folklore oral variability improvisation
The Russian wedding has preserved traces of early historical periods with their marriage relationships. The most archaic echoes of premonogamous (group) forms of marriage, dating back to matriarchy. In its original meaning, the ritual is a female initiation, the initiation of a girl-bride into a group of mothers. The ancient collective nature of such initiations is reflected in bachelorette party In the bride's house they sang songs in which the groom's arrival was depicted as wind, storm, he himself was called destroyer And destroyer. All these are traces marriage-kidnapping, that is, one in which the bride was kidnapped (first by force, and later by mutual agreement). The next form of marriage is “purchase and sale,” which apparently existed among the Polans. The groom had to pay for the bride vein, similar to the dowry known among Muslims. In Russian wedding game Scenes of buying a place next to the bride, her braid (or herself, which was equivalent), and a dowry were played out. The ransom was small, almost symbolic: gifts, treats, small money. Sometimes you had to solve riddles (“Who is redder than the sun, who is brighter than the moon?”). One of the pre-wedding rituals was called handshake: the matchmakers and the bride's father "struck hands", as if concluding a trade deal ( “You have a product, we have a merchant”). The vein was subsequently replaced dowry Dowries began to be collected from birth. It was said: "A daughter in a cradle - a dowry in a box." It was put in box, hide, chest. A bride with a good dowry was called dowry, with bad - homeless woman “Take the dowry, but the talent” (talan - happy fate of a person). Loaf - This is a ritual, specially prepared bread with which the newlyweds were greeted from the crown. The loaf was decorated with scarves, red ribbons, and viburnum.
Traditional wedding ceremony- Not only family celebration, but also a sacred phenomenon with its religious and magical side, and a legal and everyday act. A collective feast was certainly arranged - feast for the whole world (red table, prince's table).
A wedding is a complex dramatic game, consisting of several acts and usually lasting from 3 to 10 days. Among the wedding ranks were: rozhniki - relatives of the bride; squad, boyars - groom's companions; boyars, bridesmaids - bride's companions; underbelly - singing girls.
The main poetic genre of a South Russian wedding is songs. Among Russians, this type of ritual is local (Don, Kuban).
The Northern Russian wedding is dramatic, so its main genre is lamentation. They were performed throughout the ceremony. Was mandatory bathhouse, which ended the bachelorette party. The Northern Russian wedding was celebrated in Pomerania, in the Arkhangelsk, Olonetsk, St. Petersburg, Vyatka, Novgorod, Pskov, and Perm provinces.
A universal amulet was a belt - a piece of clothing that took the shape of a circle. It was believed that the one wearing a belt was “afraid of the devil,” so people got married wearing a belt. Magic properties The belts sealed the union of the young: they tied the bride and groom, a dowry bundle, and a wedding cake.
Initiation included rituals with hair, changing hairstyle: unraveling braids, selling braids, curling. This ancient custom was associated with the belief in the magical power of hair.
The Russian girl wore one braid. It was unbraided at a bachelorette party and usually not braided again until the wedding. The bride gave her friends her braids ki - braid ribbons. Ritual braid sales was a reminiscence of the purchase of the bride herself. “Take the braid with your head,” her mother told the groom. The braid was sold by the bride's younger single brother or another boy relative called brace. The wrapping is one of the culminating elements of the ceremony, which took place immediately after the wedding (in the church gatehouse, refectory or, upon arrival, in the husband’s house). Did the bride women's hairstyle(two braids wrapped around the head) and matched the hair to a woman’s headdress (kokoshnik, kitschka with magpie, warrior, collection). Unlike a girl, a woman always had to walk with her head covered. There is a proverb about this: “A little sung, but worn forever.”
Wedding poetry was deeply psychological and depicted the feelings of the bride and groom and their development throughout the ceremony. Particularly difficult in psychologically was the role of the bride, so folklore painted a rich palette of her emotional states. The first half of the wedding ceremony, while the bride was still in her parents' house, was filled with drama and was accompanied by sad, elegiac works. At the feast (in the groom's house), the emotional tone changed sharply: in folklore, the idealization of the participants in the feast prevailed, and fun sparkled. For a wedding of the Northern Russian type, the main folklore genre was lamentations. They expressed only one feeling - sadness.
Wedding songs are the most significant, best-preserved cycle of family ritual poetry. Matchmaking was conducted in a conventional poetic and allegorical manner. The matchmakers called themselves fishermen, hunters, bride - whitefish, marten. During the matchmaking, the bride's friends could already sing songs: ritual ") and lyrical ones, in which the theme of a girl’s loss of her will began to be developed ( "The viburnum boasted..."). Paired images-symbols from the natural world appear in the songs, for example Kalinushka and the nightingale ("On the mountain there was a viburnum standing in a circle..."). The motive of the trampled maiden will is being developed (the bride is depicted through the symbols of the pecked berries, caught fish, shot down coons.
In the songs of the bachelorette party, monologue forms appeared on behalf of the bride. She said goodbye to free will and her stepfather's house, she reproached her parents for giving her away in marriage. Thinking about your future life, the bride introduced herself white swan, caught in the herd gray geese, who pinch her. The mother or married sister taught the bride how to behave in the new family:
"Wear the dress, don't wear it out,
You endure grief, don’t tell.”
Songs often contain the plot of crossing or transporting a bride across a water barrier, associated with the ancient understanding of a wedding as an initiation. The culmination of everything wedding ritual It was a wedding day, on which the marriage and the greatness of the young family took place.
In the morning, the bride woke up her friends with a song in which she announced her bad dream: snuck up on her Damn woman's life. While the bride was dressing and waiting for the groom's wedding train, lyrical songs were sung, expressing the extreme degree of her sorrowful experiences. Ritual songs were also filled with deep lyricism, in which marriage was portrayed as an inevitable event. But then the wedding train arrived. Guests in the house are like a hurricane, sweeping away everything in its path. This is depicted through hyperbole: They broke down the new hall and melted a couple of gold. At this time, scenes were played out, based on the ransom of the bride or her double - maiden beauty. Their execution was facilitated by wedding sentences, which were of a ritual nature. The sentences also had other functions: they idealized the entire situation and the wedding participants, and humorously discharged the difficult psychological situation associated with the bride’s departure from her parents’ home.
Sentences are rhymed or rhythmic works of poetry. In the Kostroma region, after the arrival of the wedding train, a scene of removal was played out Christmas trees - maiden beauty, which was accompanied by a large sentence. Christmas tree was carried out by one of the bride's friends, she also pronounced the verdict. There was improvisation in the construction of the verdict. Then the greeting was said to the commuters. Their idealization could take an epic turn: they were on their way to pick up a bride clean fields, green meadows, dark forests... The difficult journey of the groom's train was conveyed by hyperbole. Hyperboles were also used in another epic part - in the story about how the girls mined and decorated Christmas tree
Herringbone was the main character. Then they walked around those present and demanded payment for Christmas tree Started with the groom, then turned to friends, matchmakers, relatives. The ways in which they were encouraged to “gift.” Each giver extinguished the candle. When all the candles were extinguished, the girl who pronounced the sentence turned to the bride. She spoke of the inevitable parting with beauty and of the bride's loss of her girlhood forever. Christmas tree They carried her out of the hut, the bride cried. Through all game situation a red thread ran through the psychological parallel between Christmas tree-maiden beauty and the bride. The sentences compositionally consisted of a monologue, but addresses to the ritual participants led to the emergence of dialogical forms and gave the sentences the character of a dramatic performance.
The most solemn moment of the wedding was the feast (prince's table). Here they sang only funny songs and danced. Bright artistic development had a ritual of glorification. Great songs were sung to the newlyweds, wedding officials and all guests, for this ygrits(singers) were presented with sweets, gingerbread, and money. The stingy ones sang parodic magnificence—corruption songs that could have been sung just for laughs. Great songs can be compared to hymns; they are characterized by solemn intonation and high vocabulary. The purpose of reproach songs is to create a caricature. Their main artistic technique is the grotesque. At the groom's a grove has grown on the hump, a mouse has built a nest in the head; at the matchmaker's the back is a lava, well...- bread bin, peritoneum - swamp;
Portraits of reproach songs are satirical, they exaggerate the ugly. This is achieved through reduced vocabulary. Corruption songs achieved not only a humorous goal, but also ridiculed drunkenness, greed, stupidity, laziness,
All works of wedding folklore used an abundance of artistic means: epithets, comparisons, symbols, hyperboles, repetitions, words in an affectionate form (with diminutive suffixes), synonyms, allegories, appeals, exclamations, etc. Wedding folklore affirmed an ideal, sublime world, living according to the laws of goodness and beauty.
The verbal, primarily poetic (verse) design of the wedding had a deep psychologism, depicting the feelings of the bride and groom and their development throughout the ceremony. The role of the bride was especially difficult psychologically. Folklore painted a rich palette of her emotional states. The first half of the wedding ceremony, while the bride was still in her parents' house, was filled with drama and was accompanied by sad, elegiac works. At the feast (in the groom's house), the emotional tone changed sharply: in folklore, the idealization of the participants in the feast prevailed, and fun sparkled.
As mentioned earlier, for a wedding of the Northern Russian type, the main folklore genre was lamentations. They expressed only one feeling - sadness. Psychological characteristics songs are much wider, therefore, in a Central Russian wedding, the depiction of the bride’s experiences was more dialectical, moving and diverse. Wedding songs are the most significant, best-preserved cycle of family ritual poetry.
Each episode of the wedding had its own poetic devices. Matchmaking was conducted in a conventional poetic and allegorical manner. The matchmakers called themselves “hunters”, “fishermen”, the bride - “marten”, “white fish”. During the matchmaking, the bride's friends could already sing songs: ritual and lyrical, in which the theme of the girl's loss of her will began to be developed.
Conspiracy songs depicted the transition of a girl and a young man from the free state of “youth” and “girlhood” to the position of a bride and groom (“At the table, table, oak table ...”). Paired images appear in the songs - symbols from the natural world, for example, “Kalinushka” and “nightingale” (“On the mountain there was a viburnum in a bush...”).
The motive of the taken away maiden will is developed (the bride is depicted through the symbols of a pecked “berry”, a caught “fish”, a shot “kuna”, a trampled “grass”, a broken “grape twig”, a broken “birch tree”). In ritual songs performed at a gathering, at a bachelorette party or in the morning wedding day, the upcoming, ongoing, or already accomplished ceremony of unbraiding the braid could be celebrated (for examples, see the appendix). Conspiracy songs began to depict young people in the position of a bride and groom, idealizing their relationship. In such songs there was no monologue form; they were a story or dialogue.
If the bride was an orphan, then a lament was performed in which the daughter “invites” her parents to watch her “orphan wedding.” Songs often contain the plot of crossing or transporting a bride across a water barrier, associated with the ancient understanding of a wedding as an initiation (“Across the river lay a bird cherry tree...”). The bachelorette party was full of ritual and lyrical songs (see the appendix for examples).
In the morning, the bride woke up her friends with a song in which she reported about her “bad dream”: “cursed woman’s life” had crept up on her. While the bride was dressing and waiting for the groom's wedding train, they sang lyrical songs that expressed the extreme degree of her sorrowful experiences. Ritual songs were also filled with deep lyricism; in them, marriage was depicted as an inevitable event (“Mother! Why is there dust in the field?”). The bride's transition from one home to another was depicted as a difficult, insurmountable path. On such a journey (from her home to the church, and then to the new home), the bride is not accompanied by relatives, but mainly by future husband(“Lyubushka was still walking from tower to tower…” see appendix).
The appearance of the wedding train and all the guests is depicted in songs through hyperbole. At this time, scenes were played out in the house, which were based on the ransom of the bride or her double - the “maiden beauty”. Their execution was facilitated by wedding sentences, which were of a ritual nature. The sentences also had another function: they defuse the difficult psychological situation associated with the bride’s departure from her parents’ home.
The most solemn moment of the wedding was the feast. Here they sang only funny songs and danced. The ritual of glorification had a vibrant artistic development. Majestic songs were sung to the newlyweds, wedding officials and all guests, for which the igresses (singers) were given gifts. The stingy ones sang parodic magnificence—corruption songs that could have been sung just for laughs.
The images of the bride and groom in praise songs poetically revealed various symbols from the natural world. Groom - “clear falcon”, “black horse”; bride - “strawberry-berry”, “viburnum-raspberry”, “currant berry”. The symbols could also be paired: “dove” and “darling”, “grapes” and “berry”. Portraits played an important role in songs of praise. Compared to the songs sung in the bride’s house, the contrast between one’s family and someone else’s family changed diametrically. Now the father’s family has become a “stranger,” so the bride doesn’t want to eat her father’s bread: it’s bitter and smells like wormwood; and I want to eat Ivanov’s bread: it’s sweet, it smells like honey (“Grapes grow in the garden...” see appendix).
In the songs of greatness one can see general scheme creating an image: a person’s appearance, his clothing, wealth, good spiritual qualities (see the appendix for an example).
Great songs can be compared to hymns; they are characterized by solemn intonation and high vocabulary. All this was achieved using traditional folklore means. Yu. G. Kruglov noted that all artistic means “are used in strict accordance with the poetic content of glorified songs - they serve to strengthen, emphasize the most beautiful features of the appearance of the one being glorified, the most noble features of his character, the most magnificent attitude of those singing towards him, that is , serve the basic principle of the poetic content of great songs - idealization" Kruglov Yu.G. Russian wedding songs. - M., 1978. - p.49..
The purpose of the corrugating songs performed at the moment of glorifying the guests (see above) is to create a caricature. Their main technique is grotesque. Portraits in such songs are satirical, they exaggerate the ugly. This is facilitated by reduced vocabulary. Corruption songs achieved not only a humorous goal, but also ridiculed drunkenness, greed, stupidity, laziness, deception, and boasting (see 3.).
All works of wedding folklore used an abundance of artistic means: epithets, comparisons, symbols, hyperboles, repetitions, words in an affectionate form (with diminutive suffixes), synonyms, allegories, appeals, exclamations, etc. Wedding folklore affirmed an ideal, sublime world, living according to the laws of goodness and beauty. Examples of wedding poetry can be found in the appendix.
Wedding clothes and accessories
Unlike texts, the execution of which in all regions of Russia had specific nuances, the objective world of a Russian wedding was more unified. Since it is not possible to consider all the items involved in the wedding ceremony, we will focus only on some of the most important and mandatory ones.
Wedding Dress.
The white dress on the bride symbolizes purity and innocence. But White color also the color of mourning, the color of the past, the color of memory and oblivion. Another “mourning white” color was red. “Don’t sew me, mother, a red sundress...” sang the daughter, who did not want to leave her home to strangers. Therefore, historians are inclined to believe that the white or red dress of the bride is the “mournful” dress of a girl who “died” for her former family. Throughout the wedding, the bride changed her outfit several times. She was in different dresses at a bachelorette party, wedding, after the wedding in the groom’s house and on the second day of the wedding (see 9., 11.).
Headdress.
In a peasant environment, the bride's headdress was a wreath of different flowers with ribbons. The girls did it before the wedding, bringing their ribbons. Sometimes wreaths were bought or even transferred from one wedding to another. To avoid damage, the bride went to the crown covered with a large scarf or blanket so that her face was not visible. A cross was often put on top of the scarf; it went down from the head to the back.
The bride was not allowed to be seen by anyone, and violation of the ban was believed to lead to all sorts of misfortunes and even untimely death. For this reason, the bride put on a veil, and the newlyweds took each other’s hands exclusively through a scarf, and also did not eat or drink throughout the wedding.
Since pagan times, the custom has been preserved to say goodbye to the braid when getting married, and to braid the young wife two braids instead of one, moreover, laying the strands one under the other, and not on top. If the girl ran away with her beloved against the will of her parents, the young husband circumcised girl's braid and presented it to his newly-made father-in-law and mother-in-law along with the ransom for “kidnapping” the girl. In any case married woman had to cover her hair with a headdress or scarf (so that the power contained in it would not harm the new family). (see 2., 11.).
During the betrothal ceremony, the groom and his relatives came to the bride’s house, everyone gave each other gifts, and the bride and groom exchanged wedding rings. All the action was accompanied by songs.
The ring is one of ancient jewelry. Like any closed circle, the ring symbolizes integrity, so it, like the bracelet, is used as an attribute of marriage. Wedding ring should be smooth, without notches, so that family life was smooth (see 11.).
Songs occupy the most important place in the wedding ceremony: they belong to the ceremony and are not performed outside the ceremony. Their function is ritual; they give publicity to the beginning, course and completion of the wedding as an everyday legal act. These songs combine their purpose with the poeticization of traditional ritual. A distinctive feature of wedding songs is their epic, narrative style.
Ritual folklore - wedding songs - is complex in its composition. There are four main genres - wedding, valorization, reproach songs and lamentations.
Wedding ritual songs of the Russian people rich in visual and expressive means. Characteristic features Traditional poetics of ritual songs are constant epithets (“high mansions”, “silk grass”), personifications (“the duck was admiring the wing”), comparisons (“little as a lingonberry”), words with diminutive suffixes as in the designation of the bride and groom , and family members (“Maryushka”, “Ivanushka”, “mother”, “father”, “girlfriends”, “svashenki”, etc.).
Great songs are characterized by idealization in depicting the characters and appearance of the bride and groom. As researchers note, the main feature common to majestic wedding songs is the extraordinary brightness of the pictures depicted, the beauty of the portraits drawn, the richness and splendor of the entire setting of the action, this is achieved primarily by selecting from folk songs the poetic means of those images that have traditionally been associated with the concepts of wealth , prosperity and happiness.
Lyrical images of weddings ritual songs : drake, falcon - to depict the groom, and duck, cuckoo - to depict the bride. The image of a cuckoo, associated with funeral symbolism, appears in wedding songs not by chance. By ancient rite initiation, the girl had to “die”, burying her former life. It is characteristic that the symbol of the cuckoo sounds in the songs of the bachelorette party, as well as during the departure to the wedding, that is, in the songs of the pre-wedding ceremony.
To compare images from the natural world and the human world in songs, the technique of psychological parallelism is widely used (“The duck swam at sea”).
Some wedding songs have retained an ancient connection with calendar and ritual poetry ( There was a birch tree at the gate)
Thus, wedding ceremony is a whole complex of ritual actions, elements of oral poetry, folk mythology and folk eloquence. This is a kind of encyclopedia of peasant life.
Stages of the wedding ceremony of the Russian people.
- Matchmaking
- Collusion
- hen-party
- Wedding day
- wedding feast
In literary reading or music lessons, schoolchildren as homework It is proposed to give examples of wedding ritual songs. Below we give examples, texts, words, and names of songs from wedding ritual folklore of the Russian people.
Tlyrics:
Lyrical wedding songs
The birch tree bowed to the dark forest...
The birch tree bowed to the dark forest:
- Thank you, dark forest, for standing.
I'm behind you, dark forest, insisted,
She waved herself with twigs and branches,
I've seen enough bright sunshine.
Helen said to her father:
- Thank you, father, for the festivities,
I've had a good time with you, father,
I was there for dances and feasts,
I fell in love with young Vanechka.
The duck was swimming at the sea...
The duck swam at the sea,
I got out onto the shore and shook myself off,
She admired her wing:
-My wing, wing, gray wing,
Will you be as gray as you were at sea?
The wing was washed into the sea,
It dried in the bright sun.
And in the mansion Lenochka was getting ready,
She admired her little face:
-My face, little face, white face,
Will you be as white as your dad’s?
And daddy’s face was washed,
And my father-in-law was forced to work.
Why are you, birch splinter, not burning brightly...
Why are you, birch splinter, not burning brightly, not burning brightly?
Or were you, little torch, not in the oven, weren’t in the oven?
You will be in the stove, you will see the heat, you will burn brighter.
Why aren’t you crying pitifully, Tanechka? Why aren’t you crying pitifully?
Or have you, Tanechka, not been among people for a long time, haven’t been among people for a long time?
I wasn’t among people, I didn’t see grief, I didn’t see grief.
You will be among people, you will see grief, Tanya, you will cry more.
Wedding ritual ritual folk songs
The song announced the ritual of congratulating the groom after the newlyweds' parents made a positive decision about the wedding.
Like a matchmaker in the yard,
From Mikhail Afanasyevich,
The bell rang at three
The young man was congratulated
With his future (wife) -
With heart, red maiden!
Tells about the wedding ritual of a bath in the bride's house.
The soap machine was starting up
Like our girls.
The bathhouse was flooded,
The woodsmen flared up:
The first woods are birch trees,
Other woods are pine,
The third type of wood is cedar;
The heater is heating up
Three-piece pebbles,
Triple, semi-precious,
Gemstones, azure!
The song was performed at a bachelorette party when the groom arrived, or on the wedding day.
Still, the boyars entered the yard.
The young people went up to the porch,
From the porch to Nova Gorenka!
And the duck swam... Sung at a bachelorette party while undoing my braid. The act of unbraiding the braid was typical of an East Slavic wedding and symbolized the bride's parting with her girlhood.
And the duck swam in the dew,
And the gray one floated in the dew.
And the girl cried along her braid
And the red braid cried.
- Who will unravel my scarf?
And who will unravel my brown hair?
Who's going to scratch my head?
And who will scratch my smooth skin?
My sister will unravel her scarf,
Mother will scratch her head.
Mother will scratch her head,
The daughter-in-law will braid the scarf.
The cuckoo was pooping in the garden... The content and words of the song correspond to wedding symbols: the eagle is the groom, the cuckoo is the bride. Wedding poetry in Russia is within the framework of a ritual symbolic system, in which the falcon (eagle) is a predator, attacks, and the swan (cuckoo) is a victim and suffers. Poetic imagery originates from symbols wedding action in ancient allegorical speech.
The cuckoo was pooping in the little garden,
Press the head(s) to the leaf.
Her little birds asked:
- Why are you cuckooing?
- How can I, cuckoo, not cuckoo?
I made myself a nest,
I laid my own egg.
From where the eagle flew,
He ruined my nest
He took me, the cuckoo, with him.
Manechka cried in the room,
Putting the little head to my sister.
The girls asked her:
- Why are you crying so much, Manechka?
- Vanya tore the wreath.
There was a birch tree at the gate.... (Wedding calendar - ritual song) The parallel that appears in wedding songs, a birch without a top (parents without a daughter), is associated with spring calendar rituals aimed at the fertility of the land. As already noted, it was in the top of the birch tree, according to popular beliefs, that all the growth power was concentrated, which needed to be transferred to the earth. In the wedding song, the bride tears off the top and thus takes its fertile power with her, because Soon the girl herself should act in a new capacity as a mother and continuer of her husband’s family.
There was a birch tree at the gate,
Covered the gate with branches,
Maryushka drove there
And she broke the top of that birch tree.
Stop, my birch tree,
Stand still now.
Live, my father,
Now without me...
The song announced the ceremony of buying a place for the groom next to the bride.
Brother sold sister
For a ruble, for half a ruble,
For a gold hryvnia,
Sold, exchanged,
Tied up black cherochki!
The song talks about the ritual of the groom sitting next to the bride after buying a place; it also reflects the magical ritual of showering the groom and groomsmen with grain.
White grapes were rolling across the sunburnt,
The sun is red and through the forest,
Friendship with the prince and a feast,
Behind him is a sprinkle sister,
Sprinkles with rye and hops;
Sprinkle rye so you can live well,
Sprinkle with hops to live well!
The song announced the rite of union of the newlyweds - the central part of the rite of giving the bride to the groom; the ritual took place like this: taking the bride by right hand, the groomsman joined the hands of the bride and groom; at the moment of joining hands this song was sung.
The berry and berry rolled off.
Berry kissed berry,
Berry hugged with berry!
It announced how the bride and groom sat down at the table after performing the ritual of handing over the bride to the groom.
The nightingale fell on its nest,
The young prince sat down in his place!
The song announced the ceremony of gifting the groom.
The bells rang throughout the city,
The following people brought gifts around the house:
Gave gifts of light (name of the bride).
The good fellow accepted the gifts,
Good fellow - newlywed prince.
Outside, mother, there is neither rain nor dew,
In the mansion, the sweet mother-in-law of the boyars gave:
Damask, taffeta, gold brocade,
Dear son-in-law - an eternal gift,
An eternal gift - your daughter!
The song announced the ceremony of blessing the bride by her parents.
It's not thunder that thunders in the mansion,
It is not the willow tree that is staggering in the field,
Bows to the damp earth
Sweet child is blessed
Go to the golden crown!
The song announced the departure of the wedding train from the bride's house.
Hollow water spills.
Floods the entire wide yard;
There are three boats in the yard:
Just like the first boat
With chests, with lifestyles,
And the other boat
With merchants, with boyars,
And the third boat
With a red maiden soul
With my soul Anna
Semyonovna!
The swan was lagging behind,
Yes, the white swan was lagging behind
Away from the swan flock,
The swan came
Yes, the white swan pestered
To the flock to the gray geese.
The song announced the performance magical ritual showering the wedding train with hops.
The hare runs around the forests.
Gray runs around the forests;
The matchmaker showers you with hops,
The proud one showers her with hops,
My friend follows.
Whipping with a good whip!
The song announced the arrival of the wedding train to the groom's house.
Andrey is traveling with his betrothed, with his betrothed
Ivanovich rides with a mummer, with a mummer,
With his betrothed Anna Ivanovna!
The song recorded the newlyweds sitting together at wedding table at the groom's house.
The sun jumped up in the window,
The moon shines at dawn;
Ivan is sitting with his wife,
With Avdotyushka's soul!
Incantatory wedding ritual songs of the Russian people - text, examples
Performed on the wedding day
You and forge us
[Kuzma-Demyan], wedding! -
To firmly and firmly
So that forever and ever,
So that the sun does not dry it out,
So that it doesn't get wet by the rain,
So that the wind does not scatter,
Don't let people tell you!
The song was performed on the eve of the wedding day while the loaf was being placed in the oven.
Bake, bake, loaf of cheese,
Fight, fight, cheese loaf -
Higher than the oak tree,
Higher than the mother spruce tree,
Wider than a brick oven!
Ritual song to the wedding train
It's not the whites who came -
Why are they as black as crows?
Why are they as black as crows?
Yes, unwashed heads,
Unwashed heads.
Let the beards not be combed,
The beards are not combed,
Whose boyars are these?
Whose boyars are these?
Why the boyars Ivanov,
Why the boyars Ivanov,
Yes, go to Ivanovich,
Let's go Ivanovich!
- Yes, you are boyars, boyars,
You are boyars, boyars,
Yes, you are the Ivanov boyars,
You are the Ivanov boyars,
Yes, go to Ivanovich,
Let's go Ivanovich!
You should go, boyars.
You should go, boyars,
Yes, you are on Lake Kitskoe,
You are on Lake Kitskoe,
Yes, cut the alder tree,
Insect the alder tree,
Yes, you burn it to ashes,
You will burn to ashes,
Yes, boil some lye,
Boil some lye,
Yes, wash your hair,
Wash your head
Yes, comb your beard,
Comb your beard -
Yes, then you will be boyars,
Then you will be boyars,
And why the Oleksandrov boyars,
Why the boyars Oleksandrov,
Let's go Ivanovich!
Ritual wedding song loach over the water
The loach spreads out over the water.
Young groom, young groom,
The groom is waiting at the gate.
They brought it out to him, they brought it out to him,
They brought him chests full of goods.
- This is not mine, oh, this is not mine,
This is not mine, but my brother-in-law's.
They brought him out, they brought him out,
They brought him a raven horse.
- This is not mine, oh, this is not mine,
This is not mine, but my brother-in-law's.
They brought him out, they brought him out,
They brought out Nastasyushka to him.
- This is mine, oh, this is mine,
This is mine, ordained by God.
Loach over the water, loach over the water,
The loach spreads out over the water.
Guests at the gate, guests at the gate,
Guests gather at the gate.
Wedding ritual songs, magnifications and lamentations - examples of texts
Great songs
Greatness is a genre of song praising mainly the bride and groom. Initially, the function of glorification in a wedding was combined with incantatory magic: the well-being and happiness of the bride and groom and their relatives seemed real and had already arrived. In later forms, incantatory magic in magnification was replaced by the expression ideal type moral behavior, beauty, everyday prosperity without connection with magic.
They said our Marinushka...
They said our Marinushka
Netkaha, slob,
And she, our Gavrilovna,
Also a silk seamstress!
She spun finely, weaved often,
Whitewash
- Gave the whole family:
She gave her father-in-law a shirt
Mother-in-law - another,
And to the little falcon girls
Yes, on a sewn scarf.
Oh, you wine berry...
Oh, you wine berry
Bulk sweet apple
- Daring good fellow
Svet Ivan Vasilievich!
He was born good and handsome,
He was born happy
Talkative, talented,
Talkative, funny!
Why did his father-in-law love him?
Mother-in-law complained:
Gave me a dear daughter
- Light from Marya Ivanovna!
Quietly, boyars...
Quietly, boyars,
Get off the mountain!
Don't break the cherries
Don't pick the berries:
Cherry - Viktorushka,
Berry - Nastyushka!
Silk grass at the gate:
Who trampled the grass?
Who trampled the grass?
Trampled some grass
All the boyar matchmakers,
They got married to a red girl,
We asked our neighbors:
- What, what kind of red is the girl?
- She's tall, tall
Neither small nor great,
Face, face
White-round-faced,
Little eyes, little eyes
What a clear falcon
Eyebrows like those of a black sable.
The girl herself is brave,
There is a scarlet ribbon in the braid.
That the month has gold horns,
And the sun has bright rays;
Ivan has brown curls
- From ring to ring they are worn out!
What kind of curls are these?
The sovereign wants to favor him
The first city - glorious St. Petersburg,
Another city - White Lake,
The third city - stone Moscow!
On White Lake - they brew beer there,
In stone Moscow - they drive wine there,
In glorious St. Petersburg - they want to get married there,
Take a daughter from a merchant, from a rich man,
Smart daughter, smart daughter
-Katerina Panteleevna,
With her tribute, with her dowry,
With her box linen!
Lamentations
Lamentations are lyrical works that directly convey the feelings and thoughts of the bride, her relatives and friends, and other wedding participants. Initially, the function of lamentation was entirely predetermined by the ritual. The bride represented her departure from the family as an action carried out against her will in order to avoid unwanted revenge from the patrons of the hearth.
But it is possible that even in that distant time, crying was, to some extent, a direct expression of the true feelings of the bride at the moment of parting with her family. Later lamentations only partially followed the ancient ritual and for the most part became a direct expression of the feelings of people who were deeply affected by the drama of separation from family. The most significant stylistic feature of lamentation is the conveyance of a person’s confused feelings.
rolling red sun,
You are a rolling star,
The star has set behind the clouds,
What a bright month.
Our girl has crossed over
What from upper room to upper room,
From the dining room to the new one,
As she walked over, she thought
That, thinking, I cried,
In tears she said a word:
- My dear sir, my dear father,
Isn't it possible to do this?
Can't you give me away the girl?
Are you a rowan, rowan,
Oh yes, you curly rowan,
You are a curly rowan,
Oh, when did you rise, when did you grow up?
- Oh, yes, I rose in the spring, grew in the summer,
Oh yes, it has ripened in the autumn sun.
- Oh, why did you stagger early?
Oh, did you bow down to the damp earth?
- Oh yes, it didn’t stagger on its own,
Oh yes, the violent winds have shaken me,
Oh yes, the white snow has bent me down,
Oh yes, the snow is not white, it rains often.
- Oh yes, you are Elenushka Guryanovna,
Oh yes, why did you get married early?
Oh yes, why did you allow it early?
- Oh yes, you are friends, my dears,
Oh yes, I didn’t get married on my own,
Oh yes, I didn’t do it myself,
Oh yes, good people stumbled,
Oh yes, the breadwinner, father, was drinking away,
Oh yes, with my dear mother and mother,
Oh yes, to someone else's distant side,
Oh yes, for one green wine,
Oh yes, for the daring of the head.
Are the fields mine, the fields clean,
My meadows are green,
Silk herbs,
My flowers are azure!
I loved walking around you,
I'll walk around you, show off my beauty,
Flaunt yourself with your traveling scythe;
I already had one braid
Yes, two voles
Two voles, and both free;
At least I will have two braids,
Yes, one willy,
One will, and she is involuntary.
Corial wedding songs
The tearful tone of the lamentations, the strict epic nature of the songs and the solemnity of the grandeurs at the wedding were well complemented by the so-called Corilla songs - joke songs, often parodies of grandeurs. Corilla songs were performed in the family of the bride and groom after all the main actions of the wedding “rite” were completed. Their function is purely entertaining and humorous.
This genre is quite ancient. Researchers believe that its appearance was possibly connected with the purpose of appeasing the patronizing magical forces. The family was afraid of losing the favor of the mythical patrons, and in order not to lose their favor, it was necessary to present the bride’s departure as forced. Corruption songs lost their early magical meaning. The song ridiculed stinginess, drunkenness, and family troubles.
Here are examples and lyrics:
And in ours in moss...
And in ours in moss...
- All black grouse are grouse,
And our matchmakers
-All are fools:
We got into the house
- They bow to the stove.
Sits on the stove
Gray cat with a tail,
And the matchmakers thought
What is this pop with a cross.
They bowed to the cat
They kissed the gray ponytail.
Slobs, matchmakers, slobs...
Sluts, matchmakers, sluts,
- Your shirts are unwashed;
You were in a hurry to the wedding:
Shirts were dried in the chimney.
The matchmakers came to Maryechka...
The matchmakers came to Maryechka
On a dun mare;
The dowry was taken
But they forgot Marya.
They said: “Our matchmaker is rich!”
They said: “Our matchmaker is rich!”
They said: “He has a lot of money!”
They put a pretty penny - for everyone
- The neighbor's chickens are laughing!
Take away, matchmaker, a penny -
Don't disgrace your family!
TROSHINA NATALIA IVANOVNA Head of the ethnographic department of the BUK VO "Belozersky Regional Museum of Local Lore" GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. The preservation and revival of wedding folklore, its genres, means, methods, which most fully fill out the entire picture of folk life, give a vivid picture of the life of the people, their morality, spirituality - this is an urgent problem of our time. Wedding poetry is an amazing phenomenon of Russian folklore. It reflects many aspects of the life of the people, family history, forms of marriage. But the Belozersk wedding of the late 19th - early 20th centuries has long been forgotten. In the memory of people of the older generation, individual poetic fragments and memories of ritual actions have been preserved, the meaning of which is sometimes difficult to explain. Ancient wedding songs passed into other song cycles and, being transformed, received a different purpose in folk life: they turned into games, round dances, etc. Folklorists of the last century argued that peasant wedding poetry was disappearing, and in the modern world these songs are almost never sung, but it's a pity. Some images and motifs of an ancient wedding have passed into the wedding of the 21st century, but less and less ritual remains, and yet it contains not only beauty, competition between the parties, it has a lot of symbolism. The material we have accumulated to date and serious research on the wedding folklore of the Belozersk region require summing up. Among the collected materials on wedding folklore of the Belozersky region, we studied and analyzed the materials of folklore expeditions: the Regional Scientific and Methodological Center of Culture (2004), partly the Leningrad State Conservatory (1979). Also, our folklore “piggy bank” was supplemented by the GENRES OF WEDDING FOLKLORE OF THE BELOZERSK TERRITORY KON. XIX – BEGINNING XX Century. ethnographic materials Svetlana Mironovna Chibisova – teacher at the Phoenix Folk Art Center. Employees of the Belozersk Museum collected ethnographic information about the wedding ceremony, both during expeditionary research and in conversations with informants in the city of Belozersk, p. Maeksy, Glushkovo village. In 2014, museum workers from the ethnographic department, that is, us, held a regional competition “We have not forgotten how we lived in the old days,” the purpose of which was to collect ethnographic material, including wedding folklore. I would like to note the report on the topic “Folk rituals and traditions that existed on the territory of Artyushinsky and Paninsky rural settlements” by a 9th grade student of the Bubrovsk Basic Secondary School named after Hero of the Soviet Union A. M. Nikandrova” by Marina Smirnova (supervisor – teacher of Russian language and literature Elena Mikhailovna Popova). Of all the sources of our research, we can highlight online articles by ethnographers about the wedding ceremony. An example of this is the articles of the Sokolov brothers, S.B. Adonyeva. It is impossible not to note the relevance of the appearance of the article by S.B. Adonyeva “Belozersk Wedding”, which offers a historical and ethnographic analysis of not only wedding poetry, but also the wedding ceremony as a whole. A serious start in preserving the wedding poetry of the Belozersky region was made by the folklore and ethnographic expedition of 1908-1909 of the Sokolov brothers - the largest literary critics, Soviet folklorists, ethnographers and where they collected a large number of works of oral folk art, including wedding songs. Materials from folklore expeditions to the Belozersky region make it possible to reconstruct wedding poetry of the late 19th - early 20th centuries based on the stories of informants aged 60-93. Among such expeditions I would like to highlight: 2 GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. - Folklore expedition 1979 of the Leningrad State Conservatory, researchers: Mekhnetsov A.M., Tolstikova I.B., Singatulina M.B.; - Folklore expedition 2004, 2005 Regional - scientific and methodological center of culture, researchers: Kulev A.V., Telenkov I.S. - Folklore expeditions of St. Petersburg State University, researchers: Adonyeva S.B. etc. As is known, field research aimed at recording lost artifacts of folk culture, often no longer existing in the original context, serves as the basis for reconstructing forms that existed in the past. Poetic works included in the wedding ceremony had various and quite complex functions, as they accompanied various moments of the wedding “performance”. The Belozersky region is of particular interest in this regard, since it is distinguished by the presence of many genres of wedding folklore, in isolated cases preserved in living practice by local folk artists. Studying the ethnographic materials of the Belozersk region, we can distinguish five main genres of wedding folklore: magnificence, corilations, wedding lyrical songs, lamentations and sentences. In our report we give a description of all genres of wedding folklore that existed in the Belozersky region. Examples of the following genres of wedding poetry are presented: - the lamentation of the bride when giving gifts to her friends; - a majestic song for the young after the crown; - a reproachful song to a friend on the occasion if he paid little for the performance of a great song; - a lyrical song that was performed after the wedding. Collectors of folklore expeditions also recorded that small genres of folklore were performed at the wedding, such as ditties, proverbs and sayings, proverbs, conspiracies and riddles, etc. (for example, a riddle: “What kind of stately crutch that our daughter-in-law and young princess could lean on?”). What is a genre? Genre is a historically established internal division in all types of art. The main place among the artistic works of the wedding ceremony was occupied by lamentations and songs, the place and functions of which in the wedding ceremony of different regions were different. Lamentations, in their origins, are ritual chants, but in their cultural and aesthetic significance, they largely go beyond the scope of ritual tradition. First of all, these are not songs, or rather, not really songs in the usual sense of the word. They are chanted with a sob that ends each line. The function of lamentations is to express sorrowful experiences and reflections. The sad experiences of the bride were revealed in her laments, which were spoken not only by her, but also by her loved ones: mother, older sisters and friends. During a conversation with informant Elizaveta Arsentievna Ovchinnikova, born in 1918, we were able to record the recitation performed by the bride at the wedding. “...When in the morning they wanted me to be a bride - then, there was a lamenter, they lamented. I roared, cried, and also wailed. Since my friends started giving gifts, they feel sorry for me. They started giving gifts. So I started wailing. Why are you giving me a gift - you pity me, I didn’t do anything for you, I didn’t do any work. That’s why you give me a gift - you pity me, You feel sickeningly sorry for me, That I’m leaving for someone else’s, distant side, For a villainess, and an unknown one.” (Ovchinnikova Elizaveta Arsentievna, born in 1918, Proskurino village) 4 GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. Various lamentations were performed: laments - requests, laments - lamentations, laments - appeals. In the Soviet era, in the conditions of the new family life wedding lamentations have lost their meaning and are perceived only as poetic works of the past. The arrival of the groomsman to pick up the bride introduced specific folklore material into the wedding ceremony - the so-called groomsmen's sentences, which widely used the metaphorical imagery of riddles. Demanding that the bride be given to him, the friend in folding rhyming sentences said that the hunters had set traps for catching martens, nets for catching whitefish, etc. Images of a precious fur-bearing animal, expensive fish and the like were symbols of the bride. The wedding feast was accompanied by the singing of a special type of songs: majestic and corrugating. Great and reproachful songs are closely related to each other. Corials often parody magnificences (khula is magnification with the opposite sign). Both of them were performed cheerfully and, mainly, on the wedding day after the crown, in the groom’s house. Great or reproachful songs were sung to each guest individually, and, depending on the circumstances, they either glorified them or shamed them, portraying them in a funny way. Guests to whom such songs were sung had to give gifts to the girls who sang. Songs for friend and matchmaker were especially popular among majestic and reproachful songs; The praises of the newlyweds, their parents, married guests, widows and other participants in the wedding feast are widely known. Great and reproachful songs were sung by the choir. Both majestic and reproachful songs use general folklore artistic means: symbolism, epithet, comparison, hyperbole, metaphor. All images are created according to the same scheme: appearance, clothing, wealth, excellent relationships with others are depicted. The main function of magnificence songs is to glorify one or another wedding participant, and the function of reproachful songs is to ridicule. 5 GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. A resident of the village of Glushkova, Natalya Aleksandrovna Poroshina, born in 1960, sang a song of honor for the young, but, unfortunately, the origin of this song is unknown. There is a possibility that this majestic song was sung by our ancestors during the wedding, but we also do not rule out that some changes were made to this work of wedding folklore by the employees of the Glushkovsky House of Culture, since this song was used in weddings. The majestic song “Like a glass” “1. Like a glass, and a silver one. Yes, there was a golden wreath. There was a golden wreath. 2. Nastasyushka has Aleksevna’s light Yes, there is a dear friend There is a dear friend 3. And the daughter-in-law is like a little girl And the groom is in a basque basque And the groom is in a basque basque. 4. Slavushka walks around, pleased with her, her beauty. Her, her beauty. 5. Nastasyushka, Slavushka, and the good Matchmaker Gelya. Good matchmaker Gelya. 6. And the mother-in-law and the smart mother, and the smart mother Vera, the smart mother Vera 7. Oh, you are relatives, and we promise the young people happiness, joys, blessings.” (Natalya Aleksandrovna Poroshina, born in 1960, Glushkovo village). 6 GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. A corrugating song for a friend: “The friend is pretty, Yes the friend is pretty, Because the friend is wearing a jacket, Ninety-one holes.” (Afonicheva Anisya Ignatievna, born 1912, Lipin Bor village). Along with wedding songs there were lyrical ritual songs. They talked about happy, desired love, protested against unequal marriages, and talked about marriages that had already taken place. Often lyrical ritual songs were imbued with tragic pathos. Lyrical wedding songs have nothing in common with korilny wedding songs, although to a certain extent they are in contact with glorifying songs. Characteristic artistic medium wedding lyrical songs is also an epithet. The lyrical songs depict the relationship between the bride and groom, but they are told from the point of view of the group that sings these songs. Let's give an example of a wedding lyrical song: “Oh, if only I was a girl I lived with my father Oh, every day from morning to evening the street was chalked. Oh, the chalk was throwing open the street. Oh, I haven’t had a sinner’s coffee for a month.. Oh, I made some cordial and drank it all away. Oh, from this I’ll go to the green garden, Oh, I’ll sit, the beautiful maiden, Under the spruce bush Oh, I’ll listen, maiden, to what the birds are singing. 7 GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. Oh, the birds are singing and humming. Oh, they promise separation to the red maiden. Oh, separation-separation Foreign side. Oh, someone else's side dries without a breeze. Oh, the dashing father-in-law is scolding me without blame, Oh, the dashing father-in-law is ordering me to be beaten.” (Antonova A.M., born 1906, Mitino) Lyrical songs showed young people adversity, and on the other hand, pictures of the world, love, happiness. It was a kind of education in attitude towards life. So, an analysis of the genres of wedding folklore shows that they are heterogeneous in their genre composition: majestic, reproachful lyrical wedding songs definitely stand out. There are still some difficulties in determining the genre of wedding songs. Even now, when the genre composition of wedding folklore has been studied quite accurately in general terms, other researchers sometimes do not distinguish between lamentations and songs. In the future, we plan to continue to study the wedding folklore of the Belozersky region and the peculiarities of its performance. In the near future - a trip to Vologda in order to study the folklore expedition of 2005 of the Regional Scientific and Methodological Center of Culture, the researchers of which are Kulev A.V., Telenkov I.S. Of interest is the archive of St. Petersburg State University in the city of St. Petersburg, which contains a large number of Belozersk 8 materials that GENRES OF WEDDING FOLKLORE OF THE BELOZERSK REGION CON. XIX – BEGINNING XX Century. collected over 10 years. In the future I would like to get to know them. References: 1. Adonyeva S.B. Pragmatics of modern folklore. - SPb.: St. Petersburg. state University, 2000. 2. Gusev V.E. Folklore: (History of the term and its modern meanings) // SE. - 1966. - N 2. 3. Kagarov E.G. What is folklore // Artistic folklore. T. 4/5. - M., 1929. 4. Kruglov Yu.G. Russian wedding songs: Textbook. Manual for teachers in-s. – M.: Higher. School, 1978. 5. Morozov I.A., Sleptsova I.S. Spiritual culture of Northern Belozero. Ethnodialect dictionary. - M.: 1997. 6. Putilov B.N. Folklore and folk culture. - St. Petersburg, 1994. 7. Rusin M.Yu. Folklore: Traditions and modernity. - Kyiv, 1991. 8. Sokolov B.M., Sokolov Yu.M. Tales of the Belozersky region / Recorded by B.M. and Yu.M. Sokolov. – Arkhangelsk: North-West. Book publishing house, 1981. 9
Wedding ritual poetry includes: lamentations of the bride (friends, relatives), wedding songs, sentences of groomsmen.
Lamentations of the bride. Lamentation is song improvisation. Mainly the bride genre. Lamentations were performed at a gathering, at a bachelorette party, during the bride’s ritual visit to the bathhouse, before she and the groom left for the wedding. After the wedding, lamentations were not performed.
In the depiction of the family in lamentations, we encounter undoubted features of embellishment and idealization, but in general, wedding lamentations are distinguished by a pronounced realistic orientation. They truthfully depict the experiences of a girl getting married, at every step the features of a specific everyday situation appear, and they talk about ordinary everyday activities in a peasant family.
The main meaning of lamentations is to express a certain emotional attitude to the phenomena and factors of life; their main purpose is to express certain feelings.
These genre features of the content and purpose of lamentations also determine the specificity of their artistic form.
Syntactic parallelism and repetition are actively used. They include all kinds of questions and exclamations in abundance. This enhances their drama and emotional expressiveness.
Epithets are often used, and not figurative, but expressive (“native side”, “foreign father and mother”, “burning tears”, etc.).
A distinctive feature of lamentations is the widespread use of words with diminutive suffixes (“mother”, “father”, “sisters”).
Often all of the above techniques and means of poetic style are used simultaneously in lamentation, and then expressiveness of extraordinary power is achieved.
Wedding songs. Songs, like lamentations, accompanied the wedding ritual. However, lamentations were performed only before the wedding of the bride and groom, and songs were sung after the wedding. Especially many songs were performed during the “red table” wedding feast.
The texts of wedding songs had a more stable text than lamentations and were sung by a choir. In terms of emotional content, it is more unique than lamentations: there are motives of sadness and joy. The overall emotional tone is lighter than the emotional tone of the lamentations.
Most of the songs reflected the attitude of society and a certain circle of people to the fact of the wedding: bridesmaids, everyone taking part in the wedding.
Wedding songs tell about the wedding from the outside, so they are plot-based to one degree or another and include an element of storytelling.
Wedding songs can be divided into 2 groups. The first group consists of songs that are most closely associated with the wedding ceremony. Each of these songs is closed by the episode of the ritual that it accompanies (description of the conspiracy ritual; about the bride’s gifts to the groom and his relatives; about the bachelorette party; the ceremony of unbraiding hair; the departure of the groom to the bride with the wedding train; the moment when the bride and groom leave for the crown; arrive from the crown; the beginning of the wedding feast).
These songs also provide a vivid poetic description of the ritual participants.
Most wedding songs about the bride and groom are permeated with the motif of idealization. The bride and groom in such songs are called “prince” and “princess”. What is desired in wedding songs is depicted as really existing.
The tendency of idealization was manifested in GREATNESS (a genre variety of wedding songs). GREATNESS are small songs of a descriptive nature, in which a portrait of the person being honored is drawn in an idealized way, talking about his beauty, intelligence and wealth.
CORING SONGS are a kind of parody of greatness; they made the guests laugh and amuse themselves. They sang if the praise singers were not given a gift. They had a dance rhythm and rhyme.
The second group presents songs that were not assigned to any specific element of the wedding ceremony. They could be performed at any time during the wedding.
A distinctive feature of the songs of this group is the widespread use of symbolism. Thus, the symbol of the young man, the groom, is most often a dove, falcon, eagle, drake or goose; The symbol of the girl is a swan, a duck, a darling, a peahen and a swallow.
Compositionally, these songs are often built on the principle of figurative parallelism (in the first part - a description of nature, and in the second - a picture human life). The first parallel has a symbolic meaning, it creates a certain emotional mood, and the second one concretizes the first one, filling the song with a certain life content.
These songs were very poetic and were also used outside the wedding ceremony.
Friends' verdicts. Sentences are peculiar prosaic improvisations that have a certain rhythmic organization. Often sentences have rhymes.
The central act of the wedding ceremony was the wedding day, and the manager of this day was the groom. He asked for blessings from the groom’s parents and set off with the “wedding train” to the bride’s house. He asked for blessings from the bride's parents and took the bride and groom to the crown. After the wedding, he brought them to the groom's house, where the wedding feast began. During the feast, the friend monitored the observance of rituals, led the feast, and entertained the guests. The day after the wedding, the friend woke up the newlyweds and often invited them to visit him. At all moments of the wedding, the friend joked a lot, tried to speak smoothly, only in sentences.
The peculiarity of the good friend's sentences was that they were highly poetic, in their content they fully corresponded to one or another episode in the wedding ritual, and in style and imagery they organically merged with other genres of folklore performed in one or another ceremony.
The verdicts contained typical wedding idealization. As a rule, they are sprinkled with jokes and jokes.
Permeating the wedding ceremony, organically merging with other genres of folklore, the sentences of the groomsmen gave artistic integrity to all wedding poetry, a certain emotional and artistic unity.
Poetically gifted friends used in their sentences motifs, images and poetics not only of wedding poetry, but also other genres of folklore (a friend could ask in an epic manner to go to the yard, approach his good horse, sit on it and ride out into the “open field”) .
The genres of non-wedding folklore used in the sentences performed the same function as the genres of wedding poetry. Not only do they not weaken the functional significance of wedding poetry itself, but, on the contrary, they strengthen it and significantly increase the overall poetic sound of the entire wedding ceremony.
Proverbs and sayings
A proverb is a short, stable in speech, rhythmically (proverbs were rhythmic, because this contributed to their faster memorization, in a time when there was no written language), organized figurative folk saying, which has the ability to be used in multiple meanings in speech according to the principle of analogy. To these properties it is also worth adding nationality, instructiveness, and categorical affirmation or denial. The most significant of all collections of proverbs is recognized as the collection by V.I. Dahl "Proverbs of the Russian people." It includes over 30,000 proverbs, sayings and other “small” genres of Russian folklore. The secret of the origin of proverbs is hidden in them themselves. Many proverbs invade the sphere of business relations and customs and become part of them. Initially, there were short sayings (“Mosquitoes are pushing towards the wind”; “Dry March, but wet May gives good bread”), expressing advice and household rules that had to be obeyed.
There are many remnants of pagan ideas preserved in proverbs. They consist, firstly, in the mention of goblin, brownies, mermaids, and secondly, in the reflection of ancient beliefs. Such, for example, are the proverbs: “You are brave, you are strong, but you cannot cope with a devil,” “Not everything is a mermaid who dives into water.” Russian folk proverbs have enormous social value. It consists of cognitive, ideological, artistic and aesthetic significance, rich life content, deep ideological meaning, great artistic merit and national originality.
Emergence saying associated with the appearance in speech of stable figurative expressions that serve to compare similar phenomena. Structurally, the proverb is an image that defines either persons (“a pig under an oak tree” - ungrateful; “not one of the brave dozen” - a coward) or circumstances (“when the cancer whistles on the mountain”, “after the rain on Thursday”). The content of a saying determines its place in a sentence as a grammatical component - it acts as either a subject, or a predicate, or an object, or a circumstance. On this basis, attempts have been made to grammatically classify sayings.
In the bulk of proverbs and sayings they found something wrong. consolidation of all sides labor activity and relationships people: love and friendship, enmity and hatred, attitude towards science, knowledge, nature; they comprehensively characterize the moral and moral qualities person.
Term Riddles
The term “mystery” is of ancient origin. In the Old Russian language the word “guess” meant “to think”, “to reflect”. This is where the word “mystery” comes from. The riddle gives a substantive description of some phenomenon, the recognition of which requires considerable thought.
Most often, riddles are allegorical in nature.
As a rule, the riddled object in riddles is not named, but its metaphorical equivalent is given instead.
To compose a riddle means to give ordinary thoughts and objects a metaphorical form of expression. And vice versa, to solve a riddle, its metaphorical images are replaced with real images.
There are several ways to create a riddle:
1. The item is compared on the basis of any external similarity. For example: “Like in a field, in a mound there is a girl with earrings.” This riddle is based on the fact that the hanging clusters of oats resemble a girl's earrings.
2. Items are matched by color. “Under the forest, the forest there is a red ponka hanging” (rowan)
3. Objects come together based on some signs of them internal structure. For example: “There is a house with twelve windows, in each window there are four maidens, each maiden has seven spindles, each spindle has a different name” (year, month, weeks, days)
4. Objects are compared according to their function, according to the role they play in the everyday life of the people. “The blue fur coat has covered the whole world” (sky)
5. Objects are compared according to the characteristics of their movements, according to the ratio of movable and immobile in them. “Burko runs, but the shafts stand” (river and its banks)
6. Objects, phenomena, images can be compared on the basis of some of their similar features and signs of behavior. “Chubby, white-faced, looks in all the mirrors” (Moon)
Riddles, like all genres of folklore, are created on the basis of living spoken language. The language of riddles, like the language of all folklore genres, is distinguished by accuracy, colorfulness and expressiveness. They use such general folklore epithets as “ damp earth”, “open field”, “good fellow”, etc.
Riddles are characterized by a special metaphorical quality that permeates all its stylistic means. Examples of metaphors: “blue field” (sky), “water bridge” (ice), “golden stump” (thimble).
