Folklore elements in the ballad. What features of oral folk art are reflected in the ballad Svetlana (Zhukovsky V.A.). Fortune telling with a rooster

Vasily Andreevich Zhukovsky is not without reason called the "literary Columbus of Russia", who opened "America of Romanticism" to her. He translated the ballads of the Western European romantics Goethe, Schiller Walter Scott, but at the same time noted: "A translator in prose is a slave translator in verse - a rival." The poet saw the main task in creating a Russian ballad. That is why it might be necessary to return to previously used literary material, as happened with the ballad "Svetlana". It is known that it was preceded by a free translation of the ballad by the German poet G.-A. Burger "Lenora", which was released in 1808 under the name "Lyudmila". The tragic ending of the ballad (the death of Lyudmila) clearly expresses the idea of ​​the doom of a person who is powerless in the fight against fate.

The idea to show the heroine of the ballad "with a Russian soul" was realized in "Svetlana", written in 1808-1812. Here the poet deviates much further from the German original, introducing a national Russian flavor into the work. The action takes place on the "Epiphany evening", which has long been considered a time of miracles in Russia. The ballad is full of signs of Russian life, traditions and beliefs: fortune-telling on a slipper, "following" songs, fortune-telling with a candle and a mirror. At the same time, the poet retains the traditional paraphernalia of a ballad: the action takes place at midnight, a fantastic journey with a dead groom is accompanied by disturbing omens (“Black crow, whistling its wing, / Hovering over the sleigh”), an atmosphere of gloomy mystery (“The moon shines dimly / In the dusk of fog .. .") is reinforced by the mention of death (on the way to God's temple, Svetlana sees "a black coffin in the middle"). All this prepares a fantastic scene in the hut: "...under the white cloth / The dead moves."

Creating a psychologically reliable image of a Russian girl, Zhukovsky emphasizes that in her folk ideas are combined with religious ones. Svetlana does not grumble at fate, retains a deep faith in God's mercy, prayer strengthens her in difficult times, and the image of the "snow-white dove" symbolizes the higher powers that protect the believer. That is why the "terrible" ballad turns into a fairy tale, where light and goodness triumph, and a terrible meeting with a dead groom turns out to be a dream. And then, like in a fairy tale, a real miracle happens: Svetlana's fiancé returns safe and sound, and everything ends with a fun wedding.

Probably, this ending is connected with the fact that "Svetlana" is dedicated to Zhukovsky's niece Alexandra Protasova (Voeikova) and was presented to her as a wedding gift. Perhaps that is also why the poet again turned to a familiar plot, because he wanted to put a parting word to a girl getting married into the ballad: “The best friend to us in this life is / Faith in Providence.”

But the main thing is that in the ballad "Svetlana" Zhukovsky really managed to complete the task - to embody the national Russian character. Subsequently, it became the basis for creating such images of truly Russian heroines as Tatyana Larina, Natasha Rostova and many others.

V. A. Zhukovsky’s ballad “Svetlana” is one of the most famous works of romanticism, a literary movement based on the concept of duality (the unity of the dream world and the real world), interest in folklore, history, and the national past.

The romantic nature of V. Zhukovsky's poem "Svetlana" is obvious from the very first lines. The work begins with a divination scene:

Once a Epiphany Eve
The girls guessed:
Shoe behind the gate
Taking it off their feet, they threw it;
Weed the snow; under window
Listened; fed
Counted chicken grains;
Burnt wax was heated ...

Zhukovsky reveals a close acquaintance with folk rituals and traditions. Divination is a special ritual. What is serious in it, and what is a game? Most likely, this is a game, but a dangerous game - with fate, with otherworldly forces. Not without reason, before divination, it is required to remove the pectoral cross, refusing for some time the protection of God, giving oneself to the power of dark forces. You need to have either frivolity or courage to sit alone, in an empty room, in front of a mirror, waiting for the appearance of your betrothed.

Svetlana was forced to sit in front of the mirror by anxiety for her beloved:

The year has flown by - there is no news;
He does not write to me;
Oh! and they only have a red light,
They only breathe in the heart ...

Scary in front of a mirror. Darkness, dead silence, the plaintive cry of a cricket... Svetlana fell asleep. Did you fall asleep? How could she forget herself in a dream when "fear clouds her eyes"?

Svetlana had an amazing dream. There was a joyful meeting with a loved one, and a blizzard winter road, and an ominous black raven predicting sadness, and a temple of God, and a terrible dead man stretching out his arms to the girl, and ... a happy awakening, to which everything was resolved.

What is the meaning of the work? Zhukovsky helpfully explains it to the reader:

Here are my ballads:
Best friend to us in this life
Faith in providence.
The blessing of the maker of the law:
Here misfortune is a false dream;
Happiness is an awakening.

But did the poet reveal the whole truth? Or were these words said only to calm the alarmed girl? If this is the whole truth, then why do the scary pictures of Svetlana's dream remain the most vivid in the memory, and not the comforting morality? And why doesn't anxiety leave us? And did she leave Svetlana? There are no answers to these questions.

Life is full of dangers. Perhaps she is just a bad dream. Everything in it is ghostly, unsteady, fragile, it is so difficult to find and keep your happiness. And is there happiness, is it waiting at the end of a long and terrible road?

In Zhukovsky's ballad, fantasy and reality are so closely intertwined that it is impossible to separate them. Without fantastic pictures, the story of real events would be incomplete. The fantasy in the ballad blurs the line between the philistine and high ideas about life, depicts a person as an inhabitant of two worlds, gives life a high meaning.

Question 2. Native nature in a fairy tale was M.M. Prishvin "Pantry of the sun".

M. M. Prishvin entered literature not only as a talented writer, but also as an ethnographer and geographer.
The nature of his native land had a huge influence on all his work. The future writer was born in the Khrushchevo estate. It was here that he learned to listen and hear the sounds of nature, its sometimes quiet, and sometimes loud speech. Prishvin was very gifted with hearing "to the whistle of birds, the breath of herbs and the murm of animals." He tried his best to convey the voice of nature, to translate it into the language of man. We are amazed at this ability of his, reading the story "Pantry of the Sun."
Talking about the journey of Nastya and Mitrasha, the author places us in the wonderful world of nature, while he does his best to show the relationship of man with this natural world: “poor birds and animals, how they all suffered, trying to pronounce something common to all, one great word! And even children, as simple as Nastya and Mitrasha, understood their effort. They all wanted to say only one beautiful word. You can see how the bird sings on a branch, and each feather trembles from her effort. But all the same, they cannot say words like we do, and they have to sing, shout, tap out.
- Tek-tek! - a huge capercaillie bird taps in a dark forest a little audibly.
- Shvark-shvark! - a wild drake flew over the river in the air.
- Quack-quack! - wild mallard duck on the lake.
- Gu-gu-gu ... - a beautiful bird bullfinch on a birch.
The author appears here as a person with subtle hearing, able to hear and understand the wonderful language of birds, plants and animals. Prishvin uses a wide variety of means of artistic expression. But the most important technique by which the heroes of the natural world come to life on the pages of the work is personification. The ability to think is possessed in a fairy tale - there were not only animals, but also birds, and even trees. This is a raven and a crow talking, and cranes announcing the coming of the sun and its sunset, and the groan of fused pine and spruce.
Nature is not idle, it actively comes to the aid of man. Mitrasha is also warned of trouble by the old ate woman, in vain they try to block his way to the destructive spruce. And the black raven frightens him with his cry. What can we say about the smart, quick-witted and loyal dog Travka!
Thus, the main theme in were - the theme of the unity of man with nature. In his works, Prishvin "condenses goodness", he embodies his ideals and thereby calls for good readers.

Regional Scientific Society of Students "Search"

MBOU "Ivanovskaya secondary school"

NOU "Landmark"

Folklore traditions in the work of V. A. Zhukovsky on the example of the ballads "Svetlana" and "Lyudmila"

Performed:

Kovaleva Irina

1. Class.

Supervisor:

Mekina Yu.S.

teacher of Russian language and literature

MBOU "Ivanovskaya secondary school"

Ivanovka - 2013

Goals and objectives of the work:

1.Trace folklore traditions in the works of Russian writers.

3. To study the theoretical foundations and genre originality of folklore forms. Analyze and identify how actively V.A. Zhukovsky uses folklore motifs in ballads.

4. Expand the role of fairy tales, songs and spells in fiction.

5. Conduct an analysis of their activities and the results of what has been done in order to determine the prospects and practical significance of the work.

Chapter 1. General folklore phenomena and national

The originality of Russian folklore.

The very word "folklore" in translation from English means ethnology, ethnology. This is the way of knowledge of the people through folk art. Knowledge of the people, and therefore of himself. It is not for nothing that those who break away from their roots are called by the people themselves "Ivans who do not remember kinship."

Folklore is poetry created by the people and existing among the masses, in which it reflects its labor activity, social and everyday way of life, knowledge of life, nature, worship and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and anger, dreams of justice and happiness. This is an oral, verbal artistic creativity that arose in the process of the formation of human speech. Like literature, folklore is a developing phenomenon that has passed certain stages in its development. The use of genres of folk art was a characteristic feature of the work of many Russian writers. Classical literature has always borrowed from folklore not only information about folk life and ideals, but also themes, plots, images, and poetic devices. Today, in the 21st century, the very word "folklore" may sound rather strange. The initial goal of the work is to highlight the features of the content. To achieve the goal, the following tasks were set:

1. Read and analyze V.A. Zhukovsky’s ballads “Lyudmila” and “Svetlana”.
2. To study the theoretical foundations and genre originality of folklore forms. Analyze and identify how actively V.A. Zhukovsky uses folklore motifs in ballads.

1. Conduct an analysis of their activities and the results of what has been done in order to determine the prospects and practical significance of the work.

Folklore is folk art, very necessary and important for the study of folk psychology today. Folklore includes works that convey the main important ideas of the people about the main values ​​of life: work, family, love, public duty, homeland. Children are brought up on these works even now.

Poets and prose writers have always been interested in folklore as a source of folk mythology, as an opportunity to touch the "dark sides of being". Turning to folklore enriched literature, often it was folklore that helped writers create new genres, new prose or poetic forms. Folklore figurative means, folk imagery and symbolism, the inclusion of folk rites and beliefs in the text created a special poetic atmosphere of the works.

But folklore means enriched literature not only from the formal side, they contributed to the disclosure of its ideological content. In folklore, the original text of a work is almost always unknown, since the author of the work is unknown. The text is passed from mouth to mouth and reaches our days in the form in which the writers wrote it down. However, writers retell them in their own way, so that the works are easy to read and understand.

There are numerous examples of writers turning to traditional folklore genres. How can this be explained? Perhaps the fact that folklore is the most ancient form of creativity, fraught with unexplored depths

A special place among the works of Zhukovsky is occupied by ballads dedicated to love: "Lyudmila", "Svetlana", "Aeolian harp" and others. The main thing here for the poet is to reassure, set on the true path a man in love who has experienced a tragedy in love. Zhukovsky here also demands the curbing of egoistic desires and passions.
His unfortunate Lyudmila is cruelly condemned because she indulges in passion, the desire to be happy at all costs with her sweetheart. The passion of love and the bitterness of the loss of the groom so blind her that she forgets about her moral obligations towards other people. Zhukovsky, by romantic means, seeks to prove how unreasonable and even dangerous for a person is this selfish desire for one's own happiness in spite of everything:

“Coffin, open;
to live fully;
Double heart
not to love."

So exclaims Lyudmila, distraught with grief. The coffin opens and the dead man takes Lyudmila into his arms. The horror of the heroine is terrible: they turn to stone, their eyes grow dim, the blood turns cold. And it is already impossible to regain the life she so unreasonably rejected. But Zhukovsky's terrible ballad is full of life. The poet prefers real life, despite the fact that it sends severe trials to a person.
The ballad "Svetlana" is close to "Lyudmila" in its plot, but it is also profoundly different. This ballad is a free arrangement of the ballad by the German poet G. A. Burger "Lenora". It tells how the girl wonders about the groom: he has gone far and does not send news for a long time. And suddenly he appears in a charming dream inspired by divination. Darling calls the bride to get married, they gallop through the blizzard on mad horses. But the groom suddenly turns into a dead man and almost drags the bride to the grave. However, everything ends well: there is an awakening, the groom appears in reality, alive, and the desired, joyful wedding is performed. Zhukovsky goes far from the original, introducing a national Russian flavor into the ballad: he includes a description of fortune-telling in the "Epiphany evening", signs and customs.

By itself, the genre of "Svetlana", "Lyudmila" are ballads. Ballads, or ballad songs, are works of medium form: they are shorter than epics and longer than lyric songs. This is a poetic genre. Ballads tell about events and people's behavior. Their plots are highly controversial. Conflicts are usually tragic. The psychological content of the ballad is very deep. All this gives the works of this genre a great emotional tension. .

The ballad genre has no parallel in Russian folklore. It originated in the West (in Germany, in England). In Russian folklore, the closest thing to a ballad is a historical song, but there is no fantasy in it. A ballad without fantasy, mystery, mystery, legend, tradition, without an exceptional, out of the ordinary event is impossible. In a ballad, something incomprehensible, frightening, terrible, most often wonderful, must definitely happen.

Ballad Vasily Andreevich Zhukovsky "Svetlana" was written in 1812. . As a wedding gift, the ballad is dedicated to Zhukovsky's niece A. Protasova. The author's desire to fill the national Russian themes in poetry was crowned with the greatest success. He gave a set of signs of the Russian national style: winter, a bell icon. Hut. He used the style of folk fairy tale narration, beginnings. Here, the folklore beginning is reflected in the phrases traditional for fairy tales. The ethnographic side of folk life is also displayed: the feast of Epiphany with its rites. In the image of Svetlana Zhukovsky for the first time outlines the characteristic features of the Russian female type, as he understands it: fidelity, humility, poetry. Zhukovsky uses the ballad genre and a special syllable (“Once in Epiphany evening”), special phrases (“golden ring”, “silk occasion”), which gives the work originality, similarity with folklore (in this case, with a fairy tale).

Chapter 2. Research on the methods of using V.A. Zhukovsky

Genres of folklore in the ballads "Svetlana" and "Lyudmila".

A fairy tale is a very popular genre of oral folk art, a genre of epic, prose, plot. It is not sung like a song, but is told. The subject of the story in it are unusual, amazing, and often mysterious and terrible events; the action is adventurous. This largely determines the structure of the plot. It is distinguished by its many episodes, completeness, dramatic intensity, clarity and dynamism of the development of the action. A positive hero, overcoming difficult obstacles, always achieves his goals. The story has a happy ending. In the works of this genre, everything is centered around the main character and his fate.

The ballad begins with a description of an old girl's divination. In the old days in Russia there was a superstitious idea that before the religious holiday of Epiphany, a person's future fate is revealed. But by the time of Zhukovsky, fortune-telling on Epiphany evenings had become a kind of game, during which the girls wondered about the suitors. Girls threw shoes into the street, and it was believed that the first girl to marry, whose shoe was picked up by a random passerby. The girls put rings in a large bowl or dish with water and, singing, took them out one at a time: under which song the ring will be taken out, it means that that song contains a hint of a future life.

Incorporating the traditional plot into a new form, Zhukovsky connected the ballad with a fairy tale, thanks to which the plot clichés traditional for the ballad were rethought. In particular, the image of the road is typical of both a ballad and a fairy tale. In a fairy tale, a well-deserved reward awaits the hero at the end of the journey, and this happens in Svetlana. What did the heroine deserve the "award" for? First, their devotion, fidelity, mental stamina. Secondly, her faith in God, to whom she constantly turns for spiritual support.

(“Before the icon she fell to dust, she prayed to the Savior ...”).
God's Providence, the poet shows, protects the living soul, does not allow it to perish. If she does not deviate from the true faith, the day comes to replace the night - a bright time filled with colors and sounds: “... a noisy rooster beats with its wing ...”, “... the snow glistens in the sun, thin steam turns red ... ". In Svetlana, unlike traditional ballads, a joyful and bright perception of life triumphs, the folk principles, the bearer of which is Svetlana, win.

The author uses epithets as artistic means of expression - ardent, pure, golden, white, circular, holy. In the ballad, the action takes place at night, which means everything is shrouded in something mystical.

A ballad is a poetic story of a predominantly fantastic or heroic-historical nature.

“... well? .. There is a coffin in the hut; covered

White padding….

Spasov's face stands at his feet;

Candle in front of the icon ... "

The author's desire to fill the national Russian theme in poetry was crowned with the greatest success. He gave a set of signs of the Russian national style: winter, a bell, an icon, a hut. He used the style of folk fairy tale narration, beginnings.

The nature of fantasy in fairy tales is not always defined precisely. Usually one speaks of "fiction". But fiction exists in all genres of folklore. The beginning of the magical includes the so-called remnant moments, and above all the religious and mythological views of primitive man, his spiritualization of things and natural phenomena, the attribution of magical properties to these things and phenomena, various religious cults, customs, rituals. The tale is full of motifs containing belief in the existence of the "other world" and the possibility of returning from there, the idea of ​​death enclosed in some material object.

Here, the folklore beginning is reflected in the phrases traditional for fairy tales. The ethnographic side of folk life is also displayed: the feast of Epiphany with its rites. In the image of Svetlana Zhukovsky for the first time outlines the characteristic features of the Russian female type, as he understands it: fidelity, humility, poetry. Further, the ballad also includes a lyrical theme associated with longing for a dear friend. The original texts of the fortune-telling song are given in processed form, with an appeal to the mythological blacksmith.

All heroes and events are connected by faith in foresight, disagreement between reason and reality, the struggle between good and evil. The plot of the work is one episode from the life of Svetlana - divination on Epiphany night and a terrible dream in which she sees a dead groom.

A rite is a certain action strictly defined by customs. The purpose of these and many other ritual actions is to contribute to the achievement of some goal. At the heart of the rituals are real concerns about a good harvest, general well-being, and a well-coordinated family life.

All kinds of fortune-telling are associated with the New Year's holiday, including the fortune-telling of girls with the singing of so-called spy songs. Podblyudnye were called songs performed during divination with the help of a dish. In the evening, the girls gathered in some hut, covered the table with a white tablecloth, and put a dish of clean water on it. Each girl dipped some thing into the water (most often earrings, a ring or other jewelry), and the dish was covered with a scarf. Then the girls sat down near the table and began to sing songs.

During the singing of sing-along songs, one of the girls (most often not taking part in fortune-telling) with her eyes closed, took out the items placed in the dish one at a time. The content of the song performed at that time belonged to the one whose object was taken.

Podblyuchnye songs were very small in volume - from four to ten verses. The basis of their content was some kind of image that has magical and symbolic meaning. So, on the basis of everyday development of the image of the ring, which is a symbol of love and marriage, a sub-song song was created.

The girl, whose little thing was taken out of the dish during the performance of this song, according to legend, should get married in the coming year. The ballad by V.I. Zhukovsky “Svetlana” includes a description of just such subservient songs:

"In a bowl of clean water

They put a golden ring,

Earrings are emerald;

Spread out white boards

And they sang in tune over the bowl

The songs are submissive."

The specificity of the figurative content of the songs under observation is that they bizarrely combine the real world and the ideal world.

The problems of dreams used in works of fiction are wide and varied. Some of them have a pronounced political connotation, in other cases, dreams help to better understand the subjective experiences of the characters, there are allegorical dreams, and sometimes a dream acts in the work as a means to help make the text more entertaining. But be that as it may, dreams in fiction always serve to more clearly reflect the connection between the writer's creative fantasy and real life. The problem of sleep and dreams has been of interest to writers and poets at all times. In this paper, an attempt is made to consider sleep and dreams as a means of reflecting reality, allegories and allegories on the example of works of Russian literature of the 19th century, as well as world literature of the 20th century. Are there any differences in the views on the phenomenon of sleep and dreams among the writers of Russia, Japan and Latin America? This issue is investigated in the work along with other issues, one way or another affecting the topic of the study.

The choice of theme is due to the growing interest of poets and writers in everything fantastic, supernatural and mysterious. The object of the study is the works of fiction as an art form generated by the creative imagination of poets and writers. Of all the works that could become the subject of research, only those were selected in which dreams are given the leading role in the text of the narrative. At the same time, not only the content side of dreams was taken into account, but also the journalistic, ideological orientation.

The problems of dreams used in works of fiction are wide and varied. Some of them have a pronounced political connotation, in other cases, dreams help to better understand the subjective experiences of the characters, there are allegorical dreams, and sometimes a dream acts in the work as a means to help make the text more entertaining. But be that as it may, dreams in fiction always serve to more clearly reflect the connection between the writer's creative fantasy and real life.

The appeal of romantic poets to the inner world of a person, his experiences necessitated the search for new artistic means capable of conveying the subtlest movements of the soul. From sentimentalists V.A. Zhukovsky was distinguished by the aspiration, characteristic of romantics, to a wonderful and mysterious world, as if existing outside the boundaries of earthly real life.

The romanticism of the ballad is in a conditional landscape, an unusual incident, in an indication that the main and eternal is in some other world, and earthly life is short-lived and illusory.

With the image of Svetlana V.A. Zhukovsky connects the idea of ​​the triumph of love over death. An important place in this ballad is given to sleep, Svetlana's terrible dream. It was a dream that her "dear friend is dead". Svetlana cannot make out its essence, but she is very afraid of this terrible, formidable dream. The author himself gives the answer in his ballad: "... here misfortune is a false dream, happiness is an awakening." For the first time in Russian literature, V.A. Zhukovsky told the reading public that happiness must be sought in the real world, which is the real truth, and everything else is a lie and deceit.

The girls are having fun, only Svetlana is sad (after all, there is “no news” from her betrothed). In the name of love, the heroine decides to try her luck and starts fortune telling. For her, this becomes a difficult test: she is left alone with unknown forces and is seized with fear:
Shyness in her excites the chest,
She's scared to look back
Fear blurs the eyes...
But then the knock of the lock is heard, and then "a quiet, light whisper." The betrothed has returned, he calls the heroine to the church, and Svetlana sets off without hesitation with her imaginary fiancé.
In the folklore tradition, the image of the road is associated with ideas about the path of life. So in "Svetlana" the road symbolizes the life path of the heroine - from the crown to the grave. But Svetlana makes this journey with an inauthentic betrothed, which explains her vague, anxious forebodings, the trembling of her "prophetic" heart.

“Suddenly a blizzard is all around;

Snow falls in tufts;

Black crow whistling with its wing,

Hovering over the sleigh;

Lonely, in the dark

Thrown from a friend

... In terrible places;

There is a blizzard and a blizzard all around."
Horses rush through a snowstorm and a blizzard along a snow-covered and deserted steppe. Everything prophesies trouble, speaks of the presence of evil forces: white snow (associated with the veil of death - a shroud), a black raven, the twinkling of the moon. The coffin is also mentioned twice - a clear sign of death. Svetlana and her "fiance" jump first to God's temple, and then to a "peaceful corner", "a hut under the snow" (a metaphor for the grave). The "groom" disappears, and Svetlana is left alone with the unknown dead man and foresees her imminent death: "What about the girl? .. Trembling ... Death is near ..."
The culminating event is the scene of the sudden “revival” of the dead man (“Moaning, he gnashed his teeth terribly ...”), in which the heroine recognizes her fiancé. However, in the next moment, she, having woken up from a dream, sits in her room at the mirror (in front of which fortune-telling began). The horror of the experience is behind, and the heroine is rewarded both for her fears and for her willingness to follow her beloved into the unknown distance: the bell rings, and Svetlana's real, living fiance - stately and "amiable" - comes up to the porch ...
Incorporating the traditional plot into a new form, the poet connected the ballad with a fairy tale, thanks to which the plot clichés traditional for the ballad were rethought. In particular, the image of the road is typical of both a ballad and a fairy tale. In a fairy tale, a well-deserved reward awaits the hero at the end of the journey, and this happens in Svetlana. What did the heroine deserve the "award" for? First, their devotion, fidelity, mental stamina. Secondly, by her faith in God, to whom she constantly turns for spiritual support (“I fell to dust before the icon, I prayed to the Savior ...”).

The ballad not only told about an episode from the life of a young creature, but presented her inner world. The whole ballad is full of life, movement, both internal and external, some kind of girlish bustle. The spiritual world of Svetlana is also full of movements. She then refuses baptismal games, then she agrees to join the fortunetellers; she is afraid and hopes to receive the desired news, and in a dream she is overcome by the same feelings: fear, hope, anxiety, trust .. to the groom. Her feelings are extremely tense, sensations are aggravated, her heart responds to everything. The ballad is written in a rapid rhythm: the ballad horses are racing, the girl and the groom are racing on them, and her heart is breaking.
Interesting in the ballad "Svetlana" and colors. The entire text is permeated with white: it is, first of all, snow, the image of which arises immediately, from the first lines, the snow that Svetlana dreams of, a blizzard over the sleigh, a blizzard all around. Further, this is a white scarf used during divination, a table covered with a white tablecloth, a snow-white dove, and even a snowy sheet with which the dead man is covered. White color is associated with the name of the heroine: Svetlana, light, and: in a popular way - white light. Zhukovsky has white here, undoubtedly a symbol of purity and purity.
The second contrasting color in the ballad is not black, but rather dark: it is dark in the mirror, dark is the distance along which the horses rush. The black color of the terrible ballad night, the night of crimes and punishments, is softened and brightened in this ballad.

Conclusion. Conclusions.
So, using the example of the best and main ballads of V. A. Zhukovsky, we tried to analyze the basic principles of the ballad genre. I must say that even after Zhukovsky, Russian writers actively turned to this genre: this is A. S. Pushkin "The Song of the Prophetic Oleg" ( 1822), and M. Yu. Lermontov "Airship" (1828), "Mermaid" (1836), and A. Tolstoy "Vasily Shibanem" (1840)

The work carried out allows us to expand our understanding of oral folk art, testifies to the great variety of genres of folklore and its use in literature.

Thus, in the works of V.A. Zhukovsky, we observe the use of the genre diversity of Russian folklore: family-everyday and calendar-ritual poetry, incantations, fairy tales, legends, legends, historical and ballad songs ..

In the ballad world, nature does not want to absorb evil into itself, to preserve it, it destroys it, takes it away forever from the world of being. The ballad world of Zhukovsky claims that in life there is often a duel between good and evil. In the end, good, high moral principles always win. The poet firmly believes that a vicious act will be surely punished. And the main thing in Zhukovsky's ballads is the triumph of the moral law.

We believe that the materials of this work can be used in literature lessons on the topic "Folklore". In addition, folklore traditions will help to better understand the works of Russian classical and modern literature.

Bibliography.

1. Kravtsov N.I. Russian oral folk art. M., 1983.

2. Veselovsky A.N. Poetic view

In this lesson, you will learn many interesting literary facts about the birth of a new genre - V.A. Zhukovsky, get acquainted with the ballad "Svetlana", consider how the author conveyed the national flavor in this work, conduct a plot analysis of the ballad "Svetlana".

Russian readers greeted the new work enthusiastically. Belinsky (Fig. 2) subsequently noted:

« The society of that time unconsciously felt in this ballad a new spirit of creativity, a new spirit of poetry. And society was not mistaken.”

Rice. 2. V.G. Belinsky ()

Genre literary ballad The literary ballad genre was relatively new, appearing only in the 18th century. Prior to this, the ballad was exclusively a folklore genre. The 18th century is a period of enthusiasm for oral folk art, in which poets and researchers try to guess and understand the national character. This leads to the fact that the works of oral folk art are actively collected and published. From the very beginning, the literary ballad was guided by folklore. Poets saturate the ballad with unusually expressive emotional devices. All this promised a great future for the ballad, and, indeed, having arisen in the 18th century, the ballad has firmly established itself among literary genres and has successfully existed to this day. The ballad has brevity and unusual expressiveness, emotional richness. The folklore ballad told about terrible things: murders, incest, betrayals. Ghosts, the living dead, and even the devil himself appeared in it. Thus, the ballad is a lyrical-epic genre in which emotions and passions come from lyrics; and from the epic - the narrative, the plot. The plot of the ballad contains: fantastic images; mystical images; miracles, extraordinary stories. Often a ballad begins with a landscape introduction and may have a landscape ending. But this is optional. There are historical ballads - for example, Pushkin's "Song of the Prophetic Oleg" or Lermontov's "Borodino" (Fig. 3), which, in fact, are also ballads, because they tell about a historical event and there is a dialogue. Rice. 3. M.Yu. Lermontov () Dialogue is a characteristic feature of the ballad as a genre. Sometimes it can be a monologue, but it still means a silent interlocutor. There may be fantastic ballads, for example Goethe's "Forest King" (Fig. 4), which we also know thanks to Zhukovsky's translation. Rice. 4. Johann Wolfgang Goethe () Outwardly, the ballad looks like a small poem. But there are certain differences between a ballad and a poem: great tension; great emotional saturation; brighter storyline. Thanks to these possibilities (the combination of lyrics with epic), the ballad has become one of the leading genres of book poetry.

"Lyudmila" Zhukovsky was a translation into Russian of the ballad of the famous German poet Gottfried August Burger (Fig. 5) "Lenora".

Rice. 5. Gottfried August Burger ()

This ballad is a literary adaptation of a mystical story about how a dead groom appears to a girl. The Russian reading public of the 18th century was brought up on enlightenment literature, and in the Enlightenment there was a cult of reason, that is, everything mystical, inexplicable was excluded. All kinds of irrationalism were simply banished from literature. Therefore, one can imagine with what bated breath the new work of Zhukovsky (especially the young ladies) read, what effect such lines had on them, for example:

“Now the sun is behind the mountains;
Here it is strewn with stars
Night is a calm vault of heaven;
The valley is gloomy, and the forest is gloomy.

Here is the majestic month
He stood over the quiet oak forest:
It shines from the cloud
Then it will go behind the cloud;
Long shadows stretch from the mountains;
And forests of dense canopy,
And a mirror of unsteady waters,
And heaven is a distant vault
Clothed in a bright twilight...
The distant hillocks sleep,
Bor fell asleep, the valley sleeps...
Chu! .. the midnight hour sounds.

The tops of the oaks shook;
Here blew from the valley
Flying wind...
Rides across the field of riders:
The greyhound horse neighs and puffs.
Suddenly ... they are coming ... (Lyudmila hears)
On the iron porch...
The ring rattled softly...<…>

“The moon is shining, the valley will be shed;
The dead man rushes with the girl<…>

“Chu! a leaf shook in the forest.
Chu! a whistle sounded in the wilderness.
The black raven started up;
The horse shuddered and staggered back;
A fire broke out in the field.
"Is it close, dear?" - "The way is long."<…>

What does Lyudmila wonder about? ..
To the fresh horse rushing to the grave
Boo in it and with a rider.
Suddenly - deaf underground thunder;
The boards cracked terribly;
Bones clattered against bones;
The dust rose; hoop clap;
Quietly, quietly the coffin opened...
What, what is in the eyes of Lyudmila? ..
Oh, bride, where is your darling?
Where is your wedding crown?
Your house is a coffin; the groom is dead.<…>

“The way is over: to me, Lyudmila;
Our bed is a dark grave;
Veil - a shroud of a coffin;
It is sweet to sleep in the damp earth.

Well, Lyudmila? .. Turns to stone,
Eyes dim, blood cools,
She fell dead to dust.
Moaning and screaming in the clouds;
Screeching and grinding under the ground;

Suddenly the dead crowd
Stretched from the graves;
A quiet, terrible chorus howled:
“The murmur of mortals is reckless;
The Almighty King is just;
Your groan was heard by the creator;
Your hour has struck, the end has come.

So the heroine of the ballad "Lyudmila" was punished for daring to grumble at divine arbitrariness.

"Svetlana" was only the third ballad written by Vasily Andreyevich Zhukovsky. Before her, he wrote the already mentioned “Lyudmila” and the ballad “Cassandra”, which was a translation of the work of the great German poet Schiller (Fig. 6), and it dealt with the events of ancient history.

Rice. 6. Johann Friedrich Schiller ()

"Svetlana" is certainly Zhukovsky's most famous ballad, destined for future glory through the ages.

Although the plot of the ballad "Svetlana" is based on the same story about how a dead fiance appears to a girl, this ballad has acquired a completely unique, inimitable color. It was absolutely original in the nature of the solution of this conflict.

Work on Svetlana continued for four years (from 1808 to 1812).

Not only the plot has changed, but also the name of the heroine, which is not accidental and very important. The fact is that in the Orthodox calendar there is no name Svetlana. At the same time, Zhukovsky wants to give his new ballad a Russian flavor, and the same root is clearly heard in the name Svetlana as in the word light. And this extraordinary light, this radiance that comes from the ballad and from its heroine, was very felt by the readers of that time and is felt now.

In addition, the choice of the name Svetlana could also be associated with the character of the prototype of the heroine of this ballad - Alexandra Andreevna Protasova-Voyeikova.

Prototype of Svetlana The ballad "Svetlana" was published, like the ballad "Lyudmila", in the journal "Bulletin of Europe", in numbers one and two for 1813. This ballad was dedicated to Alexandra Andreevna Protasova (Fig. 7). Rice. 7. Alexandra Andreevna Protasova () Alexandra Protasova was the niece of Vasily Zhukovsky, the daughter of his half-sister Ekaterina Afanasievna Protasova. Everyone who knew Sasha Protasova spoke of her as a person of extraordinary charm and attractiveness. She has been like this since childhood, and famous Russian poets admired the matured Sasha: Nikolai Mikhailovich Yazykov (Fig. 8), Ivan Ivanovich Kozlov, Evgeny Abramovich Baratynsky. They dedicated poems to her. Rice. 8. N.M. Languages ​​() Nikolai Yazykov even loved Alexandra Protasova. He wrote: "She charmed me I found all the beauty in her, All the perfections of the ideal My lofty dream." The great poet Yevgeny Baratynsky left the same admiring lines about Alexander Protasova (Fig. 9): "The charm of beauty We are afraid of you: Don't wake us up like the sun, you To rebellious fuss; From the valley life, like the moon, You beckon to the edge of the earth, And with you the soul is full Holy silence." Rice. 9. E.A. Baratynsky () However, in the life of Alexander Andreevna Protasova turned out to be an unhappy person. At the age of eighteen, she married the famous writer Alexander Fedorovich Voeikov (Fig. 10), who turned out to be a domestic tyrant. Rice. 10. A.F. Voeikov () These circumstances brought Alexander to the grave. She died at the age of 34 from consumption. But she remained forever immortalized in the captivating image of Svetlana Vasily Andreevich Zhukovsky.

In addition to the name of the heroine, an important motive that creates the national flavor of the ballad "Svetlana" was the timing of the events taking place in the ballad to a very specific time - Epiphany Christmas time. Read the beginning of the ballad:

"Once on Epiphany evening
The girls guessed:
Shoe behind the gate
Taking it off their feet, they threw it;
Weed the snow; under window
Listened; fed
Counted chicken grains;
Burning wax was drowned;
In a bowl of clean water
They put a golden ring,
Earrings are emerald;
Spread out white boards
And they sang in tune over the bowl
The songs are subservient."

Along with this beginning, the ballad included the whole world of Russian national life, customs, traditions, and mores. Remember the description of Christmas divination in Pushkin's novel "Eugene Onegin" (Fig. 11).

Rice. 11. A.S. Pushkin ()

Or their unusually poetic description in Leo Tolstoy's epic novel (Fig. 12) War and Peace.

Rice. 12. Leo Tolstoy ()

The well-known critic of that time, Nikolai Alekseevich Polevoy (Fig. 13), did not accidentally write:

“Whoever understands everything that happens in Russia about Christmas time, he will understand the spirit of the Russian people.”

Rice. 13. N.A. field()

Zhukovsky managed to convey the extraordinary flavor of Russian national, folk life. After all, this special, Christmas world, the world of divination and various Christmas fun was close and understandable not only to the common people, the peasantry, but also to the nobility. It really was a national world.

Having acquired a national flavor, the ballad still remained a ballad - a work full of irrational, mystical, supernatural events.

Outwardly, Zhukovsky retains the same plot: a dead fiance appears to the girl. But now Zhukovsky creates some kind of special romantic mood in the ballad and for this he introduces images characteristic of romanticism: false moonlight, night, fog.

"The moon shines dimly
In the dusk of fog -
Silent and sad
Dear Svetlana.
“What, my friend, is the matter with you?
Say a word;
Listen to songs circular;
Get yourself a ring.
Sing, beauty: "Blacksmith,
Forge me gold and a new crown,
Forge a golden ring;
I should marry that crown
Get engaged to that ring
At the holy tax "".

“How can I, girlfriends, sing?
Dear friend is far away;
I am destined to die
In lonely sadness.
The year has flown by - there is no news;
He does not write to me;
Oh! and they only have a red light,
They only breathe in the heart ...
Will you not remember me?
Where, which side are you?
Where is your abode?
I pray and shed tears!
Assuage my sadness
Comforting Angel.

“Here in the room the table is set
white veil;
And on that table is
Mirror with a candle;
Two appliances on the table.
“Guess, Svetlana;
In pure mirror glass
At midnight, no cheating
You will know your lot:
Your dear will knock on the door
With a light hand;
The lock will fall from the door;
He sits at his device
Dine with you."

Here is one beauty;
He sits down by the mirror;
With secret timidity she
Looks in the mirror;
Dark in the mirror; around
Dead silence;
Candle with tremulous fire
A little glow...
Shyness in her excites the chest,
She's scared to look back
Fear blurs the eyes...
A fire flared with a crackling sound,
The cricket cried plaintively,
Midnight Herald.

propped up on the elbow,
Svetlana breathes a little...
Here ... lightly lock
Someone knocked, hears;
Shyly looks in the mirror:
Behind her shoulders
Someone seemed to shine
Bright eyes...
The spirit was busy with fear ... "(Fig. 14)

Rice. 14. Illustration for the ballad "Svetlana" ()

Despite the fact that the dead bridegroom appears to the heroine (although she does not yet know this), despite this mystical picture, the reader feels how the general tone of the ballad has subtly changed compared to "Lyudmila". The gloominess, the sternness disappeared, and a gentle credulity arose:

“Suddenly, a rumor flies into her
Quiet, light whisper:
“I am with you, my beauty;
The heavens were tamed;
Your murmur has been heard!

I looked back ... dear to her
Stretches out his hands.
"Joy, the light of my eyes,
There is no separation for us.
Let's go! The priest is already waiting in the church
With a deacon, deacons;
The choir sings the wedding song;
The temple is lit up with candles.
There was a touching look in response;
They go to the wide yard,
At the gates of the Tesova;
At the gate their sledges are waiting;
With impatience the horses tear
Silk occasions.

“They sat down ... the horses from their place at once;
They blow smoke through their nostrils;
From their hooves rose
Blizzard over the sleigh.
Jumping ... all around is empty,
The steppe in the eyes of Svetlana:
There is a foggy circle on the moon;
The fields sparkle a little.<…>

The horses race along the mounds;
Trampling deep snow...
Here is a temple of God
Seen alone."

But even here the reader finds differences from the picture created in Lyudmila. Everything was gloomy and menacing there:

“The rider and Lyudmila are racing.
Timidly the maiden embraced
Another gentle hand
Leaning your head against him.
Dap, flying through the valleys,
On hillocks and on plains;
The horse blazes, the earth trembles;
Sparks splatter from hooves;
Dust rolls after clubs;
Jump past them in rows
Ditches, fields, mounds, bushes;
Bridges shatter with thunder.

It would seem that in the ballad "Svetlana", as in the ballad "Lyudmila", everything portends a terrible, tragic end - the death of the heroine. But Zhukovsky introduces an image - impossible, unthinkable in "Lyudmila", an image that goes back to the religious plot of the annunciation:

“Suddenly a blizzard is all around;
Snow falls in tufts;
Black Raven, whistling its wing,
Hovering over the sleigh;
Raven croaks: sadness!
The horses are hurried
Sensitively look into the dark distance,
Raising manes;
A light glimmers in the field;
Seen a peaceful corner
Hut under the snow.
Greyhound horses faster
Snow exploding, straight to her
They run in unison.

Here they rushed ... and in an instant
Gone from my eyes:
Horses, sleigh and groom
It's like they haven't been.
Lonely, in the dark
Thrown from a friend
In scary maiden places;
Around the blizzard and blizzard.
Return - no trace ...
She sees light in the hut:
Here she crossed herself;
Knocking on the door praying...
The door staggered ... hides ...
Quietly dissolved.

Well? .. There is a coffin in the hut; covered
White bandage;
Spasov's face stands at his feet;
Candle in front of the icon ...
Oh! Svetlana, what's wrong with you?
Whose abode did you go to?
Scary hut empty
Irresponsible resident.
Enters with trepidation, in tears;
Before the icon fell to dust,
I prayed to the Savior;
And with his cross in his hand,
Under the saints in the corner
Robko hid.

Everything has calmed down ... there is no blizzard ...
Weak candle smoldering
That will shed a trembling light,
It will dim again...
All in deep, dead sleep,
Terrible silence...
Choo, Svetlana! .. in silence
Light murmur…
Here he looks: to her in the corner
white dove
With bright eyes
Quietly blowing, flew in,
To her percy quietly sat down,
Embraced them with wings.

Hope in God's mercy saves Svetlana. Everything terrible and tragic in this ballad turns out to be just a dream, and in reality the heroine knows happiness:

“Everything was silent again around ...
Here Svetlana imagines
What's under the white sheet
The dead moves...
The cover has been torn off; dead man
(A face darker than the night)
The whole is visible - a crown on the forehead,
Eyes closed.
Suddenly ... in the lips of closed groans;
He tries to push
Hands are cold...
What about the girl? .. Trembling ...
Death is close ... but does not sleep
The dove is white.

Startled, unfolded
He is light wings;
To the dead on the chest fluttered ...
All devoid of strength
Moaned, gnashed
He's scary with his teeth
And sparkled at the girl
Formidable eyes...
Again pallor on the lips;
In rolling eyes
Death has appeared...
Look, Svetlana... O creator!
Her dear friend is a dead man!
Ah! .. and woke up.

And no longer in a dream, but in reality, her fiancé appears to Svetlana, alive and well:

“Sela (chest aches heavily)
Under the window Svetlana;
From the window a wide path
Visible through fog;
Snow glitters in the sun
The steam turns thin…
Chu! .. in the distance an empty rumbles
ringing bell;
Snow dust on the road;
Rushing, as if on wings,
Sledge horses are zealous;
Closer; right at the gate;
A stately guest goes to the porch ...
Who? .. Svetlana's fiance.

As if in a hurry to reassure the reader, Zhukovsky ends the ballad with a moralizing note:

"Smile, my beauty,
To my ballad
It has great wonders.
Very little stock.
Happy with your gaze,
I do not want fame;
Glory - we were taught - smoke;
Light is a wicked judge.
Here are my ballads:
"The best friend to us in this life
Faith in providence.
The blessing of the maker of the law:
Here misfortune is a false dream;
Happiness is an awakening."

So Lyudmila was punished for grumbling and Svetlana was awarded for her faith in the goodness of God's plan.

Bibliography

1. Literature. 8th grade. Textbook at 2 o'clock Korovin V.Ya. and others - 8th ed. - M.: Education, 2009.
2. Merkin G.S. Literature. 8th grade. Tutorial in 2 parts. - 9th ed. - M.: 2013.
3. Kritarova Zh.N. Analysis of works of Russian literature. 8th grade. - 2nd ed., corrected. - M.: 2014.

1. Internet portal "Encyclopedia of Russia" ()
2. Internet portal "Festival of Pedagogical Ideas "Open Lesson"" ()
3. Internet portal "Lit-helper" ()

Homework

1. Define the term ballad. What are the main characteristics of the ballad genre.
2. Conduct a comparative description of Zhukovsky's ballads "Svetlana" and "Lyudmila".
3. Learn an excerpt from the ballad "Svetlana" by heart.

Ballad - lyrical-epic songs about tragic events in family life, the hero of the ballad is a nameless person who is experiencing, suffering, sometimes dying in difficult life circumstances.

Plots in ballads are based on crime, often murder. This is what gives the ballads a tragic character. In epics and often in historical songs, the positive hero triumphs, but in ballads he dies, and the villain does not receive direct punishment. Heroes in ballads are not heroes, not historical figures, but usually ordinary people. The meaning of ballads is in expressing moral assessments of the behavior of characters, in protecting the free expression of feelings and aspirations of the individual.

Since different genres draw the means of creating an image from the general folklore system of means, a number of traditional formulas (anger, annoyance, sadness) that convey certain feelings are used both in ballads and in epics and historical songs, but the reasons that cause these feelings, and also their effects are different in each genre. Most of the actors do not even have a name, not to mention the characters. They differ only in family relations (husband, brother, mother-in-law). The ballads reveal a more complex, contradictory inner world of the destroyer. The cruel mother-in-law, who torments her daughter-in-law in one episode, appears as a loving mother in another, and in the third she blames herself and suffers. All this makes the images of ballad characters more vital and convincing.
"Ballads are songs with an epic storyline, but imbued with a lyrical mood and notable for intense drama"
The ballad and related genres in the process of existence have mutual influence. B. N. Putilov spoke about the possible cases of the transition of a historical song into a ballad, as well as a ballad into a historical song.
It should be noted that fairy-tale motifs are also present in the ballads. For example, in the ballad "The Prince and the Elders" Prince Mitriy is revived with living water. Unlike fairy tales, in ballads it is not good that wins, but evil.

Ballads make it possible to deeply realize the joy of being and experience compassion for the perishing that purifies the soul. The death of a ballad hero is perceived as a denunciation of evil, an affirmation of moral standards. “ballads have such a specific character that one can speak of them as a genre” [Propp].

Thematic cycles (Anikin):

1) family

2) love

3)historical

4) social (social)

The main place in the genre of ballads is occupied by works of a family and everyday nature. Such texts reveal acute family conflicts. Their characters are wife, husband, mother-in-law. The plot is based on the relationship of husband and wife or mother-in-law / daughter-in-law.

1) medieval despotism - the dominance of the husband in the family, the husband kills his wife

2) In it, a young woman is killed by her mother-in-law, the drama lies in the fact that the mother-in-law kills not only her daughter-in-law, but also her grandson. The son, having learned about the crime of his mother, commits suicide.

3) the mother herself poisons her son and the girl he has chosen.

The works called love ballads are also based on plots that reveal the plight of a woman. ("Dmitry and Domna")

The plots of historical ballads are connected with historical events. They reflected the tragic situation of the Russian people during the Mongol-Tatar invasion. Among the historical works, two groups of works stand out:

About the Tatar polonyanka, revealing the freedom-loving and irreconcilable nature of the polonyanok, "Tatar full"

About the tragic meetings of relatives. the tragedy of Russian women driven into captivity is shown and it is narrated about the meetings of mother and daughter (for example, “Mother Polonyanka”).

Social ballads are characterized by two themes:

Social inequality in personal relationships, people of different social status live in love: the queen and the simple fellow, the princess and the housekeeper. This is the basis of their tragic fate"Well done and the Queen"

The destructive role of the church. They clearly express popular protest against the restriction of the individual in her aspirations and desires; the cruelty of public and church morality is opposed by the defense of the free, natural manifestation of human feeling, "Forcible tonsure"

Plots with the theme of incest (from Latin incestum - incest) were very popular. The content of the folk classical ballad is drawn to the theme of the family. Such a ballad is concerned about the moral side of the relationship between fathers and children, husband and wife, brother and sister. In the plot of the ballad, although evil triumphs, the theme of an awakened conscience is important.