Alatyr

Magic stone, referred to in Russian conspiracies, legends and fairy tales.

In most plots, Alatyr is identified with amber. Since the place of mining amber is the Baltic coast, in folk texts it is often called Alatyra. In spiritual verses, Alatyr is often replaced by the altar (on the consonance).

In conspiractions it is said that Alatyr is located on the island of Buyan in the middle of the sea-ocean. The stone has healing power, healing rivers spread from it. Sometimes Alatarem is called the throne on which the girl is sitting, healing wounds.

Probably the source of the plot about Alatyra are medieval European legends, they are talking about a fantastic stone treated from all diseases. The stone is in a hard-to-reach place and is a navel of the earth. Therefore, it is performed by magical strength and consider all the gems (ancestral) of all gems.

In Russian conspiractions, it is also said that Alatyr - "All Stones Father." In the conspiracy, the magical properties of the stone are emphasized: "On the sea, on the ocean, on the island of Bujan, there is a Bel-Gulching Stone Alatyr, all stones Father. On Tom Stone, Alatyra sits the Red Maiden, the seamstress, holds the needle Bulatat, ingests a silk thread, ore yellow,

sew wounds bloody. I speak the servant of God (name) from the cut. Bulat, away foreclosure, and you, blood, flow stopping. "

Alyosha Popovich

One of the three main heroes of the Russian epic, younger in age.

Alesha Popovich and Tugarin Zmeyshevich Artist N. Kochergin

Started in the images of Ilya Muromsz, Aleshi Popovich and Dobryni Nikitich Archaic features allowed researchers to conclude that the characters of the epics arose as a result of rethinking images of unknown deities. In particular, they resemble a fabulous triad - Goryna, Dubia and sleep, heroic, helping the hero to get lived water (Tale "Goryna, Dubyan and Pulling - Bogati").

At the same time, by many features, the image of Alesh is similar to other archaic heroes of the Russian epic, for example, the wizard-hero of Wolga Vsevik-Vievich (Will) - a young who loving the impression of his strength. Some researchers (in particular, B. A. Rybakov) tried to identify Alyosha Popovich with the really existing Russian warrior Alexander Popovich, who died in the battle at Kalka in 1223. Perhaps the name of Alexander Popovich appeared in the chronicles under the influence of the widespread eponym about Alese Popovech, in other words, we are talking about secondary influence.

By the texts of the epic, you can restore the biography of Alesh Popovich. Like Ilya Muromtsom and Dobryne Nikitich, he comes from Northeast Russia and is the son of the Rostov Priest Leonty (according to some texts of the epic - Fedor). The birth of Alesh Popovich is accompanied by traditional wonderful signs - grommets and sparkking lightning. Almost immediately manifests the heroic qualities of the hero: Alyosha asks the mother "do not swing his shoes," because he can already sit on his own on horseback. As hardly ending on his feet, Alyosha Popovich wants to go to walk "Bella Light" - so all epic heroes do.

Alyosha Popovich goes to Kiev, where it meets with other heroes. Gradually, he enters the Bogatyr Triad. According to some researchers, Alyosha is the most "human" of all the heroes of the Russian epic, since in its characterization there are not only traditional hectares, but also elements of the psychological assessment.

The description of Alesh Popovich is different from other characters attempts to create a dynamic and endowed image properties. From the older hectares of Alesha is distinguished by cunning, as well as some unbalanced behavior, a gusty and sharp character. As they say in the eponym, "he does not strengthen Silen - scold," the enemy wins not so much as cunning.

Sometimes Alyosha can deceive not only the enemy, but also his companion Dobryna Nikitich. Therefore, for such actions, he is constantly punished (the "marriage of Dobryni and the failed marriage of Alyosha"). Alyosha Popovich loves to apievet, often silen by his power. However, his jokes are not always harmless. Alyosha can offend 1 surrounding and even offend them. Therefore, his comrades - heroes - often condemn the actions and behavior of Alyosha.

Alyosha Popovich - the hero of traditional heroic scenes. The most archaic of them is the plot of Boy with Tugarin (Abonya Popovich and Snakes, "Alyosha and Tugarin"). The collision of the heroes occurs or along the way of following Alyosha Popovich to Kiev, or in Kiev itself, and Alyosha Popovich always acts as a defender of honor and dignity of the prince.

Tugarin is trying to strangle Alyosha smoke, fall asleep to sparks, burn in flame flame, but invariably tolerate defeat. Alyosha prays God, he sends rain, wings at the snake wock, and he cannot fly. The main duel between him and the alesh occurs on Earth. Alyosha deceives the enemy, forcing him to turn around ("What are you doing with you?"). The battle ends traditionally - the victory of the hero. Having signed the body of Tugarine "along the pole field", Alyosha Popovich raises the enemy's head on a spear and brings her to the prince of Vladimir.

The story of the marriage of Alesh Popovich on the sister of Zbodovich Elena (deer, Olenushka) is also described in the epons. The plots of the unsuccessful matchmaker of Alyosha Dobryni Nikitich Nastasya Mikulichny are also known. Sometimes two plots are connected, and then the Dobryni is called Nastasya Zlodovichnaya.

Alconost.

The image of a magic bird with a female face. Usually mentioned in Byzantine and Slavic medieval legends. Calculated in parallel with a similar way to Sirin's birds.

Baba Yaga, Sirin and Alkonost. Artist I. Bilibin

The legend describes that the alkonost bears eggs on the seashore, then immerses them for seven days in the marine bunch. The sea remains calm until the chicks will hatch. Therefore, with the image of the alkonosta, believes about the source of the origin of marine storms.

An image that occupies a special position in mythologies and magical fairy tales of different nations.

Baba Yaga (Yaga Yagishna, Jean-Baba)

In national traditions, the image is multifaceted and controversial: Greek Nymph Calypso, Naguchitsa in the fairy tales of the peoples of the Caucasus, a stallow-camping in Kazakh fairy tales, grandmother Metelitsa - in German.

In Russian fairy tales, Baba-Yagi repulsive appearance. Usually it appears in the image of the old woman on the bone leg, poorly seen or blind. She throws his huge breasts on his back. In particular, such a description is common: Baba Yaga, bone foot, sits "on

Stupa oven, on the ninth brick, "she has" teeth with a pest on the shelf, and the nose in the ceiling is thrown. "

Baba Yaga. Artist I. Bilibin

In fairy tales it is said about how Baba Yaga kidnaps children and fries in the oven, throwing them there with the help of a shovel. Researcher V. Ya. Prippet associated the origins of the origin of the image with the rite of rite the child to give him invulnerability. This motive is present in a variety of fabulous and epic works (Iliad "Homer, Nart Epos). V. Ya. Proppus offered to interpret fairy tales about Baba Yaga as a reproduced in mythological form of an initiation rite. The researcher expressed another assumption. He noted that the main "activity" of Baba-Yagi is due to her close relationship with wild beasts and forest. She lives in a deaf chat, the beasts and birds are observed. Therefore, V. Ya. Prippet connected the origin of Baba-Yagi with the path of the hostess of animals and the world of the dead, common in the fairy tales and myths of many nations. So, it is easy to see the similarity of Baba-Yaga and the evil witch of Loukhi - the mistress of the fairy-tale country of faders from Finnish fairy tales: both old women live in the forest and oppose the chief hero.

In the fairy tales of the Western and Eastern Slavs, it is said that Baba Yaga lives in the dense forest in the "hut on curiped legs". The hut surrounds the fence from human bones with turtles on the pillars. The constipation is replaced by a hand with each other, instead of a castle - jaw with sharp teeth. Baba-Yaga's hut turns around the axis all the time. The hero can penetrate it only after the spell says: "Stand on the old one, as the mother put! To the forest back, to me before. "

The meeting of Baba Yagi with a hero begins with questions and ends with the assistance to him. Often, the hero alternately falls to three sisters and receives assistance only among the eldest women-Yaga ("The fairy tale of the Molding Apples, Live Water and the Device Sinegylase").

Connecting the features of many ancient characters, in different plots, Baba Yaga acts as a hero's assistant, a donatel, and the counsel. Then her appearance and the dwelling are losing frightening features. Only one constant detail is preserved: the hut be sure to be on the bitter legs. In some fairy tales, Baba Yaga stands as a mother of serpent, opponents of the main character. Then the hero comes to her in the duel and wins.

Bova-koroch

Hero of Russian magic fairy tales and cheating leads.

Bova Queen Lubok. XIX century

The image of Bove is known in Russia from the beginning of the XVII century, the transfers of the Polish "Tale of Beve-Korolevich" appeared. As the basis, a medieval romance was used about the adventures of the knight buoyo from the city of Ancona; The novel was reworked into the folk book, the versions of which were separated by all European countries - from Poland to Macedonia.

Together with other similar monuments - "Tales about Eruzlan Lazarevich", "Tale about Peter of Child Keys" - "Tale of Beauvai-Korolevi"

he entered the Russian folklore. Over time, the image of Bow is found along with the images of Russian warriors and fabulous heroes - Ilya Muromets, Dobryni Nikitich, Ivan Tsarevich.

The story describes how Bova seeks love of the beautiful royal friendly. Fighting with numerous enemies, Bova performs feats, breaks alien troops, defeats the fabulous hero of Polkana (receiving a half-eating). Completion of the story traditionally - Bova is connected to his beloved, overcoming all the goats and obstacles.

The image of bovy entered the written culture. Since the inadvertises of his adventures continued to go down to the beginning of the 20th century, the image caused interest among Russian writers who perceived it through the oral environment (Nyanyushki stories). At the end of the XVIII century, A. N. Radishchev wrote the poem "Bova". In 1814, the image of Beauvaus used Pushkin, who created the sketch of the poem "Bova".

Boyan

The image of the epic singer in the "Word about the regiment of Igor".

Goes back to Indo-European images. Analogs are found in the epos of almost all European peoples.

Face Guclyastry Artist V. Vasnetsov

It is not known whether Boyan existed in reality. In joining the word about the regiment of Igor, "(XII century)

it contains the following characteristic: "Boyan Bo prophetic, whichest to whom the Song of Creating, spreads the thoughts on the tree, a gray wolf in the earth, Shizum Eagle under the clouds." I will suggest that the author of "Words about the regiment of Igor" could generalize the real features of the court singers of Kiev Rus in the image of the Boyana.

However, the image of Boyana is mentioned not only in the "Word about the regiment of Igor", but also in other monuments of the XII century, in the inscriptions of the XII century, scratched on the wall of the Sofia Cathedral in Kiev, as well as in the Novgorod Chronicler.

Boyang is usually characterized by the permanent epithet of the "Velezov grandson", which indicates its connection with the other world, the God of the underground world, as well as on its supernatural nature (a variety of magical skills).

Another permanent epithet, which is part of the characteristic of the hero is "prophetic," - reflects the idea that the singer had secret knowledge and could predict events or cause them with his songs. Such qualities are endowed with epic singers (Braga in the "Elder Edde", Vynyamyinen in Finnish runes). On the specifics of the poetic manner of the Boyana, the beauty and sophistication of his texts also says the definition of the "nightingale of the old time".

The interpretation of the image of the Boyana in the literature was under the influence of secondary folklorization and widespread use of the image by the authors of the late XVIII century and A. S. Pushkin in the poem "Ruslan and Lyudmila", after which the image and began to be perceived as a fabulous (Piece A. N. Ostrovsky "Snow Maiden" and the author's interpretation of the folk singer in the form of a Lelia).

Buyan

The name of the fabulous island referred to in Russian fairy tales and conspiracies (for example, in the promotion "on the sea-ocean, on the island of Buyan is a bull baked. In the side of garlic pushed yes, the knife is sharp."

In conspiracies, the Island of Buyan is the place of residence of mythological characters (sometimes Christian saints or evil dedication-rakes). There are also some magic items.

(Stone Alatyr). It was believed that the mention of Buyan in the conspiracy gives concreteness to appeal and, accordingly, makes it more efficient.

Vasily Buslaev

Character of the Russian epic epic.

The protagonist of the two epic of the Novgorod cycle. Probably, they appeared not earlier than the XIV century, because in the image of Vasily Buslayev traditional heroic features or absent, or simply listed. In the late versions, the hero even acts under the name of the Vaska-drunkard.

Vasily Buslaev Artist A. Ryabushkin. Illustration to the epics

The following information about the hero is reported in epics: he was born in Veliky Novgorod. When he was seven years old, then:

He began to board the city,

On Princeytsky courtyard to peek

Became joking-from, joking,

Joke jokes he is unkind

With boyars, with prince,

Which dries hands - the hand away

Whose foot is the leg away

Two-three together will fall - without soul lying.

Gradually, he feels the "Silhoe Great" and manufactures the heroic weapons - the Pale, onions, spear and a saber. Then Vasily picks up the "squirrow Khorobrhuy" from thirty wellms. However, the difference between his actions from the actions of traditional warriors is that Vasily does not fight with any opponents, and together with comrades only brands and he holds on the bridge "With the peasants of Novgorod". Appearing with a friend on Bratchin - the general holiday of Nicoli-Wonderworker, - he satisfies the fight. Men Novgorod trying to doubt the violators of the order. Grabbing the axis of the TV, Vasily

He began to skip the men, the Vasilushka wax will wax - the street is intermediate. In Tamed in the river, Volkhov on a whole mile on the measuring water with blood mixed.

Vasily Buslaev enters a kind of confrontation with all residents of Novgorod. But under the influence of the mother, "honest widow", he is forced to recognize his wrong. Realizing that perfect sin must be redeemed, Vasily is equipped with a ship and asks Mother to bless him:

Give me a great blessing -

To go to me, Vasill, in Yurusalym Grad,

I'm prayed to the Lord

Holy shrine appless

In the Erdan-River was washed.

Mother gives him a blessing, but only for good deeds.

On the way to Jerusalem, Vasily climbs "on the mountain Sorochinskaya" and sees the human skull on earth. When he discarded his foot from his way, his voice suddenly:

Why do you, head, throw off?

I, well done, was not worse than you,

And on that mountain Sorochinsky,

Where it lies empty

Empty my head

And there will be a head of Vasilyeva.

But Vasily does not pay attention to the warning:

And I do not believe in a dream, nor in the chole, but I believe in my screaming elm.

In Jerusalem, Vasily makes all the laid rituals, serves a lunch, a memo, applied to the shrines, but in the end violates the order - bathes in Jordan, where Jesus Christ was baptized. Calculate from past sins, he immediately makes a new one. On the way back, Vasily stops on the mountain, but now sees the "Bel-Gulching stone", under which hence the bogatyr. On the stone inscription, stacking that you can't ride along the stone. But Vasily violates the ban again:

Embedded, napped along the stone and did not dock only a quarter, and then it was killed under the stone. Where is the head of the head lies, there Vasilla hinged.

The stone symbolizes the border of the ownership of death. Vasily tried to break the border of her kingdom, inaccessible alive, so death takes him.

In the early ways, Vasily Buslaev, Vasily Buslaev, acts as a boyars son, but then his origin is not mentioned. Such an admission allows brighter to show the role of Vasily Buslayev as the head of the poor, attacing the rich ships.

Basilisk

The mythical animal mentioned in the legends, spiritual verses and conspiractions.

Basilisk

The image first appeared in the ancient Greek antique sources: Vasilsky [2] was considered a snake with the diadem on his head (it looks like a cobra before the attack). Look she kills all living things. The image of Vasilisk penetrated into medieval bastiary (collections of animal descriptions) and legends. In the middle engraving of the XVI century. A century Vasilisk was portrayed with a rooster body and a snake tail. In the Slavic world, Vasilisk represented as a huge snake capable of killing poison, look and breathing. In the legends of many nations, the Vasilisk is reported to penetrate through the walls and turn everything alive into the stone. If Vasilisk will see its reflection in the mirror, it will die. In Slavic sources, it is said that Vasilisk Turkey's head, the eyes of the toad, the wings of a volatile mouse, a snake tail. Sometimes his appearance resembled a huge lizard with a crest on his head and a long twisted language.

Birth information Vasilisk is contradictory. In one legend, it is described that Vasilisk is born from a roasting egg arched by toas; In the other - the cock raises the egg in the altar. Vasilisk himself can also carry eggs from which Vijuki hatch.

According to beliefs, Vasilisk lives in the caves, where he spends the bright time of the day. He does not tolerate sunlight and the crust of the rooster, so it can leave his asylum only at night. In the caves Vasilisk finds food, because only stones eat.

Giant

The character of Slavic mythology is found in fairy tales, legends and legends.

In the image of the giant, the features of a person and an underground monster were connected. Traces of beliefs have been preserved to our days in legends, where the giants are often depicted by half-semi-seater. The giant looks like a man of huge growth, "above the forest of standing, below the Walking clouds." He has such a force that can turn the mountain, pull the tree, raise the pahahar along with the harness.

The Slavic legends describe that the giants were the first inhabitants on Earth. They were equipped with a desert land: molded mountains, drew the river beds, sneeze the fields and forest plants. The echoes of such legends entered the Estonian "Ka-Levipuegg" and became the basis of numerous legends.

V. Ya. Propamp assumed that the images of the giants arose on the basis of the characters of the oldest myths, which speak about the struggle of the Hero-throatman with an opponent who came out of the ground. In Indo-European myth, it is described that the rover

zhets can perform in the image of the Giant (Ukko in the Finnish epic). To hit unclean power, he throws not only lightning on earth, but also huge stones. In Greek myths, it is told about the struggle of the gods with hecanthears - storuchny giants, huge, like rocks. In the Scandinavian epic "Elder Edda", the opponent of the giants of Grimturov is God-Rublzzzt Tor.

In Christian legends, the divine origin of the giants is not mentioned. They were considered to be pagans, examining as savages and cannibals with non-doggy, and human heads. In some fairy tales, giants act as kidnappers of people.

There are several versions of the death of giants. It was believed that God had punished them for pride and disbelief in his power (biblical motive). Known a legend that God destroyed the giants for having harmed people - destroyed at home, pulled out fields and forests. In other plots, it is told that the giants died during the World Flood, because they could not feed themselves. In the apocryphal legend it is said that the giants ate a huge bird of Cook. The winner of the giants could be an ordinary person, armed with a corresponding prayer or plot. Sometimes giants defeated the hero endowed with the heroic force.

In later legends, the images of the giants were often identified with various invaders - Tatars, Turks, Swedes, or even Huns. It is curious that then the knowledge of the Latin language was attributed to the giants, which should have to emphasize their ingenic origin.

Traditional folklore motifs are connected with the designs of the giants: victory over the snake, throwing into the sky of Bulava, causing grommet rolls. Founded when blurring the river banks, pieces of huge bones of fossil animals were often associated with giants, like huge stones left by the glacier. And stones, and pieces of bones were used in folk medicine as a means against fever. Traces of beliefs were reflected in the texts of the conspiracies.

Verloka

The fabulous monster, inhabitants in the deaf forest, the destroyer and the fighter of all living things. He is always an enemy of fabulous heroes.

The image of the rims is found in Russian, Ukrainian and Belarusian folklore. The description of the rods is traditionally: "Growth is tall, about one eye, in the shoulders of Paul Arsshina, on the head of the bristle, the keeper rests, grin is scary." The description coincides with the images of some characters of children's horror stories. Apparently, this feature determines the prevalence of the character only in fairy tales intended for children.

In the image of the rims, the features of the wizard-giant are clearly visible. He destroys everything around him, kills every counter. After the death of the rod, the magic action stops, and all he killed, resurrect. To combat the villain, people (grandfather) are united, and animals (spleen), and non-living objects (acorn, rope).

In the XX century, the image has received a kind of creative rethinking. The vertices became the hero of the same name of the fabulous story V. A. Kaverin. Since only one traditional trait is preserved in the image of the vertices - a bond with the forest, some researchers determine the genre of the story as fantasy.

The character of East Slavic mythology, which combined the features of fabulous giant and traditional signs of unclean power. In fact, the image is invented by N. V. Gogol.

The name of Viy comes from the Old Slavonic word "Weix" (Ukr. - Vinca), eyelashes. Viy - Giant, with difficulty moving due to excessive gravity of the body. Viya Viya has a deadly force - he kills or turns into a stone. His eyes are constantly hidden under the huge centuries, they are raised by the forms of demons accompanying the monster. Viy acts as the lord of the afterlife or leader of the devil. He not only causes harm to man. With his deadly look, see the cities where the wrong things are inhabited. In this motive, traces of the oldest beliefs in the "bad eye" were united with ideas about the beings endowed with a deadly look (Vasilisk).

The image is interestingly interpreted in the story of N. V. Gogol, based on Ukrainian folk legends. It combined the features of various characters: Vasilisk, the Lord of the underworld, St. Kasyan, who is considered the embodiment of the leap year and the personification of all sorts of misfortunes. In the apocryphal legends, this is holy that he lives in a cave where daylight does not penetrate. His look also brings a man in misfortune.

It is curious that this motive entered the Yves apocryphic tale of Judas Izyaritote: In the punishment for the betrayal of Jesus Christ Judas, I lost sight because of an overly crumpled century.

Wolf

One of the main animals in Slavic mythology.

According to legends, the wolf created the hell, blinding it from clay. But the hell could not revive him. Then the features appealed to God, who breathed his soul into the wolf. The dual origin of the wolf led his border position between this and the light, man and unclean power.

The wolf is always opposed to a person as an personification of rough destructive power. The wolf hostile to man, destroys cattle and can attack people. The main sign of the wolf in conspiracies and, above all in fairy tales, is considered his alienity, belonging to another, inhuman world. Therefore, the wolf is often endowed with supernatural features - iron teeth, fiery skin, copper head. It is curious that in the wedding songs, they call the accompanying groom, as well as the bride's nurse, because during the wedding in the groom's house they are strangers. In the folk songs, the rod of the bridegroom, accordingly, calls the bride with a wolf.

However, there is a belief that, destroying the devil, the wolf acts in God's will. Almost all over Europe is the idea that the meeting with Wolf foreshadows luck, happiness or any well-being. Apparently, therefore, in the magical fairy tales, the wolf consistently acts as an ally or magic hero's assistant. He helps Ivan-Tsarevich miner the magic items, and then resurrect it with the help of live water.

With the image of the wolf is associated with ancient idea of \u200b\u200bthe iswolves. It is in wolves that the sorcerers and the people are distinguished by them. There are numerous cheils that wolves are subordinate to Lesme, which collects them in the glade and feeds like dogs.

According to Christian beliefs, the wolf is considered a wader of herd. The patron of wolves is Saint George. In Trulichki, it is described as Saint Yuri (Georgy) in the spring distributes their future prey between wolves.

With the Holidays of St. George, rites protecting from wolves are connected. In particular, these days it is impossible to eat meat, kick out in the field of cattle, as well as perform work related to livestock and cattle breeding. It was dangerous to mention the name of the wolf in everyday speech. Thus appeared numerous euphemisms, which are replaced by the name of the animal in fairy tales, is "gray", "gray sides", "God's dog", "Forest Dog".

To protect against the wolf, conspiracies addressed to Lesme or St. George with a request to take "their pieces". Having met the wolf, followed knees and greet it.

The eyes, heart, teeth and claws of the wolf served as amulets, they were attributed to therapeutic properties. Wolf Tooth hung on the neck of the child, whose teeth teething. Wolf tail or wool is worn from it to protect against disease.

Volkodlak

In Slavic mythology, the wolflake is called a person who has a supernatural ability to turn into a wolf. In the views on the wolf tree, the features of the folklore image and a character of Christian demonology were connected.

The sign of the wolf tree is growing on the wolf's wolf (s), noticeable at birth. From her and there is a Slavic name character.

The motive of the transformation of a person into the wolf is distributed in folklore of all European countries, as well as the Caucasus, which indicates the occurrence of an image in ancient times. Some epic heroes (oxes Vslavlevich, Beowulf, Sigurd) and literary characters, in particular, Visclav Polotsk ("The Word about the regiment of Igor"), possessed the ability to turn into a wolf.

Researchers bind the image of a wolf tree with an oldest marriage form - wash (abduction of the bride). In some Russian dialects, the bridegroom called the wolf. Numerous stories are preserved about the transformation of people into wolves during the wedding.

A person could become a wolf tree and thanks to witchcraft. Also known was the motive of turning into a wolf after putting on wolf skins, the opposite occurred when it was removed. In the Lithuanian and Latvian folklore of such characters were called Wilktakas (Valkatsimi). Typically, the transformation was carried out when equipped with a enchanted belt (sewing) or overheating (smoking) through a stump. At the same time, an appropriate conspiracy was uttered: "The name of the devil, I will become a wolf, gray, quick, like fire."

Like a real wolf, Wolfodlak attacked people and animals. There are stories about how the enchanted person seeks to overcome the power of witchcraft, does not harm anyone and refuses raw meat.

Sometimes the wolf varnish turns into a bear. About such a transformation is described, in particular, in the ancient Russian handwritten book "Charovnik". But the beliefs about the transformations in bears are less common, because the bear personifies a different circle of beliefs.

With the way the wolf tree is connected and the myth of the origin of the solar eclipse. Many Slavic peoples are known for the stories that during the eclipse of the wolf tree eaten the moon (sun). It was believed that after the death of the Wolvescodlak could become a lot, so before the burial he followed the mouth or put a coin into him.

In Russian literature, the image of the wolf tree was distributed after the publication of the poem A. S. Pushkin "Vurdalak".

Folklore is a kind of mapping of popular consciousness. And it distinguishes it from other forms of language art, including from literature, in which the author is expressed by the person. It may also be a purely personal perception of the surrounding, while the folklore combines collective, public vision. Modern literary criticism is increasingly referring to the phenomenon of mass literature and the peculiarities of its functioning within Russia. The authors of the XXI century have recently show a tendency to active interpretation of traditional culture mining. The growth of popularity of mass literature is ensured by the use of the reader's ability writers to reproduce the images and plots presented in the work. Very often, such a "base" is folklore.

Folklore motifs

Folklore motifs sooner or later use all writers of both mass and elite literature, the difference lies in their functions at this level. In mass literature, folklore is primarily the "factor of education of national literature", that is, the guarantor of the correlation of text with generally accepted literature standards, which is ready to consume a reader. Under such circumstances, literary crowns are trying to determine: what is the folklore in the literature, how the folklore motives interact with the works of mass literature and what the features of their influence on the author's text, as well as transformations that folklore text are being included as it is included in the plane of a modern literary product and change it Traditional values. The researchers establishes the limits of entering the folklore text to the text of the literary and trace transformations of universal folklore archetypes. One of the main tasks will find out what folklore is in the literature, to investigate their mutual influence and links in the works of mass literature.

Traditional folklore

The authors of mass literature the main task when writing the work put the reader's interest. For this, first of all, they strive for the workshop of intrigue. Zofya Mitosk in the article "The End of Monezis" writes that "the construction of intrigues is the game of traditions and innovations." And if under the concept of traditions to keep in mind "Transfer from one generation to other traditional forms of activity and communication, as well as related customs, rules, ideas, values", then for the reader Folklore is a worthy representative of the tradition in the literature. In modern society, you must instill with the younger generation the need to study the traditional folklore.

School Program: Literature (Grade 5) - Genres of Folklore

The fifth grade is an important phase in the development of schoolchildren's linguistic education. Appeal to works with the use of folk materials is due to the need for self-affirmation, the substantial susceptibility of the fifth grade students to folk creativity, the compliance of the folklore as an oral word to the active speech of the child at the constant development stage. Such education in high school gives a student of the lesson of literature.

Genres of Folklore, which should be studied in modern school:

Ritual creativity

• Calendar ritual poetry.
• Folk drama.
• Heroic epic.
• Duma.

Ballads and lyrical songs

• Ballads.
• Family and domestic songs.
• Social and household songs.
• Rifle and rebel songs.
• Chastushki.
• Songs of literary origin.

Fabulous and non-surrender historical prose

• Folk tales.
• Legends and legends.

Popular Pamiography

• Proverbs and sayings.
• Puzzles.
• Folk beliefs.
• Basni.

Folklore - "Genetic" element of minigration

The artistic action in the plot of works of literature is most often simple and clear, designed to respond to the ordinary consciousness of the reader. Folklore is a "genetic" element of minigration and, as a rule, is detained into consciousness with the first songs, fairy tales, riddles from childhood. So, at school, the features of folklore works gives a student a literature lesson (grade 5). Folklore makes the world clearer, trying to explain the unknown. Therefore, when the functions of folklore and literature interacts, a powerful resource is created to influence the consciousness of the recipient, in which the text is able to mythologize human consciousness and even cause the transformation of the rational sphere of human thinking. The answer to the question "What is a folklore in the literature" is determined by a whole direction of inalienable creative understanding and use. In the works of folklore, the ideas of creativity are often revealed on the verge of intersection with literature. Perhaps this affects the original ritual folklore. Literature (Grade 5) in the modern school is increasingly returning to the topical theme of spiritual and cultural rebirth today, in the primancy of the existence of our people, one of the main media of the information about which is a folklore.

Tradition analysis

Nowadays, a certain tradition of analyzing what folklore in the literature, according to which equating creativity to standards is considered inappropriate: despite the label of "massiness" of the novels, they have their own style, creative manor and, most importantly, the theme of works. They "regenerated" from the depths of the soul eternal themes, the interest in which he dreamed from the reader since the beginning of the new era. The beloved themes of the ancient authors there is a village and the city, the historical connection of generations, mystical stories with love-erotic color. On well-minded historical images, the modern style of "direct" description of events is built, traditional culture is fed in a modified version. The heroes of the works are characterized by the lack of comprehension of life and psychological experience, the descriptions of their characters are emphasized by reminiscence to the history and culture of our people, which are most often manifested in the author's retreats and remarks.

Deskralization of folklore

The accents are made on the visualization of paintings, which is carried out with the help of increased dynamism of the presentation of events and the effect of inactive, which stimulates the reader to the creative "cooperation". In each novel, the hero exists in the personally created by the author of the world, with its own geography, history, mythology. But if reading the recipient perceives this space as already known, that is, it penetrates the atmosphere of the work from the first pages. Such effect authors achieve due to the inclusion of various folk schemes; That is, we are talking about the "imitation of myth not mythological consciousness", according to which the folk elements act under their traditional context and acquire another meaningful value, but at the same time perform the identification function by the reader already known to him by ancient meaning. Thus, in the texts of the mass literature, the traditions and folklore are descralized.

The phenomenon of the modification of the past and present

The phenomenon of the modification of the past and the present can be traced even in the nature of building almost all works. Texts are replete with proverbs and sayings, which allows in a compressed, condensable form to convey the centuries-old experience of the people. In the works, the main thing is that they act as elements of monologues and the characters of the Hero - most often the characters of wisdom carriers and morality are used. Signs and sayings also perform a function of a hint of the tragic fate of the heroes of that time. They carry a deep meaning, one sign can tell about all the hero.

Folklore is the harmony of the inner world

So, certain mythologization and attribution to folklore in the works is natural and the same integral part of the world created, as the specifics of the peasantry, ethnic flavor and living, real broadcasting. Mass literature is built on the "basic models" of the consciousness of the reader of this people (which are based on "initial intentions"). In the works such "source intensions" are folk elements. With the help of folk motifs, there is proximity to nature, the harmony of the inner world, and the remaining functions of the folklore are departed into the background, sacrality simplifies.

2.1 Characters of Russian Folklore

In the folklore of the Russian people, there are many characters, there are characters that appear in one or two legends, but there are heroes that are characteristic of almost all works of the Russian people. Such heroes, as a rule, help to make something, or other action / to make a decision that will greatly affect the fate of the character. Such "mooring heroes" is usually:

Baba Yaga (Original - Yaga Baba) is one of the most archaic, and therefore the most complex and multidimensional images of Russian folklore. The Yaga woman's image coincides with the external signs of the witch (see Witch) - untidy, ugly angry old women with a long hook nose and gray cosmas. But this similarity ends.

Immortal Koschey (Kashing) - Always a purely negative character, quite often consists in union with other negative heroes, as a rule, the death of the villain is in the egg, the egg is in the duck, the duck is in the hare, the hare is in Orel, and the eagle sits in Larz So that the villain would die need to break the needle.

Baba (grandma, old woman) is one of the most kind, spiritual images of folk poetry. Baba never meets without grandfather (man), this image is exclusively pair. If the man (grandfather) is not, then out of a strong, sweating, spelling, sometimes foul and stupid, but invariably worker and nonsense, she immediately turns into bitter widow, orphanka

"Lived grandfather and baba ..." - a typical staining of the Russian fairy tale.

Grandfather and Baba together decide domestic, family, moral and moral and even universal problems, truly sharing everything in half.

Lesus-- supernatural creature of Slavic legends and Russian fairy tales. This is the main owner of the forest in Slavs, he is watching no one in his farm hurt. It treats good people well, helps to get out of the forest, not too good - bad: confused, makes walking with circles. The place of residence of the spirit is a deaf forest cable, but sometimes a wasteland. However, this spirit dwells in the forest is not constantly, but only in warm season. "On Yerofay," they considered the peasants, "" Les with the forest break. " On this day (17th October), the Spirit falls under the Earth, where it seems to spring, but in front of the wintering slave comes: raises the storm, breaks the trees, dispelled the animals on the nora and rampant.

Kimikor (Shisimmor, Sustemyda, Mamra) - a character of Slavic-Ugric mythology, as well as one of the types of houses. The evil spirit in the guise of dwarf or a small woman, the head of which from the hard and the body is thin like a straw. Kimikora lives in a house behind the furnace and is engaged in spinning and fabric, and also rolls at night with spindlers and a rustling of the home owners (for example, tears yarn). It was believed that babies were becoming children who were dead unresolved.

These heroes are usually the main, and are also found in every fairy tale.

Old Russian literature

The concept of ancient Russian literature denotes the literature of the eastern Slavs of the XI-XIII centuries in strict terminological meaning. Before their subsequent division into Russian, Ukrainians and Belarusians. From the XIV century Special books traditions clearly manifest ...

Genre of detective in English neoromantic literature

The detective is directly involved. Different people can act as a detective: law enforcement officers, private detectives, relatives, friends, familiar affected, sometimes - completely casual people ...

The genre of the experimental novel in the works of John Faulza on the example of the "Magus" novels ("The Magus") and "French Lieutenant's Woman" ("The FRENCH LIEUTENANT'S WOMAN")

Characters - fictional figures moving along with the plot, have a very problematic existence compared to real people. Being compiled from words, not from flesh and blood, they lead entirely fiction, and ...

Forms of unclean power in the national folklore

The witch is one of the most famous images of Slavic demonology, combining the features of a real woman and an evil spirit. The word "Witch" is formed from the ancient Russian "to conduct" - to know. Initially, it did not have an ominous meaning (cf. Lady ...

Forms of unclean power in the national folklore

The witch is a Latvian-Lithuanian magical creature, usually a girl. Sometimes called Laume Vai Spoonaga. In fairy tales and epics usually harms people. In fairy tales and epics, the witches have several functions. Usually know how to fly on the broom ...

Forms of unclean power in the national folklore

The system of images in the novel "Hero of our time"

Comparative analysis of "Pinocchio" K. Kolododi and "Golden Key, or the Adventures of Pinocchio" A.N. Tolstoy

Characters at A.N. Tolstoy is obsessed clear and definitely, as in folk fairy tales. They take the origins of folk plots, epic and dramatic. Pinocchio in something close to the reckless parsley from the folk theater ...

Russian fate and Russian peasantry in the context of studying creativity I.A. Bunina at school

The tragedy of Shakespeare "Hamlet"

The image of Hamlet is revealed in its entirety in relationships with all the characters. After all, every secondary character has its own task, his destiny and illuminates some kind of the nature of the chief hero ...

Folklore starts in the novel T. Tolstoy "Cas"

The talent of the writer is determined by the significance of his literary discoveries. The devout is something that does not repeat and unique. The nature of the literature does not tolerate the secondaryness. The writer creates his image of the real world ...

Folk Traditions in Lyrics A.S. Pushkin

Exploring the relationship between the book and folk lyrics, one cannot forget about the complexity of the nature of their relations, which were due to the specifics of the development of literature and popular poetic creativity in one or another period of national history ...

Folklore traditions in the works of Gogol

Introduction

Works created by the people of several centuries ago, are transferred to wisdom, talent, the dismissions of the people themselves. Fairy tales, proverbs, sayings - all these means of literary expressiveness, which people created for centuries, are not only interesting works that you can spend more than one hour, but also is the moral source of the people.

In the first part of my work, genres of folklore will be considered, as well as his subspecies. The second part of the robot contains material about the images of unclean forces in national folklores of different nations. The third part of my work implies a comparison of similar images of unclean forces.

This work is devoted to the study of the peculiarities of the national folklore, as well as in it, some of the most famous images of unclean forces will be considered. On the example of some Heroes of the Heroes of Folklore, I will try to consider which way of development was literature, as well as I will stop my attention on what people believed what they worship. In my work, I touched upon the problem of the interests of modern society to folk creativity, as well as the relevance of folk creativity in modern literature.

I chose this topic, as it is quite interesting and informative, it seemed very interesting in this topic. It seemed to be what was working mainly with folk tales, and work with the texts, especially fairy tales, is always a fascinating and entertaining process. . Also very interesting it seemed to me that now people practically do not pay attention to the images of unclean power in the literature.

This topic is quite relevant in our time. After all, in recent times, interest in the unreal, fictional, fairy tales in our time is rapidly moved to the background. They are rarely read, unless they are rarely read by children, and about deep subtext.

The hypothesis of my work is that people began to "leave" from fairy tales, and, consequently, from the heroes that are present in them.

In my work, the following goal is set: a generalization and comparison of the images of unclean power in the national folklore.

In this regard, the objectives of the abstract:

Consider and summarize material about the meaning and features of oral folk art.

Examine images of unclean power in Slavic, Russian and Latvian folklore

To conduct a survey on the topic: "What kind of heroes of the National Folklore do you know?"

What is folklore?

Folklore (English Folklore- Folk wisdom) is the designation of the artistic activities of the masses, or oral folk creativity, which arose in the additional period. This term was first introduced into scientific use by the English archaeologist U.J. Toms in 1846 and was understood as widely as a totality of the spiritual and material culture of the people, his customs, beliefs, rites, various forms of art. Over time, the content of the term was sore. There are several points of view, treating folklore as a folk artistic culture, such as oral poetic creativity and as a combination of verbal, musical, game species of folk art. With all the variety of regional and local folklore forms inherent in general features, such as anonymity, the collectivity of creativity, traditional, close relationship with labor activity, life, the transfer of works from generation to generation in oral tradition. Collective life defined the emergence of similar peoples of the same type of genres, plots, such measures of artistic expressiveness, as hyperbole, parallelism, various types of repeats, permanent and complex epithet, comparisons. The role of folklore was particularly strong during the prevalence of mythopoietic consciousness. With the advent of writing, many types of folklore developed in parallel with the fiction literature, interacting with it, providing on it and other forms of artistic creativity influence and experiencing the opposite effect. The inexhaustible source of Russian musical identity (the most ancient types of folklore) in the public life of the ancient Russia Folklore played a much larger role than in subsequent times. Unlike medieval Europe, the ancient Rus did not have secular professional art. In her musical culture, only two main spheres were developed - temple singing and folk creativity of the oral tradition, including various, including "semi-professional" genres (art of narrowers, scrookhs, etc.). By the time of Russian Orthodox gemmography (1), Folklore had a centuries-old history, a prevailing system of genres and means of musical expressiveness.

Folklore is a folk creativity that originated in deep antiquity is the historical basis of the entire world artistic culture, a source of national artistic traditions, an expressant of popular self-consciousness. Some researchers relate to folk creativity all types of non-professional art (amateur art, including folk theaters). The exact definition of the term "folklore" is difficult, since this form of folk creativity is not constant and institution. Folklore is constantly in the process of development and evolution: chastushki can be executed under the accompaniment of modern musical instruments for modern topics, new fairy tales can be dedicated to modern phenomena, folk music can be influenced by rock music, and modern music itself may include folklore elements, folk visual and Applied arts may be influenced by computer graphics, etc.

Folklore is divided into two groups - ritual and non-stop. The ritual folklore includes: calendar folklore (carols, passengerous songs, spring), family folklore (family stories, lullaby, wedding songs, inhibiting), occasional (conspiracies, shallows, countertilers). The non-stop folklore is divided into four groups: folk drama, poetry, prose and folklore of speech situations. The folk drama includes: Parsley Theater, Relief Drama, Religious Drama.

Folklore poetry include: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, chastushka, children's poetic songs (poetic parodies), sadistic poems. Folklore prose is again divided into two groups: fabulous and non-durable. The fabulous prose includes: a fairy tale (which, in turn, there are four types: Magic fairy tale, a fairy tale of animals, a household fairy tale, a cumulative fairy tale) and anecdot. The non-ticket prose includes: legend, legend, fast, mythological story, a story about a dream. The folklore of speech situations include: proverbs, sayings, prosperity, curses, nicknames, teasers, dialogs, riddles, patters and some others. There are both written forms of folklore, such as letters of happiness, graffiti, albums (for example, songwriters).