Name teasers: 70 kids' teasers on the names of girls and boys alphabetically. Coming up with a teaser - a rhyme. How teasers differ from other genres of folklore.

Name teasers

Teasers have long been found in the communication of children. Where did they come from, what types of teasers are there, what are teasers - jackets and teasers - mockery, what are "anti-teasers" or answers - rhymes you will learn

It is very important to teach your child to perceive teasers with humor. After all, a teaser does not always reflect life and makes fun of any negative character traits (cowardice, untidiness, pride, and others). Very often a teaser is just a game of rhymes, it is a fictional world, it is a fiction that will never be in life.

Usually, children do not take offense at a teaser, but also respond with a teaser - a more capacious and vivid or anti-tease - rhyme.

So that the child does not take offense at the teasers, try to compose inoffensive teasers with rhymes with him. What can the word "Zina" be rhymed with? (Zina - painting, Zina - rubber, Zina - basket, Zina - from the store) Katya? (Katya is in a dress, Katyusha is a trinket, Katyusha is a talker, Katya is a zainka). And the word Anton, Antoshka? (Antoshka - potatoes, Antoshka - leg), Sasha (our, porridge, Pasha, Natasha), Andrey (sparrow, pigeons), Alenka (cardboard). You can come up with new words, teasers, and for what reason they can be said - to do word-creation: for example, school-age children came up with such language teasers: Agafya - Scandinafia (if the girl Agafya boasts to everyone that she was in Scandinavia on vacation), or Fedya - a bicycle (a teaser for a child who does not allow anyone to approach his bike - invented by preschoolers).

Discuss the teaser your child has heard - what quality is she laughing at? What is a teaser is real, and what is not. Teach the answers to teasers (see previous article), discuss what happened when the answer was applied by your child.

With children over 6 years old, you can talk about the teaser genre and how the teaser differs from the usual poem. Read two texts about Seryozha and ask the child to define what it is - a poem or a teaser?

The whole house is shaken.
Serezha beats with a hammer.
Blushing with anger
Hammers in nails.
The nails are bent
The nails are crumpled
The nails wriggle
Over gray they
They just scoff.
They are not driven into the wall.
It's good that the hands are intact!
No, it's a completely different matter -
Drive nails into the ground!
Knock - and the hat is not to be seen.
Do not bend
Do not break
They are removed back. (V. Berestov. Seryozha and nails)

Seryozha looked around,
I pouted a bubble
And the bubble is in the woods,
Rides, jumps on the fungus (folk teaser)

What is the difference between a teaser and a poem? ( question for children 6 years and older). What can we say about Seryozha from the poem? What quality of a boy is being ridiculed in a teaser? What does "Bubbled up"(angry, puffed out his cheeks, looks sullenly). When does it happen that a person inflates like a bubble? And with you it happened - when? Emphasize that the teaser describes something that never happens in your life.(Seryozha became a bubble and galloped into the forest), and in the poem - what actually happens. At the same time, Seryozha's similar emotions are described.(he got angry and pouted, blushed with anger). The teaser is not offensive, she is funny, cheerful.

Teasers for girls' names (alphabetically)

Agashka - dirty shirt

Alka - sponge

Alya - krala

Anna is balana,
The head is pewter.
Crochet nose,
Mouth with a drawer

Annushka is a heart!
Cook fish soup with pepper
I'll come with a loaf of bread.

Valya, Valya, simplicity,
Sour cabbage!
Ate a mouse without a tail
And she said: "Tasty!"

Valya is a fashionista! The gardener!

As in Vali's nose, mice were eating sausage.

Varvara turned her nose up.

The curious Varvara's nose was torn off at the bazaar.

Dunya - chubby
I went out into the street
I sat down on a bump,
Komarika ate it.

Zina is a basket. Zina is a gaping woman. Zinka is an elastic band.

Irina.
Rolled mandarin
Named Irina.
I didn’t teach lessons.
And she got a deuce.

Katya - Katya - Katerina,
A picture is drawn.
Not with ink, not with a pen-
From the pelvis with a broom!

Lenka - foam

Luda - she crushed her leg.

Masha - curdled milk

Masha - the bride ate a pot of dough.

Milka is a piggy bank. Darling is a piggy bank.

Nadya is a pillow. Nadenka is sweet gruel.

Nastena is sweet tooth.

Olena is salty.

Our Pasha is thin
Like a spring straw.
And she shoves herself into little shoes -
As the bubble will inflate.

Sonya is sleepy. Sonya is a fashion.

Tatiana - sour cream.

Emma is full of cream.

Boys name teasers (alphabetically)

Abrosim - we ask for porridge.

Alyosha -belyosha
It costs three pennies:
The neck is a penny
Altyn is the head
Two money per leg -
That's his whole price.

Alyoshka-flatbread,
Head with a basket,
A hat with a peg,
Legs with a log.

Alekha-Alexey,
the sinuses of mice are full.

Andrey is a sparrow,
Don't chase pigeons.
Doves are afraid
They don't sit on the roof.
Chase the checkbox
From under the sticks.

Antoshka is a potato,
Straw leg,
Himself with a fingernail,
Head from the elbow.

Antoshka, Antoshka,
Potatoes are not baked!

Afonya is a sleepyhead.

Boris - barberry
Hanged on a string.
How the rope will break
So Boris will turn over.

Borka - Boris
Hanging on a thread!
The thread is cracking
And Borechka squeaks!

Boriska is a radish (sausage).

Boris is a bob! A thick forehead!

Roly-vstanka toddler,
Put on a big cap.
Eat loaf of bread
You will grow up to the sky!
Vanya is riding a bull,
Balalaika in hand
Balalaichka fell
She broke the bull's leg.

Vanya, Vanya, simplicity!
I bought a horse without a tail!
Sat backwards
And he went to the garden.

Vasya - Vasyuk,
Get on the bitches.
Vaska - Vasyonok,
Lean pig
Stuck in trAvu (accent on the first syllable) -
Shouts: “Meow.
I won't get out! "
Benjamin:
Venya is a broom,
I ate a dumpling.
Volodya - Volodya -
The hat is full of crackers.
Hot crackers
Three kopecks change.

Vova, Vovka-karapuz
I ate a watermelon at my grandmother's.
Grandma swears
Vova is unlocking!
- This, grandmother, not me!
This is your kitty.

Yegorushka - Yegor
Climbed over the fence
Caught on a nail,
Hanging - wailing:
Remove from the fence
Poor Egor.

Yegorushka - starling

Eremey.
Eremey rode-rode,
On a cow on my own.
He held tightly to the tail,
I sang a song out loud,
But I didn’t enjoy it for long -
Suddenly he broke off from the cow.

Leonid. Lonchik - donut,
I ate a bar
Pig and bull
I drank a roll of milk
The crate also ate the loaves,
Three baskets of pies.

Michael. The bear is a treadmill. Teddy bear - a bump on the head.

Nikita - red tape bought a horse without a hoof.

Nikolay-Basurai,
Get on the barn
There they are tearing up a mosquito,
They'll give you a paw.

Kolya - Kolya - Nikolay. Sit under the bench and fill it.

Kolya, Kolya, Nikolay,
Stay at home, do not walk.
Peel the potatoes
Eat a little.

Kolya - Kolya - with great will.

Seryozha looked around,
I pouted a bubble
And the bubble is in the woods,
Jumps, jumps on the fungus.

Stepan is a torn caftan. Stepan is a glass. Styopka is a mess.

Petka is a bitter radish.

Prokop-dill,
Copper forehead
Himself with an arshin,
Head with a jug.

Romka - chamomile, new shirt!

Sasha is a cockroach.

Senechka is a seed.

Semyon is smart, but not strong.

Taras is sour kvass.

Timofey is a cat.

Fedot is thin,
Head with a pood,
Crochet nose,
Little crest with a piece.

Fedul - lips pouted.

Fedya is a copper tripe,
Ate a cow and a bull
And fifteen piglets, -
Only the tails are hanging.
Fedorok with vershok,
Head with a pot,
A hat with a peg,
Legs with a log.

Phil is a simpleton.

Thomas the stubborn went straight,
Fell into the pit.
I didn't trust anyone - I checked it on myself!

Yashka is a red shirt.

If you have not found the name you need in this list - feel free to come up with a teaser yourself! Look for rhymes and compose!

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Teasers- small rhymes created by children to ridicule a person's flaws they face, or to protect against an offender. Having studied children's teasers, adults will be able to more fully understand their baby: which vices are more unpleasant for him. It is important to understand that the teaser is not a bullying, although the line between the two is very thin. She teaches children the ability to notice the bad, the unfair, the ugly, she teaches them to hear words and select them according to their consonance and meaning, she develops sensitivity to ridiculous situations in life and in verbal depiction. Literary teasers are objective, their author turns to this genre not to shame a particular child, but to portray the shortcomings inherent to one degree or another in all children.

Teasers (according to the "Explanatory Dictionary of the Russian Language" by V. I. Dal, this is the word of the Tambov province) are expressions that deliberately made someone angry. "Grandma-hedgehog, bone leg! .." Teasers are folded into almost all Russian names: "Fedya - raving, ate a bear ..." etc. But more often teasers make fun of: greedy guys, braggarts, imagined, cowards.
Goes to crybirds and sneakers "Jabed-snag, pickled cucumber!" Not only adults teach children wisdom. But children themselves constantly educate each other, correct shortcomings. Well, if the teasing is not in the business, you can always answer with an excuse: "Whoever calls his name is called that!" or "Your word was eaten by a cow, but she left mine!"

As a rule, teasers pass from generation to generation, from older children in the yard, from older brothers and sisters, from peers. Parents, as a rule, do not remember such children's pranks, and sometimes even consider them stupid, offensive and obscene, although they themselves, as children, teased each other "Roar-cow", "Deceived the fool, by four fists!" or "You call me names, but you transfer to yourself!"
The answer to the teaser can be different, for example, "Himself the same ten times." It can be even simpler - "the fool himself." "Whoever calls himself names like that, he himself is called that." Or "I am a mirror" and show him my palm so that he would see his own reflection, as it were. Or a person says to someone "Fool, idiot", and in response to him - "Very nice, glad to meet you," that is, his own resentment to him and returns. This is, in principle, such a defense skill and, indeed, very good. This is one of the recommendations for children who are undergoing obstruction - to give an answer in a funny, humorous, such an easy way, without taking it as a personal attack. This kind of children's folklore, as a teaser, and some writers rank as a low genre and treat it negatively. Whether it's a gentle lullaby or some cute counting rhyme! However, even the most superficial linguistic analysis reveals the relationship of the teaser with the venerable literary epigram. The purpose of all these texts is to hurt the opponent by making him look funny. The teaser is always chanted (this is how the rhyme is savoring, from which children get special pleasure). Always loud. First, so that everyone can hear. Secondly, it is better to enter into a verbal duel from a safe distance, otherwise you can get change.

Russian nationalboy name teasers.

Yurka is a swindler
Stole a sauerkraut
Grandma saw
I threw it with a dough.

Only - molka,
Fried beans
Number nine,
Only pot-bellied.

Tolik - rabbit
Sat on the table
And he went to war.
Fought - fought, scared
And shouts: "I want to go home!"

Fedya - copper
Ate a bear
Fell into a hole
Shouted: "Ma-ma!"

Earring - potato,
Behind the ladle
There is a basket in front,
And there is a cat in the basket.

Petya - redya
I ate a bear.
Early in the morning
I ate a ram.
For a snack -
I ate a frog.
I wanted a wolf
Yes, not clever.
I wanted a goose
Yes, I'm afraid!

Lyoshka is a cake,
Head with a basket,
A hat with a peg,
Legs with a log.

Lyonka - Leonid
Runs along the string.
How the rope will break
Leonidas will roll over.

Lonchik - donut
I ate a bar
Pig and bull
Ushat drank some milk
The crate also ate the loaves,
Three baskets of pies.
And did not eat,
He sat down at the table again.

Old Russiansgirl name teasers.

Dunka is a crumpet
I went out into the street
I sat down on a bump,
Komarika ate it.

Zinka - basket
Broke a piggy bank
I got five rubles,
I went to buy a horse.
Zinka was simplicity,
I took a horse without a tail.
Sat back to front
And rushed out of the gate.
Caught on a tree stump
Stood all day
Caught on a bump
Stood all night.

Ulyanka rides a bull
Berezinochka in hand.
Berezinochka fell
She broke the bull's leg.

Here are folk nursery rhymes for the smallest in processing by L.V. Dyakonov.Let's go - let's go.

Let's go - let's go
With nuts, with nuts
To the baby - on the turnip,
To grandma - I'll taste it,
As a pair,
By the way,
On a hunchback.

They sent the young woman.

They sent the young woman
In cold water
And the water is far away
And it's not easy to wear.
Katya will gain strength
She will go for water herself,
Will walk on water
Buckets are painted to wear.

Legs. Legs, legs
Run down the path
Pick up a little
Green peas.
Pick up a little
Fold in a basket,
Bring home
Treat your mom.

I'll get up and braid my braid.
I'll get up, braid my braid,
I will get up, I will braid,
I weave, weave, weave
I am sentencing:
- You grow, grow, scythe,
Until the silk belt,
Up to silk belt -
The whole city is beautiful.

Rain. Rain, rain, more!
I'll give you some thick!
Loaf of bread!
Water all day!

More about the rain.
Ay, rain, rain, rain, -
For oats, for rye,
For rye, barley,
Water all day!

About the sun. The sun is a bucket
Look out the window!
Sunny, dress up!
Red, show yourself!

Rainbow arc. Rainbow arc!
don't let it rain!
Give me the sun
Bell!

Snail Snail, snail.
Pull your horns out
I will give you
Piece of cake!

Traditional folklore has passed from generation to generation. For example, vesnianki, chants, sentences.

"Toga-toga-toga-wheel road!" - the guys shouted in autumn to the birds flying away. And with the arrival of spring they called back to their native lands: "Tiga-si, tiga-si - ti-li-tI-ti, to Russia!"
And this is how they greeted the cranes flying to their homelands:

Iki, Iki, Iki, Iki-
Screams! Screams! Screams!
Ikli, ikli, ikli-
These are the cranes! These are the cranes!

Kurli, Kurli, Kurli,
Cranes are flying, flying!
Kurly-si, kurly-si,
Across Russia! Across Russia!

You are armor, you are armor,
From high! From high!
That's-you, that's-you,
The cranes are going to the houses!
(Into houses - into houses; "Into houses" - an obsolete form of the prepositional case)

And when the children released the birds from captivity, then they were given the following parting words:

Ti-ti-kir,
Phty-phty.
Ti-ti-kir,
Phty-phty.
Zuyok, ti-li-tI,
VitI's nest.

And here are the funny bird teasers.

Raven, raven,
The tail is broken off
The tail is broken off
The nose is shackled.

Dap, forty,
Dap, forty,
Blind from the eye
Curve from the side.

Blackbird, blackbird,
Simple, simple,
Forged nose,
Iron tail.

Finch finch,
The sock is crooked
The sock is crooked
The side is plucked.

Ritual poetry.

The ancient customs of marriage are already reported in. the earliest Russian chronicle, in the collection "The Tale of Bygone Years" (beginning of the XII century). In the Ipatiev Chronicle under 1178, the funeral rite of Prince Mstislav Rostislavovich is described and the funeral lament for him is given. Some ritual songs are published in songbooks of the first third of the 19th century. Serious work on collecting ritual poetry begins in the mid-30s of the 19th century. However, a special study of it begins only in the 30s of the 19th century, when the Slavophiles I.M. Snegirev and I.P. Sakharov turned to the publication of ritual songs. These songs, in their opinion, remarkably expressed the national traits of the Russian people. Carrying out the ideas of the "official nationality", they argued that such national features of the Russian people as religiosity and humility were vividly expressed in ritual songs. Let us dwell on the calendar ritual poetry. Many folk holidays were celebrated on strictly defined days of the year. On pi holidays, various rituals were performed, which in science are called "calendar" 1. Calendar rituals were accompanied by special songs called carols, Maslenitsa songs, vesnianki, Semytsia songs, etc. Carols. The circle of annual (calendar) rituals was opened with New Year's (Christmastide) rituals. Christmastide was celebrated during the winter solstice triode (from December 24 to January 6). At the heart of (the heel rituals was the magic of the first day of the year: the rituals performed at this time, according to their performers, had to act in a certain direction throughout this new year. One of the most remarkable phenomena of the Christmas holidays was caroling - walking around the courtyards singing New Year's songs, which were called carols. congratulations. For these song congratulations the carolers no (were awarded with gifts - festive treats (pies, meat, etc.). Caroling was especially widespread in Ukraine and southern Russia. A wonderful description of it is given in the story of N. V. Gogol "Night before Christmas. ”The term“ Christmas carols ”was used by all Avian peoples, including the Russians. Carols are songs of New Year's content, in which, as a rule, a pair of rhymes. After each pair of rhymed verses, there is a cry-chorus, which mentions the word "kolyada", "oats" or "grapes". For these cries, the songs are called. In terms of volume, carols are very diverse (from four to twenty, and sometimes more verses). Often, carols begin directly with a chorus-exclamation. In its most expanded forms, the chorus-exclamation includes a description of the caroling rite itself, a message that the carolers walked for a long time, looking for a house, the owner of which they wished to congratulate with a song. Then comes the glorification itself, which is the main meaning of the carol. First of all, the carolers give an ideal description of the house of the person being magnified. It turns out that in front of them is not an ordinary peasant hut, but a real tower. Around this tower "there is an iron tyn", "on each stamen there is a cupola," and on each cupola there is "a golden crown." The people living in it match ”this tower. A typical formula for characterizing the dignified family is as follows: the owner of the house is the "bright month", the hostess is the "red sun", and small children are "often asterisks." In the same idealized plan, a description of the peasant's dress is given in the carol. It is said about the peasant that he “put on a caftan for a hundred rubles,” “girded a sash in a“ thousand. ”All this, of course, is pure fiction, a fantasy that no one believed in reality. But this fantasy had a deeply vital, definite social meaning. In fantastic pictures of folk wealth, not the real was drawn, but the desired.Fantastic pictures of wealth we find in other genres of folklore (for example, in fairy tales). However, they have a special meaning in carols, which to some extent perform the functions of a magic spell. carols - specific wishes to the person to whom the carols are performed. A distinctive feature of these wishes is sobriety and realism. V. Ya. Propp writes on this occasion: directly and directly promised the peasant what is most important and necessary for him: not gold, silver and furs, but crops, livestock, health, satiety, contentment. ” to, for example, in one Christmas carol, a wish is expressed that ... The owner in the house would have piglets, if the children were kept, there would be kids, if there were calves, if there were chickens, if there were lambs, if there were ducklings! If only foals were conducted, the carol ends, as a rule, with the demand for reward for caroling, for good wishes. Carollers demand pies, homemade sausage ("guts"), pork legs, etc. For those who don’t give gifts, the carolers express bad wishes, sometimes jokingly threaten with reprisals. It can be assumed that during the period of the fullest prosperity, carols had a composition in which its individual motives went in the sequence we have considered: a description of the search for a house for caroling, the dignity of the owner and his family, the expression of wishes for him for the new year and the demand for a gift. However, in the carols that have come down to us, this composition is not always maintained. Most often, there are carols in which one or two of the above motives are lost. There are carols that consist of only one motive - the requirement for a gift. Subtle songs. All kinds of fortune-telling are also associated with the New Year's holiday, including girls' fortune-telling with the singing of so-called sub-dish songs. " - some thing (most often a ring, earrings or other jewelry), and the dish was covered with a handkerchief. Then the girls sat down at the table and began to sing songs. While singing sub-dish songs, one of the girls (most often not taking part in fortune-telling) with closed eyes She took out the objects put in the dish one at a time. The one whose object was received, and the content of the song performed at that time. Subsal songs were very small in volume - from four to ten verses. The basis of their content was some one image that has magically -symbolic meaning,> that image in the sub-saber song received a household design. vi and marriage, such a subversive song was created: The chicken was digging Lado, fret, On the blockade, To whom we sing, Dug a ringlet We pay honor to that. Silver. The girl, whose little thing was taken out of the dish during the performance of this song, according to the legend, “should be married in the coming year. with him (field, sheaves, ricks, grain, loaf, pancakes, pies, etc.), predicted a good harvest, wealth, general well-being. And vice versa, a song in which a portrait of a tattered old woman was drawn meant poverty; a song which the croaking crow was mentioned, signified death, etc. Fortune-telling with the performance of songs under the song had the character not of a spell (which was observed in some carols), but of predictions. it will come true, Tom will come true, Tom will come true, Will not pass. Glory! Subsan songs are in most cases created on the basis of folk beliefs. They often use images and motives of other genres of folklore. So, for example, on the basis of the riddle "a girl is sitting in a dungeon, and a scythe on the street", a subversive song arose: A girl is sitting in a cage, Who will get out, Spit on a whip. The truth will come true, Lada, fret! Good for that! This song foreshadowed happiness. On the sublime songs, they guessed about a happy or unhappy fate. Especially a lot of subtle songs were composed on the topic of marriage. And this is quite natural, since it was mostly girls who guessed. In girls' songs, the symbolism of wedding songs is widely used: a ring, a ring, a crown, a pillow, etc. are the symbols of marriage in them. On the one hand, these are ideal images of folk poetry: "a good fellow", "a red girl", etc., and on the other, on the contrary, as if deliberately mundane images of the real world: a cow, a cat, a beetle, a barrel, a collar, a bridle, an arc and so on. This was reflected in the poetic style of the sub-dish songs. So, the symbol of pairing, marriage in them is also the ideally exalted "two doves", "the falcon and the little dear", "the sable and the marten", and the reduced-real "two balls", "the rooster and the hen", "the little baby and the little baby" ... The epithets, on the one hand, reflect the peasant's apt observation of the surrounding objects and lifestyles ("bear-puffing", "zainka-povilyaenka", "chicken-rag", "gray cabbage", "green head"), and with the other reflects his dreams of an ideal life, fabulous wealth. So, for example, the heroine of subtle songs, a simple peasant girl, lives in a "high mansion", she has a "golden brocade", a "golden ring", the groom - the "lump" is called the "boyar son", and the bride - "white girl" - " hawthorn ".

Shrovetide songs.

The next big annual holiday after Christmas was Shrovetide. Researchers believe that in ancient times Shrovetide was a spring holiday. With the introduction of Christianity and the ban on holding various entertainments in the spring seven-week pre-Easter fast, its celebration was pushed back to earlier dates. Maslenitsa began to be celebrated at the very end of winter, from the end of January to the beginning of March. Shrovetide is the funniest, most riotous folk holiday that lasted a whole week (from Monday to Sunday). Moreover, this celebration included both community and family motives and was performed according to a strictly scheduled order, which was reflected in the names of the days of Shrovetide week. Monday was called "meeting" - this is the beginning of the holiday; Tuesday - "flirting"; from that day, various kinds of healing, dressing up, skating began, Wednesday was a "gourmand": she opened V and opinions in all houses with pancakes and other dishes; Thursday was called "revelry", "break", "broad Thursday", the day was the middle of fun and fuss: Friday was the evening ": the sons-in-law treated the mother-in-law; Saturday - "sister-in-law's gatherings": young daughters-in-law received relatives on a visit. Sunday-1st is "farewell", "tselovnik", "farewell day", the end of Shrovetide fun. Pancakes were a must-have item for Shrovetide treats. Shrovetide food had a ceremonial and ritual character: it was assumed that the more abundant the treat on this holiday, the better the whole year would be. Shrovetide games were mostly entertaining in nature: horseback riding, sledding from the mountains, snowball fights, wrestling, fistfights, etc. In all these games, the daring character of the Russian person was manifested with special force. Shrovetide songs have come down to us a little. All of them according to their theme and purpose are divided into two groups: one of them is associated with the rite of meeting, the other with the rite of seeing off ("funeral") of Maslenitsa. The ceremony of meeting Maslenitsa was as follows. They made a stuffed animal out of straw, made it look like a woman with the help of old clothes, put this stuffed animal on a pole and, singing, drove it on a sleigh through the village. Then the scarecrow-Maslenitsa was placed on a snowy mountain, where games and sledding took place. The songs accompanying the Shrovetide rite are distinguished by a major, cheerful tone. First of all, this is a magnificent song in honor of Maslenitsa, which received its anthropomorphic expression in the image of a straw effigy: Our guest is Maslenitsa, Avdotyushka Izot'evna, Dunya white, Dunya ruddy, Long, triarchine braid, Scarlet ribbon, two-half, Before us is an ideal portrait of a Russian beauty, in the creation of which features of realism are also noticeable ("bast shoes are frequent, big-headed, white footcloths, unbleached"). In the songs dedicated to the Maslenitsa meeting, the motive of an abundant meal is developed. They say that Maslenitsa is greeted with joy "with pancakes, with loafs, with dumplings", "with cheese, butter, rolls and a baked egg." The emphasis on wealth and festive abundance in Shrovetide songs had a magical meaning. On the last day of the holiday, Maslenitsa was seen off. The straw effigy of Maslenitsa was taken out of the village, and there it was either burned or torn to pieces and buried in the snow. This rite is reflected in the Shrovetide songs. The ceremony of sending off Maslenitsa and the accompanying songs are distinguished by a completely different, minor key. If the songs with which Maslenitsa was greeted resembled wedding glorious songs, then the songs accompanying the ceremony of seeing off Maslenitsa were similar to wedding "cinnamon" songs. In them Shrovetide is reproached for the fact that she deceived people: she ruined them, ate everything and put them on a great post. In ancient times, the rituals of meeting and seeing off Maslenitsa had an agrarian and magical meaning: seeing off ("funeral") of Maslenitsa meant farewell to winter and a spell, greeting the coming spring. This is especially clearly expressed in the Shrovetide song, cited by A. N. Ostrovsky in the play-fairy tale "The Snow Maiden". Thinking about spring, the "berendei" peasants sang: Shrovetide Wettail! Go away from the yard, your time is gone! However, gradually the agrarian character of the Maslenitsa rituals disappeared, and they began to be perceived simply as festive entertainment. During these entertainments, Songs that had no ritual significance began to be used. Some of them resembled dancing ditties in their rhythm and emotions. Vesnyanka. After Shrovetide, there was a seven-week so-called "great fast". At this time, of course, there were no celebrations, all kinds of youth amusements ("gatherings", "parties", etc.) stopped. All peasants' thoughts were focused on the new economic year, preparation for spring field work. It was very important for the peasants that warm spring days came as early as possible, and the weather conditions would develop so that there was a good harvest, with which all the well-being of the peasants was connected. However, they did not wait passively for spring, but tried to actively influence its earliest arrival. Associated with this, for example, was the custom of baking larks from dough and playing with them. Children seated these larks on fences, fences, ran with them along the street, calling for the arrival of birds - symbols and harbingers of spring. Special short songs - spring songs, which were not sung, but were shouted out by the girls gathered in small groups, served the same purposes of calling for spring. In the freckles, the girls turned to the larks (and sometimes to the waders or bees so that they would fly in as quickly as possible and bring with them a “red spring”, “warm summer”). With the arrival of a good spring, a "good", "grain-growing", "thick rye", "spikey" year was expected. The specificity of the content of the spring flowers - the call (spell) of spring and its glorification - also determined the peculiarities of their artistic form. The vesniankas peculiarly combine the signs of song glories and conspiracy spells. With the magnificence of the vesnyanka, their increased emotionality brings them closer. They, like glories, often begin with conversions. These are references to "spring, larks, bees, etc. Their style is distinguished by a light, joyful tonality, which is manifested in the corresponding epithets (" spring red "," warm summer "," silk grass "," granular rye "," wheat golden ") and the wide use of words with diminutive suffixes (" vesnyanochka "," letechko "," lark "," birdie "," swallow "," katatochka "). in conspiracies, the images of a lock and keys are widely used. The most common motive for springworms is an appeal to the spring (or larks) with a request to bring the keys to close the "cold winter" and open the "warm summer". for example, one of them begins with such an imperative wish-demand: Come to us, spring, With joy With great mercy! Yegoryevsk songs. Spring Yegoriev day was celebrated on April 23. On this day, as a rule, "the flock was driven out for the first time v field. This important event of the peasants was hedged with rituals. On the eve of Yegoryev's day, young people, as with Christmas carols, walked around the yards and sang songs in which the wishes of the owner and his cattle were expressed. One of these songs, for example, conjured: Telonki, calve! Pigs, piggy! Chickens, hurry! These songs, like carols, usually ended with a demand for a gift .. If the owners gave the performers of Yegoryev's carols well, then the best wishes were expressed to them, "for example:" two hundred cows, one hundred and fifty bulls, seventy heifers. " then they resentfully said: "No stake, no yard, no chicken feather!", "God give you cockroaches and bedbugs!" On Yegoriev's day, several men went out with the herd in the field, who “called out” Yegoriy, that is, sang songs of the same content as Yegoriev's “carols.” In one of these songs, they turned to Yegorike with a request: You save our cattle In the field and beyond the field, In the forest and beyond the forest, Under the bright month, Vyunishnye songs. Vyunishnimi were songs that were used to congratulate young spouses who got married last year on Saturday or Sunday of the first post-Easter week. The main content of these songs is to wish the young people a happy family life. The image of the nest - the symbol of family happiness - is central to these songs. So, in one of them, at first there is an appeal to the vyunitsa and vyunitsy, they mention "the pleasing of 45 trees", and then it says: As in the top of those trees the Nightingale made a nest, In the middle of those trees which the woman was in the position of a slave. So, in one of these songs, the young girl is given the following advice: "wash your shirts for the father-in-law," "wash the little shirts for the mother-in-law," give the mother-in-law "handkerchiefs in your hands", the sister-in-law "braid the Russes", and "read your husband's svoo - stronger to the chest press ". As in caroling, with singing vyunishnye songs, the youth walked around the courtyards, for their performance they demanded gifts. And depending on how the performers of these songs were presented, good or, conversely, bad wishes were expressed to the young couple.

Semytsk ritual songs.

The seventh week after Easter was called Semites. Thursday of this week was called Semik, and its last day (Sunday) was the feast of Trinity. On the week of Semytsia, special rituals were performed, which were accompanied by songs. The main rite of the Semitic week was the rite of "curling a wreath". Having put on festive outfits, the girls went to the forest. There they took a liking to themselves young succulent birches and performed a ritual with them, which had a certain magical meaning. They bent the branches of the birch trees to the ground and weaved them with the grass, believing that the plant power of the birch would be transferred to the ground. Then the girls “curled wreaths”. At the ends of individual birch branches, without breaking them off, they twisted ("curled") wreaths, singing a song in which there were the words: "Curl you, birch, curl you, curly." The rite of curling a birch in ancient times had an undoubted agrarian and magical significance. When performing this rite, the girls sang: We will curl wreaths On dewy oats, For good years, On black buckwheat, On thick wheat, On white cabbage. On spiky barley, Then a few days later this birch was cut down, carried around the village, then drowned in river or thrown "into the rye, which also had an agrarian-magical meaning: the vegetative power of the green birch was supposed to be transferred to the earth, water. However, the spring rite with a birch subsequently began to have not only agrarian significance. , made a kind of green arch, under which the girls walked in pairs and "mumbled", that is! these wreaths from birches and went with them to the river, where they wondered about the grooms. They threw the wreaths into the water: where the wreath floats, there will be the groom. If the wreath floats well, evenly, then married life will be calm oh happy. And if the wreath floats badly, clinging to the shore, turns over, etc., then life will be hard. These songs, accompanying divination on wreaths, are distinguished by sincerity, lyricism, and sometimes genuine drama. Such, for example, is a song that tells how a girl and her friends went “to the Danube River” and threw her wreath at it. The prediction turned out to be very sad, and the girl sings quietly and sadly: All the wreaths are on top of the water, But mine did not send. And mine was drowned. All friends go home, All friends send gifts, But mine did not come. The theme of marriage and family relations is gradually taking an increasing place in the songs of Semytsia, it is also the main theme in the round dance songs performed at this time; in particular, in those of them, which were performed by girls while driving a round dance around a "curled" birch tree. Summer ritual songs. The Semytsk Songs were the last ritual spring songs. Then came summer, a period of intense field work. There were few ceremonies at that time. And few songs have survived to accompany these rituals. Among them are songs related to the funeral rite of Kostroma and the day of Ivan Kupala. The funeral rite of Kostroma was not strictly timed and was performed in the period after Trinity and before Peter's day. "In ancient times, this rite had an agrarian meaning. The funeral rite of Kostroma was performed in the following way: a stuffed animal made of straw was placed in a wooden trough or a log and a funeral scene was played out. began to be interpreted as the image of a once merry and gullible woman who had died.Thus, one song accompanying the “funeral” of Kostroma begins with the words: Kostroma, Kostroma, You were gullible! And further in the song there is a humorous description of mourning for Kostroma, which during her life had “butter pancakes, dyed ki, lime cups. " The holiday of Ivan Kupala was celebrated on the day of the summer solstice, on the night of June 23-24. On this night, herbs (especially ferns) were collected, which supposedly had healing powers. At the same time, they lit fires and jumped over them, poured water over each other, and swam. All this, according to popular belief, had a cleansing meaning. The Kupala rites are reflected in the corresponding songs. So, one of them began with the words: A siskin walked along the street. He collected the girls for the Baths: "Well, the girls for the Baths, Well, you girls, for the Baths!" In a number of songs, Kupala appears before us in the anthropomorphic image of a woman-mother. So, in one song, when asked where her daughter is, Kupala replies that her daughter "flies in the garden, pricks her hands", "tears flowers, wreaths wreaths", "to her friend's head". Autumn ritual songs. In the fall, due to being busy in the field and other work, the rituals were even fewer than in the summer. The few rituals that were performed at this time were all associated with the care of a good harvest. An example is the beard curling ritual. This was the name of the custom of tying several ears of grain specially left on the arable land, uncompressed, in one bundle. It was assumed that in this way the land is fixed, and its "productive strength" is left for the next year. This ritual of "curling the beard" is described in the songs. The first and last sheaves of the harvest were often solemnly brought into the village. The power of these sheaves was considered magically healing. Their grains were poured into fodder for sick cattle, and they began sowing grain. These ceremonies are also reflected in the corresponding songs. Songs are also known in which joy was expressed in connection with the end of field work, threshing and harvesting grain in the bins. For example: Oh, and thank God, On the threshing floor in stacks. What they reaped, In the cage with bins, What they reaped And from the oven with pies. And they paid the cops, By now the calendar rituals are almost completely gone. However, in the past, both the calendar rites and the songs accompanying them occupied an important place in the spiritual life of the people. They expressed the thoughts of the people about a good harvest, livestock production, general well-being and well-being. Their main topic is agrarian and economic. But along with this main theme, family and everyday motives appear in them: dreams of a good family, healthy offspring, etc. are expressed. The basis of ritual songs is the spontaneously materialistic worldview of the people. The leading images of these songs are taken from the reality surrounding the peasant. However, it should be noted that many images of calendar songs bear traces of ancient animistic representations (anthropomorphic images of Kolyada, Maslenitsa, Kostroma, etc.). The main purpose of calendar songs is utilitarian and practical. These songs, together with the rituals that they accompanied, were supposed, in the opinion of their performers, to influence the increase of the harvest, the health of people and animals, etc. the atmosphere of festivity, artistically expressed all kinds of thoughts and feelings. Many calendar songs are characterized by high poetry. Along with the calendar rituals, which were performed by the entire community, practically on the scale of the entire village or village, rituals were also carried out in the peasant environment, mainly related to the life of individual families. Therefore, these ceremonies are called family and household. All significant events in the life of peasant families (the birth of a person, his marriage, death, etc.) were accompanied by special rituals that were greatly developed. The special attention of ceremonies and ritual poetry to the family is explained by the fact that it was extremely important in the life of the people. A characteristic feature of the patriarchal order, when family and household rituals were most developed, is that in it the family was the main production, economic and spiritual unit. Large patriarchal families led a rather closed life. Members of these families in their daily practical life, as a rule, "did not leave the narrow circle of domestic, family relationships ..."

The social value of proverbs.

Russian folk proverbs are of great social value. It consists of cognitive, ideological, educational and aesthetic significance, rich life content, deep ideological sense, great artistic merit and national identity. The cognitive value of proverbs is determined primarily by the variety of information that they convey. On the whole, a broad picture of Russian life is created, reflected realistically. Proverbs give an idea of ​​the views and attitudes of the people, about their understanding of the phenomena of reality. The cognitive meaning of proverbs also lies in the fact that they typify phenomena, that is, they single out the most indicative among them and note the most essential features in them. So, speaking about the position of the peasant in tsarist Russia, they will talk about his poverty, and about his landlessness, and about his lack of livestock, and about his debt to pay for land rent. You get a fairly complete and accurate picture. Typification is also manifested in the creation of images of a peasant, artisan, worker, priest, master, judge. It is emphasized by the definition of a person's social status (man, master, priest), which makes it possible to characterize him accordingly, indicating the main signs: poverty or wealth, power or lack of rights. The cognitive value of proverbs is reflected in the generalization of the rich life experience of the masses. Observations on nature are exceptionally rich and true: "Mother earth - gives treasure", "Siberia is a gold mine", "A willow will not give birth to pears", "Where there is a flower, there is honey." In addition, proverbs often have, as noted, an expansive meaning, which is emphasized by the generalizing words "everyone", "everywhere", "always." Proverbs are a philosophical genre. They contain many important general conclusions about the laws of the development of nature and society: "Time does not sleep", "The old grows old, the young grows", "You cannot catch up yesterday, but you won’t get away from tomorrow," "Where there was no beginning, there will be no end." One proverb is an important thought or conclusion, but thousands of proverbs living among the people are a many-sided and deeply meaningful picture of life. Proverbs clearly confirm the thesis about art as a form of knowledge of life. The ideological and educational role of proverbs is determined by the fact that they have a completely clear purposefulness. The cognitive meaning of proverbs is also a manifestation of the educational function. Many folklorists rightly believe that the original purpose of proverbs was the transfer of experience to younger generations. Many proverbs still living among the people have this kind of function: "You can see the master at work", "Not all at once, leave it in reserve." M. Gorky emphasized that in the proverbs "the labor experience of countless generations is compressed" (Gorky M. On Literature. M., 1953, p. 337). The ideological and educational value of proverbs also lies in the fact that they serve as a clear expression of certain judgments about reality, in which something is affirmed or denied, the properties of objects and phenomena are revealed. Thus, the listeners are instilled with characteristic views on these objects and phenomena. Proverbs, created most often in the peasant environment, answer the questions that excite this circle of people: "A peasant is going to die, but a land plot", "He who does not believe will accept, there is no life in the world." In this last example, we are talking about economic signs, about what and when the peasant needs to do. Among such signs there are also unreasonable ones, but there are 74 ones born as a result of a great life experience of people. The signs themselves cannot be directly attributed to proverbs, although in structure they are close to them. The signs, however, have a purely utilitarian purpose: "On this beet to Thekla." These are agricultural advice, expressed in a peculiar way. One of the important goals of proverbs is the desire to instill in people an assessment of the phenomena of reality. Proverbs do not objectively generalize observations of life and do not dispassionately talk about life, social relations, work and human behavior, but give them clear positive or negative characteristics, affirming or criticizing, praising or ridiculing them. A clear assessment serves as the ideological weapon of proverbs in the struggle for popular ideals, makes them a means of social struggle. Evaluations are expressed in the form of an antithesis, often socially sharpened: "A man is twisting the rope, and the priest throws the loops", "A goat and a wolf were fighting - horns and hooves remained", "A man with a bipod, and seven with a spoon." Proverbs serve to educate positive ideals - courage, honesty, a sense of friendship, set an example of highly moral behavior, operate with the concepts of good and evil, honor and dishonor. Teachings and advice are often presented in the form of ridicule of the negative qualities of people. There are a lot of proverbs with pronounced morality: "Take care of honor from a young age", "Sow a lie will not grow rye", "Human labor feeds, but laziness spoils", "To love someone else's husband - to ruin yourself", "Take it together, it will not be overweight", "Without studying, you can't weave a bast shoe." In Russian proverbs, the theme of patriotism has received a wide and vivid development: "From your native land - die - do not leave", "On the wrong side, and spring is not red", "Russian is patient until the beginning." However, the proverbs also expressed conservative views. They were born under the influence of the church and official morality, as well as as a result of the backwardness of the masses. Hence this kind of proverb: "It was not put by us, not by us, and will change", "You cannot break a butt with a whip", "God endured and told us", "Every cricket know your six." VG Belinsky and M. Gorky insistently emphasized that, despite the difficult living conditions in old Russia, the masses of the people did not lose heart, that they, and, consequently, their work, were characterized by optimism. Numerous proverbs confirm this conclusion: "The devil is not so terrible as he is painted!" and we hold on to each other. " NA Dobrolyubov saw in proverbs a reflection of "the people's mind, character, beliefs, views." The aesthetic value of proverbs is manifested in many ways. A proverb is a phenomenon of high skill. It embodies the aesthetic principles that are highly valued in art: simplicity, brevity, meaningfulness, expressiveness. The people ironically speak of verbosity: "There are many words, but no stock." Russian classic writers, who were fluent in the art of words, highly appreciated proverbs, admired the ability to convey a thought in a short and vivid form. The proverb served as a model for them to embody the most valuable principles of verbal creativity. Gogol noted the irony, ridicule, clarity, accuracy, thanks to which the proverb becomes effective (see: Gogol N.V. Poli. Sobr. Soch. In 8 volumes. M., 1952, v. 8, p. 369). M. Gorky advised writers to study proverbs, to master "thinking in aphorisms." He said: "In the simplicity of words - the greatest wisdom, proverbs and songs are always short, and the mind and feelings are invested in them for whole books" (Gorky M. Materials and Research. L., 1934, vol. 1, p. 114) ... V.I. Lenin noted the great ideological and artistic value of proverbs. Artistic form of proverbs. A proverb, like any genre, is a special meaningful form, structure, the main difference of which is the internal artistic unity. In the proverb, this is expressed with surprising clarity. There is a lot of meaning in one sentence. In addition, the proverb reveals its purposefulness. All elements are subordinated to the task - to reveal the thought more precisely, to express it more clearly, due to which the concentration of thought is achieved. The internal unity of a proverb is also determined by its monotony, concentration on one fact or phenomenon. For a proverb, two main forms of construction are characteristic: one-part and two-part. Both forms have integrity: the first is a sentence fastened according to the rules of communication and coordination: “Every pine tree makes noise for its own forest”, “An empty mill grinds uselessly”, and the second is distinguished by the inextricable connection of two parts of a complex Sentence: “White light is not a suburb, but empty speech is not a proverb "," Clever cries, stupid jumps. " Finally, the peculiar difference of the proverb is that it completely coincides in form with the stylistic means used in it - comparison and antithesis. In a song, a fairy tale, an epic, these means are only small elements of the structure, and in the proverb they become the basis of her composition: "Behind the old head, like behind a stone wall," fun hour ". "Wings for a bird, mind for a man." In the examples given, it is important to point out that the use of comparison, antithesis, metonymy in them, on the one hand, serves to convey a certain thought, and on the other hand, preserves the integrity of the proverb. The proverb is an extremely polished form, characterized by a strict, often symmetrical composition. This is facilitated by both the rhythm and the use of rhyme, which is often incorrectly considered as the "decoration" of the proverb. Here the fact is that rhythm and rhyme serve to highlight the main idea and preserve the unity of the proverb. The rhythm in the proverb is born not only by the desire to give it euphony, ease of speech and memorability. The main goal is to consolidate and emphasize thoughts. In proverbs, as is usually noted, choreic (two-foot), anapestic and dactylic (three-foot) sizes dominate. If one type of foot passes through the proverb, then this gives it unity: "The master's work is afraid": "The tale is fold, the song is true": "The sea does not grieve for the fish" However, according to our observations, the so-called rhythmic interruptions are much more important in proverbs. that is, violation of the strict order of stress. This gives a special effect, makes you pay attention to what falls out of the rhythmic scheme. VI Chicherov called this phenomenon a combination of different feet - two-syllable and three-syllable: "And honor is not in honor, if there is nothing to eat", "And lunch is not at lunchtime, when the hostess is not there." We must not forget that it is not the syllabo-tonic, but the tonic system of versification that prevails in Russian folk art, therefore it is not always possible to measure rhythm by the correct alternation of stressed and unstressed syllables. It should be borne in mind that the rhythm of proverbs is often regulated by the parallelism of parts, for example, "Live and learn": / - // - /; “What is the song, such is the dance”: “White and white, black and black”. Other signs of the rhythmic organization of proverbs can also be noted. S. G. Lazutin writes: “In the literature it was rightly noted that in most two-term and polynomial proverbs, the stress is on the words at the end of their parts. After these words, there are more or less significant pauses, which further emphasize the division of the proverb into parts and thus enhance their rhythm. However, it should be noted that one can also meet with a different arrangement of stress in proverbs, with a different rhythmic pattern. Often, for example, in two-term proverbs, the stress falls on the first word of the first part and the last word in the Juicy part. And in this case, we have a kind of "rhythmic ring". For example: “The berry is red, but it tastes bitter” (D., p. 697); “The trouble for the rich peasant is not littered” (D., p. 147). This arrangement of stress gives the proverb a clear rhythmic completeness and intonationally emphasizes it from the speech stream ”(Russian folklore, 1971, issue 12, pp. 140-141). The rhythm of many proverbs is supported by rhyme, which has a specific purpose: it usually highlights the main words that carry meaning. Quite often the rhythmic interruption is combined with the rhyme: "For an hour - with kvass, sometimes with water": / - / - / - / -. The rhymes in proverbs are of the same type as in other genres of folklore: words of the same grammatical categories rhyme - a verb with a verb, a noun with a noun, etc. "I grew up big, but I couldn't bear my mind." Sometimes proverbs deviate from this rule: "Stand bravely for a just cause!" There are also more complex uses of rhymes: "Good for the sheep, and against the good fellow, the sheep himself." Thus, the aesthetic side of proverbs is quite rich. It consists in the vivid expressiveness, variety and purposefulness of artistic means, in the fact that the works of this genre contribute to the development of a sense of language, form, rhythm. The aesthetic value of proverbs was the reason for their widespread use in fiction; A. N. Ostrovsky often gives them "in the titles of his works:" Poverty is not a vice "," Not all carnival for the cat

Sayings closely adhere to proverbs. Like proverbs, sayings belong to small genres. folklore ... In most cases, they are even shorter than proverbs ... Like proverbs, sayings are not specially performed (not sung or told), but are used in lively colloquial speech, by the way, by the way. At the same time, sayings differ significantly from proverbs both in the nature of their content, in their form, and in the functions performed in speech. As already noted, the proverbs express generalizations and conclusions on the most diverse life phenomena ("Truth is brighter than the sun", "What is sown, this is what blows," "Learning is light, and ignorance is darkness"). Popular wisdom is expressed in proverbs. Their conclusions and conclusions have the force of unwritten law. The proverbs themselves speak about this: "There is no trial, no punishment for proverbs," "You cannot get away from a proverb." In form, proverbs are always completely complete sentences. Moreover, proverbial sentences, as a rule, are two-part or, in other words, two-part ("Not an ax amuses, but a carpenter", "A bird is red with a feather, but a man is learning"). The noted qualities and signs of proverbs are not inherent in sayings. Sayings have their own specific genre characteristics. The difference between sayings and proverbs can be clearly seen from the following examples. "Miracles in the sieve" is a proverb, and "Miracles: there are many holes in the sieve, but nowhere to get out" is a proverb. "The wolf in sheep's clothing" is a proverb, and "To know the wolf in sheep's clothing" is a proverb. A. A. Potebnya, citing the saying "Pulls the strap", then writes: "If you say:" I pull the strap until they dig a hole, "that is, that the whole life goes on like that of a barge haule, in hard work to the grave, - it will be a figurative proverb. " If the role of a proverb is expressed in the fact that it makes certain conclusions and generalizations in speech, then the purpose sayings in decorating this speech, making it figurative. By its structure, a slip of the tongue is simpler than a proverb. In this regard, MA Rybnikova piala: “A proverb is a verbal organism; a proverb is a "blank" of expressive speech, .. A proverb gives an image; in a roundabout way in a figurative form characterizes the phenomenon ... ". If the content of proverbs is general and universal, then sayings are used only in connection with certain persons and their actions, have a very specific content. According to AA Potebnya's definition, a proverb is an “allegorical image” of “a single person, quality, action,” and more complex when this picture takes the form of a plot and the riddle sometimes resembles a short story. An example of such a complex riddle is a riddle that tells about the transportation of sheaves to the barn: The violin creaks, The warders will come, The queen is coming, They will spread my bones, Asks to spend the night: The body will be thrown into the shaft, “I will not last a century, And the soul will be dragged into paradise”. One night to spend the night, The main content of the riddles is the everyday life of the peasant. Moreover, it should be emphasized that this life is reflected in riddles in the most concrete forms of manifestation, in the smallest details. This is the specificity of the puzzle genre. MA Rybnikova wrote about the originality of their content: “Specific, not generic — that is what the riddle marks. Carrots, beets, onions, not vegetables; a sheep, a ram, a cow, a horse, a cat, not a pet. " There were a large number of riddles among the people about completely specific types of animals: about a bull or a bullock, about a cow, horse, pig, goat, sheep, dog, cat, cat, about a mouse, rat, wolf, bear, hare, hedgehog, squirrel, etc. No less riddles were created about various plants: about birch, pine, aspen, linden, willow, walnut and hazel, bird cherry, mountain ash, cherry, apple and apple, wild rose, etc., etc. Riddles were popular. about peasant buildings, individual parts of the hut and household utensils. For example, riddles about a hut, logs and moss of huts, about a mother, a field and a ceiling, chambers, a roof, windows, doors and jambs, a threshold, a pot, cast iron, a milk pan, a tub, a jug, a trough, a cup, a ladle, a samovar, a teapot , a frying pan, a sieve, a sieve, etc. Riddles arise not only about individual concrete objects, but also about their particular qualities, signs, states and positions. Here the concretization deepens even more. So, there were riddles not in general about a horse, but about a piebald horse ("And not embroidered, and not covered, but a wedge is inserted"), not in general about a dog, but about a dog tied to a chain ("A piece hangs on a bristle, on a bundle beef "), not in general about a pig, but about a pig in hell: Rummaging, digging, Trying to Arzhav the city, Looking for such good horomin. In riddles, the great observation of a working man, his ability to express his observations deeply poetically and figuratively, manifested itself. Having multifacetedly reflecting peasant life, traditional riddles are of great educational value. The researcher of this genre V.V. Mitrofanova believes that by studying riddles we can get an idea of ​​how and with what tools the peasant works, what animals and birds surrounded him in the household and what wild animals he most often encountered, what grew in the field and the garden, how the village looked, how the hut was built, how it was furnished, what household utensils, objects of labor and everyday life surrounded the peasant, what and how was made in a natural peasant economy (boots were sewn, dishes were made, flax was spun), etc. In riddles, as in other genres of folklore, the worldview of the people is reflected: its views are moral and ethical, philosophical, socio-historical, etc. of all classes and estates. Developing this idea, the riddle claims that all people are equally powerless in the face of death. On the mountain mountain Neither the tsar nor the queen, There is a pillar of Vorotynskaya, Nor the red maiden. No one will escape it: (Grave sign) The idea of ​​complete equality of people was reflected in the very principle of creating riddles. So, in riddles, the queen is a metaphor for a candle ("The queen was killed on the mountain-mountain. No cry, no roar, one ash") and a frying pan ("The queen is sitting on golden eggs"). Pop serves as a metaphor for objects such as flail, bucket, pig. The lady is a metaphorical analogue of such everyday phenomena as a pomelo, a poker, a radish, a chicken, a cat, etc., etc. With an undoubtedly ironic accent, riddles about a chicken are created (“A lady has seventy-seven dresses - will go out on the street - the back is naked "), A broomstick (" Under the floor, under the middle, there is a gentleman with a beard ") and about flails (" The priests were beating, the priests were beating - they went into the cage, hung up "). The riddles about the priest have a clearly satirical orientation ("Who is fighting from the living and from the dead?" , about the church with its ministers and parishioners of different classes ("There is a pot in the field, into it the intestines of the older, smaller and middle ones are poured"). However, riddles not only painted woeful pictures of peasant life in conditions of serfdom, but also embodied the people's dream of a happy, comfortable life. They create ideal metaphorical pictures of peasant well-being and wealth: the peasant is well dressed (“There is a peasant in a gold caftan. Belted, not a belt. If you don’t lift it, it won’t stand up ”), his bread ricks resemble mountains of gold (“ Golden mountains grow in summertime ”), and his“ hut is spacious and well furnished (“The hut is full of guests, and everyone has a bed”). the royal wedding (“Under the floor of the polish, under the city, two kings reigned, two kings reigned, two candles burned, two nightingales played”), etc. Artistic features. As already mentioned, each riddle is inherently a cunning question. this questioningness of her can have an external form of expression and not have it. Riddles can be formulated directly as a question. For example: "What is more beautiful than white light?" (sun); "What do we have more often than forests?" (stars). However, most often in riddles the question is not outwardly expressed and they have a metaphorical and descriptive character. For example: "A plate floats on the blue sea" (month); "There were three brothers: one loves winter, the other is summer, and the third is all Equally "(sleigh, cart, man). Riddles, like all genres of folklore, are created on the basis of a living spoken language. The language of riddles, like the language of all folklore genres, is distinguished by accuracy, brilliance and expressiveness. Such common folk epithets are widely used in them, as "damp earth", "open field", "dark forest", "green garden", "good fellow", "red maiden", "own mother", etc., as well as some general folklore comparisons, tautological expressions and etc. However, the poetic style of riddles has its own pronounced genre specificity. Riddles are characterized by a high degree of metaphor, which permeates absolutely all of its stylistic means. Let us give examples of metaphorical (mysterious) epithets: "blue field" (sky), "water bridge "(Ice)," golden stump ”(thimble),“ maple legs ”(by the sleigh),“ leather dough ”(about boots). Sometimes the whole riddle is built on metaphorical epithets. For example: "Steel horse, linen tail" (needle and thread); "Meat oven, iron attacks" (horseshoes); "Angelic flowers, and devil's marigolds" (rose hips). There are also metaphorical comparisons in riddles, both in positive and negative forms. For example: “I am sitting on a tower, small as a mouse, red as blood, tasty as honey” (cherry); "With a beard, not a man, with horns, not a bull, with down, not a bird, bast fights, but does not weave bast shoes" (goat); "He walks in the field, but not a horse, flies in the wild, but not a bird" (wind, blizzard). Most often, in riddles there are actually metaphors, when the comparison of two objects or phenomena does not have an external grammatical form of expression. For example: “Between two stars I am in the middle one” (nose); “Under the floor, under the floor there is a lady with a stake” (mouse). In the overwhelming majority of cases, in riddles, objects of the inanimate world are metaphorically compared with living beings, and vice versa, living beings - with objects and phenomena of everyday life and nature. This is primarily due to the desire of the riddle to make it as difficult as possible to guess. The widespread use of metaphors in riddles is explained by aesthetic considerations. This is especially evident in cases when in riddles objects of the inanimate world are compared with living beings and we are dealing with a method of personification. Based on the principle of impersonation, the riddles compare the buckets with two brothers who went to the river to swim, a sink with a pike, whose body is in the water, and the tail is outside, a canoe with a duck that dived and lost its tail, etc. and spiritualizing the inanimate world, bring it even closer to man, give the riddle a special poetry, create vivid images and pictures in it. For example, a poetic riddle of this kind is created about teeth: "The gorenka is full of geese and swans." In riddles, oats are presented as a slender, beautiful girl ("As in a field on a mound there is a girl with earrings"). In turn, the girl's earrings are compared with dancing swans: “Behind the dark forests, two swans danced,” etc. Comparing the objects made up with objects that perform the functions of a metaphor, the riddle always enlarges the plan of the image, enhances this or that sign of some real subject, makes it more prominent and significant. This is because the real object in the riddle is always compared with such metaphorical objects in which the marked feature is expressed much sharper and more distinctly. So, for example, to draw attention to the fact that a firefly glows at night (and this light is weak, it may not be noticed!), The riddle compares it (albeit in a negative form) with the sun: "Not the sun, not fire, but shines." ... For the same purposes, a beetle's digging in the ground is compared by a riddle with the energetic work of a warrior digging a trench, and the small horns of a beetle with the horns of a bull: "A warrior is walking, digging earth, he has no hooves on his feet, there are horns, but not a bull." Wanting to emphasize the severity of peasant work, the riddle compares the shoulders of a person with mountains, and buckets with seas: “Two seas, two griefs on steep mountains hang on an arc” (buckets on a yoke). In a certain sense, the metaphor exaggerates the depicted real world, emphasizes, as it were, enlarges certain signs and qualities of various objects of this world. Through metaphorization, the real world in riddles appears more significant and sublime. The rooster in its decoration is compared in a riddle with a prince, or at least with a gallant rider: Not a princely breed, but walks with a crown, Not a military rider, but with a belt on his leg, He does not stand as a watchman, but wakes everyone up early. In their rhythmic organization, riddles resemble proverbs. They are created in the form of rhythmic prose. As in proverbs, the pair rhyme is very widely used in the riddle. As a result, many riddles are in the form of a verse. For example: A chair on the mountains About seven heads. In it, the core Says good. (Len) The specificity of the "cunning genre" is that sometimes the rhyme of the riddle suggests the rhyme of the answer. For example: "What is the matchmaker in the hut?" (grip); "What's in Samson's hut?" (barrier). The soundtrack of the riddle also sometimes hints at the object being guessed. For example: “The whole century is making noise, buzzing, and not a man” (wind); “They babble, grumbling, sticking out of the hole” (water runs out of the barrel); "Po-ta-tu, po-ta-you, ta-ta-tu, ta-ca-you, and the testicles are carried on horseback" (threshing with flails). The connection of riddles with other genres. The closest connection between riddles and proverbs and sayings, to which they are very close in their artistic form. Many riddles containing features of generalization are used by the people as proverbs: “They sow bread on pockmarked fields, and put manure on smooth ones” (about arable land); "The pine will feed, the linden clothes" (pulp, bast); "Less in the yard - easier for the head" (about good); “Carries bread, but feed on chaff” (about a horse); “Down the water bears, up bondage leads” (about the barge haulers); “Your firewood is being cut, but chips are flying to us” (letter), etc. Cases of interconnection (interpenetration) are noted in riddles and folk songs. First, many song images and expressions (for example, "white swan", "viburnum bridge", "raki-tov bush", "red maiden", etc.) are used in riddles. Here, for example, are riddles entirely built on the images of folk lyric songs: "A red maiden is sitting in a dungeon, and a scythe is in the street" (carrots); "Chubby, white-faced, looks in all the mirrors" (the moon). Second, riddles are often included in songs. So, in one song the young man makes riddles, and the girl guesses them: - And what about us, the girl, is more beautiful than the world? Red sun is more beautiful than light. And what have we, girl, higher than the forest? Above the forest, the month is bright. And what do we have, a girl, more often than a grove? More often groves - often stars. Many riddles are created on the basis of fairy-tale images. For example: "Baba Yaga, short leg" (plow); "The horse runs - the earth trembles" (thunder); "A bird is flying an eagle, carrying fire in its teeth, in the middle of it is human death" (lightning). And here is a riddle using a well-known fairy-tale saying: “On the sea, on an okyan, there is an oak with deaths, damn sprouts, leaves of suitodanovski” (burr). In turn, riddles are often included in fairy tales. Let's give just one example. There is a riddle about a boiled goose, in which the objects to be guessed and guessed begin with the same letters (pech-Pechorsk, pot-Gorshensk, etc.): "Kurlyn Kurlynovich is sitting in Pechora, in Gorshensky, under Kryshensky." This riddle is variably used in a humorous everyday tale about a greedy old woman ("The Soldier's Riddle"). The soldiers passing by asked the old woman to feed them. But the greedy old woman replied that she had no food. Then the offended soldiers, secretly from the old woman, took a boiled rooster out of the pot, hid it in their bag, and put a linden block in the pot. After a while, the soldiers got ready to leave. “And the old woman took it into her head to boast that she had let them go, and gave them a riddle:“ Why, little kids, you are experienced people, you have seen everything; tell me: now in Penskoye, Cherepensky, near Skovorodny, is Kurukhan Kurukhanovich well? " - "No, grandma!" - "And who, kids, instead of him?" - "Yes Lipan Litzanovich." - "And where is Kurukhan Kurukhanovich?" - “Yes, the city has been transferred to Sumin, grandmother” (see: A. N. Afanasyev, Folk Russian fairy tales. M., 1957, vol. 3, p. 181).

Fairy tales.

Fairy tales occupy a fairly large place in the Russian fairy tale repertoire. They were very popular among the people. The well-known collections of Russian fairy tales contain a significant number of works of this genre variety. True, sometimes works of a different genre or even a different genre are referred to as fairy tales, for example, fairy tales-legends, which are distinguished by Yu. M. Sokolov and V. I. Chicherov. Sometimes fairy tales do not include works clearly related to this variety. This expansion or narrowing of the scope of the genre variety occurs because usually only the so-called "attitude to fiction" is taken as a classification criterion. But fairy tales cannot be defined as a genre or as genre varieties based on one attribute alone. The main features of fairy tales consist in a much more developed plot action than in fairy tales about animals and social and everyday tales; in the adventurous nature of the plots, which is expressed in the hero overcoming a number of obstacles in achieving the goal; in the unusualness of events, miraculous incidents that occur due to the fact that certain characters are able to cause miraculous phenomena that can also arise as a result of the use of special (miraculous) objects; in special techniques and methods of composition, storytelling and style. Science fiction in fairy tales. The plots of fairy tales are built on a chain of miracles. However, the question of fantasy in fairy tales requires consideration of its character, origin, life foundations and attitude to myth. The nature of fantasy in fairy tales was not always precisely defined. Usually they talk about "fiction". But there is fiction in all genres of folklore. Fiction in fairy tales is of the nature of fantasy, therefore N.V. Novikov suggested calling this kind of fairy tales magic-fantastic. In support of this name, he writes: “This term, despite its convention, reveals two principles in the tale - the magic and the fantastic, on which its poetic fiction actually rests. The beginning of the magic concludes the so-called survivals, and above all the religious and mythological views of primitive man, his spiritualization of things and natural phenomena, attribution of magical properties to these things and phenomena, various religious cults, customs, rituals, etc. The tale is full of motives containing in oneself the belief in the existence of the "other world" and the possibility of returning from there; the idea of ​​death, enclosed in any material object (egg, box, flower), of a miraculous birth (from eaten fish, drunk water, etc.) on the transformation of people into animals, birds, fish, insects, on the possibility of marriages of girls with animals, etc. The fantastic beginning of a fairy tale grows on a spontaneous materialistic basis, remarkably correctly captures the laws of the development of objective reality. This is what M. Gorky called "an instructive invention" - the amazing ability of "human thought to look ahead of the fact." What is mythological in Russian fairy tales? First, miracles that occur in fairy tales at the behest of characters with magical abilities, or at the behest of wonderful animals, or with the help of magical objects; secondly, characters of a fantastic nature, such as Baba Yaga, Koschey, a multi-headed serpent; thirdly, the personification of the forces of nature, for example, in the image of frost, animation of trees (talking trees); fourthly, anthropomorphism - endowing animals with human qualities - reason and speech (talking horse, gray wolf). But all these are only traces of mythological ideas, since "the formation of the classical form of a fairy tale was completed far beyond the historical limits of the primitive communal system, in a much more developed society," writes EM Meletinsky in his article "Myth and Fairy Tale". The question of the direct origin of the fairy tale from the myth remains controversial. E.M. Meletinsky believes that the transformation of myth into a fairy tale took place. This point of view is shared by many folklorists. But it still requires sufficient justification. The only correct opinion is that the mythological worldview provided the basis for the poetic form of the tale, that the poetic mythology of the tale was created. The elements of mythology listed above, which were included in the fairy tale, acquired artistic functions. An important point is that the plots of fairy tales, the miracles they talk about, have a vital basis. This is, firstly, a reflection of the peculiarities of work and life of people of the tribal system, their relationship to nature, often their powerlessness in front of it; secondly, a reflection of the peculiarities of the feudal system, especially early feudalism (the king is the enemy of the hero, the struggle for inheritance, the receipt of the kingdom and the hands of the princess for victory over evil forces). It is characteristic that capitalist relations were not reflected in fairy tales. Obviously, its development stopped before the formation of the capitalist formation. The lifebase of the magical tales was the dream of power over nature, which, according to M. Gorky, is so characteristic of them. The plot of fairy tales. The plot of Russian fairy tales is extremely rich. Among the plots of Russian fairy tales there are those that are especially popular, especially loved by the people: "Three kingdoms: gold, silver and copper", "Miraculous flight", "Magic ring", "Ivashka and the witch", "Winner of the snake", "Little horse -Horbunok "Sivko-Burko", "Ivan-Bear's ear", "Handless", "Dead Princess". V. Ya. Propp, in the plots compiler attached to the publication of Afanasyev's tales (1957), divides Russian fairy tales into groups corresponding to the characters in action, which is due to his theory of the functions of the characters. The first group of fairy tales is united by the struggle of the hero with a wonderful adversary (snake). Such are the say "About a brave fellow, young apples and living water", "Three kingdoms: copper, silver, and gold", "Koschee's death in an egg." The second group of fairy tales differs in that in the center of the plot is standing! search and release from captivity or witchcraft of the bride or groom. Such are the tales of the bewitched princess, the frog princess, the sworn kingdom (wolf, goat, falcon). Among them, the fairy tale "Finist - the clear falcon" is especially famous. The third group is fairy tales about a wonderful helper, as, for example, in the fairy tale "Cinderella". The most typical fairy tales are The Little Humpbacked Horse and Sivko-Burko. The fourth group is a fairy tale about a wonderful object that helps the hero achieve his goal ("The Magic Ring"). The fifth group is a fairy tale about a wonderful power or skill. An example is the tale of Ivan the Bear's Ears. In a special sixth group - "Other wonderful tales" - V. Ya. Propp singled out tales that did not fit into the framework of the first five groups. This includes the very popular fairy tales "Boy with a finger", "Snow Maiden", "Handless", "Magic Mirror". Among the episodes and motives that make up the action, those that are used most often, which are common in fairy tales, stand out: the reason forcing the hero to act (excommunication, a difficult assignment), the appearance of the goal of the action, the execution of an assignment (often the search for a kidnapped girl), the discovery of an object searches, the desire to defeat or outwit the enemy, escape and pursuit, the assistance of wonderful helpers and the use of wonderful items, the battle with the enemy, the victory and punishment of the enemy, the triumph of the hero who receives the bride and the kingdom. This is the main plot of the fairy tale. It varies with the specific content of the work. Plot episodes and motives follow in a fairy tale in a certain order. At the same time, in fairy tales, more often than in other varieties of fairy tales, there is a so-called contamination - the combination of various plots or the inclusion of motives of another plot in the plot. This does not violate the integrity of the work, since only that which corresponds to the main plot is included. The basis of contamination is most often the thematic similarity of plots. The structure of fairy tales. Fairy tales have a structure that is different from the structure of animal and social fairy tales. First of all, they are characterized by the presence of special elements, which are called proverbs, beginnings and endings. They serve as the external design of the work and indicate its beginning and end. Some fairy tales begin with sayings - playful jokes that are not related to the plot. They are usually rhythmic and rhymed. Their purpose is to draw the attention of listeners to what will be discussed later. Thus, the fairy tale “Ivan Suchenko and the White Polyanin” has a saying: “The fairy tale begins from a sivki, from a burka, from the things of a kaurka. On the sea, on the ocean, on Buyan Island, there is a baked bull, next to it is a pounded onion; and three fellows walked, went in and had breakfast, and then they went - boasting, amusing themselves; we, brothers, at such and such a place, ate more than a village woman dough! This is a saying, a fairy tale will be ahead. " The proverb, which is by no means all fairy tales, is followed by the beginning, which begins the narration. Its role is to transport the listener to a fairy-tale world. The inception speaks of the time and place of the action, the setting, the characters, that is, it is a kind of exposition. The time and place of action mentioned in the beginning are vague, moreover, fantastic. This immediately shows the listeners that the events that follow will be unusual. There are several types of beginnings in fairy tales; they differ from sayings in that they are used in very many fairy tales. Only in some of them does the action begin immediately: "The prince has conceived to marry, and the bride is in mind - a beautiful princess, but how to get her?" The most common nouns "lived-were", "lived-was", while indicating who lived ("an old man with an old woman") and what the circumstances were ("they had three sons"). Another type of beginning: "in a certain kingdom, in a certain state ...". These two beginnings can be combined. The tale sometimes has an ending. It is comic in nature, rhythmic, rhymed, and switches the attention of listeners from the fairy-tale world to the real one. There are several types of endings. The most simple: "And Martynka lives and chews bread even now." The ending may include a conclusion, a conclusion: "They began to live happily - in joy and tranquility, and now they live, they chew bread"; “Ivan Tsarevich forgave her and took her to him; they all began to live and live together, dashing out. " In addition to the ending, there may be a final proverb, which is sometimes combined with the ending: “The wedding was played, they feasted for a long time; and I was there, drinking honey-wine, flowing down my lips, not getting into my mouth. Yes, I left a spoon on the window; who is light on his feet, run on a spoon! " Some type of endings and final sayings, as folklorists believe, are the trail of professional storytellers or the trail of telling fairy tales for children: “Ivan the peasant's son married a beautiful princess, started a rich wedding and began to live for himself, not grieve. Here is a fairy tale for you, but I have a bunch of bagels. " The sayings, beginnings and endings have a fairly stable text and are a kind of formulas. In fairy tales, stable formulas of another type are often used, which determine the characteristics of the characters, the transitions from one situation to another, and contain comments on the course of the action. These are the magical addresses: "Hut, hut on chicken legs, turn your back to the forest, in front of me!" definitions of the characters' features: "Baba Yaga, a bone leg, rides in a mortar, rests with a pestle, sweeps up the trail with a broomstick", "A horse covers a trail with its tail, lets down valleys and mountains between the legs"; descriptions of appearance: "The moon is bright on the forehead, stars are frequent in the back of the head", "Elbow-deep in red gold, knee-deep in pure silver", and finally: "Neither tell in a fairy tale, nor describe with a pen"; remarks in the course of the action: "Soon the tale will tell itself, but it will not be done soon." The narrative in fairy tales develops sequentially, the action is dynamic, situations are tense, terrible events often occur, a lot happens unexpectedly, the situations in which the heroes fall are repeated: three brothers go three times to catch the Firebird, the hero fights with the Snake three times, three obstacles he meets upon reaching the goal, he throws three magic objects while fleeing. The structure of the tale is subordinated to the creation of dramatically tense situations, overcoming them by the hero reveals his amazing qualities. Amazing is a characteristic feature of fairy tales.

Fairy tales about animals.

Animal tales are a kind of fairy tale genre. Arising in ancient times, they reflected the observations of the animals of a man of primitive society - a hunter and a trapper, and then a cattle breeder. The meaning of these tales in those days consisted primarily in the transfer of life experience and knowledge about the animal world to young people. In the beginning, there were simple stories about animals, birds and fish. Later, with the development of artistic thinking, stories turned into fairy tales. The genre was formed for a long time, enriched with plots, types of characters, developing certain structural features. In fairy tales about animals, animals, birds, fish, and in some also plants act. V. Ya. Propp, in the index attached to the third volume of Russian folk tales by A. N. Afanasyev (1957), distinguishes six groups of tales of this type: 1) tales of wild animals, 2) tales of wild and domestic animals; 3) fairy tales about man and wild animals; 4) fairy tales about pets; 5) fairy tales about birds, fish, etc .; 6) fairy tales about other animals, plants, etc. Each group of fairy tales has its own characteristic plots. Thus, the first group includes tales about a fox that steals fish from a sleigh, and about a wolf at an ice-hole; about a fox caught in a pot of sour cream; famous fairy tales: the beaten unbeaten is lucky (the fox and the wolf) 5 the fox-midwife, the animals in the pit, the fox and the crane (inviting each other to visit), the fox-confessor, peace with the animals. The second group includes fairy tales: a wolf visiting a dog, an old dog and a wolf, a cat and wild animals (animals are afraid of a cat) 5 wolves and kids. The third group should include fairy tales: about a peasant, a bear and a fox (the peasant deceives the bear when dividing the crop); that the old bread and salt is forgotten (a wolf saved by a peasant wants to gnaw him); about a bear - a slippery leg; about a fox who changed a rolling pin for a goose, a goose for a turkey, a turkey for a lamb. The fourth group includes tales about a thrashing goat, about a horse and a dog; in the fifth - about a crane and a heron (a failed matchmaking) about a broken golden testicle, about the death of a cockerel who suppressed ^ "a grain; in the sixth, about a fox and a crayfish, racing about the house of a fly, about a bun and animals, about a war of mushrooms, and finally about frost, sun and wind. The fairy tales about animals reflect the ancient ideas of humans, centuries about nature: animism, anthropomorphism and totemism. Examples of animism can be the fairy tale "The Greedy Old Woman" - a version of the tale of a goldfish, where a tree is animated. wonderful trees growing on the graves of the innocent victims. In the fairy tale "Little havroshechka" from the bones of a cow, a wonderful apple tree grows: it helps the girl to get married. Anthropomorphism in fairy tales is expressed in the fact that animals speak and act like people. It is possible that the basis for this was the similarity observed by humans and animals: in actions, in behavior, in quarrels, in the fear of the weak before the strong. The qualities of people are transferred to animals in fairy tales: intelligence, kindness, cunning. Totemism, consisting in the idea that man descends from animals, manifests itself in many fairy tales: the birth of a person from an animal, the transformation of a person into an animal, and an animal into a person. The most revealing is the fairy tale "The Bear-Lipovy Foot". With the development of man's ideas about nature, with the accumulation of observations, stories about the victory of man over animals and about domestic animals, which was the result of their domestication, enter into fairy tales. The isolation of similar features in animals and humans (speech-shouting, behavior-habits) served as the basis for combining their qualities in the images of animals with the qualities of humans: animals speak and behave like people. This combination also led to the typification of the characters of animals, which became the embodiment of certain qualities: a fox - cunning, a wolf - stupidity and greed, a bear - trustfulness, a hare - cowardice. So fairy tales acquired an allegorical meaning: people of certain characters began to be understood by animals. The images of animals became a means of moral teaching, and then of social satire. In animal tales, not only negative qualities (stupidity, laziness, talkativeness) are ridiculed, but the oppression of the weak, greed, deception for profit is also condemned. In the fairy tale "The Cat in the Voivodeship", which is also called yuz "The Steward of Siberian Forests", forest animals are obliged to bring the voivode everything he needs. In the fairy tale "The Cat and the Fox", the fox marries a cat, passes him off to everyone as a terrible beast; forest animals are forced to serve him, and the cat freely robs and presses everyone. In the fairy tale "The Fox Confessor" the fox, before eating the rooster, convinces him to confess his sins; at the same time, the hypocrisy of the clergy is wittily ridiculed. The fox addresses the rooster: "Oh, my dear child, loops!" She tells him a biblical parable about the publican and the Pharisee. Fairy tales about animals, creating images of characters in which the traits of an animal and a person are combined, naturally convey a lot that is characteristic of human psychology. However, there is hardly any reason to believe that human features are depicted in all animal images. The peculiarity of the image of an animal in fairy tales consists precisely in the fact that human traits in it never completely supplant the traits of an animal. No matter how developed an allegory is in fairy tales of this type, one can also find examples in which it is difficult to find an allegory. The famous tale of the fox and the black grouse contains a clear allegory; it is obvious from a number of details: the fox, for example, tells the grouse about the decree requiring that the grouse not fly up a tree, but walk on the ground. But in the fairy tale "The Bear is a Linden Foot" or in the fairy tale "The Wolf and the Kids" there is probably no allegory. These fairy tales are captivating not by allegory, but by the depiction of action. In fairy tales about animals, the analogy "man-animal" does not allow the fairy tale to miss out on either the qualities of a person or the qualities of an animal. This is the originality of fairy tales, this is a special aesthetic effect. "And it is precisely in the interweaving, the intersection of the animal and the human in the unexpected contact of these, in essence, different plans (conventional and real) that the effect of the comic lies in the animal fairy tale." In fairy tales about animals, the basis of plots and the basis for the interpretation of images of animals, birds and fish is the conditional combination of the two indicated plans. This is a convention, not a fantasy. Some researchers believe that fantasy plays an important role in animal tales. However, one cannot agree with this. Fiction is not only a deviation from reality, but also a sharp violation of its laws and characteristics. In fairy tales about animals, unlike fairy tales (where the role of fantasy is very large), there are no miracles, no magic, although there are actions of the characters that do not correspond to the actions of their prototypes in life. In fairy tales about animals there are no mythological motives and images, but there are realistic (to some extent) figures of animals; They differ sharply from the fantastic firebird of fairy tales: there is no such bird in reality, but the fox, wolf, bear, hare are the inhabitants of our forests. No, in fact, in fairy tales about animals and werewolves to such an extent and in such a form as in fairy tales. In the fairy tale "The Lynx Girl," the stepmother turns her stepdaughter into a lynx, her husband rips off her skin, burns her and thereby removes the spell. This is not a fairy tale about animals. The fairy tale "Ivan Medvedko", where the hero is "a man up to the waist, and a bear from the waist," cannot be attributed to fairy tales about animals. The plots and images of animal tales often have a social satirical aspect. However, it should be emphasized that the main semantic aspect of animal tales is moral. This is because animal tales are much older than class society, in which they really began to acquire a clear social interpretation. Morally, there are two main ideas in animal tales: the glorification of camaraderie, through which the weak defeat the evil and the strong, and the glorification of victory itself, which brings moral satisfaction to the listeners. Peaceful animals, even if they are stupid, achieve victory: the ram fools the wolf, the sheep and the fox defeat the wolf. The wolf is often stupid, but this is not its main feature: it is cruel, ferocious, angry, greedy - these are its main qualities. He eats a poor old man's horse, breaks into "the animals' winter quarters and disrupts their peaceful life, wants to eat the kids. The fox wants to eat the rooster, the black grouse. Poetics of fairy tales about animals The structure of fairy tales about animals is quite simple. The basis of the composition is the structure of the plot. Depending on the course of the action, all the narrative material is distributed. The most remarkable feature of the structure of this type of fairy tales is the stringing of episodes. with a friend. "A fox ran through the forest, saw a black grouse on a tree ...", "A bull walked in the forest, a ram comes across to him ..." But the meeting is usually just the beginning of a whole series of other meetings. called a comulative, or chain, structure. ear ("Bean seed"); a fly built a teremok, different animals come to it in turn: one, another, a third ... ("Teremok"). The same structure in the fairy tales "Kolobok" and "Goat with Nuts". Often in fairy tales there are threefold situations: three times the fox turns to the rooster and three times to the black grouse; three times the wolf comes to the goat's hut. The beginning of fairy tales is characterized by the construction “there lived an old man and an old woman” (different versions). Accordingly, in fairy tales about animals we find: "there lived a godfather with a godfather - a wolf with a fox", "there lived a wolf and a chanterelle", "there lived a fox and a hare." In fairy tales about animals, dialogism is much more developed than in fairy tales of another type: it moves the action, reveals situations, shows the state of the characters. Songs are widely introduced into fairy tales: the fox lures the rooster with a song, the wolf deceives the kids with a song, the bun runs and sings the song: “I'm scraped along the box, swept along the bottom ...” Fairy tales about animals are characterized by bright optimism: the weak always get out of difficult situations. It is supported by the comedy of many situations and humor. In the fairy tale "Frightened 105 Bear and Wolves," a ram, on the advice of a cat, scares the wolves with a wolf's head found on the road, and they scatter, fearing that their heads will be bitten off as well.

Game, round dance and dance songs

A large section of love and family songs, writes V. Ya. Propp, - round dance, play and dance songs. "
From the poetic and textual side, the named types of songs, as well as lingering lyric songs, belong to the lyric series of poetry. However, they differ musically and in performance. Game songs, round dance and dance songs are performed at a faster pace. If lingering lyric songs are sung in chorus or solo without any accompaniment, and therefore they were popularly called "voice" or "voiced", then game, round dance and dance songs are performed in a certain choreographic or choreographic-dramatized accompaniment.

Songs are called play songs that were performed during various games. Round dances are songs performed in round dances. Dance songs accompanying the dance. All these types of songs are predominantly youth songs. Their main purpose is to create a joyful mood, to serve as a means of entertainment.
Scientific interest in folk song, the conditions of its existence arises in the 30s of the XIX century. Descriptions of various folk games and round dances and songs performed at the same time can be found in the books: I. M. Snegirev "Russian folk holidays and superstitious rites" (1838, vol. 2) and I. P. Sakharov "Tales of the Russian people" (1841, vol. . 1). In 1841, a small collection "Folk songs of the Vologda and Olonets provinces" by FD Studitsky was published. Special sections in it are allocated for round and dance songs. This collection laid the foundation for the regional publication of Russian folk songs. In 1848, A. V. Tereshchenko's fundamental work “The Life of the Russian People” (in seven parts) was published. In the fourth part of this work, a detailed description of folk games and round dances is given, a large number of accompanying songs are given. The materials of this work by Tereshchenko have not lost their scientific value in our days.
The collection of Russian songs (including play, round and dance) expanded in the second half of the 19th century. Game and round dance songs are included in the song collections of A. M. Balakirev (1866), You. Popov (1880), N. Ye. Palchikova (1888), and others. A particularly large number of play, round and dance songs are published in the first volume of "Velikorussa" by P. V. Shein (1898). Many play, round dance and dance songs were included in the seventh volume of A. I. Sobolevsky "Great Russian folk songs" (1902). One of the sections of the famous collection of brothers BM and Yu. M. Sokolov "Tales and Songs of the Belozersk Territory" (1915) is titled "Songs for games, actually round dance and dance".
In pre-revolutionary folklore studies, the study of play, round and dance songs began. N. A. Lvov speaks about the specifics of the content and melody of round and dance songs. A.V. Tereshchenko examines play and round dance songs in connection with the conditions of folk life. F.I.Buslaev, A.A.Potebnya and N.F.Sumtsov deal with game and round dance songs in their works. In the last third of the XIX century. A. Balov, V. Peretz, A. Shustikov and others devote their articles to the characteristics of play, round dance and dance songs and the description of the conditions for their performance.
The work on collecting, publishing and studying play, round and dance songs continues in Soviet times. In 1933, a large collection of "Games of the Peoples of the USSR" was published, which published play and round dance songs collected by pre-revolutionary and Soviet folklorists. Together with the publication of the songs, a detailed description of the games and round dances in which they are performed is given. In the future, game, round dance and dance songs are published in many collections / For example: "Tambov folklore" (1941), "Folklore of the Saratov region" (1946), "Tales and songs of the Vologda region" (1955), "Songs of Pechora" (1963) , "Russian folk songs of the Karelian Pomorie" (1971), "Traditional folklore of the Novgorod region" (1979). In 1980 a special collection “Round dance songs about love and family life” was published.
Soviet scientists are considering the origin of play, round dance and dance songs, their connection with calendar rites (V.I. Chicherov, N.P. Kolpakova, V. Ya. Propp, V.P. Anikin). N. M. Bachinskaya in the book "Russian round dances and round dance songs" (1951) illuminates the theme of round dance songs, gives a description of play, round dance and dance songs, establishes their place among other types of song folklore. In the 70s, E. I. Yatsunok explores the genre features of round dance songs, examines their poetics, dwells on the current state of the round dance tradition.
Game songs. Games with songs (as well as without songs)
performed by young people at parties, in winter in huts, and in summer
outdoors.
The main theme of the youth games and accompanying songs was the theme of love, marriage or marriage. The sympathy of young men and women was revealed in their games. As a rule, games were accompanied or ended by kisses.
The compositional functions of the songs in the games were different. Sometimes this or that song preceded the game, only hinted at its theme in general terms, gave the players a certain emotional mood, and then there was a game that had little or no connection with the plot of the song. We see this, for example, in the game "Filly". The game began with a song performed by the guys and girls sitting near the walls:
Horses, you horses, for the peasants in need.
Black horses. Matchmaker and matchmaker,
Salted chals. Give your daughter
What were you fed for? For my son,
What were you given to drink? For a nobleman
Boyars for the service, (Name, patronymic).
After the performance of this song, a couple (a guy and a girl) came out in the middle. They alternately jumped over a bench set in the middle of the hut, posing as horses. Then the guy lifted the floor of his jacket, as if filled with oats, and invited the girl to "feed on oats." She came up to him and he kissed her. Another couple entered the circle, and the game, accompanied by a song, was repeated.
However, most often this or that song was sung during the whole game. She suggested how to act to those who played her. An example is the crutch game. Guys and girls sat down at the walls, and some guy with a stick (with a "crutch") came out in the middle of the hut. The people sitting sang a song about how this guy walks with a crutch and what he thinks about at that time. And his thoughts were as follows:
“But who am I a good fellow to come to?
To whom shall I lean the crutch?
I'll put my crutch on
To gold, to silver,
To the maiden's tower.
And I will jump, dance,
I will amuse my guests ”.
During the performance of the above part of the song, the guy approached some girl, kissed her and gave her a stick. Then the game was repeated.
Only girls take part in the game "Burying Gold". They sit tightly in a circle. One of them secretly passes the ring to the other and sings a song:
“And I bury gold, I bury, I bury pure silver, I bury. I’m in my father’s mansion, in the mansion, I’m in my mother’s high, high ”.
In her song, she asks to find the ring she gave to her friends. One of the girls began to look for the hidden ring, while the others quietly passed it to each other and sang a song:
“Guess, guess, girl, Guess, red,
In which hand was there a bygone, Green porch. "
“The ring has fallen, the ring has fallen In viburnum, in raspberries, In black currants. I found myself a ring
If the girl did not find the ring, then they sang a song to her, symbolizing marriage:
Yes, the boyar Yes, the young On the right hand, On the little finger. "
The girl who was found to have the ring came out in a circle, and the game was repeated.
The game "With a loach" was especially widespread. Everyone stood in a circle, and in the middle of the circle some girl "with a loach" (with a scarf) came out. Those in the circle sang:
“I already walk with a loach (2 times) I walk with a gold one;
I don't know where to put the loach (2 times)
I'll put the loach on my right shoulder ”(2 times).
The girl walking in a circle was putting a handkerchief on her shoulder. And the choir sang further:
"I'm going to the fellow, I'm to the fellow, I'm going to the fellow, I'm going, I'm going, I'll kiss and go away."
After these words, the girl gave the handkerchief to some guy and kissed him. This guy came out in a circle and the game went on.
Game songs are simple in composition. Most of them provide a sequential description of the actions that point guards take. Most often the choir performs the song. However, even in this case, it can speak on behalf of the chorus, and on behalf of the presenter (for example, in the game "With a crutch"); there is also a form of dialogue with point guards (in the game "Burial of Gold").
The play songs were performed at a fairly fast pace. Some of them could act as dancers. "In the last third of the 19th century, when ditties became more and more widespread, they were often performed as play songs. So, V.N. the game "With a loach" was performed by many multi-line ditties, including, for example, the following:
The Russian people loved and knew how to work, but they also spent the holidays merrily and with great imagination. Almost all folk festivals were accompanied by games and songs. Naturally, in all kinds of images, a significant part is allotted to folk holidays and festivities.

As one mountain is high, I am a distant sweet
And the other is low, - I will give to people,
One dear one is far away, And the neighbor is milov
And the other is close. I'll kiss you seven times.

Round dance songs.

There were incomparably more round dance songs than play songs. They are more significant than play ones in their content, more varied in forms of performance. Round dance songs are divided into two types: round dance songs and actual round dance songs. The performance of round dance play songs is necessarily accompanied, as it were, illustrated by some play actions that are determined by the content of the song. The actual round dance songs are simply performed in a round dance movement.
Round dance-game songs are close to the game songs discussed above: the main thing in them is the theme of love, expression of sympathy, symbolic-game matchmaking. There were a lot of dances and play songs. For example, A. Balov in one article cites such round dance-play songs: "Alexander, light Vasilyevich," "Poppy, poppy, poppy," tynka ”,“ And we sowed millet ”,“ We ​​brewed beer ”,“ Zayinka on sienichki ”,“ Along the meadow, meadow ”,“ Past the garden, past the garden ”,“ We ​​walk around the country ”,“ Elnik and bereznik ”, "As by the sea, the blue sea" and many others (19).
The forms of playing round dance game songs can be different. The most common variant is when there is one person in the circle and acts out the content of the song that the round dance is singing. An example is the round dance game "The Bright Prince" described by AV Tereshchenko. In the middle of the round dance, a guy walks proudly, portraying the "prince" - the groom. And the round dance sings at the same time:
“Our fair prince walks Near his city, Walks near his tall one, Our fair prince is looking for, Our good prince is looking for His fair princess, or His good princess.
During the performance of the song, the guy runs after the girl, wants to catch her, and she breaks free. At the end of the game, the drake catches the duck.
“A duck swam Across the blue sea.
Sometimes the whole round dance is involved in playing the song. So, in the folk game "Utenya" there is a girl in a circle. The round dance sings:
How, how, duckling, did you soak the Knife? "

After these words, the young man stops in front of the chosen girl, and the choir sings on his behalf:
"Will I where I can find That maiden princess
I will give a red maiden to the princess, I will give you a red ring ”.
The "bright prince" kisses the "bright princess".
Often there are two people in a circle who act out, as it were, illustrate the content of the song. We see this, for example, in the round dance game "Drake". A fellow ("drake") and a girl ("duck") enter the circle. The song that the choir sings contains the words:
"Go, duck, go home, Go, gray, home" "Drake, catch up with the duck, Young, catch the duck."
At this time, both the girl in the circle and all the participants in the round dance shuffle their feet. Then the song says that the duck has "wetted its wings." At this time, everyone is waving their hands. The song says that the duckling "fluttered the wings." And everyone claps their hands. The song ends with the words:
"That way, duckling,
That way, gray,
I sat on the shore. "
Everyone squats at this time. This is where the round dance game "Utenya" ends.
A round dance-playing song can be performed by two parties of the players (two semi-choirs). A striking example of this is the well-known song “We sowed millet”. The players are split into two floors; chorus, which are set in line against each other. Moving forward and backward, the semi-choruses sing:
1. "And we sowed millet, sowed".
2. "And we will trample millet, trample".
1. "What will you trample, trample?"
2. “We will release the horses, we will release them,” etc.
The themes of love and matchmaking, as we have already said, occupy the main place in the round dance and play songs. However, they are not limited to these topics. In them, for example, the theme of peasant labor was quite vividly reflected, a description of various types of women's work is given. For example, the songs “And we sowed millet”, “Teach me, mother”, “I sow, I blow white lenochek”, “The girls sowed flax”, “I will sow hemp”, “I field, field an onion, I'm picking up ”,“ We ​​weeded the cabbage, sentenced ”, etc. These songs express the love of peasants for work, admiration for those who work well and diligently.
The specificity of round dance songs in the coverage of the theme of labor is that it is invariably refracted through the theme of love and marriage. Let us consider in this connection the round dance and play song "Teach me, mother". In the middle of the circle are two girls ("mother" and "daughter"). The round dance walks and sings:
"Under oak flax, flax,
Under the green flax, flax!
So flax, flax, lyuli flax! "
The daughter begins to sing, and after her the whole round dance:
"Teach me, mother, On the flax land of pakhati."
The round dance stops and everyone bends down. The mother also bends down and shows her daughter how they plow the land. At this time, the mother, and after her, the whole round dance is singing:
"Yes, that's it, daughters, daughter, That's it, that's it, that's it!"
The daughter imitates the actions of the mother.
Then, to the song, the mother teaches her daughter “green flax weed”, “ripe flax for brothers”, “flax to knit”, “ripe flax to collect”, “put flax on the cart”, “remove flax from the field”, “mature flax to dry”, “ thresh, slati, collect, trepati, spin, motati yarn and red weave.
And the song ends with these words:
"Teach me, mother, To walk with a fellow."
And, without waiting for her "training", the daughter fervently sings:
“I'll go myself
And I will dance with my darling. "
The girl calls some guy into the circle and dances with him, singing:
"Yes, that's it, my mother, That's it, that's it, that's it!"
Round dance songs themselves were very widespread among the people, that is, songs, the content of which is not played
it was. The overwhelming majority of all recorded and published round dance songs are actually round dance songs.
The leading theme of the actual round dance songs, as well as the round dance games, is the theme of love. The main characters of these songs are a girl and a fellow. The songs depict various vicissitudes of love relationships, talk about the acquaintance and meetings of a young man and a girl, their dates, courtship, talk about their relationship to each other, talk about disagreements, reconciliation, etc. An example is the songs "Ay in the field, ay in the field ”,“ Ah, the little boat is sailing on the sea ”[Ts, no. 1131],“ Are you my head ”,“ Fog, fog in the valley ”,“ We ​​are on an ant ”,“ Under the forest, woodland ”, etc.
Most of the actual round dance songs were performed on behalf of the girls. The girls' songs expressed a high feeling of love, cherished dreams of a happy marriage. But not only girls, but also young women ("young women") took part in the round dances. Therefore, the theme of the family, the relationship of the young woman with her husband and members of his family is quite natural and organic in the round dance songs; father-in-law, mother-in-law, brother-in-law and sister-in-law. This theme in round dance songs is developed in great detail. They talk about the hard life of the "young woman" in her husband's family. She has to work hard. So, in one song it is said that the father-in-law makes the daughter-in-law "clean the threshing floor, take revenge with a broom and harrow the field." And her mother-in-law makes her “weave red, take hemp, walk in the field and mow hay, heat the hut, walk in the water, feed the children and put the children to sleep”. Often, the relationship between the young and the husband does not develop. The songs tell about the rough treatment of the husband with the wife. The young woman is also bullied by her husband's brothers and sisters.
But the round dance songs, in contrast to the lingering lyrical ones, do not focus on the difficult living conditions of the "young woman" in the husband's family. They are spoken of in passing, in order to create a realistic background against which a completely different content is revealed in contrast, not sad, but joyful feelings are expressed. The main emotions of the round dance songs are bright, cheerful.
Round dance songs often depict not real, but ideal relations between parents and children in a peasant family. For example, they say that young people (boy and girl) choose their spouses not at the will of their parents, but out of love. One of the songs depicts such an attitude of the young woman to her husband's family; her husband's family members call her in turn, and she goes to them with joy: to the “mother-in-law” “with soft rolls, with sweet nourishment”; to the "mother-in-law" - "with a white kuzhe-lechkom", to the "sister-in-law" - "with a frequent comb, with a silk plait", to the "little girls" - with "fun music", to the "dear fret" - to the husband - with "downy a pillow with a steep headboard. "
In the round dance songs, young girls are displayed who do not obey the orders of the husband and his parents. So, in one song, the young woman taking part in the round dance boldly says:
“Father-in-law, father is at the gate; Our games are not finished yet
He calls me home young. Our songs are not finished
I don’t go home, I don’t listen: Fables haven’t been added ”.
The peasant girl does not want to marry either the old or the young. She wants to marry a match. In one of the songs, a curious picture is drawn when the heroine says:
"I have amused the old one,
I hung it on an aspen;
I have consoled the little one -
I waved it, threw it into the water,
I’ve already gone for a walk with my darling. ”
This, of course, is an implausible picture, invented, calculated for a comic effect. By the way, let us note that a number of folk songs combine the real and the ideal, the tragic and the comic in a peculiar way. So, in the song "I am a field, a field onions" it is said that the son, at the instigation of his parents, beat his wife half to death, "broke three ribs for her." The wife complains that after this brutal beating she “lay for three years”, “did not get out of bed”, “did not eat bread or salt”, “did not recognize people”. But the tragic song unexpectedly ends with a comic ending: due to illness, a woman who has lost her appetite "with this sickness ate three ovens of bread," "seven ovens," bull-tretyak "and" five buckets of milk. " And this immediately removes the entire tragedy of the song.

Poetics of ditties.

The poetics (art form) of ditties is due to the peculiarities of its content, as well as the conditions for its emergence and design as a genre. On the one hand, the ditty continues the tradition of old songs with which it is genetically linked. On the other hand, under the influence of literature, it develops completely new features that were not previously found in any genre of folklore.
Let us dwell on the language and poetic style of ditties. As in traditional lyric songs, the language of the ditty is based on lively colloquial speech. However, the language of ditties in its lexical composition is much richer than the language of lyric songs. This is due to the fact that the ditty is incomparably more varied than lyrical songs in terms of its subject matter and expressed emotions.
However, the language of ditties is not only richer, but also more modern, fresher than the language of traditional lyric songs. In contrast to them, ditties widely use various neologisms, folk word-creation is unusually vividly manifested in them. So, for example, parents who try to pass off a girl for a disloyal one are called in the ditty "bane-breeders", a "characteristic" girl gets married "self-propelled". Her friend is cheerful, "harmonious", his eyes are "brown, curly", etc. AM Gorky once drew the attention of writers to the bold linguistic character of the ditty.
The poetic style of ditties is no less original. In them you can find a variety of tropes and figurative expressions: epithets, comparisons, metaphors, etc. Some of these tropes have passed into ditties from traditional lyric songs. However, the overwhelming majority was created by the ditty itself and is distinguished by a vivid genre originality.
In ditties one can find such folklore epithets as "clear falcon", "white swan", "dear side", "dear mother", "heart friend", "dear friend", etc. All these epithets have passed into a ditty from traditional lyric songs. However, there are more epithets in the ditties, not traditional, but new. These new epithets are original, they serve as a means of labeling the individual characteristics of images. So, the girl endows her "friend" with such epithets as "drolya, garden apple", "drolya, scarlet flower", "desperate little head", "rogue-blood", "dear cursed", "unsettled darling", etc. no less original are the epithets in which the beloved is characterized, the friend's attitude towards her is expressed: "sweet amusing girl", "sweet, hot", "sweet wind, sweet little twist", etc.
The given and similar epithets determine the genre specificity of the ditties. With the help of such epithets in love ditties, various thoughts and feelings are expressed, apt individualizing characteristics are given. Here is one of these ditties:
Girls, oh! Girls, oh! You are familiar with my playful: White - resourceful, Handsome - talkative.
As you know, in traditional lyric songs, all kinds of symbols were very widely used. In ditties (even love ones), symbols are extremely rare. And this is understandable. A traditional lyric song and a ditty have significant differences in the way of artistic reflection of reality, in the very principles of creating images. If in traditional songs, as a rule, conventionally generalized images of a young man and a girl are created and their various symbolic designations are nowhere more appropriate, then in ditties in most cases we are faced with vital real images of a guy and a girl, and each time with their unique individual performances : and then there are no symbols in use. no need.
Quite different - with hyperboles. In traditional lyric songs, hyperboles are almost never used. On the contrary, in ditties, hyperboles are found quite often, ditties use them very willingly. This is due to the peculiarities, genre specificity of the ditties. The small form of the ditty forces you to speak briefly and clearly. Avoiding halftones in the creation of paintings, the ditty expresses thoughts vividly, brightly, often with emphasized pointed. In this case, the use of hycerbolas is not only possible, but absolutely necessary. Here, for example, in what hyperbolic form the ditty speaks about the love of a young man for a girl:
Through a spring field, Through ten villages, Through forty-three paths A dear walks every day.
There is a humorous subtext in the given ditty. It should be noted that in ditties a rather large place is occupied by such means of poetic style as humor and irony. Here's an example of a ditty based on irony:
Mom scolds me, Tyatka protects more: As you go late from the walk, He guards with a log.
The poetic syntax of the ditties is distinguished by simplicity and brevity. In ditties, as in traditional songs, questions and appeals are quite widely used. The specificity of the ditty is its striving for aphorism. Here is an example of an aphoristic ditty:
Money is an acquired business, There is nothing to grieve for, And love is another matter, It must be cherished.
A vivid genre originality is manifested in the composition of ditties. You can find ditties and one-part, that is, those whose content is so integral and monolithic that the ditty cannot be divided into any parts. However, it should be emphasized that the overwhelming majority of ditties are two-part compositionally: they consist of two more or less semantic I parts. The logical and poetic connection between these parts of U can be very different.
One of the types of two-part ditties are ditties, built on the basis of the technique of poetic, symbolic-real parallelism borrowed from traditional lyric songs. For example:
Will you raise a scarlet flower in the field? Will you really forget Me, dear friend?
But symbols in ditties are used very rarely. In the overwhelming majority of ditties, their first and second parts are equally real. Such a two-part ditty construction, in contrast to the stable, symbolic-real song parallelism, can be called free, logical-poetic parallelism. The selection of parallels in such cases is carried out on the basis of certain logical principles. The first and second parts (parallels) in these ditties can be in different logical connections. There are ditties, in the first part of which it is said only in the most general words about this or that action, and in the second the picture is concretized:

As from Kashin along the path The thugs are walking in a crowd; My darling ahead, Leads the crowd behind him.

In the first part of the ditty, one or another fact is reported, and in the second, a reaction to it is given:

Cheerfully my fun is playing in accordion, My little white face is Burning like fire.

You can also point out other logical connections between parts of ditties. For example, the first part of the ditty talks about an act, and the second explains its reason:

Sewed a dress according to fashion, Hanging in the upper room in the chest of drawers; I will not wear it: I don’t have my droli.
The first part tells a fact, and the second talks about its consequences:

Sweetheart wooed, Parents did not give away, From me, young, Only happiness was taken away.
if necessary) absolutely all images of reality, while expressing the most diverse thoughts and feelings.
The ditty is also peculiar in its rhythmic structure, in the organization of the verse in it. Presumably, under the influence of literary poetry (its four-line stanzas-couplets), the four-line form took hold in the ditty and became the main one.
Unlike a traditional lyric song, rhyme is required in a ditty. This also reveals the influence of literary poetry. In ditties, you can find a wide variety of rhymes: paired (aabb), solid (aaaa) and encircling (abba). However, in the vast majority of cases, only even lines rhyme.
For example:

Buy, father, blush,
I will blush;
My pale face
Nobody likes it.
The presence of rhyme in even lines in a ditty, on the one hand, divides it into two parts, emphasizes its compositional two-frequency, and on the other, unites all its lines into one rhythmically integral piece.
The verse of the ditties is syllabo-tonic. Most often, they use a four-foot trochee. But in the living practice of being, ditties are not read, not recited, but sung. I Their rhythm in the melody has a musical-bar basis. The ditty I line has a musical-timed dimension. As a rule, there are eight beats in it, and the rhythm of the ditty is defined as an eight-beat.
1- In terms of their rhythm, ditties are diverse. The rhythm depends on the first musical tune under which they are performed, due to the type of dance that they accompany. So, quite different in their rhythm are the ditties that accompany the dances "Ryazanochka", "Gypsy" "Yeletskaya" and others.

The principle of logical, free-poetic parallelism meets the realistic aspirations of the ditty in the best possible way. It does not bind the person who creates the ditty with any canons and conventions (as we saw in the song stable, symbolic-real parallelism), but makes it possible to freely use, draw into parallel poetic rows.

READERS
Verbal rhyme formulas, short rhymes used to determine the leader in the game and assign roles. Readers are divided into counting rhymes containing counting words, distorted counting words and words replacing numerals, abstruse counting rhymes made up of a meaningless set of words, and substitution counters made up of ordinary words without counting. It is assumed that the counting rhymes are associated with the ritual and everyday practice of adults. In ancient times, people used in some cases a secret counting instead of the usual counting. This was the case when the counting of any objects was prohibited due to fear of failure or trouble. The ancient secret account has been preserved in the children's game.

Number-counting counters
One, two - lace.
Three, four - hitched
Five, six - there is porridge,
Seven, eight - we ask for money,
Nine, ten - white month,
Eleven twelve -
On the street, they scold:
Girls share a sundress.
To whom the wedge, to whom the camp,
Who has a whole sundress,
To whom the buttons are cast,
To whom the earrings are gold.
Tsar-queen in the meadow,
The man lost the arc,
I cried, I cried, I didn’t find
I went to the Empress: -
You, madam,
Give me a son
Four arshins.
The baby is not great -
In the whole shop lies;
He stood on his back
He took out the ceiling.

* * *
One two three four -
There were flies in the apartment;
They got into the habit of a friend,
Cross, big spider.
Five, six, seven and eight -
We'll ask the spider:
Do not go to us, glutton,
Come on, Mashenka, drive.

* * *
One two three four -
I was taught to read and write;
Five, six, seven - the stump squinted.
He, Dadon,
Get out of us.

* * *
The bunny went out for a walk
But the hunter did not come
The bunny has crossed the field,
I didn't even move my mustache,
Then he wandered into the garden.
What should we do,
How are we to be?
We need to catch the bunny.
Let's consider again:
One, two, three, four, five.

* * *
One, two, three, four, five -
They decided to frighten with the Bukoy;
Three, four, five and six -
You don't believe he is;
Five, six, and then seven -
Buki, brothers, not at all.

* * *
Bbw dasha
I went to my friend
The stroller is broken
Dasha laughed.
One two Three -
Well, come out.

* * *
Ranza, dwanza,
Trinzas, bagpipes,
Pyatyn, Latin,
Shokhman, Yokhman,
Figus, migus,
Under the kovrigus,
Who's been messing around here?
Came out? Get out there!

* * *
Pervodan, friendodan -
I guessed by four
Five hundred Yuryev.
Katerina-kochka,
Blueberry leg.
Hare-month
I plucked the grass
I put it on the bench.
Who took, did not take, -
Radivon,
Go over there for the wine.

* * *
Chikiriki, mikiriki,
The pigeons flew
On a bush on an ice crust,
On a white lick.
Shishel, went out,
Vaughn went.

* * *
First given,
Another is given,
Four guessed right -
Five hundred judge
Sexton, rook,
Dove leg.
It was burning, it was burning,
Flew over the sea,
Church across the sea
The village of Kulikovo.
Matvey the long-nosed
I rode on wheels.
Wheels creak
They want to be anointed.
Marya Petrovna
I went over the logs
I touched a stump
I sat there all day.

* * *
Azy, two,
Triza, vestments,
Heel, lat,
Tuni, Muni,
Stupid, cross.

* * *
Pervynchiks, darlings -
The pigeons flew
Along the spruce, along the gutter,
According to God's dew,
On the pop lane.
There the deacon writes
Black coal:
It was burning, it was burning,
It flew in the sky
There is a church in the sky,
In the church of Nikola,
Anna Bykova.
Tulyu, zulyu,
The cat is wrinkled.
Cherevik-shoe,
Come on, fat man.
Abstruse rhymes

Abstruse rhymes
Angel vangel
Three atru
Fitzel Faus
Fi a fu
An Dan
Rigistan
Riga, Riga,
Rops.

* * *
Egede, pegede
Tsugede me
Aben faben
Domaine
Ike pike
Gramanike
Don Zones
Get the hare out.

* * *
Anki shingles
Lycotok
Fufzi-gratsi
Gramatok.
Azinota
Kislovrota
Shara-vara
The spirit is out!

SILVER
An agreement to be silent while reading poetry with comic content that pushes children to break the silence.
Children sit in a circle. Everyone should be serious, not laugh, be silent and not even smile. One child pronounces a silent text, which concludes the condition: "Whoever utters, he will eat." Whoever laughs or speaks, everyone shouts to him: “I have eaten! I ate it! "

Forty barns
Dry cockroaches,
Forty tubs
Wet frogs
I torn the cat,
Mouse to nasty -
Who will speak
He will eat it.

* * *
Chock, chock,
Hook teeth
Who will speak
That click.

* * *
Hush, mice:
The cat is on the roof.
Leads the cat by the ears.
The cat is torn
The tail is peeled off,
Who will speak
He will eat it.

* * *
Walked silently
In all cities;
Who knocks, blurts out,
Tear by the hair,
Finish to tears.
Last word: whoa.
Amen!

Pestushki, nursery rhymes, poskakushk."Pestushki, (from the word" nurture "- to educate) are associated with the earliest periods of a child's development. “Having swaddled the child, the mother or nanny with both hands, slightly squeezing the child's body, conducts several times from the neck to the feet. This kind of massage helps to restore blood circulation, stimulate the vital activity of the whole organism, which is very important during the period of initial growth. ”Not every mother realizes the need for this procedure, out of a hundred one will explain its physiological significance.

The poems are simple. “Performing it does not require either enhanced memory work or special vocal data, but it has everything: understanding the meaning of this technique both for the growth of the body (“ Sip, Poor, Across the Fat ”), and for the development of the child's motor functions (“ And in the legs of a walker, A into the hands of a fatuny "), and for mental and moral development (" A talk in the mouth, A mind in the head "). The knowledge enshrined in a poetic work serves as a means of transferring cultural heritage from one generation to another, serves as a guide to action for any young mother or pestun.

Rhymes are clearly constructed rhythmically. Some of them reach a good artistic form: Chuk, chu k, chuk, chuk, Baba baked a fish, I caught my grandfather pikes, The frying pan leaked.

The child begins to perceive the mother's speech not as a melodic set of sounds, but as signals that have a certain semantic meaning, and the mother already uses this: she does not just take the child in her arms, but stretches out her arms to him and says or sings: “Pens, pens, give little hands ".

These sentences are not distinguished by any poetic merits, or originality, or variety, but the child always strives for his mother's arms, makes desperate movements with his little hands to touch the mother's hands, gradually develops the ability to control the movement of his hands. The word of the mother (pestuni), reflected in the mind of the child, evokes a certain idea of ​​the mother's affection, the volitional signal gives the command to the organs of movement, the child makes grasping or other movements with his hands. Thus, the primitive poetic scheme has fixed in the popular consciousness very important both for the physical development of the child and for the psychological ".

They are characterized by a kind of structure, determined by the nature and frequency of physical exercises necessary for a child at one time or another. Pies are laconic, they do not always have rhyme, and if there is always a steam room, repetitions are used, they are usually short, a kind of humorous conspiracies are close, for example: "Water off a duck, but thinness from Efim." Pestushki imperceptibly turn into nursery rhymes Nursery rhymes. It is customary to call nursery rhymes the special amusements of adults with small children, in which different parts of the body of a child and an adult are used. Songs are also called nursery rhymes - sentences that organize these amusements.

Many nursery rhymes in the recording are close in form to lullabies, by the nature of their performance, everyday purposes, emotionally - the melodic basis is completely different. " “It is not always sung, more often it affects, the words are accompanied by playful actions, they carry the necessary information to the child. With the help of nursery rhymes, pestuns developed in children the need for play, revealing its aesthetic content, prepared the child for independent play in the children's collective ... The main purpose of the fun is to prepare the child for poetry

the surrounding world in the process of the game, which will soon become an irreplaceable school of physical and mental preparation, moral and aesthetic education ".

The simplest jokes, comic motives are introduced into the nursery rhyme, gesticulation is added to maintain joyful emotions. The count is introduced in the nursery rhyme, the child is taught to count without an abstract digital designation of the count (for example, "Magpie"). Appendix 1. And these are the first steps towards communication, abstraction. Nursery rhymes are constructed in such a way that knowledge is almost never given in "pure form", directly. It is, as it were, hidden; the child's mind must work hard to get it. The nursery rhymes show the obligation of labor for everyone, even the little ones.

“In the nursery rhymes, as in the little pestle, the presence of metonymy is invariable - an artistic device that helps to cognize the whole through the part. For example, in the children's game "Ladies-Ladies", where were you? - By Grandma. With the help of metonymy, the child's attention is drawn to his own hands. The draw (or "collusion") determine the division of the players into two teams, establish order in the game. These are laconic works, sometimes rhymed, containing an appeal to the queens (representatives from each group) and a question, or just one question in which a choice is offered. The draw itself is a mystery. But the riddle is necessarily two-term, in which the images coincide or are opposed. It's usually rhymed. Sometimes the rhyme is contained in the address, more often it did not have a poetic organization or disappeared altogether. They are full of wit and healthy humor. Annex 2. (5.1-5.4.) Readers are used to distribute roles in the game, with rhythm being critical. The presenter pronounces the counting rhyme rhythmically, monotonously, consistently touching each participant of the game with his hand. The counters have a short rhymed verse (oh T 1 to 4 syllables). The counting room is associated with ancient forms of fortune-telling. The counting rituals have two main features, Firstly, the majority of counting rhymes are based on counting, and, secondly, counting rhymes amaze with a heap of meaningless words and consonances. The counting room is a kind of play with words, rhythm, and this is its artistic function.Game sentences and choruseswere included in the game action and contributed to its organization. The content of these works was determined by the game itself. In the games, children portrayed family life and labor activities in the village, which prepared them for adulthood. Sentences were also pronounced before diving into the river; in order to get rid of water trapped in the ear while bathing. In their sentence, children could chat with a request to Christian saints.

Some sentences carry a social meaning (Appendix 2. (7.2.-7.6.). Sentences nowadays bring joy to children everywhere.

Some of the younger children’s games arose as dramatizations. joke ... Jokes bring a cumulative composition into the game, and rhythm and onomatopoeia into the accompanying verbal series. Through the jokes of mothers and nannies, they introduce them to the habits and voices of birds and animals ...

The favorite verbal game of older children has been and remains Tongue Twisters - fast repetition difficult simykh words. Errors in pronunciation make you laugh. While playing, children simultaneously develop the organs of articulation. Especially popular tongue twisters with a complex and rich sound design (an abundance of alliteration, frequent repetitions, internal rhymes, assonances). Application 2 .(8.1- 8.8).

System of genres of children's folklore

Attitude to the game	Types by function	Genres
Non-fiction folklore	Nurturing poetry	Lullabies Pestushki Jokes Boring tales
	Funny folklore	Nursery rhymes Tongue Twisters Teasers, underwear Mirilki Fables Shifters
Game folklore	Chants, sayings Readers Game songs, choruses, sentences Silent women Gimmicks

Lullabies -some of the ancient genres of children's non-fiction folklore, performed by women over the cradle of a child in order to calm him down, lull him to sleep; often contains magical (incantatory) elements.

Pestushki - short sentences of adults, designed to calm the child.

Jokes - works of a comic nature, representing a comic dialogue, an appeal, a funny episode built on alogism.

Boring tales - jokes that combine fairy tale poetics with mocking or mocking content.

Nursery rhymes - small rhymed sentences with the purpose not only to amuse children, but also to involve them in the game.

Tongue Twisters - folk poetry, built on a combination of sounds that make it difficult to quickly and clearly pronounce words, sometimes meaningful sayings.

Teasers - a kind of genre of children's folklore, playful, often offensive rhymes, ridiculing a participant in a quarrel.

Underwear - a kind of teaser that contains a trick question.

Fable - a kind of joke genre that came to children's folklore from the buffoonery, fairground folklore. A distinctive feature of fiction is an oxymoron - a stylistic device consisting in the combination of incompatible, opposite in meaning concepts, words, phrases, as a result of which a new semantic quality arises.

Changeling - a kind of joke genre that came to children's folklore from the buffoonery, fairground folklore. A distinctive feature of the shape-shifter is perversion - the rearrangement of the subject and the object, as well as the attribution to subjects, phenomena, objects of signs and actions that are obviously not inherent in them.

Callouts - short rhymed sentences, appeals in poetic form to various natural phenomena that have an incantatory meaning and are rooted in the ancient ritual folklore of adults.

Sentences - poetic appeals to living beings that have an incantatory meaning and are rooted in the ancient ritual folklore of adults.

Readers - short, often humorous poems with which children's games begin (hide and seek, tag, rounders, etc.).

Game songs, choruses, sentences- rhymes accompanying children's games, commenting on their stages and the distribution of the roles of the participants.

Silent women - rhymes that are recited for relaxation after noisy games; after the rhyme, everyone should shut up, restraining the desire to laugh or speak.

Horror stories - oral stories-scarecrows.

Do you think kids only learn to swear from adults? No, they themselves have something in store. Teasing, calling names, hurting another with offensive words - all this kids are recruited already in kindergarten from their peers.

Of course, “in the beginning there were adults,” but if they teach, then the most innocuous, like the pedagogically justified “greedy beef” or “snare-snakes”. And a rare parent will teach his baby something like: "Alla, Alla, Alla, stuffed matches into her nose." However, children prefer this - more fun! To, like a joke, like hooliganism! For adults to react. Well, and more offensive, of course. Is it good? At least, this is natural, psychologists answer, but in general, even good.

Children's folklore - teasers and name-calling - was, is and will be, because without it there is no childhood. Yes, this is a manifestation of verbal aggression, the first abuse of children, but from this experience children learn to understand what it is like to be the object of someone's ridicule, and learn to resist it.

Those who call themselves names are called so ...

What it is? Children's teasers and name-calling are a phenomenon of children's folklore, an indispensable part of children's subculture, all human shortcomings are naturally reflected in them. This genre reflects both children's life, and the attitude of children to the world around them, and the relationship between them, and child psychology.

Children's teasers and name-calling are aimed at identifying some sign that a person does not like - glasses, hair color, fullness, thinness, height, a name that rhymes with something. Or behavior that goes beyond the accepted morality of society is humiliated: sneering, greed, tearfulness. Names of names based on ethnicity are not uncommon; they exist and have existed everywhere, in all societies. And in the nursery too.

Linguists believe that offensive words such as name-calling and teasing have existed since ancient times - from the very times when people tried to intimidate their enemies with words, tore off their shirt, smeared their faces and used all sorts of other military traditions.

What are they needed for? Children's teasers can be called a kind of primary school of morality in life. A child who finds himself in a team of his own kind understands that this is not a home where there are only affectionate parents, here is life, with all its difficulties and even sorrows. And to this, alas, you also need to get used to. And learn to fight back! Usually the offender tries the name-calling person “weakly”, thus outlining the psychological boundaries of what is permitted, and provoking the other to defend, erect and defend their boundaries. Mutual education, training, hardening takes place. So teasers and callouts perform an educational function, helping a child who is being offended to defend himself in the form of verbal defense, train emotional stability and self-control. It is also important that teasers verbally remove children's aggression - they talked out and went their separate ways. Baby teasers and name-calling are a way to establish norms of behavior in the children's community. For example, they can tease to warn about something: "A gnarled apple, Pickled cucumber, Lying on the floor, Nobody eats it." In a different way: you will be sneaking, no one will be friends with you.


What is to be done by someone who is being teased? First, it is worth behaving correctly within the framework of your society, for example, a kindergarten group. Don't stand out! Then there will be no likelihood of even teasing by name. (Although the option of teasing, like flirting or flirting, of course, also takes place, like pulling girls by the pigtails). And already, if you stand out, be able to stand up for yourself. Secondly, parents need to teach their children to perceive teasers correctly, adequately. The task of all teasers is to hurt the opponent by making him look funny, which means that this goal should not be achieved! The best option is to respond to the teaser with a teaser, "make excuses", give verbal change. And in no case should you succumb to fear, anger, resentment. Parents of offenders, in addition to the need to rein in their scattered offspring, being upset about this, should take into account that a large vocabulary (in poetry, all the more so) is a sign of the high intelligence of their children, because memorizing or even choosing rhymes on their own is a rather difficult task. Another thing is that the channel of this intelligence should be redirected.

Variety of species

Accurate in sound and maximally offensive in essence - this is the ideal of a child's tease and name-calling. The genre of children's folklore teasers presupposes almost any rhymed form of it: from more or less aesthetically finished - in two words, to full-fledged teasing verses. By the way, teasers in verse help speech therapists a lot in developing and correcting the speech of their little wards, because they are remembered quickly and with pleasure. And how they are used later!

Most often, the object of ridicule of children's teasers is names. Fortunately, you can find a rhyme for any name. They call them by their appearance, behavior, mental characteristics, character traits. The so-called absurd teasers are very interesting. Accidental stringing of words here is by no means accidental. Here humor is carved out of absurdity, which children perfectly understand. Such teasers can be compared with the poems of Kharms, so beloved children.

Teasers are used:

* as a habitual appeal to the always offended (for example, to a fat child);
* as a way to attract attention to yourself (for example, people of the opposite sex);
* as a randomly rhymed, aptly fitting and funny definition of a flaw or a situation.

Teasers making fun of this or that quality and warning teasers:

These teasers and name-calling are aimed at ridiculing specific negative qualities from the point of view of the offender. And also warnings.

Roar cow,
Give me some milk.
What is the price?
Three spots.

Greedy beef, pickled cucumber
You are lying on the floor, no one is eating you.

Imagined the first grade,
I took it, went to the resort,
At the resort got sick
And he fell asleep under the bench.

Imagined her tail between her legs
And ran away under the stove,
And under the stove is a crocodile
Imaginary swallowed.

There is a Jam in our class -
Instead of a nose - a nail puller!

Repeat - uncle pig
I licked the whole garbage
And he didn't say thank you.

Repeat - uncle pig,
And by the name of Turkey.
I licked all the plates
And I didn’t say thank you!

Greedy
Stuffed with sausages
Angry at me.

Greedy,
Evil chocolate.

Greedy,
Pickle,
Who does not eat it,
That fellow!

Greedy,
Pickle,
Lying on the floor
Nobody eats it.

Crybaby, wax, shoe polish,
hot pancake on the nose!

Salted apple
Boiled at the stake!

The trouble is the trouble
Cockroach food!

Jabber-snag,
Bass drum,
Who plays it
That nasty cockroach.

Appearance teasers:

Bold, bold,
Passenger train!

Fat-industrial-plant,
boobs boobs lemonade!

A fat barrel gave birth to a son,
And my son without ears
Sew the strings at least.

Fat donut
Give me a ticket:
There is nothing to light the stove with!

Who has 4 eyes
he looks like a diver.

Regiment commander -
Nose to ceiling
Ears to door
And he himself is like a sparrow!

Red-haired, freckled,
killed grandfather with a shovel.

Toothless hag
The cat gave birth to you
Pop baptized you
And he pulled his pants down.

Redhead-redhead,
redhead shameless!

Teasers by name:

Agashka - Dirty shirt.

Akulina from high
Strangled the gander.
The gander squeaks
Dragging one hundred rubles.

Andryukha is a pig's ear.

Anna is a banna
The leg is wooden
Damn thick
Drive, don't stop.

Alka is a jump rope.

Anna bath, shoe polish,
There's a hot pancake on my nose.

Boris is the leader of the dead rats.
And his wife, Larisa, is a wonderful rat.

Valyukha - without an ear.

Vasya the scythe,
Don't run in stripes
Run with a perch
Shake your face.

Vladik is a pancake.

Vovka is a carrot.

All Faiths are fools without measure.
Barbara - Above the barn!

Curious Barbara's nose was torn off at the bazaar!

Verka is a snuffbox!

Jackdaw-stick.
Jackdaw Jump Rope

Dinka is a piece of ice!

Dina - rusty railcar

Dunka is a swell,
Blow up the fire
Kiss Me.

Zinka is a basket
Front elastic band,
Behind the drum -
In all cities.

Inca pig.

Inka picture.

Irka is a hole.

Katya, Katya, Katerina,
A picture is drawn
And from picture to portrait,
There is no better Katya.

Katerina is a kitten
Fat pig
Rolled down the hill
Salom choked.

Kostik is a rusty carnation.

Lena - knee-deep snot!

Lenka - foam, sausage,
a wasp on a string.

Larisa is a rat.

Lidka is a snail
Pull out the horns
I'll give you a piece of the pie.

Lisa is a sucker.

Maha dashing - crushed a rooster
I went outside and crushed a chicken.

Masha loosened her braids,
And behind her are all the sailors.

Kolya, Kolya, Nikolay,
Threw a fur coat on the barn,
The fur coat is spinning, Kolya is angry!

Natasha is a turd.

Olga is a fool
I blew into the forest
I went to the forest
Found a penny
I bought some pollen
I washed my stigma.

Fields, Fields, Pelageya, Three buttons on the neck, Four on the side, The nose is full of tobacco.

Sonya is a monya.

Sonya is a fool, Sonya is a fool, I fell in love with a plasterer,
The plasterer is not a fool
I bought a cap for Sonya,
Sonya began to put on
Plasterer kissing.

Sveta is candy.

Sergey is a sparrow
Don't chase pigeons!
Doves are afraid
They sit on the roof.

Tanya - sour cream,
The kitty was running
I licked the sour cream.

Fekla, Fekla
Baked pancakes,
I dropped the frying pan,
I broke my head.

Fedya - copper,
I ate a bear.

Shura is a fool
I blew into the forest
Cora ate
I told everyone.

Julia is a saucepan.

Universal name teaser for boys:

(any name) - sparrow-sparrow-sparrow
drank a jar of snot.

Teasers are absurd:

Who has a shirt in a cage He looks like a stool.

Today is Sunday
For girls - jam
And to the foolish boys -
A thick stick on the sides.

I'll tell you in your ear
About the green frog.
Do not tell anybody,
Because it's you.

Chokley-mokli,
Mockley-chockley,
Your eyes are wet.
If you cry for a long time
You will croak like a frog.

Lips, lips two arshins,
A car runs on my lips
Car driver - driver:
"Lips stop, stop!"

Strongman Bambula raised four chairs!
But he barely lifted the match in three weeks!

Say "glue" - drink a jar of snot

Say "basement" - The skeleton kissed you.

Say towel! - You have two Germans in your nose!

Situational teasers

Deceived by the simpleton
Four fists
And one more fist -
It turns out a fool!

Deceived the fool
Four fists
And the fifth was blown away,
To inflate you!

Deceived the fool
Four fists.
Another fist, quite a fool.

Crybaby, wax, shoe polish
Hot pancake on the nose!

Tili-tili-dough,
Bride and groom,
Suddenly the bride is under the bed,
And the groom to look for her!

Tili-tili-dough,
Bride and groom,
Let's go swimming -
They began to kiss!

Tili-tili-dough,
Bride and groom,
Rolled on the floor
Kissed hard.

Excuse teasers, protective:

Walked - walked a crocodile, swallowed your word, and left mine and put a seal!

Nothing hurts, the chicken is happy

And I will put the ladder and rearrange all the letters

Black cash register, and I have the key, stop calling yourself names!

Whoever calls himself names like that, he himself is called that!

You speak to me - you translate to yourself!

Himself the same ten times!

Don't teach the scientist, eat the shit smoked.

It's funny for you, but I'm offended. You - sh ** but, but me - jam!

As I will kick you in the head, you will fly away on the pot!

I repeat, uncle pig,
And by the name of a turkey,
Who repeats after me
he dives into the restroom.
And there's a red light in the restroom
You dive, but I don't!

Selection of records

Alyosha-belesha It costs three pennies: Sheika - a penny, Altyn - a head, Two money per leg - That's his whole price.
Alyoshka gogo, Sheathed in leather.
Alyoshka-potato, I got a louse.
Alyoshka-potato.
Aleshkin's mother was going to die. She didn’t die, I only spent time.
Alka is a jump rope.
Andrey is a sparrow, Chushka-birdie, A frog on the move.
Andrey-barmaley Made a hat out of nails. Goes boasting, Nails fall.
Andryukha is a pig's ear.
Anna bath, shoe polish, Hot pancake on the nose.
Anton is a balabon.
Anton sells the bathhouse, Antonina does not give it, the Antonyats are crying, jumping.
Antoshka - potatoes, Straw leg, Himself from a marigold, Head from an elbow.
Grandma-hedgehog, Bone leg, went out into the street, crushed a chicken.
Grandma hedgehog, Blue potatoes, Baba Yaga, Bone leg, stoked the stove, boiled a leg.
Toothless hag, The cat gave birth to you, The priest baptized you And lowered his pants.
Boris is a barberry, Chairman of Fat Rats!
Boris is the leader of the dead rats. And his wife, Larissa, is a wonderful rat. And his son, Ivan, is a wonderful fool.
Borka - Boris Hanging on a thread! The string is cracking, And Borechka is squeaking!
Pinocchio - long nose, Picked up manure!
Valyukha - without an ear.
Valyukha is bitter.
Valya is a fool, she blew into the forest, she ate cones, she told us to. We don't want to, we laugh: "Hee-hee-hee! Ha-ha-ha!".
Imagined the first grade Took I went to the resort, At the resort I got sick And under the bench I fell asleep.
Imagining the first grade I was going to the resort, And came from the resort - I began to imagine more.
Imagined the first grade She ran away (left) to the resort, And came from the resort - Imagined even more (worse).
Imagined her tail between her legs And ran away under the stove, And under the stove the crocodile Swallowed Imagine.
Imagined her tail between her legs And ran away under the stove, And under the stove a crocodile, Imagine was bitten.
Imagined, Ponytail between her legs!
Imagined, the tail was between (a) And (under) the stove (bench) ran away (a)!
Vobrozhulya first grade Now he will go to the resort.
Vovan the fool was going to the war, As he saw the first tank, Immediately pissed.
Vovan the fool was going to war, As he saw a machine gun, he immediately crap.
Vovka - carrot, pickled cucumber, cucumber lying around and no one eats it
Imagine the highest grade! Where are you going? - To the resort. The resort is empty. Cabbage has grown!
Raven, raven. The tail is broken off, the tail is broken off, the nose is shackled.
That's the nose: God carried seven, And he got one!
In our class there is a Shuttlecock - Instead of an ear - a cockroach!
In our class there is a congestion - Instead of a nose - a nail puller!
Jackdaw-stick, Jackdaw-jump rope
They say to those who do not want to drive in the game: Neotvozh, red face, Looks like a Tatar. Seven hundred piglets Hang on the Wrong.
They say when someone "buys" a joke: They cheated a fool For four fists!
They say when something happens to the offender: Serve you right - A barrel of lemonade (chocolate)!
Lips, lips two arshins, A car runs along the lips, The driver is in charge of the car: "Stop, stop, lips!"
Dear, dear, Why so thin? Come to my village, You will be fat as a donkey.
Teasing - dog snout!
They tease the tall one: Uncle, get the sparrow!
Blackbird, blackbird, Simple, simple, Forged nose, Iron tail.
Fool, fool, lipstick She went into the forest - She puffed up her pants.
The fool-snow maiden Lied on the stove, Ate bricks!
Uncle Styopa with a long nose He came to me with a question: - How to reduce this nose, so that it does not grow anymore? - You buy vitriol And put it to the nose, Pick with a chisel - The nose will fall off afterwards.
Uncle Piggy - I repeat I licked the whole trash heap And did not say thank you.
Uncle Piggy - I repeat, And by the name of Turkey. I licked all the plates, But I didn’t say thank you!
Uncle Piggy, Uncle Piggy, And by the name of Turkey. I licked all the trash heaps, But I didn’t say thank you!
If someone answered the question incorrectly, they said: Doesn't fit, doesn't fit, The cow is following you. And a cow without a tail is Your own sister!
If you want to know the teaser, Sign up for kindergarten Or write "Murzilka". "Adults" are teasing the guys there.
Greedy beef, Turkish drum! Who plays it? Vaska is a cockroach!
Greedy, beef, empty chocolate!
Greedy, beef, Empty chocolate, Greedy, beef, Pickled cucumber Lying on the floor, Nobody eats it!
Greedy, beef, Fluffy drum, And who plays it, That red cockroach!
Greedy, beef, Pickled cucumber, Lying on the floor - Nobody eats it!
Greedy, beef, Dry (large) chocolate!
Greedy, beef, Rotten cucumber, Lying on the floor - Nobody eats you!
Greedy, greedy, Greedy-beef!
Greedy beef Stuffed with sausages, Angry at me.
Greedy beef, Salted greedy, Boiled over the fire!
Greedy beef, Evil chocolate.
Greedy beef, Pickled cucumber, Who does not eat it, That fellow!
Greedy beef, Pickled cucumber, Lies on the shelf, Nobody eats it.
Greedy beef, Pickled cucumber, Lying on the floor- Nobody eats it. The fly flew in, sniffed and ate.
Gilda came to the truth. (Gilda is a deceiver.)
Once upon a time there was a grandfather. He was one hundred years old. I’m sorry to tease him, And don’t know how to tease him.
Fat barrel Gave birth to a son, Didn't have time for the fifth - Gave birth to the tenth. And the tenth without ears, Shouts: "Mommy, sew!" And the eleventh bald, Runs after the rat!
Bold, bold, Passenger train!
Fat-Prom-Combine, Tits-Pussy-Lemonade!
A fat barrel gave birth to a son, And a son without ears, Though the strings were sewn.
Fat donut, Give me a ticket: There is nothing to light the stove with!
Winter-summer parrot! (tease not for the weather wrapped up)
Thorny bastard!
Inka pig, Inka picture
Like a mountain eagle At the top of the Caucasus, Our Vovan is sitting on the edge of the toilet!
When something bad happens to a greedy one, they say: The vein does not live long!
Kolya, Kolya, Nikolay, stay at home, don't walk!
Regiment commander - Nose to the ceiling Ears to the door, And he himself is like a sparrow!
Regiment commander - Nose to the ceiling, Ears to the door, And he himself, like an ant!