Epic as a work of art. Poetic features of epics. Artistic features of epics

Modern man and the ancient storyteller of epics are separated by many centuries. Today's student is not easy to understand art world ancient epics and the feelings that the old Russian storyteller put into his narratives. Even in the text transcribed into modern Russian, there are many words and images that in the minds and hearts of our distant ancestors evoked vivid impressions and warm responses, and modern man they need to be explained.
Epics have many characteristic features for them.
A slow presentation of events is the first feature of epics. It is explained by the fact that the epic was always performed by the narrator, accompanied by musical instrument- gosling of the vernal (voiced). It was important for Guslyar to convey to his listeners not only information, but also different moods. He had to make every effort so that the listeners would necessarily empathize: they admired the exploits and strength of the heroes, froze in anticipation of the denouement, were indignant, worried, sad and happy.
Repetitive descriptions and repetition of actions are found in many works of Russian folk art. So in epics, usually all events are repeated three times. In ancient Russia, the number three was sacred number. It is a symbol of unity three worlds: heavenly, earthly and underground.
Use constant epithets also characteristic of epics: dark forests, blue rivers, red sun. Many of them are well known to us - we often meet them in Russian folk tales. But some epithets require further clarification.
When we meet the expression “red girl” in the epic, we understand that it is not the red color that is meant, but the beauty of the girl. But the open field is a foreign land.
It was also called the space outside the city, village or forest. In the old days people called the field southern steppes where Russian soldiers fought with nomads. Proverbs related to this have survived to this day: “One man is not a warrior in the field”; “Whose field, that will be”; “You can’t travel the whole field with one horse”; “Do not brag in the field when you go, but brag when you return from the field.”
The use of hyperbole (exaggeration) is also a feature of epics. Russian heroes are extraordinary characters. They have a huge physical force and incredible, amazing abilities and opportunities. Enemies with whom the heroes fight are also endowed with incredible power: Tugarin Zmeevich, Nightingale the Robber, Poganoe Idolische, Kalin Tsar.
Reality and fiction in epics are closely intertwined. For example, in the epic "Sadko in the underwater kingdom" a description of Veliky Novgorod and the life of Novgorodians is given - this is a reality. But when Sadko falls into the possession of the sea king - this is fiction.
According to the content of the epic, it is customary to divide into two large groups.
Bogatyr epics tell about the military exploits of the glorious Russian heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich and others. They tell about the struggle against the enemies of the Russian land. Historical and everyday epics tell about heroes folk tales: Svyatogora, Sadko, Vasily Buslaev, Mikula Selyaninovich. They convey the love of Russian people for the land and agricultural labor.
The construction of the epic, the use of constant epithets and other artistic means in it.
In literature, epics are also called epic songs, that is, such songs that tell about some events united by the same heroes.
Usually the epic begins with a short introduction - the beginning, which indicates the time and place of the epic events.
For example:
As in the glorious city in Kyiv,
At the affectionate prince at Vladimir
It was a feast - an honorable feast ...
After the beginning, the main part follows - the story of the feat. The action in the epic always develops slowly, until the climax comes - the highest tension in the turn of events. The denouement of the action is the defeat of the enemy. The ending always crowns the epic. Here is her example:
Here they sing glory to Ilya ...
A special epic poetic world is also created by special artistic means. One of the main features of epics is frequent repetitions. In the epic about the feat of Ilya Muromets, for example, the description of the terrible whistle of the Nightingale the Robber is repeated four times. From this, the robber force seems more powerful, which means that the victory of Ilya Muromets is more significant. Descriptions of ominous omens, prophetic words are also repeated.
Epics use repetitions and individual words, and several lines. When in the description of the road along which Ilya Muromets traveled to Kyiv, we find the repetition of the word zakolodila (that is, the road became impassable, impassable), the path of the hero seems to us even more difficult:
The straight road is choked up,
Blocked up the path, murmured ...
Often repetitions create a special melodiousness, smoothness and musicality of epic speech:
Yes By the glorious By the river By Currant ...
In his takes IN his white hands, he IN ruchenki ...
Another notable feature of epics is the constant epithets: a violent head, frisky legs, white hands, sugary lips, burning tears. The field is always clean, the grass is green, the sea is blue, and the sun is red. Interestingly, in all works of oral folk art, the sun is called red, even if an autumn cloudy day is mentioned. The sea is also always blue, even if a storm is depicted: the blue sea has turned black. The girl is characterized by the epithet red, and the good fellow is kind. Bogatyr - Holy Russian, mighty. Mother Holy Russia, mother earth cheese - this is how the heroes of epics affectionately call their homeland.
The enemy in epics is characterized by negative epithets: filthy, evil, damned, godless. Often it is called a dog, a thief.
And here are some more constant epithets that we often find in epics: honey drink, white-stone chambers, damask sword, yarovchatye guselki, silk string, straight road, tight onion torn, slanting window, brick floor.
Epics also often use hyperbole - exaggerations. Hyperbolas enlarge the image, help to show the strength and exploits of the heroes brighter and more expressively. The strength of heroes is always extremely exaggerated. For example, Ilya Muromets easily, like a swan's feather, raises a club weighing ninety pounds and with one wave of his hand knocks down entire hordes of enemies. And the heroic horse of Ilya Muromets gallops "above a standing tree, a little lower than a walking cloud." Dobrynya Nikitich plays the harp in Kyiv, and this tune is heard in Constantinople.
With the same exaggeration, enemies are depicted in epics. The hero is faced with countless hordes of enemies, whom "a gray wolf cannot jump in three days, a black crow cannot fly around in a day."
And even suffixes play a big role in creating the poetic world of epics and determine the attitude of the narrator to the epic heroes. Diminutive suffixes are used in the names of favorite characters: Ilyushenka, Dobrynyushka, Alyoshenka. And derogatory-magnifying suffixes are awarded to the names of their opponents: Idolishche, Serpent.
Epics were created with such bright and diverse artistic means.

Epics are built according to a certain plan.

Most epics begin with a beginning. It usually refers to the place of action or where and from where the hero went (see the first six lines of the epic “Ilya Muromets and the Nightingale the Robber”).

Events in epics are presented in a strict order, sequentially. The story is told slowly, slowly. Since epics lived in oral transmission, their performer said to focus the attention of listeners on especially important, in his opinion, places. For this, repetitions are widely used in epics, usually three times. So, in the epic about Ilya Muromets and the Nightingale the Robber, the description of the power of the Nightingale the Robber is repeated three times.

In order to give melodiousness to the epic, to make its presentation more expressive, musical, individual words are often repeated in the epics.

For example:

The straight road is jammed,

The path was choked up, muddied.

In the capital city in Kyiv,

At the affectionate prince at Vladimir.

Repetitions are found not only in the text of the same epic. In different epics, similar actions and phenomena are described in the same way, for example, saddling a heroic horse, a feast at Prince Vladimir, an enemy force, a battle between heroes and enemies, etc.

Such similar descriptions found in different epics (and in fairy tales) are called common places.

Sometimes epics end with a special ending - a conclusion from the entire content of the epics:

Either old, or deed,

that is, it was so in the old days, this is a true story.

The protagonist bylin - Russian hero. To more clearly represent the strength of the hero, the technique of hyperbole (exaggeration) is used. For example, this is how the battle of the hero with the enemy force is described. If the hero waves his right hand, a street is formed among the enemy camp, and an alley is formed with his left. The club (sword) of the hero weighs forty or even ninety pounds.

If the hero falls asleep, then "a heroic dream for twelve days" (days). To match the hero and his horse: "the first lope of the horse - for many miles, and the second lope - and you can not find it." To emphasize the strength of the Russian hero, his enemy is depicted hyperbolically. The innumerable forces of the enemy "a gray wolf ... can't jump a day, a black crow can't fly around a day."

In epics, as well as in the works of oral folk poetry in general, every word is precise and expressive. Over the centuries, folk singers and poets have perfected the language of their poetry, achieving the most accurate and vivid, expressive disclosure through the word of the most essential qualities heroes and their deeds. So, epithets are very rich and varied in oral poetry - colorful definitions, indicating the most significant feature of people, objects, phenomena of life.

Often the same epithets constantly characterize certain heroes, objects, phenomena of life, nature, etc. Therefore, they are called permanent epithets. In epics, for example, there are such constant epithets: a burly good fellow, great strength, glorious capital Kyiv-grad, a tight bow, a silk string, red-hot arrows.

Comparisons are often used in epics:

Caught up with something black-black,

Black-black, like a black crow.

Pike-fish walk Volga in the blue seas,

Volga fly like a falcon under the shells,

Like a wolf to prowl in open fields.

Negative comparisons are used:

Not a damp oak bends to the ground,

Not paper leaves spread out,

The son bows before the father ...

Wishing to emphasize any shade of the meaning of the word, which, according to the folk singer, is important for understanding the narrative, the narrators of epics widely use synonyms: “Volga began to grow and mother”; "And to yell and plow and peasant,"; “Here Ilya felt for trouble, for great annoyance it seemed ...”

An important role in the language of epics is played by nouns with diminutive and endearing suffixes. They express the people's assessment of the heroes of epics. Bogatyrs are often called pet names: Ilyushenka, Dobrynushka Nikitich, Mikulushka Selyaninovich, etc. Suffixes pet meaning are also used in words denoting objects belonging to the hero. He has “hot arrows”, “saddle”, “bridles”, “felt”, “potniki”, etc.

The epic is pronounced in a singsong voice. Obeying the tune, the narrator puts stresses on certain words, while other words, without stresses, seem to merge into one word (“mother earth”, “field-clean”). In this regard, sometimes the word has different stresses in the same one. epic ("Nightingale-Nightingale", "young", "young", "young").

In ancient oral folk poetry there are epics telling about the peaceful, working life of the Russian people. These are household epics. The most important of them is the epic about Volga and Mikul. It glorifies people's work. In Ilya Muromets, the people sang the peasant-warrior, the hero - the defender of the motherland. In the image of Mikula, he glorified the peasant farmer, the hero - the breadwinner of the country.

The epic "Ilya Muromets and the Nightingale the Robber" is one of the works of the epic cycle about the exploits of the most revered hero in the Russian people. The bylina tells about two heroic events in which Ilya Muromets participates: a battle with the enemy's army - "silushka", which was "black-black", and the victory over the Nightingale the Robber.

Story

The work has no copyright and is an example of a folk epic. The time of creation of the epic can be determined approximately - it was composed by the people orally in the period up to the XIV century. The epic has undergone many changes throughout its history, acquired new characters, enriched poetic images. The first mention of Ilya Muromets, as a defender of Russian lands, was found in the 16th century in correspondence between one of the subjects of the Commonwealth and his king. The hero in it is called Ilya Muravlenin. Twenty years later, a traveling foreigner mentioned in his notes that he saw the relics of the Russian hero Ilya Morovlin in the Kiev-Pechersk Lavra. This indicates that at that time the epic, like its main character, was already widely known among the people.

Analysis of the work

Description of content

The action of the epic begins with the fact that Ilya Muromets is going on a journey: after standing for "Minning in Murom", he wants to be in time "to the capital Kyiv-grad" by mass. Before Chernigov, he meets an enemy army, which he defeats. The Chernihiv “peasants” ask him to become a governor in the city, but Ilya Muromets refuses and goes further along the dangerous straight road to Kyiv, despite warnings about the Nightingale the Robber living there - he kills travelers with a “whistle of a nightingale” and “shouting of animals”.

The hero wounds and captures the robber, and then, having arrived in Kyiv, leaves him tied up in the princely court. Prince Vladimir does not believe in the story that the guest traveled along a straight road to Kyiv and defeated the Nightingale the Robber. Surprised that the formidable enemy is really captured, the prince asks him to whistle indicatively. When he produces destruction in the city with his whistle, Ilya Muromets takes him out into the open field and executes him.

main characters

The two main characters of the work personify one - absolute good, the other - evil. Ilya Muromets is fearless and reasonable. Warned of the danger lurking on the way, he does not turn off him, but boldly enters into battle with the robber and defeats him. The hero appoints himself the defender of the Russian land and people from enemies and responsibly, skillfully carries out his service. The image of Ilya Muromets is partially written off from fairy tales, fictional characters, but it also has a historical prototype - St. Ilya Pechersky Chebotok. Many features of the hero speak of his connection with the mythical Perun and Veles.

The origin of the image of the enemy of the protagonist Nightingale the Robber is not entirely clear. If we talk on a large scale, then he replaces in the epic another famous villain, the offender of the Russian people, the snake. However, it can also be assumed that this is not a mythical image, but an ordinary robber, distinguished by his outstanding power to produce a whistle.

There is another hero in the work - Prince Vladimir. Judging by the time of action, Vladimir Krasno Solnyshko is depicted. The prince is shown as an absurd and not very intelligent person. He suddenly becomes angry at the suspicion that in the words of Ilya Muromets there may be a mockery of him, he asks the robber to whistle, although he has heard about destructive force his whistle. The image of the prince is described in the mocking tone of the description of kings, traditional for the folk epic.

Analysis of the structure of the work

The action of the epic develops progressively sequentially. A lot of attention is paid to the details and conversations, the description of the characters and the circumstances of the actions. The action itself is conveyed in laconic and precise, but figurative expressions: “stretched a silken string”, “put a red-hot arrow”, “shot” and “knocked out the right eye”.

The epic conveyed the dream of the people about a faithful defender, formidable for the enemy, faithful and just for his own. Ilya Muromets is equally independent of the requests of the people if they do not answer him main goal- to protect the whole Russian land, and not individual cities, and from the attitude of the prince towards him - he is polite and respectful to him, but is not afraid to argue and defend his human dignity.

The work is written in a kind of "epic" style, with repetitions and a leisurely flow of the plot. All heroes are bright pronounced individuality, the motives of their actions are explained by the direct speech of the characters, and not by the narrator. Direct speech itself is poetic, replete with figurative expressions.

The epic "Ilya Muromets and the Nightingale the Robber" is one of the best examples epic epic. The characters and the plot are reflected in some non-Slavic epics.

Epics were created by tonic (it is also called epic, folk) verse. In works created by tonic verse, in poetic lines there may be different amount syllables, but there should be a relatively equal number of stresses. In an epic verse, the first stress, as a rule, falls on the third syllable from the beginning, and the last stress on the third syllable from the end.

Epics are characterized by a combination of real images that have a clear historical meaning and are conditioned by reality (the image of Kyiv, the capital prince Vladimir), with fantastic images (the Serpent Gorynych, the Nightingale the Robber). But the leading ones in epics are images generated by historical reality.

Often the epic begins with singsong. It is not connected with the content of the epic, but represents an independent picture that precedes the main epic story. Exodus- this is the ending of the epic, a brief conclusion summing up, or a joke (“there is an old thing, then an act”, “that’s where the old thing ended”).

The epic usually begins with conception, which determines the place and time of action. Following him is given exposition, in which the hero of the work stands out, most often using the contrast technique.

The image of the hero is at the center of the whole story. The epic grandeur of the image epic hero is created by revealing his noble feelings and experiences, the qualities of the hero are revealed in his actions.

triple or trinity in epics is one of the main methods of depiction (three heroes stand at the heroic outpost, the hero makes three trips - “Three trips of Ilya”, Sadko three times the Novgorod merchants are not invited to the feast, he also casts lots three times, etc. ). All these elements (trinity of persons, triplicity of action, verbal repetitions) are present in all epics. Hyperbole used to describe the hero and his deeds also play an important role in them. The description of the enemies (Tugarin, the Nightingale the Robber) is hyperbolic, as well as the description of the strength of the warrior-hero. There are fantastic elements in this.

In the main narrative part of the epic, the techniques of parallelism, stepwise narrowing of images, and antitheses are widely used.

The text of the epic is divided into permanent and transitional places. Transitional places are parts of the text created or improvised by the narrators during performance; permanent places - stable, slightly changeable, repeated in various epics (heroic battle, hero’s trips, horse saddle, etc.). Narrators usually learn with more or less accuracy and repeat them in the course of action. The narrator speaks freely in transitional places, changing the text, partially improvising it. The combination of permanent and transitional places in the singing of epics is one of genre features ancient Russian epic.

The work of the Saratov scientist A.P. Skaftymov “Poetics and Genesis of Epics” is devoted to understanding the artistic originality of Russian epics, their poetics. The researcher believed that "epic knows how to create interest, knows how to excite the listener with the anxiety of expectation, infect with the delight of surprise and capture the winner with an ambitious triumph." one

D. S. Likhachev in the book “Poetics of Old Russian Literature” writes that the time of action in epics refers to the conditional era of the Russian past. For some epics, this is the idealized era of Prince Vladimir of Kyiv, for others, this is the era of Novgorod liberty. The action of epics takes place in the era of Russian independence, glory and power of Russia. In this era, Prince Vladimir reigns “forever”, heroes live “forever”. In epics, all the time of the action is attributed to the conditional era of Russian antiquity. 2

3. Bylina "Ilya Muromets and the Nightingale the Robber"

Ilya Muromets - the main character Kyiv cycle epics. The most important of them: "The Healing of Ilya Muromets", "Ilya and the Nightingale the Robber", "Ilya and the Sokolnik", "Ilya in a Quarrel with Prince Vladimir", "Ilya and Kalin Tsar", "Ilya and the Foul Idolishche". The most ancient are the epics about the battle of Ilya Muromets with the Nightingale the Robber and about the battle with Sokolnik (his son).

Back in the 19th century, scientists thought about who was behind the epic image of the enemy of the Russian hero - the Nightingale the Robber. Some saw in him a mythical creature - the personification of the forces of nature, a beekeeper-dart frog, others expressed the opinion that this image was borrowed from the folklore of other peoples. Still others held the view that the Nightingale - a common person engaged in robbery. For his ability to whistle loudly, he was nicknamed the Nightingale. In the epic narrative, the Nightingale the Robber is depicted as a creature living in the forests with all its brood.

The epic tells about the military exploits of Elijah. He leaves home, from the village of Karacharovo, near Murom, to the capital city of Kyiv to serve Prince Vladimir. Along the way, Ilya accomplishes his first feat. At Chernigov, he defeats the enemy army that besieged the city.

Is it near the city of Chernihiv

Caught up with something black-black,

And it's black-black, like a black crow.

So no one walks around here as infantry,

No one rides on a good horse here,

The black raven bird does not fly,

The gray beast does not roar.

And Ilya, "a portly good fellow", began to trample this great force with a horse and stab with a spear. And he beat this great power. For this, the Chernigov peasants invited him to Chernigov as governor, but the hero did not agree, since he was going to serve the entire Russian land.

He is warned that the road to Kyiv is restless and dangerous:

Blocked up the path, muddied,

Like that one at the Dirt, at the Black one,

Yes, at that birch at the curse ...

Nightingale the Robber sits with oak cheese,

Sitting Nightingale the Robber Odikhmantiev 1 son. 2

The enemy of Ilya is depicted in the epic in an exaggerated way, his formidable strength is exaggerated. This is a rogue villain. He "whistles like a nightingale", "shouts like a beast". From this, "grass-ants gobble up, all the azure flowers crumble, dark woods all bow to the ground, and that there are people, then everyone lies dead."

However, Ilya was not frightened by the warning of the peasants of Chernigov. He chooses the "straight road". The good heroic horse of Ilya, having heard the whistling of the Nightingale, "rests, stumbles on the baskets." But the hero is fearless. He is ready to make his second feat. The duel is described succinctly, in the epic tradition. Ilya takes a tight "explosive" bow, pulls on a "silk string", puts on a "hot arrow" and shoots. He fastens the defeated Nightingale to the "damask stirrup" and takes him to Kyiv. This is the first visit of the hero to Kyiv, no one here knows him yet. The prince himself turns to Ilya with questions:

"Tell me, you're off the hook,

Dear good fellow,

You somehow, well done, but the name is called,

Magnify, remote, in the fatherland?

The prince does not believe Ilya's story, he doubts that it is possible to drive along that road where many forces are overtaken and the Nightingale the Robber rules. Then Ilya leads the prince to the Nightingale. But the robber recognizes only the power of Elijah over himself, seeing in him a worthy opponent and winner, honors him above the prince. To the order of Vladimir to demonstrate his art, Nightingale replies:

"It's not with you that I'm having lunch today, prince,

And I don't want to listen to you.

I dined at the old Cossack Ilya Muromets,

Yes, I want to listen to him. "3

Then Ilya Muromets orders him to whistle "half a nightingale's whistle" and "half a beast's cry." But the Nightingale disobeyed and whistled with all his might. "The domes on the towers crooked, and the knees in the towers crumbled from him, the whistle of Nightingale, that there are little people, then everyone is dead." And Prince Vladimir "covers himself with a marten coat." Only Ilya stood on his feet. With the words: "It's enough for you to whistle and like a nightingale, it's enough for you to cry and fathers and mothers, it's enough for you to widow and young wives, it's enough for you to let little children go orphaned!" he cuts off the Nightingale's head.

The feat of Ilya was filled with special meaning for his contemporaries, who advocated the unification of the Russian lands, for the integrity of the ancient Russian state. The epic affirms the idea of ​​serving Russia, of committing national feat in her name.

The epic "Ilya Muromets and the Nightingale the Robber" has features characteristic of the artistic originality of epics. This is a story genre. Events are depicted in development, characters in action. Bylina is characterized by peculiar expressive figurative means: triple repetitions (in the description of the silushka near Chernigov, the heroic whistle), hyperbole (the image of the Nightingale the Robber, the heroic horse Ilya), comparisons, metaphors, epithets (dark forest, grass-ants, azure flowers), diminutive suffixes, etc. n. Fantastic and real images are intertwined in the epic (Nightingale - Ilya).

4. Epic "Dobrynya and the Serpent"

Dobrynya Nikitich - the second most important epic hero Kyiv cycle. He came to replace the ancient Danube, but he is not only a hero-serpent fighter, but also a hero-diplomat. In a number of epics, Dobrynya performs various diplomatic missions for Prince Vladimir.

In the epic "Dobrynya and the Serpent" he performs feat of arms- wins over the Serpent, which brought a lot of grief to the Russian land. The plot of the epic came out of ancient fairy-tale folklore. The epic begins with a story about how the mother does not tell Dobrynya to go to the Puchay River to swim:

Mother said to Dobrynushka,

Yes, mother punished Nikitich:

"Don't you go far into the open field,

On that mountain and Sorochinskaya,

Do not trample on the young serpents,

Don't help out the Russians,

Do not swim, Dobrynya, in the Puchay River -

Puchay-river is very ferocious,

The middle trickle cuts like fire. "2

Fairy tales usually begin with this fabulous prohibition. Just like in a fairy tale, Dobrynya does not listen to her mother's advice and swims far. At this moment, the Serpent flies at him:

There is no wind, but a cloud has fallen,

There are no clouds, but if it rains,

But there is no rain, but only it thunders,

Thunder rumbles and lightning whistles.

How the Serpent Gorynishche flies

And tyeh twelve about trunks. 3

The battle of the hero with the Serpent is depicted briefly: Dobrynya the Serpent hit, knocked off all his "trunks" and took from him the word not to fly to Russia anymore. Returning to Kyiv, Dobrynya learns that the Serpent again flew through Kyiv and carried away the niece of Prince Vladimir, Zabava Putyatichna.

Dobrynya sets off on a long journey to the Zmeya Caves. But, unlike fairy tale hero, who fights the monster for his own personal interests (liberation of the bride), he introduces a new hero who advocates public interests in the struggle for the integrity of Russia and its borders. The fairy-tale motif of the struggle for a woman becomes the motif of the struggle for the Russian polonyanka. In the epic, Dobrynya is presented as the liberator of the Russian land. The bylina sings the glory of the hero, who freed not only Vladimir's niece, but also many other prisoners who languished in the Serpent's dungeon:

Then Dobrynya went into the hole,

In those holes and deep.

There sits forty kings, forty princes,

Forty kings and queens

And a simple force - that and the estimate is not.

Then Dobrynushka Nikitinich

He said to the kings, yes he to the princes

And to those kings and queens:

"You go there now, the cells have been brought.

And you, young Zabava daughter of Putyatichna,

For you, I have now wandered,

You'll go to the city to Kyiv,

And to the affectionate prince to Vladimir. "4

Dobrynya in all epics expresses his heroic qualities, jealously protects the dignity of the Russian warrior, he is reasonable in speeches, restrained, tactful, caring son and faithful husband. In all epics, these features of his appearance are revealed.

5. Epic "Volga and Mikula"

Bylina "Volga and Mikula" refers to Novgorod cycle epics. Already the first researchers drew attention to the sharp social sound of the epic, where the image of the peasant plowman Mikula Selyaninovich is clearly opposed to the image of Prince Volga Svyatoslavich, the nephew Kyiv prince Vladimir. At the same time, other assumptions were made, according to which the images of not just a peasant and a prince, but two pagan gods were recreated in the epic: the god of agriculture - Mikula and the god of hunting - Volga. This is the interpretation of the famous 19th-century mythologist Orest Miller, who saw Mikul Selyaninovich as the "patron of agriculture in Russia." At the same time, Vsevolod Miller drew attention to everyday features in the epic, reflecting the features of agricultural labor in the north:

Yelling in the ratai field, urging,

The bipod at the ratai creaks,

Omeshiki underline pebbles,

That roots, stones twists,

Yes, he brings down great stones into the furrow.

“This is an accurate picture of northern plowing,” wrote V.F. Miller. 2

The plot of the epic is based on the story of the meeting of Prince Volga and his squad with the plowman-peasant Mikula. The epic opens with a story about the birth of Volga, about his maturity:

How Volga began to grow and swear here,

Volga wanted a lot of wisdom:

Pike-fish he walks in the deep seas,

He will fly like a falcon under the shell,

gray wolf roam and roam the open fields.

Volga collected a brave warrior for himself. The nephew of the Kyiv prince received three cities as a gift from Vladimir: Gurchevets, Orekhovets, Krestyanovets. He goes for tribute and in an open field he sees the plowman Mikula, who, working in the field, shows remarkable strength: "he twists the stump-roots, knocks large stones into the furrow." The plowman asks the prince how far he is on his way, and, having learned where he and his retinue are going, tells him what robbery people live in these cities. Volga, seeing his strength, offers the plowman to go with him "in comrades." The plowman agrees, his participation in the trip is necessary - the fight against robbery alone is beyond the power of the princely squad.

Mikula asks the prince's warriors to pull his plow out of the ground and throw it under a willow bush. However, it turns out that neither the squad nor Volga can do this work. And only the heroic strength of Mikula allows him to effortlessly, with one hand, pull the bipod out of the ground.

This is the end of some variants of the epic. According to others, Volga and Mikula come to the cities in which the prince appoints Mikula as governor, the townspeople ambush Volga, and Mikula saves his life.

Mikula is folk hero. He, like a hero-hero, expresses best qualities common man. Bylina affirms respect for the hard work of the tiller, in which one must also show strength and heroism. Mikula's strength is in connection with the land, with the common people.

This epic is characterized by its own artistic features. The element of the folk language is amazing. It is characterized by repetitions, epithets. With the help of epithets, a special poetic world is created. For example, the unusual plow that Mikula plows:

The bipod is maple,

Omeshiki on the bipod damask,

The bipod is silver,

And the horn on the bipod is red and gold. 3

With the help of epithets, a portrait of the hero is created:

And the orata's curls sway,

Isn't the sloping pearl crumbling;

In the orata's eyes, yes, the falcon is clear,

And his eyebrows are black sable. 4

The storytellers describe the clothes of the hero: green morocco boots, a downy hat, a black velvet caftan.

Allegorically, Mikula reveals his folk roots. To Volga's question: "What is your name, are you called by your fatherland?" spoke oratay-oratayushko:

Oh, you Volga Svyatoslavovich!

I’ll plow something like rye and put it in stacks,

I'll put it in stacks and drag it home,

I’ll drag you home and thresh at home,

And I'll make beer and drink the peasants,

And then the peasants will praise me:

Young Mikula Selyaninovich!" 5

Artistic media in the epic are aimed at most vividly capturing the characters and their actions, the situation, expressing their attitude towards them.

6. Epic "Sadko"

Events in the epic unfold in the city of Novgorod. It breaks up into two parts (Sadko receives wealth and Sadko from the Sea Tsar). The main character is Sadko the harpist. At the beginning of the epic, he was neglected by the Novgorod boyars, they stopped inviting him to feasts. Offended, Sadko goes to Ilmen Lake, sits down on the "white-flammable stone" and begins to play "guselki yarovchaty". The Sea King liked his game:

How then in the lake the water stirred,

The king of the sea appeared

I left Ilmen from the lake,

He himself said these words:

"Ah, you, Sadko Novgorodsky!

I don't know how to welcome you

For your joys for the great,

For your gentle game." 1

The Sea King decided to help Sadko, to give him untold wealth. He ordered him to bet with the merchants of Novgorod that he would catch a fish in the lake - a golden feather. The king will send this fish to Sadko in nets.

Guslyar did just that and won three shops of red goods in a dispute with merchants, got rich, erected magnificent chambers, decorating them with marvelous paintings:

Sadke arranged everything in a heavenly way:

The sun is in the sky and the sun is in the chambers,

There is a month in the sky - and a month in the wards,

Stars in the sky - and stars in the chambers. 2

Sadko "invited distinguished guests to an honorable feast," who ate at the feast, got drunk and boasted of everything. Sadko boasted of buying up all the goods in Novgorod, bet richly with him. shops, in the morning more and more brought from all over Russia appeared in them. And Sadko realized that he was not a rich Novgorod merchant - richer than his glorious Novgorod. And if at the beginning of the epic the people's consciousness was on the side of the poor gusler, that he is richer and stronger than the whole trading city, deprived of the sympathy of the people. Bylina forces him to recognize the victory of Novgorod. It clearly expresses the idea of ​​​​the trading power of the great city of northern Russia.

In the second part of the epic, Sadko, a rich merchant, equips ships and sets off with his comrades to trade overseas:

Strong weather converged on the blue sea,

Blackened ships stagnated on the blue sea:

And it beats with a wave, tears the sails,

Breaks blackened boats;

And the ships do not move from their place on the blue sea. 3

So the landscape is introduced into the epic. The ships stood on the sea - the Sea King does not let Sadko in, demands a ransom from him. At first, shipbuilders try to pay off with a barrel of pure silver, red gold, and everything beats with a wave, the sails break, and "the ships do not move from their place on the blue sea." Sadko guesses that the Tsar of the Sea demands "a living head in the blue sea." Three times they cast lots, who should go to the Sea King. And no matter how bad Sadko was, the lot fell on him. Taking only the harp, Sadko rushes into the depths of the sea.

The image of the underwater kingdom in the epic is real, the landscape is realistic:

In the deep blue sea.

Through the water I saw the red sun baking,

Evening dawn, morning dawn.

I saw Sadko: in the blue sea

There is a white-stone chamber ...

Before us is not fantasy, but a certain amount of conventionality. The king of the Sea himself is also depicted. In the epic, only one detail of his portrait is given: "the king's head is like a heap of hay." The singers use the technique of hyperbolization: the head of the king is compared with a pile of hay, which indicates its significant size and introduces an element of comedy.

How Sadko began to play in the gooselets of the yarovchata,

As the king of the sea began to dance in the blue sea,

How the king of the sea danced.

Sadka played for a day, played others,

Yes, Sadke and others also played,

And the king is dancing in the blue sea. 5

Grateful for the fun, the Sea King began to persuade Sadko to marry one of his thirty daughters. Meanwhile, in the blue sea, the water sways, ships crash, righteous people drown.

Orthodox person in reality, in search of deliverance from misfortunes, he always turns to Christian saints, which is also reflected in the epic: "the people began to pray to Mikola Mozhaisk." It is no coincidence that the image of the Christian intercessor Mikola, the patron of all seafarers and sailors, is introduced into the epic. This shows the general Christian idea of ​​Russian folklore:

The saint appeared before Sadko on seabed:

He turned around and looked at Sadka Novgorodsky:

A grey-haired old man is already standing.

Sadka Novgorodsky said:

"I don't have my own will in the blue sea,

Ordered to play guselki yarovchata".

The old man says these words:

"And you pluck the strings,

And you break the pins.

Say: "I didn't have strings,

And the pegs were not useful,

Nothing else to play:

The yarovchatye gusels have broken." 6

Saint Mykola teaches the hapless guslar how to return to Novgorod. As a bride, he must choose the last daughter of the Sea Tsar - the girl Chernavushka. Following wise advice, in the morning Sadko found himself on land, and the girl he chose turned out to be the Novgorod river. In gratitude, Sadko built the cathedral church of Mykola Mozhaisky.

In the Novgorod chronicle, under 1167, the name of a certain Sadko Sytinets, who founded the church, is mentioned. Bylinny Sadko coincides with a real historical person.

V. G. Belinsky wrote about the Novgorod epics that all the rest of Russian fairy-tale poetry is visible in front of them. A new and special world is visible, which served as a source of forms and the very spirit of Russian life, and consequently of Russian poetry. About "Sadko" he writes: "The whole poem is imbued with extraordinary animation and full of poetry. This is one of the pearls of Russian folk poetry."

test questions for self-training of students

1. History of Russian epics (practical review of opinions and the time of the composition of the epic).
2. Scientific schools in Russian folklore about the origins of epics (mythological school, borrowing theory, historical school).
3. The problem of the historicism of Russian epics (use the plots of the epics "Volkh Vseslavevich", "Ilya and Svyatogor", "Dobrynya and Marinka", "Ilya Muromets and the Nightingale the Robber", "Ilya's quarrel with Vladimir").
4. Socio-political structure, economy, culture and life of Russia in the depiction of epics (work on texts).

a) main:

1. Anikin, V.P. Russian oral folk art [Text]: Proc. / V. P. Anikin. - M .: Higher. school, 2009. - 735 p. (30 copies).

2. Karpukhin, I. E. Russian oral folk art [Text]: Educational and methodological manual. / I. E. Karpukhin. - M., Higher. school, 2005. - 280 p. (75 copies).

3. Shafranskaya, E.F. Oral folk art [Text]: tutorial for higher Ped. educational institutions / E.F. Saffron. - M.: Publishing Center "Akadenmiya", 2008. - 352 p. (1 copy)

b) additional:

1. Anikin, V.P. Theory of folklore. Course of lectures [Text] / V. P. Anikin. - M. : KDU, 2004. - 432 p. (1 copy).

2. Buslaev, F. I. Folk epic and mythology [Text] / F. I. Buslaev. - M .: Higher. school, 2003 - 400 p. (6 copies).

3. Zhirmunsky, V. M. Folklore of the West and East [Text] / I. M. Zhirmunsky. - M. : OGI, 2004. - 464 p. (1 copy).

4. Meletinsky, E. M. The hero of a fairy tale [Text] / E. M. Meletinsky. - M. - St. Petersburg. : Academy of Cultural Studies¸Traditions, 2005. - 240 p. (1 copy).

5. Morokhin, V. N. Methods of collecting folklore [Text] / V. N. Morokhin. - M. : Higher school, 1990. - 86 p. (5 copies).

6. Pomerantseva, E.V. Russian oral prose [Text] / E.V. Pomerantsev. - M.: Enlightenment, 1975.- 271 p. (10 copies).

7. Propp, V. Ya. Russian fairy tale [Text] / V. Ya. Propp. - M. : Labyrinth, 2005. - 384 p. (3 copies).

8. Propp, V. Ya. Poetics of folklore [Text] / V. Ya. Propp. - M. : Labyrinth, 1998. - 352 p. (8 copies).

9. Propp, V. Ya. Morphology of a fairy tale [Text] / V. Ya. Propp. - Leningrad: Academia, 1928. - 152 p. Or any other edition (2 copies), or: [ Electronic resource] – 1 electron. opt disk (CD-POM).

10. Propp, V. Ya. Historical roots of a fairy tale [Text] / V. Ya. Propp. - M. : Labyrinth, 2002. - 336 p. (5 copies).

11. Propp, V. Ya. Russian heroic epic [Text] / V. Ya. Propp. - M. : Labyrinth, 1999. - 640 p. Or any other edition (3 copies).

12. Putilov, B. I. Excursions into the theory and history of the Slavic epic [Text] / B. I. Putilov. - St. Petersburg. : Nauka, 1999. - 288 p. (1 copy).

13. Savushkina, N.I. Russian folk drama / N. I. Savushkina.- M .: Publishing House of Moscow. state un-ta, 1988. - 232 p. (2 copies)

in) Information Support disciplines FEB: Fundamental electronic library "Russian literature and folklore: http:///feb-web.ru/ Open Russian Electronic Library (Open Russian Electronic Library): http://orel/rsl/ru/ Student Digital library: yttp://studlib/ru/ Folklore and post-folklore: structure, typology, semiotics: www/ruthenia/ru/folrlore/avantext/html/ Russian folklore in modern records: http://www.folk.ru/

Topic 3. HISTORICAL SONGS

The purpose of the lecture is to familiarize future culturologists with oral folk art as one of the foundations of Russian national culture.

Course objectives:

1. To help the student understand the basic patterns of the functioning of folklore as part of the national spiritual culture in the process of its emergence and development.

2. Develop skills in working with scientific literature, teach students active use scientific apparatus in the process of theoretical understanding of the patterns of development of folklore.

3. To reveal the significance of folk poetry as one of the foundations of Russian national culture, its artistic and ethical value.

4. To promote awareness of the possibilities of using the moral potential of folk poetry in the subsequent cultural and educational activities future professionals.

Plan

1. Song "Avdotya Ryazanochka".

2. historical songs about Yermak and Ivan the Terrible. "Pravezh".

3. Songs about Stenka Razin. "Esaul reports the execution of Razin."

1. Song "Avdotya Ryazanochka".

Historical songs depict events related to Russian history. In the XIII-XV centuries, they are thematically connected with the Tatar-Mongol invasion, the struggle of the people against the foreign yoke. These include songs about Avdotya Ryazanochka, Shchelkan, Tatar captivity. They are patriotic.

The song "Avdotya Ryazanochka" reflects an episode of the Tatar-Mongol invasion, the capture of Ryazan. Ryazan was destroyed, its inhabitants were killed and driven into slavery:

Yes, I ruined Kazan 1 - a city under the forest,

Ruined Kazan de city to empty

He cut down all the princes of the boyars in Kazan,

Yes, and the princesses of the boyar -

He took those alive in full.

He captivated the people many thousands,

He led the Turkish to his land ... 2

The song tells about how the Turkish king Bakhmet took away all the surviving residents from the city. Only Avdotya remained in Ryazan, and she went to Bakhmet to help her loved ones out of trouble. Her path was hard and difficult. The conquerors left three great outposts on the roads:

The first great outpost -

Let rivers, deep lakes;

Another great outpost -

The open field is wide,

Became thieves-robbers;

And the third outpost - dark forests,

Unleashed fierce beasts.

And Avdotya went to the Turkish land.

She walked not by the way, not by the road,

Yes, the rivers are deep, the lakes are wide

Those she sailed,

And small rivers, wide lakes

Those she sailed,

And small rivers, wide lakes,

Yes, whether she wandered the ford. 4

Finally Avdotya came to the king. He was struck by the woman's unheard-of courage, her love for loved ones, her patriotic feeling of love for her native land. In Avdotya's conversation with the king, elements of allegory, a kind of riddle, appear. Bahmet says:

"Yes, she was able with the king speech speak,

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

Yes, which head for more than a century will not make (-t) ".

This sounds like a riddle, and Avdotya Ryazanochka answers him that she will have a husband, and a father-in-law, and a son, and a daughter-in-law, and a mother-in-law, but there will be no beloved brother. The king, amazed by her wisdom, not only presented her with a golden treasury, but also returned all the captive Ryazanians. And they all returned home, and built the city of Ryazan in a new place. And this is a real fact.

The plot of the song, and possibly the image of Avdotya, are fictitious. Artistic fiction is based on epic and fairy-tale traditions. Graphic means, a hyperbolic image of the enemy (a description of Avdotya's path), and solving a riddle are associated with them. In the song, the life story of Avdotya and her family appears as an expression of a folk national tragedy.

2. Historical songs about Yermak and Ivan the Terrible. "Pravezh"

Other songs tell about events in the personal life of Ivan the Terrible, his struggle with treason. One of these songs is a song about Grozny's murder of his son.

The contradictory image of the king is presented in different ways in these songs, which is also revealed in living conditions. So, in the song "Pravezh" (in ancient Russia, this was the name of the court, accompanied by physical punishment) the king is a witness to the massacre in the square over a good fellow, who is beaten on the right, putting on "a white combustible stone naked, barefoot and barefoot". The description of the poor fellow is repeated three times, which enhances the tragic moment of the massacre:

Well done is standing - he will not shake himself,

The Russians of his curls will not toss,

Only from the eyes of burning tears.

This picture is seen by the king passing by. He stops and asks the question: "Why are you torturing the good fellow?" And, having received an answer, he does not agree with the decision of the court to punish the young man for stealing the golden treasury and the “colored” dress, which he did not steal himself, but recaptured from robber thieves. The king believed the young man. He was also satisfied with the answer that he carried all these riches to the drinking houses and watered all the tavern’s home: “And I watered all the tavern’s home, and dressed all our barefoot people in colored clothes.” The king made a right decision:

"Oh, you are a goy, kissing burghers!

Pay him fifty rubles for each hit,

And for dishonor, pay him five hundred rubles! ". 1

And this decision was really fair, since the young man did not spend these riches on himself, but clothed the people. The tsar was not only formidable, but also Orthodox (he judged in truth). These epithets are repeated in the song repeatedly.

3. Songs about Stenka Razin. "Esaul reports the execution of Razin"

In the 17th century, songs told about the events of the Time of Troubles (foreign intervention) and about peasant uprising under the direction of Stepan Razin. The songs, first of all, reflect the image of Razin himself with the real features of the historical prototype. According to the traditions of oral poetry, he is depicted as a good fellow: blond curls, a beautiful face with falcon eyes and sable eyebrows, a caftan belted with a wide belt, plush pants, morocco boots. In songs, the people call him a good fellow, a daring Cossack, a daring atamanushka. Epithets emphasize the love of the people for Razin. The songs of this cycle are characterized by the use of constant epithets: open field, dark forests, clear eyes, white hands. The image of Razin influenced contemporary folklore. These songs are filled specific content. In describing individual episodes of the uprising, they are close to the truth of life. The songs tell about campaigns, about the capture of cities, about defeats and failures. The people mourn the death of Razin.

In the song "Esaul reports the execution of Razin" one feels sympathy and heartache:

At the dawn it was, brothers, at the morning,

At the rising of the red sun

At the sunset of a bright month.

Not a falcon flew through the sky

Yasaul walked around the garden...

We no longer have Ataman,

No Stepan Timofeevich,

Nicknamed Stenka Razin.

Caught a good young man

White hands tied

They took me to stone Moscow

And on the glorious Red Square

Chopped off a wild head. one

Special place Razin folklore is occupied by songs about Razin's "son", i.e. about his scout, the envoy of the chieftain. They were distributed everywhere, including in the Volga region, and differed artistic expressiveness, capacity and dynamism. It is believed that historical basis songs about "son" are real facts. So, in the song “Sonny” of Razin in Astrakhan "it is sung:

Like in a city in Astrakhan

An unknown person showed up here.

Purely, scurrying around Astrakhan,

Smur caftan, black zipper open, walking,

Plath Persian sash in his right hand carries ...

This kid does not bow to anyone,

He doesn’t hit the headquarters or the officers with his forehead,

To Astrakhan Governor will not go to court. 2

And even when they catch the "son" and bring him to the governor, he also holds on independently:

"I'm not from St. Petersburg, not from Kazan and not from Astrakhan,

In the morning my father will visit you."

Historical songs about Peter I and Pugachev. "Peter I will be recognized in a Swedish city", "Trial of Pugachev. Panin"

Historical songs were also dedicated to the reformer of Russian life, Peter I. In the songs, Peter is shown an outstanding commander. They express the sympathy of the people for his activities. In the songs, he is an ideal king who cares about the welfare of his subjects, a brilliant commander, organizer of military victories. So, in the song "Peter I is recognized in a Swedish city" it is said about one episode of the reign of Peter I. The king secretly goes to the Swedish kingdom under the guise of a merchant. The song says that no one knows about it and does not know. In order to appear as a wealthy merchant, he fills his ships with pure silver, decorates them with pure gold, and takes "very little silushka" with him. Peter orders to call himself not a sovereign, but an overseas merchant.

However, he is recognized in the "glass state" (Stockholm). The Swedish queen shouts to her subjects:

"Oh, you are a goy, my Swedish generals!

Lock your gates tight

You catch the white king soon!"

Talking about this event, the song emphasizes the courage and resourcefulness of Peter:

He guessed all the Swedish plans,

He soon rushed to the peasant's yard:

"You take it, take it, peasant, plenty of money,

You take me to the edge of the blue sea."

On the ships, the king leaves the chase. Enemies try to capture him, but to no avail. In an effort to catch the Russian tsar, the queen sends chase twice. And the persecutors ask Peter to take them with him, since there is no way back for them:

"You take, take, white king, us with you,

And you will not take us, father, with you,

We must not be, bitter, alive in the world.

After the refusal of the king, "the whole pursuit in the blue sea rushed." one

The people call Peter "our father". In this appeal, people's love for the autocrat is visible.

historical songs much less about Pugachev, because in the minds of the people he was a legitimate king, and not a free Cossack robber. It was impossible to add bandit songs about him. In Pugachev's songs, the people idealized the image of Pugachev, saw him as a defender, a hero, depicted him as rebellious, proud even in difficult times. life situations. This is shown in the song "The Trial of Pugachev. Panin", in which the ataman behaves proudly, independently, answering the question of the royal nobleman Panin:

Here Count Panin judged the thief Pugachev:

Tell me, tell me, Pugachenko, Emelyan Ivanovich,

Did he hang many princes and boyars?

I hung your brother seven hundred and seven thousand.

Thank you, Panin, that you didn't get caught:

I would add something

Write a story about Ilya Muromets. First, answer the questions and make a plan1. When did the events described in the epic take place?

2. What are the features of that time?
3. When and how did Ilya Muromets become a hero, thanks to what? What did he look like?
4. What character traits of Ilya Muromets are mentioned in epics. What convinces us that Ilya Muromets loved his Motherland and selflessly served her?
5. What actions did the hero do?
6. What are the features of the hero's speech?
Start the story like this:
"Ilya Muromets is the most beloved epic image of the Russian people. No wonder the people themselves say about him:
Like a red sun in the sky,
And one in Russia Ilya Muromets!

Once Mishka and I entered the hall where we have singing lessons. Boris Sergeevich was sitting at his piano and playing something quietly. Mishka and I sat on the floor

window clerk and did not interfere with him, and he did not notice us at all, but continued to play himself, and from under his fingers very quickly jumped out different sounds . They splashed, and it turned out something very friendly and joyful. I really liked it, and I could have sat and listened like that for a long time, but Boris Sergeevich soon stopped playing. He closed the lid of the piano, and saw us, and cheerfully said: - Oh! What people! Sitting like two sparrows on a branch! Well, so what do you say? I asked: - What are you playing, Boris Sergeevich? He replied: - This is Chopin. I love him very much. I said: - Of course, since you are a singing teacher, you love different songs. He said: - This is not a song. Although I love songs, but this is not a song. What I played is called a much bigger word than just "song". I said: - What is it? In a word? He answered seriously and clearly: - Mu-zy-ka. Chopin - a great composition He composed wonderful music. And I love music more than anything. Then he looked at me carefully and said: - Well, what do you like? More than anything else? I answered: - I like a lot of things. And I told him what I love. And about the dog, and about planing, and about the baby elephant, and about the red cavalrymen, and about the little doe on pink hooves, and about the ancient warriors, and about the cool stars, and about the horse's faces, everything, everything ... He listened to me attentively , he had a thoughtful face as he listened, and then he said: - Look! And I didn't know. Honestly, you're still small, don't be offended, but look - you love how much! Mishka intervened at this point. He pouted and said: - And I love different varieties even more than Deniska! Think! Boris Sergeevich laughed: - Very interesting! Come on, tell me the secret of your soul. Now it's your turn, take the baton! So get started! What do you love? The bear fidgeted on the windowsill, then cleared his throat and said: - I love rolls, buns, loaves and cake! I love bread, and cake, and cakes, and gingerbread, even Tula, even honey, even glazed. I love drying too, and donuts, bagels, pies with meat, jam, cabbage and rice. I really love dumplings, and especially cheesecakes, if they are fresh, but stale is also okay. You can oatmeal cookies and vanilla crackers. And I also love sprats, saury, pike perch in marinade, gobies in tomato, a part in their own juice, eggplant caviar, sliced ​​zucchini and fried potatoes. I love boiled sausage right madly, if it’s doctor’s, I’ll bet that I’ll eat a whole kilo! And I love the dining room, and tea, and brawn, and smoked, and semi-smoked, and raw smoked! I love this one the most. I really like pasta with butter, noodles with butter, horns with butter, cheese with holes and without holes, with red or white rind - it doesn't matter. I love dumplings with cottage cheese, salty, sweet, sour cottage cheese; I like apples grated with sugar, and then the apples alone, and if the apples are peeled, then I like to eat an apple first, and only then, for a snack - the peel! I love liver, meatballs, herring, bean soup, green peas, boiled meat, toffee, sugar, tea, jam, borzhom, soda with syrup, soft-boiled eggs, hard-boiled, in a bag, I can and raw. I love sandwiches with just anything, especially if thickly spread with mashed potatoes or millet porridge. So ... Well, I won’t talk about halva - what fool does not like halva? I also love duck, goose and turkey. Oh yes! I love ice cream with all my heart. For seven, for nine. Thirteen, fifteen, nineteen. Twenty-two and twenty-eight. Mishka looked around the ceiling and took a breath. Apparently, he was already very tired. But Boris Sergeevich looked at him intently, and Mishka drove on. He muttered: - Gooseberries, carrots, salmon, pink salmon, turnips, borscht, dumplings, although I already said dumplings, broth, bananas, persimmons, compote, sausages, sausage, although I also said sausage ... The bear was exhausted and fell silent. It was clear from his eyes that he was waiting for Boris Sergeevich to praise him. But he looked at Mishka a little displeasedly and even seemed to be stern. He, too, seemed to be waiting for something from Mishka: what else Mishka would say. But Mishka was silent. It turned out that they both expected something from each other and were silent. The first could not stand Boris Sergeevich. “Well, Misha,” he said, “you love a lot, no doubt about it, but everything you love is somehow the same, too edible, or something. It turns out that you love the whole grocery store. And only ... And the people? Who do you love? Or from animals? Here Mishka was all startled and blushed. “Oh,” he said embarrassedly, “I almost forgot! More kittens! And grandma! 1 task. What more than anything else Deniska loves 1. Animal world. 2. Mom and dad. 3. People, animals, books and many more whole - whole world. 2 task. How do you understand the words of the author Mishka went on? 1. He began to list further what he would love. 2 Continue on your way. 3. I went to the next stop. 3 task. Did Deniska like the game of Boris Sergeevich? Write down the words that helped you answer.

one). Name the feelings that Fedya experiences when he hears the third song about the bell. 2). Write out sentences from the text that support your answer.

here is the story itself: Fedin's task Once, one winter, Fedya Rybkin came from the skating rink. There was no one at home. Fedya's younger sister, Rina, has already done her homework and went to play with her friends. Mother also went somewhere. - That's good! Fedya said. “At least no one will interfere with doing homework.” He turned on the radio, took out a task book from his bag and began to look for a task assigned to the house. “We are transmitting a concert by request,” a voice announced on the radio. “A concert is good,” Fedya said. - It will be more fun to do homework. He adjusted the loudspeaker so that it was louder, and sat down at the table. - Well, what is it for us at home? Problem number six hundred thirty nine? So... "Four hundred and fifty sacks of rye were delivered to the mill, eighty kilograms each..." The sounds of the piano were heard from the loudspeaker and someone's voice sang in a rumbling thick bass: Once upon a time there was a king
A flea lived with him.
Mile brother
She was to him.