Subject: "Oral folk art Russian
people."
Goals:
To consolidate and generalize children's knowledge about folklore genres
Teach to recognize folklore genres
Develop speech, memory, logical thinking children
Cultivate a love for Russian literature and folk art
Foster a sense of patriotism
Equipment: homemade books prepared in advance by children “Proverbs”, “Sayings”, “Riddles”..., cards with proverbs, a large homemade book “Oral Folk Art”, an exhibition of children’s drawings for folk tales.
The plates which illustrate this Magazine are sold, as published, at the modest price of 2 cents per square centimeter. There are views of Chile and the Russo-Japanese War. On the other hand, when it comes to engravings with greater detail, sometimes a mark of perhaps Spanish or French artists is noticed. This gave rise to many setbacks for the actors of the Chilean printed cultural circuit.
This recommendation was not accepted, judging by the continuity of this gesture of appropriation of images, a gesture that leads to a complete reconversion of them and, therefore, of their immediate meaning and significance in the entire graphic repertoire of sheets of poetry. Wood engraving had a controversial status in a country halfway between fine arts, sanctioned by science and craft, or even the making of a craft, rooted in practical learning and with commercial and industrial applications. The latter is important when considering the procedures for printing images in large quantities and at low cost, in addition to reusing them, as was the case with the popular lyre.
Progress of the lesson.
Introduction.
And Ivan come, and Stepan come,
And Sergey come, and Matvey come,
And Nikitushka - well, please!
Everyone, everyone, come to our lesson. Today we will have an exciting journey to a country called “Folklore”. And the buffoon Ivashka will help us on our difficult journey.
All types of literary works are illustrated. The paths between formal art education and the pastiche of popular graphic art, whose radio emissions do not necessarily converge, can only be seen. The performers of the most representative graphic materials of the Popular Lyre were left in the dark. It is known that sometimes some of their own puets performed engravings; according to Lenz, Adolfo Reyes was one of them, and Jorge Octavio Atria treated the other with equal ability, but did not name him.
According to a German linguist, these engravings were "almost always incredibly crude" and were usually titled "tragedy, murder, criminal case, accident and other sensational cases." Lenz added important fact: Such Original engravings are made only by special order of the poets, who pay for them from two to three pesos and keep them as their property to reuse them at other times more or less favorable.
Look what Ivashka brought with him. Yes, yes. Some kind of book. Let me see. Let's read it. "oral folk art". What is this, Ivashka?
Ivashka. This book will also help us on our journey.
^ Blitz tournament.
- What is oral folk art?
From this it is clear that the woodcuts had the immediate purpose of illustrating or visually enhancing the content - usually the narrative - of certain document texts, many of which obscured newspaper news. Considered as a closed unit, the individual composition referred to a “fact of sensation”, and for this it needed an iconographic correlation left by the hands of the artisan. For this reason, in some cases the connection between a popular woodcut and the content of certain texts is obvious, since the referential load of the image even takes into account some of the details presented in the poems.
- Why is our book decorated in such a pattern?
What genres of CNT do you know?
Determine the genre of the work:
Learn good things, bad things will not come to mind. (proverb)
One, two, three, four, five,
We'll play hide and seek.
Stars, month, meadow, flowers
Come and drive! (counting)
White cotton wool floated somewhere. (mystery)
However, this occurred in a specific situation where the engraving was made to order and for a timely occasion. As Lenz noted, the pouets did not discard the wooden blocks containing the image matrix, but reused them over and over again, sometimes making slight modifications to adapt them to the unforeseen circumstances and needs of the moment. Thus, many of the crimes mentioned bear the same etching, although this does not correspond to the characteristics, professions or gender of the characters involved.
Something similar happens with other poetry subject matter items because there is a lot of repetition of images with performance-related lyrics. Contemporary observers warned that, at least to their enlightened canons, the relationship between text and image was arbitrary or fanciful. To our eyes, this may also be the case at first, especially when it comes to worksheets that include printables. In many of the leaves they appear to have been used only as decoration, or to add a striking object to the empty space of the surface intended to contain images, the abundance of which might have contributed to the sale.
Little blue little ones are flying,
Lyuli, lyuli, lyulenki,
The ghouls are flying over there, over there,
They bring Masha a dream, a dream.
Masha began to fall asleep. (lullaby)
Fuck - fuck - ramblings.
A mouse rides on hedgehogs.
Wait, prickly hedgehog,
I can't bear to go any more,
You are very prickly, hedgehog. (a nursery rhyme)
One, two, three, four, five,
Six, seven, eight, nine, ten -
The problem with derivatives is the specific communicative intent of the woodcuts, given their complementary relationship with the texts. They seem to serve a narrative function, for which they resort to figurative and highly referential language. However, such language was somewhat paradoxical. With great economy of means, puets, recorders and printers created a visual language that strives for meaning, for the loss of referential content, subordinate to the use of a limited set of graphic resources that, in the form of movable and interchangeable matrices, allowed the narrative of the social and political universe of the country.
The white moon floats out.
Who will reach the month?
He will be the first to drive. (counting)
You are a hamster
And you are a ferret,
You are a little bunny, jump and hop,
You are a fox
You are a marten
You are a craftswoman beaver.
You are a hunter.
Oh, trouble!
Run away in all directions! (counting)
A goat walked along the bridge
And wagged her tail,
Got caught on the railing
Plebian version of the bourgeois portrait: presidents in the hands of popular engravers. The original source of images of presidents comes from official portraits in which they appear soberly dressed and with the tricolor presidential band written on their chest as a badge. Various formats and methods were used to immortalize their features. While oil portraits were intended for a select audience, the virtues of mechanical reproducibility, analyzed by Walter Benjamin, helped bring the president's face to the streets.
It landed right in the river.
Who doesn't believe is him,
Get out quickly! (counting)
Sasha sewed a hat for Sanka. (patter)
^ Riddles competition.
Ivashka. The house is open on all sides.
It is covered with a carved roof.
Come to the green house -
You will see miracles in it. (forest)
What did I wish for?
Do you know the riddles?
Thus, lithographic portraits, as well as - at the turn of the century - photographic ones, began to appear in both the official and periodical press. But a later symbolic form is the bourgeois photographic portrait, which in Latin American countries gave the visual presence and social identity of elites until the middle of the century and gradually, as in Europe, to middle social groups and popularity, as studies in different countries region. Thus, Chilean leaders are portrayed as bourgeois, with all the conventions of the genre.
Read the title of the first page of our book. That's right, "Riddles".
The cat went into the street,
The cat bought a bun.
Should I eat it myself?
Or demolish Borenka?
I'll bite myself
Yes, I’ll demolish Borenka too.
Vasnetsov drew a cat wearing felt boots with a pink pattern, with a pink bow - what would a cat be without a bow! He also gave a stick to his paws so that the cat wouldn’t slip. And there is such beauty all around! It’s a frosty day, the houses are covered with white fluffy caps, and there’s a dance of snowflakes around the lantern.
One of the requirements of this was to maintain what Carlos Reyero calls a “strict imaginative characterization,” first establishing that all gender differences were indicative of an unbalanced distribution of power. As an embodiment national project of the nineteenth century, each president stood before the camera with the sobriety, discretion and seriousness required by the office he was now invested in, but also knowing that his office was not a republic of equal citizens. The official image in this sense acted as a powerful and persuasive discursive tool.
Black on green.
He shakes his head
He waves his black mane,
The golden bridle rattles.
The artist decorated the frisky horse with pink bows. I painted it with green apples. The mane and tail are curled and the saddle has a colored pattern. The whole picture is warm, bright yellow. The red sun has blossomed in the sky like a flower, and the ducks are flying with bouquets in their beaks - apparently they are in a hurry to visit.
There was a confluence of interests between the state and the emerging publishing market in pressing and distributing someone else's president on duty. During election campaigns, such interest was shown by candidates who competed for the presidency. IN general outline, there are elements of the “cult of personality” that contributed to the culture of the novice masses in both European countries and Latin America.
One of them was a special type of publication, almanacs; the other is an exhibition of photographs in research display cases dedicated to this office. Located in the main streets of Santiago and Valparaiso, they spare no resources to present their technical achievements and high level of competence in the new art of the mechanically reproduced image.
Cockerel, cockerel,
Silk beard!
Don't you let Vanya sleep?
6.Oh you, owl - owl,
You're a big head!
You were sitting on a tree
You turned your head -
She fell into the grass,
She rolled into the hole.
Night has fallen. The night is dark, with large, mysteriously twinkling stars. An old tree and a yellow-eyed owl froze in alarming silence - an owl on a dry branch.
E. President of the Republic Don Jorier Mont in uniform with a presidential ribbon crossed into the chest. However, given the variety of visual sources and graphic tools hidden within the Popular Lyra, the same personas were put to paper in the form of woodcuts. That is, engravers and printers seem to have taken the official model to reinterpret it according to their own aesthetic work, based on famous woodcuts. Hence the great similarity is that many of these new presidential speeches are preserved with their original graphic models.
Ivashka. Guys, what other nursery rhymes do you know?
……..
^ Team tongue twister competition.
Buffoon. Next stop... (turns the page of the book, the children read)
"Tongue Twisters"
Now let's check if you guys know them. Teach me…………………………..
The portraits are photographed on a sheet by Daniel Menesse, Colonel. On the left is Federico Errazuriz, following the canon of bourgeois portraiture before him. investiture. On the right is an unidentified character representing defeated candidate Vicente Reyes. It is difficult to say that whoever made the engraving took exactly the same photograph as the model; one way or another, considering that other profile portraits of the same person are common in the country. Regardless, there are enough elements to establish similarities between the two images.
The pose, as various scholars have warned about the historical use of images, is a clear indicator that it is a constructed image, mediated both by the photomechanical processes of the camera and by the conventions—aesthetic and social—and artificial of the genre in which the image is inscribed. In this particular case, the way Rizko posed for the lens makes him dominate the bourgeois portrait.
Teacher. Now let's take a little rest and play a nursery rhyme:
Okay, okay!
Where were you?
At grandma's.
What did you eat?
What did you drink?
Mash.
Butter porridge,
Sweet mash,
Grandma is kind,
We drank and ate,
We flew home
They sat on their heads,
The little girls began to sing.
^ Proverb competition.
…………………………………………………………………………………………………
Left: photographic portrait of Herman Risco. Below: Rough woodcut for the dialogue between Don Yerman Risco and the rotiton of the North regarding. owners of saltpeter Tarapacá, Colonel. The woodcut preserves more than the single arrangement emanating from the portrait. Some facial features are recognizable in this and this, especially the thick beard that covers the middle of the cheek. The progress of the engraving that draws short hair and hairstyle, also close to the photographic version. More striking is the costume match you saw in the item.
Ivashka. And now the “Finish the proverb” competition. The one who draws a “ticket” with a proverb and correctly names its end will also receive a prize.
Where is the courage...
No friend -...
All for one...
It’s time for business...
Patience and work...
Seven times...
Without difficulty...
The sun paints the earth...
Hurry...
The frost is not great...
Don't rush your tongue...
December…
Ivashka. Well, they completely killed me. You can't be talked over. I'm even tired.
The image of the leaf very well reflects one of the characteristics of the identifiers contained in photographs of dominant groups, which, together with their dressing, teach them as members of a larger social conglomerate. In this case, the engraver was concerned that he had given a punctual signal: the presidential group had clearly shown the identity of the person depicted to the readers.
The predominance of the same is enhanced by the relative size with which he was placed in the sheet with the other characters. An equally significant aspect that contributes to the delimitation between numbers is the position of the body. While the three symbols on the left are arms and hands separated from the chest, in the movement of the movement the figure representing Riesco is motionless. This trumps the fact that he only drew it at shoulder height with his arms down. A more accurate reading is how the Chilean elite tried to project their public image, an issue already seen in Risco's photograph, where the restraint of the body reinforces the sobriety of the clothing.
Teacher. And you, Ivashka, rest for now, and the guys and I will remember in which Russian folk tales we encountered proverbs. What are they talking about? Explain…………….
…………………………………………………………………………………………….
Teacher. Well, Ivashka, have you rested? It's time for us to move on. What's the next page in the book? Turn it over!
^ Fairytale page.
- What is a fairy tale?
- What do you know about the saying?
What words usually begin folk tales?
What characters are often found in folk tales?
What types of fairy tales do you know? Give examples.
Buffoon.
Can you ask me a question?
Teacher.
Certainly.
Buffoon.
Which of the fairy tales you read did you like best? Why?
Teacher.
Show us these fairy tales. (dramatization)…………………………….
………………………………………………………………………………
Teacher. Look, Ivashka, here are children’s illustrations for various folk tales. Now we’ll give you an exam too. Guess which fairy tales these illustrations are for.
……………………………………………………………………………………
Teacher. Ivashka, our journey ends.
Buffoon. Can you ask me one last question?
Teacher. Only for a short time.
Buffoon. Guys, let's write a fairy tale ourselves. I will start, and you will continue along the “chain”.
“In a certain kingdom, in a certain state...”……………………………
……………………………………………………………………………………
Summing up.
Teacher. Now let’s summarize………………………………………………………
…………………………………………………………………………………………
Buffoon. Thanks everyone. Can I still come to you? ?
Children. Of course, come.
Buffoon. Thank you and goodbye.
Teacher. Goodbye.
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 attribute 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. 148-6З
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 is, as a rule, 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 in the literature on proverbs is clearly exaggerated. 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 trouble” (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 published two collections: “Russian 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 a 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, but 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 monotony, 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 (“Water is for fish, air is for birds, and the whole earth is for man”), 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 saying 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 represent 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 internal state of mind. So, about a person who is in a joyful mood they say: “He walks like a mocker, 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 with 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 pokrorm,
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.
