03.11.2019

Ritual poetry of the peasants. Calendar ritual poetry

1. Introduction
2. Holiday Kalyada
3. Maslenitsa holiday
4. Calls of spring
5. Feast of the Trinity
6. Kupala holiday
7. Harvest Festival
8. Feast of the Intercession
9. Conclusion
10. List of used literature

Introduction

Folklore is a part of folk life. He accompanied the first plowing, youth festivities, holiday ceremonies. Ritual songs are called songs that are performed during a variety of ceremonies.

The ancient Slavs believed that such rituals influence the forces of nature: they contribute to a good harvest, successful hunting, livestock offspring, bring health, happiness and wealth to a person, etc.

Calendar-ritual poetry - these are songs that were used in a number of rituals associated with the folk calendar, based on the schedule of agricultural work during the seasons. These songs personified the forces of nature that mattered for agricultural labor: the sun, the earth, the seasons (frost, “spring-red”, summer).

Holiday Kalyady

Kolyada - one of the big ones Slavic holidays, translated from Latin - the first day of the month. This holiday dedicated to winter solstice, to the birth of the New sun, the new solar year, to the turning of the sun into spring.

With the singing of carols - songs, young men and girls dressed up and went around the houses, glorified their owners, wished a rich harvest, abundance, etc. Cheerful, short carols were the song form of such wishes. At the end, carolers asked the owners of the house to reward them. The rewards were:

The pig ran away from Maksimka,
Yes, she ruined Kolyada,
And you boy
Don't walk, don't walk
And collect carols, collect ...

If the owners refused to treat, then they could sing for them:

At the mean man
Born rye is good:
Spikelet is empty,
Straw thick!

After the adoption of Christianity, the Kolyada holiday coincided with the celebration of the Nativity of Christ.

Kolyada, Kolyada!
And sometimes Kolyada
On the eve of Christmas.
The carol came
Brought Christmas.

Carols are also reflected in sayings. “It crackles at carols at night, and stomps during the day.” "Carols have come - pancakes and pancakes." "Carols - master's orders."

Before Christmas and on New Year's Eve there was a custom - Christmas divination by lot, which were accompanied by observant songs, in an allegorical form, foreshadowing the future for each participant. The songs foreshadowed: wealth, happiness, misfortune, marriage, etc.

On the oven
She rose high.
To whom did we sing
That's good.
Who will take out
That will come true!

Maslenitsa holiday

Maslenitsa - one of the most fun ancient holidays, celebrated during the week before Lent, distinguished by hospitality and a plentiful feast.

The holiday contains a number of elements of Slavic mythology. Performers of the rite as if they “conjure the sun”, cause its spring “flare-up” . In the folk calendar of the Eastern Slavs, this is the border of winter and spring. The main traditional attributes of the folk celebration of Maslenitsa are a stuffed Maslenitsa, fun, sleigh rides in the "sun" - in a circle, festivities, Russians always have pancakes and cakes, Ukrainians and Belarusians have dumplings, syrniki and block, which, as it were, symbolize the sun.

Maslenitsa portrayed in songs as a rich, beautiful and generous guest, whom the people met with joy and fun:

Our Shrovetide annual,
She is a dear guest
She does not walk to us,
Everything rides on horseback,
So that the horses were black,
To keep the servants young.

To celebrate Maslenitsa, a scarecrow with songs was taken around the village, and then buried or burned.

And we rolled our oil,
Buried in a hole
Lie down, carnival, until the raid ...
Maslyanitsa-wettail!
Drive home from the yard
Your time has passed!
We have streams from the mountains,
play ravines,
Turn out the shafts
Set up a sohu!
("The Snow Maiden" Ostrovsky)

Sayings:

Not everything is Maslenitsa for the cat, there will be Great Lent.
Maslenitsa obeduha, money tucked away.
Ride on the slides, roll in pancakes.
Eat cheese, sour cream, butter, all troubles - get rid of the generosity of the soul.
Feast-walk, woman, to Maslena, but remember about fasting.

Calls of spring

After seeing off Maslenitsa, there were seven weeks of Lent. During this period, all kinds of entertainment were strictly prohibited. Even songs could not be sung. The girls gathered for gatherings: they spun, needlework, discussed village news, talked about boys and told their dreams.

The rituals associated with the meeting of spring were accompanied not by singing, but by clicking. This is what has been allowed since ancient times. And it was even mandatory. The Slavs believed that for Spring to come, you need to call it, ask it to come - call it out. In the evening evening, the girls climbed onto the roofs of the sheds, went out to high places and from there called for spring.

Spring, red spring!
Come, spring, with joy,
With joy, with great mercy:
With big flax
With a deep root
With great bread.

At this time, the return of migratory birds began. To bring spring closer, housewives baked figurines of birds with open wings: “rooks”, “larks”, “waders”. Each member of the family, going out into the street, threw them into the air and called out:

Larks, larks!
Fly to us, bring us
summer is warm.

There were many calls. After playing enough, shouting, the figures were attached to the branches of trees, thrust under the roofs of houses and sheds. Leftover biscuits were eaten or fed to livestock.

All this was associated with the arrival of spring, the spring revival of the earth.

Trinity Feast

The summer holiday is widely celebrated - Trinity . This is one of the most important holidays of the year. For the Slavic peoples, this day is special, many signs and rituals are associated with it. The rebirth of the earth after winter It was celebrated with mass festivities, the girls weaved magnificent wreaths and wondered about marriage and their share, throwing them into the water on Trinity and watching how the river takes them. They led round dances, which were accompanied by various songs:

curly birch,
Curly, youthful.
Under you, birch tree,
Everything is not a poppy blooms,
Under you, birch tree,
Not a fire burns;
Not a poppy blooms
Not a fire burns -
Red girls
They stand in a round dance,
About you, birch
All songs are sung.

The feast of the Trinity organically merged pagan and Christian beliefs.

Feast of Ivan Kupala

Ivan Kupala (Midsummer Day, Kupala Night) - national holiday of the Eastern Slavs, dedicated summer solstice and the highest flowering of nature. approach to harvest. The time coincides with the Christian holiday of the Nativity of John the Baptist.

According to tradition, two cleansing rites were performed: bathing and jumping over the fire.

Lime burned, burned,
Under it sat a Paneyka.
Sparks fell on her
The boys cried for her
Why are you crying for me?
I'm not alone in the world
After all, I'm not the only one,
The village is full of girls.

Girls collect herbs and flowers, weave wreaths, on which they tell fortunes and store amulets (wormwood, St. John's wort, nettles). On the Kupala night they look for treasures (blooming fern).

The main purpose of Kupala rites is to drive away evil spirits so that they do not spoil the crop before harvest. This is what fires are for. Boys and girls spent the night on the eve of Kupala in the field.

Kupala spent in the field.
And we didn't sleep much at night
After all, we guarded the field.

harvest festival

Harvest Festival is dedicated to the harvest, fertility and family well-being - spas: honey, bread, apple.

The harvest is over, which laid the foundation for the well-being of the family for the coming year. The last guest of the stems was tied with a wreath - they “curled their beard” so that the strength of the earth would not be impoverished.

The goat lies on the bed,
Marvel at the beard:
And someone's beard
And all entwined with honey?

To restore strength, they rode through the harvest. With joyful songs they returned home. The last sheaf was taken with them and kept in the village all year.

Oh, and thank God
What a life they reaped
What a life they reaped
And they put it in the cops:
On the threshing floor with haystacks,
In the cage - bins,
And in the oven with pies!

On such days, they honored and thanked the Mother of God (Mother - Cheese-Earth) for the harvest. It is believed that she gives well-being, patronizes agriculture, family and especially mothers.

Feast of the Intercession

Winter was "touted" in the same way as spring: with festivities and festivities. IN folk tradition V Cover noted autumn meets winter . This day was associated with the first hoarfrost or snow, which covered the earth like a blanket; associated with the first cold.

By the weather of that day, by the way the leaves fall from the trees, from where the wind blows, which birds fly south, they wondered about the nature of the coming winter.

There are sayings about this: “Autumn on Pokrov before lunch, winter in the afternoon”, “If a leaf from an oak and a birch falls on Pokrov purely by a light year, and not purely by a severe winter”, “The cover covers the ground either with a leaf or with snow” , “Cranes fly away to Pokrov for an early cold winter”, “On Pokrov the earth is covered with snow, dressed in frost”, “Six weeks from the first snow to the sleigh journey.”

From Pokrov they began to drown the huts. When lighting the stove, the housewives used to say special words: “Father-Pokrov, heat our hut without firewood.”

It was believed that on this day the Brownie went to bed, and in order for him to keep warm in the hut, they performed the rite of “baking the corners”. They baked small pancakes, and the first pancake was divided into 4 parts. They were laid out in the corners of the house so that the brownie was full and satisfied.

The agricultural year is over and it's time again fun games, festivities, weddings with their ceremonies and rituals. In Pokrov, the girls asked Lada for an early marriage, they wondered.

By the feast of the Intercession in the hut they tried to bring full order and prepare as many treats as possible from the fruits of the new harvest.

Over time, the feast of the Intercession became more Orthodox, but among the ancient Slavs it was one of the most important holidays of the year.

Conclusion

Calendar-ritual poetry - this is an artistic generalization of the labor experience of a peasant - a farmer. Calendar holidays facilitated the hard work of the peasants, gave them the opportunity to rest, filling it with poetry.

Bibliography

1. V.P.Polukhina, V.Ya.Korovina, V.P.Zhuravlev, V.I.Korovin. Literature. 6th grade. 1 part. - 2nd ed. — M.: Enlightenment, 2013

2. Internet sites:
https://en.wikipedia.org
http://rodovid.me
http://vedmochka.net
http://www.myshared.ru
http://www.ronl.ru

Genre system of Russian folklore.

The genres of Russian folklore in their totality represent a historically established artistic system in which all types of works are in complex and peculiar relationships and interactions. The formation and existence of a system of genres is one of the important patterns in the development of folklore.
The system of folklore genres arises, firstly, in connection with the ideological and artistic principles common to them; secondly, in connection with the historically developed relationship between them; thirdly, in connection with the general historical fate of genres.

The genres of oral folk art are characterized by a common ideological essence, which should be defined by the word "folk". The image of the life of the people, the reflection of their psychology and views, the expression of their ideals and aspirations are inherent in all folk art, in all its genres. This already unites them into a purposeful ideological and artistic system.

The composition of the genres of folklore and their connection with each other also determine their common task of multilateral reproduction of reality, and the functions of the genres are distributed in such a way that each genre has its own special task - the image of one of the aspects of life. The works of one group of genres have as their subject the history of the people (epics, historical songs, legends), another - the work and life of the people (calendar ritual poetry, labor songs), the third - personal relationships (family and love songs), the fourth - the moral views of the people and his life experience (proverb). But all genres taken together cover life, work, history, social and personal relations of people and thus complement each other.

The fact that the genres of folklore have a common ideological essence and a common task of many-sided artistic reproduction of life also causes a certain commonality or similarity of their themes, plots and heroes. Folklore forms a single system that has common life material, and therefore, naturally, general pictures of nature and life, scenes and events of exploits, struggles with monsters, for example, in fairy tales and epics, similar types of heroes.

The genres of oral folk art are also interconnected by a common system artistic means folklore-originality of composition, symbolism, special types of epithets.

In the formation, development and coexistence of genres of folklore, a process of complex interaction takes place: mutual influence, mutual enrichment, adaptation to each other.

genetic connection genres suggests that genres are formed on the general folklore basis that precedes them, due to which they have common or very similar features, or that one genre serves as the basis for the emergence of another genre. So, the epic was formed not only on the basis of early types of heroic songs, but, obviously, on the basis of legendary fairy tale genres. In turn, the epic preceded the historical song.

In the history of folklore, there is also an opposite phenomenon - the impact of new genres on old ones, and previously popular genres change their structure and poetics. Often, under the influence of new genres, old ones disintegrate. So, a historical song, having arisen as a continuation of the epic, itself, in turn, causes changes in the epic: a greater development of social conflicts and coverage of the personal relationships of the characters, simplification of poetics, for example, a decrease in the role of common places, a change in verse.

A peculiar form of interaction between genres of folklore is the inclusion of works of one genre in the works of another.

So, one can observe a proverb in an epic and a lyrical song, where it serves as a conclusion, an aphoristic conclusion or a moral rule that regulates the behavior of characters (an example from the epic about Dobrynya and Gorynocha - Dobrynya's mother says that the morning is wiser than the evening).

The genres of Russian folklore did not appear simultaneously. The oldest folklorists consider ritual songs, charms, riddles, proverbs; somewhat later - fairy tales, epics; even later - historical songs and, obviously, lyrical; the newest genre is ditties.

The historically established system of genres of Russian folklore undergoes changes in the future: it can develop, improve, enrich itself, but it can also disintegrate.

It should be pointed out that different periods of the history of folklore are also characterized by different genre composition, which excludes the coexistence and interaction of some genres, which is characteristic of the folklore of other periods.

As a genre system, folklore can be divided into 2 large groups:

ritual poetry

non-ritual poetry

The first is more ancient in origin, the second grew out of the first, but it is largely independent.

RITUAL POETRY

Ritual poetry arose in connection with human relations on the one hand and in connection with eternal social relations in society. Therefore, the entire ritual folklore is divided into 2 groups:

Calendar ritual poetry

Family ritual poetry

Some researchers distinguish 3 groups - conspiracies and spells. There are disputes here, because. incantations and spells can be associated with the attitude of a person and with the attitude of the community. But they are not included in the rite itself, therefore, a third group is distinguished, considering the first two groups to be the main ones.

Spring

FAMILY AND HOUSEHOLD RITUAL POETRY:

1) maternity and baptismal ritual songs. Genres: lullaby, nursery rhymes, pestles, korilki, teasers, counting rhymes.

2) wedding ceremonies. Genres: lamentations (of the bride, girlfriends, relatives), wedding songs (purely ritual), magnification, sentences of the friend.

3) recruiting ceremonies. Genres: lamentations, soldiers' songs.

4) funeral rites. Genre: funeral songs.

NON-RITUAL POETRY

Allocate groups:

1) Epic prose genres (fairy tale, epic, legend, tradition, bylichka)

2) Epic poetic genres (epic, historical song, folk ballad)

3) Lyrical poetic genres (drawn-out folk song, ditties)

4) Small non-lyrical genres (proverbs, sayings, riddles)

5) Dramatic texts and actions (theatrical scenes, folk drama)

6) Children's folklore (rhymes, pestles, counting rhymes, etc.)

Calendar ritual poetry.

CALENDAR RITUAL POETRY is connected with the relationship between man and the surrounding world, primarily with natural phenomena. It is divided into 4 periods:

Spring

These are the periods that determine the theme of the rites and their purpose. Within these periods, rituals and genres of ritual poetry arose. There are enough of them. Let us name the main ones, the texts of which have been collected to a sufficient extent.

As part of WINTER genres arose: carol, podblyudny song, autumn song,

Within the framework of the SPRING period, such genres as: Shrovetide songs, vesnyanka (calls), songs of the Red Hill, Egoryevsky songs have developed.

As part of SUMMER period: Semitsa songs, Kupala songs, songs of Peter's Day, a number of songs related to the funeral of Kostroma.

As part of the AUTUMN period: stubble songs.

WINTER PERIOD

Carols. Carols are songs of New Year's content, in which, as a rule, a paired rhyme. After each pair of rhymed verses, there is a refrain-cry in which the word “carol”, “oatmeal” or “grapes” is mentioned. According to 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 refrain-exclamation. In the most detailed forms, the refrain-exclamation includes a description of the rite of caroling itself, a message that carolers walked for a long time, looking for a house, the owner of which they wished to congratulate with a song.

After that comes the glorification itself, which is the main meaning of the carol. First of all, carolers give an ideal description of the house of the magnified. Here is an idealized description of the dwelling. It turns out that before us is not an ordinary peasant hut, but a real tower.

In the same idealized plan, a description of a peasant outfit is given in a carol. It is said about the peasant that he “put on a caftan worth a hundred rubles”, “girded a sash worth a thousand”.

All this, of course, is fiction, in the reality of which no one believed. But this fantasy had a deeply vital, definite social meaning. In fantastic pictures of national wealth, they painted not the real, but the desired. These fantastic pictures in carols performed to some extent the functions of a magic spell.

The next important motif of the carol is specific wishes to the person to whom the carol is performed. Distinctive feature these wishes - sobriety and realism. Propp writes on this occasion that if magnification in somewhat abstract and conditional forms depicted the image of a rich boyar, then the final part of the singing directly and directly promised the peasant what was most important and necessary to him: not gold, silver and furs, but crops, cattle , health, satiety, contentment.

The carol ends, as a rule, with the demand for rewards for caroling, for good wishes. Carolers demand pies, pork legs, and so on. For those who do not give gifts, carolers express bad wishes, sometimes jokingly threaten with reprisals.

ritual poetry

RITUAL POETRY. - This term refers to that section of oral poetry (folklore, see), which is associated with traditional rituals. In the early stages of the historical life of human society, the art of art played a very prominent role, and in the field of art it occupied a dominant position. After passing the very initial stages of human society, having survived a period of non-religiousness, and in poetry the stage of the most primitive song creation, almost completely subordinating an improvised, unstable verbal text to a musical rhythm suggested by the rhythm of collective physical work, humanity, one must think, already at the stage of the prenatal commune developed the OP. The latter reflected the established social relations, cast in the form of traditional customs. Animistic and totemic views inevitably led to the emergence of traditional rites, i.e., religious ceremonies that became more complex as the social relations, gender and age differentiation, with a gradual concentration of power and advantage in the hands of the elders. With the establishment of the tribal system, which was accompanied by the strengthening of religion, one of the most powerful means of exploitation in primitive society, opportunism reached an enormous development.
At the same time, a large place in social and religious practice was occupied by one of the early forms of religious consciousness - magic, based on the idea of a primitive thinking person that it was possible to cause the desired phenomenon by depicting a similar one (the so-called similny magic) or by touching one object to another one could convey from one to another their properties (the magic of touch). Magic, gradually being transferred into the category of "secrets", served to consolidate the authority of the tribal elders and the caste of priests, magicians, sorcerers, sorcerers, shamans that grew up in their midst, skillfully using magic and rituals connected with it in order to control the masses.
A magical religious rite, usually associated with the processes of material production and, in general, with the practical interests of life (war, the adoption of new members into the clan, the transition of members of the tribal commune from one age group to another), was one of the most striking manifestations of the so-called. syncretism (see). The magical rite was a combination of real everyday elements with undifferentiated forms artistic creativity, of which, with further complication of economic and social life mankind, subsequently developed art forms - music, dance, various kinds of poetry - epic, lyrics, drama.
In the scientific historiography on the issues of opportunistic literature, a number of stages have been passed, reflecting successive scientific directions (for more details on them, see Folklore). Opening this series of romantic. the school that created the mythological school in folkloristics, first of all, sought to see the expression of developed myths in OP, thereby transferring to earlier eras detailed religious ideas and images that could exist only at later stages. In many of the most primitive magical rites and in the songs that accompanied them (mostly consisting of improvisations prompted at times by completely random associations characteristic of primitive thinking, or by the demands of rhythm), mythologists tended to see the expression of complex myths. This erroneous method affected the constructions of folklore for a very long time. Following foreign scientists, Russian representatives of the mythological school created a large number of myths that did not actually exist. Even amateur folklorists of the 18th century. was created and attributed to the ancient Slavic poetic-religious consciousness, in parallel with the Greek Eros, the Roman Cupid, as well as Helios-Apollo, the image of the god of love and poetry - Lelya. Scientists mythologists of the middle of the XIX century. they picked up and painted this figment of fantasy (from here, and not from traditional folklore, Ostrovsky (see) for his "Snow Maiden" was taken by the image of the legendary shepherdess Lelya). Meanwhile - as it was convincingly revealed by Alexander Veselovsky - the word "Lel" is taken from the refrain "lel-lyuli", traditional in spring ritual songs, which is a distortion of the Greek church refrain "halleluja" perceived by the Slavs. This example from the history of the songwriting of European peoples, even of relatively modern times, shows how careful one must be in the scientific interpretation of traditional images and verbal expressions in song folklore.
The “school of borrowing” or “wandering plots,” which replaced the mythological school, also established quite a lot of facts in the field of operatic art of the mutual influences of one culture on another. Focusing its attention mainly on the plot side, therefore being interested in Ch. arr. narrative genres of folklore, this school left a less significant imprint on the study of OP than the mythological theory or its “anthropological” theory, which arose somewhat later, or the theory of spontaneous generation of plots. Led by such exceptional connoisseurs of world folklore, especially the folklore of the primitive peoples of the colonial countries - Australia, Africa, Asia and America - as Taylor and Lang, the anthropological school has collected colossal material to explain the genesis and history of O. p. But the absence of a strictly thought-out concept of the history of culture, including religion and art, as well as the very general idealistic premises of their evolutionism, made the works of representatives of the anthropological school predominantly only collections of rich comparative materials that played a significant role in further development Sciences.
These materials were used by the English scientist Fraser. On the basis of a comparative study of the folklore of the most diverse peoples, he expanded and deepened the theory of the German scientist Mangardt (though still connected by many threads with the mythological school), expressed in his famous book Field and Forest Deities, in relation to the O. p. Frazer based his teaching, set forth in the work The Golden Bough, based on the disclosure of the role of magic in the folklore of the peoples of the whole world. O. p. was illuminated primarily from this angle of view. But despite great importance for modern folkloristics of Fraser's works, one cannot but point out his major theoretical mistakes, which consist primarily in the fact that he exaggerates the role of magic - it is attributed to them to the very initial stages of human society - and besides, magic is separated by him from religion as supposedly the most ancient form of scientific thinking . With these statements, Fraser showed a clear bias directed against the materialist doctrine of the existence of a non-religious stage in the development of human culture and against the understanding of magic as one of the forms of religious consciousness and one of the major brakes on cultural progress.
The materials obtained by the anthropological school were widely used for his theory of the development of poetry by Al. Veselovsky ((see), Sobr. Sochin., Series 1, vol. II, issue I. Poetics of plots 1897-1906, St. Petersburg, 1913), who moved from the theory of borrowing to the construction of his own evolutionary doctrine. For all its theoretical shortcomings, Veselovsky's Historical Poetics was of great importance for scientific research on questions of the genesis and initial stage of the development of poetry, first of all, poetry, to analyze the separation of differentiated forms of independent arts from the initial syncretism. The closest student Al. Veselovsky E. Anichkov, the author of the largest in Russian language. researches on O. p. (“Spring ritual song in the West and among the Slavs”, vols. I-II, St. Petersburg, 1903 and 1905), following mainly the theory of the teacher, nevertheless, in a number of issues departs from him, having learned to a large extent degrees of Fraser's construction.
There are extremely few Marxist works on the study of ritual poetry. Particularly noteworthy is Paul Lafargue's article "Wedding Songs and Customs" (1886), published in Russian translation in "Essays on the History of primitive culture"(ed. 2nd, M., 1928), where Lafargue, noting the huge historical meaning ritual wedding songs, fights against the adoption of the theory of borrowing. When studying the genesis of the OP, one cannot possibly miss Plekhanov's Letters Without an Address (1899-1900, reprinted in the 14th volume of his works). Particularly important here is Plekhanov's criticism of Bucher's theory, who considered play among primitive peoples to be genetically preceding labor, and not vice versa, as Plekhanov argued in accordance with the main provisions of the historical-materialist method. True, Plekhanov objected (Works, vol. XIV, p. 59) to the views of Bucher, expounded in his book The Origin National economy”, noting a large discrepancy in it with what is expounded by Bucher in his well-known work “Work and Rhythm”.
Plekhanov correctly establishes in Bucher's reasoning about the game as the alleged predecessor of labor the influence of Karl Groos' book "The Games of Animals" published in 1896, the biological concept of which is applied to the human primitive society Plekhanov breaks brilliantly.
Focusing on various games and dances of savages, Plekhanov reveals in them an undoubted utilitarian, economic basis, of course reflected in the specific worldview of primitive man. “The redskins of North America dance their dance of the buffalo just at a time when they have not come across buffalo for a long time, and when they are threatened with starvation. The dance continues until the bison appear, the appearance of which is put by the Indians in a causal connection with the dance”; “... We can say with confidence that in such cases, neither the dance of the buffalo, nor the hunt that begins when the animals appear, can be considered fun. Here the dance itself turns out to be an activity pursuing a utilitarian goal and closely connected with the main life activity of the redskin” (ibid., p. 63). The question of how the idea of such a connection between the “buffalo dance” and the actual appearance of bison could arise in the mind of a savage is not analyzed by Plekhanov, but he clearly leads to the problem of the role of magic in the ritual games of primitive peoples. Veselovsky gives many similar examples of magical ritual actions. Take at least the most common among many Siberian hunting peoples, the so-called. "bear holidays", which are exceptional in brightness and elaboration of manifestations of that primitive syncretism, which lies at the basis of ritual poetry. “The imitative element of the action,” writes Veselovsky, “is in close connection with the desires and hopes of primitive man and his belief that the symbolic reproduction of the desired influences its implementation” (“Works”, vol. I, p. 238).
With the development of a religious cult, primitive ritual magical performances gradually turn into a complex cult drama (see). “Drama, in its first artistic manifestations, retained all the syncretism of the ritual choir, moments of action, tale, dialogue, but in forms reinforced by the cult, and with the content of myth, which combined a mass of animistic and demonic representations, blurry and not giving girth” (ibid. , p. 354). The cult tradition became more stable than the ritual tradition, the ceremony gradually passed into the hands of professionals, priests. With the gradual complication of the cult, the cult action also became more complicated, and so, from the initial ritual action, through the action of the cult, that which is drama as a special form of art was developed. This is how it happened, for example. Greek tragedy (see). But the development of poetry from ritual syncretism to highly improved theatrical drama was far from everywhere so straightforward. For many, even for most peoples, the process turned out to be more whimsical and less complete. In a comparative study of the dramatic elements in the ritual poetry of various peoples, one can trace the diversity of these historical and poetic processes. IN Lately V. N. Kharuzina made a huge summary of the dramatic elements in the operatic composition of peoples with little culture (“ primitive forms dramatic art, journal. "Ethnography", 1927, No. 1, 2; 1928, No. 1, 2).
As for the folklore of the European peoples, for the most part, scattered elements of primitive ritual actions have been preserved in it, which have not developed to detailed forms of cult action (as was the case with the Greeks). Nevertheless, the number of these elements in the oral poetry of European peoples, primarily among the peasant masses, is extremely large. The most typical are the forms of incantatory poetry, the so-called. conspiracies (see). Elements of the original ritual syncretism are filled with manifestations of poetic creativity among all agricultural peoples, one way or another connected with the economic peasant calendar. In the peasantry of European peoples, elements of primary ritualism are intertwined with the influence of foreign cults, already from the pre-feudal era, with great force, intruding into everyday life and the views of German, Celtic, Slavic and other tribes who were still living life. tribal society. Especially great was the impact in the era of feudalism and in subsequent Christian ideology and Christian cults. Nevertheless, a careful analysis of the ritual moments in the peasant folklore of any European nationality shows that this influence from outside the cults that came from outside did not violate the foundations of primitive traditional views, but only gave them a new, mostly mixed, so-called "two-faith" shell. Behind external Christian church cult words and ceremonies, it is not difficult sometimes to discern the same magical ritualism of a primitive agricultural religion. Even the most calendar schedule of agricultural rituals and related songs, games and dances shows a compromise combination of native agrarian traditions and Christian festivals that came from outside.
If we take the Eastern Slavic ritual, so-called calendar poetry, we will see that village rituals, games, round dance songs, until very recently, were concentrated around church holidays: Christmas, Shrovetide, Easter, St. Thomas Week, Trinity, etc. Despite the adhesion with Christian holidays , the original agrarian-religious nature of peasant rituals has been preserved to this day. The "pagan" foundations of everyday Orthodoxy and the significance of their study for anti-religious propaganda were revealed by prof. N. M. Matorin in his recently published book "Orthodox Cult and Production" (M., 1931). The book also includes a program for the study of everyday Orthodoxy. Peasant rites are still based on primitive magic, a spell that takes the most various forms both in order to protect against hostile "impure" forces (the so-called preventive magic), and in order to provide a person with any positive values: fertility, wealth, love, etc. (producing magic (see prof. E. Kagarov, On the question of the classification of folk rites, "Reports of the Academy of Sciences of the USSR", 1928)).
The original distribution of agrarian rites, according to the seasons, apparently, into two main cycles - spring and autumn - is not strictly observed at the present time, but still has not been completely erased. A detailed latest record of agrarian rites with a significant number of song texts was made by A. B. Zernova (“Materials on agricultural magic in the Dmitrovsky journal “Ethnography”, 1932, No. 3).
The song is almost always an obligatory companion of rituals. In Russian agricultural rituals, so common in the pre-revolutionary countryside, the song plays a very important role. So, Christmas time was accompanied by the singing of carols (see) and sleazy songs. Following the Christmas, New Year and Epiphany holidays, with related rituals and songs, there was a holiday of Shrovetide (European carnival). The agricultural and magical significance of this holiday is currently not disputed by anyone. Maslenitsa is actually already a spring holiday, but it has broken away from the spring cycle and moved to the winter cycle to a large extent due to the Church Lent, which forbade any entertainment for 7 weeks before Easter. With the image of satiety, contentment, fun during Shrovetide, the farmer thought to influence nature, his economy (in the field and in the barn). The sexual freedom allowed by tradition at Shrovetide festivities (especially in Europe at carnivals) had direct relationship to spells on the offspring of both working hands and cattle. The eroticism of the word is also connected with the erotic moments in the rites, reaching the point of cynicism that is not transmitted in print. Shrovetide songs, jokes, teasers are almost all of this nature. At first glance, it seems somewhat strange to interweave funeral motifs into the Maslenitsa merry festivities. This is, of course, not an expression, as previously thought, of a characteristic, Russian national trait (“sometimes a daring revelry, sometimes a heartfelt longing”). In the spring, when all nature is reborn, a primitive thinking person also believed the resurrection of a dead relative. That is why they went to the cemetery for Shrovetide, ate there, drank, accompanying all this with tearful lamentations addressed to the dead. The Church tried to adapt the pagan rite to its goals: going to the cemetery began to be interpreted as a farewell, that is, a request to the dead, "parents", for the forgiveness of sins.
For the most part, from the annunciation (March 25) there was a “spell spell”, that is, a magical rite, a spell for the imminent arrival of spring. The girls, as if depicting the bird's hubbub of spring, sang songs in different parts of the village, echoing chorus with choir. At the same time, the girls often held in their hands tree branches with images of birds made of rags planted on them, singing: “Larks, larks, fly to us, bring red spring.” Meeting the spring, the women went outside the village into the field, spread a white cloth on a clearing freed from snow, put bread on it and called out: “Here is mother spring for you.” The spring holidays were timed to coincide with the annunciation, "Maundy Thursday", Easter, St. Thomas (the first after Easter) week. At the same time, Fomino Sunday was called "Red Hill", Monday - "Raditsa", Tuesday - "Navi's Day". The last three days were associated with the customs of commemoration of the dead. Here we see the same combination of spring fun with the same spring funeral motif, which was discussed about Shrovetide. The Belarusian proverb is characteristic: “They plow on the rainbow until noon, cry in the afternoon, and jump in the evening.”
Finally, as in Christmas carols and stalking songs, spring songs and games intertwined with the motives of marriage, kidnapping, or the choice of a young girl. Great distribution the well-known spring dance game "Sowing millet" was used. For seven weeks after Easter, the village youth led round dances, played games, and sang songs. The merriment flared up with special force on Trinity Day. The week preceding it, the seventh after Easter (why its Thursday is called “semik”), was called the “Rusal Week”. Mermaids are mentioned in the songs of the Mermaid Week. The idea of these mermaids is extremely complex: in the minds of the peasants, they are either the souls of deceased ancestors, or the souls of only those who died a violent death, or the souls of unbaptized babies. You have to be afraid of them: they can attack a traveler, drag him into the water and tickle him to death. There are many legends about mermaids. Apparently, in their image, ideas about the souls of dead ancestors and about the spirits of the plant forces of nature (as well as water) were combined. As for the name itself, the word "mermaid" originally meant the name of the holiday and goes back to the Roman "rosaria" - the spring holidays of roses and commemoration of the dead. Stoglav, a legislative monument of the 16th century, describes the funeral customs of the Trinity holiday in this way: “Men and wives converge in the villages and churchyards in the zhalniki (cemeteries) and weep over the coffin with great shouting, and when buffoons, gudtsy and peregudtsy begin to play, they but, from weeping, ceased, they will begin to gallop and dance, and beat in the valley, and sing songs of Sotonin on those pityers, deceivers and swindlers. Something quite similar in the Russian week in many places happened quite recently, even in city cemeteries. The motives of agrarian religion and magic in the Russian week sound very strong. The custom of decorating houses with young greenery, especially birch, was associated with Trinity Day. Trinity Day is a holiday of a blossoming tree. The birch tree was decorated with a ribbon, they walked around the village with it, they sang special songs in honor of it. Akin to this was common in the former. Kaluga province. the rite of "funeral cuckoo", that is, a doll made from the root of the herb "cuckoo's tears". In the grove in front of the birch, the girls swore oaths to each other, “kumilis” and sang songs related to this rite of nepotism. Alexander Veselovsky sees in this rite of nepotism the remnants of ritual hetaerism, i.e., seasonal communication of the sexes associated with the spring cult (see his article “Heterism, twinning and nepotism in the Kupala ritual”, “ZhMNP”, 1894, Feb.). The merry and merry girls in the groves, in the meadow, on the banks of the rivers curled wreaths. The songs associated with this custom show that the wreath serves here both as a symbol and a magical object in spells for marriage, happiness and fertility, and as an object used to guess one's fate. The curling of wreaths was also used as a magical means to bring about a harvest, as some songs clearly testify to.
The mixing of two ritual cycles - spring and autumn - occurred in the summer holiday of Ivan Kupala, that is, John the Baptist (June 24). In this holiday, “dual faith” was most clearly manifested, which was discussed above. The folk epithet of John the Baptist "Kupalo" was associated with the traditional custom of ritual bathing, bathing, as a manifestation of "lustration" cleansing magic. Kupalo quickly turned into a personified representation of some kind of deity, a natural and plant cult creature. Kupalo, the epithet of a celebrated Christian saint or the name of a holiday in honor of him (cf. “carol” and “mermaid”), is interpreted in the monuments of ancient Russian writing as a pagan deity, therefore for a Christian - as a demon. Often the word "Kupalo" or "Kupala" is understood as the name of a female creature. Ivan is a couple. Preserving the types of spring magical rites already familiar to us (bathing, throwing wreaths, etc.), the feast of Ivan Kupala contained, with the greatest completeness, the customs of “making friends”, kindling fires and jumping over them, and making ritual scarecrows. The combination of merriment and lamentation associated with the burial of effigies makes one especially keenly aware of the analogy with the Eastern cults of the dying and resurrecting god (Adonis, etc.). Often a ritual doll - a scarecrow - was replaced by a tree, a birch. Sometimes, mainly in Ukraine, a girl adorned with a wreath played a central role in the Kupala rite. Round dances are found around her, songs are sung in honor of her. In such cases, the girl is called “poplars” or “bush”. On Midsummer Night, young people went to the forest to look for wonderful flowers, most often a fern, as if blooming that night. That same night they search for treasures. Many legends are associated with these beliefs. Kupala songs are distinguished by great poetry, which tells about the origin of the Ivan da Marya flower: brother and sister unknowingly got married and turned into a flower consisting of yellow and blue petals.
Soon after Ivan Kupala, mostly on Peter's Day (June 29), and in other places much earlier than Ivan's Day, a solemn farewell to spring took place. On this day, all the girls and boys dance and sing songs, swinging on a roomy swing (swinging is one of the ways of producing magic: the rise, growth of vegetation is depicted). On this day, they sing funny songs and try to have fun as much as possible. Towards evening, at sunset, all the youth with flowers and songs went first along the village, and then around it, and finally walked along the extreme border of the village field. Here, as soon as the sun began to hide, everyone knelt down and once bowed to the ground, exclaiming: "Farewell, red spring, farewell, toss and turn again soon." Then they went with songs to the river, where they danced round dances, ran into the "brand" (burners) and returned home. The songs sung at the same time, one way or another, relate to spring and spring fun.
After spending the spring, the peasants turned to haymaking and other hard work. The festivities must stop, the songs must be silent for a while. The beginning of the harvest and the end of it gave rise to a special poetic creativity. The beginning of the harvest is called "zazhinki", the end - "dozhinki". At the beginning of the harvest, women and girls made wreaths of ears of rye and solemnly carried them home with “zazhinochny” songs. "Dozhinochnye" songs - songs performed at the end of the harvest, during the harvest festival, the so-called. "dozhinok", "cleanup", or "talaki". Dozhinochnye songs were common among all agricultural peoples: among the Eastern Slavs, mainly among Belarusians, but also among Ukrainians and Russians. The main motifs of, for example, East Slavic dozhynochny songs are the image of the severity of stubble work, the praise of the owners, hints of refreshments. In part, these motives are associated with public harvesting - "help", "cleaning", - partly supported by corvée. Other motifs are associated with archaic remnants of primitive agricultural rites of a magical nature: the rites of “curling the beard” to a goat, or Volos, or Ilya, or Yegoriy, i.e., with the ritual veneration of the last sheaf in the field, with the division of the dozhin’s “sheaf-grandfather”, or dozhinochny "woman", or dozhinochny wreath, decorated and brought with songs to the owner's house. The “curling of the beard” of a goat (or other creatures), as well as the decoration of a sheaf, are varieties of numerous magical rites among the agricultural peoples of the Mediterranean and Europe - rites based on the idea that the soul of the cornfield is a goat- or goat-like creature (like a faun or Silvin), pursued reapers and hiding in the last uncompressed sheaf. Such an explanation of these rites belongs to Mangardt, and later developed in detail in The Golden Bough by Fraser. The "curling of the beard" of the goat is accompanied by a special song. Harvest songs close the cycle of ritual calendar poetry. Another significant cycle of ritual poetry is wedding songs (see "Song"). Bibliography:

I. Chubinsky P.P., Proceedings of an ethnographic-statistical expedition to the West Russian Territory, vols. I-VII, St. Petersburg, 1872-1878; Golovatsky Ya. F., Folk songs of Galician and Ugric Rus, part 2. Ritual songs, M., 1878; Shane P.V., Velikoruss in his songs, rituals, customs, beliefs, fairy tales, legends, etc., vol. I, no. 1, St. Petersburg, 1898; Kireevsky P., Songs, New series, Edited by acad. V. F. Miller and prof. M. P. Speransky, vol. I, M., 1911; Sokolov B. and Yu., Tales and songs of the Belozersky region, M., 1915.

II. Studies of songs and rituals: Al. Veselovsky, Research in the field of Russian spiritual verse, VII. Romanian, Slavic and Greek carols, St. Petersburg, 1883 (“Collection of the Department of the Russian Language and Literature of the Academy of Sciences”, vol. XXXII); His own, Heterism, twinning and nepotism in Kupala rites, ZhMNP, 1894, No. 2, Feb.; Potebnya A., Explanations of Little Russian and related, folk songs, vol. II. Carols and Shchedrovkas, Warsaw, 1887 (from the Russian Philological Bulletin, vols. XI-XVII, 1884-1887); Vladimirov P.V., Introduction to the history of Russian literature, Kyiv, 1896; Anichkov E. A., Spring ritual song in the West and among the Slavs, vols. I-II, St. Petersburg, 1903 and 1905 (“Collection of the Department of the Russian Language and Literature of the Academy of Sciences”, vols. LXXIV-LXXVIII); Karsky E. F., Belorussians, vol. III, no. I, M., 1916; Zelenin D.K., Essays on Russian mythology, vol. I, P., 1916; Kagarov E. T., Religion of the ancient Slavs, M., 1918; Brodsky N. L., Gusev N. A., Sidorov N. P., Russian oral literature. Themes. Bibliography. Programs for collecting works of oral poetry, L., 1924, pp. 19-38; Sheremetyeva M.E., Agricultural ritual "spell spells" in the Kaluga region. Kaluga, 1930; Zelenin D., Russische (ostslawische) Volkskunde, Berlin, 1927.

Modern Encyclopedia

ritual poetry- RITUAL POETRY, songs, laments, laments, sentences, incantations, proverbs, riddles associated with rituals. Accordingly, 2 groups of rituals are divided into 2 categories: calendar and family. Among the calendar poetic richness, cycles stand out, ... ... Illustrated Encyclopedic Dictionary

Poetry associated with folk everyday rituals (carols, lamentations, wedding songs, etc.). * * * RITUAL POETRY RITUAL POETRY, poetry associated with folk everyday rituals (carols (see CAROLS), lamentations (see LAMENTS), wedding ... ... encyclopedic Dictionary

Poetry associated with folk everyday rituals: prose or verse incantations, lamentations, songs, proverbs, etc. The works of O. p. can be incantatory if an independent magical action is attributed to them ... ... Great Soviet Encyclopedia

Poetry associated with folk everyday rituals (carols, lamentations, wedding songs, etc.). (

Introduction

Folklore is a part of folk life. He accompanied the first plowing, youth festivities, holiday ceremonies. Ritual songs are called songs that are performed during a variety of ceremonies.

Holiday Kalyady

Kolyada - one of the major Slavic holidays, translated from Latin - the first day of the month. This the holiday is timed to coincide with the winter solstice, the birth of the New Sun, the new solar year, the turning of the sun into spring.

The pig ran away from Maksimka,
Yes, she ruined Kolyada,
And you boy
Don't walk, don't walk
And collect carols, collect ...

If the owners refused to treat, then they could sing for them:

At the mean man
Born rye is good:
Spikelet is empty,
Straw thick!

After the adoption of Christianity, the Kolyada holiday coincided with the celebration of the Nativity of Christ.

Kolyada, Kolyada!
And sometimes Kolyada
On the eve of Christmas.
The carol came
Brought Christmas.

Carols are also reflected in sayings. “It crackles at carols at night, and stomps during the day.” "Carols have come - pancakes and pancakes." "Carols - master's orders."

Before Christmas and on New Year's Eve, there was a custom - Christmas divination by lot, which was accompanied by observant songs, in an allegorical form, foreshadowing the future for each participant. The songs foreshadowed: wealth, happiness, misfortune, marriage, etc.

On the oven
She rose high.
To whom did we sing
That's good.
Who will take out
That will come true!

Maslenitsa holiday

Maslenitsa - one of the most fun ancient holidays, celebrated during the week before Lent, distinguished by hospitality and a plentiful feast.

Maslenitsa portrayed in songs as a rich, beautiful and generous guest, whom the people met with joy and fun:

Our Shrovetide annual,
She is a dear guest
She does not walk to us,
Everything rides on horseback,
So that the horses were black,
To keep the servants young.

To celebrate Maslenitsa, a scarecrow with songs was taken around the village, and then buried or burned.

Sayings:

Calls of spring

Spring, red spring!
Come, spring, with joy,
With joy, with great mercy:
With big flax
With a deep root
With great bread.

Larks, larks!
Fly to us, bring us
summer is warm.

All this was associated with the arrival of spring, the spring revival of the earth.

Trinity Feast

The feast of the Trinity organically merged pagan and Christian beliefs.

Feast of Ivan Kupala

Ivan Kupala (Midsummer Day, Kupala Night) - national holiday of the Eastern Slavs, dedicated to the summer solstice and the highest flowering of nature. approach to harvest. The time coincides with the Christian holiday of the Nativity of John the Baptist.

According to tradition, two cleansing rites were performed: bathing and jumping over the fire.

Girls collect herbs and flowers, weave wreaths, on which they tell fortunes and store amulets (wormwood, St. John's wort, nettles). On the Kupala night they look for treasures (blooming fern).

Kupala spent in the field.
And we didn't sleep much at night
After all, we guarded the field.

harvest festival

The harvest festival is dedicated to the harvest, fertility and family well-being. - spas: honey, bread, apple.

The goat lies on the bed,
Marvel at the beard:
And someone's beard
And all entwined with honey?

To restore strength, they rode through the harvest. With joyful songs they returned home. The last sheaf was taken with them and kept in the village all year.

Oh, and thank God
What a life they reaped
What a life they reaped
And they put it in the cops:
On the threshing floor with haystacks,
In the cage - bins,
And in the oven with pies!

On such days, they honored and thanked the Mother of God (Mother - Cheese-Earth) for the harvest. It is believed that she gives well-being, patronizes agriculture, family and especially mothers.

Feast of the Intercession

Winter was "touted" in the same way as spring: with festivities and festivities. In the folk tradition Cover noted autumn meets winter . This day was associated with the first hoarfrost or snow, which covered the earth like a blanket; associated with the first cold.

By the weather of that day, by the way the leaves fall from the trees, from where the wind blows, which birds fly south, they wondered about the nature of the coming winter.

From Pokrov they began to drown the huts. When lighting the stove, the housewives used to say special words: “Father-Pokrov, heat our hut without firewood.”

The agricultural year is over, and again it is time for fun games, festivities, weddings with their rites and rituals. In Pokrov, the girls asked Lada for an early marriage, they wondered.

By the feast of the Intercession in the hut, they tried to restore complete order and prepare as many treats as possible from the fruits of the new harvest.

Over time, the feast of the Intercession became more Orthodox, but among the ancient Slavs it was one of the most important holidays of the year.

Conclusion

Bibliography

1. V.P.Polukhina, V.Ya.Korovina, V.P.Zhuravlev, V.I.Korovin. Literature. 6th grade. 1 part. - 2nd ed. — M.: Enlightenment, 2013

2. Internet sites:
https://en.wikipedia.org
http://rodovid.me
http://vedmochka.net
http://www.myshared.ru
http://www.ronl.ru

1. CONSPIRACY FOR FIRE

Father you, Yar-Fire!

You are the Prince of all princes,

You are fire with all fires.

Be meek, be merciful!

How hot and ardent you are

How do you burn and burn

In a clean field of grass and ants,

Thickets and slums

The raw oak has underground roots,

So I pray and repent to you,

Father, Yar-Fire,

Burn - slept with me

All sorrows and illnesses

Fear and turmoil!

Goy!

2. ASK FOR FORGIVENESS BY THE WATER

We came to you, Mother Water,

With a hanging and with a guilty head.

Forgive us,

Forgive us too

Water grandfathers and great-grandfathers!

Goy!

3. ASK FOR FORGIVENESS FROM THE EARTH

Goy thou, Mother Earth Raw,

Mother to us dear!

Thou hast given birth to all of us.

Forgive me, Mother Raw Earth,

If in what they annoyed you!

Goy Ma!

Bless, Mati, take your fruit!

Your fetus is suitable for everything!

Forgive us Mother Earth

When what annoyed you!

Goy Ma!

4. CONSPIRACY ON THE EARTH

Mother Earth Cheese!

Generate on all souls

For everyone who comes and goes,

On the crippled and on the poor,

To the brethren who have and those who do not have!

Goy Ma!

5. CONSPIRACY FOR THE WIND

You are a violent wind!

Blow in a good direction

Don't sink our ships

Do not drive away from your home

And I bake pancakes

I'll make porridge

I will feed you, Wind!

Goy!

6. PLANS FOR RAIN

God forbid, I will rain in thick reins!

Water all day

On our barley

On the grandmother's rye,

On a man's oats

On girlish buckwheat

On baby millet!

Rain, rain, more

Give me more bread!

Goy!

Rainbow arc, bring us rain!

Goy!

rainbow arc,

Break the rain!

Give me a red sun

Kolokolnitsy!

Goy!

7. KO MAKOSHI

You are a goy, Mother,

Makosh-Linen,

field protector,

Woman's work assistant!

You, Mati, commanded us

So that brother does not scold brother.

You, Mother, save

Save and Command

Ergot life,

From thunder, from lightning,

Honestly birth

From vow and prophecy,

Golden crown from the curse,

From reproach and judgment!

Goy Ma!

8. CONSPIRACIES FOR FROST

Frost, Frost!

Come to us to eat jelly!

Do not hit, Frost, our oats, our rye,

And beat, Frost, a bylnik and a wren!

Goy!

frost, frost,

Don't beat our oats

Oak, maple and flax.

And finally - your will!

Goy!

frost, frost,

Don't freeze our oats

Eat kissel and make fun of us!

Wolves, bears,

Foxes, martens,

Hares, stoats,

Come to us to eat jelly!

Goy!

9. ON KOLYADA

Behind the mountain, behind the steep

Behind the river behind the fast

The forests are dense.

In those forests the fires are burning,

Fires burn flammable.

People are standing around the lights

People are caroling!

Goy!

Behind the river behind the fast

The forests are dense

Great fires are burning

There are benches around the fires,

The benches are oak.

On those benches - good fellows,

Good fellows, red girls

Sing songs - carols.

In the middle of them sits an old man,

He sharpens his damask knife.

The boiler boils fuel

A goat is standing near the boiler,

They want to kill a goat!

Goy!

Sunshine, turn around

Red, fire up

Red Sun, go on the road,

Forget the winter cold!

Goy!

Kolyada-Solstice

Standing right at the gate

Carrying a wheel in hand

Leads to Holy Rus'.

Flare up, the sun is red,

You are not extinguished in the Light!

Goy!

The wheel rolled from Nova-Gorod,

From Nova-Gorod to Kyiv,

From Kyiv to the Black Sea,

To the Black Sea to the wide one,

Whether wide or deep.

Wheel, burn-roll,

Come back in Red Spring!

Goy!

Oh, Avsen, oh, Kolyada!

Is the owner at home?

He is not at home!

He left for the field

Sow wheat.

Sow, sow, plow,

Spike ear!

spike ear,

True return a hundred!

Goy!

10. CHALLENGES OF SPRING, SPRING SPELLS

Spring-Mother, come to us for a walk!

Goy Ma!

Oh, sandpipers, larks,

Come visit us from the far side!

A sandpiper flew from across the sea,

Sandpiper brought nine locks.

Sandpiper, sandpiper, close the winter

Unlock spring, warm summer!

Goy Ma!

Help me, God

Help, Mother

Call spring!

For a quiet summer

On a vigorous life,

Zhito and wheat -

Every farm!

Goy Ma!

God bless

Bless, Mati

call spring,

See off the winter!

Zimochka - in a cart,

Letichko - in the shuttle!

Goy Ma!

We pray, Lado,

We pray to the Supreme God

Oh Lado, oh!

Let it blow, Lado,

Let the gentle wind blow!

Oh Lado, oh!

Let it hit, Lado,

Let the native rain hit!

Oh Lado, oh!

Goy Ma!

Spring is coming, coming

On a golden horse

In the green saiyan

Sitting on the plow

Oruchi the Cheese-Earth,

Seyuchi with the right hand!

Goy Ma!

Spring! Spring Red!

Come join us with joy!

With joy, with great mercy!

With big flax

With a deep root

With great bread!

Goy Ma!

11. TO PERUN

Perun-Father!

Bless the seeds to throw into the ground!

You drink Mother Earth Cheese

cold dew,

To bring her grain,

shook him up,

She returned it to us in a big ear!

Goy!

12. TO YARIL

Light-Yarilo!

Three Heavens going

Three Heavens go!

Take the keys!

Unlock the Earth to Cheese -

Let the dew warm!

Let the dew through the spring

For a dry summer, for a vigorous life!

Goy!

Yarilo!

Get up early

unlock the earth

Release the dew

For a warm summer

On a wild life

On the vigorous

On the spike!

Goy!

Yarilo walked around the world,

He gave birth to a field, he gave birth to children for people.

And where Yarilo is with his foot - there is a living dig,

And where Yarilo looks - there the ear will leap!

Goy!

Good morning honest people!

Here comes the green Yarilo

On a green horse

Green like grass

Dewy like dew;

Brought a zhita ear

And good news from Heaven!

Goy!

We drive the green Yarila,

Butter and eggs please

We drive away the winter - we scatter the spring!

Goy!

Leela, burn, give birth to life!

Have fun with us Lel came,

He brought Spring with him!

Goy!

13. TO KOSTROMA

Kostromushka danced,

Kostromoshka played out

Wine with poppy seeds got drunk;

Suddenly Kostromushka fell down -

Kostroma died,

Kostromushka-Kostroma!

They began to converge on Kostroma,

Clean up the kostromoushka

Yes, to believe in stealing;

How relatives began to grieve,

Cry out over Kostromushka;

And strangers - to dance, tap:

“Kostromushka was cheerful,

Kostromushka was good

Kostroma-Kostromushka,

Our white swan!

Goy Ma!

14. TO KUPALA

How early the sun plays on Kupala,

The sun is playing early good years,

For good years - for warm dews,

For warm dew - for bread-crops,

For bread-crops!

Goy!

Kupala walked - village, village.

She closed her eyes - with a pen, with a pen.

Vitala lads - brow, brow.

Weaving wreaths - silk, silk.

In the night she shone - fire, fire.

Kupala was reputed to be warm, warm.

Glory to Kupala - sing, sing!

Goy Ma!

Today we have Kupala - glory!

The Gods themselves kindled the Fire - glory!

And they called all the spirits to themselves - glory!

Only there is no Yarila with Kupala - glory!

Yarilo went to lay the fire - glory!

I went to Kupala to watch life - glory!

Whose life is the best - glory!

To brew beer, marry sons - glory!

To drive the burner, to give out daughters - glory!

Goy Ma!

15. ON THE AUTUMN MAKOSH

Mother the Most Pure,

Get rid of the pendulum

Take the insults away from me,

Sanctify my life-being!

Goy Ma!

Mother Field Protector,

Come to us, help us sow, reap,

Clean up the bins!

Goy Ma!

Harvest, harvester, give me back my snares,

On the pestle, on the beat,

On a crooked spindle!

Goy Ma!

Nyvka, Nyvka, give me your snares!

Let the ear be born

Like a red girl's hair !

Goy Ma!

16. ON THE AUTUMN DEDOV

Holy Grandfathers, we call you!

Holy Grandfathers, fly to us!

Goy!

Holy Dzyady, you have come here,

They drank and ate

Latsice same tsyaper to syabe!

Goy!

Grandpa, come to dinner!

You are and give us!

Holyly accept this sacrifice!

Goy!

17. TO VELES

Breadwinner! Here comes your holiday.

We are all gathered to You with bread and salt.

Give us health and a good life.

Let our grain be born and cattle multiply.

Save our houses from fire

And from all evil.

Glory to Thee!

Goy!

18. TO LESH

Master of the Forest!

Stand before me like a leaf before the grass,

Not black, not green, but just like me!

I brought you a red egg!

Goy!

Master of the Forest, Hostess of the Forest!

Give me a fruit, a kind!

Take it to good health!

Goy!

19. TO THE YARD HOST

Father Dvorovoy, don't leave,

Do not destroy the yard, do not destroy the cattle,

Don't tell the dashing way!

Goy!

20. CONSPIRACY ON KIKIMORA

Oh, you are a goy, Kikimora brownie,

Get out of the mountaineer's house as soon as possible!

Goy!

21. ON THE DEAD

The body in the pit - the soul is with us,

We are home - the soul is uphill!

Goy!

22. WOUND HEALING

On the sea on the ocean,

On the island of Buyan

The white-flammable stone Alatyr lies,

Father of all stones.

On that stone Alatyr

Sitting red girl

seamstress,

Holds a damask needle

He threads a silk, rudo-yellow thread,

Sewing bloody wounds.

I speak [name] from a cut!

Bulat, leave me alone

And you, blood, stop flowing!

Goy!

23. CHARMS FOR CATTLE

Veles God of cattle!

Don't leave the cattle

On the way and on the road

Go without any obstacle!

Key and lock - strong words!

Goy!

Yarilo our brave,

Veles God of cattle!

You save our cattle

In the field and beyond the field

In the forest and beyond the forest

Under the bright moon

Under the red sun

From the ravenous wolf

From a fierce bear

From the evil beast!

Goy!

24. SONG TO BREAD

And we sing this song to Bread - glory!

We sing bread, but we honor Bread - glory!

Old people for amusement - glory!

Good people to hear - glory!

Rolled grain on velvet - glory!

Is that Burmese grain still - glory!

Grain rolled to the yacht - glory!

Large pearls with a yacht - glory!

Good groom and bride - glory!

There is a blacksmith from the forge - glory!

Blacksmith carries three hammers - glory!

Blacksmith, Blacksmith, forge me a crown - glory!

Forge me a crown, and gold, and new - glory!

From the remnants - a golden ring - glory!

Goy!

25. WEDDING

I walk through the garden, I make a towel,

I’m still like - I’ll spread the canvases!

Glory, my Lado!

Pike swims from the lake

She carries her tail from Nova-gorod,

She has silver scales on her,

That silver, gilded!

Glory, my Lado!

There is a blacksmith from the forge,

The Blacksmith bears a golden crown,

Carrying an engagement ring.

I'm getting married in that crown,

I should get engaged with that ring!

Glory, my Lado!

Goy Ma! Glory!

My silver cup

Set on a golden platter!

Whom to drink, who is healthy to be?

Young drink to health,

To health, to health!

Goy!

Glory to Rod!

Recorded vlh. Veleslav

Kitchen

1 0 0

If you find an error, please select a piece of text and press Ctrl+Enter.

Ritual poetry of the peasants. Calendar ritual poetry

Introduction

Holiday Kalyady

Maslenitsa holiday

Calls of spring

Trinity Feast

Feast of Ivan Kupala

harvest festival

Feast of the Intercession

Conclusion

Bibliography

Introduction

Holiday Kalyady

Maslenitsa holiday

Calls of spring

Trinity Feast

Feast of Ivan Kupala

harvest festival

Feast of the Intercession

Conclusion

Bibliography

Editor's Choice