the Samara region.”
INIn 2001, a wonderful book was published in Samara, dedicated to the famous collector of Middle Volga folklore M.I. Chuvashev " Spiritual heritage peoples of the Volga region: living origins." It includes hundreds of samples of traditional Mordovian and Russian songs recorded by the researcher from 1964-1971 in the northern and central regions Samara region. Of interest are Russian folk songs that exist in villages with a mixed Russian-Mordovian population. 49 song samples of different genres from Pokhvistnevsky, Shentalinsky, Chelno-Vershinsky, and other districts reflect the specifics of the existence of the Russian song tradition in a foreign language environment.
ABOUTSome of the latest publications dedicated to the folklore of the Samara region were collections published in 2002 by the Syzran College of Arts. Both works include original song material recorded in the Volga and Shigonsky regions. The songs presented in the collections reflect the characteristics genre specificity local folklore; collected and notated labor songs, wedding songs, lullabies, dance songs, round dances, lyrical songs and romances.
TOTo date, published song material recorded by researchers over the years has hundreds of samples. A huge expeditionary work was done, the results of which were not only literary publications, but also priceless sound recordings made decades ago. But, on an all-Russian scale, the Middle Volga (and Samara as a component) song tradition still remains one of the most poorly studied. This is largely explained by the national heterogeneity of the local population, which definitely makes it difficult to find authentic Russian ensembles. However, songs that exist in conditions of “national diversity” are of great interest to the researcher. V.G. Varentsov in his book “Collection of Songs of the Samara Territory” noted: “...those colonists who live surrounded on all sides by foreigners retain their special features much longer, living among the Chuvash and Mordovians, they still retain their costumes and dialect.” Thus, the primary tasks of folklorists-local historians are to collect new material in little-studied areas of the region, such as Khvorostyansky, Koshkinsky, Klyavlensky, Bolshechernigovsky, etc. and classify samples from the already existing fund of records.
Literature used
Part 1
1 . Sokolov Yu. M. Russian folklore. M., 1941, p. 212.
2 . Cm.:Dal V.I. Proverbs of the Russian people. M., 1957 (in
Text: D., p. ...Ch.Rybnikova M. A. Russian proverbs and
sayings. M., 1961.
3 . Page 3-to-6
V.I. Dal - “Proverbs of the Russian people.” 1-2-3 volume.
Moscow. "Russian book" 1993.
Part 2
4 .- The author’s work on the first two volumes was carried out by A. A. Gorelov (“Preface”, “Principles of publication. Composition and structure of the series “Epics” of the Code of Russian Folklore”); V. I. Eremina, V. I. Zhekulina, A. F. Nekrylova (textological preparation of the corpus of epic texts, “Principles of distribution of verbal material”, “Textological principles of publication”, passport and textual commentary, “Biographical information about the performers”); Yu. A. Novikov (plot-variant commentary). Authors of the article “Russian epic epic”:
Part 3
5 . ALLSoch.ru: Galkin V.S. Miscellaneous Russian folklore (V. S. Galkin. “Siberian Tales”) (review)
Part 4
Literature
1. Abramova O.A. Living springs. Materials of folklore expeditions in the Samara region. - Barnaul, 2000. - 355 p.
2. Aksyuk S.V., Golemba A.I. Modern folk songs and songs of amateur performances. M.-L. - Issue 1. - 1950. - 36 pp.; Issue 2. - 1951. - 59 p.
3. Akulshin R. Village dances // Krasn. Niva. - 1926. - No. 36. - P. 14-15.
4. Akulshin R. Our songs // Music and revolution. - 1926. - 7-8. — P.19-28.
5. Akulshin R. Rivals: From the life of the Samara province. // Music and revolution. - 1926. - No. 3.
6. Balakirev M.A. Collection of Russian folk songs. - S.-Pb., 1866. - 375 p.
7. Balakirev M.A. Collection of Russian folk songs. - St. Petersburg, 1891.
8. Bikmetova N.V. Russian folk song creativity of the Samara region. Anthology. Issue 1. - Samara, 2001. - 204 p.
9. Borisenko B.I. Children's musical folklore of the Volga region: Collection. - Volgograd, 1996. - 254 p.
10. Great Russian folk songs, published by prof. A.I. Sobolevsky. - T.1-7. - St. Petersburg, 1895-1902.
11. Volga songs: Collection. - Kuibyshev, 1938. - 115 p.
13. Volga folklore / Comp. V.M. Sidelnikov, V.Yu. Krupyanskaya. - M., 1937.-209 p.
14. Volkov V.I. Seven Russian folk songs: Arranged. for voice with f.-n. - M.-L., 1947. - 28 p.
15. Ten Russian folk songs (Choras a capella) / Notated from phonograms by N.M. Bochinskaya, I.K. Zdanovich, I.L. Kulikova, E.V. Levitskaya, A.V. Rudneva. - M., 1944. - 17 p.
16. Children's folklore of the Samara region: Method. recommendations / Compiled by: Orlitsky Yu.B., Terentyeva L.A. - Samara, 1991. - 184 p.
17. Dobrovolsky B.M., Soimonov A.D. Russian folk songs about peasant wars and uprisings. - M.-L., 1956. 206 p.
18. Spiritual heritage of the peoples of the Volga region: living origins: Anthology / Compiled by: Chuvashev M.I., Kasyanova I.A., Shulyaev A.D., Malykhin A.Yu., Volkova T.I. - Samara, 2001. - P.383-429.
19. Zakharov V.G. One hundred Russian folk songs. - M., 1958. - 331 p.
20. Kireevsky P.V. Songs collected by Kireyevsky / Ed. V.F. Miller and M.N. Speransky. - M., 1911-1929. - (New ser.).
21. Krylova N. Children's songs // Teacher. - 1862. -No. 24.
22. Lipaev I.V. Peasant motives: Note // Rus. music newspaper. - 1897. - No. 12. -Stb. 1713-1718, notes.
23. Folk songs: Wedding. Songs of military men and about military men // Volzh. new - 1935. - No. 8-9.
24. Folk songs. Fairy tales and tales. Chastushki // Volzh. New. -1937. - No. 8-9.
25. On silver waves: Russian folk songs recorded in the village. Davydovka, Samara region. / Under general ed. V.I. Rachkova. - Syzran, 2002. - P. 108.
26. Songs recorded on the territory of Samarskaya Luka in 1993. /Zap. Turchanovich T.G., Transcript of Noskova A.K.//Vedernikova T.I. and others. Ethnography of Samara Luka. Toponymy of Samara Luka. - Samara, 1996. - pp. 84-92.
27. Popova T.V. Russian folk musical creativity: Textbook. manual for conservatories and music. schools Vol. 1-3. - M., 1955-1957, 1962-1964.
28. Rimsky-Korsakov N.A. Collection of Russian folk songs Part 2. - St. Petersburg, - 1877. - P.36-37.
29. Russian folk songs of the Volga region. Issue 1. Songs recorded in the Kuibyshev region. - M.-L., 1959. - P.6.
30. Russian folk songs of the Volga region. Issue 1. Songs Recorded in the Kuibyshev Region. - M.-L., 1959. - 195 p.
31. Russian folk songs: Collection / Comp. A.M. Novikova. - M., 1957. - 735 p.
32. Russian folk lingering songs: Anthology. - M.-L., 1966. - 179 p.
33. Russian songs. - M., 1949. -212 p.
34. Russian songs: Lyrics, performed. State rus. adv. choir named after Pyatnitsky / Ed. P. Kazmina. - M.-L., 1944. - 254 p.
35. Russian ancient and modern songs: based on materials from expeditions of the Union of Composers of the USSR / Comp. S.V. Aksyuk. - M., 1954. - 80 p.
36. Russian ditties / Comp. N.L. Kotikova. - L., 1956. - 317s.
37. Collection of songs from the Samara region / Comp. V.G. Varentsov. - S.-Pb., 1862. - 267 p.
38. Series of 16 Russian songs (For voice with piano, choir with piano and a capella). - Kuibyshev, 1944. - 64 p.
39. Ancient Russian wedding // Volzh. new - 1935. - No. 10.
40. Stage interpretation of folklore (using the example of spring ritual songs): Method. recommendations / Author-comp. Terentyeva L.A. - Kuibyshev, 1989. - 110 p.
41. Terentyeva L.A. Folk songs of the Kuibyshev region: Method. instructions according to nar. music tv-woo. Part 1. - Kuibyshev, 1983. - 70 p.
42. Thirty Russian folk songs / Zap. V. Zakharova. - M.-L., 1939. - 112 p.
43. Proceedings of the musical-ethnographic commission, consisting of the ethnographic department of the Society of Lovers of Natural History, Anthropology and Ethnography. T.1. - M., 1906. - P.453-474.
44. Shane P.V. Great Russian in his songs, rituals, customs, beliefs, legends, etc. - T.1. - S.-Pb., 1898. - 736 p.
45. My apple tree... Songs recorded in the village. Surinsk, Shigonsky district, Samara region / West. and notation N.A. Krivopust. - Syzran, 2002. - P. 72.
Collectors of Russian folklore
The question arose before me: why does Russian folk song live to this day? When interest in Russian folk song appeared, when they began to record and study it, who was the first to guess that this was necessary? In my work I will try to at least introduce you to famous song collectors.
One of the first collectors was Vladimir Ivanovich Dal(1801-1872) (Appendix No. 1). The name is very famous. A truly great collector. In addition to the “Explanatory Dictionary of the Living Great Russian Language” and a collection of proverbs, he wrote down and gave Afanasyev a thousand fairy tales for his collection. He gave the songs he recorded to Pyotr Kireyevsky, who published a multi-volume collection of Russian songs, in Public library donated a whole collection of popular prints. What goal did Vladimir Ivanovich achieve with this, what problem did he solve?
Modern successors to Dahl's work approach this issue in a completely everyday way: as it is said, so it is. And it was said by Dahl himself in one of his literary works. His words are quoted by Dahl’s modern publisher, Professor and Honored Scientist A.N. Tikhonov.
One day Dahl, having heard an unexpected word from the coachman carrying him, snatches a book, writes this word there and “makes a decision for life. Since then, for Dahl, this activity has become a need of the soul, an everyday thing. He speaks about this through the mouth of one of his heroes, who, feeling the need to “connect some goal with his walk,” “set himself the following task:
1) Collect all the names of local tracts along the way, ask about monuments, legends and beliefs associated with them...
2) Find out and collect, wherever possible, folk customs, beliefs, even songs, fairy tales, proverbs and sayings and everything that belongs to this category...
3) Carefully enter into your memory book all folk words, expressions, sayings, turns of phrase, general and local, but not commonly used in our so-called educated language and syllable...
This legend was created by Vladimir Ivanovich Dahl for himself and has been working for all collectors for a century and a half. Most of them will unconditionally subscribe to this manifesto of the Russian collector, except that they will complain that they do not live up to the purity and sacrifice with which Dahl brought this “program” to life.
“In 1814-1819, Dahl studied in the Naval Cadet Corps, after which he was sent as a doctor to the active army in Turkey, then participated in the war with Poland. In 1832 he was transferred to St. Petersburg to the position of resident of a military land hospital."
It was the 19th century, a century when the real interest in folklore was enormous.
It is impossible not to tell about Mitrofan Efimovich Pyatnitsky(Appendix No. 2) - performer and collector of Russian folk songs; founder and first artistic director Russian folk choir named after itself.
Pyatnitsky was born on June 21 (July 3), 1864 in the family of a priest. He studied at the Voronezh Theological School. Simultaneously with his studies, he took singing lessons from Lev Mikhailovich Obraztsov, and later, in Moscow, from Camillo Everardi.
He came to Moscow in 1897, and since 1899 he settled in Bolshoy Bozheninsky Lane. From 1899 to 1923 he worked as a clerk in one of the Moscow hospitals. But passion for folk musical creativity leads him in 1902 to the creation of a folk song ensemble. Singers of the ensemble: P. V. Kozimovskaya, M. A. Shevchenko, R. A. Kondra, singer-bandura player V. K. Shevchenko.
Since 1903, he has been a member of the musical and ethnographic commission at the Imperial Society of Lovers of Natural History, Anthropology and Ethnography and has been conducting scientific and ethnographic work. Visited many villages, recorded many songs from peasants. At the same time, he recorded about 400 folk songs on the phonograph alone, some of which were published in 1914. M.E. Pyatnitsky was not limited to collecting songs and instrumental tunes; he collected collections folk instruments and suits. During the First World War, Pyatnitsky served in one of the Moscow hospitals, where wounded soldiers and other lower ranks were admitted. From among them, M.E. Pyatnitsky created the so-called “choir of disabled people” (among the singers there were actually disabled soldiers, Knights of St. George, as well as medical staff). Many of the choir members, often illiterate and illiterate peasants in the past, learned for the first time musical notation and joined in the choral singing.
Initially, Pyatnitsky recorded songs in his native village of Aleksandrovka, then grouped them into genre sections related to a specific song tradition, and published them in 1904 in his first collection “12 Russian folk songs (Voronezh province of Bobrovsky district).” 1904, , , 1925, these are the years devoted to the most fruitful ethnographic trips.
“A folk song,” said M. E. Pyatnitsky, “this artistic chronicle folk life, unfortunately, is dying out every day... The village begins to forget its beautiful songs... The folk song is disappearing and needs to be saved.”
Peter Kireyevsky(02/11/1808-10/25/1856) (Appendix No. 3), Peter spent his childhood years, like his brother, on his parents’ estate in the Kaluga province, and received a solid education at home. Kireyevsky studied seven foreign languages and translated a lot of Byron, Shakespeare, and Calderon. Kireyevsky's first literary experiments date back to 1827. In 1829 - 30 he traveled with his brother to Germany, where he studied German philosophy. His Slavophile views on historical development Kireevsky outlined Russia in the article “On Ancient Russian History. Letter to M.P. Pogodin” In the 1840-50s, Kireevsky was intensively engaged in collecting and studying monuments of Russian folklore. Kireevsky began collecting folk songs and tales in 1831 in the Moscow, then in the Novgorod and Tver provinces. Some of them (spiritual content and wedding) were published in 1847 - 56 in magazines and collections. Fully published after his death, Kireevsky collected thousands of texts of lyrical and historical songs, folk epics. In this work, Kireyevsky was helped by A. S. Pushkin, N. V. Gogol, V. I. Dal, Aksakovs and other like-minded Slavophiles.
Knowing seven languages, Kireevsky translated a lot. Having decided on their Slavophile predilections and believing in great destiny Russian people, Kireyevsky began systematically recording folk songs from 1831, dreaming of recreating the spiritual basis of the people imprinted in them. Kireevsky managed to attract many writers to this work. Kireevsky created a unique collection of over 10 thousand songs, which constituted an era in Russian folklore. During Kireyevsky's lifetime, due to censorship difficulties, only 67 songs were published. Despite a number of publications of Russian and modern times, most meeting remains unpublished. Researcher of Kireyevsky's life. M.O. Gershenzon came to the conclusion: “Not by collecting folk songs, not by research in the field of Russian history, he fulfilled his life’s calling, but by the fact that at a certain moment he appeared among the Russian educated society, as a living embodiment of the Russian folk spirit and as a living connection between the people and this society cut off from the people.”
Folk song in our time
Created initially by individual talented creators and subsequently becoming the property of the broad masses, folk songs are constantly subject to collective creative reworking. Passing from mouth to mouth in ever new, varied versions, they are peculiarly “corrected” folk singers: constantly modified, improved, improved until, in each individual case, their song form is “polished” in accordance with the achieved level of artistic development of the people, their song culture, or with local singing traditions. The melodies of the best folk songs, which have been popular among the people for tens and hundreds of years, are thus the result of the creative work of entire generations of unknown folk singers, the result of a long selection of the most expressive and vitally valuable intonations, chants and melodic turns.
But now you rarely hear a real Russian folk song in its true sound. And what we hear is somewhat staged, amusing, non-committal modern folklore, where there is very little of Russian song present. If we hear our favorite songs, it is in a completely mutilated form, processed with modern aggressive rhythms that are deeply alien to the chant of Russian melody. These are crippled songs, where the wide length of the Russian song must be adjusted to the clear rhythm of the so-called “freedom”.
I'm not even talking about the fact that they are trying to mix Russian songs with Negro rhythms and tunes, which is completely unacceptable, not to mention purely appearance, about “Russians”, painted with gold patterns, costumes of young performers that barely cover their nakedness.
It is shameful and painful to hear the song “Evening Bells” - a symbol of Russian culture in a completely distorted form, in the form of an agony dance. It’s a shame for our pop superstars, who, through their own misunderstanding, are destroying Russian culture with their own hands. Russian song is the voice of the people and it is not so easy to subjugate. And if there are such open attacks on the song, then this only emphasizes its highest spirituality. The folk song has not only been preserved, but is also developing. Deep bow to the wonderful performer L. Zykina, (Appendix No. 4). L.A. Ruslanova (Appendix No. 5) and others who truly cherish and keep in their hearts the true sound of Russian song. It is gratifying that in our time new songs are not written that preserve everything that Rus' has preserved for centuries. These are really clean springs. How I want them to gurgle with a cheerful din and illuminate the earth with their bright streams. They washed away all the dirt, the Western alluvial culture that had scabbed its way into the native land, into the souls of the Russian people. Russian song is the living creativity of the Russian people, and as long as it lives, our great Russian culture will live.
And everything that is happening now outside of true culture is a conscious action to discredit the great real art that gives the true light of the soul.
A folk song, like the Russian soul, cannot be destroyed; it glows like an unquenchable candle in its native hinterlands, like a lamp in front of an icon, protecting it from unkind glances true faith, your culture.
Folklore studio
I have been studying Russian folklore for 3 years now. I visit the folklore studio “Native Tunes” of the Zavetnensky House of Culture (Appendix No. 6,7). When writing my work, I had to interview the head of the folklore studio “Native Tunes” Irina Viktorovna Vatamanyuk. For many years she has been studying Russian folk songs. She kindly agreed to give an interview, which I included in my work.
Why is it bad, it’s just that someone grew up on folk songs, someone on beat, and someone on rock, all of them, in general, transformed and came out of folk songs. The roots and basis are folk art.
Which Russian folk songs do you like best?
I like all folk songs, especially for singing I like provocative, drawn-out songs.
Do you have your favorite song?
There is no favorite song, everyone loves it. For example, the song “Katyusha” has an author, but it was sung so much, the text and tune changed and it became popular. I really like the song “Steppe, and steppe all around”; there are dozens of arrangements and arrangements and they all sound different.
How did the idea of creating a song group come about?
Spring is the most wonderful time of the year. Nature wakes up, the first flowers appear - snowdrops.
That’s how one spring the wonderful song group “Vesna” was born in the rural House of Culture in the village of Zavetnoye. At first it was vocal group out of six fellow villagers. Then new voices of song lovers joined the team. This is how the folklore studio “Native Tunes” was formed. And now the team has 15 members. The participants range in age from 9 to 78 years old and all of them are united by a love of song. The band's repertoire includes more than 100 songs.
Residents of the village of Zavetnoye love their ensemble very much and always look forward to meeting them again. Stormy applause from grateful spectators inspires fruitful creativity, and if the songs make the listeners’ eyes sparkle with tears, then the songs were not sung in vain.
The team actively participates in festivals, concerts and other events in the Sovetsky district. The activities of the folklore studio “Native Tunes” have been noted by numerous certificates from the district council, the Soviet district state administration and the department of culture (Appendix No. 8).
Do you think Russian folk song has a future?
Of course, parents sing folk songs to their children. Children grow up and save them for their descendants. This is how the old Russian song will live, passing from one generation to another. Folk song these days is constantly heard on concert stage and on the radio. We have many folk choirs. And personally, our studio attracts both older and younger generations to perform folk songs. (Appendix No. 9)
Participation in folklore festivals
I thought about how to introduce the new generation to the genres of Russian folklore, the symbolism of Russian folk songs, musical instruments? I turned to the class teacher with a proposal to organize a Russian song festival in my class, at which folk songs will be played and dramatized, and genres will be included folklore. This is how the “Village Gatherings” holiday was held, with which we performed in front of our parents. (Appendix No. 10, No. 11).
Repeatedly after studying folk songs, we organized competitions “Folk songs in children's drawings) (Appendix No. 12, No. 13, No. 14). This is how we carry out work to study and preserve the traditions and rituals of Russian culture.
Practical part
Questionnaire
In the practical part of my work, I decided to find out what Russian-speaking people of different ages know about Russian folk music. For this purpose, I conducted a small sociological study among different age groups: 3rd grade students of the Zavetnenskaya Osh im. Crimean partisans (10-11 years old); 11th grade students (16-17 years old); older people (30-45 years old) of different professions. On average, 20 people were interviewed in each age group (60 respondents in total). For the study, a questionnaire was compiled with different options answers (closed and open).
Questionnaire
What kind of music do you like to listen to? (modern, folk, classical, foreign)
Do you listen to Russian folk songs?
B) Sometimes
3. How do you feel about Russian folk music?
A) Positive
B) Negative
B) I find it difficult to answer
4.Do you often sing Russian folk songs?
C) I don’t sing at all
5. Have you attended the performance of Russian folk songs?
6. What genres of Russian folklore do you know?
7. What, in your opinion, is the symbolism of Russian folk song?
8. Name famous Russian folk songs.
9. Do we need a folk song?
10. Can you call yourself a lover of Russian folk music?
B) it’s difficult to say
For convenience, the survey results are presented in the form of diagrams.
Figure 1. What kind of music do you like to listen to? (modern, folk, classical, foreign).
From the diagram of answers to the first question it is clear that students and people of the older generation prefer modern music to folk music.
Volgogradsky
State Institute of Arts and Culture
Subject: Ethnography and folklore
On topic : Folklore collectors
Completed
Group student
3RTP AND OZO
Makarov Gennady
Checked by the teacher:
Slastenova I.V.
VOLGOGRAD 2005
Collectors of Russian folklore.
Collectors and researchers of folklore have long paid attention to the complexity of Russian proverbs.
I. I. Voznesensky’s study on the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc. (Kostroma, 1908), which has not lost its significance and until our time.
At the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side of it . Researchers usually emphasize that a proverb is mostly in a measured or folded form, or that the form of a proverb is a more or less short saying, often expressed in folded, measured speech, often in metaphorical / poetic / language, but on the question of what exactly the composition and measure are, There are still no detailed studies available.
In proverbs, not only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence. Here are examples of such proverbs: If you endure, you will fall in love; No sooner said than done, it was and it was gone.
We will look at several areas of folklore collectors.
Since we started with proverbs and sayings, we will begin the story about them.
Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and collection of Proverbs of the Russian People, was half Danish by blood and Lutheran by religion.
Returning from the voyage, Dahl was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on a crossroads. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: “Rejuvenates...
And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dal takes out a notebook and writes: To rejuvenate - otherwise to become cloudy - in the Novgorod province means to be covered with clouds, speaking of the sky, it tends towards bad weather. This entry became the seed from which the Explanatory Dictionary grew 45 years later.
But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.
Dahl saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's talk and all the shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new, previously unheard words.
In 1832, V.I. Dal’s serious literary activity began. Capital magazines publish his articles under the pseudonym Vladimir Lugansky or Kazak Lugansky - after the name of his hometown. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.
He agrees with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works quickly gain enormous success.
In the spring of 1832, Dahl again turned his fate around and went to distant Orenburg as an official of special assignments under the military governor. Dal is a collegiate assessor, an 8th grade official, which corresponds to a major in the army.
