Subject: Oral folk art. Mystery.
Target:
activate the mental activity of students,
develop cognitive interest,
expand students’ understanding of oral folk art,
introduce students to myth,
promote the development of attentiveness and observation.The face of new European peoples began to emerge, and the Celtic, Germanic and Scandinavian contributions, which slowly penetrated European culture from the fifth century onwards, contributed to this new image, which increasingly emancipated itself from its Greco-Latin antecedent. for example, they influenced the unique decorative system of weapons, dishes and decorations. There were also Asian influences in these materials, which added to those that the barbarians had captured from the Byzantine culture of the Eastern Roman Empire.
Returning from these military campaigns, the crossed knights brought tastes and customs that spiritually enriched the still rude Europeans, contributing to the development and establishment of their own culture. It is necessary to indicate how important these changes are for their artistic manifestations, including music.
Equipment:
illustrations of all the riddles, cards with new concepts, a basket, vegetables, a large daisy, a poster with riddles on a daisy background, textbooks “History of the Ancient World” – grade 6, illustrations of a mermaid, a tray, an embroidered towel, a dog costume; texts of riddles on images of various figures attached to the clothes of Grandma Riddle, a poster with the definition of the riddle, an impromptu vegetable garden.
But, of course, the decisive force in this process of cultural affirmation was the Church through the spiritual work of the monks. Religious orders with the Benedictines first and the monks of Cluny later, they control intellectual activity and exercise from the abbey a kind of tutela in the public life of the cities. Monks were advisers to kings and shapers of the ruling classes, helping to soften customs, arrange the figure of women and spiritualize, in general, the concept of life.
Decadence of Gregorian chant
It is known as "Roman" given its historical connection with the Romance languages and the affinities that, like these, classical Roman art has. On the other hand, it is also called “feudal art”, corresponding to the period of strengthening of feudalism, and appears as an aesthetic expression of its spirit.
Progress of the lesson.
1. Organizational moment.
2. Statement of the topic and purpose of the lesson.
You probably noticed that today is an unusual day - the day of the Riddle. In the mathematics lesson there were mathematical riddles, in the Russian language lesson there were spelling riddles. We will devote our literature lesson entirely to riddles. We will learn to correctly guess riddles, try to create our own, meet fairy-tale characters, help the girl Masha and, finally, draw a conclusion: what is a riddle?
Secondly, although not of this secondary importance, it represents the great flowering of songs of a secular theme, in the Romance languages of recent origin. It is in this context that the emergence of troubadour music and poetry occurs. The tropes, which were based on liturgical songs known in some cases, consisted of lyrics and melisma, that is, melodic colors that were sung on a single syllable, added to the melodies that were written with a syllable.
However, sequences were more common and were new and independent songs that sometimes appeared in traditional melodies that were expanded by adding additional phrases and were varied. The sequences influenced the evolution of popular singing and the music of the troubadours.
3. Teacher's message about riddles and myths.
Man began to create riddles in ancient times. Both composing the riddle and solving it required close observation of objects, phenomena, and actions. The riddle developed observation and thinking. Pointing to various objects, phenomena, actions, the riddle did not name them unambiguously: ideas about the world were “dressed” in an artistic, figurative form. Therefore, the purpose of the riddle was different at different times.
Advances in musical notation
The monk Guido d'Arezzo is credited with having the confidence to invent musical sound notations with didactic intent and a purely practical meaning, which places him as one of the earliest musical theorists concerned with practical rather than philosophical aspects. To achieve this, Guido used the Hymn of San Juan, probably on its own, in which the syllable beginning each verse gives the name to each note in which each sentence begins.
Around the first millennium AD, the use of the tetragrammatic pattern was expanded in France and Italy, which gradually replaced the old notation in a dense field - without pattern - and made possible a more precise recording of notes and pitches. Over the centuries, the tetragram was replaced by the pentagram.
In ancient times, people used a riddle as one of the techniques of a secret language to hide their thoughts and desires, to protect their home, their family, their livestock, and tools from “evil spirits.” (Our distant ancestors were afraid of “evil spirits,” evil word", "evil eye" and other dangers that, as it seemed to them, lurked everywhere. According to them, the greatest danger was faced by honest, intelligent people, whose positive qualities were usually emphasized by their names and characteristics. In order to deceive the "evil spirits" and "evil spirits" caring parents deliberately gave their children "bad" names: smart and beautiful boys were called Fools and Freaks, honest and brave ones - Scoundrels and Cowards, desirable and dear to the heart - Undead. It seemed to them that a "bad" name was like a hat. -invisibility, will protect their child from danger and “damage.” Traces of such “preventive” names have survived to ours in the foundations of modern Russian surnames such as Nechaevs, Durakovs, Negodyaevs, Glupovs, Gryaznovs and in some nicknames. fairy-tale heroes, like Ivanushka the Fool)
Some thought that polyphony was provided by barbarian peoples from the north; others, which was the result of the evolution and progress of an ancient musical tradition under the impulse of Christian inspiration. Centuries before the first polyphonic rehearsals began, medieval music theorists explored the possibility of combining sounds together. However, the appearance of the first polyphonic forms was associated both with the research of theorists and with the progress achieved in choral singing.
The historical importance of this event and the emergence of this procedure, which is called the organ, is the starting point of medieval polyphony; that is, a new musical concept and a taste for listening to more than one tune at the same time. Often two tunes played at the same time were accompanied by the same design a quarter or a fifth apart. Sometimes the organ also consisted of two melodies that began on the same note, distancing itself step by step until the interval of the fourth or fifth, to coincide then in unison at the end of the sentence.
Hunters, fishermen, and farmers resorted to “secret” speech. They called tools, animals, and hunting places not by generally accepted names, but by fictitious words, mysterious phrases or riddles. (2) (6)
The riddle was not only a “secret language”. With its help, a person’s wisdom, resourcefulness, and education were tested. The riddle served as an exam, and this is reflected in fairy tales, songs, and myths. You have an idea about fairy tales and songs, but about myths...
The liturgical melody that served as the basis for the organ was called cantus or tenor. The added voice was called organic. In England the gymnastics or double song was also used, this was a combination of two parallel melodic lines in a third. This innovation had great consequences in the evolution of polyphony, since it introduced the most frequent use of the third interval, which would be very important in the music of later centuries.
With this, a high-performance innovation in polyphony was introduced: the free combination of melodies. This delay is explained by the fact that polyphony was a world first and had to gradually discover its own capabilities and combinations in the first tests that we have already seen. Meanwhile, monodic song, that is, Gregorian chant, still existed as a traditional religious song.
Each nation has its own assumptions (legends) that tell about the origin of man, about gods, heroes who performed great feats in the name of goodness and justice. These tales of deep antiquity reflected ancient man’s ideas about the world around him, where everything seemed mysterious, wonderful, and incomprehensible to him. Thunder, change of day and night. People did not understand why this was happening and began to fantasize. The fantasy of ancient man in the images of Gods revived the forces of nature. The tales of the people of ancient Greece, which are called myths, are distinguished by a special wealth of artistic imagination.
Then a third voice appeared, which was designated contratator and which, according to its location, under or on tenor, is designated as Basso or as Altus. The discanto became the voice of the suprem or soprano, and the alto was the alto or contralto. With the advent of disco, enormous resources were developed that, in a little over three hundred years, created a sophisticated technique for polyphonic vocal treatment: the art of counterpoint. Paris was the center of the Ars Antique's heyday around Notre Dame Cathedral, a moment of splendor for the schools in which scholastic philosophy was developed and discussed in several important European cities.
I said that the riddle served as an exam. So here it is. In the ancient Greek myth, later reflected in Sophocles' drama “Oedipus the King,” the evil monster Sphinx asks everyone the same riddle: Who walks on four in the morning, at noon on two, and in the evening on three? Those who did not guess correctly suffered death. Only Oedipus solved the riddle: in the morning, a person in infancy walks on four, in the afternoon, an adult walks on two, in the evening, on three, an old man with a crutch. In Russian mermaid songs, young men are asked questions: What grows without roots? (stone) What blooms without flowers? (fern)
Just as Notre Dame is one of the earliest examples of Gothic architecture, the School of Paris represents the transition from the Romanesque to the early Gothic period through the initial stage of the forms of the primitive organ and gymnast, a strict art subject to the norms that govern its creation.
If Ars Antique is mainly a certain expression of the Romanesque spirit in church music, Ars Nova corresponds to the Gothic period. While polyphony was developed, profane music largely maintained a monodic form to express the Romanesque spirit in troubadour music and popular song. The meeting between polyphony, the profane slope and the popular tradition will still have to wait.
What runs without a reason? (water) In fairy tales, a riddle was often used as a plot component to test the intelligence and resourcefulness of a character, which determined his future fate, and, sometimes, life itself. (1)
– Which of you guys can remember such fairy tales? (R.n.s. “Go there - I don’t know where, bring that - I don’t know what”, “The Princess Solving Riddles”, “Prophetic Dream”, “Wise Answers”, “Soldier’s Riddle” and other tales from the collection " Russian folk tales" adapted by A.N. Afanasyev, 1982) Here is one of the riddles: Appear on horseback, not on a horse; neither naked nor clothed; neither with a gift nor without a gift. (Hare, net, bird.) The answers are played out.
Music and Medieval Theater: Cars and Mysteries
Music and dance were an excellent means of dissemination in the theater throughout the Middle Ages. The performances of the mysteries and sacramental vehicles were an exceptional environment that contributed to people's knowledge of the dogmas of the faith, sacred history and the lives of the saints. The importance of theater as a means of communication will be appreciated more when one considers that even among the nobles, illiteracy was common. The theater spreads ideas as well as music. The most developed dramatic forms of the Renaissance and later are already found in the popular religious theater of the Middle Ages.
In Scandinavian and German legends, a riddle solved by a traveler gave him the right to spend the night.
Over time, with the development of culture, the “secret” language gradually loses its meaning, and the riddle begins to be used as entertainment, a game, and leisure time, while solving it still requires observation of actions, phenomena, objects and thinking.
Mysteries, scorn or mocking comedies have been staged for centuries. It is known that music, monodic and simple, was an integral part of this production, with texts in Latin and later in Romance languages. Throughout medieval history, music played a fundamental role in sacramental art, especially those represented by Nativity and Corpus Christi. Religious representations are also common in Spanish American popular culture, especially Andean, with the inclusion of autochthonous cultural elements, but the antecedents of such representations can be found in medieval cars and mysteries.
4. Meeting with a literary character.
This morning, at the entrance to the class, Grandma Riddle met you and asked everyone the same riddle: Everyone is pushing me, but I don’t touch anyone (the door) and let the one who guessed pass, offering to take another riddle with me.
The following riddles were attached to Grandma Riddle's clothes:
Poetry and music of the troubadours
Since the conquest there has been news of Corpus Christi's ideas of great strengthening. In the Middle Ages, sacred music represented wise or erudite monks, repositories of traditional culture. This is due to theoretical and technical knowledge. Before him, the popular song is spontaneous music and without previous theories.
The troubadours were generally knights, musicians and poets at the same time, who created their gallant and heroic songs, called respectively troves and songs of deeds. The culture of the nobility in the Middle Ages was meager, and it is not surprising that these singers, as we have already said, were spontaneous artists without technical problems. The art of the troubadours approaches popular song so as not to depend mainly on technical knowledge, although also on certain predetermined forms. It was spontaneous to a certain extent.
5. Workshop on solving riddles.
Before we start solving our riddles, let's learn how to solve them using a guide.
- Highlight all the signs of an unknown object.
- Find the connection between these signs.
- Draw a conclusion.
- Here's the answer.
For example:
Busy Egorka started cleaning:
He started dancing around the room,
I looked around - the floor was clean.In addition, it is often inspired by the same heroic themes and themes that provided the popular Crusades, the warlike exploits of Charlemagne, the Cid and other legendary figures of the Middle Ages, as well as the knightly knight, in the full flower of the time. However, what is most characteristic of troubadour art in history is a gallant and courtly spirit. This marks a major difference from popular song, although this one is certainly related to the technique of erudite church music. The Troubadour is a true creator who sings and recites his own poetry.
1. He fusses, cleans, dances around the room, and then cleans it.
2. The floor is clean after it has been washed, swept, and vacuumed. Egorka is him. Vacuum cleaner or broom. The broom “walks” around the room more freely.
3. This is a broom.
Here's another riddle:
Moved by the flower
All four petals.
I wanted to rip it off -
He took off and flew away.The historical significance of the music of the troubadours is to constitute the first seigneurial form of secular music. The origin of this troubadour art is in Occitania, a region in the south of France now known as Provence, where the influence of the Greco-Roman Empire persisted more than anywhere else. In the court of the Provençal counts, especially in relation to Leonor of Aquitaine, the custom of celebrating poetic tournaments was introduced, in which gentlemen intervened in the competition for the praise of their lady. Soon the genre of gallant poetry flourished in the language of the Eye, which spread throughout all the courts of Europe on different languages, including the Neft language spoken in northern France.
What should you look for? A flower, but not an ordinary one, but one that can flutter and fly away. This means the flower “flies”. What is he like? It has four petals, they move. It looks like wings.
The answer: butterfly.
6. Children reading their riddles (Appendix No. 1) and justifying their answers. (Appendix No. 2)
7. Theatrical performance "Magic Garden".
Participating:
Vegetable garden: B.Z. is sitting, next to her is the dog Black Nose. Suddenly Masha appears with a basket.
Masha: Hello, grandma! I need different vegetables for lunch. Can I take them from the garden?
P.Ch.N.: Av-av-av! Woof-woof-woof!
B.Z.: My garden is rich. Cabbage, carrots, onions, turnips, sweet peas, and green cucumbers grow in it. It's just not easy to take them. The cunning wizard hid them in riddles, named them after people and put P.Ch.N. guard the garden. Whoever guesses these riddles will be P.C.N. into the garden and let him in.
Masha: What should I do? I can't solve riddles.
B.Z.: And you ask the guys. They are smart, they can guess quickly.
Masha: Guys, can you help me? (The children happily agree.)
B.Z.: Then listen, beautiful maiden, to the first riddle. There is also a beauty in my garden. Guess which one: The girl is sitting in prison, and her braid is on the street. Guess and explain everything, what kind of girl this is, what kind of dungeon she has and what kind of braid she has.
Masha and children: This is a carrot. The dungeon is the ground in which the root crop is located, and the scythe is the top, which is above the ground, on the street. (As soon as the children, together with Masha, solve the riddle and explain everything, P.Ch.N. will help Masha pull out the carrot and show it to all the children .)
B.Z.:What is your name, beautiful girl?
Masha: Masha.
B.Z.: I also have Masha in my garden. Guess which one: Masha is wearing a hundred shirts. Who is this Masha and what kind of shirts does she have?
Masha and children: Masha - she, a hundred shirts in the garden near a head of cabbage. This is cabbage.
(P.Ch.N. shows Masha where the cabbage grows.)
B.Z.: My garden is full of people! Find out who is sitting in the garden bed: Fedosya is sitting with her hair down.
Masha and children: Onion feathers look like hair, and Fedosya is an onion.
P.C.N. helps Masha pull out a yellow onion with long feathers.
B.Z.: Now guess this one: They threw the golden feathers off Yegorushka, made Yegorushka cry without grief.
Masha: I can guess this riddle myself, because it made Yegorushka herself cry more than once. This is a bow.
B.Z.: Well done, guys! They outwitted the wizard, guessed all his riddles and helped Masha pick up a whole basket of vegetables. Masha will prepare lunch for her doll friends, and I will treat you, kids.
(Together with P.Ch.N. B.Z. treats the guys.)
B.Z.: It’s not for nothing that I’m called B.Z.. This dish is also magical. To take a vegetable from it, you need to say about it in a riddle. What would you like to try? What would you treat your friend to? (3)
Children remember riddles or come up with their own.
The red nose has grown into the ground,
And the green tail is on the outside.
We don't need a green tail
All you need is a red nose.
(carrot)
Cheeks are pink, nose is white,
I sit in the dark all day.
And the shirt is green,
She's all in the sun.
(radish)
Seventy clothes, all without fasteners.
(cabbage)
And green and thick
A bush grew in the garden bed.
Do some digging:
Under the bush...
(potato)
Before we ate it,
Everyone had time to cry.
(onion)
In the summer in the garden,
Fresh, green,
And in winter - in a barrel,
Yellow, salty.
Guess it, well done
What's our name?..
(cucumbers)
The green house is cramped:
Narrow, long, smooth,
They sit side by side in the house
Round guys.
In the autumn trouble came -
The smooth house is cracked.
We galloped in all directions
Round guys.
(peas) (3)
8. Making up a riddle.
Now let’s try to make up a riddle about a chamomile ourselves (students are asked to look at an illustration of a huge chamomile).
– What does chamomile look like? individual elements?
– What can you compare it to?
Student answers: the middle of the flower looks like the sun, the petals look like rays, and the stem looks like a thin stem.
Supposed riddle: A golden sun with white rays shines on a thin leg.
Here are some riddles that have already been written about chamomile:
I was walking along the path this morning,
I saw the sun on a blade of grass.
But not hot at all
White rays of the sun.
There is a curl in the field -
White shirt,
Heart of gold.
What is it?
White basket –
Golden bottom.
There is a dewdrop in it
And the sun sparkles.
-What is a riddle?
A riddle is a short description of an object or phenomenon that contains an intricate task.
10. Summing up.
– What new did you learn in class today?
Student answers: Today in class we learned how the riddle arose and how ancient people used it. Learned how to solve riddles correctly. They made up a riddle about chamomile themselves.
Literature used.
- Goder M.S. History of the Ancient World. M.: Education, 2005.
- Children's encyclopedia. M.: Children's book. 1978, volume 10, pp. 27-36.
- Illarionova Yu.P. Teach children to solve riddles, 1985.
- Pushkin A.S. Ruslan and Lyudmila. M.: Education, 1999.
- Russians folk tales. Collection, processed by A.N. Afanasyev, 1982.
- Ugryumova A.D.. Russian names, 1970.
Riddles belong to the small genres of Russian folklore.
Riddles have much in common with proverbs and sayings in content and artistic form. However, they also have specific features and represent an independent genre of folklore.
The term “riddle” is of ancient origin. In the Old Russian language, the word guess meant “to think, to reflect.” This is where the word “mystery” comes from. The riddle gives a substantive description of some phenomenon, the recognition of which requires considerable thought.
Most often, riddles are allegorical in nature. The mystery object, as a rule, is not named, but instead its metaphorical equivalent is given.
To compose a riddle means to give ordinary thoughts and objects a metaphorical form of expression. And vice versa, solve the riddle; replace its metaphorical images with real images
So, in the riddle “In the clearings there are girls in white shirts, in green sheepskins,” you need to make the following replacements on the field: not girls, but birches; birches do not have white shirt, but white bark, they do not have green half-shafts, but green leaves.
The riddle is not just metaphorical asked question, a very cleverly worded question. A riddle is not just a metaphor, but some kind of extraordinary, amazing metaphor. Thus, we are surprised by the allusion to a creature that “has no arms, no legs, but can draw” (Frost). It’s hard to imagine how it can be “There are two types of wine in one barrel” (egg), etc. Riddles are found in small quantities in works of ancient Russian literature (chronicles, everyday literature, “The Tale of Peter and Theophan”).
The first records of riddles date back to the 17th century. In the seventeenth century. until the 70s of the 18th century. riddles, along with proverbs and sayings, were included in various handwritten collections. In the last third of the 18th century. printed collections appear in which, along with riddles of literary origin, folk riddles are also placed in a directed form.
Systematic meeting of Russians folk riddles begins in the 30s of the XIX century. In 1841 I.P. Sakharov published more than 200 riddles in his Tales, unfortunately, some of them were edited by him.
In 1861, a collection of democrat folklorist I.A. was published. Khudyakov "Great Russian mysteries". The riddles in it are arranged in alphabetical order by answer, there are 731 riddles in total.
Using all previously collected materials, D.N. In 1876, Sadovnikov published a large collection “Riddles of the Russian People,” which included more than 3,500 riddles. The arrangement of the material is based on a subject-thematic principle.
In 1961, the collection “Proverbs, sayings and riddles in handwritten collections of the 18th-19th centuries” was published, in which more than 1000 riddles extracted from handwritten collections were published.
In 1968, the Academy of Sciences published a collection of riddles, which published 5,517 issues of this genre, taken from previous publications and archival sources. The material in the collection is arranged on a subject-thematic basis. Notes make it possible to set the time and place of recording, as well as the place of publication or storage of options.
I.A. Khudyakov also believed that the most ancient Russian folk riddles contain features of mythology. However, most of those who survived until the 19th century. riddles, in his opinion, are the result of a peculiar reflection of the historical life of the people. Riddles, according to Khudyakov’s definition, are “folk science” about physical phenomena, about objects natural history and folk life. In the article “The Meaning of Riddles in Folk Life and Poetry,” which preceded the publication of the material, I.A. Khudyakov points to various types riddles, speaking about their connection with other genres of folklore, dwells on the conditions of their existence and functions.
At the end of the 19th century, at the time of the dominance of the positivist trend in Russian academic philological science, there was mainly a collection of riddles. The research addresses only specific issues.
The work of M.A. Rybnikova’s research into folk mysteries was continued by I.M. Kolesnikova, V.P. Anikin, V.V. Mitrofanov and others. The studies of these folklorists provide detailed, general characteristics genre of riddles, the poetics of riddles is considered, their connection with other genres of folklore is shown, the fate of the traditional riddle in the new, Soviet conditions is considered.
Every riddle is, at its core, a tricky question. However, this interrogativeness of hers may or may not have an external form of expression. Riddles can be directly formulated as a question. For example: “What is more beautiful than white light?” (Sun); “What do we have more often than forests?” (stars). However, most often in riddles the question is not expressed outwardly and they are of a metaphorical-descriptive nature. For example: “A plate floats across the blue sea” (Month); “Once upon a time there lived three brothers: one loves winter, the other loves summer, and the third doesn’t care” (sleigh, cart, man).
Riddles, like all genres of folklore, are created on the basis of a living spoken language. The language of riddles, like the language of all folklore genres, is distinguished by accuracy, colorfulness and expressiveness. They widely use general folklore epithets, such as “damp earth”, “open field”, “dark forest”, “green garden”, “good fellow”, “red maiden”, “native mother”, etc., as well as some general folklore comparisons, tautological expressions, etc.
However, the poetic style of riddles also has its own distinct genre specificity; riddles are characterized by a high degree of metaphor, which permeates absolutely all its stylistic means. Let us give examples of metaphorical (mysterious) epithets “blue field” (sky), “water bridge” (ice), “golden stump” (thimble), etc. Sometimes, the riddle is based on metaphorical epithets. For example: “Steel horse, linen tail” (needle with eye), “Meat oven, iron grips” (horseshoes). “The flowers are angelic, and the marigolds are devilish” (rosehip).
Most often, riddles contain their own metaphors, when a comparison of two objects or phenomena does not have an external, grammatical form of expression. For example: “Between two lights, I am alone in the middle” (nose), “Under the floor, under the floor he walks with a stake” (mouse).
In the overwhelming majority of cases, in riddles, objects of the inanimate world are metaphorically compared with living beings, and vice versa, living beings are compared with objects and phenomena of everyday life and nature. This is due primarily to the desire of the riddle to make it as difficult as possible to guess.
The widespread use of metaphors in riddles is also explained by aesthetic considerations. This is especially clearly revealed in cases where in riddles objects of the inanimate world are compared with living beings and we are dealing with the technique of personification. Based on the principle of personification, the riddles compare buckets with two brothers who went to the river to swim, a washbasin with a pike whose body is in the water and its tail out, a shuttle with a duck that dived and lost its tail, etc.
Personification, reviving and spiritualizing the inanimate world, brings it even closer to man, gives the riddle a special poetry, creates vivid images and pictures in it. For example, about teeth, this kind of poetic riddle is created: “A full mountain of geese and swans” (teeth). Oats in riddles seem slender, beautiful girl(“Like in a field, on a mound there is a girl with earrings”). In turn, the girl’s earrings are compared to dancing swans: “Behind the dark forests, two swans danced” (earrings), etc.
By comparing objects being riddled with objects that perform the functions of a metaphor, the riddle always enlarges the image plan, enhances the tone or other attribute of some real object, making it more prominent and significant. This happens because the real object in the riddle is always compared with such metaphorical objects in which the noted feature is expressed more sharply and clearly. So, for example, in order to draw attention to the fact that the firefly is checking at night (and this light is weak, it may not be noticed!), the riddle compares it (though in a negative form) with the sun “Not the sun, not fire, but shining.” For these purposes, the riddle of a beetle digging in the ground is compared with the energetic work of a warrior digging a trench, and the small horns of a beetle with the horns of a bull: “A warrior is walking, digging the earth, on legs without hooves, there are horns, but not a bull.” Wanting to emphasize the severity of peasant work, the riddle compares a man’s shoulders with mountains, and buckets with seas: “Two seas, two griefs on steep mountains hanging on an arc” (buckets on a rocker).
Many fairy tales are created on the basis of fairy-tale images: For example: “Baba Yaga, short leg” (plow), “The horse runs - the earth trembles” (thunder), “The eagle bird flies, carries fire in its teeth, in the middle of it is human death” (lightning ). And here is a riddle that uses the saying: “On the sea, on the ocean, there is an oak tree with death, the shoots are devilish, the leaves are suitcase-like” (burdock).
In turn, riddles are often included in fairy tales. Let's give just one example. There is a riddle about a boiled goose, in which the objects being guessed and guessed begin with the same letters (pech - Pechorsk, pot - Gorshensk, etc.): “In Pechorsk, in Gorshevsk, near Krynsky, Kurlyn Kurlynovich sits.” This riddle is used in various ways in the everyday humorous tale about a greedy old woman (“The Soldier’s Riddle”). Passing soldiers asked the old woman to feed them. But the greedy old woman replied that she did not have any food. Then the offended soldiers, secretly from the old woman, took the rooster out of the pot and hid it in their bag, and put a linden log in the pot. After some time, the soldiers prepared to leave. And the old woman decided to boast that she had led them through, and asked them a riddle: “Why, kids, you are experienced people, you’ve seen everything. Tell me: is Kurukhan Kurukhanovich still alive today in Penskoye, Cherepensky, near Skovorodny? " -" No, grandma! - “And who, kids, will take his place?” - “Lipan Lipanov”, - “Where is Kurukhan Kurukhanovich?” - “Yes, the city has been transferred to Sumin, grandma.”
PROVERBS
Literature:
Lazubin S.G. "Rhythm, lyrics and rhymes of proverbs." In his book: Poetics of Russian folklore. M., 1981, pp. 148-6Z
Mitropolskaya N.K. “Russian proverbs as a small genre of folklore.” Vilnius, 1973
Morozova L.A. " Art forms proverbs." In the collection Questions of genres of Russian folklore, M. 1972, pp. 3-7.
"Children's Literature", edited by A.V. Ternovsky, 1977, pp. 19-21.
A proverb is a small genre of oral folk art, a form of saying that has entered into speech circulation, fitting into one static and logically complete sentence, often rhythmic and supported by rhyme. It is characterized by extreme brevity and simplicity. Despite this, it is distinguished by its content, represents a clear judgment, a clear expression of a certain thought, a generalization, a conclusion from life observations, a conclusion from life observations and the socio-historical experience of the people: “Peace and harmony is a great treasure”, “What goes around comes around” you will reap." The form of the proverb is honed and polished. The expression of thought in it, as a rule, is unusual, peculiar: “Bitter is used to heal, but sweet is used to cripple”, “A man without a homeland is like a nightingale without a song.”
The collection of proverbs is much broader than any other genre, covering the most diverse aspects of reality, while other genres have a specific subject of depiction: epics and historical songs relate to the past, the history of the people, love and family songs - personal relationships of people, etc. Even fairy tales, although they include several genre varieties (tales about animals, fairy tales, family tales) are much more limited thematically than proverbs.
The totality of folklore - traditionalism - is also expressed in other ways in proverbs. They are more stable in their text, they vary less than other genres, although, of course, they obey the general law of the connection between oral folk art and life, they change, but their changes are very limited. The people are well aware of the antiquity and traditionality of proverbs: “The old proverb of centuries will not break.” The basis for the stability of proverbs is the inherent accuracy of life observations and the importance of the thoughts expressed in them, which is why people value and protect them. An important reason for the stability of proverbs is the expressiveness and rigor of their form, which makes them easy to remember. The stability of proverbs is confirmed by the fact that their texts in the vast majority of cases are registered without any changes in collections of the 17th, 18th, 19th and 20th centuries.
Thanks to the specific expression of the general, a proverb can be applied to many similar phenomena. This method of generalization provides the basis for the use of proverbs in a figurative meaning. The allegorical nature of proverbs is their characteristic feature. In proverbs direct meaning Combines with portable one. In proverbs, the direct meaning is combined with the figurative: “Let the goat into the garden, he will rip off all the cabbage.”
However, it must be said that the ability of proverbs to be allegorical is clearly exaggerated in the literature on proverbs. The exaggeration lies in the fact that many folklorists consider it possible to use any proverb in this sense. But that's not true. There are many proverbs that cannot be used in a figurative sense. For example: “Friends are known in adversity” (this proverb speaks only about close comrades), “Braid, maiden beauty,” “Truth is more valuable than gold.”
The collection of proverbs began a long time ago, but handwritten collections of them have reached us only from the 17th century. The first such collection is “Tales or Popular Proverbs in Alphabet.” It included about two thousand eight hundred texts from earlier collections. Peter I read handwritten collections of proverbs at the beginning of the 18th century. From the middle of the 18th century. proverbs began to be published in magazines, and then printed collections appeared. In 1769, N. Kurganov published the book “Russian Universal Grammar or General Writing,” where he included about 1000 (thousand) proverbs.
In 1770, the “Collection of 4221 ancient Russian proverbs” was published, which, according to researchers, was compiled by Moscow University professor A.A. Barsov. In addition to proverbs, it included jokes and sayings.
The collection of proverbs was carried out by Moscow University professor I.M. Snegirev. He released two collections: “Russians folk proverbs and parables" (1848) and "New collection of Russian proverbs and parables" (1857). F.I. Buslaev in the “Archive of historical and legal information relating to Russia” (1654). "Russian proverbs and sayings." These valuable publications had, however, a number of disadvantages: combinations of works different types(proverbs, sayings, parables, jokes, etc.) lack of very important socially important examples, especially satirical ones.
Popular collections of proverbs and sayings were later compiled on the basis of Dalev’s collection. Collections of special topics were published: agricultural, legal. I.I. In 1940, Illustratov published the book “The Life of the Russian People in Its Proverbs and Sayings” in Kyiv. It contains rich material that sufficiently objectively illuminates the views of the people, and a detailed bibliography is given.
The study of proverbs should be carried out from M.V. Lomonosov, who collected proverbs and studied them in connection with Russian language studies (“Russian Grammar”, “Rhetoric”). At the beginning of the 19th century. A.Kh. studied proverbs. Vostokov. In 1816 A.F. Richter published “Two Experiments in Literature. Reasoning about Russian proverbs", he showed the connection of proverbs with life, the reflection in them of the views of the people.
I.M. studied proverbs for many years. Snegirev. In 1823 he published “Discourse on Russian Proverbs”, in 1829 he published the article “Notes on Russian Proverbs Similar to Greek and Roman”, in 1831-1834. published the book “Russians in their proverbs. Reasonings and research on Russian proverbs and sayings.” I.M. Snegirev, for the historical explanation of many proverbs, showed their wide distribution. In the middle of the 19th century. proverbs studied by A.N. Afanasyev and F.I. Buslaev. In 1854 F.I. Buslaev published the article “Russian life and Russian proverbs.” It contained many observations on the relationship between proverbs and folk life. However, N.A. Dobrolyubov, in the article “Notes and additions to the collection of proverbs of Mr. Buslaev,” criticized the collection for insufficient disclosure of folk views, for not distinguishing between proverbs and sayings, for the mythological interpretation of proverbs and their separation from people’s life.
At the end of the 19th century. The study of proverbs received a new direction: scientists took up the history of proverbs, the formation of their composition, as well as their linguistic study.
In 1897, I. Timoshenko published the book “Literary Primary Sources and Prototypes of Three Hundred Russian Proverbs.”
In the modern period, research has begun to study the problems of proverbs. Considerable attention is paid to the definition of the genre, the relationship between proverbs and sayings, aphorisms and proverbs, and the specifics of proverbs as a small genre (A.N. Kozhin, V.S. Gudkov, L.A. Morozov). Researchers have devoted a lot of work to examining the syntax of proverbs, features of vocabulary, proper names, and numbers. Covered the issues of reflecting history (V.P. Anikin, A.M. Zhigelev, L.N. Pushkarev).
The cognitive value of proverbs is determined primarily by the variety of information that is conveyed in them. Overall, a broad picture of Russian life is created, reflected realistically. Proverbs give ideas about the views and opinions of the people, about their understanding of the phenomena of reality.
The cognitive meaning of proverbs lies in the fact that they typify phenomena, i.e. identify the most significant ones among them and note the most significant features in them. Thus, speaking about the situation of the peasants in Tsarist Russia, they will talk about his poverty, and about his landlessness, and about his lack of livestock, and about his debt in payment for land rent. You will get a fairly complete and accurate picture.
The cognitive meaning of proverbs is reflected in the generalization of the rich life experience the masses. The observations on nature are exceptionally rich and true: “Mother Earth provides treasure,” “Siberia is a goldmine,” “The willow will not bear pears,” “Where there is a flower, there is honey.” In addition, proverbs often have, as noted, an expansive meaning, which is emphasized by generalizing words: “everywhere”, “always”.
Proverbs are a philosophical genre. They contain many important general conclusions about the patterns of development of nature and society: “Time does not sleep”, “The old ages, the young grows”, “You can’t catch up with yesterday, and you can’t escape tomorrow”, “Even a boil won’t set without a reason”, “Where there was no beginning, there will be no end.”
Proverbs serve to instill positive ideals - courage, honesty, a sense of friendship, set an example of highly moral behavior, operate with the concepts of good and evil, honor and dishonor. Teachings and advice are often presented as ridicule negative qualities people.
There are a lot of proverbs with a clearly expressed morality: “Take care of your honor from a young age,” “If you sow a lie, rye will not grow,” “Work feeds a person, but laziness spoils,” “Loving someone else’s husband means ruining yourself,” “Get together, it won’t be burdensome,” “If you don’t study, you can’t weave bast shoes.”
The aesthetic value of proverbs is manifested in many ways. A proverb is a phenomenon of high skill. It embodies aesthetic principles that are highly valued in art: simplicity, brevity, meaningfulness, expressiveness. People ironically talk about verbosity: “There are many words, but no structure.”
A proverb, like any genre, is a meaningful form, a structure, the main difference of which is its internal artistic unity. The proverb expresses this with amazing clarity. There's a lot of meaning in one sentence.
In addition, the proverb reveals its purposefulness. All elements are subordinated to the task of revealing the thought more accurately, expressing it more clearly, thereby achieving concentration of thought. The internal unity of a proverb is also determined by its monotonous theme, its focus on one fact or phenomenon. A proverb is characterized by two main forms of construction: one-part and two-part. Both forms are a sentence fastened according to the rules of connection and coordination: “Every pine tree makes noise in its own forest,” “An empty mill grinds uselessly,” and the second is distinguished by the inextricable connection of two parts of a complex sentence: “White light is not an outskirts, and empty speech is not a proverb.” .
Finally, a unique feature of the proverb is that its form completely coincides with the stylistic means used in it - comparison and antithesis. In a song, fairy tale, or epic, these means are only small elements of the structure, but in a proverb they become the basis of its composition: “Behind an old head, like behind a stone wall,” “Happiness without the mind is a holey bag,” “Time for business is fun.” - hour”, “A bird has wings, a man has a mind.” In the above examples, it is important to point out that the use of comparisons of antithesis and metonomy, on the one hand, serves to convey a certain thought, and on the other hand, preserves the integrity of the proverb.
As already noted, proverbs generalize observations and thoughts of the people about the social structure and humanity, and relate not to one, but to many objects and phenomena.
Proverbs talk about man’s place on earth (“Fish have water, birds have air, and man has the whole earth”), his attitude towards other people (“Man stands for man”), and give moral advice to man (“Take care of your honor from a young age”).
Proverbs are widely used in literature lessons. They help students gain a deeper understanding general principles verbal art, comment on similar themes in works of Russian literature. In Russian language lessons, proverbs and sayings are the basis of lexical and phraseological work with students, material for the study of various linguistic phenomena.
PROVERBS
Sayings belong to small genres of folklore. In most cases, they are even more brief than proverbs. Like proverbs, sayings are not intentionally performed (not sung, not told), but are used in live speech for the occasion, by the way.
At the same time, sayings differ significantly from proverbs in the nature of the content, in the form, and in the functions performed in speech.
Sayings have their own specific genre characteristics. If the role of a proverb is expressed in the fact that it draws certain conclusions in speech, then the purpose of a proverb is to decorate this speech, to make it figurative. In its structure, a saying is simpler than a proverb. Proverbs are used only in connection with certain persons and their actions and have a completely specific content. According to the definition of A.A. Potebny, a proverb is “an allegorical image of a single quality or action.”
Depending on which specific person or action in speech the saying refers to, the sentence in which it is given also changes. Due to the above, a saying, unlike a proverb, in speech does not and cannot form a whole, complete sentence, but is part of it.
The scientific approach to sayings, as well as to proverbs, first appeared in the articles of I.M. Snegirev, published in the 20-30s of the 19th century. In the works of V.I. Dahl and A.A. Potebnya provides a brief but profound definition of the genre specificity of sayings, and establishes their relationship with proverbs.
The article by M.A. is of greatest interest. Rybnikova “Russian proverb”, which reveals the content and forms of sayings. According to Rybnikova’s correct definition, the main purpose of sayings (as opposed to proverbs) is expressed in the fact that they serve the figurative and emotional characteristics of a person and his actions. The study of the genre specifics of sayings is also devoted to the works of V.P. Anikina, G.S. Gavrina, A.N. Kozhina and others.
The vast majority of sayings are figurative and emotional characteristics of people. Moreover, this characteristic of people is very multifaceted, and in a speech context it is always specified and individualized. According to the conclusion of the proverb, in popular speech “There is a saying for every Egor.”
The artistic functions of sayings are quite diverse. First of all, through sayings, vivid external portraits of people are created. Portrait characteristics can be positive and negative. An example of a positive portrait: “Red as the color of poppies.” Negative portrait: “An oborist is like a cow on ice.”
However, sayings depict not only the external features of people, but also figuratively speak about their inner state of mind. So, about a person who is in a joyful mood they say: “He walks like a mocker, he jumps like a goat.” About a person experiencing deep emotion, fear, irritation, etc., the saying says: “He reached the white colony,” “He’s climbing the wall.”
Sayings figuratively convey certain qualities of a person, features of his character. About a simple, open person: “Soul wide open.” About a secretive and hypocritical person: “There is honey on the face, ice on the heart.” About a sincere, soft person: “Soft as wax.” About a callous, soulless person: “Not a soul, but only a handle from a ladle.”
Sayings give an emotional assessment of various actions and deeds of people: “Not in the eyebrow, but right in the eye”, “Pour from empty to empty.”
In sayings we find a social characteristic: “He has money, the chickens don’t peck” or “He’s as tall as a falcon”, “Neither a fence nor a gateway.”
The main purpose of sayings is to colloquial speech add color and imagery. Sayings also help enhance emotional expressiveness.
In sayings, figurative means of living spoken language are very widely used: comparisons (“He has a head like a falcon, but is as sharp as a razor”, “It spins like a squirrel in a wheel”), metaphors (“Add fuel to the fire”, “Stay with nothing” ).
Sayings, being a figurative expression of living colloquial speech, often end up in fairy tales.
Tongue twisters
Harmless and cheerful word game for older children is the rapid repetition of difficult to pronounce rhymes and phrases. This is a tongue twister. She combines words of the same root or consonant: “There is grass in the yard, there is firewood on the grass,” “The cap is not sewn in the Kolpakov style, you need to re-cap it and re-cap it.” It is difficult to decide who is the creator of these tongue twisters - children or adults. At least some of them (namely those with immodest meaning) are unlikely to have been created by children.
Prokop has arrived, the dill is boiling,
And dill is boiling under Prokop,
And Prokop left, the dill was boiling,
And without Prokop the dill is boiling.
A man was walking from the market
They say in the bargaining
Not about pooping,
Not about the hem,
They are talking about an assassination attempt.
Good beavers go into the forests.
In the stove there are three chocks, three geese, three ducks.
In one, Klim, stab the wedge.
