Udmurt fairy tales are short. Udmurt fairy tales at reading lessons

Udmurt fairy tales.

Tales about animals.

Magic tales.

Realistic tales.

"When a person's inquisitive gaze begins to penetrate what surrounds him, fairy tales about animals and plants appear. In them ancient man tries to explain the reason for this or that feature of the representatives of the surrounding world. This is how fairy tales arise about why a bear hides in a den for the winter, why rye does not have an ear full of stems, why a pea consists of two halves, etc. Of course, these explanations are still pure fantasy, but they are already evidence of that a person wants to know everything, that it has become impossible for him to live in ignorance.

In ancient times, man was largely dependent on the ability to recognize the habits and customs of animals. In fairy tales about animals, the Udmurt, a hunter and nature lover, has preserved and conveyed to this day observations of the natural behavior of animals and animals. He treated them like his smaller brothers, although sometimes in something - in strength, dexterity, speed - and superior to man. Observing the successes and failures in communicating with the animal world, he began to pass on his experience to other generations through fairy tales about animals.

We now call fairy tales what for the first listeners were the lessons of hunting, natural history, which taught them to respect the strength of the bear, calling him the "master of the forest" and even worshiping him in order to appease, win over. On occasion, however, he can be deceived: he is strong, but unsophisticated. The wolf is weaker than the bear, but more impudent and stupider. In addition, he is always hungry, or rather, insatiable. The wolf is so stupid that even such harmless animals as a hare or a goat can outwit him. The long-tailed fox Vassa in the Udmurt fairy tale is cunning, as in the fairy tales of other peoples, flattering with the strong and arrogant with the weak, but she is also stupid. A rooster, a dove, a cat easily defeat her. Over time, these tales ceased to be lessons in natural history: humanity has stepped far forward towards true knowledge. But fairy tales remained fairy tales.

Why do we still love fairy tales about animals? Is it not because, firstly, they help us to get to know our younger brothers"- animals and, secondly, allow us to critically and not without humor evaluate our own behavior and the actions of the people around us. Arrogance, bragging, arrogance, cowardice, deceit attributed in fairy tales to a bear, wolf, fox and other animals, do they help us take a stricter look at ourselves and the circle of our acquaintances? Don't they instill in us modesty, benevolence, adherence to principles, selflessness? Yes, yes and yes! It is no coincidence characteristic feature The modern Udmurt fairy tale about animals is the victory of a weak character over a strong and cruel one: a goat defeats a wolf, a rooster or a dove - a fox, a cat - a bear. The heroes of fairy tales about animals, having retained their traditional habits and characters, today have found a new life and perform a noble task: they help to educate a new person as kind, strong, generous, ridiculing everything inert, alien, backward.

Fairy tales are younger than animal tales. They have what has been achieved by man, and what seemed so far unrealizable. In other words, fairy tales depict the people's dream of an all-powerful, all-powerful man living on earth and conquering time, space, fire, and water. He succeeded in this with the help of magical means, inherited by labor and good-heartedness. The world of the Udmurt fairy tale strikes with its everydayness and fantasy. Her heroes experienced hunger and cold, injustice and deceit. Struggling with want and untruth, they work miracles: they climb into the sky, descend underground, do not burn in fire, do not drown in water. Thanks to miraculous items and helpers, they defeat the strongest opponents. These tales reflect one of the first stages of man's struggle with the evil forces of nature, the victory of the indefatigable seeker and worker over them, the richness of the soul and its moral beauty.

The wonderful gift received by the hero of a fairy tale is taken from him by cunning and deceit by envious and evil people: merchants, priests, rich people. However fairy tale hero in the end, he achieves the punishment of the offenders and again becomes the owner of the magical gifts intended for him. Why? Yes, because the people-creator and worker at the time of lack of rights and oppression believed in their creative forces and in the inevitable triumph of justice. True, he did not know in what ways this would be achieved, but he dreamed about it in fairy tales. He dreamed of wonderful helpers: a self-cutting ax, an invisible scarf, rejuvenating apples, self-assembled tablecloths, self-dance pipe, self-propelled bast shoes and others. They promised him a worthy reward for his work, easing hard work, longevity, shortening distances, good rest, and much, much more, which would make life wonderful and amazing.

The hero of the Udmurt fairy tale is not a king and not a prince, not a king and not a prince. Most often - just Ivan or Ivan the poor. Sometimes this is a nameless soldier who served a long soldier's service to the tsar and remained an orphan in this world: not a stake, not a yard, not a penny for a rainy day. And this is what is characteristic: the destitute hero is not embittered, not bitter, but on the contrary, his heart is kind and sympathetic, his mind is bright and clear, his hands are dexterous and skillful. Such a hero opposes enemies strong and powerful. Yes, not only opposes, but also wins, as, for example, in the fairy tales "Poor Ivan", "Gundyr Inmar and Prok the headman."

Why is the hero of a fairy tale omnipotent, omnipotent? Is it only because he became the owner of fantastic gifts-helpers? After all, these same gifts, falling into unkind hands, almost lose their good power. Probably, the point is not in them, but in the fact that the hero of a fairy tale usually acts not only on his own behalf, but also on behalf of those whose interests he defends more than his own - on behalf of the family, fellow villagers, people. This makes him invincible and omnipotent. Evil forces opposing the hero in fairy tales either appear as traditional fairy-tale kings or merchants, or they are personified in the form of a snake, shaitans and the god Inmar himself. These forces stand in the way of the hero to happiness, prevent honest people from living, dooming them to troubles and extinction. But the hero overcomes them.

So, we can say that in a fairy tale, the main and indispensable moments are struggle, exploits, getting. Therefore, all the forces acting in it are sharply divided into two camps: the heroes themselves, heroes in the literal sense, and their enemies. A feature of fairy tales is the technique of exaggeration, hyperbolization. The difficulties in them are exaggerated so much that they seem impossible, the carriers of the evil inclination are insurmountable, the possibilities of magic items are innumerable or inexhaustible. But the main character for the time being does not particularly stand out with his mind-mind, strength-skill. He has just a kind heart, sensitive to injustice and people's grief. It is this kind heart that makes it all-powerful. Thanks to him, he is rewarded with magical assistants, magical items, or a magical skill. That is why fairy tales are called magical.

The youngest of all fairy tales in science are considered realistic, or everyday. When a person was completely dependent on nature, when his next tomorrow depended on luck in hunting or fishing, legends, myths, fairy tales about animals served him as a living book of life, they reflected his experience. Experience was replenished, and the oral book about him was replenished. In a fairy tale, an ancient man begins not only to share his life experience, but also to dream of such helpers, objects, such skills that could make him many times stronger and more powerful. A poor person, in order to achieve a little bit of well-being, had to be dexterous and cunning, resourceful and quick-witted. Then tales began to appear about the poor - deceivers and cunning, deftly inflating the self-satisfied and greedy rich. The heroes of these tales have no magical helpers, no miraculous gifts or skills. They do not need to make their way to the sun or descend into the underworld. And their goals are earthly and the means to achieve them are also everyday. They, driven to the extreme by need, achieve elementary justice, forcing the rich man against own desire return to the poor what he or his fellows have earned. At the same time, their only wealth helps them: dexterity, quick wit.

The themes of everyday fairy tales are exceptionally diverse. Literally for all occasions, you can find an example in Udmurt everyday fairy tales. There are among them fairy tales on favorite topics, they have their favorite heroes. So, in most fairy tales, the themes of the hero's marriage, happiness, fate vary.

Especially popular among the Udmurt people are the tales of the dexterous Aldar Ivan or Aldar agai. This is certainly a poor, but quick-witted man. Recently, Lopsho Pedun has somewhat pressed him. Interesting story happening before our very eyes amazing hero. The tricks of Lopsho Pedun remained as a memory of past times, as an example of humor, testifying to the moral health of the Udmurt people.

Everyday fairy tale is a generalization, a typical reflection life phenomena. And yet she is a fairy tale. Not a true story, not a separate fact of reality. It clearly traces the fabulous beginning, fabulous essence. What is told, perhaps, in some details, somewhere happened to someone in life, more precisely, it could happen. A dexterous, quick-witted worker, for example, could outsmart the owner once, twice, several times. But this happened very rarely. In the vast majority it was the opposite: the owner would not be the owner if he did not profit at the expense of others, that is, at the expense of those who worked.

Some fairy tales give out their age, that is, according to individual details, one can speak approximately of the time of their creation. However, for the most part, the tale does not show age. Only a specialist can sometimes solve it. The fairy tale itself does not need this: it is always young, always beautiful, like the people who created it.

Candidate of Philology N Kralin.

Eskina Sofia

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Udmurt folk tales.

Udmurtia UDMURTIA (Udmurt Republic) is located in Russia, located in the western part of the Middle Urals, between the rivers Kama and Vyatka. The area is 42.1 thousand km². Population 1.627 million people. The capital of Udmurtia is the city of Izhevsk. It was formed in 1920 as the Votskaya Autonomous Region. In 1934 it was transformed into the Udmurt ASSR. Since 1990 - the Republic of Udmurtia.

Udmurtia, and in particular Izhevsk, are known in the world as a forge of army, hunting and sporting weapons. Expositions on the history of Izhevsk weapons and the military history of the region are an object of constant interest to Russian and foreign tourists of all ages.

Udmurts Udmurts are a people in Russia, indigenous people Udmurtia. Udmurts also live in Tataria, in Bashkiria, in Perm, Kirov, Sverdlovsk regions. 70% of Udmurts consider their national language to be their mother tongue. The Udmurt language belongs to the Finno-Ugric language group. IN Udmurt language several dialects stand out - northern, southern, Besermyansky and median dialects. The writing of the Udmurt language was created on the basis of the Cyrillic alphabet. The majority of Udmurt believers are Orthodox, but a significant proportion adhere to traditional beliefs. Islam influenced the religious beliefs of the Udmurts living among the Tatars and Bashkirs. The territory of modern Udmurtia has long been inhabited by Udmurt or Votyak tribes (3-4 centuries AD). In 1489, the northern Udmurts became part of the Russian state. In Russian sources, the Udmurts have been mentioned since the 14th century as Ars, Aryans, Votyaks; southern Udmurts experienced Tatar influence, tk. Until 1552 they were part of the Kazan Khanate. By 1558, the Udmurts completely became part of the Russian state. Under their own name, the Udmurts were first mentioned in 1770 in the work of the scientist N.P. Rychkov. Leading position in applied arts occupied embroidery, patterned weaving, patterned knitting, woodcarving, weaving, embossing on birch bark. Singing and dancing, accompanied by playing the harp and flute, were widely developed among the Udmurts. In the 18th century, the largest Udmurt factories, Izhevsk and Votkinsk, were erected in Udmurtia, which have retained their significance in a transformed form to this day. The region has become a major industrial center of Russia. Highest value received metallurgy, engineering and weapons production.

The traditional occupation of the Udmurts was agriculture and animal husbandry. Hunting, fishing, and beekeeping were of an auxiliary nature. Udmurt villages were located along the banks of the rivers and were small - a few dozen households. In the decoration of the dwelling there were many decorative woven products. Udmurt clothes were sewn from canvas, cloth and sheepskin. In clothing, two options stood out - northern and southern. Shoes were woven bast shoes, boots or felt boots. Numerous were ornaments made of beads, beads, coins. The traditional dwelling of the Udmurts was a log hut with a cold passage under a gable roof. The food of the Udmurts was dominated by agricultural and livestock products. public life In the villages, a neighboring community played an important role, headed by a council - kenesh.

For a long time, the tribal divisions of the Udmurts - the Vorshuds - were preserved. The religion of the Udmurts was characterized by a numerous pantheon of deities and spirits, among them Inmar - the god of heaven, Kaldysin - the god of the earth, Shundy-mumma - the Mother of the sun, there were about 40 of them in total. Many ritual actions were connected with household chores: gery potton - the holiday of taking out the plow, vyl zhuk - the ritual eating of porridge from the grain of the new crop. Since the 19th century, the celebration of many holidays began to coincide with the dates of the Christian calendar - Christmas, Easter, Trinity. The Udmurts often had two names - a pagan one, given when they were called a midwife, and a Christian one, received at baptism.

Fairy tales Unlike other types of fairy tales, fairy tales are based on a very clear composition and plot. And also, most often, a recognizable set of some universal “formulas”, by which it is easy to recognize and distinguish it. This is the standard beginning - “Once upon a time in a certain kingdom in a certain state ...”, or the finale “And I was there, drinking honey-beer ...”, and the standard formulas of questions and answers “where are you going?”, “Are you trying or from the case you are crying, ”and others. Compositionally, a fairy tale consists of exposition (reasons that gave rise to a problem, damage, for example, violation of any prohibition), beginning (detection of damage, shortage, loss), plot development (search for the lost), climax (battle with evil forces) and denouement (solution, overcoming a problem, usually accompanied by an increase in the status of the hero (accession)). In addition, in a fairy tale, the characters are clearly divided into roles - a hero, a false hero, an antagonist, a giver, an assistant, a sender, a princess (or the father of a princess). It is not necessary that all of them be present, and each role is played by a separate character, but certain characters are clearly visible in every fairy tale. The plot of a fairy tale is based on a story about overcoming a certain lack, loss, and in order to overcome the antagonist - the cause of the loss, the hero definitely needs wonderful helpers. But getting such an assistant is not easy - you need to pass the test, choose the right answer or Right way. Well, the conclusion is most often a wedding feast, the one at which “I was, drinking honey-beer ...”, and a reward in the form of a kingdom.

Tales about animals Animal tale (animal epic) is a collection (conglomeration) of different genre works of fairy folklore (tale), in which animals, birds, fish, as well as objects, plants and natural phenomena act as the main characters. In fairy tales about animals, a person either 1) plays minor role(the old man from the fairy tale "The fox steals fish from the cart (sleigh")), or 2) occupies a position equivalent to an animal (the man from the fairy tale "Old bread and salt is forgotten"). Possible classification of the fairy tale about animals. First of all, the animal tale is classified according to the main character (thematic classification). Such a classification is given in the index of fairy-tale plots of world folklore compiled by Aarne-Thompson and in the Comparative Index of Plots. East Slavic fairy tale ": Wild animals. Fox. Other wild animals. Wild and domestic animals Man and wild animals. Pets. Birds and fish. Other animals, objects, plants and natural phenomena. The next possible classification of the animal tale is the structural-semantic classification, which classifies the tale according to genre. There are several genres in the fairy tale about animals. V. Ya. Propp singled out such genres as: Cumulative tale about animals. Fairy tale about animals Fable (apologist) Satirical tale

Everyday fairy tales Everyday fairy tales are different from fairy tales. They are based on the events of everyday life. There are no miracles here fantastic images, operate real heroes: husband, wife, soldier, merchant, master, priest, etc. These are fairy tales about the marriage of heroes and the marriage of heroines, the correction of obstinate wives, inept, lazy housewives, gentlemen and servants, about a fooled master, a rich master, a lady deceived by a cunning master , clever thieves, a cunning and savvy soldier, etc. These are fairy tales on family and everyday topics. They express accusatory orientation; the greed and envy of its representatives are condemned; cruelty, ignorance, rudeness of the bar-serfs. With sympathy in these tales, an experienced soldier is depicted who knows how to craft and tell tales, cooks soup from an ax, can outwit anyone. He is able to deceive the devil, the master, the stupid old woman. The servant skillfully achieves his goal, despite the absurdity of the situations. And there is irony in this. Household tales are short. There is usually one episode in the center of the plot, the action develops quickly, there is no repetition of episodes, the events in them can be defined as ridiculous, funny, strange. Comic is widely developed in these tales, which is determined by their satirical, humorous, ironic nature. There are no horrors in them, they are funny, witty, everything is focused on the action and features of the narrative that reveal the images of the characters. “In them,” wrote Belinsky, “the way of life of the people, their domestic life, their moral concepts and this crafty Russian mind, so inclined towards irony, so simple-hearted in its cunning, are reflected.”1

Noodles Pedun Lopsho Pedun is an Udmurt guy. He is a joker and a merry fellow. If you find yourself in Sundur, stay at his place. Walk quietly along the street - Suddenly it will run out from behind the gate! And right there you will be easily swirled by Funny jokes round dance. Tell a story or story. It's more fun to live with him. Lopsho Pedun is a cheerful guy, Let's be friends with him!

The history of Lapsho Pedun Until recently, it was believed that Lopsho Pedun, a well-known character in Udmurt folklore, was just a product of folk art. However, local historians of the Igrinsky district found out that Lopsho Pedun actually lived, was born in the Igrinsky district. According to legend, he managed to find out the secret of life. Pedun found one of the pages of the holy book of the Udmurts, on which it was written: "Do not take everything to heart, look at everything cheerfully, and luck will not bypass you." Since then, any work in his hands has been arguing, and he became a source of inexhaustible humor, wit, worldly cunning. Countrymen nicknamed the main Udmurt humorist and wise guy Veselchak, in Udmurt - Lopsho. That is how the legend of a man with a wide and good soul who knows how to support at a difficult moment and protect from offenders with a well-aimed word.

He was a clever and quick-witted person who could easily outwit his greedy and stingy master, teach a lesson to the ignoramus and the loafer, because he himself was a man of labor. His tricks remained in the memory of fellow villagers, entered fairy tales, became an example of humor, and humor, as you know, is a sign of the moral health of the nation. As a result, Lopsho Pedun became the favorite hero of Udmurt fairy tales. Approximately the same as the Russian Ivanushka, the Germans - Hans, the Eastern peoples - Khadja Nasreddin.

For a long time it was believed that Lopsho Pedun was a fictional character of the Udmurt epic, until in the 50s one of the first folklore expeditions of Daniil Yashin, assistant professor of Udmurt literature and literature of the peoples of the USSR Udmurt State University, did not hear the tale of Lopsho Pedun in the Udmurt village. The researcher became seriously interested in the character and since then, everywhere he went, he asked if they knew locals fairy tales about the Udmurt joker. People told, and the piggy bank of fairy tales was replenished. Later, she was published several times as a separate book, reminding readers of the need to continue the search for their happiness.

D. Yashin's research was continued by the staff of the Igrinsky Museum of Local Lore. Based on the local history material of a resident of the village of Levaya Kushya, Kapitalina Arkhipovna Chirkova, they revealed the facts of the real Lopsho Pedun living in the Igrinsky district and were able to compile a family tree of the Pedor Vyzhy clan, the founder of which was Lopsho Pedun himself. Its history began in 1875, when a certain Fyodor Ivanovich Chirkov was born in the Igrinsky district, in the modest village of Levaya Kushya. The Udmurt version of the name "Fyodor" sounds like "Pedor", and in an affectionately simplified form - "Pedun". So Fyodor was called not only by his mother, but also by his fellow villagers. F.I. They were glad to see Chirkov at every family holiday and celebration - he played the harmonica wonderfully, was witty and kind, knew how to have fun.

Lopsho Pedun is loved, parodied and actively promoted as an Igry brand. In the district local history museum there is a unique exposition that you will not find in any other museum in the world - this is a hall dedicated to Lopsho Pedun, as well as a theatrical program "Game in the Game with Lopsho Pedun" (branch of the museum - Center Udmurt culture in the village of Sundur).

How did Lopsho Pedun become red? Scene 1 In front of Pedun's house. Lopsho Pedun sits on a bench and plays a simple melody on a homemade pipe. Grandmother looks out the window, knocks out a pillow. The dust is flying. GRANDMA (sneezes). Upchhi!.. Pedun, are you all messing around? At least shake out the pillows. Yesterday there was such a wind, it brought dust - there’s nothing to breathe ... (Fedun, not listening to her, continues to play the pipe.) Look, she doesn’t even lead with her ear! .. And where did you come from ... Everyone works, works, you alone all day long you do what you blow into the tune! LOPSHO PEDUN. I, grandmother, do not blow. That is, I don’t do it ... I play, grandmother. Like? GRANDMOTHER. Oh, granddaughter, like it or not like it. And who will do the work? We need to pop the pillows. LOPSHO PEDUN. I'll learn the melody, and then I'll take care of the pillows. They won't run away. GRANDMOTHER. They won’t run away, but you won’t find you later in the afternoon with fire. I'd rather take it out myself. (He starts furiously beating the pillow. The pedun is playing. Suddenly the grandmother stops and listens.) Oh, granddaughter, it seems the wind is picking up again. God forbid, all the linen will be carried away. Collect it quickly! LOPSHO PEDUN. Or maybe it won't. I'll play it and collect it. (Continues to play the pipe.) GRANDMA. Well, what a bum! I'll do everything myself! Grandmother leaves the house, collects linen hanging on a rope, closes windows and doors. The wind is making more and more noise, and Lopsho Pedun, not paying attention to it, continues to play. The wind subsides. Grandma reappears at the window. GRANDMOTHER. Oh you. Lord, what's going on! What kind of wind is this? And where did he come from? This has never happened before! LOPSHO PEDUN. The wind is like the wind, nothing special. (Pulls out a mirror and looks into it.) You'd better tell me, grandma, who do I look like? For dad or mom? GRANDMOTHER. You look like a bum, that's what I'll tell you! You play the pipe, you look in the mirror, but you don’t want to notice what’s going on around you. LOPSHO PEDUN. And what is going on? GRANDMOTHER. Are you blind, or what? An unknown grief came. The wind breaks trees, destroys houses, drives terrible clouds at us. And there were no birds or animals left in the forests, the fish disappeared in the rivers, the springs dried up. Livestock from the village disappears to no one knows where ... LOPSHOE FEDUN. How does it disappear? GRANDMOTHER. And like this! Maybe someone is stealing it. Our men followed the footprints into the forest - not a single one returned. Now in all the yards only a baby like you remains. Who will protect us from such misfortune? In the old days, there were heroes - batyrs. They saved people from any misfortune, and now, apparently, they have disappeared. LOPSHO PEDUN. Why did you transfer? What am I for? Here I will take a sword - I will overcome any enemy! GRANDMOTHER. Here, here, just brag and much! LOPSHO PEDUN. Am I bragging? GRANDMOTHER. And then who? You, go, and you won’t be able to lift a sword. LOPSHO PEDUN. And you try me. GRANDMOTHER. Well, it's possible. You see, there is a stone near the fence. Try to pick it up. If you overcome the stone, then you can handle the sword. LOPSHO PEDUN (looks at the stone). This one, right? .. (Tries to pick up a stone, can't.) GRANDMA. You see, you can't. And our batyrs threw this stone into the sky like a ball. (He puts a plate of pies on the windowsill.) Come on, eat, maybe you will gain strength, but for now I'll go for water. Takes buckets, leaves. LOPSHO PEDUN (sits down on a stone). Just think, turn a stone - you don’t need a mind. But in order to restore peace to people, strength alone will not be enough. There is no strength, here the head is needed. I’ll go into the forest and find out who is doing all these dirty tricks. And then we'll come up with something. If there is not enough strength for a fight, then I will call on ingenuity to help. (He takes a knapsack bag, puts pies in it.) Everything will come in handy on the road. (He puts a pipe and a mirror there.) Both a pipe and a mirror, because it was not for nothing that my grandmother gave it to me. So I sort of got together, but my head, my head is always with me. Goes and sings a song about going to the forest.

Lopsho pedun a folklore character or a real person? For a long time, Lopsho Pedun, the Udmurt merry fellow and joker, was considered something as mythical as the notorious Russian Ivanushka the Fool. But the research of Daniila Yashina, a researcher of Udmurt literature and folklore, showed that Lopsho Pedun was not just a character in the Udmurt epic, but also a very real person! Its history began in 1875, when a certain Fyodor Ivanovich Chirkov was born in the Igrinsky district, in the modest village of Malaya Kushya. The Udmurt version of the name "Fyodor" sounds like "Pedor", and in an affectionately simplified form it does - "Pedun". So Fyodor was called not only by his mother, but also by his fellow villagers, who were not alien to chatting and drinking with a cheerful Pedun. Chirkov was seen at every family holiday and celebration - he played the harmonica wonderfully, was witty and kind, knew how to have fun. The legend says that once Pedun found a birch bark letter with an inscription in which an unknown author advised him to live happily, hope for good luck and in no case be sad over trifles. Pedun decided to follow the advice, and followed it so well that soon fellow countrymen nicknamed the main Udmurt humorist and wise guy "Veselychak", in Udmurt - "Lopsho". That is how the legend was born about a man with a broad and kind soul, who knows how to support at a difficult moment and protect from offenders with a well-aimed word. www.genro.ru based on materials from udmpravda.ru

A genre that carries especially expressive features of children's creativity is teasers - isaskonyos (from the verb "isaskyns"- tease). Teasers are part of gaming folklore. They are quite common among children. Children accept the custom of giving nicknames and offensive nicknames from adults, but in a childish environment they are somewhat softened. Children love to tease each other and sing mocking songs. Such teasing songs and mocking songs represent a special kind of children's creativity. At first, these are just rhyming additions to the name - nicknames. If you add some verse to them, a teaser is formed: "Tanya-bath, rastabanya; Tabande mynym but wai"- "Tanya-banya, rastabanya; Tabani and you give me."

In most cases, teasers make fun of a person's appearance: "Opsa, trawler; Badly koto Mikalya..."- "Opsa, trawler; Big-bellied Nikolai ..." Although teasers are not aesthetically pleasing, they cannot be dispensed with: they condemn sneaking, gluttony, laziness, as if in a crooked mirror, point to shortcomings and thereby contribute to their correction.

Puzzles

Spells, incantations, conspiracies

The genres of folklore, having arisen at different times, reflected the stages of human knowledge of the surrounding nature and society in artistic images. According to his pre-Christian beliefs, which survived until the 20th century, all nature was inhabited by creatures that could help or hinder, harm a person. Therefore, in different cases, they were addressed with the help of spells, incantations, incantations, which constituted a separate, original layer of ritual poetry, pursuing utilitarian and magical goals.

The origin and initial functions of the invocations are very serious and are associated with ancient pagan mythology, which has deeply entered the life of the people. But over time, they became a game, as a lot of entertaining and funny things were added to them. Basically, such songs-chants consist of two parts: in the first - an appeal to the sun, rain, etc .; in the second - an appeal to reward something for the fulfilled requests or an explanation-motivation of the request: "Shundye, sweat, sweat; Achim vöyok nyan seto"- "Sunshine, come out, come out; I'll give you the bread and butter myself."

In most of the calls, Udmurt children turn to the sun. They affectionately call the sun "mother", "cloud" - father. Such incantations were usually sung while swimming, when, after a long stay in the water, they were supercooled, and the sun at that moment was hiding in the clouds. With a call-call they promised the sun a beautiful dress.

Dialectal words and word forms are often found in invocations: appeals vary, for example, to the sun-mother ("neney", "anai", "mumi", "neni", etc.), to the father-cloud ("uncle "," dad "," atai ", etc.), while the plots of the invocations are stable, almost not subject to change.

Features of the local dialect also affected the sentences-addresses to animals, birds, insects. So, in sentences addressed ladybug(zorkaks), they call her what-mothers, Pali, tiri-papi etc. More than 11 titles in total. They reflected not only the dialectal differences of the Udmurt language, but also ancient folk beliefs. Conspiracies are close to spells and invocations, but their significance in the minds of people is somewhat higher. This is emphasized by the conditions of performance, and artistic features, and by the fact that conspiracies were known only individuals: to the soothsayers (tuno), healers (pellyaskis), pagan priests (vӧsyas).

Undershirts

In the children's environment, original word games existed and are still preserved - kylyn shudonyos, designed mainly for simpletons. Undershirts are based in most cases on consonances (rhyme): "- Kyzpu, shu!; - Kyzpu.; - Tybyr ulad tylpu"; "- Say," birch "; - Birch; - There is a fire under your shoulder blade."

The usual form of undergarment is a dialogue consisting of three lines. In the first line, the player asks a question, in the second - the word is repeated, which is asked to be repeated, and in the third line the answer is given. Undershirts are similar in function to jokes and comic answers. Merry word game for older children is the rapid repetition of difficult to pronounce verses and phrases - tongue twisters - ӝog veranyos. Tongue twisters are built on alliterations and assonances, they contribute to the development of correct articulation in children, help to master the features of their native language. They help children feel and develop speech - clearly and quickly pronounce individual sounds, words and expressions. "Ozy, gozy, kuz gozy; Bakchayn thatcha ozy"- "So, a rope, a long rope; A dragonfly jumps in the garden."

The texts of some tongue twisters, like teasers, cannot be translated. When translating into Russian or other languages, the richness of the sound of words or individual sounds is lost.

Proverbs and sayings

lore

mythological legends

In the Udmurt non-fairytale prose, a universal genre of legends stands out, which is a verbal form of the attitude of the people to historical reality: mythical or realistic. In mythological legends, the motives of the first creation, the phenomena of any facts and realities of reality are reworked in line with the late tradition with a predominance of moral and ethical attitudes, which creates a kind of synthesis of narratives that are archaic in attitude, but late in form. One of the clearest examples is the story according to which spots on the moon appeared after a poor girl living with an evil stepmother asked the moon for protection, and she took her to her when the girl went to fetch water on one of the Christmas evenings. Since then, they say, she has been standing there, and on the full moon, both the girl herself and the yoke with buckets are clearly visible.

Many texts refer to biblical stories and images, but, unlike legendary legends, their content is closely intertwined with archaic ideas that melted new influences in the crucible of tradition, as, for example, in the legend "On the Creation of the World". Its heroes are Inmar(Supreme God) and Satan(Crap). Thinking of creating the world, Inmar sends Shaitan to get the earth from the bottom of the oceans. Having given the earth to Inmar, Shaitan conceals its grains behind his cheeks, but when the earth, at the command of Inmar, begins to grow, he is forced to spit it out. This fact, according to legend, is the cause of the unevenness of the earth's surface.

Legendary lore

Historical traditions

The richest section of legends is historical, cycling works around several main themes. In the Udmurt historical legends, several main cycles stand out: about the most ancient inhabitants of the region; heroic-heroic; about the settlement and development of the region; legends about robbers, fugitives; legends about treasures.

Legends about the most ancient inhabitants of the region. The main characters of this cycle are giants - Alangasary(southern Udmurts), giants - zerpaly(Northern Udmurts). They are opposed to man in terms of time spent on earth, intelligence and inability to create cultural values. In their portrait characteristics, attention is focused on growth and strength: they walk through the forest as if through nettles; fight with uprooted trees; a person who hammers a bee-board is mistaken for a woodpecker; examine it in the palm of your hand, put it in your pocket or put it in your bosom. They do not have clothes, tools, do not know how to use fire. Warming themselves by the fire, they protect themselves from its heat with clay, smearing their feet. Having found a creature on earth that knows how to work (grow bread, breed bees), they are forced to leave their former habitats. They go north, turning into huge boulders, or die in pits, burying themselves alive. Evidence of the long-standing presence of giants in a particular area is often the names of hills - mountains and hills ( Alai puffy- heel of Alai, Alangasar Gurez- Mount Alangazar, Zerpal lay down- hill / hill Zerpala). The uneven surface, according to legend, is the earth that has fallen off the foot or shaken out of the giants' bast shoes.

Alangasar became the starting point for the creation of two types of images in Udmurt folklore - heroes and mythical creatures. The heroes became the successors of their physical strength, mythical creatures- "mind". The former became characters in the legends of the heroic-bogatyr cycle, the latter - in mythological tales. Alangasar in the archaic tradition is an exaggerated image of the past, a memory of a mythical, "pre-human" time.

Udmurt batyrs

The elusive idea of ​​a giant as an ancestor, present in the narratives of the cycle "On the most ancient inhabitants of the region", in this cycle is replaced by a clear realization that the origins of individual clans are the heroes-progenitors, to whose names the terms of kinship or social status that determine their functions are added ( atay/buby"ancestor, grandfather father"; vyzhyyyr"head of the clan"; exey"prince"; azvetles"leader, commander"; budğyman"elder", "big, great").

Udmurt legends about heroic heroes have received local development. Northern Udmurts, for example, do not know the epic characters of the southern regions. In folklore middle lane Udmurtia has its own circle of heroes, etc. Collectors of oral folk art have not recorded epic texts that would have a national sound, that is, would exist in all areas where the indigenous population lives.

Epic (non-fabulous) texts that exist in different regions and tell about various heroes, meanwhile, have common characteristics that contribute to their unification into certain genres. They developed their own art form.

The vast majority of epic texts, with some exceptions, are narrated in prose. The narrator leads his story, as if recalling long-past events. It is as if he himself believes in what he is talking about, and makes his listeners believe in what he has said. This creates a special style of storytelling. Episodes one after another are strung on one thread and create a special plot.

The events depicted in the works take place in the Kama region. Therefore, in the texts there are often pictures of nature characteristic of this region - fields and forests, meadows and rivers, mountains and valleys. Flora and fauna are typical for the area. The action can take place at any time of the day (morning, afternoon, evening) and year (summer, winter, etc.). The place of action, as a rule, is concretized, indicated more or less accurately. This is clearly indicated by the toponyms found in the texts: the names of settlements, rivers, lakes, mountains, fields, etc. Among them, for example - White Kama, Vala, Cap, Kilmez, Toyma, Izh, Pazyal, Mozhga, Dondykar, Karyil, Porshur.

One of the most widely used artistic devices is hyperbole, which is used to describe various events and actions, especially when creating images of heroes. The Udmurt material confirms the theoretical position noticed by folklorists - the farther from us in time the described events occurred, the greater the degree of hyperbolization of the facts. From the nature of the hyperbole, one can roughly establish the era of the events described.

The legend of "Esh-Terek" tells about the struggle of the Udmurt batyr with the Bigers (Tatars). In the text of the work there is no data pointing to a specific historical time. Similar conflict situations were possible during the period of the Volga-Bulgarian state (IX-XII centuries) and during the Tatar-Mongol yoke (XIII-XVI centuries). An analysis of hyperbole as an artistic device suggests that the work reflects an earlier time within the specified epochs.

Ash-Terek - mighty hero. He and the weapon need to match his strength. "He uprooted the maple, broke off the branches and bent into an arc - and he had a bow." The bogatyrs “founded new settlements and fortresses on high eels, close to the river. In those places where they did not find mountains for punishment and fortresses, they grabbed a hillock with their hands, pulled it up to the size of a mountain, and on this mountain they settled with their comrades, the same heroes as the princes themselves ”(“ Dondinskie bogatyrs ” ).

IN similar cases hyperbole performs both an artistic and a service function - through exaggeration, to emphasize any feature of the hero. It symbolizes the power and strength of the clan, the leader of which is the hero. The images of heroes acquire a generalized character: through their deeds and deeds, the life of a whole family and tribe is told. The images of the heroes reflect the period of the formation of the patriarchal family, when the blood relationship of people began to be determined by the male line.

In ancient legends, heroes act as the creators of clans, but over time, this function of them is gradually obscured, and they begin to appear as leaders (toro) of clans. Subsequently, a specific name can mean any man from this kind. The anthroponym gradually turns into an ethnonym, becomes the name of a whole clan or tribe. So it happened with the names Vatka and Calmez. Legends brought to us the names of a number of leaders of the clans. These include Dondy, Idna, Gurya, Mardan, Tutoy, Mozhga, Ozhmeg, Pazal and others .

Separate images of heroes retain direct indications or hints of a connection with a totem ancestor. Dondy, for example, after death turned into a swan. Reminiscences of ideas about the zoo- or ornithomorphic essence of the totem ancestor is magical ability hero to turn into a beast or a bird: in order to avenge the murdered brother Bursin, the hero Selta turns into a bear first, and then a raven, and in this guise penetrates to enemies or flees from them. The image, lost in the process of evolution, capable of reincarnation, turns in the legends into the image of a hero dressed in the skin of a totem ancestor or having a fur coat of some kind. So, an indispensable accessory of the "wardrobe" of the hero Bursin is a fur coat trimmed with beaver fur (my ku duro fur coat). The life of the heroes, according to legend, in general, does not differ from the life ordinary people. They are also engaged in hunting, fishing, farming, often it is they or their children who are the initiators of this or that type of management or trade. Apparently, the Udmurt heroes are already beginning to own property, expressed in the form of some kind of rifled money, as evidenced by the mention of Shorem Kondon(chopped hryvnia), and an obligatory attribute of each settlement - an underground treasure. It is not for nothing that the motif of storing untold riches at the sites of the settlements of heroes occupies one of the leading places in the composition of the text.

The status of heroes changes when hostile neighbors (tushmon - enemy) attack their territories in order to seize their lands. Bogatyrs lead in battles, for which fellow tribesmen in peacetime pay tribute to them or work out in their fields. Applicants for the lands of their clans are both heroes of other Udmurt clans and neighboring peoples (por - Mari, biger - Tatars, ӟuch - Russians). The search for new lands (as a result of defeat in military clashes or in peaceful disputes-competitions: archery at a distance, kicking a bump) and their development also fall on the shoulders of the batyrs.

The position of heroes in society is mainly due to their physical power. One of the main motifs of the legends of this cycle - the motif of the heroes possessing extraordinary physical strength - is the richest in various versions that reveal the appearance of the hero in specific details. The physical strength of the hero is manifested: in stretching the hillocks with his hand to the size of a mountain; cleansing the forest with bare hands; throwing stones from slings or whole logs from settlement to settlement; archery for 40, 80 or more miles; manufacturing tools and weapons of unusual size and quality; unusually fast movement; the ability to cross a hummock across the river to resolve a dispute over land and water. The incredible strength of the heroes can manifest itself even after their death.

The mighty strength of the heroes of the heroic cycle is many times increased due to supernatural abilities, predetermined by their priestly-sorcerous essence or acquired with the help of magical items or magical assistants. The magical power of heroes is found: in the ability to sorcery and divination; in possession of magical objects (magic skis - gold or silver, wonderful horses, a charmed sword / saber or knife / dagger); in connection with the other world.

The most vividly and internally conditioned supernatural abilities of the hero are manifested in his possession of a special horse as a messenger of the other world. .

Traditions in subject matter, content and form may be different. Nevertheless, in a number of texts there are identical episodes that are recreated with the same artistic techniques and turn into traditional ones. Reflection in folklore of the same type of events by the same traditional methods creates a motif. Motives are always repeated many times. No matter what artistic techniques a single episode is shown, it will not become a motive, it will not acquire a traditional sound. Motifs characteristic of Udmurt legends:

The motive for comparing a person with a woodpecker (bird) or woodpecker. Udmurts have lived in the forest region since ancient times, so they are well aware of the habits forest birds. A woodpecker is chiseling a tree looking for food. The hard worker-woodpecker impresses the forest dweller, and he, working with an ax, begins to compare himself with a woodpecker. This motif is characteristic of the most ancient, cosmogonic legends that tell about the universe, the origin of life and man. Moreover, a lumberjack is compared with a woodpecker by his mythical opponents - Alangasars, zerpals, giants.

“The little man began to plow the land, cut down the forest, build huts. He saw one giant boy, took it in his hand and put it in his pocket along with the ax. He returned home and shows his mother:

Look, mother, what kind of woodpecker I caught, he hollowed the spruce.

And his mother says to him:

Son, this is not a woodpecker, this is a person. It means that we will soon be gone, only such people will live in the world. They are small but hardworking; know how to drive bees and catch animals. The time has come for us to leave here” (“On the Creation of the World”).

In all the legends in which a person is compared with a woodpecker, the giants go to no one knows where, instead of them, ordinary people remain to live in these parts.

The motive for moving fast. Bogatyrs cover long distances in a short time, but this distance is given within the limits of realistically possible. The hero moves on foot, skis or rides a horse.

“He went hunting for 25 miles. Every day, leaving home, he took a hot loaf of bread straight from the oven, which he did not have time to cool down on the way - he skied so fast ”(“ Idna Batyr ”).

“The wife delivered bread to him still hot, the piebald horse galloped 30-40 versts so fast that the bread did not have time to cool” (“Yadygar”).

“In winter, the Seltakar bogatyrs put on silver skis and went to the bogatyrs of Karyil. These skis were so fast that in an instant they ran through the space between these two settlements. ("Donda heroes").

Zealous in work, Pazal was zealous in hunting. He ran 30 miles from Staraya Zhikya to the felling so quickly that he did not have time to cool the hot bread he took for breakfast. ("Pazal and Zhuzges").

The time it takes to cover a certain distance is usually compared to the cooling of hot bread. Where is this image from? Why exactly bread? Time belongs to abstract concepts, it can be understood and explained only by consciousness. In ancient times, people tried to comprehend abstract concepts through concrete images. He felt the passage of time, but could not show it in hours and minutes. Therefore, he compared certain periods of time with the time spent on performing any operation in subsistence farming or necessary for the completion of some phenomenon. It is known that hot bread taken from the oven cools slowly, approximately within one hour. From here, the batyrs covered a distance of 25, 30, 40 and more kilometers in less than an hour (the hot bread did not have time to cool down).

The motive for throwing heavy objects. When conflict situations between the settlements, the heroes are thrown heavy objects, and the legends do not talk about the consequences of these operations. The storytellers do not care what happened to the people of another city. The very fact of throwing weights is brought to the fore, that is, the mighty strength of the heroes, their desire to defend their rightness is emphasized.

“Dondykar bogatyrs often quarreled with neighboring bogatyrs. Fighting with them, they threw whole logs or large cast-iron weights to neighboring settlements. So, the Guryakar bogatyrs exchanged logs with the Vesyakar bogatyrs, and with the Balezinskys they exchanged 40-pood weights. The Idnakar bogatyrs threw weights of several tens of pounds at the Sepychkar bogatyrs, and the Seltakar bogatyrs threw logs at the Idnakar bogatyrs, with whom they had a frequent enmity” (“Donda Bogatyrs”).

The motif of kicking bumps across the river. The Udmurt region is replete with many rivers and rivulets, on both sides of which vast meadows stretch. In ancient times, rivers were the main means of transportation. The ancestors of the Udmurts settled in the basins of the rivers Kilmez, Vala, Izh and others. Controversial issues arose between the old-timers and newcomers because of the place of residence, meadow and forest lands. These disputes never led to bloodshed. They have always been resolved by peaceful competition, one of the most common types of which is kicking tussocks across a river or lake.

This competition reveals not only the physical strength of the heroes: who can throw a bump across the river with a kick. One of the rivals always turns out to be smarter and more cunning, he cuts off the bump intended for him in advance, and, of course, wins. The motive is curious in that it emphasizes the superiority of reason over physical strength.

This is how the dispute between the heroes Mardan and Tutoy is resolved because of the meadows and forests along the Vala River. “During the night, Mardan cut off the bump and put it back in its place. He ordered his people to do the same.

At dawn the disputants went to the river. With all his might, Tuta kicked a large hummock. The tussock broke off and flew up, then flopped just in the middle of the river. Then Mardan kicked his cut tussock. This tussock flew across the river and hit the ground beyond the river.” (“Mardan atay and Tutoy”). The competition is won by smart Mardan, although he is physically weaker than the opponent. And Tutoy with his people (with his kind) was forced to leave these places. This motif is also found in the legends "Mardan-batyr", "Tutoy and Yantamyr", "Pazal and Zhuzges", "Two batyrs - two brothers" and others.

The motif of the archery competition. Udmurts have been good hunters since ancient times. Among the hunting equipment, along with other devices, were the bow and arrow. A bow can also be a weapon of a warrior. He is mentioned in the legend of "Esh-Terek", in some legends about Pugachev and in other texts. But the archery scenes in them did not become traditional. In some legends, archery is given as a way to resolve controversial issues. The shooting itself turns into a kind of competition, and in the plot of the text it creates a special motif.

“Kyvan invited Zavyal to the forest. They stand on a mountain near the forest and from there they look at a huge pine tree on another mountain. Kaivan took an arrow, drew a bow, aimed at a pine tree and said:

If this arrow sticks in a pine tree, let there be a cemetery there, and on the other side of the river - repairs. The places on this side of the Pozim River will be yours, and on the other side mine. The boundary between my and your possessions will be Pozim.

Okay, so be it, - said Zavyal.

Kaivan fired an arrow, and it stuck into a pine tree” (“Kaivan and Ondra Batyr”).

A similar motif is found in the legend "Donda heroes" and some others.

The motif of sawing piles of bridges. Prikamye is the land of many rivers and deep ravines. On the roads there are many bridges over which heroes pass. Enemies, not daring to enter into an open battle with them, embark on a trick: on the route of the heroes, they saw piles of bridges and set up an ambush. The bridge collapses, the heroes find themselves in a difficult situation and often die. This motif is found in the legends “Kalmez bogatyrs”, “Yadygar”, “Idna batyr”, “Mardan batyr”, “Mozhga batyr” and a number of others.

The motif of cursing the skewbald horse and the second wife. It is usually associated with the previous motif. The hero usually rides on several (two, three) horses, those, sensing danger, do not go to the deceptive bridge. A skewbald horse cannot feel danger, the hero sits on it, the horse goes to the bridge and falls through. Because of the piebald horse, the hero falls into a trap, for which he curses him. Where did the negative attitude of man towards skewbald horses come from?

Before the adoption of Christianity, the Udmurts professed a pagan faith. His pagan gods they sacrificed animals and birds. According to the prevailing popular notions, the victims of the gods must be of a strictly defined suit. They could not accept motley geese, motley lambs and bulls, piebald foals, etc. Animals and birds of a certain color, pleasing to the pagan gods, fall under the protection of patron spirits, who supposedly warn them in advance of danger, protect them from accidents. The kindness of the patron spirit does not apply to colorful animals and birds. Therefore, no one lets piebald horses know about the approaching danger, they do not feel it, for which they receive a curse from their riders.

The difficult situation of the hero-hero is even more aggravated because of the second wife, who did not have time to get used to the actions and words-allegories of her husband. The hero, going on the road, usually asks his wife to put him a loaf of bread. A loaf means a husband's personal weapon - a saber, a saber, etc. This reflects an ancient ban (taboo) on pronouncing the names of weapons types aloud. The first wife understood her husband perfectly and clearly fulfilled his allegorical request. But the hero is forced to marry a second time. Going on the road, he turns to her with the same request. Once in predicament, he begins to look for his weapons in the wagon, but, apart from bread, he finds nothing and in his hearts curses his second wife. This motif is quite widespread in Udmurt epic legends:

“The first wife of the batyr died, he married a second time. One fine day Mardan got ready for the journey, harnessing his piebald horse to the cart. The second wife forgot to put his sword on him. The pores (Mari) on his way cut the piles of the bridge. His skewbald horse did not stop in front of the bridge. Mardan batyr, together with his horse, fell under the bridge. Falling, he shouted loudly:

A skewbald horse is only a horse when there is no horse; the second wife is only a wife when there is no wife. - So Mardan batyr died. Let's look at a few more examples.

“Thinking to save himself, he began to look for a saber. But instead of a sharply honed checker, a loaf of bread fell under the arm. Mikola realized that death had come.

A piebald horse is not a horse, a second wife is not a wife, he said, dying. ("Two batyrs - two brothers").

Stylistically, the curse formula varies somewhat, but the essence remains the same - a sharply negative attitude towards the mentioned objects.

transformation motive. In some cases, the hero of epic tales, due to necessity, can reincarnate into another image. The reasons for reincarnation may be different, but the fact itself suggests that people believed in the possibility of such a phenomenon. The idea of ​​a person's ability to turn into an animal, bird or object arose on the basis of ancient totemistic views: the creator of the clan can be a totem - an animal, bird, plant, etc. The totem protects the clan, the well-being of all its members depends on it. It was believed that a person respected in the clan himself can take the form of a totem.

The motif of turning into a legend came from a folk fairy tale, where it is presented much wider and richer. In fairy tales, “the motif of a miraculous flight with transformations is of particular interest. Fleeing from persecution, the hero can turn into animals, objects, etc., in turn, his pursuers also turn into appropriate images to continue the chase.

In legends, this motif is interpreted somewhat differently than in fairy tales. The hero, escaping from the chase, can take on the appearance of an animal or a bird, which his pursuers cannot do. For example. Selta bakatyr, leaving the pores (Mari), turns into a bear, then into a hawk ("Kalmez bogatyrs").

In a similar way, the batyr Mardan is saved from the pores. First, he also turns into a bear, then into a crow, and they cannot catch him (“Mardan atay and Biya the Fool”).

Sometimes the leader of the clan after death does not go to other world, and turns into a patron totem. “Dondy lived to a ripe old age. As soon as he let out his last breath, he was turned into a white swan by the Inmar. In this image, he seemed to patronize the Udmurts, who do not forget him ”(“ Dondy ”).

In the beginning of the legends, an indication is certainly given of the past tense, when the described event took place. In the beginning, the word “vashkala” is often found, which can be translated “a long time ago” or “in antiquity”. This word indicates the antiquity of the told facts.

If the narrator wants to emphasize a greater degree of prescription, before the word "vashkala" he puts an adverb of the degree "tough" - "very". At the beginning of some legends, the word "kemala" - "for a long time" becomes traditional. Compared with the word "vashkala", this word indicates an era closer to us, although much remote.

The time closer to us is marked by the word "azlo" - "before". By this, the narrator, as it were, emphasizes the recently past tense. In some cases, the degree of remoteness of the described events from us is of no practical importance. There is no indication of time in the beginning, only the very fact that he reproduces is important for the narrator.

The beginning of Udmurt legends is usually laconic. But he sets a certain tone for both the narrator and the listeners, as if helping them to mentally travel back to the era in which the events described took place.

The ending of the legend sums up everything that has been said. Stylistically, the ending did not develop a traditional form, but from the point of view of content (informative beginning), a certain pattern is observed in it. Many legends, especially heroic ones, end with the death of the hero. In some cases, the hero himself dies, having lived to a ripe old age, and the people mourn him.

In the end, the idea is often held that the age of heroes is a passed stage, and the legend regrets this. The natural death of the hero Idna is narrated at the end of the Donda legend. To perpetuate his name, he cast a spell before his death: “Prince Idna took the largest bow, pulled it four times as tight as possible and fired four arrows at the four cardinal points, saying: “Let my name be known and respected within that the place which I fired upon with my arrows!

A number of legends speak of the untimely death of the batyr, and the story itself ends there. The scene of death turns into a kind of ending. The hero usually dies in the fight against the dark forces of nature (“Eshterek”), in battle with other tribes (“Kondrat batyr”, “Yadygar”) or during social class skirmishes (“Kamit Usmanov”).

In some legends and traditions, in the end, it is stated how life has changed after the events described, or how and why people remember the facts of ancient times.

The beginning and ending create a compositional frame, due to which the work is perceived as a single artistic and integral legend with a certain content and form.

sentences

Fairy tales

As in the folklore of other peoples, the Udmurts have fairy tales: about animals, social or short stories, and magical.

Animal Tales

Novelistic tales

A peculiar genre of the Udmurt fairy tale repertoire is short stories. In content and form, they are close to everyday humorous or satirical stories. The heroes of these tales: a poor and a rich brother, a man and a gentleman, merchants, priests, clever and cunning people - do not do incredible things, do not fight monsters, they act in an ordinary everyday environment. The main weapon of social fairy tales is laughter: they ridicule human vices- greed, envy, stubbornness, stupidity, laziness, etc. The novelistic fairy tale was freed from the signs of magical fiction, from the conventions of a fairy tale about animals, from ancient forms. mythological concepts and presentations. She, without allegories and any other forms of allegory, exposes deep social contradictions, convinces listeners of the injustice of existing social norms.

Fairy tales

Rhymes

One of the components of the game has long been a counting rhyme - lydyaskon - a kind of game poetic miniature, or, as it is also called - "game prelude". The Udmurt term "lydyaskon" comes from the verb "lydyaskyny" - to count.

It is the presence of an account that is a feature of the genre and forms its poetics. Most often, quantitative and ordinal numbers are used. The use of numbers of only the first ten is apparently explained by the fact that these numbers are most accessible to the perception of young children. Accounting in counting rhymes is used in different forms. Sometimes it goes through the whole text: "Odeg, kyk, kuin, nyl; Vit, kuat, gray-haired, tyamys; Ukmys, das -; Proud soldier potez"- "One, two, three, four; Five, six, seven, eight; Nine, ten -; The red soldier went out." Some counting rhymes are skillfully built on the principle of a distorted count: "Andes, dvands, trinds, quads; Mines, monks, penokas; Dwarfs, ten". This method arose in connection with the taboo of the account. The ban on pronouncing the exact number made it possible to introduce abstruse elements into the counting system, which subsequently naturally affected the game setting of the genre.

In Udmurt rhymes, one can also find works with distorted text, which appear mainly in a bilingual environment. Apparently, due to ignorance of other languages, when using a folklore text, not all words are understandable, and therefore their form is closest to native speech, mixed vocabulary is introduced. Incomprehensible, but sonorous words and phrases attract children, and they enthusiastically chant them. Sometimes they deliberately go for distortion, finding pleasure in word creation itself. Hence the appearance of abstruse rhymes. They are educated different ways: repetition of words with the addition of a consonant - "ekete-bekete"; by replacing the initial consonants of the same word - "Cherek-beryoka".

The main feature of this genre is the strict observance of the rhythm. The rhythm disappears - the counting rhyme also disappears. In Udmurt rhymes, the rhythm-organizing element is most often the alternation of stressed syllables. With the help of assonances and alliterations, their intonation feature is achieved. In a poetic line of Udmurt rhymes, consisting of three or four words, there are usually at least three or more alliterative sounds. This contributes to quick memorization, teaches children a clear pronunciation.

The counting room develops a flair for the language, accustoms to the poetic features of folklore. Currently in children's repertoire counting rhymes remain one of the most popular genres. They are enriched with new content thanks to professional creativity. Their images, rhythm and dynamics are actively used by children's poets in their work.

To the 155th anniversary of the birth of G.E. Vereshchagin

Bear-hero

Three sisters went to the forest in the summer to pick cranberries. In the forest they parted, and one was lost. They searched, searched for two sisters for a third - they did not find it. So they both went home. They waited, waited for her at home - she did not come. They mourned for the unfortunate sister and forgot. Meanwhile, the sister, lost in the forest, wandered until the very night and landed for the night; climbed into the hollow of a large linden and sleeps. At night, a bear came up to her and began to caress her like a man: either stroking her on the head, or rubbing her on the back, letting them know that he would not do anything to her. The bear inspired confidence in himself, and the girl did not become afraid of him. The girl cried, sobbed, and resigned herself to her fate. In the morning the sun has risen, and the bear leads her to his lair. The girl went and began to live in a bear's lair. The bear fed her first with berries, and then began to feed her with all sorts of things. The girl from the bear adopted her son, and he began to grow by leaps and bounds. A year later, the son says to the bear:
- Come on, baby, fight!
- Let's.
They fought, fought - the bear overcame.
- Feed me sweeter, tya! - says the bear cub to the bear.
The bear feeds his son sweetly, and the son grows by leaps and bounds.
The next year, the bear cub again offers the bear to fight.
They fought, fought - again the bear overcame.
- Feed me sweeter, tya! - says the teddy bear to his father.
The bear feeds his son, and the son grows by leaps and bounds.
In the third year, the son again says to his father:
- Come on, baby, fight!
- Let's!
They fought, fought - the son took his father by the leg and threw him up. The bear fell and died.
"Didn't you kill your father, you shooter?" - asks the son's mother.
- We fought with him, I overcame him, and he died, - says the son.
The mother sends her son to the snakes to weave bast shoes from bast. The son took the patch and went. He came to the snakes and sees their multitude. He beats them and tears off their heads, which he puts in the pestle. He put a full motley of snake heads and goes to his mother.
- Nu, that, wove? the mother asks.
- Spilled.
- Where?
- In the pestle.
The mother put her hand into the pestle and cried out in fright.
- Go and take it back to where you got it! - says the mother.
The son carried off the heads and returned.
The next day, the mother sends her son for bast shoes to the neighbors (brownies). The son has gone to the housewives and sees a lot of housewives. He beats them and tears off their heads, which he puts in the pestle. He put a lot of pester and goes to his mother.
- Well, did you bring it?
- Brought.
- Where?
- In the pestle.
The mother put her hand into the motley and was even more frightened.
“Go, shoot, carry them back to where you took them,” the mother says to her son and scolds him.
The son carried off the heads and returned.
The son did not want to live with his mother and wished to travel around the world, to measure his strength with whom it would be possible.
He went to the smithy and ordered a cane worth forty pounds. He took a cane and went to seek adventure.
He goes and meets a tall man.
- Who are you? he asks the man.
- I am a rich man! - answers the latter. - And who are you?
- I'm a strongman.
- Prove your strength.
The strong bear cub took a strong stone in his hand, squeezed it - and water flowed from it.
- Well done! - the hero exclaimed and called the hero-strongman, and himself - only the hero.
They go further and meet a man.
- Who are you? - they ask the man, declaring to him that one of them is a strongman, and the other is a hero.
- I am also a hero, but with small forces.
- Go with us!
The three of them went along the road. They walked, walked, many, many, few - they reached the hut. We went into the hut, but it was empty; looked everywhere - found meat in the closet.
- Well, for now we will live here, and we will see what to do there, - the heroes consult among themselves.
- We will go to the forest to work, and you cook dinner for us here, - two heroes say to the third, with little strength.
- Well, your order will be executed, - says the hero.
Two went into the forest, and the third remained to cook in the hut. He cooks dinner for the heroes from ready-made provisions and does not think that the owner will come. Suddenly, the owner enters the hut and begins to drag the hero by the hair. He dragged, dragged him - almost pulled out all his hair; ate dinner and left. Bogatyrs come from work and ask:
- Well? Have you prepared lunch?
- No.
- Why?
- There is no dry firewood, nothing to cook with.
We cooked ourselves and ate.
The next day, the hero with whom the strong man met for the first time remained to cook dinner.
Two heroes went to the forest to work, and the rest cooks dinner from ready-made provisions. Suddenly the owner appears and starts beating him. Beat, beat - left a little alive; ate dinner and left. Bogatyrs come from work and ask:
- Well? Have you prepared lunch?
- No.
- Why?
- There is no clean water; there is, but muddy.
We cooked our own dinner and ate.
On the third day, the strongman remained to cook dinner. He put a cauldron full of meat and cooks. Suddenly the owner of the hut appears and begins to beat the hero. As the hero hit the owner on the seat, he shouted with a good obscenity: "Oh, don't beat me, I won't do that." The owner got out of the house and disappeared. Bogatyrs come home from work and ask for food. The strongman fed them and told the story of the owner of the hut; then those heroes confessed that they had the same story. We ate and went to look for the owner. They found a large board in the yard, lifted it up - and there turned out to be a large hole, and a belt was lowered into the hole, serving as a ladder. The strongman descended on the belt into the hole, ordering his comrades to wait for him at the hole, and found himself in a different world. Under the earth was the realm of three twelve-headed snakes. These snakes held in captivity the three daughters of the king of this world. The hero walked and walked through the kingdom of snakes and reached a huge palace. He went into the hall and there he saw a beautiful girl.

- I am a strongman, - he answers, - I came to look for a villain who offends us, heroes, in a hut.
- He is the devil, in this kingdom he seems like a twelve-headed serpent, and there - a man-man. I have lived in his captivity for several years. Will you defeat him?
The girl gives the strongman a sword and says: “With this sword you will defeat him.” And the snake was not at home at that time. Suddenly he appears and says: “Fu! Ugh! Ugh! Smells like an unclean spirit."
The strong man raised his sword, hit the serpent on the heads and cut off twelve heads at once.
The hero-strongman took the princess with him and goes to another twelve-headed snake. We went into the house, and there the hero sees an even more beautiful girl.
- Who are you? - the princess asks the strongman hero.
- I am a strongman, - he answers, - I came to look for a villain who offends us, heroes, in a hut.
- He is the devil, in this kingdom he seems to be a twelve-headed serpent, and there - a simple man-man. I have lived in his captivity for several years. Will you defeat him?
The girl handed the sword to the hero and said: “With this sword you will defeat him.” And the snake was not at home at that time. Suddenly he appears and says: “Fu! Ugh! Ugh! Smells like an unclean spirit." The strong man raised his sword, struck the serpent's heads and cut off all twelve heads in two blows.
The strongman took another girl, even more beautiful, and went to the last twelve-headed snake, which was stronger than the others.
We went into the house and there they see a girl of extraordinary beauty.
- Who are you? - the girl of the hero-strongman asks.
The strongman answers the same as the first two girls.
“They are all devils,” says the girl, “one is stronger than the other, here they seem like snakes, and there they look like people.” This last serpent is the strongest of all. I have lived in his captivity for several years. Will you defeat him?
The girl hands the sword to the hero and says: “With this sword you will defeat him.” And the snake was not at home at that time. Suddenly, the strongman in the hallway hears a voice that says: “Fu! Ugh! Ugh! Smells like an unclean spirit." He went out with a sword into the vestibule. There he met with a snake and entered into a fight with him. The strong man cut off only one head of the snake, and the snake returned back to gather his strength. The strong man says to the beautiful princess: “If the snake defeats me, the kvass on the table will turn red, then you throw your shoe in front of me, and I will kill the snake.”
Here, having gathered his strength, the serpent again appeared and said: “Fu! Ugh! Ugh! Smells like an unclean spirit."
The hero came out to meet the snake and entered into battle with him. The serpent began to win. The princess looked into the vessel with kvass and saw that the kvass turned into blood, then she took her shoe, left the house and threw it in front of the hero. The bogatyr struck and immediately took down all eleven heads of the snake. The hero collected the heads of all the snakes and threw them into the crevice of the stone rock.
The hero-strongman took the girls and went to the hole in order to climb the belt to the local world. He shook the belt and put the girl on it. The comrades-heroes raised the girl, and the girl said that there were three more people in the other world. They lifted all the girls one by one. Having raised the girls, the heroes decided not to raise the comrade, thinking that he would take the girls for himself, and did not raise him. The heroes left and cannot resolve the dispute - who owns one of the girls who was with the strongest of all snakes: she was so beautiful that she could not be told in a fairy tale or described with a pen. The bogatyrs came with three maidens to their tsar-father and they say that they freed the maidens from the snakes, and at the same time each one asks for a beauty for himself. The girls said that the heroes only raised them from another world, and another freed them from the snakes, which remained below under the hole. The king sent his swift-winged eagle for the hero. The eagle put a strong man on himself and flew to the king. There, with the king, a dispute arose between the three heroes because of the beauty: everyone wanted to marry the beauty. The king sees that one is not inferior to the other and says: “I have a big bell with which I inform the people about major events in my kingdom. Whoever casts this bell further, for that I will give my daughter. The first one came up - he did not touch the bell, another one came up - too, finally a strong athlete came up ... he kicked the bell with his foot - and the bell flew off behind the royal palace.
- Take my daughter - she's yours! - said the king to the strong man.
And the hero-bear cub took the royal daughter for himself, took it and lived happily ever after, and his comrades were left without wives. The cane is 40 pounds and now lies in the hut.
(Yakov Gavrilov, village Bygi.)

finger and tooth

The two brothers went into the woods to cut wood. Chopped, chopped, chopped up a big pile. It is necessary to chop wood, but there are no wedges. One began to make wedges and inadvertently cut off a finger; the finger jumped along the forest path. Another brother began to chop wood ... The wedge bounced off - and right in the teeth; one tooth was knocked out by a wedge, and the tooth jumped after the finger.
They walked for a long time, whether you never know, whether close, how far - they reached the priest's house. It was already night, and the priest's family was immersed in a deep sleep. Here is a finger with a tooth consulting among themselves on how to steal a knife from a priest and stab his bull. Suddenly I saw a fan in one of the windows and climbed into the hut. Looking for a knife there - does not find it.
- Well, will you be back soon? - asks a tooth under the window.
- I can not find! finger answers.
The priest heard a human voice in the house, got up and searched, but his finger got into the shoe of the hit, and the priest does not see him. Again the priest lay down and fell asleep. The finger has come out of the shoe and is looking for the knife.
- Well, how long? - asks the tooth again.
“I can’t find it,” replies the finger.
Pop heard the cry again and woke up; he took out the fire and is looking for; the finger again crawled into the toe of the shoe and looked out from there if it saw a knife somewhere. Searched, searched for a pop man - did not find; meanwhile, the finger spotted the knife on the bench by the cupboard. So, when the priest went to bed, he got out of his shoe, took a knife and jumped out into the street.
- Well, which one shall we stab? - ask each other a finger and a tooth, going to the bulls in the barn.
“The one who looks at us, we will stab him,” says the finger.
- Okay, but we won’t stab here, we’ll take the bull into the forest, and no one will interfere with us there, - the tooth expresses its opinion.
They caught the bull that looked at them, and took him into the forest; there they stabbed him, and the finger was left to gut, and the tooth went for firewood to cook meat. He dragged a tooth full of firewood, tied them up, but he couldn't carry them. Suddenly a bear comes and says to him a tooth:
- Clubfoot! Take the burden on your shoulder and carry it.
And the bear was as hungry as a wolf and ate a tooth. The tooth went through the bear and shouts to the finger:
- Brother, help me out soon, the bear ate me.
The bear was frightened and ran, jumped the deck and hurt himself to death. They both went for firewood and somehow dragged the burden. While the finger was laying the fire, the tooth went to the hut of the votyak to fetch the cauldron and began to cook. They boiled a whole bull and ate it. Having eaten to the full - to satiety, went to bed. A hungry wolf came and ate both of them while sleeping.
(Vasily Perevoshchikov, honorary Vorchino.)

Fearless nobleman

The soldier served twenty-five years and saw neither fear nor the king. The authorities send him to his homeland. Having seen neither fear nor the king during his service, he says to his superiors:
- What would it cost you to show me at least once the king!
They reported this to the king, and the king demanded a soldier to his palace.
- Hello, officer! the king tells him.
- I wish you good health, Your Majesty! - answers the soldier.
- Well, why did you come to me?
- I served, Your Majesty, twenty-five years and did not see either fear or you; I have come to see you.
- Well, - said the king, - go to the front porch and touch my hens!
And this meant not letting any generals without money into the palace to the king.
The soldier went out and stood at the door of the front porch. Various high-ranking officials, generals, etc. come. The soldier does not let them in without money. Nothing to do, they give him money.
The next day, the king calls the soldier to him and says:
- Well? Lost my chickens?
“He messed up, Your Majesty, he’ll be on my way,” the soldier answered.
- Well done, be you for the courage "Fearless nobleman". In addition to this rank, I give you Yermoshka as a servant, a pair of horses from my royal stable and a golden carriage; I supply you with a ticket - go to all four corners of the world.
The Fearless nobleman got into a golden carriage, took Yermoshka on the goats and went to another kingdom. We drove, we drove - we reached two roads, and between them there is a pillar with the inscription: "If you go to the right, you will find happiness, if you go to the left, you will be killed." Where to go? The fearless nobleman thought for a moment and said to Yermoshka:
- Go left.
Yermoshka was frightened, but there was nothing to be done: you would not be higher than the master. And they went on the left road.
We drove, we drove - we saw a dead body on the road. The fearless nobleman says to Yermoshka:
- Bring this dead body here.
Yermoshka is coming... coming up to the body and shaking all over with fright. The Fearless nobleman sees that Yermoshka is afraid of the dead body, like a cowardly woman, and went after the dead body himself. I took it and put it in the carriage beside me.
Again they go. They drove and drove and saw a hanged man already dead on a birch. The fearless nobleman sends his servant:
- Go, Yermoshka, cut the rope and bring the body here.
Yermoshka is walking - all shaking with fear. Fearless got out of the carriage and went to the dead body himself; crossed the rope on which the body hung, took the body, brought it and put it in the carriage on the other side of himself.
- Well, don't be afraid now, Yermoshka: there are four of us, - says Fearless.
They all go through the forest. We arrived at a huge house, which, as it turned out, belonged to the robbers. Fearless, without asking anyone, drove into the yard; Yermoshka ordered the horses to be taken to the stable, and he himself went into the hut. At the table in the hut, robbers dine, as can be seen from the ferocious mugs; in the front corner sits the ataman himself with a large spoon in his hand. Ataman says to the Fearless:
- You are Russian, we will make you hot: the meat of the hare is delicious - he eats a lot of bread.
Fearless, without saying anything, comes to the table, pulls out of the hands of the chieftain big spoon and tastes cabbage soup.
- Sour, rubbish! .. Here's a roast for you! - Fearless says to the ataman, hitting him on the forehead with a spoon.
Ataman goggled his eyes and looks, what kind of person is so impudent? Yermoshka enters the hut ...
“Bring me, Yermoshka, a good zander from the carriage,” says the Fearless Yermoshka.
Yermoshka dragged the dead body. Fearless took a knife from the table of the robbers and began to cut the dead body ... he cut off a piece, sniffed it and said:
- It smells! Rubbish! Bring another.
Yermoshka brought something else. Fearless cut off a piece, sniffed and spat:
- Ugh! And this pike smells.
The robbers were mad with fear.
- Come on fresh! shouted the Fearless to Yermoshka... Yermoshka himself shuddered in fright, and his trousers slipped down.
- Come on quickly! shouts Fearless.
Yermoshka goes to the table, raising his pants, and shaking like an aspen leaf. The robbers ran out of the hut, only one chieftain remained. Fearless hit the ataman on the forehead with a large spoon and killed him; then he scooped up all the stolen gold from them, sat down and rode ahead.
We drove, we drove - we reached the kingdom. They drive up to the city, and there, on the balcony of the palace, the king looks through a telescope and wonders: who is this in a golden carriage? We reached the palace, and the king asks Fearless what kind of person he is, where he came from and what was given to him? Dauntless, calling himself the Dauntless Noble, said that he travels to other realms looking for adventure.
“I need such and such,” says the king. - Not far from here, on an island, I have an excellent palace, but the devil settled in it and stole from me eldest daughter which I loved the most; go to the island, get the devil out of my palace, bring my daughter to me. If you do this, take any of my three daughters and in addition you will receive half of my kingdom; if you do not fulfill - say goodbye to the head.
- All right, - says the Fearless, - I will fulfill your order.
Fearless left the carriage with money and horses with the king and went with Yermoshka to the lake, among which the palace was located: he got into the boat and sailed on the lake, and Yermoshka remained on the shore. He swam across the lake and reached the palace. He went into the palace and sees in the hallway on the window a copper pipe of the devil. He picked up his pipe and lit a cigarette and smoked; smoke passed into other rooms. Suddenly, in one of the rooms, he hears the voice of the devil, who says:
- Ah, Russian! The Russian spirit has not yet been heard here. Go on, little devil, remember his sides well.
The little devil ran to Fearless. Fearless took him by the tail and threw him out the window. The devil sends another imp. Fearless threw that one too; sends a third - the third suffered the same fate. The devil sees that the little devils are not returning, and he went himself. Fearless, taking him by the tail and by the horns, bent him into a ram's horn and threw him out the window. Then he went from room to room looking for the king's daughter. I found her sitting by the bed and next to her was a watchman - an imp. He threw the devil out the window, and took the royal daughter by the hands and led him out of the hut. I got into the boat with her and sailed back. Suddenly, a lot of imps grabbed the boat to capsize it. Fearless, to frighten the devils, shouts:
- Fire! Let's quickly fire, I'll burn the whole lake!
The little devils got scared and dived into the water.
Fearless brought his daughter to the king. And the king says to the Fearless:
- Well done, Fearless! Choose any of my three daughters and get half of my kingdom.
Dauntless chose the younger daughter and received half of the kingdom. He lived a little with a young woman and says:
- Why do I live at home? I'll go wandering around the world again, if I see any passions.
Wife says:
What other passions do you have? There are no passions worse than devils in the world, and it was not worth the devil to survive from the palace and spitting.
“However, I’ll go for a walk, maybe I’ll see something.”
And the Fearless went to look for terrible adventures. He wanted to rest on the banks of the river; lay down near the river, laid his head on a block of wood, and fell asleep. During his sleep, a cloud arose, and heavy rain poured down. The river overflowed its banks, and the water surrounded him too; a few more minutes passed - and water covered him, only one head remained at the top. Here is one brush sees a good place in the bosom of the Fearless; went there and lives there. Meanwhile, the rain stopped falling, the water went to the banks, and it became dry everywhere, but the Fearless still sleeps. Suddenly he turned over on the other side, and the ruff's fin began to prick him. Fearless jumped off the spot - and let's run, shouting at the top of our lungs:
- Oh, fathers! Oh, fathers! Someone is.
A ruff fell out of the bosom.
- Well, no one has seen such passion, I think! he says, walking back to his wife.
And they live, they live, and they make good.
(This tale was written down from the words of a peasant named Arlanov Pavel Mikhailov.)

kukri baba

In the spring, the mother sent her three daughters to the forest to get brooms for sweeping rubbish, and the girls got lost in the forest. Wandered, wandered in the forest and got tired. What to do? Here one of the sisters climbed on tall tree and looks around - if he sees any clearing. She looked and said:
- Far from here, blue smoke rises to the sky, like a thread.
The second sister did not believe it and climbed up the spruce. Looks in one direction and says:
“Far away from here, a finger-thick blue smoke goes up to the sky.
The third sister did not believe it and climbed up the spruce. Looks and says:
- Far from here goes to the sky a blue smoke as thick as an arm.
We noticed this place, got off the spruce and went. They walked and walked and reached the hut. We went into it.
An old woman, Kukri Baba, of a disgusting appearance, is sitting on the stove and breastfeeding a child, and the child has a strong scab on his head. She saw the girls and says:
- Do not want to eat, girls?
- Would eat, perhaps, - the girls answer her.
Kukri-baba came down from the stove ... scraped off the scab from the head of the child and treated the girls, saying:
- Well, eat, girls.
The girls turn their eyes away from the ugly scab that makes them vomit. kukri baba says:
If you don't eat, I'll eat you myself.
What to do? Here one took - she vomited; took another, the third - also vomited. The girls want to leave.
“No, I won’t let you in,” says Kukri Baba. - Jump over a large stupa - Pushcha.
At the door in the corner she has a large wooden mortar, and that's where she brought the girls and orders to jump over it. Two sisters jumped and left, but the third could not jump and stayed with Kukri Baba.
Kukri Baba went out of the hut and said to the girl:
- You, girl, rock the baby and sing: “Eh! E! ABOUT! ABOUT! Sleep, sleep." Do not come out of the hut.
She left the hut, and the girl was shaking the baby and crying. Suddenly a rooster comes to the girl and says:
- Sit on me, girl, I'll take you away.
The girl sat down and rides on a rooster.
Kukri Baba came home and sees one child, but the girl is not there. And she went in pursuit of the girl. She caught up and threw a wooden pestle at the rooster, the rooster dropped the girl. Kukri Baba took the girl and took her back to her hut.

The hare comes and says:
- Sit on me, girl, I'll take you away.
The girl sat on the hare and rides. Kukri Baba caught up with them and threw a wooden pestle at the hare - and the hare dropped the girl.
Again the girl shakes the child and cries.
A thin horse comes, covered in mud and droppings.
- Get on me, girl, - says the horse.
The girl sat on a dirty horse and rides. They see that Kukri Baba is chasing them. We reached the water, and a large log lies on the water. The girl got off the horse and walked along the log. So Kukri Baba is walking along a log ... The girl went ashore, shook the log - and Kukri Baba fell into the water. So she, the villain, ended.
The girl came home at night, when all her family were sleeping. She took hold of the ring of the door... she knocked, she knocked - they didn't open it: no one heard. She went to sleep on the sennik, and there someone ate her at night, leaving only her hair.
In the morning, the girl's father and the boy went to the hayfield to feed the horses. The boy found the hair and says to his father:
- I, darling, found the strings.
“All right, child, take it if you find it,” the father replies.
The boy brought the hair into the hut and laid it on the table. Suddenly, the hair began to lament in the plaintive voice of the eaten girl:
- Father, mother! Hands, fingers knocked on the door - you did not unlock it.
Everyone got scared and threw their hair into the oven. In the furnace and the ashes speak too. What to do? The family is not happy with life, even if you leave the house.
Here the women raked out all the ashes ... took out the rest - and threw the ashes into the forest. From that time on, there were no lamentations in the oven.
(Recorded from Pavel Zelenin.)

There were two neighbors in the same village. Both had one daughter. Their daughters grew up and became brides. One neighbor's daughter is being wooed by the rich and the poor, but he still does not want to give his daughter away; at the other, no one woo, despite the fact that his daughter is the most beautiful of beauties; and her father wanted to give her away.
- If only the devil would come to woo my daughter! - says the latter, when he saw matchmakers from a neighbor.
The very next day, matchmakers in rich outfits, like city merchants, came to him and wooed his daughter.
- How can I marry you, the rich, when my means are beggarly? After all, to give out to the rich, it is necessary to start a rich feast, ”says the peasant.
- We do not understand who is what, we would only have a suitable, hard-working bride, and we found such a person in the person of your daughter, - the matchmakers answer.
The man agreed and betrothed his daughter to a merchant groom who was right there. They played a wedding and go home with the bride, or rather, with the young.
- Where are you from? We wooed the girl, played the wedding, you are already taking the bride away, but we don’t know where you are from, who you are, - the quick-witted old woman, the grandmother of the bride, decided to ask.
- In fact, we don’t know at all where our fiancé and our matchmakers are from. We sold our daughter anyway. This is not right, we need to find out everything, - all the family say and ask the matchmakers.
- We are from Moscow-city, we are engaged in trade, - the matchmakers say.
The old woman called herself to see her granddaughter even before the ferry, which was not far from the village. The grandmother got into the cart, and drove off; we reached the river, and the grandmother was ordered to get out of the cart. As soon as the grandmother left, the whole train went down into the water and was like that. Grandma then howled like a wolf, but there’s nothing to do, you can’t turn back.
“We gave the poor thing for a wumurt, we won’t see her again,” grandmother lamented, returning home.
She returned home and with tears in her eyes told her family about what she had seen. The family grieved and stopped.
Seven years passed, and they began to forget their daughter.
Suddenly, at this time, the son-in-law appears and invites the grandmother to be a midwife during the birth of her granddaughter, who, the son-in-law says, walks in the last time of pregnancy. The grandmother got into the carriage of her son-in-law and left. The son-in-law drove to the same river and went down into the water. Grandmother had only time to gasp when she found herself in the river, but did not drown; there, in the water, the same road as on land. We drove, we drove - we drove up to big house; got out of the carriage and entered the house. There they took the grandmother to her granddaughter's room, and they threw themselves into each other's arms. It's time to give birth. Fired up the bath. The pregnant woman was resolved, and the grandmother accepted the baby. They went to the bathhouse, and there other women gave the grandmother a bottle of ointment to smear the child's eyes, and warned the grandmother that she should not smear her eyes with this ointment, otherwise she would go blind.
When there was no one in the bath, the grandmother smeared her right eye, and suddenly a miracle happened: the grandmother began to walk in the water and on the water, like a special animal. After visiting her granddaughter, she began to get ready to go home. She calls her granddaughter with her, but she says that she cannot go to them; go yourself more often. Grandmother began to say goodbye to matchmakers and matchmakers, but they did not let her walk: "Let's harness," they say, "a cart." They harnessed the cart and sent grandmother.
At home, the grandmother told about the life of her granddaughter, about her visit to the matchmakers, praised them in the best possible way, and the family could not be surprised.
The next day, Grandma went shopping. Entering the store, she asks the merchant about the price of the goods, but no one sees her. They look back and forth - there is no one.
“What a marvel,” says the shopkeeper. - Who is speaking?
The grandmother guessed that she was invisible to a stranger and that she became invisible from the ointment. She took from the shop what she needed, without money, and went home. Grandmother was glad that she took everything for nothing.
The next day she went back to the store. In the shop he sees people taking out and putting goods into the cart.
- Where are you delivering the goods? - asks the grandmother.
- Another merchant, - people answer and ask her how she sees them?
- So I see, as you see, - answers the grandmother.
- Which eye?
- Right.
Then one went up to the grandmother and tore out her right eye, and then a miracle happened again: the grandmother became visible to everyone, and with her left eye she did not see the goods carried out of the shop. The grandmother howled from the pain in her right eye and went home crooked. It was only then that she guessed that they were wumurts, with whom, perhaps, she was visiting, but for some reason she did not recognize them.
Now let's say something about wumurts. These Wumurts transported goods from shop to shop. Whoever believed in the faith of the Wumurts, they dragged goods from the shop of the unbeliever, and they dragged only the goods that were placed without blessing, that is, without prayers. In this way, the goods passed from shop to shop, and from this one merchant became poorer, and the other became richer.
(Elizar Evseev.)

Grigory Yegorovich (Georgievich) Vereshchagin (1851-1930)

The first Udmurt scientist and writer who left a rich and varied creative heritage. His pen belongs to the well-known poem "Chagyr, chagyr dydyke ..." ("Grey, gray dove ..."), which was distributed in the form folk song, the centenary of whose publication was celebrated by the public in 1989 as the anniversary of the first original printed artwork in the Udmurt language and all Udmurt literature.
G.E. Vereshchagin wrote poems, poems, plays in the Udmurt and Russian languages. Of these, during his lifetime he published only more than a dozen poems on mother tongue. Four of his poems (“Ruined Life”, “Skorobogat-Kashchey”, “ gold fish” and “Clothes of a batyr”) were first seen in our days, thanks to the efforts of researchers.
During his lifetime, G.E. Vereshchagin became famous not only in Russia, but also abroad (in particular, in Hungary, Finland) as an ethnographer and folklorist who collected, researched and published materials related to history, language, customs, traditions, beliefs and religious rites, as well as artistic culture (songs, legends, tales, riddles, proverbs, sayings, etc.) of the Udmurts and Russians, who lived mainly in the Glazovsky and Sarapulsky districts of the Vyatka province, located between the Vyatka and Kama rivers. His ethnographic essays include not only the necessary scientific information. Despite the fact that they were written in Russian, they were in fact the first works of Udmurt fiction and received high recognition, however, not as artistic experiments, but as scientific works. In particular, each of his monographs: “Votyaks of the Sosnovsky Territory”, “Votyaks of the Sarapulsky Uyezd of the Vyatka Province” are original essays (or even stories, as some researchers call them) of an encyclopedic nature about the life of the Udmurt people of that time, which were noted silver medal Imperial Russian Geographical Society, known at that time as a scientific center for the study of the ethnography of the peoples of Russia. At the age of thirty-seven, in 1888, being a teacher in an elementary provincial school, taking into account the value of the materials provided by him from the place of observation, G.E. Vereshchagin was honored to be an elected member of this most authoritative scientific society at that time.
G.E. Vereshchagin's linguistic research turned out to be fruitful. He compiled the Udmurt-Russian and Russian-Udmurt dictionaries, which remained unpublished, published the book "A Guide to the Study of the Votsky Language" - "the first original research work in the field of observation of the Votsky language", as stated in the preface to the book, signed by the Votsky Academic Center. Regarding the works of G.E. Vereshchagin, the words “first”, “first” have to be used quite often.
G.E. Vereshchagin was not a scientist in our traditional sense: he did not defend dissertations, did not receive academic titles and degrees; being simple school teacher(later - a priest), actively collected ethnographic and folklore material, and these scrupulous and systematic studies of local lore formed him as an ethnographer of a wide profile. The Udmurt people, the region inhabited by them, became for him a kind of "training ground", where he comprehended the science of a comprehensive study of folk culture. It was this desire that turned G.E. Vereshchagin into a scientist with a wide range of interests, combining an ethnographer, folklorist, religious scholar, researcher of onomastics.
The good name of G.E. Vereshchagin also went down in history in connection with the Multan Trial (1892-1896), which made a world-famous shameful for the tsarist authorities, during which he acted as an expert ethnographer on the side of the defense at two sessions of the district court. The very fact that he was involved in this role testified to the recognition of his competence in the field of Udmurt ethnography. V.G. Korolenko, who took an active part in defending the defendants, the honor and dignity of the entire Udmurt people and in exposing the criminal actions of the authorities during this process, highly appreciated the role of G.E. Vereshchagin's expertise in the court's acquittal.

In the extensive scientific heritage of Grigory Egorovich Vereshchagin, the book "Votyaks of the Sosnovsky Territory" occupies a special place. It marked the beginning of an intense and purposeful scientific search, to which the scientist devoted his whole life.
The work was first published in 1884. Since at that time there were no departments of ethnography at scientific institutions and universities, all research in the field of Russian ethnography was concentrated in learned societies. One of these centers was the ethnographic department of the Imperial Russian Geographical Society, in the Izvestia of which the scientist's monograph was published.
Exactly 120 years ago, in 1886, G.E. Vereshchagin's book was republished with minor additions. It was highly appreciated by contemporaries and still has not lost its value as a collection of the richest ethnographic material about the Udmurt people. Due to the uniqueness of the materials contained in the work, the reliability and detail of the actual descriptions, the monograph by G. Vereshchagin constantly continues to attract the attention of Udmurt scholars. References to this work, an appeal to its factual material can be found in a significant number of modern publications, dedicated to economy and material culture, social and family life, religion, spiritual culture and art of the Udmurt people. It has become almost a rule to check one's knowledge of the facts of Udmurt ethnography “according to Vereshchagin”.
(Reprinted according to: Vereshchagin G.E. Collected works: In 6 vols. Izhevsk: UIIYAL Ural Branch of the Russian Academy of Sciences, 1995. Vol. 1. Votyaki of the Sosnovsky Territory / Responsible for the issue of G.A. Nikitin; Word to the reader: V. M.Vanyushev; Afterword by V.M.Vanyushev, G.A.Nikitina, V. 2. Votyaks of the Sarapul district of the Vyatka province / Responsible for the issue L.S. Khristolyubov.)