Epics connected with history. Bylina. origin of epics. epics - a poetic heroic epic of ancient Russia. Epics and realities

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BYLINA- folklore epic song, a genre characteristic of the Russian tradition. The basis of the plot of the epic is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic - "old", "old", implying that the action in question took place in the past). The term "epic" was introduced into scientific use in the 40s of the 19th century. folklorist I.P. Sakharov (1807–1863).

Means of artistic expression.

Over the course of many centuries, peculiar techniques have been developed that are characteristic of the poetics of the epic, as well as the way they are performed. In ancient times, it is believed that storytellers played along on the harp; later epics were performed in recitative. Epics are characterized by a special purely tonic epic verse (which is based on the commensurability of lines by the number of stresses, which achieves rhythmic uniformity). Although the storytellers used only a few melodies when performing epics, they enriched the singing with a variety of intonations, and also changed the timbre of the voice.

The emphatically solemn style of presentation of the epic, which tells about heroic and often tragic events, determined the need to slow down the action (retardation). For this, a technique such as repetition is used, and not only individual words are repeated: ... this braid, braid, …from far away, marvelous marvelous(repetitions are tautological), but also the injection of synonyms: fight, tribute-duties, (repetitions are synomimic), often the end of one line is the beginning of another: And they came to holy Russia, / To holy Russia and near Kiev city ..., three-time repetitions of entire episodes are not uncommon, with increased effect, and some descriptions are extremely detailed. The epic is also characterized by the presence of “common places”, when describing situations of the same type, certain formulaic expressions are used: in this way (at the same time in the utmost detail) saddling a horse is depicted: Ay, Dobrynya goes out into the wide yard, / He bridles the saddle of a good horse, / After all, he imposes a bridle of ribbon, / After all, he imposes sweatshirts on sweatshirts, / After all, he imposes felts on felts, / He is a Cherkasy saddle on the top. / And he tightened the girths tightly, / And the girths of the overseas sholka, / And the overseas sholpan sholka, / Glorious copper buckles would be from Kazan, / Studs of damask-iron Siberian, / Not beautiful basses, brothers, valiant, / And for the fortification, it was heroic. The "common places" also include a description of a feast (for the most part, at Prince Vladimir), a feast, a heroic ride on a greyhound horse. A folk narrator could combine such stable formulas at his own will.

The language of epics is characterized by hyperbole, with the help of which the narrator emphasizes the character traits or appearance of the characters worthy of special mention. Another technique determines the listener's attitude to the epic - an epithet (a powerful, holy Russian, glorious hero and a filthy, evil enemy), and stable epithets are often found (violent head, hot blood, frisky legs, combustible tears). Suffixes also play a similar role: everything related to heroes was mentioned in diminutive forms (cap, little head, little thought, Alyoshenka, Vasenka Buslaevich, Dobrynushka, etc.), but negative characters were called Ugryumish, Ignatish, Tsar Batuish, Ugarish filthy. Considerable place is occupied by assonances (repetition of vowel sounds) and alliteration (repetition of consonants), additional organizing elements of the verse.

Epics, as a rule, are three-part: a sing-along (usually not directly related to the content), the function of which is to prepare for listening to the song; beginning (within its limits, the action unfolds); ending.

It should be noted that certain artistic techniques used in the epic are determined by its theme (for example, antithesis is typical for heroic epics).

The narrator's gaze never turns to the past or the future, but follows the hero from event to event, although the distance between them can vary from a few days to several years.

Plots of epics.

The number of epic stories, despite the many recorded versions of the same epic, is very limited: there are about 100 of them. There are epics based on matchmaking or the struggle of the hero for his wife ( Sadko, Mikhailo Potyk, Ivan Godinovich, Danube, Kozarin, Nightingale Budimirovich and later - Alyosha Popovich and Elena Petrovichna, Hoten Bludovich); fighting monsters Dobrynya and the snake, Alyosha and Tugarin, Ilya and Idolishche, Ilya and the Nightingale the Robber); fight against foreign invaders, including: repelling Tatar raids ( Ilya's quarrel with Vladimir, Ilya and Kalin, ), wars with Lithuanians ( Bylina about the arrival of Lithuanians).

Stand apart are satirical epics or epics-parodies ( Duke Stepanovich, Competition with Churila).

The main epic heroes.

Representatives of the Russian "mythological school" divided the heroes of epics into "senior" and "junior" heroes. In their opinion, the “elders” (Svyatogor, Danube, Volkh, Potyka) were the personification of elemental forces, epics about them in a peculiar way reflected the mythological views that existed in Ancient Russia. The “younger” heroes (Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich) are ordinary mortals, heroes of a new historical era, and therefore are endowed with mythological features to a minimal extent. Despite the fact that serious objections were subsequently raised against such a classification, such a division is still found in the scientific literature.

The images of heroes are the national standard of courage, justice, patriotism and strength (it was not for nothing that one of the first Russian aircraft, which had an exceptional carrying capacity for those times, was called the creators of "Ilya Muromets").

Svyatogor

refers to the oldest and most popular epic heroes. His very name indicates a connection with nature. He is great in stature and mighty, his earth bears with difficulty. This image was born in the pre-Kiev era, but subsequently underwent changes. Only two plots have come down to us, initially associated with Svyatogor (the rest arose later and are fragmentary): the plot about the discovery of Svyatogor's bag, which belonged, as specified in some versions, to another epic hero, Mikula Selyaninovich. The bag turns out to be so heavy that the bogatyr cannot lift it; The second story tells about the death of Svyatogor, who meets a coffin on the way with the inscription: “Whoever is destined to lie in a coffin will lie in it,” and decides to try his luck. As soon as Svyatogor lies down, the lid of the coffin jumps up by itself and the hero cannot move it. Before his death, Svyatogor passes on his power to Ilya Muromets, thus the hero of antiquity passes the baton to the new hero of the epic that comes to the fore.

Ilya Muromets,

undoubtedly the most popular hero of epics, the mighty hero. Epos does not know him young, he is an old man with a gray beard. Oddly enough, Ilya Muromets appeared later than his epic younger comrades Dobrynya Nikitich and Alyosha Popovich. His homeland is the city of Murom, the village of Karacharovo.

The peasant son, the sick Ilya, "sat on the stove for 30 years and three years." One day wanderers came to the house, “passable kaliks”. They healed Ilya, endowing him with heroic strength. From now on, he is a hero who is destined to serve the city of Kiev and Prince Vladimir. On the way to Kiev, Ilya defeats the Nightingale the Robber, puts him in "toroks" and takes him to the prince's court. Of the other exploits of Ilya, it is worth mentioning his victory over Idolishche, which laid siege to Kiev and forbade begging and commemorating God's name. Here Elijah acts as a defender of the faith.

His relationship with Prince Vladimir is not smooth. The peasant hero does not meet with due respect at the court of the prince, he is bypassed with gifts, he is not put in a place of honor at the feast. The rebellious hero is imprisoned in the cellar for seven years and is doomed to starvation. Only an attack on the city of the Tatars, led by Tsar Kalin, forces the prince to ask for help from Ilya. He gathers heroes and enters the battle. The defeated enemy flees, vowing never to return to Russia.

Nikitich

- a popular hero of the epics of the Kiev cycle. This snake fighter was born in Ryazan. He is the most polite and well-mannered of the Russian heroes, it is not for nothing that Dobrynya always acts as an ambassador and negotiator in difficult situations. The main epics associated with the name of Dobrynia: Dobrynya and the snake, Dobrynya and Vasily Kazemirovich, The battle of Dobrynya with the Danube, Dobrynya and Marina, Dobrynya and Alyosha.

Alyosha Popovich

– originally from Rostov, he is the son of a cathedral priest, the youngest of the famous trinity of heroes. He is bold, cunning, frivolous, prone to fun and jokes. Scientists belonging to the historical school believed that this epic hero traces his origins to Alexander Popovich, who died in the Battle of Kalka, however, D.S. Likhachev showed that the reverse process actually took place, the name of the fictional hero penetrated into the annals. The most famous feat of Alyosha Popovich is his victory over Tugarin Zmeevich. The hero Alyosha does not always behave in a worthy manner, he is often arrogant, boastful. Among the epics about him - Alyosha Popovich and Tugarin, Alyosha Popovich and sister Petrovich.

Sadko

is also one of the oldest heroes, in addition, he is perhaps the most famous hero of the epics of the Novgorod cycle. The ancient story about Sadko, which tells how the hero wooed the daughter of the sea king, subsequently became more complicated, surprisingly realistic details appeared concerning the life of ancient Novgorod.

The bylina about Sadko is divided into three relatively independent parts. In the first, the harpist Sadko, who impressed the king of the sea with the skill of his game, receives advice from him on how to get rich. From that moment on, Sadko was no longer a poor musician, but a merchant, a rich guest. In the next song, Sadko bets with Novgorod merchants that he will be able to buy all the goods of Novgorod. In some versions of the epic, Sadko wins, in some, on the contrary, he is defeated, but in any case he leaves the city because of the intolerant attitude of the merchants towards him. The last song tells about Sadko's journey through the sea, during which the sea king calls him to him in order to marry his daughter and leave him in the underwater kingdom. But Sadko, having abandoned the beautiful princesses, marries Chernavushka the mermaid, who personifies the Novgorod river, and she takes him to his native shores. Sadko returns to his "earthly wife", leaving the daughter of the sea king. V.Ya.Propp points out that the epic about Sadko is the only one in the Russian epic where the hero goes to the other world (underwater kingdom) and marries an otherworldly creature. These two motifs testify to the antiquity of both the plot and the hero.

Vasily Buslaev.

Two epics are known about this indomitable and violent citizen of Veliky Novgorod. In his rebellion against everyone and everything, he does not pursue any goal, except for the desire to run amok and show off. The son of a Novgorod widow, a wealthy citizen, Vasily from childhood showed his unbridled temper in fights with peers. Growing up, he gathered a squad to compete with all of Veliky Novgorod. The battle ends with the complete victory of Vasily. The second epic is dedicated to the death of Vasily Buslaev. Having traveled with his retinue to Jerusalem, Basil mocks at the dead head he met, despite the ban, bathes naked in Jericho and neglects the requirement inscribed on the stone he found (you cannot jump over the stone along). Vasily, due to the indomitability of his nature, begins to jump and jump over it, catches his foot on a stone and breaks his head. This character, in which the unbridled passions of Russian nature are embodied, was M. Gorky's favorite hero. The writer carefully accumulated materials about him, cherishing the idea of ​​writing about Vaska Buslaev, but when he learned that A.V. Amfiteatrov was writing a play about this hero, he gave all the accumulated materials to his colleague. This play is considered one of the best works of A.V. Amfiteatrov.

Historical stages of development of the epic.

Researchers disagree on when epic songs appeared in Russia. Some attribute their appearance to the 9th–11th centuries, others to the 11th–13th centuries. One thing is certain - having existed for such a long time, passed from mouth to mouth, epics did not reach us in their original form, they underwent many changes, as the political system, the internal and external political situation, the worldview of listeners and performers changed. It is almost impossible to say in what century this or that epic was created, some reflect an earlier, some a later stage in the development of the Russian epic, and in other epics, researchers distinguish very ancient plots under later layers.

V.Ya.Propp believed that the most ancient plots are related to the matchmaking of the hero and snake fighting. Such epics are characterized by elements that are also significant for a fairy tale, in particular: the tripling of plot terms (Ilya, at a crossroads, runs into a stone with an inscription foreshadowing one fate or another, and successively chooses each of the three roads), prohibition and violation of the prohibition (Dobrynya is forbidden swim in the Puchai River), as well as the presence of ancient mythological elements (Volkh, born from a snake father, has the gift of reincarnation in animals, Tugarin Zmeevich in different versions of the epic appears either as a snake, or as a snake endowed with anthropomorphic features, or as a creature of nature or human, or snake; in the same way, the Nightingale the Robber turns out to be either a bird, or a man, or even combines both traits).

The largest number of epics that have come down to us belongs to the period from the 11th to the 13th-14th centuries. They were created in the southern Russian regions - Kiev, Chernigov, Galicia-Volyn, Rostov-Suzdal. The topic of the struggle of the Russian people with the nomads who raided Kievan Rus, and later with the Horde invaders, becomes the most relevant in this period. Epics begin to group around the plot of the defense and liberation of the Motherland, brightly colored with patriotic feelings. Folk memory has preserved only one name for the nomadic enemy - Tatar, but researchers find among the names of the heroes of epics the names of not only Tatar, but also Polovtsian military leaders. In epics, the desire to raise the national spirit, express love for the native country and fierce hatred of foreign invaders is noticeable, the exploits of the mighty and invincible folk heroes-heroes are praised. At this time, the images of Ilya Muromets, Danube-in-law, Alyosha Popovich, Dobrynya Nikitich, Vasily Kazemirovich, Mikhailo Danilovich and many other heroes become popular.

With the formation of the Moscow state, starting from the 16th century, heroic epics gradually fade into the background, buffoons become more relevant ( Vavila and buffoons, Birds) and satirical epics with their sharp social conflicts. They describe the exploits of heroes in civilian life, the main characters oppose princes and boyars, and their task is to protect their own family and honor (Sukhman, Danilo Lovchanin), while the ruling strata of society are ridiculed in buffoon epics. At the same time, a new genre arises - historical songs, which tell about specific historical events that took place from the 13th to the 19th centuries, there are no fiction and exaggeration characteristic of epics, and in battles several people or an entire army can act as heroes at once.

In the 17th century epics are gradually beginning to supplant the translated chivalric novel adapted for the Russian audience, meanwhile they remain popular folk entertainment. At the same time, the first written retellings of epic texts appear.

Historical reality and fiction in epics.

The relationship between reality and fiction in epics is by no means straightforward; along with explicit fantasies, there is a reflection of the life of Ancient Russia. Behind many epic episodes, real social and domestic relations, numerous military and social conflicts that took place in antiquity are guessed. It is also noteworthy that in the epics certain details of life are conveyed with amazing accuracy, and often the area where the action takes place is described with amazing accuracy. It is also interesting that even the names of some epic characters are recorded in the annals, where they are described as real personalities.

Nevertheless, the folk narrators who sang of the exploits of the princely retinue, unlike the chroniclers, did not literally follow the chronological course of events, on the contrary, the folk memory carefully preserved only the most vivid and remarkable historical episodes, regardless of their location on the time scale. A close connection with the surrounding reality led to the development and change in the structure and plots of epics, according to the course of the history of the Russian state. Moreover, the genre itself existed until the middle of the 20th century, of course, undergoing various changes.

Cyclization of epics.

Although, due to special historical conditions, an integral epic never took shape in Russia, scattered epic songs are formed into cycles either around a certain hero, or according to the common area where they existed. There is no classification of epics that would be unanimously accepted by all researchers, however, it is customary to single out epics of the Kiev, or “Vladimirov”, Novgorod and Moscow cycles. In addition to them, there are epics that do not fit into any cycles.

Kiev or "Vladimirov" cycle.

In these epics, the heroes gather around the court of Prince Vladimir. The prince himself does not perform feats, however, Kiev is the center that attracts heroes who are called to protect their homeland and faith from enemies. V.Ya.Propp believes that the songs of the Kiev cycle are not a local phenomenon, characteristic only for the Kiev region, on the contrary, the epics of this cycle were created throughout Kievan Rus. Over time, the image of Vladimir changed, the prince acquired features that were initially unusual for the legendary ruler, in many epics he is cowardly, mean, often deliberately humiliates the heroes ( Alyosha Popovich and Tugarin, Ilya and Idolishche, Ilya's quarrel with Vladimir).

Novgorod cycle.

Epics differ sharply from the epics of the "Vladimir" cycle, which is not surprising, since Novgorod never knew the Tatar invasion, but was the largest trading center of ancient Russia. The heroes of Novgorod epics (Sadko, Vasily Buslaev) are also very different from others.

Moscow cycle.

These epics reflected the life of the upper strata of Moscow society. The epics about Khoten Bludovich, Duke and Churil contain many details typical of the era of the rise of the Muscovite state: clothes, customs and behavior of the townspeople are described.

Unfortunately, the Russian heroic epic did not fully develop, this is its difference from the epics of other peoples. The poet N.A. Zabolotsky at the end of his life tried to make an unprecedented attempt - on the basis of disparate epics and epic cycles to create a single poetic epic. This bold plan prevented him from carrying out death.

Collection and publication of Russian epics.

The first recording of Russian epic songs was made at the beginning of the 17th century. Englishman Richard James. However, the first significant work on collecting epics, which was of great scientific importance, was done by the Cossack Kirsha Danilov around the 40-60 of the 18th century. The collection he collected consisted of 70 songs. For the first time, incomplete records were published only in 1804 in Moscow, under the title Ancient Russian Poems and for a long time were the only collection of Russian epic songs.

The next step in the study of Russian epic songs was made by P.N. Rybnikov (1831–1885). He discovered that epics were still performed in the Olonets province, although by that time this folklore genre was considered dead. Thanks to the discovery of P.N. Rybnikov, it was possible not only to study the epic epic in depth, but also to get acquainted with the method of its performance and with the performers themselves. The final collection of epics was published in 1861-1867 under the title Songs collected by P.N. Rybnikov. Four volumes contained 165 epics (for comparison, we mention that in Collection of Kirsha Danilov there were only 24).

This was followed by collections by A.F. Gilferding (1831–1872), P.V. Kireevsky (1808–1856), N.E. in the Middle and Lower Volga regions, on the Don, Terek and Urals (in the Central and Southern regions, the epic epic was preserved in very small sizes). The last recordings of epics were made in the 20-30s of the 20th century. Soviet expeditions traveling in the north of Russia, and from the 50s of the 20th century. the epic epic practically ceases to exist in live performance, remaining only in books.

For the first time, K.F. Kalaidovich (1792–1832) tried to comprehend the Russian epic as an integral artistic phenomenon and understand its relationship with the course of Russian history in the preface to the second edition of the collection he undertook (1818).

According to the representatives of the “mythological school”, to which F.I. Buslaev (1818–1897), A.N. Afanasiev (1826–1871), O.F. derived from older myths. Based on these songs, representatives of the school tried to reconstruct the myths of primitive peoples.

Comparative scientists, including G.N. Potanin (1835–1920) and A.N. Veselovsky (1838–1906), considered the epic to be an ahistorical phenomenon. They argued that the plot, after its inception, begins to wander, changing and enriching itself.

The representative of the "historical school" VF Miller (1848-1913) studied the interaction between the epic and history. In his opinion, historical events were recorded in the epic, and thus the epic is a kind of oral chronicle.

V. Ya. Propp (1895–1970) occupies a special place in Russian and Soviet folklore. In his innovative works, he combined a historical approach with a structural approach (Western structuralists, in particular K. Levi-Strauss (b. 1909), called him the founder of their scientific method, against which V. Ya. Propp sharply objected).

Epic stories and heroes in art and literature.

Ever since the publication of Kirsha Danilov's collection, epic stories and heroes have become firmly established in the world of modern Russian culture. It is not difficult to see traces of acquaintance with Russian epics in the poem by A.S. Pushkin Ruslan and Ludmila and in the poetic ballads of A.K. Tolstoy.

The images of Russian epics also received a multifaceted reflection in music. Composer A.P. Borodin (1833–1887) created an opera-farce Bogatyrs(1867), and gave the title to his 2nd symphony (1876) Bogatyrskaya, he used the images of the heroic epic in his romances.

N.A. Rimsky-Korsakov (1844–1908), an associate of A.P. Borodin in the “mighty handful” (association of composers and music critics), twice turned to the image of the Novgorod “rich guest”. First he created a symphonic musical picture Sadko(1867), and later, in 1896, the opera of the same name. It is worth mentioning that the theatrical production of this opera in 1914 was designed by the artist I.Ya. Bilibin (1876–1942).

V.M.Vasnetsov (1848–1926), is mainly known to the public from his paintings, the plots for which are taken from the Russian heroic epic, it is enough to name the canvases Knight at the Crossroads(1882) and Bogatyrs (1898).

M.A. Vrubel (1856–1910) also turned to epic stories. Decorative panels Mikula Selyaninovich(1896) and Bogatyr(1898) interpret these seemingly well-known images in their own way.

Heroes and plots of epics are precious material for cinema. For example, a film directed by A.L. Ptushko (1900–1973) Sadko(1952), the original music for which was written by the composer V.Ya.Shebalin, partly using the classical music of N.A. Rimsky-Korsakov in the musical design, was one of the most spectacular films of its time. Another film by the same director Ilya Muromets(1956) became the first Soviet widescreen film with stereo sound. Animation director V.V.Kurchevsky (1928-1997) created an animated version of the most popular Russian epic, his work is called sadko rich (1975).

Berenice Vesnina

Literature:

Epics of the North. Notes by A.M. Astakhova. M. - L., 1938-1951, vols. 1–2
Ukhov P.D. epics. M., 1957
Propp V.Ya., Putilov B.N. epics. M., 1958, vols. 1–2
Astakhova A.M. Epics. Results and problems of the study. M. - L., 1966
Ukhov P.D. Attribution of Russian epics. M., 1970
Ancient Russian poems collected by Kirshe Danilov. M., 1977
Azbelev S.N. Historicism of epics and the specifics of folklore. L., 1982
Astafieva L.A. The plot and style of Russian epics. M., 1993
Propp V.Ya. Russian heroic epic. M., 1999



Epics are epic songs of the Russian people, which tell about the heroic deeds of courageous heroes. Epics often describe heroic events in which our people took part, because the very word "epic" means "old times", that is, what happened in the distant past.

This literary genre does not have reliable accuracy: in order to emphasize the exceptional courage of heroes - heroes, some events described in the epic were significantly exaggerated.

The role of epics in the national literary process is very important, since they are a Russian epic that conveys to our generation knowledge about the life, beliefs and traditions of our ancestors.

The time of creation of epics

The events that formed the basis of Russian epics took place in the 10th - 12th centuries. But the formation and recording began around the 14th century. Until then, epics existed in oral form and were passed down among the people from generation to generation.

In connection with this, the textual content of the epics sometimes changed - the new generation added something of their own to the plot, sometimes significantly exaggerating it.

Epic classification

In modern literary criticism, there is no consensus on the classification of epics. Traditionally, all epics are divided into two groups: the Novgorod and Kiev cycles. The events that are described in the epics of the Kiev cycle tell about the period of the reign of Prince Vladimir.

Heroes of epics of the Kiev cycle familiar to us for a long time Ilya Muromets, Mikhailo Potyk, Dobrynya Nikitich, Churilo Plenkovich, Alyosha Popovich. All heroes of epics are divided into senior and junior heroes. Senior heroes - Mikula Selyanovich, Volga and Svyatogor - are wise mentors of young heroes.

The elder heroes personify the pre-Christian beliefs of the Slavic people in the gods of strength, courage, courage.

Collecting epics

The first collection of Russian epics was published in Moscow in 1804. The first edition was very popular in Russian society, and after a few years the primary collection was significantly supplemented with new epics and reprinted several times.

In the era of romanticism that came after the end of World War II, Russian epics became an integral part of the literary heritage. In the middle of the century, the popularity of epics caused a surge of interest in folklore and its collection in all corners of Russia.

Thus, by the beginning of the 20th century, the number of epics was replenished with new works. To date, there are about 80 Russian epics. Unfortunately, Russian epics have completely disappeared from the life of our people, and exist only in the form of literary works.

Incurred the wrath of Vladimir Monomakh, and he was drowned for having robbed two citizens of Novgorod; in another version of the same chronicle, it is said that he was exiled. Danube Ivanovich is often mentioned in the annals of the 13th century as one of the servants of Prince Vladimir Vasilkovich, and Sukhman Dolmantievich (Odikhmantievich) was identified with the Pskov prince Domant (Dovmont).

Origin of epics

There are several theories to explain the origin and composition of epics:

1. The mythological theory sees in epics stories about natural phenomena, in heroes - the personification of these phenomena and their identification with the gods of the ancient Slavs (Orest Miller, Afanasyev).
2. The historical theory explains epics as a trace of historical events, sometimes confused in people's memory (Leonid Maikov, Kvashnin-Samarin).
3. The theory of borrowing points to the literary origin of epics (Theodor Benfey, Vladimir Stasov, Veselovsky, Ignatiy Yagich), and some tend to see borrowing through the influence of the East (Stasov, Vsevolod Miller), others - the West (Veselovskiy, Sozonovich).

As a result, one-sided theories gave way to a mixed one, which allows for the presence of elements of folk life, history, literature, Eastern and Western borrowings in the epics. Initially, it was assumed that the epics, which are grouped according to the place of action into the Kiev and Novgorod cycles, are mainly of southern Russian origin and only later transferred to the north; according to other epics, a local phenomenon (Khalansky). Over the centuries, epics underwent various changes, and were constantly influenced by books and borrowed much from medieval Russian literature and oral legends of the West and East. Adherents of the mythological theory divided the heroes of the Russian epic into older and younger ones; later it was proposed (Khalansky) division into the pre-Tatar, the times of the Tatar region and the post-Tatar era.

Reading epics

Epics are written in tonic verse, which may have a different number of syllables, but approximately the same number of stresses. Some stressed syllables are pronounced with the stress removed. At the same time, it is not necessary that in all verses of one epic an equal number of stresses be preserved: in one group there may be four, in another - three, in the third - two. In an epic verse, the first stress, as a rule, falls on the third syllable from the beginning, and the last stress on the third syllable from the end.

How Ilya galloped and from the good horse,
He fell down to his mother damp earth:
How mother earth is knocking
Yes, under the same eastern side.

Epics constitute one of the most remarkable phenomena of Russian folk literature; in terms of epic calmness, richness of details, liveliness of color, distinctness of the characters of the depicted persons, a variety of mythical, historical and everyday elements, they are not inferior to the German heroic epic and the epic folk works of all other peoples.

Epics are epic songs about Russian heroes; it is here that we find a reproduction of their common, typical properties and the history of their life, their exploits and aspirations, feelings and thoughts. Each of these songs speaks mainly about one episode in the life of one hero, and thus a series of songs of a fragmentary nature are obtained, grouped around the main representatives of Russian heroes. The number of songs also increases due to the fact that there are several versions, more or less different, of the same epic. All epics, except for the unity of the described subject, are also characterized by the unity of presentation: they are imbued with an element of the miraculous, a sense of freedom and (according to Orest Miller) the spirit of the community. Miller has no doubt that the independent spirit of the past Russian epic is a reflection of the old veche freedom preserved by free Cossacks and free Olonets peasants who were not captured by serfdom. According to the same scientist, the spirit of the community, embodied in epics, is an internal link that connects the Russian epic and the history of the Russian people.

Stylistics

In addition to the internal, the external unity of the epics is also noticed, in verse, syllable and language: the verse of the epic consists either of trochees with a dactylic ending, or of mixed trochees with dactyls, or, finally, of anapaests; there are no consonances at all and everything is based on the musicality of the verse; in that epics are written in verse, they differ from "visits", in which the verse has long been decomposed into a prose story. The syllable in epics is distinguished by the richness of poetic turns; it is replete with epithets, parallelisms, comparisons, examples, and other poetic figures, without losing at the same time its clarity and naturalness of presentation. Epics retain a fairly large number of archaisms, especially in typical parts. Hilferding divided each epic into two parts: one - changing according to the will of the "storyteller"; the other is typical, which the narrator must always convey as accurately as possible, without changing a single word. The typical part contains everything essential that is said about the hero; the rest is presented only as a background for the main drawing.

Formulas

Epics are composed on the basis of formulas, built either with the use of a stable epithet, or as narrative clichés of several lines. The latter are used in almost every situation. Some formulas:

He quickly jumped as if on frisky legs,
Kunya threw a fur coat over one shoulder,
A sable cap on one ear.

He shot geese, swans,
Shot small migratory ducks.

He began to trample on the horse,
He began to trample on a horse, prick with a spear,
He began to beat that great powerhouse.
And he beats the force - as if mowing the grass.

Oh, you, wolf's satiety, grass bag!
You don't want to go or you can't carry?

He comes to a wide yard,
Puts the horse in the middle of the yard
Yes, he goes to the white-stone chambers.

Another day after day after all, like the rain will rain,
And week after week, as the grass grows,
And year after year, like a river runs.

Everyone around the table fell silent.
The lesser is buried for the greater.
The greater is buried for the lesser,
And from the smaller the answer lives.

Number of epics

To give an idea of ​​the number of epics, we note their statistics given in Galakhov's History of Russian Literature. Some epics of the Kiev cycle were collected: in Moscow province - 3, in Nizhny Novgorod - 6, in Saratov - 10, in Simbirsk - 22, in Siberia - 29, in Arkhangelsk - 34, in Olonets - up to 300. All together about 400, not counting epics of the Novgorod cycle and later ones (Moscow and others). All epics known to us, according to their place of origin, are divided into: Kiev, Novgorod and all-Russian (later).

Chronologically, in the first place, according to Orest Miller, are epics telling about the heroes of the matchmakers (see the article Bogatyrs). Then come those that are called Kiev and Novgorod: apparently, they arose before the XIV century. Then come quite historical epics, relating to the Muscovite period of the Russian state. And, finally, epics relating to the events of recent times.

The last two categories of epics are not of particular interest and do not require extensive explanations. Therefore, until now, little has been done about them. But the epics of the so-called Novgorod and, in particular, the Kiev cycle are of great importance. Although one cannot look at these epics as stories about events that really took place at one time in the form in which they are presented in songs: the miraculous element completely contradicts this. If the epics do not seem to be a reliable history of people who really once lived on Russian soil, then their content must certainly be explained differently.

The study of epics

The scholarly researchers of the folk epic have resorted to two methods in these explanations: historical and comparative. Strictly speaking, both of these methods in most studies are reduced to one comparative method, and it is hardly correct to refer here to the historical method. In fact, the historical method consists in the fact that for a known, for example, linguistic, phenomenon, through archival searches or the theoretical selection of later elements, we look for an increasingly ancient form and thus arrive at the original, simplest form. The “historical” method was not applied to the study of epics in the same way. Here it was impossible to compare new editions with older ones, since we do not have these latter at all; on the other hand, literary criticism noted in the most general terms only the nature of the changes that B. underwent over time, without touching on very individual particulars. The so-called historical method in the study of epics, in fact, consisted in comparing the plots of epics with chronicles; and since the comparative method was the one in which the plots of epics were compared with the plots of other folk (mostly mythical) or foreign works, it turns out that the difference here is not at all in the method itself, but simply in the material of comparisons. So, in essence, it is only on the comparative method that the four main theories of the origin of epics are substantiated: historical and everyday, mythological, the theory of borrowings, and, finally, the mixed theory, which now enjoys the greatest credit.

Epic stories

Before proceeding to a general outline of the theories themselves, a few words should be said about the meaning of epic stories. Any literary work can be decomposed into several main moments of the described action; The combination of these moments makes up the plot of this work. Thus, the plots are more or less complex. Several literary works can be based on the same plot, which even, due to the variety of secondary changing features, for example, motives of action, background, accompanying circumstances, etc., may seem completely dissimilar at first glance. One might even go further and say that every subject, without exception, always forms the basis of a greater or lesser number of literary works, and that very often there are fashionable subjects that are worked out at almost the same time in all parts of the globe. If now in two or more literary works we find a common plot, then three explanations are allowed here: either in these several localities the plots developed independently, independently of each other and thus constitute a reflection of real life or natural phenomena; either these plots were inherited by both peoples from common ancestors; or, finally, one people borrowed the plot from another. Already a priori one can say that cases of independent coincidence of plots should be very rare, and the more complex the plot, the more independent it should be. This is mainly based on the historical-everyday theory, which completely loses sight of the similarity of the plots of Russian epics with the works of other peoples or considers it to be an accidental phenomenon. According to this theory, the heroes are representatives of different classes of the Russian people, while epics are poetic and symbolic stories of historical incidents or pictures of the phenomena of folk life. The mythological theory is based on the first and second assumptions, according to which similar plots in the works of the Indo-European peoples are inherited from common pra-Aryan ancestors; the similarity between the plots of heterogeneous peoples is explained by the fact that in different countries the same natural phenomenon, which served as material for similar plots, was looked at by people in the same way and interpreted in the same way. Finally, the borrowing theory is based on the 3rd explanation, according to which the plots of Russian epics were transferred to Russia from the East and West.

All the above theories were distinguished by their extremeness; so, for example, on the one hand, Orest Miller in his "Experience" argued that the comparative method serves to ensure that in compared works belonging to different peoples, the differences appear the sharper, the more definitely; on the other hand, Stasov directly expressed the opinion that the epics were borrowed from the East. In the end, however, scientists came to the conclusion that epics are a very complex phenomenon, in which heterogeneous elements are mixed: historical, everyday, mythical and borrowed. A. N. Veselovsky gave some instructions that can guide the researcher and protect him from the arbitrariness of the theory of borrowings; namely, in the CCXXIII issue of the “Journal of the Ministry of Public Education,” the learned professor writes: “In order to raise the question of the transfer of narrative plots, it is necessary to stock up on sufficient criteria. It is necessary to take into account the actual possibility of influence and its external traces in one's own names and in the remains of alien life and in the aggregate of similar signs, because each individually can be deceptive. Halansky joined this opinion, and now the study of epics has been put on the correct point of view. At present, the main aspiration of scholarly researchers of epics is directed towards subjecting these works to the most thorough, if possible, analysis, which should finally indicate what exactly in epics is the indisputable property of the Russian people, as a symbolic picture of a natural, historical or everyday phenomenon. , and what is borrowed from other peoples.

The time of folding epics

Regarding the time of origin of the epics, Leonid Maikov expressed himself most definitely, writing: “Although there are those between the plots of the epics that can be traced back to the era of prehistoric affinity of Indo-European traditions, nevertheless, the entire content of the epics, including these ancient legends, is presented in such a redaction , which can only be confined to a positive historical period. The content of epics was developed during and XII centuries, and was established in the second half of the specific veche period in the XIII and XIV centuries. To this we can add the words of Khalansky: “In the 14th century, border fortresses, prisons were set up, border guards were established, and at that time the image of heroes standing at the outpost, protecting the borders of the Svyatorusskaya land, was formed.” Finally, according to Orest Miller, the great antiquity of the epics is proved by the fact that they depict a policy that is still defensive, not offensive.

Place of occurrence of epics

As for the place where the epics originated, opinions are divided: the most common theory suggests that the epics are of South Russian origin, that their original basis is South Russian. Only over time, due to the mass migration of people from South Russia to the Russian North, epics were transferred there, and then they were forgotten in their original homeland, due to the influence of other circumstances that caused Cossack thoughts. Khalansky opposed this theory, condemning at the same time the theory of the original all-Russian epic. He says: “The all-Russian ancient epic is the same fiction as the ancient all-Russian language. Each tribe had its own epic - Novgorod, Slovenian, Kiev, Polyansky, Rostov (cf. the indications of the Tver Chronicle), Chernigov (tales in the Nikon Chronicle). Everyone knew about Vladimir, as a reformer of all ancient Russian life, and everyone sang about him, and there was an exchange of poetic material between individual tribes. In the XIV and XV centuries, Moscow became a collector of Russian epic, which at the same time was more and more concentrated in the Kiev cycle, since Kiev epics had an assimilating influence on the rest, due to song tradition, religious relations, etc .; thus, at the end of the 16th century, the unification of epics into the Kiev circle was completed (although, however, not all epics joined it: these include the entire Novgorod cycle and some individual epics, for example, about Surovets Suzdalets and about Saul Levanidovich). Then, from the Muscovite kingdom, epics spread to all sides of Russia by means of an ordinary transfer, and not emigration to the north, which did not exist. Such, in general terms, are Khalansky's views on this subject. Maikov says that the activity of the squad, expressed in the exploits of its representatives, heroes, is the subject of epics. Just as the squad adjoined the prince, so the actions of the heroes are always connected with one main person. According to the same author, buffoons and buffoons sang epics, playing on the sonorous harp harp or whistle, but they were mostly listened to by the boyars, the retinue.

How far the study of epics is still imperfect and what contradictory results it has led some scientists to can be judged by at least one of the following facts: Orest Miller, an enemy of the theory of borrowings, who tried to find a purely folk Russian character everywhere in epics, says: “If reflected some oriental influence on Russian epics, so only on those that, in their entire household warehouse, differ from the Old Slavic warehouse; these include epics about Nightingale Budimirovich and Churil Plenkovich. And another Russian scientist, Khalansky, proves that the epic about Nightingale Budimirovich is in the closest connection with Great Russian wedding songs. What Orest Miller considered completely alien to the Russian people - that is, the self-marriage of a girl - according to Khalansky, still exists in some places in southern Russia.

Let us give here, however, at least in general terms, more or less reliable research results obtained by Russian scientists. That the epics have undergone many and, moreover, strong changes, there is no doubt; but it is extremely difficult at the present time to specify exactly what these changes were. Based on the fact that the heroic or heroic nature itself is everywhere distinguished by the same qualities - an excess of physical strength and rudeness inseparable from such an excess, Orest Miller argued that the Russian epic at the beginning of its existence should have been distinguished by the same rudeness; but since, along with the softening of folk customs, the same softening is also reflected in the folk epic, therefore, in his opinion, this softening process must certainly be allowed in the history of Russian epics. According to the same scientist, epics and fairy tales developed from the same foundation. If the essential property of epics is historical timing, then the less noticeable it is in the epics, the closer it comes to a fairy tale. Thus, the second process in the development of epics is clarified: timing. But, according to Miller, there are also such epics in which there is still no historical timing at all, and, however, he does not explain to us why he does not consider such works to be fairy tales (“Experience”). Then, according to Miller, the difference between a fairy tale and an epic lies in the fact that in the first the mythical meaning was forgotten earlier and it is confined to the earth in general; in the second, the mythical meaning has undergone changes, but not oblivion.

On the other hand, Maikov notices in epics the desire to smooth out the miraculous. The miraculous element in fairy tales plays a different role than in epics: there miraculous performances form the main plot of the plot, and in epics they only supplement the content taken from real life; their purpose is to give a more ideal character to the heroes. According to Volner, the content of epics is now mythical, and the form is historical, especially all typical places: names, names of localities, etc.; epithets correspond to the historical, and not the epic character of the persons to whom they refer. But initially the content of the epics was completely different, namely, really historical. This happened by transferring epics from the South to the North by Russian colonists: gradually these colonists began to forget the ancient content; they were carried away by new stories, which were more to their liking. Typical places remained inviolable, and everything else changed over time.

According to Yagich, the entire Russian folk epic is permeated through and through with Christian mythological tales, of an apocryphal and non-apocryphal nature; much in content and motives is borrowed from this source. New borrowings relegated ancient material to the background, and epics can therefore be divided into three categories:

1. to songs with obviously borrowed biblical content;
2. to songs with originally borrowed content, which, however, is processed more independently
3. on songs quite folk, but containing episodes, appeals, phrases, names borrowed from the Christian world.

Orest Miller does not quite agree with this, arguing that the Christian element in the epic concerns only appearance. In general, however, one can agree with Maikov that the epics were subjected to constant processing, according to new circumstances, as well as the influence of the singer's personal views.

Veselovsky says the same thing, arguing that epics are presented as material subjected not only to historical and everyday use, but also to all the accidents of oral retelling (“South Russian epics”).

Volner in the epic about Sukhman even sees the influence of the latest sentimental literature of the 18th century, and Veselovsky about the epic “How the heroes were transferred” says this: “The two halves of the epic are connected by a common place of a very suspicious nature, showing, as if, that the outer side of the epic was touched aesthetically correcting hand. Finally, in the content of individual epics, it is easy to notice layers of different times (the type of Alyosha Popovich), a mixture of several originally independent epics into one (Volga Svyatoslavich or Volkh Vseslavich), that is, the union of two plots, borrowing one epics from another (according to Volner, the beginning of epics about Dobrynya taken from epics about Volga, and the end from epics about Ivan Godinovich), extensions (epic about Nightingale Budimirovich from Kirsha), greater or lesser damage to the epic (Rybnikov’s common epic about Berin’s son, according to Veselovsky), etc.

It remains to be said about one side of the epics, namely, their present episodic, fragmentary nature. Orest Miller speaks about this in more detail than others, who believed that initially the epics were a number of independent songs, but over time, folk singers began to link these songs into large cycles: in a word, the same process took place that in Greece, India, Iran and Germany led to the creation of whole epics, for which individual folk songs served only as material. Miller recognizes the existence of a united, integral circle of Vladimirov, kept in the memory of the singers, who at one time formed, in all likelihood, closely united brotherhoods. Now there are no such brotherhoods, the singers are separated, and in the absence of reciprocity, no one between them is able to store in his memory all the links of the epic chain without exception. All this is very doubtful and not based on historical data; thanks to careful analysis, one can only assume, together with Veselovsky, that “some epics, for example Hilferding 27 and 127, are, firstly, the product of the separation of epics from the Kiev connection and a secondary attempt to bring them into this connection after development on the side” (“ South Russian epics).

Notes

Collections

The main collections of epics:

• Kirshi Danilova, Ancient Russian Poems (published in 1804, 1818 and 1878);
• Kireevsky, X editions, published in Moscow in 1860 and later; Rybnikov, four parts (1861-1867);
• A. F. Hilferding, ed. Giltebrant under the title: "Onega epics recorded by Alexander Fedorovich Hilferding in the summer of 1871". - St. Petersburg. : A type. Imperial Academy of Sciences, 1873. - 732 p.;
• Avenarius, "The Book of the Kiev Bogatyrs" (St. Petersburg, 1875);
• Khalansky (1885).
• Complete set of Kiev epics. Literary processing by A. Lelchuk. http://byliny.narod.ru Epics are built chronologically and in meaning into a single heroic story. The language is modern, but the rhythm and style of the original is preserved as much as possible. Characters and plots are sorted, duplicates and repetitions are removed. A conditional map of Epic Russia was compiled.

In addition, variants of epics are found:

• Shane in collections of Great Russian songs (“Readings of the Moscow Society of History and Antiquities” 1876 and 1877, etc.);
• Kostomarov and Mordovtseva (in the IV part of the Chronicle of Ancient Russian Literature by N. S. Tikhonravov);
• epics printed by E. V. Barsov in the Olonets Provincial Vedomosti after Rybnikov,
• and finally at Efimenko in 5 books. "Proceedings of the Ethnographic Department of the Moscow Society of Natural Science Lovers", 1878.

Editions

• Epics: Collection / Entry. Art., comp., prepared. texts and notes. B. N. Putilova. - Ed. 3rd. - L.: Soviet writer, 1986. - 552 p. - (Library of the poet. Large series).

Research

A number of works devoted to the study of epics:

• Article by Konstantin Aksakov: “On the heroes of Vladimirov” (“Works”, vol. I).
• Fyodor Buslaev, "Russian heroic epic" ("Russian Messenger", 1862);
• Leonid Maikova, "On the Epics of the Vladimir Cycle" (St. Petersburg, 1863);
• Vladimir Stasov, “The Origin of Russian Epics” (“Bulletin of Europe”, 1868; moreover, compare the criticism of Hilferding, Buslaev, V. Miller in “Conversations of the Society of Lovers of Russian Literature”, book 3; Veselovsky, Kotlyarevsky and Rozov in the “Proceedings of the Kiev Spiritual Academy", 1871; finally, Stasov's answer: "Criticism of my critics");
• Orest Miller, “The experience of a historical review of Russian folk literature” (St. Petersburg, 1865) and “Ilya Muromets and the heroism of Kiev” (St. Petersburg, 1869, criticism of Buslaev in the “XIV award of the Uvarov awards” and the “Journal of the Ministry of Public Education”, 1871);
• K. D. Kvashnina-Samarina, “On Russian epics in historical and geographical terms” (“Conversation”, 1872);
• His own, "New sources for the study of the Russian epic" ("Russian Bulletin", 1874);
• Yagich, an article in "Archiv für Slav. Phil.";
• M. Carriera, "Die Kunst im Zusammenhange der Culturentwickelung und die Ideale der Menschheit" (second part, translated by E. Korshem);
• Rambaud, "La Russie épique" (1876);
• Wolner, "Untersuchungen über die Volksepik der Grossrussen" (Leipzig, 1879);
• Veselovsky in "Archiv für Slav. Phil." vols. III, VI, IX and in the “Journal of Min. National Education" (December 1885, December 1886, May 1888, May 1889), and separately "South Russian epics" (parts I and II, 1884);
• Zhdanova, "On the literary history of Russian epic poetry" (Kiev, 1881);
• Khalansky, "Great Russian epics of the Kiev cycle" (Warsaw, 1885).

Bylina is a folk-epic song written in tonic verse. Each work consists of a verse, a beginning and an ending. The first part of the epic was rarely associated with the main plot, mostly the introduction was written to attract attention. The beginning is the main event to which the epic is dedicated. The ending is the last part of the epic, in which, as a rule, there is a solemn feast dedicated to the victory over enemies.

There are several types of melodies of epics - strict, stately, fast, cheerful, calm and even buffoonish.

Each legend was distinguished by a patriotic character, its plots were always laudatory and told about the invincibility of Russia, the virtues of the prince and brave defenders who immediately came to the rescue if trouble threatened the population. The term "epic" itself began to be used only from the 1830s, it was introduced by the scientist Ivan Sakharov. The real name of the songs about heroes is “old times”.

The main characters in were mighty heroes. The characters were endowed with superhuman strength, courage and courage. The hero, even alone, could cope with anyone. The main task of these characters is to protect Russia from the encroachments of enemies.

Ilya Muromets, Alyosha Popovich and Dobrynya Nikitich and Vladimir the Red Sun - these can be found in almost every legend. Prince Vladimir was the ruler of the Russian lands, and the heroes were the hope and protection of the Russian people.

Authors of epics

Many facts concerning the authors of epics, the time and territory of their writing remain a mystery until our days. Most researchers have come to the conclusion that the most ancient legends were written no more than three hundred years ago. On Wikipedia, for example, you can explore several different theories and facts that scientists have identified.

The prevailing number of epics was recorded by scholar-collectors from the words of the inhabitants of certain areas. In total, there are about forty plots of legends, but the number of texts already reaches one and a half thousand copies. Each epic is of particular value for Russian culture, folk, as well as for folklorists.

Narrators could be people of different professions, so in the texts they mentioned comparisons that were more understandable and close to them. According to the narrator-tailor, for example, a severed head was compared to a button.

Epics were not written by one author. These are the legends that the Russian people made up, and the lyrics were passed down from generation to generation. Songs were performed by certain people who were called "narrators". This one had special qualities. The fact is that bylinas were never memorized by narrators, so the narrator had to independently connect plots, select comparisons, memorize important facts and be able to retell them without distorting the meaning.

For some reason, the word "epic" is associated with something huge, large-scale, undeniably great. The first thing that comes to mind is the images of mighty heroes who protect Mother Russia, patrol the borders of the state on mighty horses, drive away all sorts of misfortunes. Even the language in which these amazing works are written differs from ordinary literary! Russian folk epics are absolutely independent with established traditions and canons. What distinguishes them from ordinary fairy tales and legends?

What it is?

So, an epic is an epic song, usually passed down from generation to generation, the main plot of which revolves around a hero fighting against the forces of evil and defending the fatherland with all his might. Usually the main character has a not very simple fate, moreover, he does not come to the realization of his “heroism” immediately, but then, when the “silushka” is already whipping over the edge, no one can resist the Russian knight.

The term for this form of folklore was introduced in the thirties of the last century and taken from the Tale of Igor's Campaign (where there is the phrase "epics of this time"). Most of these legends were preserved among the peasants of the northern part of Russia. Epics (short works are rare) are most often quite voluminous, as they tell about a long period of time.

Story

It is difficult to say when the first appeared, it seems that they have always been among the people. The first documents containing Russian folk epics date back to the seventeenth century, and no one can say whether this is due to the illiteracy of the population or the fact that such a genre did not exist before.

The first collection of "legends" of the Slavs was created by order of the Englishman Richard James, who was interested in the culture of Russia, however, there were only five epics in it. In the eighteenth century, interest in the genre increases, more authors appear who create entire collections of folk songs. The peak of interest falls on the sixties and seventies of the nineteenth century, when the ordering of epics came into fashion not by characters, but by storytellers (this is how the keepers of oral art are called among the northern peoples).

Most often, Russian folk epics were discovered by researchers in Siberia. Legends of Russian Cossacks stand out as a separate genre.

Rules

As for any epics, their own canons are characteristic. They say that earlier they were performed to the accompaniment of psaltery, melodies, however, there were few of them, but in combination with the voice of the narrator, they sounded really amazing. Such a phenomenon as short epics did not exist at all, therefore each legend dragged on for long hours, often it was interrupted for the rest of both the listeners and the narrator.

These works suggest a solemn narrative style. It was achieved with the help of repetitions (the well-known "a long time ago" came from there) and synonyms (to live and live). Very often whole phrases were repeated - at the end of a line and at the beginning of the next. Usually, the storytellers did not focus on any specific places, it was much more important for them to talk about “heroic” deeds, the process of saddling a horse, for example, epics contain detailed descriptions of horse harnesses, equipment of the hero himself, etc. There are also frequent exaggerations, emphasizing certain qualities of the characters. Narrators adored epithets (glorious hero, filthy enemy), some of which eventually became phraseological units (hot blood). To once again highlight the “bright side”, diminutive suffixes (Alyoshenka) were used, while for negative characters, the suffixes “increasing” (tsarishche) were used.

Russian folk epics are presented in the present tense, they do not contain references to the past or the future. In addition, they usually consist of three compositional parts: the sing-along (a kind of introduction that has little to do with the narrative itself), the beginning (the plot itself) and the ending.

Silushka heroic

The most famous genre of this element of folklore are epics about heroes. Stories about love for Russia, about devotion to the cause, real honor and friendship have always been popular. Characters such as Alyosha Popovich, Dobrynya Nikitich and Ilya Muromets are known to every Russian-speaking person. They are popularized even in cartoons, so that even the smallest ones know that "superheroes" are not only in America, but also in Russia. Stories about heroes instill in children love for the Motherland, awareness of its value, showing at the same time the historical life of the Old Russian state.

Conclusion

The culture of Russia is amazing and rich. Epics, Russian folk tales, proverbs and sayings, various riddles are only a small part of all this wealth. Much remains unexplored to the end, much remains incomprehensible to modern man, but in no case can one deny the value of folklore. Without the past, the present is impossible and the future is impossible, and only then will the people develop correctly when they learn to value their history.