Ballad Avdotya Ryazanochka hyperbole constant epithets of comparison. Recommendations for independent work

The term "ballad" comes from the Provencal word and means "dance song". Ballads originated in the Middle Ages. By origin, ballads are associated with legends, folk legends, they combine the features of a story and a song. Many ballads about a folk hero named Robin Hood existed in England in the 14th-15th centuries.

The ballad is one of the main genres in the poetry of sentimentalism and romanticism. The world in ballads appears mysterious and enigmatic. They are bright characters with clearly defined characters.

The literary ballad genre was created by Robert Burns (1759-1796). The basis of his poetry was oral folk art.

A person is always at the center of literary ballads, but the poets of the 19th century who chose this genre knew that human strength does not always make it possible to answer all questions, to become the sovereign master of one's own destiny. Therefore, often literary ballads are a plot poem about a fatal fate, for example, the ballad "Forest King" by the German poet Johann Wolfgang Goethe.

The Russian ballad tradition was created by Vasily Andreyevich Zhukovsky, who wrote both original ballads ("Svetlana", "Aeolian harp", "Achilles" and others), and translated Burger, Schiller, Goethe, Uhland, Southey, Walter Scott. In total, Zhukovsky wrote more than 40 ballads.

Alexander Sergeevich Pushkin created such ballads as "The Song of the Prophetic Oleg", "The Bridegroom", "The Drowned Man", "The Raven Flies to the Raven", "There Lived a Poor Knight...". Also, his cycle of "Songs of the Western Slavs" can be attributed to the ballad genre.

Mikhail Yuryevich Lermontov has separate ballads. This is the Airship from Seydlitz, the Sea Princess.

The ballad genre was also used by Alexei Konstantinovich Tolstoy in his work. He calls his ballads on the themes of his native antiquity epics ("Alyosha Popovich", "Ilya Muromets", "Sadko" and others).

Entire sections of their poems were called ballads, using this term more freely, A.A. Fet, K.K. Sluchevsky, V.Ya. Bryusov. In his "Experiences" Bryusov, speaking of a ballad, points to only two of his ballads of the traditional lyrical-epic type: "The Abduction of Bertha" and "Divination".

A number of comic ballads-parodies were left by Vl. Soloviev ("The Mysterious Sexton", "Knight Ralph's Autumn Walk" and others)

The events of the turbulent 20th century once again brought to life the literary ballad genre. E.Bagritsky's ballad "Watermelon", although it does not tell about the turbulent events of the revolution, was born precisely by the revolution, the romance of that time.

Features of the ballad as a genre:

the presence of a plot (there is a climax, a plot and a denouement)

combination of real and fantastic

romantic (unusual) landscape

mystery motif

plot can be replaced by dialogue

conciseness

combination of lyrical and epic beginnings

Avdotya Ryazanochka

With the invasion of Batu and the ruin of Ryazan in 1237, two outstanding artistic images created by the genius of the people are connected - Yevpaty Kolovrat and Avdotya Ryazanochka. The legend about Avdotya Ryazanochka, composed, apparently, in the middle of the 13th century, has been preserved in the oral song tradition, it has been preserved and carried through the centuries by the people's memory. One of the songs about Avdotya Ryazanochka was recorded on August 13, 1871 at Kenozero by A.F. Hilferding from the sixty-five-year-old peasant Ivan Mikhailovich Lyadkov. Known for "Avdotya Ryazanochka" and arranged by the wonderful Russian writer Boris Shergin.

According to its genre characteristics, as well as its content, "Avdotya Ryazanochka" can be attributed both to ballads (it has a plot), epics (it "suggested" like an epic), and historical songs (it is historical in its essence, although specific historical realities were not preserved in it).

But its main advantage lies in the fact that it is in this work of oral folk art that the heroic image of a Russian woman is created.

The song begins with a picture of the Tatar invasion.

Glorious old King Bahmet Turkish

He fought on the Russian land,

He mined the old Kazangorod undergrowth.

He de stood under the city

With your force-army

There was a lot of this time, time,

Yes, and ruined Kazan "the city of undergrowth,

Ruined Kazan-de-city for nothing.

He cut down all the princes-boyars in Kazan,

Yes, and the princess-boyar

He took those alive.

He captivated the people many thousands,

He led the Turkish to his land.

There are at least two anachronisms here. The first one is “Turkish king” and “Turkish land”, the second one is “Kazan under the forest”. These are late replacements for the Tatar tsar and the Tatar land and Ryazan. The ancient song was a response to the invasion of the hordes of Batu and the ruin of Ryazan in 1237. Ryazan was the first to take the blows of the invasion, suffered a terrible defeat - this event was described in the book "The Tale of the Ruin of Ryazan by Batu", where, along with accurate chronicle details, folk songs also found a place. The story ended with a story about the revival of Ryazan: Prince Ingvar Ingorevich "renew the land of Ryazan, and put up churches, and protect monasteries, and comfort strangers, and gather people." In a folk song, the same feat is performed by a simple “young woman” Avdotya Ryazanochka (by the way, the name “Ryazanochka” speaks of the places where the events took place). But she does it in a completely different way. There is a lot of fantastic, extraordinary in the song. On the way back, the enemy king sets up “great outposts”: deep rivers and lakes, “wide open fields, thieves-robbers” and “dark forests” filled with “fierce beasts”. Avdotya Ryazanochka was left alone in the city. She goes to the "Turkish land" - "full to ask." She manages to almost miraculously overcome obstacles. “She lays the cross according to the written one, And bows, you know, in a learned way,” and turns to Bakhmet:

I stayed in Kazan alone,

I came, sir, to you myself, yes,

Would it not be possible to release a captive to me to the people,

Would you like your kind-tribe?

Further dialogue between the "king" and the "young woman" develops in the spirit of the old epics. The tsar marveled that Avdotya passed all the “great outposts”, overcame all obstacles and was not afraid to appear before him, and the tsar gave her a task:

“- Oh, you, young wife Avdotya Ryazanochka!

Yes, she knew how to speak with the king,

Yes, know how to ask the king for a full de head,

Yes, which little head will not be amassed for more than a century. ”-

The “young woman” copes with this task, showing the properties of a fairy-tale or epic “wise maiden”.

“And don’t make me that little head,

Yes, dear beloved brother.

And I’ll never see my brother forever and ever.”

Here is the key to solving a difficult problem: all relatives can be "acquired" - except for a sibling. Avdotya's answer is not only correct, but also, it turns out, affects Bakhmet himself: he admits that his beloved brother died during the invasion of Russia. The Tatar tsar was surprised by a courageous woman from the land of Ryazan, her ability to speak, reason, he let go of all the husbands of Ryazan: “Yes, you, young wife Avdotya Ryazanochka,

You take your captive people,

Yes, take them to Kazan to the last.

He let go on the condition that a song about Avdotya be composed and the Horde would be mentioned in it in a good way. The heroism of a simple defenseless woman who came to the Horde, famous for bloody raids, devastation and cruelty, made the Tatar king imbued with respect for her, and her wisdom conquered the storm of Russian lands. Not a male warrior, but a female worker "won the battle" with the Horde. She stood up for her family, and thanks to her courage and intelligence

“Yes, she built Kazan-city anew,

Yes, since then Kazan has become glorious,

Yes, since then Kazan has become rich,

Is it here in Kazan that Avdotyino's name was exalted ... "

The image of Avdotya-Ryazanochka is the immortal image of a woman-savior, ready to overcome any obstacles for the sake of her neighbors, to go through any trials, showing complete selflessness and fearlessness in the face of danger. She combines the wisdom of a woman and the courage worthy of a warrior, and embodies the ideas of the people about women's feat, about women's heroism, and about the possibility of defeating the enemy not by physical strength, but by spiritual strength, dedication and love.

The heroism of a Russian woman in the epic "Avdotya Ryazanochka"

The epic "Avdotya Ryazanochka" is a folk tale about the courage of a simple Russian woman who has been doing housework all her life, raising her son, loving her husband, weaving, spinning, washing, cleaning. There are millions of such women in Russia. But trouble came: the "Blue Horde, with fires, with deaths" flew into their native lands, demanding from the Russian princes to pay tribute to the Tatar Khan.

The Ryazans fought hard, But the Tatars could not repulse, The cities of Ryazan could not be defended. The river carried away the dead, the Horde carried away the living.

For three days Avdotya Ryazanochka walked through the ashes, crying out for her husband, son and brother, captured by the Tatars. And she went to the Tsar of the Tatars "to the midday countries." She walked for more than a year, starved, experienced many hardships. She appeared before the Tatar tsar small, dirty, emaciated, in bast shoes, and around were armed soldiers, herds of horses well-fed, golden tents. She was not afraid of the terrible king, she only asked to be allowed to see her relatives. The Tatar tsar was surprised by a courageous woman from the land of Ryazan, her ability to speak, reason, he released all the husbands of Ryazan, on condition

we see that a song will be composed about Avdotya and the Horde will be mentioned in it in a good way.

The heroism of a small defenseless woman who came to the Horde, famous for bloody raids, devastation and cruelty, made the Tatar tsar imbued with respect for her, and her wisdom subdued the storm of Russian lands.

This epic is remarkable in that not a male warrior, but a female worker "won the battle" with the Horde. She stood up for her relatives, and thanks to her courage and intelligence, "Ryazan went out of the crowd."

VASILIY ANDREEVICH ZHUKOVSKY

Poetry and life in ballad"Svetlana" V. A. Zhukovsky

V. A. Zhukovsky is a famous poet, a master of the poetic word, a fine connoisseur of Russian culture and folklore.

The life of a Russian person used to be closely connected with traditions and rituals. According to the signs of fate or nature, the life and activities of one person or an entire family were corrected.

Once on Epiphany evening, the girls wondered ...

Fear of the unknown, curiosity, the desire to know the fate of loved ones pushed for fortune-telling. Wealth or poverty, marriage or loneliness, life or death, eternal wandering or settled life in the family circle - everything will be told by fortune-telling on holidays.

V. A. Zhukovsky, the son of the landowner Bunin and the captive Turkish woman Salkha, knew the Russian soul, loved the Russian outback, felt nature. In the ballad "Svetlana" all this merged

together, and as a result, the sadness of the soul, the fear of loss, was exposed. The poet's verse is filled with music, rich in halftones and nuances.

It is not for nothing that A. S. Pushkin considered Zhukovsky a great poet who paved many paths for Russian poetry. Zhukovsky had a rare gift to cover the anxiety of a Russian person in a short poem or ballad, color them with music and sound, reveal their secret without violating integrity.

The ballad "Svetlana" is dedicated to Sashenka Protasova, with whom Zhukovsky was in love. Fortune telling on the mirror of a girl, worried about the fate of her fiancé, is traditional for Russian Christmas rites. Svetlana peers into the mirror, and a phantasmagoria of images passes before her: a robber's den, and a "replacement" groom, who turns out to be a murderer. But romantic horrors are resolved with a bright and clear smile: this is just a bad dream.

O, do not know these terrible dreamsYou are my Svetlana.

The future of the real Svetlana turned out to be tragic, the marriage was unsuccessful. But the light, poetic beauty of the ballad has remained in the history of literature.

ALEXANDER SERGEEVICH PUSHKIN

What is the mood of the poem?A. S. Pushkin "Prisoner"?

The poetic work of A. S. Pushkin is permeated with a longing for freedom and sadness because of the existence of invisible bars that hold him back all his life.

The poet was 23 years old when he wrote the poem "Prisoner". In such years, a person, more than ever, is free, he is full of strength and has every chance to realize his plans and dreams. But

A. S. Pushkin saw that the society in which he lives, which brought him up on their worthless and empty ideas, is nothing but a general deception, a dungeon. The fate of the hero is depicted by the poet as a process of alienation from his native world, as the destruction of ties with him. In line:

"I'm sitting behind bars, in a damp dungeon."

Pushkin writes about himself, about hopeless longing, about freedom, which is nearby. You just need to try to break out, but either the routine life has shackled the eagle, or satiety and security are not worth freedom ... There is no development of action in the poem, there is a sentence:

...Let's fly away/

We are free birds, it's time, brother, it's time!There, where the mountain turns white behind a cloud, Where the sea edges turn blue, Where only the wind walks ... yes I! ..",

but no answer.

What to do, "if the life of you deceive..."?

(An essay-miniature based on the poem by A. S. Pushkin "If life deceives you ...")

Fate. How much hope we place on her. We have our plans, she has hers. There are only two stanzas in this poem, but both the bitter present and the hope for a blessed future are intertwined in it. Frustration from failure should not be oppressive. An unknown future should keep a person "in a string." Many anecdotes about fate are invented by wits, and from them it is funny to tears. The tears will dry, but the laughter will remain. And the joy of victories and success will replace the former bitterness. You will think: "God, how stupid I was!" And you go on, overcoming the next step of the skyscraper of life.

MIKHAIL YURJEVICH LERMONTOV

death for honor

(According to the work of M. Yu. Lermontov

"Song about Tsar Ivan Vasilyevich,

young oprichnik and daring merchant Kalashnikov")

The cruel times of the oprichnina are known to us from history. In fiction, we also meet them, for example, in "The Song about Tsar Ivan Vasilyevich, the young guardsman and the daring merchant Kalashnikov" by M. Yu.

Arbitrariness and lawlessness were the "calling card" of the op-richs. The common people were afraid of them, noble people avoided meeting with them. Lermontov very accurately managed to describe the atmosphere of the reign of Ivan the Terrible:

The red sun does not shine in the sky,

Blue clouds do not admire them:

Then at the meal he sits in a golden crown,

The formidable Tsar Ivan Vasilyevich is sitting.

The king noticed that his faithful servant Kiribeevich was saddened: he did not eat, did not drink. The king was angry, "... he struck with a stick, / And the oak floor was half a quarter / He pierced an iron eye with an ovary ...". The tsar found out that the faithful oprichnik was in love with the beautiful Alena Dmitrievna, but Kiribeevich did not say that she was the wife of the merchant Kalashnikov.

Tsar Ivan Vasilyevich advised:

"...Here, take my yakhont ring, take a pearl necklace...

... And the precious gifts went

You to your Alena Dmitrievna:

As you fall in love - celebrate the wedding,

If you don't love it, don't be angry."

He disgraced the guardsman Kiribeevich Alena Dmitrievna in front of the neighbors. He confessed his love, caressed, kissed, veil Bukhar-

skuyu, donated by her husband, plucked. The merchant Kalashnikov was indignant and decided to punish the guardsman in a fistfight on the Moscow River in the presence of the tsar. He called on the merchant and his brothers in the event of his death to defend the honor of the family. The next day the barkers called out:

"Oh, where are you, good fellows? .... JCmowhoever is beaten, the king will reward him, and whoever is beaten, God will forgive him!"

The crowd spread in both directions - the merchant Kalashnikov came out ready to fight not for life, but for death. Kiribeevich turned pale when he heard the name of his opponent. The "heroic battle" began, and Kalashnikov won in it. He defended the honor of his wife, for which he paid with his own head, by order of the king he went to the block for the deliberate murder of a "faithful servant." From the royal point of view, Ivan Vasilievich restored justice after the death of Kiribeevich and the execution of Kalashnikov.

"Song about the daring merchant Kalashnikov" was written by Lermontov in the style of a song-narration by guslar singers who sing glory to the executed Kalashnikov and condemn the tsar's decision, which disagreed with the opinion of the people.

NIKOLAI VASILYEVICH GOGOL

The image of Taras Bulba - the embodiment of the military spirit of the Cossacks

(Based on the novel by N.V. Gogol "Taras Bulba")

Nikolai Vasilyevich Gogol studied history a lot. The Zaporizhzhya Sich, the first democratic "state" in Europe, attracted the writer's special attention. Gogol's story "Taras Bulba" is dedicated to depicting a complex and contradictory period in Ukrainian history.

We get acquainted with Taras Bulba in a peaceful home environment, during a short respite between the protagonist's feats of arms. The pride of Bulba is caused by the sons Ostap and Andriy, who came home from school. Taras believes that spiritual education is only a part of the education necessary for a young person. The main thing is combat training in the conditions of the Zaporizhzhya Sich.

Taras Bulba - Colonel, one of the representatives of the command staff of the Cossacks. He is the embodiment of the military spirit of the Sich. Bulba treats his fellow Cossacks with great love, deeply respects the customs of the Sich and does not deviate from them one iota. The character of Taras Bulba is especially clearly revealed in the chapters of the story, which tell about the military operations of the Zaporizhzhya Cossacks against the Polish troops.

Ostap and Andriy are the embodiment of two sides of the soul of the old Bulba. Ostap is a real mblodets, from whom a good Cossack will grow. Andriy is softer, but also promises to become a good warrior. However, the dreams of Taras Bul-by were not destined to come true. Ostap dies like a hero at a flourishing age. Andriy, on the other hand, falls into the net of a clever Polish temptress, betrays his homeland and goes over to the side of the enemy.

In the scene of sonicide, we see the greatness of the character of Taras Bulba. Freedom of the fatherland and Cossack honor for him are the most important concepts in life, and they are stronger than paternal feelings. Therefore, defeating his own love for his son, Bulba kills Andriy. Now no one can reproach Taras for neglecting the knightly ideals of the Zaporizhian Sich. But Bulba himself had to die soon after. The reader is deeply touched by the scene of the death of the protagonist: dying in the fire, Taras turns to his fellow Cossacks with parting words. He calmly watches how his Cossacks swim away. Here Taras Bul-ba is seen in all the integrity and mighty strength of his character.

Nikolai Vasilyevich Gogol was an ardent patriot of his native Ukraine. The whole creative life of the writer

went to the era of the reign of Nicholas I. It was a time of brutal suppression of any manifestation of free thought, any manifestation of the national spirit. Last but not least, this concerned Ukraine. In the story "Taras Bul-ba", which was supposed to become a hymn to love of freedom, Gogo-lu, despite the most severe censorship, still managed to say a lot. Taras Bulba for decades became the embodiment of the image of a fighter for independence, faithful to Zaporozhye traditions, unshakable, confident in the final victory over the enemy.

The image of Taras Bulba can also be interpreted allegorically: old Taras is the embodiment of the ancient ideals of Sich chivalry, Andriy is the embodiment of the views of the unstable part of the Cossacks, prone to compromise and outright betrayal, and Ostap is the embodiment of the young Zaporizhian force, ripening in the Ukrainian people.

Comparative characteristics of Ostap and Andriy

N.V. Gogol was deeply interested in the history of Little Russia, although the attitude to the political and cultural role of the Ukrainians was ambiguous in different periods of his work: from admiration and high hopes to pessimism, attributing all achievements and merits to the depths of time.

Brilliant intuition, combined with excellent knowledge of the national character, allowed Gogol to create many-sided and expressive images of the Zaporizhzhya Cossacks, a true legend of the stormy, wartime, heroic time. Two brothers Ostap and Andriy, who grew up and brought up in the same conditions, are polar opposite human types. Ostap is what is called an impeccable fighter, a reliable comrade. He is silent, calm, reasonable. Ostap continues and honors the traditions of his fathers and grandfathers. For him, there is never a problem of choice, moral duality, hesitation between feelings and

debt. He is amazingly wholesome. Unconditionally accepts Ostap Zaporizhzhya way of life, ideals and principles of senior comrades. Respectfulness never turns into obsequiousness, he is ready to take the initiative, but he respects the opinions of other Cossacks. At the same time, he will never be interested in the opinion, the view of "strangers" - infidels, foreigners. Ostap sees the world as harsh and simple. There are enemies and friends, our own and others. He is not interested in politics, he is a straightforward, brave, loyal and stern warrior. Ostap is as if carved from a single piece of stone, his character is given ready-made in its basis, and his development is a straight line, at the highest point of the feat, breaking off with death.

Andriy is the complete opposite of his brother. Gogol showed differences not only human, but also historical. Ostap and Andriy are almost the same age, but they are types belonging to different historical times. Ostap is from a heroic and primitive era, Andriy is internally close to the later time of a developed and refined culture and civilization, when politics and trade take the place of war and robbery, Andriy is softer, more refined, more flexible than his brother. He is endowed with great sensitivity to the alien, "other", greater sensitivity. Andriy Gogol marked the rudiments of fine taste, a sense of beauty. It cannot, however, be called weaker. He is characterized by ytvaga in battle and a much more important quality - the courage to make an independent choice. Passion leads him to the camp of the enemy, but there is a big neck behind this. Andriy now wants to fight for his own, what he himself found and called his own, and did not receive by inheritance, by tradition.

The two brothers must become enemies. Both perish, one at the hands of enemies, the other at the hands of his father. You can't call one good and the other bad. Gogol gave a national character in development, showed people who by nature belong to different historical eras.

MIKHAIL EVGRAFOVICH SALTYKOV-SHCHEDRIN

The fable beginning in the fairy tales of M.E. Saltykov-Shchedrin

The tales of Saltykov-Shchedrin are called fables in prose; they clearly trace folklore and Russian satirical literary traditions.

In his tales, the problems of the people are truthfully revealed. The satirist angrily denounces autocracy, liberalism and the ruling class, clearly emphasizes the stupidity, laziness, inability of the ruling elite to think and work.

In the fairy tales of Saltykov-Shchedrin there is no positive hero, even in "The Tale of How One Man Feeded Two Generals" a man who knows how to work, shows ingenuity, no situation can confuse him, is not that hero which should be an example. And why? Because he is always ready to obey, to work for someone who does not deserve it, he is indifferent to himself, his "I", ready to bend his back under the constant reproaches of lazy and frivolous generals. He cannot appreciate his work. Why, then, should two worthless people appreciate him?

The Russian peasant deserves what he "earned": "a glass of vodka and a nickel of silver."

In the fairy tales of Saltykov-Shchedrin, human vices are depicted in the images of animals. For example, in The Wise Gudgeon, a century-old minnow, who lived his life in solitude, did not trust anyone, was afraid of everyone and everything, did not dare at least once to commit any worthwhile act, he, sick and dying, without friends and relatives, who lived his life meaninglessly, disappears to no one knows where. Did this gudgeon ever live at all? No one talked to him, did not see him, no one needs the advice of the "wise one". His life was gray and dull, and no one is interested in living a hundred years, buried in his own hole. Let life flow stormily, brightly, interestingly, but it is better to die in the teeth of a pike, knowing that someone will sigh or cry about you.

In the fairy tale "The Bear in the Voivodeship" Saltykov-Shchedrin adheres to traditional roles: the Bear-voivode is a major, Donkey is an adviser, Cuckoo is a fortune-teller, Parrots are buffoons, Magpie-thief is a housekeeper, Woodpecker is a scientist- chronicler, Nightingale - singer, etc. His animals are fully associated with the "profession" laid down by nature and human perception.

The satirist laughs at the vices of society that suit the same society, at the surrounding reality, which is real and does not cause laughter at all.

IVAN ALEXEYEVICH Bunin

Perception peace child adults in the storyI. Bunina "Numbers"

Such a subtle analysis of child psychology, the complex threads connecting adults and children, as in this story, speaks of a deep understanding of the nature of childhood.

Children and adults are people of different races. They live together, in the same space, use the words of the same language, but rarely understand each other. Bunin showed the tragedy of such misunderstanding. Man, growing up, strangely forgets about his childhood. He remembers the events, but can no longer return to the childish look at them. Adults with intelligence and a sense of justice understand this and try to re-learn the language of childhood.

In the story "Numbers", the author gives two points of view on the same conflict between an uncle and a little nephew. He accurately describes his feelings at the time of the conflict, explains in detail the details of what is happening and at the same time analyzes the situation as if from another time, when he was able to understand the motives of his own and other people's actions, give them the right

assessment. He speaks bitterly of his pride, the irritation that extinguished the joy of the little boy. Bunin finds the exact epithets that convey the emotionality of his nephew, his curiosity, energy, lively character. And mercilessly analyzes his behavior, not trying to hide behind the words about education, that children should not be spoiled. Yes, these words are spoken in the story by the author, mother, and grandmother, but in the context of the story, all these theories look like a mockery of the mysterious process of knowing the world.

It is sad that a person is tormented for many years by the memory and shame for his mistake. But after all, most adults do not even think about how much pain they in passing inflict on children, how little true love and desire to understand the other in their relationship. Bunin's story "Numbers" unobtrusively, but firmly leads to the conclusion: real education is education with happiness. It is only important to understand what makes a child happy, and not to replace education with pressure and the imposition of one's views on life and happiness.

List of textbooks

H609101 (0); H613550 (0) 800 contemporaryessays in Russian and World Literature... (0) Dronyaeva, T.S. Stylistics contemporary Russian language: Practicum: For... --- Н609101 (0); H613550 (0) 800 contemporaryessays in Russian and world literature...

Plan

Practical lesson 7. Folk lyrics

Plan

1. Origin of historical songs, time and conditions of their formation. Connections of historical songs, on the one hand, with epics, on the other hand, with lyrical song genres.

2. The nature of the reflection of reality by the historical song: the position of a contemporary, the “indistinguishability” of the main and the secondary, history in motion.

3. Early historical songs of the 13th - 14th centuries: the song basis of the episode about Evpaty Kolovrat ("The Tale of the Devastation of Ryazan by Batu"), Avdotya Ryazanochka, Schelkan Dyudentevich.

4. The maturity of the genre: songs about Ivan the Terrible, the main motives, the complex psychological appearance of the tsar (to compose the psychological characteristics of the tsar from the songs).

5. Songs about Ermak and Stepan Razin: general and special, the essence of conflicts, the poetics of songs. Historical song of the 17th century, the penetration of lyricism.

6. Historical songs of the 18th - 19th centuries: main collisions and heroes, the growth of the lyrical beginning.

7. Characteristics of the historical song as a genre.

8. Definition of the genre, the time of the emergence of ballads, the main stages of their development.

9. The main thematic groups of ballads, their heroes and the ideological meaning of the songs.

10. The nature of the conflict in the ballads, the features of the composition: ballads with an open course of action, ballads with prediction, ballads with recognition.

11. Psychologism, the art of the tragic, and other features of poetics (write out epithets that characterize the victim, and epithets that characterize the destroyer).

It is good to know the content of historical songs and ballads placed in the university anthology;

Perform an analysis of the text "Avdotya-Ryazanochka", identifying the main genre features of the historical song and ballad (in writing).

Make tables "Similarities and differences of epic and historical songs", "Similarities and differences of historical songs and ballads".

additional literature:

Balashov D.M. The history of the development of the Russian ballad genre. Petrozavodsk. 1966.

Krinichnaya A. N. Folk historical songs of the beginning of the 17th century. L. 1974.

Kulagina A.V. Russian folk ballad: Educational and methodological manual for a special course. M. 1977.

Putilov B. N. Russian historical and song folklore of the XIII - XVI centuries. M.; L. 1960.

Putilov B.N. Slavic historical ballad. M.; L. 1965.

Russian historical song: Collection / Introduction. article, comp., prep. text and notes. L.I. Emelyanov. L. 1987.

Russian historical songs / Comp. IN AND. Ignatov. 2nd ed. Moscow: Higher School. 1985.

Russian folk ballads. Preparation text, intro. article by D.M. Balashova. M. 1983.

Smirnov Yu.I. East Slavic ballads and forms close to them: Experience of an index of plots and versions. M. 1988.

Modern ballad and cruel romance / Comp. S. Adonieva, N. Gerasimova. SPb. 1996.

1. Definition of folk lyrics, the scope of the depicted, the relationship between the personal and the collective. Principles of classification: a) by subject and social characteristics; b) form.

2. The meaning of the appeal to nature; psychological (poetic) parallelism, symbolism of folk songs. A.N. Veselovsky on parallelism. Lyrical appeals, their compositional and psychological-emotional role: a) appeals to natural phenomena; b) to people; c) to himself, his share, fate.

3. Composition of lyrical songs; reception of stepwise narrowing of images; other construction methods. S.G. Lazutin on the composition of folk songs.

4. Comparisons, metaphors, epithets, diminutive and affectionate suffixes as figurative and expressive means: make a dictionary of Russian folk song tropes. Repetitions and their role in songs, the role of rhythmic particles, rhymes, choruses, their musical significance.

5. Love songs, main plots, their general lyrical mood and artistic style. Family songs, main plots, their characters, problems; image of a married woman.

6. Soldiers' and recruits' songs, characteristics of the soldier's service and the psychology of soldiers; visual means.

7. Bandit and daring songs, their heroes, composition, imagery.

8. Round dance, game and comic songs, their themes, typical images, humor and satire, rhythm, style.

- OVERVIEW :

1. Veselovsky A.N. Psychological parallelism and its forms.

2. Lazutin S.G. Composition of Russian folk lyrical song.

Determine the type of psychological parallelism in the given texts (according to the classification of A. N. Veselovsky).

1. Hemp at the gate

What is thin, tall

Like on that hemp

The nightingale sits

Sings - sings.

And Praskovya at the father

Lives - survives

Bread and salt eats off,

Thank you says.

2. Don't go Praskovyushka

Early on the water.

On the hole

Two doves are sitting.

They hum loudly

humming

They are from your father,

They give you from your mother

They play

3. Three streams flowed from the mountains,

Three streams flowed, three were cold.

Three guests are coming to me today,

To me nonche three with gifts:

The first guest is the father-in-law,

The second guest is all a big brother-in-law,

The third guest is all Ivan sir.

4. In a glass, in a plate

Golden guard..

What is the groom's name?

Vanyusha is a golden mind.

5. We have golden horns for the month,

Oh, yali-yali, golden horns.

We have clear eyes in the sun,

Oh, yali-yali, clear eyes.

Ivanushka has blond curls,

Oh, yali-yali, fair-haired curls.

6. The falcon is not clear,

I flew over the mountains

He sighed heavily.

I flew over the mountains

Oh yes, I sighed heavily

hard,

Oh yes, it's pathetic.

more lamentable than that

The girl was crying...

7. Oh, you ghoul,

You are my dove.

Oh , do not fly, ghoul,

Don't fly far.

Oh , you, Alexey,

Oh , you, Nikolaevich,

What are you thinking?

8. The dawn is not white, the dawn is not white,

Worked out, worked out

The falcon is not clear, the falcon is not clear

He flew to me, he flew to me,

My little one, my little one

Moved out of the yard, moved out of the yard.

Perform an analysis of the given lyrical songs, highlighting all the characteristic genre visual and expressive means.

1. Not far away - far away, in an open field,

What else is there in the expanse,

It’s worth it - then a white birch tree will stand ...

What's under that birch tree,

What's under the white curly,

It was not gray doves cooing there,

The girl spoke to the young man.

Not a rain moistened the white face,

Not frost zealous heart shivered, -

Moistened the white face with tears,

The heart was shivering with melancholy - grief.

2. The little head hurts,

Feels, whines the heart,

What a little to me to live

With a sweet friend.

What will soon be

escort,

Yes, and a distant parting.

I accompanied my friend

I'm far, far away, I'm in the city

And from the city to Moscow itself.

In the middle of Moscow became,

All Moscow merchants were surprised:

“Yes, and who is this, with whom is he saying goodbye?

Isn't that a husband and wife?

Or brother and sister?

Or a nice friend with a kind one?

3. I was at the feast, in the arbor,

I drank sweet honey, red vodka

I red vodka, all the liqueur,

All the liqueur from the floor of the bucket.

From the floor of the bucket over the edge to the bottom.

4. You, night, you are a dark night,

You, dark night, autumn!

The night has no bright moon,

Bright month, no frequent stars!

The girl does not have a dear father,

There is no father, there is no mother,

No brother, no sister.

There is no clan, no tribe!

As it was - then she has a sweet heart friend,

Yes, he lives far away.

additional literature:

Folk lyric songs. Preparation texts by V.Ya. Propp. L. 1961.

Russian folk poetry. Lyric poetry. Comp., prep. texts Al. Gorelov. L. 1984.

Kolpakova N.P. Russian folk household song. M.; L. 1962.

Eremina V.I. The poetic structure of Russian folk lyrics. L. 1978.

Lazutin S.G. Poetics of Russian folklore. M. 1981.

Maltsev G.I. Traditional formulas of Russian folk non-ritual lyrics. L. 1989.

Practical exercises (PR) play an important role in the professional training of a philologist student. They are strongly associated with the lecture course, are built in accordance with its content, but also have their own characteristics. They realize the practical communication of students with living folklore phenomena, which is absolutely necessary in the process of mastering a specialty.

The main tasks of practical classes are:

deepening and concretization of the content of the lecture course;

Activation of independent work of students;

· development of students' skills of complex analysis of oral-poetic text, awakening of creative thought.

Checking knowledge of the program material.

Plans of practical classes are aimed at active analytical work with the text and provide, first of all, the study of the work as an ideological and artistic unity. Various principles and methods of ideological and aesthetic analysis of the problems, poetics, artistic structure, plot, composition, genre, method, style, features of the existence of a folk work are realized in their interconnection.

Mastering the basics of their future profession, philology students comprehend the enduring ideological, aesthetic, spiritual and moral values of Russian national folklore, which instills in them not only aesthetic sensitivity and moral responsibility, but also a sense of true patriotism, national pride in the national culture.

This version of the methodological recommendations is built on the basis of a certain maximum allowed by the existing calculation of the hours of the oral folk art course. In those departments and specializations where the number of teaching hours is less than the maximum, the teacher is free to vary and choose both in the topics themselves and in the number of hours for each of them. Of course, not all topics can be specifically addressed in practical classes. By the decision of the teacher, some of them are submitted for independent work of the student, both classroom and extracurricular. Unconditionally mandatory for all specializations are topics on folk tales, epics and folk lyrics; for the specialization "Philology" we recommend to activate the theoretical theme "specifics of folklore"; for "teacher's" specializations - topics on ritual poetry, small genres of folklore, children's folklore.

All topics have a unified structure:

1. title of the topic;

2. questions to which intelligible answers should be obtained as a result of classes;

3. tasks related to questions;

4. basic and additional literature, on the basis of which you can complete tasks and get answers to questions.

Separate themes (ritual poetry, folk tales, epics) have subsections that differentiate genre varieties.

All topics involve a certain minimum and maximum of their development. The minimum is reduced to the assimilation of the "basic" educational literature and lecture material, the maximum is focused on additional scientific literature, the lists of which always exceed the volumes of the "basic" one. These lists take into account both classical research and the most significant of the latest. Of course, the publications listed in the lists of additional literature can not always be found in the libraries of the city of Orel. But if a student shows genuine interest, the teacher will always help him with books from his personal library, the libraries of colleagues in the department, and point out the possibilities of interlibrary loan. In addition, the department begins to create an electronic library, which is noticeably replenished every year and which students are increasingly turning to.

Thus, the manual assumes various forms of independent work - from the minimum necessary for a positive attestation of a student to the first steps of a student's independent scientific research.

Tasks for self-study

Avdotya Ryazanochka Avdotya Ryazanochka is the heroine of an ancient epic. This simple woman lived with her family in Ryazan and once left the city on business. In her absence, the city was attacked by the Tatar troops, who plundered and burned it, beat the princes and boyars, and drove the surviving inhabitants into captivity. Historically, events usually correlate with the attack of Batu Khan's troops in December 1237 or the ruin of Ryazan in the 15th century by Khan of the Great Horde Akhmat. However, in the interval between these two dates, there were many other attacks on this city.

In one Onega epic tells about the bold act of Avdotya Ryazanochka, about her female fidelity. Avdotya managed to get out of the Tatar captivity not only her relatives, people close to her: brother, son and husband (in other editions of the epic - son, daughter-in-law and mother), but the whole Ryazan is full. Some researchers attribute this dangerous journey to the Horde to the times of the Tatar-Mongol yoke, to the sacking of Ryazan in December 1237, although in some versions “King Bakhmet of Turkey” is mentioned.

It seems to us that this legendary event could have taken place both in the 13th century and in the 14th century. Probably, the replacement of Batu with Bakhmet could have occurred in the second half of the 15th century after the attack on Ryazan by Khan of the Great Horde Akhmat.

The Ryazan Principality was constantly invaded by predatory detachments of the Tatar-Mongolian Golden Horde that had begun to disintegrate. One of these detachments raided in exile, that is, unexpectedly, lightly, as a result of which the defenders of the city could not offer any serious resistance to the enemies, especially since the Ryazan army at that time set out on a campaign. The steppe marauders who attacked the city robbed and took away all the surviving population in full.

As the song about Avdotya Ryazanochka says, Turkish Khan Bakhmet:

He mined the old Kazan-city under the forest.
He de stood under the city
With its force-army.
There was a lot of this time, time.
Yes, I ruined Kazan-city undergrowth,
Ruined Kazan-de-city in vain.

Yes, and the princess-boyar
He took those alive in full.

He led the Turkish to his land.

The city, which has undergone devastation, is called Kazan in the text for some reason. But Kazan, which became part of the Muscovite state from the second half of the 16th century, was never subjected to enemy invasions. Apparently, here we are dealing with the epic replacement of one city by another, which is common for northern storytellers:

But Kazan was burned like a fire,
But Ryazan was taken to the full;
I traveled through Turkey and Sweden,
Kazan, and Ryazan, and Vostrakhan.

The epithets "old" and "undergrowth", found in the song, are more consistent with Ryazan (with the epithet "old" Ryazan is also mentioned in the song "Polish Ataman": "Collection of Kirsha Danilov", No. 53). In the name of Tsar Bakhmet, perhaps, there are echoes of the name of Khan Akhmet, who devastated Ryazan in 1472. The name of this king Turkish and the Turkish land apparently reflects the influence of the folklore of the 17th-18th centuries with the Turkish theme strongly developed in it.

Unexpected news about the sack of Ryazan found Avdotya Ryazanochka at a time when she was on the other side of the Oka River, preparing hay for the winter in the flood meadows of the Oka. Avdotya, like any Russian woman, quickly took matters into her own hands. Having wept her tears, and knowing that hardly anyone would help her in these circumstances, she began to think about how to improve the situation in which she found herself by a tragic accident. Having little hope for a favorable outcome of her idea, she nevertheless got ready for the road, having prepared, just in case, funeral white shirts for her relatives. Avdotya got to the Khan’s headquarters for a very long time and trampled down more than one pair of bast shoes, overcoming several enemy outposts-barriers on her way:

The first great outpost -
He let in rivers, deep lakes;
Another great outpost -
Clear fields are wide,
Became thieves-robbers;
And the third outpost - dark forests
Unleashed fierce beasts.

Finally, the Ryazan wife came to where the Turkish (Tatar) was full. There she was met unfriendly, but with undisguised curiosity.

What do you want, Russian woman? - said the king-king Bakhmet, not a little surprised at the arrival of Avdotya Ryazanochka.

I want to return my relatives to the empty land, Ryazan, the eastern king, ”answered Avdotya Ryazanochka.

Tsar Bakhmet says to her:

You, Avdotya, are Ryazanochka's wife!
When you knew how to go the way and the way, -
So know how to ask for heads
Of the three united.
But you don’t know how to ask for little heads, -
So I will cut off your wild head to the shoulders.

Listen to me, oh great and wise ruler, and decide the matter in truth. I am still a very young woman, and I can get married again. So I will have a husband. And if I have a husband, then I will give birth to a son. Only no one will return my own brother, no one will give me a present, so free my brother.

You speak the truth, Ryazanka Avdotya. Since you are so wise, then do the same. I give you three days and two nights so that you can find your relatives in my kingdom. But that is not all. Pick any flower from my tent, and until it withers for three days, no one will touch you, but wither, then your last hour will come to you.

Avdotya came out of the tent, not herself, twirled, grieved. She shook her head from side to side, fell on the grass, wailed, shedding tears:

My Russian Mother Earth, do not let your daughter disappear in a strange side. Help me, mother, parent!

The Russian Land did not give her offense. She put a sunny, golden flower right into Avdotyushka Ryazanochka’s hands, and the flower is called immortelle, it won’t wither, not only for three days and three nights, but for three hundred and thirty and three days, and maybe even three thousand three hundred and three years with three months, with three weeks, with three days.

And the sun is going down, and the cavalry is rushing to Avdotya Ryazanochka, preparing to fulfill the Khan’s command. Yes, how Russian Polonyaniki ran out of the most extreme yurts, and among them a son with a husband and a brother, Yes, and there were Yelets, Bryanet, not enough, Moscow, but more than all Ryazan, Oka. The Tatar horsemen galloped up to Avdotya Ryazanochka to knit, so, and the flower in her hands burns with the sun, does not fade in any way. That's it!

Though you are a khan, even a tsar-king, but the word must be restrained, reassured, so that forests and seas and steppes with tulips and poppies are praised. And the tsar-myr, the sovereign of the east, had to give everything away, to let go to Ryazan, to sow the Russian land, to settle in.

Since then, Ryazan has again settled down and settled down, and again it began and beautified, because Avdotya Ryazanochka:

Built Kazan-city anew,

But here in Kazan Avdotino's name was exalted.

In another version, it is directly said about Ryazan:

Yes, since then Ryazan has become glorious,
Yes, since then Ryazan has become rich,
Is it here in Ryazan that Avdotino's name was exalted
And yes, that was the end of it.

The woman's mind turned out to be wise and cheerful: Avdotya brought the whole of Ryazan with her.
And everyone praised Avdotya Ryazanochka with glory.

Returning home, Avdotya found that the city had been burned, and her relatives were neither among the survivors nor among the dead. Realizing that her family members are in captivity, she makes an unheard-of decision at that time - to go to the Horde to help them. Not only that, before the headquarters of the Khan, located on the territory of modern Kazakhstan. she needs to go several thousand kilometers, on this way there are a lot of rivers, robbers, wild animals.

After a long journey, the woman reaches the khan's headquarters on foot and seeks a meeting with him. Struck by her courage, the khan allows her to choose only one of her relatives, and she makes a choice not in favor of her son or husband, which would be more understandable, but in favor of her brother. When asked by the khan how to explain her choice, the woman said that she was still young enough to get married again and give birth to new children, but she would never be able to return her brother.

The Khan allowed her to search for her relatives, however, he limited it in time to a period until a freshly picked flower withered in her hands. If she does not have time to find her loved ones before this time, she will lose her head. The woman went out into the steppe and plucked an immortelle flower that never withers. According to some epics, the khan, struck by her courage and wisdom, released with Avdotya not only her relatives, but also other captured Ryazanians, and even rewarded her. Returning, these people rebuilt the city of Ryazan in a new place.

A simple and weak woman succeeded in what princes and skillful warriors could not do with the help of weapons. The bylina about Avdotya Ryazanochka has several variants, in which both the name of the khan and the name of the city change. In the future, a lot of legends appear in folklore using this plot, where other women play the main role. But the main participants are always the Woman, the Khan and the Immortelle flower.

Avdotya Ryazanochka

Glorious old King Bahmet Turkish
He fought on the Russian land,
He mined the old Kazan-city undergrowth,
He de stood under the city
With your force-army,
There was a lot of time this time,
Yes, and ruined Kazan-city undergrowth,
Ruined Kazan de city in vain.
He cut down all the princes-boyars in Kazan,
Yes, and the princess-boyar -
He took those alive in full.
He captivated the people many thousands,
He led the Turkish land to his land,
He set up three great outposts on the road:
The first great outpost -
He let in rivers, deep lakes;
Another great outpost -
Clear fields are wide,
Became thieves-robbers;
And the third outpost - dark forests,
Unleashed fierce beasts,
Only in Kazan in the city
There was only one young wife, Avdotya Ryazanochka.
She went to the Turkish land
Yes, to the glorious king, to the Turkish Bakhmet,
Yes, she went full to ask.
She walked not by the way, not by the road,
Yes, you are deep rivers, wide lakes
Those she sailed,
And you are small rivers, wide lakes
Yes, whether she wandered along the ford.
Did she pass the great outpost,
And those clean fields are wide,
The thieves-robbers of those opalden passed,
How about noon fierce thieves
Those sleeping holding.
Yes, she passed the second great outpost,
Yes, dark, you are dense forests,
Those fierce beasts passed midnight,
Yes, at midnight the beasts are fierce
Those sleeping holding.
Came to the land of Turkey
To the glorious king Bakhmet of Turkey,
Yes, in his chambers are royal.
She lays down the cross according to the written
And bows, you know in a learned way,
Yes, she beat the king with her brow, bowed low.
- Yes, you, sir king de Bakhmet of Turkey!
You ruined our old Kazan-city under the forest,
Yes, you are our princes, the boyars knocked them all out,
You took our princesses, the boyars of those living in full,
You took many thousands of people full of people,
You brought Turkish into your land,
I am a young woman, Avdotya Ryazanochka,
I remained alone in Kazan.
I came, sir, to you myself, yes,
Wouldn't it be possible to release some of the captives to me?
Would you like your own kind-tribe? -
Turkish king Bahmet says:
- You are a young wife, Avdotya Ryazanochka!
How I ruined your old Kazan under the forest,
Yes, I killed the boyar princes,
I took the princess-boyar and those living in full,
Yes, I took many thousands of people full of people,
I brought Turkish into my land,
He set up three great outposts on the road:
The first great outpost -
Rivers, deep lakes;
The second great outpost -
Clear fields are wide,
Became fierce thieves-robbers,
Yes, the third outpost of the great -
Dark forests - you are dense,
I unleashed fierce beasts.
Yes, tell me, wife Avdotya Ryazanochka,
How did you pass these outposts? -
The answer is kept by wife Avdotya Ryazanochka:

I am these great outposts
Passed not by way, not by road.
Like I am rivers, deep lakes
Those I sailed,
And those clean fields are wide,
Thieves, robbers,
Those I have gone through,
Opalden thieves-robbers,
They rested holding.
Dark forests are those of fierce beasts,
Those de I passed at midnight,
Ferocious beasts,
Those sleeping holding.-
Yes, those speeches fell in love with the king,
Says the glorious King Bahmet Turkish:
- Oh, you, young wife Avdotya Ryazanochka!
Yes, she knew how to speak with the king,
Yes, know how to ask the king for a full de head,
Yes, which little head will not be amassed for more than a century.–
Yes, the young wife Avdotya Ryazanochka says:
- And you, the glorious king Bakhmet of Turkey!
I'll get married and get a husband,
Yes, I will have a father-in-law, I will call the father,
If you are a mother-in-law, I will call you mother.
And I'll be known as their daughter-in-law,
Yes, I will live with my husband, yes I will give birth to a son,
Yes, I will sing, I will feed, I will have a son,

Yes, I will marry my son and take my daughter-in-law,
Yes, will I be known as a mother-in-law.
Yes, I will live with my husband,
Let me give birth to a daughter.
Yes, I will sing, I will feed, I will have a daughter,
Let me call you mother.
Yes, I will give my daughter in marriage,
Yes, I will have a son-in-law,
And I will be known as mother-in-law.
And don’t make me that little head,
Yes, dear beloved brother.
And I’ll never see my brother forever and ever.-
Did the king like those speeches,
He said to the wife this is the word: -
Oh, you young wife Avdotya Ryazanochka!
You knew how to ask the king if the head is full,
Yes, you won’t make money for a century.
When I ruined your old Kazan-city undergrowth,
I knocked out the boyar princes,
And I took those living princesses to the full,
He took many thousands of people full of people,
Yes, they killed my dear beloved brother,
And the glorious Turkish Pasha,
Yes, I won’t make a brother for me forever and ever.
Yes, you, young wife Avdotya Ryazanochka,
You take your captive people,
Yes, take them to Kazan to the last.
Yes, for your-you words for suave,
Yes, you take yourself a golden treasury
Yes, in my Turkish land,
Do you just take as much as you need.-
Tuto's wife Avdotya Ryazanochka
She took the people captivated,
Yes, she took the golden treasury
Yes, from that land of Turkish,
Yes, as much as she needed.
Yes, she brought de captive people,
Yes, to that empty Kazan,
Yes, she built Kazan-city anew,
Yes, since then Kazan has become glorious,
Yes, since then Kazan has become rich,
Is it here in Kazan Avdotino's name was exalted,
Yes, that's how it ended.

The heroism of a small defenseless woman who came to the Horde, famous for bloody raids, devastation and cruelty, made the Tatar tsar imbued with respect for her, and her wisdom conquered the storm of Russian lands.

PS: The famous historical ballad "Avdotya Ryazanochka" by the compiler does not refer to 1237 (the ruin of Ryazan by Batu), but following the recent article by A. O. Amelkin - to the events of 1505 in Kazan, when the vassal of Ivan III, who first conquered in 1487 Kazan, Khan Mohammed-Emin unexpectedly imprisoned the Russian ambassador, killed many Russian people who lived in this city, and even violated Russian borders, besieging Nizhny Novgorod. S. N. Azbelev points out that in the historical ballad the action takes place in Kazan, and only the nickname of the heroine connects her with Ryazan. This detail allows the researcher to join the point of view of A. O. Amelkin. Nevertheless, if we accept the researcher's hypothesis about the dating of songs about Ivan Vasilyevich the Terrible to the 15th century with interest, then this rendering of the song about Avdotya Ryaznochka seems unconvincing to us. Let us pay attention to the fact that in the few surviving versions of this song (the academic edition gives three lyrics of the song), the city where the heroine comes from is consistently called "old Kazan". This is a clear echo of the written formula "Old Ryazan" (modern Ryazan stands several tens of kilometers from the city devastated by Batu); the epithet "old" in relation to Kazan is not registered in writing. The stable nickname of the heroine Ryazanochka leaves, in our opinion, no doubt that the content of this ballad should be associated with the historical events of the Russian city of Ryazan, and not the Tatar Kazan.