Folklore for children. What do we mean by children's folklore? History of the study of children's folklore

Children's folklore is a specific area of ​​oral art, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its carriers. A common, generic feature of children's folklore is the correlation of a literary text with a game.

For the first time, the well-known teacher K. D. Ushinsky paid serious attention to children's folklore. In the 60s. 19th century in the journal Uchitel, publications of works of children's folklore and their analysis from the point of view of the physiology and psychology of the child appeared. At the same time, the systematic collection of folk works for children began. The first collection of children's works - P. Bessonov "Children's Songs" - was published in 1868 and contained 19 games with songs and 23 counting rhymes. Then came the collections of children's folklore by E. A. Pokrovsky and P. V. Shein, which formed the foundation of subsequent theoretical works.

In 1921, a commission on children's folklore, everyday life and language was established in the Russian Geographical Society (RGS). In the 1920s the first studies of children's folklore and the term itself, proposed by G. S. Vinogradov, appeared. Since the 1960s Russian children's folklore of Siberia was studied by M. N. Melnikov. In the modern science of children's folklore, two problematic aspects have been identified: folklore and the inner world of the developing personality of the child; folklore as a regulator of the child's social behavior in the children's team. Researchers seek to consider the works in a natural context, in those situations in the communication of children in which their folklore spreads and functions.

Children's folklore is the works of the children themselves, assimilated by tradition; works of traditional adult folklore that have passed into the children's repertoire; works created by adults especially for children and assimilated by tradition. G. S. Vinogradov emphasized that "children's folklore is not a random collection of incoherent phenomena and facts, which is a "small province" of folklore, interesting for a psychologist and a representative of scientific pedagogical

thoughts or teacher-practitioner and educator; children's folklore is a full-fledged member among other, long-recognized departments of folklore."

Children's folklore is a part of folk pedagogy, its genres are intuitively based on taking into account the physical and mental characteristics of children of different age groups (infants, children, adolescents). Folk pedagogy is an ancient, complex, developing phenomenon that does not lose its relevance. She always took into account the role of the word in the formation of personality. Children's folklore has preserved traces of the worldview of different eras and expressed the trends of our time.

The artistic form of children's folklore is specific: it is characterized by its own figurative system, gravitation towards rhythmic speech and play. Play is an element that is psychologically necessary for children.

Children's folklore is multifunctional. It combines different functions: utilitarian-practical, cognitive, educational, mnemonic, aesthetic. It helps to instill in the child the skills of behavior in the children's team, and also naturally introduces each new generation to the national tradition. There are different ways and ways of transmitting traditional children's folklore: conscious transmission by adults to children; spontaneous adoption from adults, peers or older children.

Classification of works of children's folklore can be made according to their functional role, ways of origin and existence, artistic form, methods of performance. It should be noted the unity of the system of genres of children's folklore, the originality of which is determined by the difference in the worldview of the child and the adult.

Works of children's folklore are performed by adults for children (mother's folklore) and by children themselves (actually children's folklore). Maternal folklore includes works created by adults to play with very young children (up to 5-6 years old). They encourage the child to wakefulness and physical actions (certain movements), arouse interest in the word. Folklore, performed by the children themselves, reflects their own creative activity in the word, organizes the play activities of the children's team. It includes works by adults, passed on to children, and works composed by themselves.

children. It is not always possible to draw a line between maternal and children's folklore, since from the age of 4-5, children begin to imitate adults, repeating game texts.

MOTHER FOLKLORE

lullaby songs, expressing tenderness and love for the child, they had a very specific goal - to put him to sleep. This was facilitated by a calm, measured rhythm and a monotonous chant. The singing was accompanied by the rocking of the cradle (cradle), and onomatopoeia could appear in the songs:

Berezonka hid- squeaks,

And my son is sleeping.

The roots of lullabies go back to antiquity. V.P. Anikin believes that their general evolution consisted in the loss of ritual and incantatory functions. Probably the vestige of such ancient ideas is a small group of songs in which the mother wishes the child to die. ("Bai, bai and lyuli! At least now die ..."). The meaning of the wish is to deceive the diseases that torment the child: if he is dead, then they will leave him.

In lullabies, the role of improvisation is great: they were sung until the child fell asleep. At the same time, traditional, stable texts were of great importance.

A. N. Martynova singled out imperative and narrative ones among them. "Imperative songs are a monologue addressed to a child, or to other people, or to creatures (real or mythological). A child is addressed with a wish for sleep, health, growth, or a demand for obedience: do not lie down on the edge, do not raise your head, do not Birds, animals, mythological characters are asked to give sleep to a child, not to interfere with his sleep, not to frighten him. Narrative songs "do not carry a pronounced expressive, emotional load. They report some facts, contain everyday sketches or a short story about animals, which somewhat brings them closer to fairy tales. There is no direct appeal to the child, although his image is directly or reflected present in the song: it's about his future, gifts for him, about the animals and birds that take care of him."

In the figurative world of lullabies, there are such personifications as Dream, Dream, Ugomon. There are appeals to Jesus Christ, the Mother of God and the saints. Popular songs with images of doves ("Ay, lyuli, lyulenki, gulenki flew in ...") and especially the cat. The cat must rock the child, for this he will receive jug of milk And a piece of cake. In addition, the grateful mother promises the cat:

I'll gild my ears

I will silver my paws.

A sleeping, contented cat is a kind of parallel to the image of a sleeping child.

The image of a wonderful cradle appears in the songs (cradle of gold) which not only idealized the situation of peasant life, but, according to A. N. Martynova, was associated with the impression of luxurious cradles in rich houses and royal chambers - after all, peasant women were nannies and breadwinners.

Pestushki, nursery rhymes, jumping encouraged the child to stay awake, taught him to move his arms, legs, head, fingers. As in lullabies, rhythm played an important role here, but its character is different - cheerful, cheerful:

Tra-ta-ta, tra-ta-t.

A cat married a cat..

The pestle amuses itself with the rhythm, changing it:

Big feet

We walked along the road:

Top top top

Top-top-top.

small feet

We ran along the path: Top-top-top-top-top,

Top-top-top-top-top!

Pestlets are associated with stroking a child, with his first movements; jumping - with jumping on your knees

adult; nursery rhymes - with plot elements, games ( "Paladushki, patty...", "A horned goat is coming..."). Enumerations and dialogues appear in them.

jokes- these are songs or rhymes that captivate the child with their content. The plots of jokes are very simple (single-motive or cumulative), reminiscent of "little fairy tales in verse" (V.P. Anikin). Indeed, children's fairy tales sometimes became jokes (see. "There was a chicken rya-benka ..."), and vice versa: how fairy tales could tell jokes ( "The goat went for nuts ..."). The content of the jokes is bright and dynamic: everyone runs to fill in the lit cat house; bring to life worn out in the bath a flea (or a mouse); mourn over the broken testicle that she laid ryabenka chicken \ going to an owl's wedding white moon... Very expressive images of animals: A goat in a blue sundress, in linen trousers, in woolen stockings. The jokes contain the first admonitions: the stubborn goat is eaten by wolves; little pussies she didn’t leave butter to treat another ... However, the main role of jokes is cognitive. The child learns about people, animals, phenomena, objects, about their typical properties. Often this is served by cumulative plots: fire burns the forest, water extinguishes the fire, bulls drink water, etc.

Among the jokes, a special place is occupied by bogus tales, also known in adult entertainment folklore. Their aim is to create comic situations by deliberately mixing real objects and properties. If this makes the child laugh, then he correctly understands the relationship between things and phenomena. Characters of fables behave inconsistently with reality, which can be directly indicated:

Where is it seen.

Where is it heard

For a hen to give birth to a bull.

Piglet laid an egg... etc.

OWN CHILDREN'S FOLKLORE

Genres of children's folklore proper, depending on the degree of their use or inclusion in the game, can be divided

pour on the poetry of outdoor games (associated with plot-organized motor actions) and the poetry of verbal games (in which the word plays the main role).

Poetry of outdoor games

Draws(or "collusions") determine the division of the players into two teams, establish the order in the game. These are concise works, sometimes rhymed, containing an appeal to uterus(representatives from each group) and a question, or only one question that offers a choice. Creating lots, children often improvised on the basis of fairy tales, songs, proverbs, sayings, riddles, fables. (A black horse or a daring Cossack?; A pouring apple or a golden saucer?). Many of the draws were humorous (Did you get lost on the stove or drowned in a tavern? A fox in flowers or a bear in pants?).

Rhymes are used to distribute roles in the game, while rhythm is crucial. The host pronounces the rhyme rhythmically, monotonously, successively touching each participant in the game with his hand. Rhyming rhymes have a short verse (from 1 to 4 syllables) and usually have a choreic meter.

The roots of counting rhymes go back to antiquity. Researchers discover the connection of children's counting rhymes with ancient forms of divination (choosing the leader by chance), with archaic faith in numbers, and with conditional speech that arose on the basis of the taboo of numbers. Distorted forms of words were born in the language of adults as a result of the ancient prohibition to consider what was supposed to ensure good luck in hunting, abundance in the peasant economy. At a later time, the secret account of representatives of various social groups had a special meaning: gamblers, itinerant tailors, and so on. Picking up their incomprehensible vocabulary, the children created their own abstruse rhymes. They themselves were engaged in word creation: they changed the meaning of words, inserted suffixes that were not characteristic of them (firstborns, friends), used incomprehensible foreign words with a distortion of their sound structure, came up with word-like combinations of sounds, added rhythmic particles (Eni-beni three kateni...). Abstruse rhymes, the meaning of which is not clear to either adults or children, retain the main artistic feature of the genre - a distinct rhythm.

In addition to the abstruse ones, counting rhymes-numbers and plot rhymes, especially popular among children, are known. Numbers can be plotless, cumulative and with the beginnings of a plot ( "One, two- lace..."). Plot rhymes borrow passages from

lullabies, songs and ditties of the adult repertoire, from children's games, teasers, from popular children's poems (S. Mikhalkov, K. Chukovsky, etc.) - Some texts are very stable. For example, in the 19th and 20th centuries folklorists wrote down versions of the rhyme in different places "A sack rolled from a high hump ...".

Game sentences and refrains were included in the game action and contributed to its organization. The content of these works was determined by the game itself.

In games, children portrayed family life and labor activities in the village, which prepared them for adulthood. In children's games, echoes of ancient pagan games have been preserved ( "Kostromush-ka"), traces of veneration of fire ( "Smoking room"), sun ( "Golden Gate") and other objects. The round dance games of adult youth sometimes passed to children. Some games of younger children arose as dramatizations of jokes. Rhymes introduced a cumulative composition into the game, and rhythm, onomatopoeia, and so on into the verbal series accompanying it.

Poetry of word games

Invocations and sentences- genetically the most ancient forms of children's word games. By origin, they are associated with the calendar rites of adults, as well as with ancient conspiracies and spells.

Calls are songs addressed to nature (sun, rain, rainbow) and expressing a call or request. The content of the invocations was close to the concerns and aspirations of the farmers: the need for rain or, on the contrary, the sun. Children turned to the forces of nature as mythological creatures, tried to propitiate them, promised a sacrifice:

Rain, rain, more!

I'll take out the thick.

Bread loaf.

Pink salmon pie.

The calls were shouted out in chorus, in a singsong voice. Unlike them, sentences were pronounced individually and quietly. They contained a request-conspiracy addressed to a snail, a ladybug, a mouse ... The request consisted in showing horns, flying up, exchanging a fallen tooth for a new one ... Sentences were also pronounced before diving into the river; in order to get rid of water that got into the ear during bathing; when baited

worms on a hook, etc. In their sentence, the children could make a request to Christian saints. So, going for mushrooms, they said:

Nikola, Mykola,

Fill the bowl.

Haystack on top

Changeling.

The favorite word game of older children was and remains Tongue Twisters- Rapid repetition of hard-to-pronounce words. Mistakes in pronunciation cause laughter. While playing, children simultaneously develop the organs of articulation.

A kind of verbal exercises were silent women- a poetic agreement to be silent, as well as golosyanki(option: "hairs") - a competition in pulling out a vowel sound at the end of a rhyme in one breath.

The word games of children include fairy tales and riddles performed in their environment (they were discussed in the relevant chapters).

Children's satire

Like adults, children created their own satirical folklore, in which the verbal play began to manifest itself. Genres of children's satire teasing and ridicule, and tricks, miril-ki, excuses. They are short, mostly poetic texts, designed for the listener to whom they are addressed individually.

Satirical genres regulate the social behavior of the child, determine his place in the children's team. Teasers make fun of what children perceive as negative. Their objects are fat, toothless, oblique, bald, red-haired, greedy, sneak, thief, crybaby, imaginary, beggar, "bride and groom", and also himself teased (Teased - dog snout). Taunting, unlike teasing, is usually unmotivated. They arise from nicknames, that is, rhyming additions to the name (Alyoshka-flat cake, Andrey-sparrow...); from repetitions of different forms of the child's name (Vanya-Vanya-Vanerok, Vaska-Vasyuk, Katya-Katya-Katerina...). Tricks teach to be on the alert, designed to deceive the interlocutor, put him in a mess and demand retribution for stupidity or oversight:

- Tanya, Sanya, Lizavetpa

We went by boat.

Tanya and Sanya drowned.

Who is left on the boat?

- Lizaveta.

- Clap you for it!

The child who has become the subject of ridicule receives the first life lesson and tries to learn it. If the criticism is fair, then it must be accepted and try to improve. In this case, you can use mirilka ( "Make up, make up, make up..."). Other - when the mockery is unfair, insulting. The offender is dealt with with his own "weapon" - an excuse:

Call all year round

You are still a hippo.

Call names for a century.

I don't care Human.

An excuse can also be used against an obsessive beggar:

- Will you give it to me?

- Give something went to Paris,

And buy one left.

4. MODERN CHILDREN'S MYTHOLOGY ("SCARY STORIES")

The content and form of children's folklore was influenced by changing social conditions. In the second half of the XX century. most of the children became city dwellers. Meanwhile, in the mental development of children, the need to go through the stage of vivid experiences of the inexplicably miraculous, which gives rise to a feeling of fear, and to overcome this fear, has remained unchanged. In the feudal village, such a need was satisfied by a nationwide folklore tradition (children listened and themselves told bylichki, legends, fairy tales). Today's children have a different outlook. It is formed by urban life, literature, cinema, radio, television. However, the form of the spoken word retains its meaning.

Once G. S. Vinogradov noted in children "the only type of oral literature represented by prose" - a fairy tale. The spontaneous flow of modern children's narrative creativity - "scary stories" (as children call them) or "horror stories" (as researchers began to call them) - has become the subject of study by folklorists, psychologists and educators since the 1960s. Apparently, the beginning of the mass existence of children's scary stories dates back to this time. Horror stories function according to all the rules of folklore: they are fixed by tradition, passed "by word of mouth". They are told by children of all ages, from 5 to 15 years old, but the most characteristic age limits are from 8 to 12 years old.

It is known that the leading creative activity of younger children - drawing - is gradually replaced by verbal creativity. In the repertoire of children, poetic genres are the first to appear (which is facilitated by their small volume, rhythm, connection with the game). At the age of 6-7, an important restructuring of the principles of thinking takes place: the child begins to realize causal relationships, is able to preserve and convey the plot of the story as a logical structure. The unconscious egocentrism of the child-narrator (confidence that the listeners initially know everything) is replaced by a focus on the listener, the need to correctly convey the content of the story, to achieve understanding and reaction from the listener.

Plastic images generated by children's fantasy have "psychic energy" that goes back to the collective unconscious (according to C. Jung). Fetishism, animism are manifested in children's narrative creativity, such universal signs of culture as a spot, a curtain, a hand, an eye, a voice, a look, a color, a size, chthonic characters, the ability to reincarnate, the idea of ​​death, and so on. This allows us to consider scary stories as modern children's mythology.

In terms of genre, scary stories are a diffuse and heterogeneous phenomenon. Unlike traditional folklore prose, they have not one, but two dominant centers: narrative and play.

The original genre of the so-called "terrible summons". In it, the ritual-playing principle completely replaced the verbal side. Here's an example:

"How call Baba Yaga. "We must go to the toilet at 12 o'clock at night. Write a circle there with black chalk and sit and wait. Come early in the morning. If there is a cross on the circle, it means. Baba Yaga flew in.(Emelina Vika, 11 years old, Moscow region).

Children "calling" Queen of spades, moon men and so on. The purpose of scary callers is to experience a sense of fear and satisfaction from defeating it, which can be considered as one of the forms of self-affirmation of the individual.

In scary stories, one can find all types of folklore narrative structures, from cumulative to a closed chain of motifs of different content (similar to fairy tales). Epic triplings, fabulous compositional formulas are used (Lived once...), happy ending tradition. A good ending is peculiarly manifested in game stories with the last phrase being shouted out: "Give me my heart!" (black dead man); "Meat ate!"(woman vampire). The stronger the fear, the more fun you can laugh at him.

In scary stories, signs of myth and many folklore genres are transformed or typologically manifested: conspiracy, fairy tale, animal epic, bylichka, anecdote. They also reveal traces of literary genres: fantasy and detective story, essay.

The system of images of children's horror stories is divided into three groups: the main character, his assistants and opponents. The most typical protagonist - girl or boy; he is usually the youngest in the family. There are other images: one man, one woman, a student, a taxi driver, an old man and an old woman, Sharik the dog, a prince, one journalist... Helpers, unlike fairy tales, are not fantastic, but real: policeman (police), Sherlock Holmes. The plot requires to defeat evil, to restore the essence of things, corresponding to their nature. The protagonist (a child) hunts down evil, and his assistant (police) carries out his physical destruction.

Unlike fairy tales, scary stories usually have only one pole of the fantastic - evil. Associated with him endlessly

Certainly various types of pests: either simply fantastic images, or fantastic images insidiously hiding under the guise of familiar people and objects (from a spot on the wall to mom). The pest may have a warning external sign, most often the color: black, red, white or some other. The color also appears in the names of children's horror stories: "Black Curtains", "Red Spot", "Blue Rose" etc. The action of the pest is expressed in one of three functions (or in their combination): abduction, murder, desire to eat the victim. The images of pests become more complex depending on the age of the performers. In the youngest children, inanimate objects act as if they were alive, which manifests a childish fetishism. For example, red lace ringing the doorbell, trying to strangle mom. his dad tore it up and threw it out the window but Lace continues to terrorize the family. His doused with kerosene, burned, and threw the dust out the window. But the doorbell rings again. A column of red dust bursts in and blinds everyone. (Smirnova Varya, 7 years old, Zagorsk). In older children, the connection of the object with a living pest appears, which may mean representations similar to animistic ones. Behind the curtains, the stain, the picture is hidden black hairy hands, white (red, black) human, skeleton, dwarf, Quasimomode, devil, vampire... Often the pest item is a werewolf. Ribbons, earrings, bracelet, chain, climbing plants turn into snakes; at night, red (or black) flowers become vampire people; the doll (or statue) turns into a woman; becomes a man image in the picture ( "About a black lady with blue eyes"). Werewolf extends to parts of the human body that behave like a whole person, to the dead rising from the coffin, etc. Undoubtedly, werewolf came into the modern narrative folklore of children from the national traditional folklore.

The complication of the image of the pest occurs as a development, deepening of its portrait characteristics. Let's show it on a group of witches.

The first portrait step is a color signal connected to the feminine principle: a red witch, a beautiful woman in black, a yellow crouched old woman, a very beautiful girl in a long white dress, a very beautiful green-eyed woman in a velvety green "cloak". Then there are more complex images in which the transformation of the witch from the bylichka is visible. She appears in her True Form late at night when she thinks everyone is asleep: The girl opened her eyes and sees that her stepmother was wearing a black dress,

long black hair, put a frog on her chest and went somewhere quietly.(Golovko Lena, 11 years old, Kokchetav); she looked through the crack and saw that the flower had turned into the woman who was selling the flowers. and this woman goes to her daughter's bed, and her claws are long, very long, her eyes are green and fangs are in her mouth.(Kiselyova Lena, 9 years old, Gorky).

Another category of witches develops on the basis of the fabulous image of Baba Yaga. Such an interpretation appears in the plots with the abduction. A witch of this type is surrounded by a characteristic "interior": a forest, an oak tree, a lonely house or a hut. There might also be something like this: And human heads stuck out on stakes on the sides. The policeman recognized a lot of them - they were his comrades.(Alyosha Kondratov, 13 years old, Moscow). Typically fabulous is the portrait of such a witch: hook-nosed witch with a crutch instead of a leg(Kondratov Serezha, 8 years old, Moscow); as well as the purpose for which children are abducted: She lured to her children, fattened them with nuts and ate them ten days later.(Kazakov Dima, 8 years old, Novomoskovsk, Tula region).

Witch of "literary origin" can be considered queen of spades(Tsyganova Marina, 11 years old, Syktyvkar). Finally, the everyday impressions of the child could be correlated with the image of the witch: Once, my mother bought tulips at the Tishinsky market from an old woman who, by the way, had no teeth, but a false jaw.(Isaev Sasha, 10 years old, Moscow).

Complicating the image of the pest, the children turned to the experience of traditional folk prose. I was able to destroy the vampire dwarf one old man old-old; for this he used a magic circle, fire, aspen stakes. (Alyosha Bunin, 12 years old, Moscow). The traditional methods of exposing a pest are: by a severed hand, by a familiar ring, by hooves, fangs, due to penetration into a forbidden room, etc. instead of a child, they put a doll on him).

The psychology of the pest is naively refracted through the inner world of the children themselves. For example: in the dark hall of the theater during the performance enter terrible bloodsuckers, they kill all people. The ticket attendants notice this and ask a question, why so many dead. They started lying. They were not believed because they blushed(Waiman Natasha, 10 years old, Zelenograd). Adults experience fear like children: All the people were frightened, rushed home and began to plug all the cracks. After

they climbed all under the covers and took the children with them.(Garshina Olya, 10 years old, Kovrov, Vladimir region).

The last stage in the evolution of the image of the enemy (according to the age levels of the performers) is the absence of a pest object and the development of artistic signs of a living (or humanoid) carrier of evil - a kind of overcoming of children's animistic ideas. Here, a rapprochement with traditional folklore is especially evident: fantastic characters of fairy tales are reborn, connecting in a peculiar way with the scientific and technical knowledge of the modern child. At the age of 13-15, children experience a crisis in the category of the miraculous, they come to the denial of unmotivated horrors. Horror stories unfold. Children begin to transmit stories about real crimes, emphasizing their authenticity ( "A story that actually happened in Moscow" - Rtishcheva Lena, 14 years old, Moscow). They are trying to come up with a materialistic clue to the fantastic essence of the pest: abduction with the help of hypnosis, the disappearance of ships in the "black hole" of the ocean... Fiction can be analogous to the incredible coincidence of a novelistic fairy tale. For example, in one story it is told that if the light is turned off in the room, then in the wall appear two scary glowing eyes. But then the police find out that Before the new owners, an old woman lived in the house, and her son had once been severely irradiated and died. And the old woman took his eyes, put them in a jar and walled them up in the wall. And when the lights went out, they glowed.(Kiselyova Lena, 9 years old, Gorky).

Particularly intense decomposition of horror stories occurs through the creation of numerous parodies in which the themes of prohibition, abduction and images of fantastic pests (objects, dead people, vampires, witches) are ridiculed.

For example, the image of a witch appears in a very common parody of the violation of the ban: a woman moved into a new apartment in which a nail was sticking out of the floor, but she was forbidden to pull it out. Once she tore her favorite dress on this nail, got very angry and ripped him off. A few minutes later there was a knock on her door. The woman opened and saw a terrible witch. The witch said: “And I can’t sleep like that, and then the chandelier fell on me!”(Shenina Tanya, 10 years old, Moscow).

The irony of the parodies captures the older children's awareness of their intellectual superiority over the little ones.

So, in the system of images of scary stories, wonderful opponents occupy a central place. A terrible story can do without an assistant and even without a main character, but the image of a pest is always present in it. He may be the only one. For example:

In a black room - a black table,

on the table is a black coffin,

in the coffin - a black old woman,

she has a black hand.

"Give me back my hands!"

(narrator grabs nearest listener)

In the structure of the image of the pest, the evil inclination manifests itself as a miraculous force. Children may take it without justification; can develop a variety of motivations, from the most primitive to the most detailed; they can deny it by parody - but in any case they express their attitude towards this wonderful evil force.

Through all the works of modern children's mythology, an intuitively expressed idea of ​​two worlds passes: they have a real world ("home") and a fantastic world ("non-home"). The real world is always perceived as an undoubted reality, as an existent. The attitude of children to the fantastic world as a sphere of manifestation of miraculous power appears differently. In younger children (5-7 years old), the real and unreal worlds are modally identical: they both act as an objective entity. The attitude of the narrator and listeners towards them is equivalent: here a literal belief in the miraculous is revealed, which typologically brings this group closer to the traditional genre of non-fairy-tale prose - the bylichka. The second group, belonging to the middle age group (children aged 8-12), reveals a more complex relationship between the two worlds. It is no longer possible to speak of their identity, but faith in the miraculous still remains. A modality similar to that of a fairy tale arises: a conditional belief in the miraculous. As a result, two trends are developing. On the one hand, genre signs of fairy tales begin to emerge in scary stories, and on the other hand, the game moment is enhanced. There is a separation between the narrator and the listeners: the first does not believe in the miraculous content, but seeks to hide it and make the listeners believe, so that later they can laugh with them. In this one can see the initial signs of the decomposition of terrible stories, the approach to their satirical comprehension. In the third

In the age group (children 13-15 years old), the narrator and listeners unite again, but on the basis of a conscious denial of the miraculous by parodying it or revealing its illusory nature through the development of materialistic motivations. This includes features of literary genres and anecdote. Interestingly, a number of parodies end with the phrase "Have you listened to a Russian folk tale", which emphasizes the groundlessness of belief in fantastic horrors and expresses the attitude towards the fairy tale as fiction.

Scary stories are a fact of modern children's folklore and a significant psychological and pedagogical problem. They reveal age patterns in the development of consciousness. The study of this material will help open the way for a positive impact on the development of the child's personality.

LITERATURE TO THE TOPIC

Texts.

Pokrovsky E. A. Children's games, mostly Russian. - SPb., 1994. (Reprint. reproduced, ed. 1895).

Shet P.V. Collection of folk children's songs, games and riddles / Comp. A.E. Gruzinsky based on Shane's materials. - M., 1898.

Kapitsa O. I. Children's folklore: Songs, nursery rhymes, teasers, fairy tales, games. - L., 1928.

Kapitsa O. I. Children's folk calendar. (Introduction and preparation of the publication by F. S. Kapitsa) // Poetry and ritual: Interuniversity. Sat. scientific works / Responsible. ed. B. P. Kirdan. - M., 1989. - S. 127-146. (Publication of archival materials).

Folk wisdom: Human life in Russian folklore. - Issue. 1: Infancy. Childhood / Compiled, prepared. texts, intro. Art. and comment. V. P. Anikina. - M., 1991.

Russian children's folklore of Karelia / Compiled, prepared. texts, intro. st., foreword. S. M. Loiter. - Petrozavodsk, 1991.

One, two, three, four, five, we are going to play with you: Russian children's game folklore: Book. for teachers and students / Comp. M. Yu. Novitskaya, G. M. Naumenko. - M., 1995.

Children's poetic folklore: Anthology / Comp. A. N. Martynova. - St. Petersburg, 1997.

Research.

Vinogradov G.S. Children's folklore. (Publ. A. N. Martynova) // From the history of Russian folklore / Ed. ed. A. A. Gorelov. - L., 1978. -S. 158-188.

Anikin V.P. Russian folk proverbs, sayings, riddles and Children's folklore: A guide for the teacher. - M., 1957. - S. 87-125.

Melnikov M. N. Russian children's folklore of Siberia. - Novosibirsk, 1970.

Melnikov M. N. Russian children's folklore: Proc. allowance for students ped. in-comrade. - M., 1987.

School life and folklore: Proc. material on Russian folklore: In 2 hours * / Comp. A. F. Belousov. - Tallinn, 1992.

World of childhood and traditional culture: Sat. scientific works and materials / Comp. S. G. Ayvazyan. - M., 1994.

Cherednikova M.P. Modern Russian children's mythology in the context of the facts of traditional culture and child psychology. - Ulyanovsk, 1995.

CONTROL QUESTIONS

1. What distinguishes children's folklore from the folklore of adults?

2. Name the genres of children's folklore and folklore for children, in which the role of rhythm is especially important. Explain its function in different genres.

EXERCISE

Write down from children 2-3 scary stories (or parodies of them).

LATE TRADITIONAL FOLKLORE

Late-traditional folklore is a collection of works of different genres and different directions, created in a peasant, urban, soldier, working and other environment since the beginning of the development of industry, the growth of cities, the collapse of the feudal village.

Late traditional folklore is characterized by a smaller number of works and, in general, a lower artistic level compared to classical folklore - a rich, developed, centuries-old culture generated by feudal life and a patriarchal worldview.

1. GENERAL CHARACTERISTICS OF LATE TRADITIONAL FOLKLORE

Late traditional folklore is distinguished by a complex interweaving of the new with the old. In the village repertoire, the transformation of classical genres took place, which began to be influenced by literary poetics. Proverbs and sayings, anecdotal tales, folk songs of literary origin, children's folklore showed their vitality. The old lingering song was strongly pressed by the city's "cruel romances", as well as the rapidly and widely spread ditty. At the same time, epics, old historical songs, old ballads and spiritual poems, fairy tales were gradually forgotten. Folk rituals and the poetry that accompanied them lost their utilitarian and magical significance over time, especially in urban conditions.

From the end of the XVIII century. in Russia, the first state factories and serf manufactories appeared, in which civilian workers from impoverished peasants, convicts, passportless vagrants, etc. worked. In this motley environment, works arose that laid the foundation for a new phenomenon - the folklore of workers. With the development of capitalism and the growth of the proletariat, the topics expanded, the number of works of oral creativity of workers increased, which was characterized by the influence of book poetry.

A new phenomenon was urban folklore - oral works of the "grassroots" population of cities (it grew along with the

by the cities themselves, constantly flowing in from the impoverished countryside). Cultural contacts between the city and the countryside had a long history in Russia - suffice it to recall the role of Kyiv, Novgorod and other cities in the plots of Russian epics. However, only in the second half of the XIX century. the cultural traditions of the urban population, cut off from the land, developed. Along with the old forms and genres, such as the folklore of the market place, the folklore of the fairs, the cries of pedlars (small merchants), the city developed its own song culture (romances), its own non-fabulous prose, and its own rituals; the long tradition of handwritten collections (song books, albums with poems) received a new development. All this in one form or another continues to live in our time.

As A. S. Kargin noted, urban folklore began to be seriously studied only in the 1980s. The researcher wrote: “Many folklorists only in the last quarter of the 20th century intuitively felt, and then admitted that a new layer of culture declared itself at the top of its voice, which did not fit into the established patterns of traditional folklore. It became obvious that the city had formed a kind of folklore culture, very contradictory, different from the peasant tradition".

In the XX century. the process of the extinction of traditional rites and the death of old genres of folklore accelerated. This was partly facilitated by the fact that in the post-October period, the official attitude towards many phenomena of folklore was negative: they were declared "obsolete" and "reactionary". This extended to agricultural holidays, ritual songs, incantations, spiritual poems, some historical songs, and so on. At the same time, new works of different genres emerged that reflected new problems and realities of life. It is possible to single out the eating and eating stages of the development of Russian folklore after 1917: the civil war; interwar period; Great Patriotic War 1941-1945; post-war period; modern period.

The modern oral repertoire of the people and late traditional folklore are different concepts. The modern repertoire is all those works that people remember or perform, regardless of the time of their creation. The modern repertoire includes some works of classical folklore and even relic elements of early traditional folklore. Late traditional folklore is an integral part of modern re-

pertoire, works created after the collapse of the feudal village.

Old national folklore performed important functions in later historical and socio-economic conditions. Its consolidating role is known during the fratricidal civil war, when all participants in the tragic events performed traditional works that condemned evil and violence. During the Great Patriotic War, epics and old soldiers' songs, which agitators and artists turned to, intensified the patriotic feeling of the people.

In the folklore created in the 20th century, researchers note a mosaic pattern: different age, social orientation and different ideological orientation. It reflected the historical inconsistency of the worldview and aspirations of the country's population, rural and urban residents. A number of works supported the beginnings and achievements of the Soviet government: the elimination of illiteracy, collectivization, industrialization, the defeat of the Nazi invaders, the restoration of the national economy destroyed during the war, Komsomol construction projects, space exploration, and so on. Along with them, works were created in which dispossession and other repressions were condemned. GULAG folklore arose among the prisoners in the camps (a scientific conference in St. Petersburg in 1992 was dedicated to it).

Modern folklore is the folklore of the intelligentsia, students, students, philistines, rural residents, participants in regional wars, and so on. Folklore of the last quarter of the 20th century. changed so much from earlier forms that it is sometimes called post-folklore. Nevertheless, late-traditional folklore has preserved the continuity of folk oral-poetic traditions. This was expressed in the creation of new works in the form of pre-existing genres, as well as in the partial use of old folklore poetics and stylistics.

In the modern folklore process, the ratio of the collective and individual principles has changed, the role of the individual creative person has increased. A striking sign of late traditional folklore is the works of professional and semi-professional authors, assimilated by the people.

Late traditional folklore is a complex, dynamic and not fully defined system, the development of which is

should. Many phenomena of late-traditional folklore have only been designated or begun to be developed by science. Among them: urban folklore; folklore of the Gulag; folklore of participants in regional wars (in Afghanistan, in Chechnya); folklore of different social groups (for example, student); modern children's folklore; modern non-fairytale prose; joke. Special topics - the relationship of Russian folklore and the folklore of those peoples of Russia, among which Russians are settled; folklore of Russian diasporas abroad.

It is necessary to critically evaluate the experience already accumulated in the study of late traditional folklore (for example, the folklore of the Civil War and the 1920s-1930s in general was covered one-sidedly and incompletely). When referring to published texts of late traditional folklore, one should take into account the possibility of falsifications.

In characterizing the genres and genre systems of classical folklore, we have already touched upon the problem of their late development, the question of book influences. In this chapter, ditties, the folklore of workers and the folklore of the period of the Great Patriotic War will be considered.

PARTS

The most developed genre of late traditional folklore are ditties.

Chastushki are short rhymed lyrical songs that were created and performed as a lively response to various life phenomena, expressing a clear positive or negative assessment. In many ditties there is a joke or irony. The earliest ditties had six lines. The main type - four-line - was formed in the second half of the 19th century, it is performed to the dance and without it. Four-line ditties are also proper dance ditties, which are performed only to the dance (for example, to the quadrille). In addition, there are two-line ditties: "suffering" and "Semyonovna" (the last appeared in the 1920s).

Chastushkas have varied, but repetitive, steady tunes, both drawn out and fast. The performance of many texts on one tune is characteristic. In living life, ditties are sometimes characterized by recitativity (proximity to melodious recitation). They combine the word, chant, instrument

mental accompaniment (balalaika, harmonica), movements (gestures, facial expressions, dance). All these terms allow improvisation, which occupies a significant place in the ditty.

Chastushkas are usually called poetry of a small form, but a ditty is never sung alone. (I am lowering a ditty to a ditty, like a thread ...). During the performance, cycles are improvised - ditty sings, which can include a different number of stanzas (sometimes up to 100). The researchers noted that in the process of performing ditties, a cumulative-contaminating generative mechanism operates, and it creates a ditty chant according to some sign, meaningful or formal. A similar principle was previously used in artel labor songs of the type clubs: the songs were composed of unrelated stanzas with a common chorus.

Songs can have a compositional frame: a ditty, which is a signal for the beginning of singing, and a ditty, which serves as an end signal. Often these are the appeals of singers to the harmonist. For example:

Play harmonica.

Play, don't break!

For someone it is not necessary -

Try for us!(At first).

Oh, thank you harmonist.

For a great game!

I still wish you

Cute Milka!(At the end).

The songs, built on the dialogue - the roll call of two singers, are united by the content. Spevy can also create a game of form (see, for example, in the Reader "cross" ditties, where the compositional principle of the two-part ™ ditty stanza is beaten). A common type of spevs is ditties that have a common beginning (singing): Oh, apple ..., The plane was flying ..., Don't go, girls, get married ... etc. Chastushkas have a special way of cyclization "Semyonovna": it resembles a chain composition of folk lyrical songs. For example:

The samovar with a pipe began to boil,

And I "Semyonovna" start to sing.

First I will sing how we fell in love, and then I will sing how we parted.

We fell in love - curls curled,

And parted - tears shed ... Etc.

Chastushki finally took shape in the last quarter of the 19th century. simultaneously in different parts of Russia: in the center, middle and lower Volga region, in the northern, eastern and southern provinces. Each region had a special character of the verbal text and melody, a special manner of performance (in chorus or alone), as well as dancing, which gave rise to different designations of ditties: "Saratov", "Tambov", "Voronezh", "Ryazanochka", "Yelets". Subsequently, many of them received widespread recognition (see the story of a balalaika player from the Nerekhtsky district of the Kostroma region about ditty tunes in the Reader). Chastushkas were sung during festivities, on the road, in the forest, at gatherings. Among the people stood out ditties - connoisseurs of ditties, their performers and creators, who own the main repertoire of their area. Since the beginning of the XX century. Russian ditties began to penetrate to neighboring peoples: Ukrainians, Belarusians, Mordovians, Chuvashs, Tatars and others. In places of the Russian-Mordovian border draw, drawn-out two-line ditties began to be called in Mordovian - matani(in translation - "songs").

In different places, ditties were called differently: songs, short songs, choruses, gimmicks, jokes, shorties, gatherings and so on. Term ditty, also popular, was introduced into scientific use in 1889, when the first essay about this new phenomenon of the song culture of the people appeared in the periodical press. Its author is the democratic writer G. I. Uspensky.

Unlike G. I. Uspensky, who showed a keen interest in the ditty, many found in it "the decline of true creativity." Here is what F. I. Chaliapin wrote: “The people who suffered in the dark depths of life sang suffering and joyful songs to the point of despair. What happened to them that they lost all hope for the best and got stuck in the gap between hope and despair on this damned the devil's bridge? Is it the factory's fault, isn't it shiny rubber galoshes, isn't it a woolen scarf, for no reason at all enveloping the neck on a bright summer day, when birds sing so well? Isn't it a corset worn

over the dress by rural women of fashion? Or is it the accursed German harmonica that a man of some shop holds with such love under his arm on a day of rest? I'm not going to explain this. I only know that this ditty is not a song, but a magpie, and not even natural, but obscenely painted by a mischievous one. And how well they sang! They sang in the field, they sang in the haylofts, in the rivers, by the streams, in the forests and beyond the torch. The Russian people were obsessed with song, and a great song hop roamed in it ... ".

Chastushka is an indicator of the increased connection between the village and the city, it reflected a change in the mental structure of the village, especially the village youth. The accelerated pace of life, the constant influx of new impressions, the frequent change of experiences - all this made the short moving song relevant.

Chastushki is the main genre of peasant lyrics in late traditional folklore. Its origins are closely connected with the oral tradition of the old Russian village. Short satirical and dance songs were created by buffoons (in the Kursk and Tambov regions, ditties were called buffoon-mi or funny songs).

It is obvious that part of the buffoon repertoire was perceived by the so-called clumsy- ditties, in which the main artistic role is played by comic absurdity. For example:

You listen, girls,

I will sing awkwardly:

A pig is placed on an oak tree,

A bear is steaming in the bath.

Songbooks of the 18th century dance songs were recorded, resembling ditties in size. Sometimes ditties were performed to the tunes of famous dance songs "Kamarinskaya" And "Lady". Short choruses were sung at weddings and in calendar ceremonies, however, ditties lack the utilitarian orientation characteristic of ritual folklore, they are a purely lyrical genre. On the other hand, ditties are colored by the influence of songs of literary origin and book poetry. Rhyme is obligatory for them, mostly incomplete cross (abcb), as well as complete cross (abab) and paired (aabb). Basically tonic verse of ditties is close to syllabo-tonic.

Chastushki had a rural origin and existence. An offshoot, a transformation of these village songs were ditties, performed on the outskirts of the city, in the city "lower classes", among the workers. Chastushkas retain their high popularity and productivity in modern folklore (see in the Reader the story of the ditty player N. N. Smirnov from the Nerekhtsky district of the Kostroma region, recorded in 1989).

Chastushkas show attention to all vital issues, their content is diverse. However, in the vast majority of cases, they were composed by young people, so love became their most popular theme. The characters of ditties are a girl and a guy from adolescence to marriage. Chastushkas convey the dreams of girls about marriage, guys about marriage; the origin and development of love feelings; love experiences of various kinds. Young people protest against the power of their parents, their ban on free feeling; reports on his literacy, which allows him to write love letters to each other; naively strives for external forms of urban culture as a way of asserting independence and attracting attention from the opposite sex. Chastushkas are extremely personal, the feeling of love is depicted in them in all shades, from the most tender to the furious.

In the collection compiled by F. M. Selivanov (Chatushki. - M., 1990), the following main groups of love ditties are singled out: "Dreams come true", "Gossip, gossip, "glory"", "Doubts and thoughts", "Separation at love", "Separation: the end of love", "Treason", "Repetitive" love, "Without reciprocity", "Characters". Within each group there are a number of topics. For example, ditties about treason fall into the themes: "Jealousy, reproaches, warnings", "Treason took place", "Experiences with treason", "About a rival", "Revenge to a traitor", "Cheedling is nothing", "A boyfriend repents", "Girl changes." The theme of love relationships is also developed by ditties from the group "Gatherings and festivities" and from other groups of the collection.

Much less ditties about family life have been created, and it is assessed from the standpoint of young people - most often as unhappy. Researchers have noticed that, in general, most of the ditties, regardless of the nature of the melody, have a sad, elegiac content.

The hero of the ditty is sometimes depicted in separation from his native places (recruit, soldier, laborer working in strangers); it is characterized by an attraction to a small homeland:

On someone else's side I bow to the funnel:

hello crows.

Is it from our side?

WITH A star from the sky fell on the foreman's belt.

I will not go to the collective farm to work for an unfortunate workday.

Ditties about service in the Red Army, the Great Patriotic War and post-war events in our country are known. Chastushkas on socio-political topics often acquired a satirical focus. However, they occupy an insignificant place in the general repertoire - only 5-6%.

Numerous ditty falsifications did not really enter oral existence: poster-anthem imitations of folk songs composed and published for propaganda purposes, amateur "propaganda" on the topic of the day, which are similar to modern advertising crafts.

Back in 1939, the question of falsified ditties was raised by the poet V. Bokov. He revealed the mechanism of their appearance. So, there was a folk ditty about recruits:

Earring ducks flew,

They quacked over the fields.

How the guys went to the soldiers,

All the girls were crying.

Based on it, a mediocre alteration appeared:

Sulfur ducks flew,

They quacked over the fields.

The Komsomol went to the front,

The girls didn't cry.

Like lyrical songs, ditties sparingly, unobtrusively use visual and expressive means. They, like songs, value their content - it is no coincidence that rhyme falls on the most important words in terms of meaning. Chastushkas prefer male or female rhyme, dactylic is less common. Approximate rhyme applied (were captive - drolins, hurricane - I won’t give it back) and composite (shoes - is it here). Internal rhymes may appear:

I walked forest, saw demon.

Besa in new boots

myself oak, elm nose.

Cigarette in the teeth.

The rhythmic-melodic structure of ditties is created by alliterations, assonances, syntactic parallelism and other repetitions. Expressive unity:

Mint is not your path.

it's not for you to walk on it,

I'm not busy with you.

You don't love me.

Sometimes a ditty plays with accents in words, emphasizing their meaning:

Rarely, rarely

honey, go

Rarely-rarely-rarely.

You have loved another for a long time, (a) you say that you are far away.

The intonation richness of the ditty gives its proximity to colloquial speech. Most often, a ditty is a statement in the first person and is addressed to someone: sweetheart, girlfriend, rival, mother ... This allows you to draw a variety of character characters. Chastushkas in a dialogical form are quite popular, they are less common in the form of a third-person statement. The narrative beginning in the ditty is poorly developed, its main meaning is lyrical. Based on specific facts, the ditty uses the sublimating method of folklore, thanks to which the personal feeling of an individual acquires a universal meaning in it.

Chastushka is associated with many folklore genres: proverbs and sayings, dance and round dance songs, lyrical songs. The role of the latter is especially significant:

traditional song lyrics helped the formation of the ditty as a lyrical genre. Chastushka used ready-made song symbols. Blooming or withered flowers appear in it, an overgrown path to a sweet, yearning cuckoo, bitter aspen, white birch, fast river, viburnum, raspberry, clear moon, heavenly star... Along with the images, constant epithets came to the ditty, including expressive (zealous heart). The lively colloquial basis of the language of ditties is combined in them with the expressive means of an old Russian song. Chastushkas use comparisons:

You're going, my dear, to get married.

Throw a handkerchief on the field.

All our love will wither

Like an unwatered flower.

Metaphors:

I will lock up my zealous

twelve keys,

to the old berry

didn't sleep at night.

Metonymy:

I forget, I forget

No, it is not forgotten.

The shirt is white, forelock to the left

Often remembered.

Avatars:

I'm running away from grief -

Grief will find me.

I am from grief - in the blue sea, -

Grief floats like a swan.

Impossible formula:

I won't cry anymore

wet brown eyes, -

The blue of the sea cannot be filled

And love does not return.

Hyperbolas:

I walked across the field, in a hurry.

From under the feet of the fire flew.

Angry at the cutie -

Wanted to break it.

In humorous and satirical ditties, hyperbole creates a laughable beginning:

The darling is going through the market,

He smiles at everyone.

It turned out - teeth inserted.

The mouth does not close.

According to the composition, ditties are divided into one-part and two-part. One-part ones have a through development of the theme. For example:

On the German border.

On a high hill

Bandaging wounds

Baby nurse.

In two-part stanzas, the stanza clearly splits into two parts with a sharp pause between them. The construction of a two-part ditty stanza was influenced by the song technique of psychological parallelism. Sometimes it's obvious:

Will it really wither

Is there a green garden on the mountain?

Doesn't it come back

Love our back?

In two-part ditties, there is parallelism with one character in both parts:

Will, will, vilified

White and blue.

Will, will, loved

Sweet handsome.

Two-part ditties are not uncommon, in which the parts are opposed in meaning (see the above sing "Semyonovna"). Researchers have noticed the attraction of ditties to formal parallelism - when, when comparing parts, it is not necessary to establish a symbolic or logical connection between them. Such, for example, are many ditties that use a common chorus "A star has fallen from the sky..."

The origin of this image is connected with the traditional wedding lyrics, in which the "fallen star" symbolized the excommunication of the bride from her family. This image (along with others: "The moon shines, the clear one shines...") borrowed dance songs from wedding poetry, and later ditties associated with folk dance.

In general, it can be noted that the composition of the stanza always reinforces the semantic and formal completeness of the ditty.

FOLKLORE WORKERS

Folklore of workers (r

So far, we have considered the oral poetry of adults (ritual poetry, fairy tales, epics, ballads, historical, lyrical and round dance songs, ditties, proverbs and sayings, riddles, and other genres). The folklore of adults has a certain age differentiation. So, fairy tales, epics and historical songs are performed mainly by representatives of the older generation. Round dance songs, lyrical love songs and ditties are predominantly youth genres.

However, our understanding of folklore will be incomplete if we do not take into account the oral poetry of children, if we do not consider the features of its content, artistic form and the specifics of existence.

What should be understood by children's folklore? What is the meaning of the term "children's folklore"?

There is no single point of view on these issues in science. So, for example, V.P. Anikin refers to children's folklore "the creativity of adults for children, the creativity of adults, which eventually became children's, and children's creativity in the proper sense of the word" . This opinion is shared by E.V. Pomerantseva, V.A. Vasilenko, M.N. Melnikov and others. As a rule, the mentioned researchers begin their characterization of children's folklore by examining works created by adults and performed by them for children (lullabies, pestles and nursery rhymes).

Other scholars include only those works that are created and performed by children themselves as children's folklore. Thus, the well-known researcher of children's folklore G.S. Vinogradov, objecting to the attribution to children's folklore of "creativity of adults for children", wrote: "Usually this group of verbal works is attributed to children's folklore. There are few grounds for such an attribution. Children's folklore consists of works that do not include the repertoire of adults; this is a collection of works by performers and the listeners of which are the children themselves. The group considered, as the work of adults for children and constituting the repertoire mainly of adults, should be isolated: this is the creation of a mother and a nurse, this is maternal poetry, or poetry of nurturing ".

Does not include the work of mothers and nurses to children's folklore and N.P. Andreev, who called one of the sections of his anthology on folklore "Lullabies and Children's Songs".

Does not consider lullabies as children's folklore and V.I. Chierov. One of the sections of his course of lectures "Russian Folk Art" (1959) is called "Lullabies and Children's Songs" p. 346-348).

The point of view of G.S. Vinogradova, N.P. Andreeva seems to us to be absolutely fair. It is impossible to attribute to children's folklore lullabies, pestles and nursery rhymes that were created and performed only by adults, while they were not only not created by children, but never performed. Children's folklore is primarily works created and performed by children themselves. It differs from the folklore of adults both in its content and in its artistic norm.

At the same time, it should be noted that the works of adults also penetrate into children's folklore. Children are almost always present when adults perform folklore, often assimilating its individual works. At a certain stage, some traditional genres fade away, disappear in the folklore of adults; pass on to children, live as an organic component of the children's folklore repertoire. Changing, these works acquire signs of children's folklore and become an organic part of the children's folklore repertoire.

In conclusion, it should be said that children's folklore includes works, firstly, created by the children themselves, and secondly, borrowed by children from adults, but reworked in accordance with the psychology and needs of childhood.

The foregoing also determines the features of the genre system of children's folklore. Children's folklore is created both in the genres of adult folklore (refrains, sentences, jokes, etc.), and in genres developed by the children themselves (drawing lots, counting rhymes, teasers, etc.). The genre system of children's folklore is a rather mobile phenomenon. In the process of historical development, some genres leave children's folklore, while others, on the contrary, come into it.

Until the middle of the XIX century. children's folklore of the National Assembly stood out in a special section of folk poetry, did not specifically fit in. Publications of children's folklore were occasional and very few in number.

In the 50-60s of the XIX century. in connection with the increased interest in folk art, children's folklore also attracts attention. The works of children's folklore are recorded by N.I. Dahl, P.V. Shane, P.A. Bessonov and other folklorists. And 1861-1862. the famous collection of V.I. Dal "Proverbs of the Russian people", v. which also contains a variety of material from children's folklore (game sentences, counting rhymes, tongue twisters, etc.). In 1870, a collection of P.V. Shein "Russian Folk Songs", which opens with a section on children's folklore. The main part of the children's songs was recorded by Shane himself, some texts are given in the recording of A.N. Afanasiev, ethnographer I.A. Khudyakov and writer A.N. Ostrovsky. children's folklore genre study

In the 60-70s of the XIX century. continue their collecting activities P.V. Shane, as well as V.F. Kudryavtsev, E.A. Pokrovsky, A.F. Mozharovsky and others V.F. Kudryavtsev in 1871 publishes the book "Children's games and songs in the Nizhny Novgorod province", containing valuable material on children's play folklore. We find interesting examples of children's folklore in the book by A.F. Mozharovsky "From the life of peasant children of the Kazan province" (1882). In 1898, the first volume (issue 1) of Shane's "Great Russian" was published, in which about 300 works of children's folklore were published. In the same year, the "Collection of Folk Children's Songs, Games and Riddles" was published, which was compiled by A.E. Gruzinsky based on Shane's materials. In the last third of the XIX - early XX century. children's folklore is collected by A.V. Markov, A.I. Sobolev, V.N. Kharuzina and others. Recordings of children's folklore are published in the journals Zhivaya Starina, Ethnographic Review, and various Gubernskiye Vedomosti.

The work of collecting children's folklore continues in Soviet times. It should be noted the especially fruitful activity in this area of ​​G.S. Vinogradova, O.I. Kapitsa, M.V. Krasnozhenova and N.M. Melnikov. Significant material of children's folklore is contained in the books of O.I. Kapitsa "Children's Folklore" (1928) and G.S. Vinogradov "Russian children's folklore" (1930). Separate works of children's folklore are published in the collections of T.A. Akimova "Folklore of the Saratov region" (1946), V.A. Tonkov "Folklore of the Voronezh region" (1949), S.I. Mints and N.I. Savushkina "Tales and songs of the Vologda region" (1955), in the monograph by M.N. Melnikov "Russian children's folklore of Siberia" (1970) and other publications.

In conclusion, we can say that pre-revolutionary and Soviet folklorists have collected quite significant material on children's folklore. However, work in this area should be continued and intensified. And not the last role in this matter can be played by the annual folklore practice of students, student folklore expeditions.

Rodionova Vera Anatolievna
Children's folklore. Small folklore forms

Small genres of folklore- are small in size folklore works.

Introducing children to folklore genres occurs from an early age. These are mother's lullabies folklore works. Some types of unusually rich and diverse Russian folklore were constantly offered to children and found attentive listeners in them. And active performers, this part of Russian oral folk art is usually called children's folklore.

Games are fun with young children. ("Magpie", "Ladushki", "Goat" and others) Riddles, riddles, fairy tales. Folklore interesting for its bright, accessible, understandable to children form. Children with interest, admiration try to imitate an adult, to repeat his action. Repeating poems, nursery rhymes, and tongue-twisters together with an adult, children develop imagination, speech and emotions are enriched. Organs of articulation are exercised. The first acquaintance of a child with the art of the word begins with folklore works. Lullabies are the first to enter the life of a little person, and then others forms oral folk art. As a rule, at the beginning of life, the child gets acquainted with small genres of folklore available to his perception. Fairy tales, songs, proverbs, rhymes, nursery rhymes, tongue twisters and so on, have always been inextricably linked with the experience of folk pedagogy.

Life processes such as dressing, bathing, accompanied by words are very helpful. baby. At these moments, he remembers and responds, accompanies words with actions - plays patty, stamps his feet, dances, moving to the beat.

It not only amuses, but also pleases the child. When listening small folklore forms children are less aggressive. Nursery rhymes, jokes, calls sound affectionately, expressing care, tenderness, faith, well-being.

Malaya form of folklore can be played in different ways. You can use theater (finger, masks, etc.). Different toys can also be used. Playing theater and toys, children quickly imagine and memorize fairy tales, nursery rhymes, etc. Putting on a costume, the child imagines himself to be one or another character.

Lullabies - songs performed by a mother or a nanny while rocking a child. Their purpose is to soothe and lull the child with a measured rhythm and monotonous motive, as well as to regulate the movement of the cradle.

The lullaby is one of the oldest genres folklore, which is indicated by the fact that elements of a conspiracy-amulet have been preserved in it. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad, terrible in a dream, then this will not happen again in reality. That's why in a lullaby one can find "grey wolf" and other scary characters. Later, lullabies lost their magical elements and acquired the meaning of a good wish for the future. So, a lullaby is a song with which a child is lulled to sleep. Since the song was accompanied by the rhythmic swaying of the child, the rhythm is very important in it.

The prevailing themes are lulling, inviting assistants to lull, thoughts about the future of the lulled child, often phenomena and objects of the surrounding reality that could interest and amuse the child, if only he understood the words of the song. It is, as it were, an adaptation to the interests of the child; this stylization childishness, by the way, is very clearly reflected in the language (diminutives, affectionate words, children's word formation).

Hush, Little Baby, Do not Say a Word

Hush, Little Baby, Do not Say a Word,

Don't lie on the edge.

A gray wolf will come

He will grab the barrel

And drag him into the woods

Under the willow bush.

To us, top, do not go,

Don't wake our Sasha.

Here people sleep

And the animals are sleeping

Birds sleep on branches

Foxes on the hills

Hares sleep on the grass

Ducks on an ant.

The kids are all in their cradles.

Sleep - sleep, the whole world is told to sleep.

And the cats are grey,

And the tails are white

They ran through the streets

They ran through the streets

Dream and slumber collected

You are cats, cats, cats,

You have yellow tails.

You are cats, cats, cats,

Bring naps.

You, kitty cat,

curly pubis,

Come, kitty, spend the night,

Download our Lida.

Am I something for you, cat.

I'll pay for the work

Give me a jug of milk

Yes, a piece of cake

white daddy

In both paws.

Hush, Little Baby, Do not Say a Word

My sweet love

I took to my nanny

Wind, sun and eagle.

The eagle flew home

The sun hid under the mountain

After the wind of three nights

He returned to his mother.

Vetra asked her mother

Where did you want to disappear?

Chased the waves on the sea

Did you count gold stars?

I did not drive waves on the sea,

Didn't count gold stars

He hooted small children!

Oh-lyuli-people-lyuli

The cranes have arrived

Cranes

Didn't find a way

They sat on the gate

And the gate creak-creak

Don't wake up my Lada

She is sleeping.

Pestushka - comes from the Russian word "nurturing", that is, to nurse, groom, cherish. This is a very short tune of nannies and mothers in a poetic form how they accompany the actions of the child, which he performs at the very beginning of life.

Big feet

Walked along the road:

Top, top, top,

Top, top, top.

small feet

Run along the path:

Top, top, top,

Top, top, top.

weed-ant

She got up from sleep.

Bird - titmouse

I took up the grain

Bunnies - for cabbage,

Mice - for the crust,

Children for milk.

Pull up, pull up

Geese flew low

Pull up, pull ups,

Feathers are soft in the pillow

These fuzzy feathers

They gave the geese to Dusenka.

flowing water,

Under the mountain bath is heated

The cat is washing, in a hurry.

There are 19 kittens

Everyone wants to wash in a warm bath!

Get out of the way cat

Our Tanechka is coming.

Top top, top top

Our Tanechka is coming

It won't fall for anything.

Top top, top top

That's what Tanechka is.

To each his own:

The stove is a log,

Cow - hay,

Grass - calf,

Water for the lamb

And you, son,

A piece of sugar.

cockerel cockerel,

Comb my comb.

Well please, please

I'll comb my curls.

On kitty sips

For a little baby.

A nursery rhyme is an element of pedagogy, a sentence song that necessarily accompanies the game with the fingers, arms and legs of the child. Nursery rhymes, like pestles, are designed to develop a child. Such genres folklore served in their playroom form: they are designed to awaken the child to action. On the one hand, this is a massage, on the other - physical exercises. In this genre children's folklore there are incentives to play out the plot with the help of fingers, palms, hands and facial expressions. Nursery rhymes help the child to instill the skills of hygiene, order, develop fine motor skills of the hands and the emotional sphere. The most famous of them: Okay, Magpie.

Okay, okay, where have you been? By Grandma!

What did they eat? Porridge!

And what did they drink? Brazhka!

Butter bowl!

Sweetie brat!

(Grandma is kind)

We drank, we ate, sh-u-u-u.

Shuuu! (Home) Let's fly!

Sat on the head! ("Ladushki" sang)

Forty, forty!

Where was?

The stove was stoked

cooked porridge,

Jumped on the threshold -

Called guests.

The guests have arrived

They sat on the porch.

I gave this

I gave this

I gave this

I gave this

Didn't give it:

He did not walk on water

Didn't cut wood

Pechaka did not drown

Didn't cook the porridge...

There is a horned goat

There is a butted goat:

Legs - top-top!

Eyes - clap-clap!

Who does not eat porridge

Who does not drink milk

Togo gore, gore.

Big wood to cut (thumb).

And you carry water (index,

And you need to heat the stove (nameless,

A baby sing songs(little finger)

Songs to sing and dance

To amuse the brothers.

Songs to sing and dance

To amuse the brothers.

Invocations are one of the types of invocation songs. Such songs are of pagan origin. They reflect the peasant way of life. For example, a rich harvest spell runs through all the songs. For themselves, children and adults asked for health, happiness and wealth. It is also an appeal to the rainbow, the sun and rain, and other natural phenomena. Often referred to animals and birds. Birds were considered harbingers of spring. The forces of nature were revered as living. Usually, people turned to spring with requests, wishing for its speedy arrival, warmth and sun, they complain and complain about winter.

Larks, larks!

Fly to us

Bring us a warm summer

Take the cold winter away from us.

We are tired of the cold winter

Hands, feet frostbitten.

rainbow arc,

Break the rain -

Again into the night

Pours with all his might;

Break the thunder

Wouldn't get into the house.

vodka vodichka,

Wash my face!

To make the eyes shine

To make cheeks blush

To laugh mouth,

To bite your teeth!

Rain, rain, more pour!

To make it more fun!

Rain, rain, pour, pour!

For me and people!

Sunshine, show yourself!

Red, gear up!

To year after year

gave us the weather:

warm flyer,

Mushrooms in birch bark,

Berries in a basket

Green peas.

Storm - Baba Yaga,

Go from the sea to the meadows!

There are onions, garlic,

Kissel pot,

oil porridge,

Spoon painted.

You eat, sit

Don't go to the sea!

firefly light,

Shine on your fist.

Shine a little

I'll give you peas

Jug of cottage cheese

And a piece of the pie.

Cranberry,

Show yourself big

yes snowy,

Yes, it's important.

We were looking for you

They jumped over bumps.

Counting-in childhood before the start of any game, we settled with you. In this we were helped by counters. Counting is one of draw forms, a small rhyme with which the leader is determined. The counting table is a very important element that helps children avoid quarrels and establish agreement and respect for accepted rules. Rhythm is very important in the organization of counting rhymes.

One two three four.

Let's count the holes in the cheese.

If there are many holes in the cheese,

So the cheese is delicious.

If it has one hole

So it was delicious yesterday.

Centipede's legs hurt:

Ten whine and hum

Five are limping and hurting.

I am a little girl

I don't go to school.

Buy me sandals -

I'm getting married!

Sat on the golden porch:

King, prince, king, prince,

Shoemaker, tailor -

Who will you be?

The German came out of the fog

He took a knife out of his pocket

I will cut, I will beat -

Who will you be friends with?

A month came out of the fog

He took out a knife from his pocket.

I will cut, I will beat -

You still have to drive!

Aty-baty, the soldiers were walking,

Aty-baty, to the market.

Aty-baty, what did you buy?

Aty-baty, samovar.

Aty-baty, how much does it cost?

Aty-baty, three rubles

Aty-baty, what is he like?

Aty-baty, golden.

Aty-baty, the soldiers were walking,

Aty-baty, to the market.

Aty-baty, what did you buy?

Aty-baty, samovar.

Aty-baty, how much does it cost?

Aty-baty, three rubles.

Aty-baty, who's coming out?

Aty-baty, it's me!

Under the mountain by the river

Old gnomes live.

They have a bell

Gilded calls:

Digi digi digi dong

Get out soon!

A phrase built on a combination of sounds that makes it difficult to pronounce words. Tongue twisters are also called tongue twisters. Very often they are used to develop diction and speech. Tongue twisters are rhymed and not rhymed.

Tell me about shopping

About what about purchases?

About shopping, about shopping

About my shopping.

The otter dived into the bucket from the otter.

An otter drowned in a bucket of water.

Frightened bear cub

Hedgehog with a hedgehog and a hedgehog,

Swift with a haircut and a haircut.

Four turtles have four baby turtles.

Four black, grimy little imps

Drawn in black ink drawing.

On the edge of the hut

The old chatterboxes live.

Every old woman has a basket,

In every basket there is a cat,

Cats in baskets sew boots for old women.

Sasha sewed a hat to Sasha,

Sasha hit a bump with his hat.

Sasha walked along the highway and sucked dry.

Rustling with silks in a hut

Yellow dervish from Algeria

And juggling knives

The piece is eaten by figs.

Cuckoo cuckoo bought a hood.

Put on a cuckoo hood.

How funny he is in the hood!

Skinny weak Koschey

Carries a box of vegetables.

The role of riddles is difficult to overestimate. Riddles make children think, look for associations. Usually, in a riddle, one object is described through another based on the similarity of features:

“A pear is hanging - you can’t eat it”.

A riddle can also be a simple description of an object, for example,

"Two ends, two rings, and in the middle of carnations".

The riddle combines the features of both folk fun, and a test of ingenuity, and ingenuity.

Amazing child!

Just got out of diapers

can swim and dive

like his own mother.

red cheat,

Cunning and dexterous

Got into the barn

Kurt counted.

Rides on someone else's back

carries its cargo.

"Full goreka of geese and swans"

"Two seas, two sorrows on steep

mountains hang on an arc"

"The horse is running - the earth is trembling"

Strong, ringing yes honed.

Whom he kisses, he is off with his feet.

Teasers are short, mocking rhymes that make fun of a particular quality, and sometimes just tied to a name.

Teasers passed to children from an adult environment and grew out of nicknames and nicknames. Later, rhyming lines were added to the nicknames, and teasers formed. Now a teaser can not only be associated with a name, but also to ridicule any negative character traits: cowardice, laziness, greed, arrogance. However, there were also unreasonable teases.

Vanka-vstanka karapuz,

Put on a big cap.

Loaf eat bread

Grow up to the sky!

Volodya-Volodey -

Full cap of crackers.

crackers hot,

Three pennies change.

Leshka-cake,

head with basket,

peg hat,

Log feet.

donut tree,

Ate a candy bar

Piglet and bull

Drank a pint of milk

Another crate ate bread,

Three baskets of pies.

Our Pasha is thin,

Like a wild straw.

And he puts on shoes -

How the bubble inflates.

Nicholas Basurai,

Get on the barn

There they fight a mosquito,

They'll give you a paw.

Kolya, Kolya, Nikolay,

Stay at home, don't play.

Clean the potatoes

Eat a little.

Dunya donut

Went out into the street

I sat down on a bump,

The mosquito ate.

Roll calls are poems designed to imitate some natural phenomenon or animal.

You have been sent a tribute.

Which Masha?

Our pig!

Did you eat the pie?

No, not me!

And was it delicious?

Titus, and Titus?

Go grind.

Belly hurts.

Go eat porridge.

Where's my big spoon?

Where, Thomas, are you going,

Where are you driving?

Hay to mow.

What do you want hay for?

Feed the cows.

What do you want cows for?

Milk milk.

What do you want milk for?

Children to drink.

Tell: two hundred.

Head in, dough!

-What's better: cherry or plum?

The button is redundant.

I will tell and you speak: "And me too."

We went to the forest.

And me too.

They cut down the trough,

And me too.

Poured slop.

And me too.

Pigs have become.

And me too.

Are you a pig?

"Whose nose?" –

"Mokeev". –

"Where are you going?" –

"To Kyiv". –

"What are you carrying?" –

"Rye". –

"What will you take?" –

"Penny". –

"What will you buy?" – "Kalach". –

"Who will you eat with?"- "One (A)». –

"Don't eat alone! Don't eat alone!"

Fables are short songs or poems in which the real connections between phenomena and objects are deliberately violated, displaced. The focus of the fable is some impossible situation, behind which, however, a quick-witted person guesses the correct state of things.

It is snowing! Such a heat! Birds are coming from the south! Everything around is white-white - Red summer has come!

A horse rode with horns, A goat floated along the pavement, With leaps and bounds a worm walked with a beard!

Because of the forest, because of the mountains Grandpa Egor is riding.

He is on a gray wagon, on a creaky horse,

Belted with an ax

The belt is tucked into the waist

Boots wide open, Zipun on bare feet!

The hedgehog flapped its wings And fluttered like a butterfly.

A hare sitting on a fence, Laughing loudly!

Between heaven and earth

Piglet rummaged

And accidentally tail

Cling to the sky!

The fox ran through the forest

The fox has lost its tail. Vanya went into the forest, found the Fox's tail. The fox came early, brought berries to Vanya,

Vanya asked to give the tail.

You listen, guys, My fairy tale is not rich.

From the humpbacked horse and the dancing bear: Like a motley pig made a nest on an oak tree,

She built a nest, brought out the children. Sixty piglets are sitting on knots. Pigs squeal, they want to fly, they flew, they flew! How a bear flies across the sky,

The bear flies, turns its head! And he carries a cow, Black-motley, white-tailed! And the cow flies and twirls its tail, know the bear is mooing: - Let's go to the right! Come on to the left! And now straight ahead!

Common features of sayings include brevity, conciseness, stability, and widespread use. Sayings can be defined as poetic, ambiguous, widely used in speech, stable short expressions that have figurative meanings of the saying.

"Pig Under the Oak"

"Not of the Brave Ten"

"Neither peahen nor raven"

"Whistling into your fist"

"Got to hell in the middle of nowhere"

"Does not climb into the pocket for a word"

"He fell like snow on his head".

"beat the buckets"

"Dog in the manger"

"When cancer on the mountain whistles"

"After the rain on Thursday"

"Seven miles to heaven and all the forest"

PROVERB - is a logically complete phrase or figurative aphoristic saying.

“The hut is not red with corners - it is red with pies”

"What are rich - so happy"

"What is the hostess - such is the table"

"The brave will find where the timid will lose."

“Without bowing to the ground, you won’t raise a fungus”

“Without labor, you can’t even catch a fish from a pond”

"Take care of your nose in a big frost"

"Under strong feet [road] stones are soft"

At present, many problems of education arise primarily because children are far from the perception of folk traditions, little attention is paid to introducing children to folk culture, the experience of the positive impact of which has been proven.

In this article, I would like to bring to your attention the content of the work on the topic: "Children's folklore - the source of the preservation of Russian folk traditions." The work was in the form of a study of local material on the use of children's folklore in preschool institutions, as well as in primary and secondary schools in the Ust-Tark region. For the study, the experience of work in this area of ​​kindergarten teachers in the village of Ust-Tarka was used: “Spikelet” by Evgenia Alexandrovna Legacheva, “Sun” by Elena Viktorovna Zaitseva, Oksana Viktorovna Karpenko. The teacher of the kindergarten "Rucheyok" of the village "Victory" Sidorova Olga Leonidovna.

The purpose of this study is to consider the state of work on introducing children of preschool and school age in some villages of the Ust-Tark region (Pobeda, Ust-Tarka, Elanka) to the traditions of Russian folk art, and the use of folklore heritage in working with children.

The purpose of this study is not just to get to know oral folk art and, as an integral part of it, children's folklore, but to show that the traditions of the Russian people continue to live and are applied in work with children in our village, in our region.

Show that children's folklore has become the most important tool for the aesthetic education of children.

The relevance of the work lies in the fact that children's folklore is an integral part of folk art, a form of preserving the folk tradition of education, communication between an adult and a child.

Children's folklore is the "poetry of nurturing", i.e. works created and performed by adults, folklore texts intended for children of preschool age and younger children, school folklore in its oral and written forms.

Folklore is a verbal art that includes: proverbs, ditties, fairy tales, legends, myths, parables, tongue twisters, riddles, heroic epics, epics, legends.

The bulk of the works of oral folk art arose in ancient times, however, even today we use them, often without even knowing it: we sing songs and ditties, read our favorite fairy tales, make riddles to each other, use sayings in speech, learn and repeat tongue twisters, speak spells and more.

Folklore has its origins in ancient times. It originated and arose when the vast majority of mankind did not yet have a written language.

In a song, a riddle, a proverb, a fairy tale, an epic, and other forms of folklore, people first formed their feelings and emotions, imprinted them in an oral work, then transferred their knowledge to others, and thereby saved their thoughts, experience, feelings in the minds and heads of their future generations. descendants.

Children's folklore occupies a special place in folklore. This work is dedicated to him.

Through oral folk art, a child develops a need for an artistic word. Therefore, it is no coincidence that an important moment in working with children was a wide acquaintance with folklore.

The main research methods are:

- communication with children, organization of games, listening to children's performances,

- interviews with teachers and parents of children,

- study of video recordings of performances at competitions and children's holidays,

- children's groups and adult folklore ensembles ("Sudarushka" in the village of Pobeda)

- compiling a photo album of his own performances.

The degree of study of this topic is quite high.

G. S. Vinogradov was the first to seriously study children's folklore. He published a number of significant works devoted to the study of children's folklore. The merit of G.S. Vinogradov is that he for the first time quite accurately defined the concept of children's folklore, characterized in detail its many genres (especially counting rhymes), revealed the connection between children's folklore and folk life. He owns a large number of articles and studies that raised general issues of studying children's folklore in close connection with ethnography, the psychology of children's creativity and the traditional creativity of adults. His many years of collecting and research activities are summarized in the fundamental study "Russian Children's Folklore" (with the publication of more than 500 texts). G.S. Vinogradov owns research of a different nature, such as "Children's satirical lyrics", "Folk pedagogy". In them, from the total volume of children's folklore, he singles out "Mother's poetry" or "Poetry of nurturing" as a special area, at the same time constantly noting the presence and role of continuity between the works of this layer and the poetry of children.

Following G.S. Vinogradov and simultaneously with him, O. I. Kapitsa is researching children's folklore. In the book "Children's Folklore" (1928), she characterizes numerous genres of children's folklore and provides a large amount of factual material. In 1930, under the editorship of O. I. Kapitsa, the collection "Children's Folklore and Life" was published, the articles of which discuss traditional children's folklore in Soviet conditions. In the postwar years, children's folklore was studied by V. P. Anikin, M. N. Melnikov, V. A. Vasilenko and others.

In the book of V.P. Anikin "Russian folk proverbs, sayings, riddles and children's folklore" (1957), a large chapter is devoted to children's folklore. It defines the concept of "children's folklore", gives a detailed description of its genres, highlights the history of collecting and studying. The peculiarity of the book is that it notes the most ancient features of a number of genres of children's folklore, and talks about the historical changes in these genres.

Among researchers of children's folklore, a special place is occupied by K.I. He collected the richest material on children's folklore, resulting in the well-known work "From Two to Five".

M. N. Melnikov in the book "Russian Children's Folklore", widely drawing on local material, establishes the place of Siberian folklore in the all-Russian fund of children's folklore. The fate of traditional children's folklore in modern conditions, as well as the characteristics of Soviet children's folklore, are devoted to the articles by M. A. Rybnikova "Children's Folklore and Children's Literature", and V. A. Vasilenko "On the Study of Modern Children's Folklore".

The structure of the work - this work consists of an introduction, four chapters, a conclusion, a list of references and an appendix.

1. Children's folklore is the first school of childhood.

The greatest wealth that the country is proud of is its people, its traditions, culture, national identity, and achievements.

People - glorifying and defending their homeland.

But it has also become common to have a reverse attitude to one's past, to the history of one's country, very often negative.

And it all starts in childhood...

Because how fully the child gets the experience of a warm relationship to himself in early childhood, the process of forming his attitude to the world around him will begin.

The child perceives the first feeling of kindness and tenderness when listening to his mother's lullaby, as well as her warm hands, gentle voice, gentle touches.

The good tone of nursery rhymes, pestles causes a positive response from the baby.

The child receives the first experience of communication with domestic animals, gradually with surrounding people.

And how important it is that this communication be pleasant and kind.

The Russian people, like other peoples of the world, have accumulated vast experience in educating the younger generation, which must be protected and used to preserve national identity.

And it is precisely this task that can be solved by the widespread use of children's folklore in work with children - part of Russian folk art.

The word "folklore" comes from a combination of two English words: folk - people - and lore - wisdom. And this wisdom of the people should not disappear, but should be preserved if we do not want to lose our originality, and perhaps even independence.

The history of folklore goes back to ancient times. Its beginning is connected with the need of people to realize the surrounding world of nature and their place in it. Children's folklore preserves traces of the worldview of each people in different periods of history.

In children's folklore, the power of a benevolent word is limitless, but most of all, the native word, native speech, native language.

Thanks to folklore, the child more easily enters the world around him, more fully feels the charm of his native nature, assimilates the people's ideas about beauty, morality, gets acquainted with customs - in a word, along with aesthetic pleasure, he absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is impossible.

Mom, caring for the baby, talks to him very affectionately and calmly, sings simple words that are pleasant for children's perception. And this tradition of nurturing is represented in children's folklore.

1) Lullabies.

The name of the songs with which the child is lulled to sleep - lullabies - comes from the basis of swaying (swaying, swinging, swaying). From here - a cradle, a stroller, in popular use there was also the name "bike" - from the verb baikat (cradle, swing, lull) Its purpose or purpose is to euthanize the child. This was facilitated by a calm, measured rhythm and a monotonous chant.

One of these lullabies can be found in the Appendix (text « Lullaby").

The ancient meaning of lullabies is conspiracies against evil forces, but over time they have lost their ritual meaning. With the help of conspiracies, they often asked for a child, health, protection from the evil eye, a rich life.

The theme of the lullabies was the reflection of everything that the mother lived - her thoughts about the baby, dreams about his future, to protect him and prepare him for life and work. In their songs, mothers include what is clear to the child. This is a "gray cat", "red shirt", "a piece of cake and a glass of milk."

Currently, many mothers are busy, and probably not all of them even know lullabies, but we tried to find out by talking to young mothers. And we got the following result - most of the respondents sang lullabies to their children. (Video « Lullaby").)

The process of "forgetting" is natural. Life in our country is changing radically. The scope of the mother's interests used to be limited to caring for children and her husband, to maintain order in the household, today a woman participates in public life on an equal basis with a man. Fiction, radio, television make their own adjustments to education, but nothing can replace mother's love for a child.

2) Pestles. Nursery rhymes.

Pestushki, (from the word "nurture" - educate) are associated with infancy. Having unwrapped the child, the mother says: “Pulling, porastuny, Across the fat girl,” or playing with the baby - “And in the legs of the walker, And in the arms of the grabber”, “And in the mouth of the talker, And in the head of the mind.”

The rhymes are simple and easy to remember, any mother at least sometimes uses pestles, taking care of her child. Bathing the baby, the mother says: “Water from the goose, and thinness from Maksimka.” Pestushki imperceptibly turn into nursery rhymes.

Nursery rhymes are usually called special amusements of adults with small children. Songs are also called nursery rhymes - sentences that organize these fun.

Many nursery rhymes are close to lullabies. Rhyme amuses rhythm - amuses, amuses. It is not always sung, it often affects, the words are accompanied by game actions, they carry the necessary information to the child. With the help of nursery rhymes, children develop a need for the game, revealing its aesthetic content, they prepared the child for independent play in the children's team. The main purpose of fun is to prepare the child for the perception of the world around him in the process of playing, which will become a preparation for learning and education.

The simplest jokes, comic motives are introduced into the nursery rhyme, gestures are added to maintain joyful emotions. An account is introduced into the nursery rhyme, the child is taught to count without a digital designation of the account, for example, “Magpie”.

They take a pen from the child, move the index finger along the palm and say:

Magpie, magpie, magpie - white-sided,

Cooked porridge, jumped on the threshold,

Called guests;

There were no guests, they didn’t eat porridge:

I gave everything to my children!

Pointing to each finger of the hand, starting with the thumb, they say:

She gave it on a platter

It's on a plate

This on a spoon

Scrapes for this.

Stopping at the little finger, add:

And this is nothing!

And you are small - little -

I did not go for water,

Didn't carry firewood

Didn't cook porridge!

Spreading the handles to the sides and then quickly putting them on the head, they say:

Shu-u-u-flyed,

They sat on Masha's head!

And from the very first steps of communication, mother or grandmother tries to show that you need to work. Rhymes are built in such a way that knowledge is almost never given in its “pure form”, directly. It is as if hidden, the mind of the child must work hard to get it. The nursery rhymes show the obligation of work for everyone, even the little ones.

Another equally important part of children's folklore is the game.

2. Game folklore - as part of children's folklore.

The game is the most accessible and understandable activity for the child. In the game, the child learns to work, build relationships with peers and other people. Folk games in combination with other educational means are the basis of the initial stage of the formation of the child's personality.

Childhood impressions are deep and indelible in the memory of an adult. They form the foundation for the development of his moral feelings. From time immemorial, games have vividly reflected the way of life of people. Life, work, national foundations, ideas of honor, courage, courage, the desire to possess strength, dexterity, endurance, speed and beauty of movements; show ingenuity, endurance, creative invention, resourcefulness, will and desire to win.

The concept of the game in general has a difference in understanding among different peoples. So, among the ancient Greeks, the word "game" meant "to indulge in childishness, among the Jews the word" game "corresponded to the concept of a joke and laughter, among the Romans - joy, fun.

Subsequently, in all European languages, the word "game" began to denote a wide range of human actions - on the one hand, they do not pretend to be hard work, on the other hand, they give people fun and pleasure.

The distinctive character of all Russian games and games is that they show the primordial love of a Russian person for fun, movements, and daring.

The character of the people undoubtedly leaves its noticeable imprint on many manifestations of the public and private life of people. This character also affects children's games.

The game is always entertainment, fun and always a competition, the desire of each participant to emerge as a winner, and at the same time, the game is the most complex type of children's folklore, which combines elements of dramatic, verbal, musical creativity; it includes songs, holidays.

Inextricably linked with most folk games are counting rhymes or draws. Rhyming rhymes make it possible to quickly organize players, set them up for an objective choice of the driver, unconditional and precise implementation of the rules.

1) Rhymes are used to distribute roles in the game, while rhythm is crucial. The host pronounces the rhyme rhythmically, monotonously, successively touching each participant in the game with his hand. Rhyming rhymes have a short rhyming verse.

One two three four five -

The bunny went out for a walk

But the hunter didn't come

The bunny went into the field

Didn't even move his mustache

Then he wandered into the garden!

What should we do?

How can we be?

Gotta get the bunny!

One two three four five!

2) Draws(or "collusions") determine the division of the players into two teams, establish the order in the game. And always contain the question:

black horse

Stayed under the mountain;

What horse - gray

Or golden mane?

3. Calendar folklore(calls and sentences)

1) Calls- to call, to call. These are appeals, cries of children to various forces of nature. They were usually shouted out in chorus or in a singsong voice. They are magical in nature and denote some kind of contract with the forces of nature.

Playing in the yard, on the street, the children joyfully call out in chorus to the spring rain:

Rain, rain, more

I'll give you thick

I'll go out on the porch

Give me cucumber...

Ladies and loaf of bread -

As much as you want, please.

2) Sentences- appeals to living beings or a sentence of good luck.

In search of mushrooms they say:

mushrooms on mushrooms,

Mine is on top!

Lived - there were men,

They took mushrooms - mushrooms.

This is not the whole list of works of children's folklore, which is used in our time in working with children.

Time passes - the world around us changes, the means and forms of obtaining information change. Oral communication, reading books is replaced by computer games, television programs, which does not always bring a positive result. And the conclusion suggests itself - you can not replace the living word of communication with a fictional world. Often the "coddling" of the child is used as the main form of education at the present time. And the result is far from encouraging. Applying the works of children's folklore from early childhood, both parents and educators form the idea in children that it is impossible to achieve success without labor, without diligence. A child, perceiving unobtrusive instruction from early childhood, understands the need to take care of the people around him, pets. The game makes it possible to establish oneself among peers, develops restraint, responsibility, the ability to correlate one's desires with the needs of other children. Children, fulfilling the conditions of the game, are accustomed to a certain order, the ability to act according to the condition. Russian folk tales also teach a lot, revealing to the child the peculiar flavor of Russian life, Russian customs, Russian speech. There is a lot of instructive in fairy tales, but it is not perceived as moralizing, there is a lot of humor, which is not perceived as a mockery. The child strives to be like heroes who help those in need. When talking with the guys, it's nice to hear that "I like Ivan Tsarevich, because he is brave and kind, I like Vasilisa the Wise, she helps to find the right solution in a difficult situation." This attitude to the characters gives the child an example to follow and the right things to do. The use of children's folklore in communication with children prepares them for life in society and, indeed, becomes the first school of childhood and the first sprout of the preservation of Russian culture.

4. Research results

This part of the work presents the results that were obtained in the study of local material in the process of communicating with parents, teachers and children of kindergartens in our region (V. Pobeda, Ust-Tarka, Elanka). The process of communication took place in a very friendly atmosphere. Everyone we contacted responded to our request with great attention and participation.

The work was structured as follows:

Visiting a preschool, meeting children, talking with children.

Sample questions:

- Guys, what is the name of your village?

- What are the names of your mothers, grandmothers, teachers?

What books do your parents and teachers read to you?

- What games do you like to play?

How many poems and songs do you know?

It is interesting that many children remembered short nursery rhymes and counting rhymes, many remembered the rules of simple games.

The experience of working with the use of children's folklore in all visited kindergartens is interesting. But especially indicative is the work of Evgenia Alexandrovna Legacheva, the teacher of the Kolosok kindergarten. Evgenia Alexandrovna uses children's folklore in her daily work with children from the younger group to graduation from school. She "infected" both her colleagues and her parents, they are also enthusiastically working with folklore. And the result was not long in coming. The kindergarten group "Kolosok" is the winner of folklore competitions.

Teachers of the kindergarten "Solnyshko" also consider children's folklore to be the main thing in working with children. Since only through folk traditions and the experience of education accumulated by the people, it is possible to raise worthy people. Elena Viktorovna Zaitseva, Oksana Viktorovna Karpenko, Margarita Anatolyevna Semyonova created a whole collection of folk costumes, a corner of "Russian antiquity", a large number of developments and scenarios for Russian fun, holidays and games.

The educators of "Spikelet" and "Solnyshko" created excellent conditions for raising children in folk traditions. And in this they are supported by their parents, who speak with gratitude about the activities of teachers.

In the gardens, corners of folk life have been created, where familiarization with peasant household items is carried out, dishes, costumes, spinning wheels, and icons are collected. And most importantly, these are not frozen museum exhibits, but the attributes of games, performances, and classes. The guys can try to "spin", iron with a cast-iron iron, or you can roll, "blame" the water on the rocker.

Children will learn that in the front corner of each hut there was placed an "image" - an icon that protected the house from misfortunes. Every business of any family began with a prayer. And in every case, the main thing was diligence and the desire to learn.

The training begins unobtrusively. In the younger groups, nursery rhymes are used when performing hygiene procedures with children, which causes positive emotions in the children. Gradually, educators learn with children incantations, counting rhymes, tongue twisters. The children play folk games with pleasure, which often gives an idea of ​​the elements of the life of the Russian people, which are not currently used, but are an integral part of Russian culture.

Participation in theatrical performances and performance at folklore festivals, where they win prizes, bring the greatest impression and knowledge to children. This forms both the children and the parents the confidence that there is someone to preserve folk traditions and they are being preserved.

Of great importance is the fact that work is being done with the use of folk costumes, which parents often help to create, and even master classes are held. I would like to note the close cooperation between educators and parents, and after all, the parents of pupils from 25 to 32 years old are also young people themselves. But it is from them that a positive assessment of work with children's folklore comes. They note a positive result in that the guys even in everyday situations get used to a certain type of behavior. Each family, in their opinion, should preserve traditions. And it is precisely the school of childhood that gives the beginning - folklore, folk tradition of caring for children, caring for their future, caring for the spiritual wealth of their country. Of course, in order for the work to be effective and creative, financial costs are also needed, which is especially burdensome for rural children's institutions. One initiative in this case is not enough. But, despite the limited material resources, children's creativity is encouraged and the children, getting acquainted with children's folklore, become carriers of folk traditions and, possibly, will pass them on to their children. An interesting example: Evgenia Alexandrovna asked the parents of her group to make millstones. This task put the parents in a difficult position: “What is it?” and the guys explained to them that they used to grind flour with millstones. A very interesting method of introducing children to the plots of folklore is used in the kindergarten "Brook". Illustrations from folk tales adorn the walls of the bedroom, playroom, and children's reception room. The guys remember the content of a fairy tale or nursery rhyme faster and call what moment they depicted in the picture. Olga Leonidovna Sidorova works in a group of different ages, which, of course, complicates the work, but classes with children are carried out taking into account the age of the children. A grandmother came to the younger group, so familiar, as at home she speaks affectionately, shows what she brought in a box and reads nursery rhymes - this is how the children get involved in the game.

Lyudmila Vladimirovna and Lyudmila Yuryevna from the Elansky kindergarten enthrall the children with the game, use books on children's folklore. They created a corner of folk instruments. And so I would like to say a huge thank you to everyone who understood the need to raise children in folk traditions and preserve national identity.

Interviews were held with teachers.

Sample questions:

– Why do you use folklore in your work? How long have you been doing this?

- Do children like to learn nursery rhymes, chants, counting rhymes?

– Do you consider it necessary to continue using children's folklore in your work with children?

– Do your parents approve of turning to folklore and do they help you?

The result of conversations with teachers was the conclusion that children's folklore is a time-tested means of educating children from an early age. Working with children gives the desired result. The guys communicate with each other with great desire, do not take offense at comments, try to quickly and correctly fulfill the conditions of the game so as not to let their friend down. There are many positive moments in the preparation for performances. Children not only learn to be responsible for the assigned work, but also worry about their comrades, they receive not only knowledge of how holidays were held in the old days, but also what everyday life was like, what behavior was considered right and what not to do.

Children's folklore is a school, a school of childhood, relaxed and benevolent, sincere and accessible to every child, uncomplicated for every parent, grandparents. There is no need for special talent here - there would only be a desire, and the result is obvious. A child, having felt warmth and care from early childhood, will give it away later, becoming an adult, in caring for his children and parents. And this thread of connection between generations should not be interrupted. Creative people work in our children's institutions, who understand very well the need to engage in folk art with children so that they grow up as worthy citizens of their country, caring parents and grateful children. In the Pobedinsky school, in working with children, a lot of time is also devoted to introducing children to folk art. Pupils have repeatedly participated in regional competitions of folk art, won prizes. The guys are engaged in a circle at the rural house of culture. The head of the circle, Tatyana Aleksandrovna Gribkova, writes with the children scripts for holidays and folk festivals on the day of Ivan Kupala, the celebration of the Maslenitsa. Girls and boys "plunge" into the tradition of celebrating these holidays among the people. They prepare costumes, learn dances, songs, the necessary attributes for the celebration, and this gives a great experience of familiarizing with folk traditions. In addition, the guys, being carried away by the preparation, involve their parents in the events. Feedback from fellow villagers about such holidays is only positive. Holidays held at school often contain elements of folk celebrations: round dances, outdoor games, guessing riddles. The guys like simple but exciting folk games "Kite", "Pots". Application (Games). Pupils of junior and middle level participate in folklore festivals, perform in front of fellow villagers. And I especially like these performances. Therefore, we can say with confidence that folk traditions continue to live and we must carefully protect them, and children's folklore is the main means of preserving Russian identity.

Conclusion.

The works of children's folklore are present in the life of every child and must be used without fail. Children of preschool and school age in the villages of Ust - Tarka region: Pobeda, Ust - Tarka, Elanka - with the traditions of Russian folk art begin their acquaintance from early childhood, from the lullaby of their mother.

In children's institutions, folklore heritage is widely used in working with children. As the study showed, there is a system in the work: from the simple and understandable (rhymes, pestle, lullaby) to the more complex (songs, games, fun) and further to creativity (participation in competitions, holidays).

Perhaps not everywhere the same conditions have been created for this area of ​​work, but creative people work with children, and they try to use folklore as often as possible in classes with children. This study not only introduced us closer to oral folk art, children's folklore, but also showed that the traditions of the Russian people continue to live and are applied in work with children in our village, in our region. It showed that children's folklore has become the most important tool for the aesthetic education of children. And of course, children's creativity, based on folklore, very closely links generations. Makes clear the communication between the child and mother, grandchildren and grandmothers. There is no place here for such an expression: “ancestors”, but there is a natural connection in the family, where everyone knows: old age is worthy of respect, and childhood is worthy of protection.

A child, attached to the culture of communication in the family, transfers it to communication with other children, educators, teachers, neighbors, and this is the goal of folk wisdom.

List of sources used:

Literature:

1. "Nursery rhymes" For reading to adults and children: M., 2011.

2. "Russian traditional ritual folklore of Siberia and the Far East" (songs and incantations), Novosibirsk "Nauka" 1997; volume 13, page 139.

3. "Russian folk poetic creativity" reader compiled by Yu.G. Kruglov, L. "Enlightenment", 1987; pp. 489-502.

4. "Russian folk tales", Moscow, ed. Assistance, 1997, pp. 21-35.

5. Collection "From children's books", Moscow, "Enlightenment", 1995, part 1, pp. 4-15.

6. Folklore of the peoples of Russia compiled by V.I. Kalugin, A.V. Kopalin "Budt Bustard", M., 2002, volume 1, pp. 28-34, 51-61.

7. Chukovsky K.I. From two to five: M., "Children's Literature", 1981, pp. 267-342.

Materials of family archives:

1. Video "Lullaby" from the family archive Durnova T.V.,

2. Photographs from the family archive of Khabibullina O.N.,

3. Photographs by Legacheva E.A.

2. Video materials:

interview No. 1 (“Spikelet”), interview No. 2 (“Sunshine”), interview No. 3 (Elanka), interview No. 4 (“Brook”); Gatherings “Like at our gates” (“Sunshine”); "Lullaby"; the game "At the bear in the forest" (Elanka), the game "View, view the cabbage" (Victory), "Nursery rhymes" (Victory).

3. Texts.

Applications:

The game "I twist, I twist cabbage."

They played “cabbage” like this: the children stood in a chain, holding hands. The “stump”, the last one in the chain, stood still, the whole round dance curled around it. After everyone huddled together in a “koshashok”, they raised their hands, and the “kocheryka” pulled the whole chain behind him. Sing:

I twist, I twist, I twist cabbage, yes

I twist, I twist, I twist cabbage.

The koshok curled like a villa,

The koshok curled like a villa.

When they were developing, they sang: "a koshka developed like a villa."

Game "Kite".

The guys grab each other by the belt and become single file. The kite is squatting. Children walk around the kite and sing:

I walk around the kite, I knit a necklace.

Three strands of beads

I lowered the collar, around the neck is short.

Kite, Kite, what are you doing?

I dig a hole.

Why a hole?

I'm looking for a needle.

Pochto needle

Sew the bag.

How about a bag?

Lay down the stones.

What about pebbles?

Throw at your kids.

The kite must catch only one chicken, standing at the end of the entire string of chickens. The game requires attention, endurance, ingenuity and dexterity, the ability to navigate in space, the manifestation of a sense of collectivism.

The game "Pots"

The players stand in a circle in twos: one merchant, a pot squatting in front of him. Driver-buyer. Merchants praise their goods. The buyer chooses a pot, then collusion

What's the pot for?

For money

Isn't he cracked?

Try.

The buyer lightly strikes the pot with his finger and says:

Strong, let's talk.

The owner and the buyer stretch out their hands to each other singing:

Plane trees, plane trees, gather potters, along the bush, along the crust, along the swan a lot! OUT!

They run in different directions, who will be the first to reach the purchased pot.

nursery rhymes

Oh, you are grandfather Stepan,
Inside out your caftan.
The kids loved you
They were following you.
Hat on you with a feather
Silver mittens.
You are already walking, mincing,
You call your mittens.
You call your mittens
You talk to the kids.
Gather around here
Eat kissel.

geese geese,
Ha ha ha ha.
Do you want to eat?
Yes Yes Yes.
So fly!
No no no.
Gray wolf under the mountain
He won't let us go home.
Well, fly as you wish.
Just take care of your wings.

Water, water,
Wash my face
To make your eyes sparkle
To make cheeks blush
To laugh mouth,
To bite a tooth.

Here we woke up
stretched out
Turned from side to side!
Snacks!
Snacks!

Where are the toys
Rattles?
You, toy, rattle
Raise our baby!
On a featherbed, on a sheet,
Not on the edge, on the middle,
They put the baby
They turned the strong man!

Lullabies

Hush, Little Baby, Do not Say a Word,
Don't lie on the edge.
A gray wolf will come
He will grab the barrel
And drag him into the woods
Under the willow bush.
To us, top, do not go,
Don't wake our Sasha.

Bye-bye, bye-bye!
Doggy, don't bark...
Bye bye, bye bye
Doggy don't bark
Belopapa, don't whine
Don't wake my Tanya.

Consider the various genres of folk children's folklore. Voices and silences for children. Cuts for children. Game sentences. Peace sentences. Tongue twisters for children.

Voices and silences

Another and, perhaps, the largest group is the play genres of children's folklore. Some of them passed from adult to children's folklore, some were born directly in the process of playing, but today all of them are inseparable from the game and are primarily of applied importance.

Silent and golosyankas are probably associated with the Christmas games of the same name. At Christmas time, both adults and children played golosyanka: someone went out to the middle of the hut and began to sing the song. The participants in the game had to pull this sound for as long as possible, and the children tried to make them laugh and make them stop “voicing”. The first to shut up was considered the loser.

Hey gay! Ve-se-le-e-e-e-e-e-ee! ..

It's already the month of May!

Ay-ay! May-May!

Help sow in the field, help!

Ay-ay! May-May!

You pull, pull

Po-mo-gi-i-i-i-i-i-i!..

And who can't make it

For bagels!

Pull-pull to hell

For those who don't make it,

The bellies will be empty-s-s-s-s-s-s!.

Rain, lei, lei, lei,

Don't feel sorry for the water

Water our land

There will be a glorious harvest!

Silencers for children

When playing silent, it was necessary, on the contrary, to be silent for as long as possible, and the first one who laughed or let it out would perform a prearranged task: roll in the snow, pour water over it ...

Later, silences and golosyankas passed into children's folklore, with their help, adults taught children to scream and be silent. Golosyanki (from "voice" - to speak, yell, sing loudly, shout in a singsong voice) were even considered a useful physical exercise - they developed the lungs.

We are running,

We run, we run

Run and be silent!

Who starts talking

That's why you drive!

The first one will say and is silent,

The second one says it all!

Who breaks the command

Eat a whole bowl of frogs!

Three ducks flew

Shut up for three minutes!

One two Three!

Do not say anything.

Mouths are closed on a hook,

Who will let out a click!

Talker, speak

Don't tear off the tongue!

Press the tongue

Shut your mouth!

Who can't shut up

We won't play with that!

One two three four five,

We will play with you

Not three nights, but three days.

Bewitch, sorcerer, me!

Sorcerer - to conjure,

And you - be silent!

You are a fisherman and I am a fisherman.

Caught a fish! Catch, cancer!

Quiet! Silence! Silent!

Whoever says a word is a worm!

Cuts

One of the rarest and most ancient genres of children's folklore is cut. The cuts have a very interesting origin: they are associated with the process of learning to count. Initially, people counted with their fingers, then they began to use small objects (peas, sticks), and then a new way of counting appeared - making notches, marks. This is where the cuts arose. These are peculiar word games that accompanied the process of making notches, or “cuts”, hence the name. The essence of the game is as follows: one of the children challenges others - not counting, carve a certain number of such notches. The one who knows the solution begins to recite the verse, accompanying the reading with the rhythmic blows of the knife on the tree. In this case, rhythmic units become units of count, their number is strictly fixed in each such verse. Therefore, if the child does not accidentally make a mistake, he will get the required number of marks. Thus, cuts are an example of a kind of transitional form of counting, subject-verbal. They were not just child's play, but a way of teaching verbal counting. But now this form has been supplanted by other pedagogical methods, and cuts are becoming less common, and perhaps soon they will completely go out of use.

15 "cuts"

secu - secu - sech-ku

ON AN EMPTY PLACE,

honor - re-honor -

5-11-tsAt - Yes!

16 "cuts"

secu - secu - seEch-ku

ON MY BOARD:

five - five - five - five -

You can take sixteen!

17 "cuts"

secu - secu - sech-ku

And I keep a word

honor - re-honor - here we are!

ALL SEVENTEEN FULL!

18 "cuts"

sekU - sekU - pYat-kU,

VISEKU - ten-kU,

COME TO ME

Eight-ten take it!

19 "cuts"

secu - secu - sech-ku

I clean-yu board-ku,

I will become - cut - bye-zhu

look!

NINE-TEEN POL-JU!

20 "cuts"

secu - secu - de-syat -

in the sky - a round month,

I will start to whip-cut-cut,

count - twenty-tsAt - Yes!

20 "cuts"

secu - secu - so-rok,

VYSE-KU is not fast-ro,

it is necessary - to work hard,

de-syat - de-syat -

BU-DET TWENT!

22 "cuts"

P-leno - zase-ku,

ABOUT THE KRU-GU PROBE-GU,

smO-gu - smO-gu.

IN EVERYONE'S SIGHT:

ALL TWENTY TWO

25 "cuts"

secu - secu - heel-ku,

round-Yu tenth-kU,

KRUGLU PYATEROCCH-KU

zase-ku on dosoch-ke,

five - five - five - five,

That's all twenty-five!

30 "cuts"

secu - secu - sech-ki,

zase-ku plank-ki,

dosoch-ki count-yu,

fence ZasekA-Yu,

count-Y - count-Y

GATES - to the edge,

Knock-knock - thirteen know!

Game sentences

If counting rhymes children's games opened, then game sentences accompanied other stages or events of the game.

For example, if someone cheated in the game, the following rhymes can be addressed to him.

Fish-fish-sausage,

Baked potato!

You will say lies -

You won't get a spoon!

Left is not right

You are not always right!

You can't be right

Always tell the truth!

Listen, listen, don't lie

Only speak the truth!

We do not take liars into the game,

You will know that this is the law!

And these are sentences that prohibit changing the decision:

The cart is not a sleigh

We will not replay!

The first word is agreement

And the second - only dispute!

The first word to keep is a test,

Change to the second - punishment!

The first word is gold

And silver - the second!

first word

Always be worthy

It, remember

It's worth it!

First decision -

Our agreement!

If you want to change

Don't take it with you to play!

Sentences - myrilki

Like counting rhymes, sentences organize the process of the game, regulate all its moments. In case of a quarrel, sentences-mirilki were invented.

Once you quarreled, make peace

Don't fight with your friend anymore!

Give me your hand, give me five

We will be together again!

Reconcile, reconcile!

Don't swear, don't fight!

Little finger, little finger,

Let's go to the store

We buy sweets

So that the children do not swear!

To put up five by five,

You need to clench your hands tightly.

Five by five! Five by five!

We are friends with you again!

Kids, calm down!

No more teasing

Don't fight, don't fight

Don't call friends!

And then in the white world

All children will live together!

Reconcile, reconcile!

Smile, don't fight!

Give me your hand! Reconcile, reconcile!

Don't fight with your friend anymore!

Friendship - yes! Dragon - no!

This is our covenant with you!

Hey, make up, make up, make up!

Come on, finger, show yourself!

Help to reconcile

Friend, finger, hug!

You little fingers are friends,

And you can't fight!

We fought and called names

Scolded and scolded

But we decided to reconcile

It's not hard for us to apologize!

Give me your hand, make peace, make peace

Friend, forgive and smile!

Finger, finger - help out,

Promise to reconcile us!

Little finger to little finger, hug!

Boys and girls, make peace!

Tongue Twisters

There are actually verbal games in children's folklore, for example, tongue twisters - verbal exercises for the rapid pronunciation of phonetically complex phrases. The tongue twister combines words with the same root or similar in sound, which makes it difficult to pronounce and makes it an indispensable exercise for the development of speech. As a rule, a tongue twister beats one or several sounds, it is entirely built on alliteration, so its unique sound appearance is born. V. I. Dal gives the following definition of a tongue twister: it is “a kind of colloquial speech, with the repetition and rearrangement of the same letters or syllables, confused or difficult to pronounce, for example: “In one, Klim, stab a wedge. The bull has blunt lips, the bull is stupid. There is a priest on a mop, a cap on a priest, a mop under a priest, a priest under a cap, "etc."