Ritual poetry of the Yakuts. Yakut folk art

LESSON ON THE TOPIC “YAKUT FOLKLORE”.

The talented and hardworking Yakut people, like other peoples, have a rich and unique folklore. Yakut folklore has various genres that reflect the characteristics of the historical development of the people.

This is a rich mythology, fairy tales, heroic epic-Olonkho, ritual poetry, folk songs, historical stories and legends, proverbs and sayings, riddles, tongue twisters-chabyrgakhs.

Researchers believe that the ancient ancestors of the Yakuts lived in the south of Siberia, in the Baikal region, and from there, gradually being pushed back, moved north and reached the banks of the Lena River. Here they met with the indigenous inhabitants of the North - the ancient tribes of the modern Evens, Evenks, and Yukaghirs. These were taiga hunters and reindeer herders. Sea hunters.

And the ancient Yakuts, who called themselves Uraankhai - Sakha, belonged to the group of Turkic peoples. They were cattle breeders and in their new homeland they taught the northern tribes to raise horses and cattle, and from them they learned animal husbandry and hunting.

But the Yakuts did not forget their distant warm south; its description was preserved in folklore.

Ritual poetry.

Ritual poetry arose when ancient people explained the world around them and natural phenomena in their own way. According to their concepts, every mountain, lake, river, valley, as well as every plant, grass, and any object had its own special spirit - ichchi. In the sky lived good deities - aiys, who ruled the world. In the Lower World lived evil creatures - abaas, who caused evil to people.

Ancient people treated the upper deities and spirits -ichchi with admiration, tried to earn their favor and not anger them. Therefore, various rituals were performed in their honor with sacrifices and praise in their honor. These praises or prayers were called spell songs - algys. These songs, based on the characteristics of each ritual, are divided into different types. Among them, birth songs, wedding songs, and calendar songs in honor of various celebrations stand out.

The most complete in terms of rituals and algys is the summer holiday Ysyakh. According to the calendar ideas of the ancient Yakuts, June is the New Year. At ancient Ysyakhs, the White shaman offered an incantation song to the upper deities - aiyy and spirits - ichchi of nature. The shaman tried to come into contact with them and asked the deities for the organized holiday of universal grace for those gathered, fertility for cattle and horses.

Literature.

"Yakut folk songs"

Yakut book publishing house. 1988

Puzzles.

In the old days, the Yakuts had a custom of amulet, when some things were not called by their proper names. In such cases, people used “secret” speech. Hunters especially used this language. They thought that spirits and animals understood human language, therefore, in order not to reveal their hunting secrets, they used “secret” speech. According to scientists, the riddles are close in their images to these words of the amulet. The main thing in riddles is figurative allegory in the form of an intricate question. A person who solved riddles practiced ingenuity and quick intelligence; it was a kind of mental gymnastics.

Literature.

"Yakut mysteries." Compiled by S. P. Oyunsky.

Yakut book publishing house 1975

Who is the most valuable person in the world? (Mother)

They say the golden cup floats on its own. (Sun)

There is a golden bucket without a bottom (Sun)

In the middle of the alas there is a golden pillar (Sun)

Burns, burns, but does not burn out (Sun)

More expensive than gold, more alive than sable. (Human)

They say that white flowers bloom at night but wither in the morning.

They say that one shepherd grazes thousands of cows. (Moon and stars)

They say the silk sash hung down. (Rainbow)

They say there is an old Mumbling Talker who knows all languages.

They say he is invisible and very fierce. (Freezing)

They say the cauldron is boiling in the forest. (Anthill)

Without seeds, but it grows. (Hair)

And in severe frost the ice hole does not freeze. (Eyes)

The two twins always walk together. (Legs)

They say that a Russian girl sits at the table as the eldest in the family.

(Samovar)

They say that a one-eyed old woman from the southern side comes here and embroiders patterns. (Needle)

There is, they say, something that is smaller than a berry, but stronger than a bull. (Bullet)

Proverbs and sayings.

Proverbs are short folk sayings that summarize life experience people in the form of complete judgments, conclusions and teachings.

Proverbs are short sayings that figuratively define an object or phenomenon.

Main feature proverbs is their brevity.

Literature.

“Collection of Yakut proverbs and sayings” Compiled by N.V. Emelyanov.

Yakut book publishing house 1965

Conscience is not a gray horse; you can’t borrow it from anyone.

The seed loves fertilized soil, the people love a kind person.

The most valuable thing for a deer is a fawn, for a gun - gunpowder, for a person - health.

You don't find a good friend quickly.

A bird with its color, a man with his mind.

Don’t covet someone else’s, you’ll lose yours.

A good name and great fame have swift wings.

The bad and the good go together in an embrace.

A child who does not cry is not fed.

Don’t be proud that you’re rich, don’t be humiliated that you’re poor.

The hearth of the poor is warm, the hearth of the rich is cold.

Advice from an old man brings happiness.

A kind word is more valuable than wealth.

It's easy to break, difficult to do.

A stupid man with no eyes and no ears.

Even fire makes a family with children happy.

480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays

Nogovitsyn Vasily Andreevich. Chabyrgakh as a genre of Yakut folklore: dissertation... Candidate of Philological Sciences: 01/10/09. - Yakutsk, 2005. - 158 p. RSL OD,

Introduction

Chapter I. Genre characteristics of Chabyrgakh 22

1.1. Definition of genre 22

1.2. Genre classification 44

1.3. Folds of deaf Peter 71

Chapter II. Tradition and innovation in the Chabyrgakh genre .87

2.1. General and special artistic characteristics of Chabyrgakh 87

2.2. Yakut literature and Chabyrgakh 105

2.3. Chabyrgakh and amateur performances 116

Conclusion 131

List of sources 139

References 142

Appendix 149

List of abbreviations

Introduction to the work

Relevance of the topic. IN In Yakut oral folk art, the chabyrgakh genre occupies a special place. In the past, chabyrgy as a genre of satire and humor was one of the popular and favorite genres of folklore Yakut people. Even today he enjoys particular success in amateur and professional art. However, chabyrgakh as a genre of oral folk poetry of the Sakha (Yakuts) has not yet been the object of special research.

Due to the fact that in Yakut folklore there is no special monographic study on this topic, the dissertation author chose to study chabyrgakh as a genre of Yakut oral folk art

Based on this, it became necessary to identify traditional and modern chabyrgakhs by content and structure, thereby achieving a deeper definition and understanding of one of the small genres of Yakut folklore - chabyrgakh.

This work is the first attempt to translate the allegorical words of chabyrgakh into Russian.

We mostly stuck to scientific translation. But in the sections

where not" is possible to translate artistic text, we gave preference to the literal translation and in the notes to these texts we tried to give a scientific version of the translation based on the genesis of the texts (concepts).

Since 1985, public life has been built on the principles of democratization and humanization. IN last years The “Concept for the renewal and development of national schools in the Republic of Sakha (Yakutia)” was developed, aimed at reviving education in the native language.

There are enthusiastic teachers and cultural workers who have achieved considerable success in promoting Yakut folklore, including chabyrgakh. In 1990, the republican chabyrgakhsyt competition was successfully held, in which amateur groups from many uluses took an active part. The authors of many chabyrgakh texts on a modern topic were identified - Gerasimova M.A., Matakhova M.N., Mestnikova E.K., etc. Collections of chabyrgakhs by the above-mentioned authors were published, in which the content of the texts, their compositional structure in the form of satirical poems - tongue twisters shows, on the one hand, popularity and demand, and on the other, a misunderstanding of the artistic features of this genre, its secrecy, allegory and abstruseness. Thus, the relevance of the topic of the proposed work is caused by the increased interest of the people in oral folk art in general and, in particular, in the chabyrgakh genre.

Goals and objectives of the study. The dissertation author believes that the traditional genre feature of chabyrgakh is allegory, abstruseness, wordplay, poetics of the genre, etc. and the ways of development of the genre in modern Yakut folklore still remain completely unexplored and require special monographic study. Due to this purpose dissertation work is to determine the role and place of chabyrgakh in the system of genres of Yakut oral folk art, the path of its development and functional significance in modern conditions, i.e. outside the traditional folklore environment.

To achieve this goal, the following specific tasks are set:

studying the origins and evolution of the genre;

structural analysis and classification of chabyrgakhs;

analysis of the poetics and semantics of traditional and modern forms of chabyrgakh;

The study of its development and modern existence in modern times.

Object of study is the traditional genre of Yakut oral folk art - chabyrgakh and its place in modern reality.

The subject of the research is the history of collection and research of chabyrgakh, the degree of prevalence, definition and classification, poetics and development of the genre.

Methodology and research methodology.

The work uses descriptive, typological, comparative-historical methods, as well as the principle of systematicity and semantic analysis. The theoretical basis of the proposed work is based on early research by famous folklorists, literary scholars and linguists related to the study of the problem of genre classification of folklore works, poetic analysis, poetics of folklore and literature (V.M. Zhirmunsky, 1974; V.P. Propp, 1976; A. E. Kulakovsky, 1957, 1978, 1979; A.I. Sofronov (Kyayygyyap), 1926; P.A. Oyunsky, 1959, 1993; G.M. Vasiliev, 1940, 1965, 1973; N.N. Toburokov, 1985 ; N.V. Pokatilova, 1999, and others).

Chronological framework. Second half of the 19th century. - 20th century.

The degree of knowledge of the topic. The collection and study of materials from Yakut oral folk art began in the first half of the 18th century. Thus, early researchers, G. Miller, I. Gmelin, J. Lindenau (1733-1743 II Kamchatka Expedition), based on materials from historical legends, made the first assumptions about the ancestors of the Yakuts and the origin of the Yakut language. In 1842-1845. Academician A.F. Middendorf collected song lyrics, olonkho, and information about the “circular dance.” It is also known that in 1847 A.Ya. Uvarovsky included riddles and the text of the olonkho in his Memoirs. R.K. Maakom in 1854-1855. during

expedition to the Vilyuisky district, the texts of two olonkhos and riddles were recorded.

The first travelers who studied the history and life of the Yakut people had no observations about chabyrgakh. The first information about chabyrgakh is available in the work of the famous Russian folklorist, political exile IA Khudyakov (1842-1875) “A Brief Description of the Verkhoyansk District.”

Remarks and individual notes about this genre of Yakut folklore are found in the works of V.L. Seroshevsky [Yakuty, 1993]. Participant of the Sibiryakov expedition, political exile E.K. Pekarsky in his famous “Dictionary of the Yakut Language” defined chabyrgakh as a play on words and meanings.

S.A. Novgorodov in 1914, while a student at St. Petersburg University, was sent by the Russian Committee for the Study of Central and East Asia to Yakutia to collect folklore materials. During his expedition S.A. Novgorodov recorded two chabyrgakhs [Novgorodov 1991, 77-78]. In two of his articles, he noted chabyrgi as a special independent genre of Yakut folklore [Novgorodov 1991, p. 19; 1997, p.68].

Perhaps Chabyrgakhov was involved in recording texts before him

founder of Yakut literature, great connoisseur and collector

Yakut folklore A.E. Kulakovsky. In 1912 he wrote

literary chabyrgah. This work was published in his

collection of 1925:

Ollur-bollur Nevpovad-irrhythmic

Ekir-bukur At random

Yunkuleehteen, Dancer,

Erii-buruu Sweeping and awkward

Taibaahidaan, Let's wave,

Hey-goy Hey-ohy 7

Yllaamakhtaan, Drinking,

Isiehein ere, dogor! Come on, friends!

Iehey-chuokhay yllaamakhtaan, sing loudly and loudly,

Ieen-tuoyan ytaamakhtaan, Heartfeltly, with lamentations

please cry

Iehey-maahai daibaahaydaan, wave joyfully, sweepingly-

Hey-doguy yunkyuleehteen... With exclamations of hey-ohy

dance... [AYANTS SB RAS, f.5, op.Z, storage unit. 658 a, l.1]

In the introductory part of both texts there is grammatical and semantic repetition. There is no similar text in archival and published materials. And the time difference between the first (1912) and second (1945) options is 33 years. Therefore, it can be assumed that the once widespread text of this chabyrgakh was forgotten or was not used by the performers. There is no doubt that A.E. Kulakovsky in his work used the chabyrgakh motif, popular among the people at the beginning of the 20th century. We can say that he recorded the archaic, now forgotten text of one of the traditional Yakut chabyrgakhs

Our guess was confirmed by the fact that in his letter to E.K. Pekarsky A.E. Kulakovsky wrote that for the development of written Yakut literature, he collected folklore materials and provided a list of collected materials. Chabyrgakh was also included in this list, along with works of other genres [Toburokov et al. 1993, p. 94].

Chabyrgakh Dyuley Diaakypa "Itege-tetege" was cited as an example. According to the note of A.I. Sofronova, the real name of this Chabyrgakhsyt is Yakov Vasilyevich Titov (1833-1916), but among the people he was also known as Dyulei Byukeni, i.e. Deaf Peter (hereinafter Dyulei Byukaeni or Deaf Peter - V.N.). He was a native of Bakhsyt nasleg b. Meginsky ulus [Novgorodov 1991, p. 108].

In the same article A.I. Sofronov came to the interesting conclusion that the author’s “Folds about what was seen and heard” by Gyulei Bükeene cannot be recognized as real chabyrgakhs. It is obvious to us that A.I. Sofronov collected and analyzed the texts of the Chabyrgakhs. It is valuable that he was the first to draw attention to the existence of folk and literary (author's) texts of the Yakut chabyrgakh [Kyayygyyap 1926, pp. 29-30].

In 1999, a collection of the legendary chabyrgakhsyt Glukhoy Peter, “Folds about what was seen and heard: Tongue Twisters,” was published. In the collection, all texts are arranged chronologically [Titov 1999, p. 121]. As the compiler of the collection G.V. suggests. Popova/the first texts “Uluu tunui diakhtarga” and “Dyösögöyten telkelah” were recorded in 1926 by E.E. Makarov [Titov 1999, pp. 121, 125]. Unfortunately, in the texts of E.E. Makarov did not provide any information about the informant or the location where the said texts were recorded.

In 1927, on September 14, in the village of Chapchylgan, Amga ulus, another text “Sakhalyy chabyrgah” was recorded from T. Toyuktaakh. According to the note by G.V. Popov, this record was found in the materials of I.P., a participant in the complex expedition of the USSR Academy of Sciences to study the productive forces of the Yakut Autonomous Soviet Socialist Republic in 1925-27. Soikonen [Titov 1999, p. 126].

Thus, the records of E.E. Makarov and I.P. Soikonen laid the foundation for the fixation of chabyrgakh in Soviet times.

In published by E.I. Korkina’s book “Olonkho, songs, ethnographic notes” contains correspondence from G.U. Ergis with M.N. Androsova-Ionova. In one of the letters from M.N. Androsova-Ionova reports: “I wrote several chabyrgakhs, when you arrive, I will show them to you” [Androsova-Ionova 1993, p. 353]. This book includes one of these texts.

In 1938, under the leadership of the SI. Bolo and A. A. Savvin organized a folklore and dialectological expedition to the Vilyui group of regions of Yakutia. In order to more fully cover the vast territory of this group of regions, the expedition worked along two routes. Judging by the certification of materials, during the work of the expedition, the collectors relied on the records of teachers and students of rural schools. Along with recordings of olonkho texts, historical legends, folk songs, riddles, proverbs and sayings, special attention was paid to the collection of chabyrgakhs.

An analysis of the chabyrgakh records shows that most of the texts were collected by A.A. Savvin. In one Vilyui region, he recorded 41 texts: from the Kyrgydai nasleg - 14, Yugyulet - 9, Togus - 5, from the Khalbaaki and Khampa naslegs 4 each, Borogontsov - 3, II Kulet - 2.

From a 79-year-old resident of N.M. Alexandrova from the village of Kugdar, Nyurba district, recorded 5 texts. Expedition members from 73-year-old I.G. Kytakhov, a resident of the village of Allyn, Suntar ulus, recorded 13 chabyrgakhs. In the village of Suntar - 6, Tyubey Jarhan - 8. And 9 more texts were written down by schoolchildren. All these texts are currently stored in the archives of the YSC SB RAS.

In addition to these areas, the expedition worked in two naslegs of the Kobyai ulus, where in the village II Lyuchyun from G. Kychikinov and in nasleg II Sitte according to P.G. Kolmogorov were recorded from one text. Thus, the expedition led by A.A. Savvina enriched the archival material with 84 texts of the Chabyrgakhs.

During these years, the archives of the Institute of Language and Culture received chabyrgakhs I.G. Ivanov (recorded by S.I. Bolo). According to a resident of the village of Kuochui, Kobyai district, D.G. Pavlov wrote down the text attributed to Deaf Peter “Onoyorkoon ayakhtanan”. Also from a resident of the same area, I.T. Sofronova P.P. Makarov wrote down the text of "Tanara Chabyrgaga".

In 1939, the archive fund of the said institute continued to receive texts of chabyrgakhs from correspondent collectors. In naslegs of Kobyai region II Sitte and Kuokuy P.P. Makarov wrote down one chabyrgakh each. In Churapchinsky district E.E. Lukin recorded two texts “Kepselge kiirbit” and “Dyrgyydaan-durguydaan”. According to V.D. Lukin, a resident of the village of Khaptagai, Megino-Kangalas region, wrote down the text “Syp-sap”.

In 1939-1941. The Institute of Language and Culture organized an expedition to the northern regions of Yakutia, led by SI. Bolo and A.A. Savin. She worked on two routes. Chabyrgakhs were mainly collected in the Momsky district under the leadership of the SI. Bolo and Abyi region under the leadership of A.A. Savvina.

In 1941, the folklore and dialectological expedition of the institute worked in the Amginsky, Gorny and Kobyaisky regions. HER. Lukin, a participant in this expedition, collected 2 chabyrgahs from the residents of the village of Altansy in the Amga region, and one chabyrgakh was collected from the residents of the villages of Abaga, Somorsun, Emis, and Omollon. In the same year, in the Churapcha district from a resident of the Alagar nasleg, Lytkina SI. 4 chabyrgahs were recorded. And also in the naslegs of II Sitte, Kokuy of the Kobyai region and from II Atamai of the Mountain region, one text was recorded.

In addition to expeditionary materials, during these years the archives of this institute continued to receive records of Chabyrgakhs from its correspondents.

Institute of Language and Culture from 1938 to 1941 Work on collecting folklore materials was widely launched. Over the years, about 150 chabyrgakh texts have been collected.

In the first years of the war in 1941-1943. For obvious reasons, the collection of folklore materials was temporarily stopped. In 1944, the archive fund was replenished with 10 more texts. In the same year, according to the words of the famous folk singer S.A. Zverev from the Suntarsky region of Yakutia and from a resident of the Megino-Kangalassky region, the famous shaman Abramov-Alaadya, the texts of the Chabyrgakhs were recorded. Also from the Abyisky, Megino-Kangalassky, Suntarsky and Churapchinsky districts of Yakutia, several chabyrgakhs were received into the archive fund.

More than 10 texts were recorded in 1945. And in the period from 1946 to 1947, the archive fund was replenished with more than ten texts of the Chabyrgakhs. They were recorded in the Ust-Aldan, Vilyui, Suntar and Ordzhonikidze (now Kangalassky ulus - V.N) regions by correspondent collectors.

The archives of the YSC SB RAS contain the texts of the Chabyrgakhs, recorded from the words of the famous olonkhosut of the Tattinsky region E.D. Kulakovsky-Wat Hoyostoon and from Moma resident R.P. Uvarovsky. There is also a 1949 recording of the chabyrgakh-fold “About what was seen and heard” from an 80-year-old resident of Tatta A.S. Totorbotova. The archive also received chabyrgakhs collected by schoolchildren of the literary circle of the Markhinskaya school in the Nyurba district.

In 1951, 1956-1958 from the Vilyuisky district according to I. Lebedkin, Nyurbinsky district according to P.S. Spiridonova, I.M. Kharitonov, Momsky district, according to R.P. Uvarovsky, Verkhoyansky district from A.E. Gorokhova, N.F. Gorokhov, several chabyrgakhs were recorded and archived.

Thus, it can be argued that the collection of folklore materials on the genre we are studying was mainly carried out in the 30s and 40s.

Fruitful work on collecting chabyrgakhs was carried out by a folklore expedition that worked in 1960 in the Nyurba region of Yakutia. 2 texts were recorded in the Megezhek nasleg, one each in the Chukar nasleg, I Kangalas and in the regional center of Nyurba several texts were recorded.

In the same year E.I. Korkina, P.S. Danilova, P.E. Efremov in the Tattinsky district according to N.P. Dzhorgotov, Ust-Maisky district from the words of I.P. Adamova, S.N. Atlasova, D.G. Ivanova and T.K. Kochelasov recorded several chabyrgakhs.

In 1962, 1965, 1966, one chabyrgakh each came from the Tattinsky and Megino-Kangalassky districts. In 1972, the chabyrgakh riddle was recorded by P.N. Dmitriev in the Ordzhonikidze district. Six texts “Altan atyyrdaakh”, “Tyuyun-tyyun tereebut”, “Chuo-chuo cholbon”, “Kilietin kilyu”, “Myuchchu ketyuten” and “Kuogai-iegey” were recorded by P.N. Dmitriev from the 70-year-old performer Pavel Innokentyevich Zamorshchikov.

In 1972, a republican folklore festival was held in the city of Yakutsk. Many chabyrgakhs were performed. During the festival, previously unrecorded texts were identified and archived U Chabyrgakhov: 2 from performers of the Tattinsky district and 4 texts from A. Romanov from the Megino-Kangalassky district.

In 1973, the texts of the chabyrgakh folk singer, olonkhosut from the Ust-Aldan region R.P. were submitted to the archives of the YSC SB RAS. Alekseeva.

The archive also contains the text of Chabyrgakh G.S. Semenov-Dyrbyky Khabyryys, recorded by V.P. Eremeev in 1974. In 1986, the archive fund was replenished with the texts of several chabyrgakhs, previously recorded from the words of Konon Sergeev in the Nyurba region.

Thus, the first records of Chabyrgakhs were made even before October revolution, but a targeted collection of materials was carried out in 1938-1941. Rich material was collected by folklore and dialectological expeditions of the YALI Institute. Most of the texts were collected by SI. Bolo, A.A. Savvin, E.E. Lukin, P.P. Makarov, I.P. Pakhomov.

Judging by the passport of records, chabyrgakhs were collected from most of the territory of the republic. Chabyrgakhs did not gather in the Kolyma group of uluses, in some northern and southern uluses, where expeditionary work was not carried out.

Having grouped the texts of the Chabyrgakhs, recorded in different uluses and stored in the archives of the YSC SB RAS, we received the following picture:

Vilyuisky - 47;

Suntarsky - 32;

Nyurbinsky-19;

Megino-Kangalassky - 16;

Alekseevsky (now Tattinsky ulus) - 14;

Momsky and Abyisky - 12 each;

Amginsky, Ordzhonikidze (now Kangalassky ulus), Churapchinsky, Ust-Aldansky, Kobyaisky - 9 each;

Ust-Maysky - 4;

Namsky-2;

10. Tomponsky, Yansky, Verkhne-Vilyuisky - one text each.
So, the archives of the Yaroslavl Scientific Center SB RAS currently contain more than

two hundred texts recorded from 90 performers from 17 uluses. About a hundred texts were recorded in the Vilyui group of uluses, 58 in the central group of uluses, and 39 from the northern groups. These data indicate that chabyrgakh is widespread and is a favorite genre of the Yakut people.

An interesting fact is that in comparison with the Vilyui group of uluses, a smaller number of Chabyrgakhs were recorded in the central uluses. As you know, it was in these uluses that most of the famous olonkhosuts, singers and experts on antiquity were born and lived. E D Androsov, the author of a popular science essay in two parts “Olonkhosuts and singers of Tatta,” writes: “all the famous olonkhosuts of the Tatta ulus were also skilled chabyrgakhsyts” [Androsov 1993].

In our opinion, this issue can be explained by the following circumstances: firstly, the collection and study of oral folk art of the central district of Yakutia began and was more or less fully carried out even before the October Revolution. It was in this district that the famous Sibiryakov expedition worked (1894-1896), the participants of which were political exiles who were well acquainted with Yakut life and had a fairly good command of the Yakut language; secondly, the first researchers and enthusiastic collectors of Yakut folklore mostly came from the central uluses. Apparently, the Institute of Language and Culture considered that in the central uluses the collection of folklore materials was going more or less well. Therefore, they decided to focus on covering the remote uluses of the republic. In this regard, the first professionally trained folklorists of SI. Bolo and A.A. Savvin was sent to the Vilyui and northern uluses.

As a result, more chabyrgakh texts were recorded in the Momsky and Abyysky uluses than in some central uluses, where since ancient times oral folk art was more developed than in the peripheries of Yakutia, in particular, such central uluses as Amginsky, Kangalassky and Ust-Aldansky .

Passport data of 39 texts of chabyrgakhs recorded in the northern uluses, at first glance, create the impression that chabyrgakhs in the north in

It was mainly distributed in Mom and Abyye. However, according to informant G.P. Potapov follows that, although chabyrgakh was recorded in the Abyi ulus, it also existed in the Yanek ulus (now Verkhoyansk - V.N.): “Bu kisi Dyaana I Baida kisite. -40 s." - “This man is a native of I Baida Yanek (apparently the Yansky ulus - V.N.) There he learned from one elderly old woman, even when he was in his homeland” [Archive of the Yaroslavl Scientific Center SB RAS, f.5, op.Z, unit. file 481, l.8].

In 1999, during our folklore expedition in the village of Dulgalakh, Verkhoyansk ulus, indigenous resident Vera Vasilievna Vasilyeva (born in 1935, 7th grade education) said the following: “Iyem chabyrgakhtyyryn ister buolarym: “Khankys-kunkus, // Kurbuu-dyrbii, // Elemaet -telemaet,// Eppit-tyyimmyt,// Esiekei-dyerenkey..." Bert usunnuk eteechchi yes, umnaasbippin. Manik kyys tusunan bysyylaah ete. "Erien daba yrbaahylaah." enin dien. "Chorbuonus dobuolien" nuuchchalaasynnaah byutesiger" - "Rumors shala mother's tongue twisters: "Nods and sways, // Around and around, // Pieces and shreds, // The one who said and exhaled, // The round dance and jump..." I performed for quite a long time, but I forgot. It seems it was about a playful girl “With a colorful dress...”, etc. She ended in Russian (distorted in the Yakut way - V.N.) “The Chervonets is happy.”

From a resident of the village. Dulgalakh, Verkhoyansk ulus Sleptsov Gavril Aleksandrovich-Sebieskei Ganya (born 1932, 7th grade education) in the same year the following information was recorded: “Basykaan Aanyskata (nickname of Vasilyeva A.G., natural mother of the above-named Vasilyeva V.V. - V.N.) I think she performed tongue twisters... I remember at the boarding school I rarely performed tongue twisters as a joke. In those days, tongue twisters were even in textbooks.

It was in 1942, probably... then in my childhood" (village of Dulgalakh. Locality "Ysyakh yspyt". 08/21-1999).

During the expedition, we became acquainted with six traditional texts of the Chabyrgakhs, which were recorded in the village of Sartan, Verkhoyansk region, by a first-year student of the Faculty of History and Philology of the Yakut State University, Nina Ignatievna Sleptsova (now Filippova - V.N.), dated 1966. The texts were typed on a typewriter and are stored in the archives of the Verkhoyansk Museum “Pole of Cold” and in the possession of the collector herself.

Thus, the lack of recording of samples of works of certain genres in certain uluses does not indicate the oblivion of any genre in individual uluses, but speaks of the unevenness of field work on collecting folklore materials in Yakutia.

We were interested in the fact that in the three Kolyma uluses, where the folklore and dialectological expedition was carried out (1939-1941), not a single chabyrgakh text was recorded. This can be explained by the following reasons: firstly, the great distance from the cultural center of the republic, i.e. central uluses, did not allow scientists to visit the uluses when the genre existed; secondly, the small population of the districts did not allow the genre to actively exist and served as the reason for its extinction, and then disappearance from active use, thirdly, the head of the folklore and dialectological expedition, SI Bolo, apparently paid the main attention to the collection of historical legends. It is known that there is a prepared for printed the manuscript “The Past of the North of the Yakut ASSR”, where Sesenem Bolo, based on the historical legends of the northern Yakuts, attempted to study the history of the Yakuts’ development of the valleys of the Indigirka and Kolyma rivers [Vinokurov 1993, p.39].

In addition, we have established that during the expedition to the Vilyui group of districts in 1938-39, SI. Bolo recorded only

three texts by the Chabyrgakhs and then only from one informant [F.5, op.Z,
storage unit 5, l. 12]. Perhaps this did not satisfy the management of the Institute,
therefore, in the first settlement of the expedition route on
g North, in the Momsky district S. Bolo recorded 15 texts of the Chabyrgakhs. Further,

Probably, the desire to study the history of the region took over, and he switched only to recording historical legends and stories. For this reason, it seems to us, in the Kolyma group of uluses SI. Bolo did not record a single text of the chabyrgakh.

All of the above allows us to conclude that chabyrgakh was widespread throughout the territory of settlement of the Yakuts, including in the extreme northeast, since the genre itself is an integral part of the folklore of the people and lives in the memory of rhapsodists in any spatiotemporal relationship any territory,

1 which is mastered by the nomad of the north - the Yakut hunter, the Sakha reindeer herder and

herdsman

So, in the history of research and collection of the genre, we have identified four stages: 1) 1870-1911; 2) 1912-1934; 3) 1935-1974; 4) 1989-2001.

The first stage gives us scanty, but the first necessary information about chabyrgakh, important for studying the genesis of it as a genre. Political exiles: Russian folklorist I.A. Khudyakov, Polish writer, ethnographer V.L. Seroshevsky, compiler of the Yakut language dictionary, academician E.K. Pekarsky was considered a play on words, an example of wit, puns, and jokes. V.L. Seroshevsky suggested that chabyrgakh originates from the ritual poetry of the Yakuts, incomprehensible to outside listeners.

At the second stage (1912-1934), attempts to define the genre and

„ some comments about the specifics and features of chabyrgakh were

expressed by the first galaxy of Yakut intelligentsia - A.E. Kulakovsky,

S.A. Novgorodov, A.I. Sofronov and P.A. Oyunsky. At this time, chabyrgakh was preserved in its traditional forms and continued to exist, as in pre-revolutionary times.

The third stage (1935-1974) was a period of flourishing collecting activity with the assistance of the Institute of Language and Culture at the Council of People's Commissars of the Yakut Autonomous Soviet Socialist Republic, opened in 1935 (later the Institute of Language, Literature and History of the Yaroslavl Branch of the Siberian Branch of the USSR Academy of Sciences).

An archive was organized at the institute, where more than 200 texts were deposited, which formed the basis of our research and were subjected to detailed analysis.

From 1975 to 1988, according to our data, no research work There has been no collection and analysis of chabyrgakhs. But at the same time, chabyrgakh as a satirical genre was in demand for castigating individual shortcomings of society and human vices, and became popular in amateur performances. This allowed the genre not only to survive, but also to receive further development. The evolution of chabyrgakh received a new impetus: the texts were transformed, and sometimes written anew, i.e. development received a second authorial life, one might say, a new ideological and social orientation.

Purposeful scientific study of chabyrgakh as a genre of Yakut folklore began only in the late 90s. XX in So, in 1989, an article by G.A. Frolova “Chabyrgakh” [Frolova 1989, p.96-100]. After it, separate collections of texts by amateur authors and articles in local newspapers and magazines dedicated to chabyrgakh appeared. The main content of the articles was that the genre is viable and in demand, and needs assistance for further development as a colloquial and satirical genre of amateur performances.

mastery of the Chabyrgakhsyts But these articles did not resolve controversial issues and did not provide anything new in the matter of defining and classifying the genre. In the articles by A.G. Frolova, then in ours the question was raised that “folds about what was seen and heard” by Deaf Peter cannot be classified as a genre of chabyrgakhs.

Separately, it is necessary to note the article by E.N. Romanova" Children's folklore Yakuts: text and metatext", where the author considers Yakut tongue twisters as "first speech" in the sacred tradition" and considers it the basis for the emergence of poetic speech [Romanova 1998]. Later, her hypothesis was supported in an article by L.I. Novgorodova and L.F. Rozhina "Chabyrgakh: text and metatext (to the problem of non-ritual forms of Yakut folklore)" [Novgorodova, Rozhina2001].

In the book by N.V. Pokatilova’s “Yakut alliterative poetry” examines in detail the construction of chabyrgah; as a manifestation of the early literary stage of development of Yakut alliterative verse. It identifies the poetic features of chabyrgakh as an archaic genre of Yakut oral poetic creativity [Pokatilova 1999].

A number of collections of chabyrgakhs by A. D. Skryabina “Methods of teaching chabyrgakhs (tongue twisters)” were also published. Texts by chabyrgakhs on modern topics were published by active participants in amateur artistic performances M. Matakhova, M. Gerasimov, etc.

Thus, at the fourth stage of the study, the main attention was paid to identifying the differences between traditional and modern chabyrgakhs, the features of the genre and its forms, as well as analyzing the creativity of chabyrgakhsyts. Along with this, this period can be considered the period of the revival of chabyrgakh as a genre of satire in Yakut oral folk art.

Source base of the research. The study was carried out on the following groups of sources:

archival, handwritten materials from the collections of the Institute of Scientific Research of the SB RAS;

works of Yakut writers and texts of modern Chabyrgakhsyts, published separately, as well as published on the pages of republican newspapers and magazines in the Yakut language;

field materials of the dissertation candidate, collected in 1993-2003. in the Amginsky, Verkhoyansky, Kangalassky, Megino-Kangalassky, Olekminsky, Ust-Aldansky, Churapchinsky uluses of Yakutia and materials collected by students of the Yakut State University and the College of Culture and Art of the Republic of Sakha (Yakutia) during educational folklore practice under the guidance of the dissertation candidate.

Novelty of the work is that it is the first to systematize and provide a generalized analysis of chabyrgakh as a traditional genre of Yakut folklore. For the first time, based on a wide range of folklore material through a comprehensive study, an interpretation of its genesis is given, the evolution of chabyrgakh is shown, and the paths of its modern development are revealed.

Theoretical and practical significance of the work. The research undertaken in the dissertation contributes to the study of the previously insufficiently studied genre of Yakut oral folk poetry, defines chabyrgakh as special genre, determines the artistic and aesthetic possibilities of the genre, reveals structural and semantic features, poetics and specifics of Yakut tongue twisters. The results of the dissertation research can be used in the preparation of scientific and methodological manuals, for further study of Yakut versification by students-philologists, teachers and methodologists in Yakut literature and folklore, as well as propagandists of the folklore traditions of the Sakha people, participants in amateur art groups, authors-writers of chabyrgakhs on modern Topics. The dissertation materials can be

involved in comparative analysis of similar genres of oral folk art of other peoples.

Approbation of work. The main provisions of the dissertation are presented in
d speeches and theses at scientific conferences, including

Republican scientific and practical conference “S.A. Zverev:
Folklore and modernity" (Yakutsk, 2000); Republican scientific-
practical conference “Christianity in art, folklore and
education" (Yakutsk, 2000); III International Symposium
“Baikal Meetings: Cultures of the Peoples of Siberia” (Ulan-Ude, 2001);
Republican Scientific and Practical Conference “Spirituality -
the dictates of the time" (Yakutsk, 2001); scientific-practical conference
“Sofronov Readings” (Yakutsk, 2001); Republican scientific-
practical conference "Current problems of modern Yakut"
1 philology" (Yakutsk, 2002); I interregional scientific conference

"Language. Myth. Ethnoculture" (Kemerovo, 2003); IV International

symposium “Ethnocultural education: improving

training of specialists in the field traditional cultures» (Ulan-Ude,

2003). The applicant also made a presentation at the Republican

scientific and practical seminar of cultural workers “Chabyrgakh

(tongue twisters): tradition and modernity" (village Balyktakh, Megino-

Kangalassky ulus, Republic of Sakha (Yakutia), 2002).

The dissertation author teaches a special course “Chabyrgakh as a genre of oral folk poetry” to philology students at Yakut State University, as well as to students of the College of Culture and Art in Yakutsk.

Structure of the dissertation work consists of an introduction, two
chapters, conclusion, list of sources and references,
X applications.

Definition of genre

Before starting to define the genre, we considered it necessary to make an attempt to identify the genesis of chabyrgakh. There is no definite hypothesis about the origin of this genre in Yakut folklore. However, resolving the issue of the origin and formation of folklore genres is of particular importance. As S. G. Lazutin writes, elucidating the genesis and ideological and artistic specificity of genres gives us “the opportunity to more accurately determine their place in modern folklore, to express more realistic considerations about the prospects for their further development” [Lazutin 1989, p.Z].

Therefore, it is of paramount importance to highlight the issue of the origin of chabyrgakh - which is of interest as a play on words, and as a genre of satire and humor.

Judging by individual comments, chabyrgakhs arose in ancient times. Back at the end of the 19th century, V.L. Seroshevsky noticed that children's tongue twisters “contain fragments of ancient spells” [Seroshevsky 1993, p. 515].

As noted by A.I. Sofronov, some words used in chabyrgakh are sometimes incomprehensible even to the performer himself. They, apparently, are words of ancient origin that have not been preserved in modern vocabulary and no one now knows their true meaning [Kyayygyyap 1926, p. 29].

There is an interesting remark by G.V. about the antiquity of the origin of the genre. Ksenofontov in the work "Uraanghai sakhalar. Essays on the ancient history of the Yakuts" [Indicative. op. v.1. P.338]. The author cites two lines of a children's tongue twister consisting of paired words, the exact meaning of which, according to him, was “not entirely clear” to them:

“Anghara-Dzhanghara Walbara-Chuolbara...” As he explained, here the word “Anghara” is associated with the Angara River, flowing from Lake Baikal. G.V. At the same time, Xenofontov cited an ancient Buryat legend about Lake Baikal, where “Lake Baikal is a very old man who has many sons - rivers and rivulets, who bring their waters to the parental bosom, but... on the other hand, the old man has one and only wasteful daughter, the beautiful Angara, who he takes his father’s acquired waters with him somewhere to the north as a dowry of goods” and thereby ruins the old man of Baikal. This is perhaps the only text that preserves the name of the river, where, according to G.V. Ksenofontova, once upon a time there lived our ancestors/acquaintances with the legend of the beautiful Angara. This version can be supported by the explanation of G.U. Ergis that “Dyengkere Baikal is clear-water Baikal, Anghara Baikal is Angara Baikal” [Orosin 1947, p. 39]. That is, the name of the Angara river is precisely indicated here. And the word “walbara” is a modified verb from “wallara” (wal - dry + steam verb of the incentive voice + a affix singular 3 l.) meaning dries up or dehydrates. Thus, the interlinear translation of this text is as follows: “Angara-Dzhangara Dries-Drains...” An interesting remark by P.A. Oyunsky that “the first ancient Yakut creator of artistic expression, before ascending to the highest level of olonkho, began with the form chabyrgakh...” [Oyunsky 1962, p. 104]. Here he gives an example from Olonkho: Iegel-kuogal Iil-tapyl\

Ingkel-tanghal Iedeen-kuudaan A literal translation of this text into Russian is impossible, so we will give an interlinear translation: Swinging and bending // Scattering back and forth // Swaying from side to side // Grief and misfortune have come. Thus, P.A. Oyunsky believed that chabyrgakh is the “first step” of olonkho. Hence, historical roots We should look for chabyrgakh in the texts and images of olonkho.

V.V. Illarionov emphasized that “the description of the appearance of the heroes abasy, udaganok in the form of the verse is similar to chabyrgakh, and therefore it is no coincidence that the majority of olonkhosuts are chabyrgakhsyts” [Illarionov 1990, p.4.].

In the anthology "Yakut folklore" D.K. Sivtsev-Suorun Omolloon noted that the mythological images of the oral folk poetry of the Yakuts are “the basis for the further development of Yakut folklore” [Sivtsev 1947, p. 17].

According to P.A. Oyunsky, "ditties of this very ancient looking folk art do not contain either an object or an action, they contain only a subject with its own qualities" [Oyunsky 1993, p. 61]. This is how the hero aiyy Kyun Diiribine calls the hero of the Lower World Wat Uputaaki: Buor sirey Earthy muzzle, Burgaldy soto Yoke-shaped shin, Haannaah ayah Bloody mouth, Khara tyokun... Evil robber... [Oyunsky 1959, p. 81] In the olonkho "Buura Dokhsun" the image of the hero from the Lower World Yeseh Dyuksul (literally - a clot of blood Finishing) is conveyed in the following figurative words : Yonnaeh Selegey, With wormy juice, Buor sirey, Earthy muzzle, Burgaldy soto, Yoke-shaped shin, Argah ayah, Burlozh mouth, Ardyaah tiis... With rare ones, big teeth... [Erilik Eristiin 1993, p.60] Negative images any olonkhosut are described satirically, mockingly. For example, in the olonkho text "Nyurgun Bootur the Swift" in the form of a chabyrgakh, mainly images of udagankas are depicted.

Genre classification

In 1937 G.U. Ergis developed a “Program for collecting Yakut artistic folklore”, where the section devoted to collecting chabyrgakh already classifies it, pointing to an intra-genre variety. This classification was published in the methodological manual by G.U. Ergis "Companion to the Yakut folklorist" (1945) and in his "Memo to collectors of Soviet folklore" (1947). According to G.U. Ergis, there are the following types of chabyrgakhs: “a) quickly pronounced short tongue twisters, for example: etege-tetege or chuo-chuo cholbon, etc. b) folds about what is seen and heard. c) tongue twisters with descriptive-figurative content.. ." [AYANTS SB RAS, f.5, op.Z, storage unit.Z, l.8]. Thus, G.U. Ergis was the first to attempt a scientific classification of chabyrgakh. But, in our opinion, this genre requires a more detailed consideration and identification of several types of chabyrgakh, since the definition of G.U Ergis does not fully reflect the specifics of the genre.

Genre chabyrgah D.K. Sivtsev classifies into two types: with figurative and direct meanings. He identified children's chabyrgakh by its functional meaning with Russian tongue twisters [Yakut folklore 1947, p. 144]. Chabyrgakh as a genre of humor and satire in terms of the severity of the content and the nature of the composition, from the point of view of D.K. Sivtsev, close to Russian ditties. The conclusions of DK Sivtsev are interesting, but there is a lot of confusion in them. The commonality of the functional purpose of folklore works of different peoples does not indicate their interaction or mutual influence, but speaks only of the commonality of the tasks that the ethnic group solves with the help of folklore. Classification by type of content - hidden, veiled and not hidden (direct) - is ineffective for studying the genesis and essence of chabyrgakh. Thus, satire can be hidden or specific, addressed to real character. This kind of chabyrgakh, of course, belongs to one type of chabyrgakh.

Having repeated his main conclusions about chabyrgakh as a special genre of Yakut folklore, G.M. Vasiliev emphasized the stability of the genre and noted the flourishing of chabyrgakh in amateur performances [Vasiliev, 1973, p. 167]. He saw the further development of chabyrgakh in its formation as a genre of satire, which has now been confirmed.

G.M. Vasiliev characterizes in more detail the distinctive features of the genre and the ways of its development. At the same time, G.M. Vasiliev did not give a clear classification of this genre of Yakut folklore.

When classifying chabyrgah, we proceed from the fact that chabyrgah in its functional meaning (broad sense) is diverse. If chabyrgahs of the type “bilbit-kerbut” - “learned, heard” or “sireyinen kepsiir” - from the “first person” can be attributed to a certain group, then the classification of humorous or amusing chabyrgakhs according to their purpose presents certain difficulties, due to the fact that in most cases it is impossible to unravel the contents of such chabyrgakhs.

From Grigoriev Kapiton Grigorievich (83 years old) from the village of Ynakhsyt, Nyurba ulus, in 1960, schoolchildren from the Markhinsky literary circle recorded three chabyrgakhs. He could not say what these chabyrgakhs were about and when they arose. Explained that. “They used to say this when I was a child. Imitating them, we said such chabyrgakhs to each other.” He said that people, not understanding what they were talking about, laughed and asked each other: “What did you say, what did you say?!” [AYANTS SB RAS, f.5, op.6, d.353, l.7].

N.V. Emelyanov classified the genre “according to the common genesis, internal content and compositional and structural organization.” He grouped chabyrgakhs according to their functional purpose: "1) children's play; 2) amusing or humorous; 3) satirical; 4) folds about what he learned." Thus, N.V. Emelyanov proposed a more complex intra-genre classification [Ibid., pp. 325-339].

From the field of view of N.V. Emelyanov covered the most ancient forms of chabyrgakh, such as allegorical, chabyrgakh-riddles, as well as the use of chabyrgakh in the heroic epic.

N.V. Emelyanov writes that modern chabyrgakhsyts perform many chabyrgakhs only according to established tradition. And listeners perceive this as a play on words [Ergis 1974, p. 330].

Judging by the texts, many chabyrgakhs simultaneously contain elements of humor, fables, so to speak, “teasers,” so it is extremely difficult to attribute each of them to any specific group. When analyzing chabyrgakhs, we found it possible to classify individual samples of them as one or another species, based on an assessment of which of these elements predominates in a given chabyrgakh.

From the above it follows that the chabyrgakh genre has been the object of attention of many researchers, however, there is still no full classification Chabyrgakh, the questions of its genesis, semantics and evolution during the post-October revolution remain insufficiently studied.

All of the above allows us to conclude that Yakut chabyrgakhs should be classified into children's chabyrgakhs and chabyrgakhs for all listeners - adults and children. As you know, the Yakuts in the past lived in yurts, which were not divided into separate rooms. Meals and festive feasts were common to all family members. Children were present at all rituals during the performance of olonkho. And chabyrgakhs were performed for general entertainment.

Children's chabyrgakhs can be divided into works whose purpose was to form correct diction; development of imaginative thinking, knowledge of the surrounding world, satire. As noted above, to develop speech, children were forced to make puns.

General and special artistic characteristics of Chabyrgakh

Chabyrgakh is a unique poetic genre of Yakut oral folk art. Perhaps chabyrgakh is the initial stage of Yakut alliterative verse [Pokatilova 1999].

IN in this case“in the absence of alliteration... it is metrically felt like verse due to its distinct division into commensurate segments” [Pokatilova 1999, p. 31]. According to N.V. Pokatilova, this “type of chabyrgakh represents an earlier stage in the development of alliterative verse...” [Pokatilova 1999, p.31]. As she writes, chabyrgakh is the basis of “the most archaic verse... Conventionally, this phenomenon can be designated as relics of the “pre-alliterative” coherence of the verse” [Pokatilova 1999, p. 35]. Along with alliteration, rhymes play a significant role in the structural organization of chabyrgakh. As is known, verbal rhymes predominate in Yakut poetry, because in the Yakut language the verb usually comes at the end of the sentence. The specificity of chabyrgakhs should be recognized as the fact that they rhyme mainly nouns and adjectives. Analysis of archival materials shows that such rhymes are found in approximately 80% of the available records of Chabyrgakhs. Words in chabyrgakh are often rhymed using suffixes like “laakh” and its variants: “looh”, “deeh”, “daah”, etc. For example: Ogdyogurkaan oioolooh, With a short caftan, Sagdyakyrkaan samyylaakh, With thin hips, Emtegiykeen enerdeeh, With a short apron, Byrykaikaan byardaah, With a poor appendage, Bultegirkeen berdeekh.

Folklore works are characterized by stable, constant epithets. In Yakut oral folk poetry, epithets are the favorite means of poetically characterizing objects. In Chabyrgakh, epithets clearly characterize the distinctive features of the appearance of animals. At the same time, they are described in the form of an enumeration, a sequential characteristic of the animal’s appearance. For example: Sartaayar tanyylaah, With wide nostrils, Sandalas harakhtaah, With widened eyes, Sabaary tyuyosteeh, With a wide chest, Dallygyr kulgaahtaah, With splayed ears, Sallagar bastaah, With a big head, Kugus moonnyulaah, With a thin neck, Koygyogyor isteeh, With a big belly , Sibie sisteekh, With a strong back, Bydagai argastaakh, With a high crest, Chabydygas tuyakhtaakh With clattering hooves Taba kyyl baar. There is an [animal] deer. [AYANTS SB RAS, f.5, op.Z, archive unit YuO, l.ZZ] Or, image of a cow: Sytykan yyraakh, Stinking hoof, Syllaran tamyk, Skinned knee, Chorookh kuturuk, Sticking tail, Turuoru muos, Straight horn, Tokur siye. Crooked back. [AYANTS SB RAS, f.5, op.Z, storage unit 675, l.98]

When characterizing a person, figurative and descriptive epithets are also used in the form of a number of definitions: Mylachchy bergese Yoryu yutyuluk Neetle son Kuolaidyyr keenche Syppakalyyr emchiire Borbuiduur syaya Syryy aatym "Sygynyk" Dyosun aatym "Soppuruonap" Nyky aatym "Nykylay" [ AYANTS SB RAS, f.5, op.Z, unit of record.Z, l.8] The first six lines list the appearance, clothing: Hat on the top of the head // Knitted mittens // Worn out coat // Legs on bare legs // Wet tortoises // Nataznik up to the knee fold//, the last three lines give a description of the hero from his “I”: famous name (i.e. he was a famous olonkhosut) “Sygynyk” // Worthy name “Sofronov” // Folk name “Nikolai”. Homogeneous phrases (adjective + noun) serve as rhythm-forming elements in these chabyrgs.

In chabyrgakhs, epithets of a figurative nature are also used, “the so-called picture words are a special national type of figurative epithets” [Romanova 2002, p. 41]. Such epithets highlight “signs of appearance, morals, manners and movements” [Romanova 2002, p. 41]. In the article “Yakut language” A.E. Kulakovsky wrote: “The Yakut language represents the height of perfection in terms of descriptiveness of the external forms of an object or person (shapes, figures, types of movement, etc.) ...” [Kulakovsky 1979, p. 385].

For example, the image of a riotous, frivolous, scandalous woman is created with the help of epithets that characterize her manners (see pp. 81-82).

Epithets are often used to depict the appearance of animals. For example, in chabyrgakh, where a horse is described, the following words are used: Seniyete semeldiye, [his] chins swayed, Tanyyta tartallyya, [his] nostrils twitched, Tiise yrdyalliya, [his] teeth glistened, Kaneriite mölöryuye - The bridge of [his] nose slid turda and etc. steel, etc. [AYANTS SB RAS, f.5, op.Z, storage unit 44, l.1-3]. The appearance of a cow in chabyrgakh is lovingly described by the following epithets: Chorogurkaan kuturuktaakh, With a swivel tail, Khotogorkoon sisteekh, With a arched back, Khorogorkoon muostaakh, With pointed horns, Dallagarkaan muostaakh, With splayed ears, Maltagarkaan syusteekh, With a bulging forehead, Chaachygyras yyraakhtaah. With clattering forks on the hooves. [AYANTS SB RAS, f.5, op.Z, unit of records YuO, l.ZZ] Analysis of the epithets used in chabyrgakh shows that in these works there are no such detailed descriptions as are often found in olonkho. Chabyrgakhs use short epithets that have become almost stable formulas. The most common epithets in Chabyrgakh are “dardyr syarga” - “thundering sleigh”, “oonnuur bagana” - “playful pillar”, etc. In the chabyrgas of the Yakuts, the technique of hyperbolization is quite often used. For example: Bylyty bysa surbut With the cloud cutting the running Byrdya erien ogustaakh, With the light-colored bull Hallaany haya surbut With the sky splitting with the running Khara saadyagai ynakhtaakh... A cow with a black ridge... [AYANTS SB RAS, f.5, op.Z, storage unit 417, l.6] Hyperbole is also used in the hunter’s allegorical speech about the size of the prey: Badyilesteegi meiitinen, Along the top of an impassable place, Kylystaagi kyryytynan, Along the edge of a place overgrown with sedge, Yotteegi yurdyunen, Along the top of a place _ overgrown with willow Manchaarylaagy bassinan, Along the upper reaches places where sedge grows [obtained], / Uon at olbuora, Cargo for ten horses, Bies at belbiere And luggage for five horses Suburuta diarda, Straight-tailed spoiled, Tonsuruku kirdieles! The pecking one pecked! [AYANTS SB RAS, f.5, op.Z, storage unit. 417, l.14-15] Or: Ballayan-ballayan Swelling-swelling Balagan saga, The size of a booth, Yulleyen-yulleyen Swelling-swelling Yullyuk saga. The size of a bear. [AYANTS SB RAS, f.5, op.Z, storage unit 100, l.13] In this example, the appearance of a person is clearly shown with the help of a hyperbole. In Yakut chabyrgas comparisons are sometimes used. This technique is more often found in humorous and satirical chabyrgs. For example: Kirgil kinees, Prince - woodpecker, Kukaaky kuluba, Head - jay, Sakhsyrga saryyssa, Queen - fly, Chachchygynyar chachchyyn, Foreman - thrush, Neteeki terepiesinnyik, Solicitor - bat, Khakhan khapparaal, Corporal - owl, Suor suruksut, Clerk - raven, Turaah narodnay, People's [assessor] - crow, Elie eteechi, Informer - kite, Chyychaah tylbaaschyt, Interpreter - bird, Soluon judge, Judge - elephant, Andy agabyt, Pop - scoter, Cherkyoy lechek, Sexton - teal, Anyr akkyyrai... Bishop - heron... [AYANTS SB RAS, f.5, op.Z, storage unit 100, l. 13] Thus, with the help of comparisons, officials of the royal administration and ministers of the church in Chabyrgakh were aptly characterized. Yulluk is a tanned bear skin used as bedding [EKP, volume III, stlb 3119]. One of the features of chabyrgakh poetics is the use of onomatopoeic words. For example, the word “las” - “clap”: ...las-las... clap-clap Kharana oyuurdaah... With a dark forest... [AYANTS SB RAS, f.5, op.Z, unit of record .658, l.1] This word is sometimes used as the ending of chabyrgakh: Olloon buku, las Leg on leg, clap Las-las-las! Clap-clap-clap! [AYANTS SB RAS, f.5, op.Z, storage unit 562, l. 13] In chabyrgakh there are onomatopoeic words close in meaning to the word “las”: “lyky-lyky lynkyr” - “don-don ringing”, “laky-laky lankyr” - “booh-booh thundering”, “lah-lah lachyrgyyr” - “squelch-squelch squelching” [AYANTS SB RAS, f.5, op.4, item 116, l.6].

Yakut literature and Chabyrgakh

Chabyrgakh as a literary genre was first used in the works of the founders of Yakut literature A.E. Kulakovsky and A.I. Sofronov. Later, P.A. turned to chabyrgakh as a genre of satire. Oyunsky, V.M. Novikov-Kyunnyuk Uurastyrov, P.N. Toburokov, etc.

This chabyrgakh in the monograph “History of Yakut Literature” is assessed as “an artistically completely independent tongue twister of its own” [Toburokov 1993, p. 100]

In the article “Yakut language” A.E. Kulakovsky wrote that in the Yakut language there are words that do not have “a common citizenship and are immediately invented by the speaker only and solely for a given case... Each such word draws several signs of an object at once, expressing at the same time the movement of the object of conversation” [Kulakovsky 1979, p.385]. This hypothesis is also acceptable for traditional chabyrgakh. The technique of such word creation was very successfully used by A.E. Kulakovsky in the above work: Ollur-bollur, Ekir-bukur, Edien-hodyon Yunkyuleehteen Eri-buru Taibaahyydaan, Egey-dogoy

A description of the “external forms of an object or person” (which is typical for chabyrgakh - V.N.) can be found in many works by A.E. Kulakovsky. For example, a description of the image of a stingy rich man ("The Stingy Rich Man", 1907). As I.V. correctly noted. Pukhov, analyzing this work, A.E. Kulakovsky follows the “long tradition of Yakut folk poetry”: The back is closed, The side is covered, The head is withered, The knees are bony, The eyes are watery, The face is flat, The body is hard, Extremely ignorant Well, what a man! [Pukhov 1980, p.55] The translation is literal, but nevertheless conveys the image of a person who is not interested in what is happening around him, ignorant and very stingy. This passage can be considered as an example of a real chabyrgakh. Also in his poem “City Girls” there are many lines full of subtle humor and descriptiveness. They, as in chabyrgakhs, are composed of onomatopoeic words. In them, in addition to onomatopoeia, movement, you can smell: Bylaachyalara tyalyrda, Tellehtere teleerde, Bachyynkalara baachyrgaata, Kurusubalara kuugunaata, Dukuulara tunuida, Pamaadalara ankylyida... [Kulakovsky 1957, p. .172] Translation: The dresses rustled, // Their hems began to spin, // Their shoes creaked, // The lace rustled, // Their perfume smelled, // Their lipstick smelled... Here are expressions that give the smell of perfume "tunuida" and the smell of lipstick "ankylyida" "The words are synonyms; it is very difficult to accurately translate them into Russian. When translated, they lose their specificity. In the Yakut language, they are colored in a certain shade and convey the smell very subtly. “Tunuida” gives a pleasant, enveloping scent of perfume, and “ankylyida” gives a sharper, pungent smell. Moreover, if translated more precisely, the word “tunuyda” will mean the gradual spread of the smell, and “ankylyyda”, on the contrary, is a pungent smell that can be immediately felt when approaching. Thus, one can once again be convinced of the expressive capabilities of the Yakut language. Vowel harmony is observed in every line. The words of the first line “bylaachchyyalara” and “tyalyrda” are in the same grammatical form with the words of the next line “tellekhtere” (plural noun) and “teleerde” (present tense verb). They create interline sound rhyme and a fast reading rhythm. Or: Chonosuybut-cholosuybut, Chobuguraabyt-choluguraabyt, Chabylaybyt-chalygyraabyt, Nyulluguraabyt-nuuchchalaabyt, Achykyl ammyt-chasyylammyt... Tyyrangnaabyt-tyrahachyybyt. [Kulakovsky 1957, p. 165]

This example very aptly describes the image of a fashionista of that time, every movement, gait, demeanor, appearance, where “in one word a whole picture series of ideas is expressed” [Kulakovsky 1979, p. 385]. This text is also impossible to translate literally; if translated, the character’s portrait will take not six, but more lines.

For example, the expression “chonosuibut-cholosuibut” means that he walks straight, playing with his shoulders, quickly, and at the same time throwing his head back.

Each line of the passage consists of two paired figurative verbs of the positive form. They divide the line into two parts, forming rhymes that create a fast pace of reading the verse, i.e. in execution they are identical to chabyrgakh. These two excerpts, quoted from a poem by A.E. Kulakovsky can be considered the first examples of modern literary satirical chabyrgakh.

As mentioned above, A.I. also turned to the chabyrgakh genre or its forms. Sofronov. One can name individual poems by this author “Kyuygenneeh-aidaannaah” [Sofronov 1996, p. 85], “Olokh syuryugyun dorgoono (odon-dodon hosoon)” [Ibid., pp. 89-95], etc., which can undoubtedly be considered chabyrgakhs. But we, without delving into the analysis of the entire poetic heritage of the author, will consider only two of his works, which are called “Chabyrgakh” [Sofronov 1976; 1996;].

As you know, in 1923 A.I. Sofronov wrote his own “Chabyrgakh”, which was published later in his collection of poems. The work consists of 28 lines, each of them, like the traditional chabyrgakh, has four syllables. Here he, in the form of a chabyrgakh, narrates the events that took place during the years civil war in Bulun (the northernmost ulus of Yakutia): Oloh-diasakh, Serekh kuttal, Sek-suk, Kistasii, keresii, Keteh kepsetii. Dylys-malis, Dyylga-tankha. [Sofronov 1976, p. 73] Interlinear translation: Life-existence, // Caution-fear, // Fear, // Secrets-denunciations, // Secret negotiations.// Disappearance, // Fortune-teller.

Each line of chabyrgakh is mainly composed of two nouns (Olokh-diasakh, Sereh kuttal) in the nominative case, which achieves the brevity of the verse. And as noted above, chabyrgakh is written in “easy artistic language”, where “every seemingly incoherent word, in fact, acutely touches some aspects of the life of the people...” [Kyayygyyap 1926, p.ZO]. This case reflects the disturbing events of the civil war in Bulun.

In 1996, a collection of previously unpublished works by A.I. was published. Sofronov's "Swan Song", where his second "Chabyrgakh" was published [Decree. Sat., p.80-81]. In the note of the book it is written: “Moskvaga baryan ere innine Dyokuuskaiga, ebeter ayannaan isen suruybut badakhtaakh.” (Apparently written before leaving for Moscow in Yakutsk or on the way) [Ibid., p.312].

Thesis

Nogovitsyn, Vasily Andreevich

Academic degree:

Candidate of Philology

Place of thesis defense:

HAC specialty code:

Speciality:

Folkloristics

Number of pages:

CHAPTER I. GENRE CHARACTERISTICS OF CHABYRGAH.

1.1. Definition of genre.

1.2. Genre classification.

1.3. Folds of Deaf Peter.

CHAPTER II. TRADITION AND INNOVATION IN THE CHABYRGI GENRE

2.1. General and special artistic characteristics of chabyrgakh

2.2. Yakut literature and chabyrgakh.

2.3. Chabyrgakh and amateur performances.

Introduction of the dissertation (part of the abstract) On the topic "Chabyrgakh as a genre of Yakut folklore"

Relevance of the topic. The chabyrgakh genre occupies a special place in Yakut oral folk art. In the past, chabyrgi, as a genre of satire and humor, was one of the popular and favorite genres of folklore of the Yakut people. Even today he enjoys particular success in amateur and professional art. However, chabyrgakh as a genre of oral folk poetry of the Sakha (Yakuts) has not yet been the object of special research.

Due to the fact that in Yakut folklore there is no special monographic study on this topic, the dissertation author chose to study chabyrgakh as a genre of Yakut oral folk art

This work is the first attempt to translate the allegorical words of chabyrgakh into Russian.

We mostly stuck to scientific translation. But in sections where not! It is possible to translate a literary text, we gave preference to a literal translation and in the notes to these texts we tried to give a scientific version of the translation based on the genesis of the texts (concepts).

Since 1985, public life has been built on the principles of democratization and humanization. In recent years, the “Concept for the renewal and development of national schools in the Republic of Sakha (Yakutia)” has been developed, aimed at reviving education in the native language.

Goals and objectives of the study. The dissertation author believes that the traditional genre feature of chabyrgakh is allegory, abstruseness, wordplay, poetics of the genre, etc. and the ways of development of the genre in modern Yakut folklore still remain completely unexplored and require special monographic study. In this regard, the purpose of the dissertation work is to determine the role and place of chabyrgakh in the system of genres of Yakut oral folk art, the path of its development and functional significance in modern conditions, i.e. outside the traditional folklore environment.

To achieve this goal, the following specific tasks are set:

Study of the origins and evolution of the genre;

Structural analysis and classification of chabyrgakhs;

Analysis of the poetics and semantics of traditional and modern forms of chabyrgakh;

The study of its development and modern existence in modern times.

The object of the study is the traditional genre of Yakut oral folk art - chabyrgakh and its place in modern reality.

The subject of the research is the history of collection and research of chabyrgakh, the degree of prevalence, definition and classification, poetics and development of the genre.

Methodology and research methodology.

The work uses descriptive, typological, comparative-historical methods, as well as the principle of systematicity and semantic analysis. The theoretical basis of the proposed work is based on early studies of famous folklorists, * literary scholars and linguists related to the study of the problem of genre classification of folklore works, poetic analysis, poetics of folklore and literature (V.M. Zhirmunsky, 1974; V.P. Propp, 1976; A E. Kulakovsky, 1957, 1978, 1979; A. I. Sofronov (Kyayygyyap), 1926; P. A. Oyunsky, 1959, 1993; G. M. Vasiliev, 1940, 1965, 1973; N. N. Toburokov, 1985; N.V. Pokatilova, 1999, and others).

Chronological framework. Second half of the 19th century. - 20th century.

The degree of knowledge of the topic. The collection and study of materials from Yakut oral folk art began in the first half of the 18th century. Thus, early researchers, G. Miller, I. Gmelin, J. Lindenau (1733-1743 II Kamchatka Expedition), based on materials from historical legends, made the first assumptions about the ancestors of the Yakuts and the origin of the Yakut language. In 1842-1845. Academician A.F. Middendorf collected song lyrics, olonkho, information about the “circular dance.”) It is also known that in 1847 A.Ya. Uvarovsky included riddles and the text of the olonkho in his Memoirs. R.K. Maakom in 1854-1855. During the expedition to the Vilyuisky district, the texts of two olonkhos and riddles were recorded.

Remarks and individual notes about this genre of Yakut folklore are found in the works of B.JI. Seroshevsky [Yakuty, 1993]. Participant of the Sibiryakov expedition, political exile E.K. Pekarsky in his famous “Dictionary of the Yakut Language” defined chabyrgakh as a play on words and meanings.

Perhaps, before him, the founder of Yakut literature, a great expert and collector of Yakut folklore A.E., was recording the texts of the Chabyrgakhs. Kulakovsky. In 1912 he wrote a literary chabyrgakh. This work was published in his 1925 collection:

Ollur-bollur Nevpovad-irrhythmic

Ekir-bukur At random

Yunyuoleehteen, Dancer,

Erii-buruu Sweeping and awkward

Taibaahidaan, Let's wave,

Hey-goy Hey-ohy 7

Yllaamakhtaan, Drinking,

Isiehein ere, dogor! Come on, friends!

The YSC archive contains chabyrgakh, which was recorded by M.

Naumovsky in 1945:

V Iehey-chuokhay yllaamakhtaan, Sing loudly and loudly,

Ieen-tuoyan ytaamakhtaan, Cry with your soul, with lamentations,

Iehey-maahai daibaahaydaan, Waving joyfully and sweepingly,

Egiy-doguy yunkyuleehteen. Dance with exclamations of hey-ohy.

AYANTS SB RAS, f.5, op.Z, storage unit. 658 a, l.1]

In 1926, one of the founders of Yakut literature A.I. Sofronov, in the article “Chabyrgakh”, published in the magazine “Cholbon” (No. 2), expressed the idea of the possibility of developing chabyrgakh as a literary genre. Also in the article he attempted to define chabyrgakh as a genre. A.I. Sofronov tried to identify the “real chabyrgah” and cited the chabyrgah of Dyuley Diaakyp “Itege-tetege” as an example. According to the note of A.I. Sofronova, the real name of this chabyrgakhsyt is Yakov Vasilyevich Titov (1833-1916), but among the people he was also known as Dyulei Byukeni, jr.e. Deaf Peter (hereinafter Dyulei Byukaeni or Deaf Peter - V.N.). He was a native of Bakhsyt nasleg b. Meginsky ulus [Novgorodov 1991, p. 108].

In the same article A.I. Sofronov came to the interesting conclusion that the author’s “Folds about what was seen and heard” by Gyulei Bukaene cannot be recognized as real chabyrgakhs. It is obvious to us that A.I. Sofronov collected and analyzed the texts of the Chabyrgakhs. It is valuable that he was the first to draw attention to the existence of folk and literary (author's) texts of the Yakut chabyrgakh [Kyayygyyap 1926, pp. 29-30].

In 1999, a collection of the legendary chabyrgakhsyt Glukhoy Peter, “Folds about what was seen and heard: Tongue Twisters,” was published. In the collection, all texts are arranged chronologically [Titov 1999, p. 121]. As the compiler of the collection G.V. suggests. Popov/the first texts of “Uluu tunui diakhtarga” and “Dyösögöyten telkelah” were recorded in 1926 by E.E. Makarov [Titov 1999, pp. 121, 125]. Unfortunately, in the texts of E.E. Makarov did not provide any information about the informant or the location where the said texts were recorded.

Thus, the records of E.E. Makarov and I.P. Soikonen laid the foundation for the fixation of chabyrgakh in Soviet times.

In 1938, under the leadership of S.I. Bolo and A. A. Savvin organized a folklore and dialectological expedition to the Vilyui group of regions of Yakutia. In order to more fully cover the vast territory of this group of regions, the expedition worked along two routes. Judging by the certification of materials, during the work of the expedition, the collectors relied on the records of teachers and students of rural schools. Along with recordings of olonkho texts, historical legends, folk songs, riddles, proverbs and sayings, special attention was paid to the collection of chabyrgakhs.

In 1939, the archive fund of the said institute continued to receive texts of chabyrgakhs from correspondent collectors. In naslegs of Kobyai region II Sitte and Kuokuy P.P. Makarov recorded one chabyrgakh each. In Churapchinsky district E.E. Lukin recorded two texts “Kepselge kiirbit” and “Dyrgyydaan-durguydaan”. According to V.D. Lukin, a resident of the village of Khaptagai, Megino-Kangalas region, the text “Syp-sap” was written down.

In 1939-1941. The Institute of Language and Culture organized an expedition to the northern regions of Yakutia, led by S.I. Bolo and A.A. Savin. She worked on two routes. Chabyrgakhs were mainly collected in the Momsky district under the leadership of S.I. Bolo and Abyi region under the leadership of A. A. Savvin.

In 1941, the folklore and dialectological expedition of the institute worked in the Amginsky, Gorny and Kobyaisky regions. HER. Lukin, a participant in this expedition, collected 2 chabyrgakh from the residents of the village of Altansy in the Amga region, and one chabyrgakh was collected from the residents of the villages of Abaga, Somorsun, Emis, and Omollon. In the same year, in the Churapcha district, from a resident of the Alagar nasleg, Lytkina S.I. 4 chabyrgahs were recorded. And also in the naslegs of II Sitte, Kokuy of the Kobyai region and from II Atamai of the Mountain region, one text was recorded.

In addition to expeditionary materials, during these years the archives of this institute continued to receive records of Chabyrgakhs from its correspondents.

Institute of Language and Culture from 1938 to 1941 Work on collecting folklore materials was widely launched. Over the years, about 150 chabyrgakh texts have been collected.

Thus, it can be argued that the collection of folklore materials on the genre we are studying was mainly carried out in the 30s and 40s.

In 1962, 1965, 1966, one chabyrgakh each came from the Tattinsky and Megino-Kangalassky districts. In 1972, the chabyrgakh riddle was recorded by P.N. Dmitriev in the Ordzhonikidze district. Six texts “Altan atyyrdaakh”, “Tyuyun-tyyun tereebut”, “Chuo-chuo cholbon”, “Kilietin kiliye”, “Myuchchu ketyuten” and “Kuogai-iegey” were recorded by P.N. Dmitriev from the 70-year-old performer Pavel Innokentyevich Zamorshchikov.

In 1972, a republican folklore festival was held in the city of Yakutsk. Many chabyrgakhs were performed. During the festival, previously unrecorded texts were identified and archived; Chabyrgakhov: 2 from performers of the Tattinsky district and 4 texts from A. Romanov from the Megino-Kangalassky district.

In 1973, the texts of the chabyrgakh folk singer, olonkhosut from the Ust-Aldan region R.P. were submitted to the archives of the YSC SB RAS. Alekseeva.

Thus, the first records of the Chabyrgakhs were made even before the October Revolution, but a targeted collection of materials was carried out in 1938-1941. Rich material was collected by folklore and dialectological expeditions of the YALI Institute. Most of the texts were collected by S.I. Bolo, A.A. Savvin, E.E. Lukin, P.P. Makarov, I.P. Pakhomov.

Having grouped the texts of the Chabyrgakhs, recorded in different uluses and stored in the archives of the YSC SB RAS, we received the following picture:

1. Vilyuisky - 47;

2. Suntarsky - 32;

3. Nyurbinsky - 19;

4. Megino-Kangalassky - 16;

5. Alekseevsky (now Tattinsky ulus) - 14;

6. Momsky and Abyisky - 12 each;

7. Amginsky, Ordzhonikidze (now Kangalassky ulus), Churapchinsky, Ust-Aldansky, Kobyaisky - 9 each;

8. Ust-Maysky - 4;

9. Namsky-2;

10. Tomponsky, Yansky, Verkhne-Vilyuisky - one text each.

So, the archive of the Yaroslavl Scientific Center SB RAS currently stores more than two hundred texts recorded from 90 performers from 17 uluses. About a hundred texts were recorded in the Vilyui group of uluses, 58 in the central group of uluses, and 39 from the northern groups. These data indicate that chabyrgakh is widespread and is a favorite genre of the Yakut people.

An interesting fact is that in comparison with the Vilyui group of uluses, a smaller number of Chabyrgakhs were recorded in the central uluses. As you know, it was in these uluses that most of the famous olonkhosuts, singers and experts on antiquity were born and lived. E D Androsov, the author of a popular science essay in two parts “Olonkhosuts and singers of Tatta,” writes: “all the famous olonkhosuts of the Tatga ulus were also skilled chabyrgakhsyts” [Androsov^993].

In our opinion, this issue can be explained by the following circumstances: firstly, the collection and study of oral folk art of the central district of Yakutia began and was more or less fully carried out even before the October Revolution. It was in this district that the famous Sibiryakov expedition worked (1894-1896), the participants of which were political exiles who were well acquainted with Yakut life and had a fairly good command of the Yakut language; secondly, the first researchers and enthusiastic collectors of Yakut folklore mostly came from the central uluses. Apparently, the Institute of Language and Culture considered that in the central uluses the collection of folklore materials was going more or less well. Therefore, we decided to focus on covering the remote areas of the republic. In this regard, the first professionally trained folklorists S.I. Bolo and A.A. Savvin was sent to the Vilyui and northern uluses.

The passport data of 39 chabyrgakh texts recorded in the northern uluses, at first glance, creates the impression that chabyrgakh in the north was mainly distributed in Mom and Abyye. However, according to informant G.P. Potapov follows that, although chabyrgakh was recorded in the Abyi ulus, it also existed in the Yanek ulus (now Verkhoyansk - V.N.): “Bu kisi Dyaana I Baida kisite. -40 s." - “This man is a native of I Baida Yanek (apparently the Yansky ulus - V.N.) There he learned from one elderly old woman, even when he was in his homeland” [Archive of the Yaroslavl Scientific Center SB RAS, f.5, op.Z, unit. file 481, l.8].

In 1999, during our folklore expedition in the village of Dulgalakh, Verkhoyansk ulus, indigenous resident Vera Vasilievna Vasilyeva (born in 1935, 7th grade education) said the following: “Iyem chabyrgakhtyyryn ister buolarym: “Khankys-kunkus, // Kurbuu-dyrbii, // Elemaet -telemaet,//Eppit-tyyimmyt,//Esiekei-dierenkey." Bert usunnuk eteechchi yes, umnaasbippin. Manik kyys tusunan bysyylaah ete. "Erien daba yrbaahylaah." enin dien. "Chorbuonus dobuolien" nuuchchalaasynnaah byutesiger" - "Rumors shala mother tongue twisters : "Nods and sways, // Around and around, // Pieces of shreds, // Said-exhaled, // Round dance-jumping." I performed for quite a long time, but I forgot. It seems it was about a playful girl "With a colorful dress ", etc. She ended in Russian (distorted in the Yakut way - V.N.) “Chervonets is pleased."

From a resident of the village. Dulgalakh, Verkhoyansk ulus Sleptsov Gavril Aleksandrovich-Sebieskei Ganya (born 1932, 7th grade education) in the same year the following information was recorded: “Basykaan Aanyskata (nickname of Vasilyeva A.G., natural mother of the above-named Vasilyeva V.V. - V.N.) seems to have performed tongue twisters. I remember at the boarding school I rarely performed tongue twisters as a joke. In those days, tongue twisters were even in textbooks.

This was probably in 1942. then in my childhood" (village of Dulgalakh. Locality "Ysyakh yspyt". 08/21-1999).

We were interested in the fact that in the three Kolyma uluses, where the folklore and dialectological expedition was carried out (1939-1941), not a single chabyrgakh text was recorded. This can be explained by the following reasons: firstly, the great distance from the cultural center of the republic, i.e. central uluses, did not allow scientists to visit the uluses when the genre existed; secondly, the small population of the districts did not allow the genre to actively exist and served as the reason for its extinction, and then disappearance from active use, thirdly, the head of the folk-dialectological expedition, S.I. Bolo, apparently paid the main attention to the collection of historical legends. It is known that there is the manuscript “The Past of the North of the Yakut Autonomous Soviet Socialist Republic” prepared for publication, where Sesenem Bolo, based on the historical legends of the northern Yakuts, attempted to study the history of the Yakuts’ development of the valleys of the Indigirka and Kolyma rivers [Vinokurov 1993, p.39].

In addition, we have established that during the expedition to the Vilyui group of districts in 1938-39, S.I. Bolo recorded only three texts of the Chabyrgakhs, and then only from one informant [F.5, op.Z, item archive 5, fol. 12]. Perhaps this did not satisfy the leadership of the Institute, so in the first settlement of the expedition route to the North, in the Momsky district, S. Bolo recorded 15 texts of the Chabyrgakhs. Then, probably, the desire to study the history of the region took over, and he switched only to recording historical legends and stories. For this reason, it seems to us, in the Kolyma group of uluses S.I. Bolo did not record a single text of the chabyrgakh.

So, in the history of research and collection of the genre, we have identified four stages: 1) 1870-1911; 2) 1912-1934; 3) 1935-1974; 4) 1989-2001.

The first stage gives us scanty, but the first necessary information about chabyrgakh, important for studying the genesis of it as a genre. Political exiles: Russian folklorist I.A. Khudyakov, Polish writer, ethnographer B.JI. Seroshevsky, compiler of the Yakut language dictionary, academician E.K. Pekarsky was considered a play on words, an example of wit, puns, and jokes. B.J1. Seroshevsky suggested that chabyrgakh originates from the ritual poetry of the Yakuts, incomprehensible to outside listeners.

At the second stage (1912-1934), attempts to define the genre and individual comments about the specifics and features of chabyrgakh were expressed by the first galaxy of Yakut intelligentsia - A.E. Kulakovsky,

S.A. Novgorodov, A.I. Sofronov and P.A. Oyunsky. At this time, chabyrgakh was preserved in its traditional forms and continued to exist, as in pre-revolutionary times.

An archive was organized at the institute, where more than 200 texts were deposited, which formed the basis of our research and were subjected to detailed analysis.

From 1975 to 1988, according to our data, no research work on the collection and analysis of chabyrgakhs was carried out. But at the same time, chabyrgakh as a satirical genre was in demand for castigating individual shortcomings of society and human vices, and became popular in amateur performances. This allowed the genre not only to survive, but also to receive further development. The evolution of chabyrgakh received a new impetus: the texts were transformed, and sometimes written anew, i.e. development received a second authorial life, one might say, a new ideological and social orientation.

In the introductory articles of the jj published collections, attempts were made to identify the features of the genre and analyze the mastery of the Chabyrgakhsyts. But these articles did not resolve controversial issues and did not provide anything new in the issue of defining and classifying the genre. In the articles by A.G. Frolova, then in ours the question was raised that “folds about what was seen and heard” by Deaf Peter cannot be classified as a genre of chabyrgakhs.

Separately, it is necessary to note the article by E.N. Romanova "Children's folklore of the Yakuts: text and metatext", where the author considers Yakut tongue twisters as "the first speech in the sacred tradition" and considers it the basis for the emergence of poetic speech [Romanova 1998]. Later, her hypothesis was supported in an article by L.I. Novgorodova and L.F. Rozhina “Chabyrgakh: text and metatext (to the problem of non-ritual forms of Yakut folklore)” [Novgorodova, Rozhina 2001].

In the book by N.V. Pokatilova "Yakutskaya" alliterative poetry" the construction of chabyrgakh^ is considered in detail as a manifestation of the early literary stage of development of the Yakut alliterative verse. It outlines the poetic features of chabyrgakh, as an archaic genre of Yakut oral poetic creativity [Pokatilova| 1999].

Source base of the research. The study was carried out on the following groups of sources:

Archival, handwritten materials from the collections of the Scientific Research Center SB RAS;

Works of Yakut writers and texts of modern Chabyrgakhsyts, published separately, as well as published on the pages of republican newspapers and magazines in the Yakut language;

Field materials of the dissertation candidate, collected in 1993-2003. in the Amginsky, Verkhoyansky, Kangalassky, Megino-Kangalassky, Olekminsky, Ust-Aldansky, Churapchinsky uluses of Yakutia and materials collected by students of the Yakut State University and the College of Culture and Art of the Republic of Sakha (Yakutia) during educational folklore practice under the guidance of the dissertation candidate.

The novelty of the work lies in the fact that it is the first to systematize and provide a generalized analysis of chabyrgakh as a traditional genre of Yakut folklore. For the first time, based on a wide range of folklore material through a comprehensive study, an interpretation of its genesis is given, the evolution of chabyrgakh is shown, and the paths of its modern development are revealed.

Theoretical and practical significance of the work. The research undertaken in the dissertation contributes to the study of the previously insufficiently studied genre of Yakut oral folk poetry, defines chabyrgakh as a special genre, determines the artistic and aesthetic possibilities of the genre, reveals structural and semantic features, poetics and specificity of Yakut tongue twisters. The results of the dissertation research can be used in the preparation of scientific and methodological manuals, for further study of Yakut versification by students-philologists, teachers and methodologists in Yakut literature and folklore, as well as propagandists of the folklore traditions of the Sakha people, participants in amateur art groups, authors-writers of chabyrgakhs on modern Topics. The dissertation materials can be used for comparative analysis of similar genres of oral folk art of other peoples.

Approbation of work. The main provisions of the dissertation are presented in speeches and theses at scientific conferences, including the Republican Scientific and Practical Conference “S.A. Zverev: Folklore and Modernity” (Yakutsk, 2000); Republican Scientific and Practical Conference " Christianity in art, folklore and education"(Yakutsk, 2000); III International Symposium " Baikal meetings: Cultures of the peoples of Siberia"(Ulan-Ude, 2001); Republican Scientific and Practical Conference “Spirituality - the Command of the Time” (Yakutsk, 2001); scientific-practical conference " Sofronov readings"(Yakutsk, 2001); Republican scientific-practical conference " Current problems of modern Yakut philology"(Yakutsk, 2002); I interregional scientific conference “Language. Myth. Ethnoculture" (Kemerovo, 2003); IV International Symposium “Ethnocultural Education: Improving the Training of Specialists in the Field of Traditional Cultures” (Ulan-Ude, 2003). The applicant also made a presentation at the Republican Scientific and Practical Seminar of Cultural Workers “ Chabyrgakh (tongue twisters): tradition and modernity"(village Balyktakh, Megino-Kangalassky ulus, Republic of Sakha (Yakutia), 2002).

The dissertation student conducts a special course “ Chabyrgakh as a genre of oral folk poetry» Philology students at Yakut State University, as well as students of the College of Culture and Art in Yakutsk.

The structure of the dissertation consists of an introduction, two chapters, a conclusion, a list of sources and references, and an appendix.

Conclusion of the dissertation on the topic "Folkloristics", Nogovitsyn, Vasily Andreevich

Conclusion

Analysis of the theoretical conclusions of early researchers and texts of chabyrgakh, stored in the archives of the YSC SB RAS, shows that this genre is an archaic genre of Yakut oral folk art, its genetic roots are associated with “ancient traditional rituals of the Yakuts” [Seroshevsky 1993, Romanova 1998, etc. etc.] and go back to the first origins of the artistic language of the Yakuts [Oyunsky 1962, Pokatilova 1999].

The first necessary information about chabyrgakh as a joke, pun or wit was noted in the works of political exiles in the second half of the 19th century [Khudyakov 1969, Seroshevsky 1993, Pekarsky 1959]. Attempts to define and individual comments about the chabyrgakh genre were expressed by the first galaxy of Yakut intelligentsia - A.E. Kulakovsky, SA. Novgorodov, A.I. Sofronov and P.A. Oyunsky. Also, the first recordings of the texts were made by A.E. Kulakovsky and S.A. Novgorodov. But chabyrgakh, as a genre of oral folk art of the Sakha (Yakut) people, has not yet been the topic of special research.

In the dictionary E.K. Pekarsky "chabyrgakh" is defined as a joke, tongue twister, verbosity. Yakut researchers in their first works, along with the term “chabyrgah”, used the term “tongue twister” (Kulakovsky, Novgorodov, Sofronov) or “ditty” (Oyunsky, Sivtsev). It is noteworthy that S.A. Novgorodov, A.E. Kulakovsky, A.I. Sofronov saw the difference between tongue twisters and chabyrgakh.

Based on the root of the word “chap” (sharp clap) and rgaa (repeat quickly) and x (the suffix forming a noun), it can be argued that the term “chabyrgakh” means short, apt, witty.

The main purpose of the traditional chabyrgakh was humor, ridicule, satire and allegory, i.e. secret speech of an everyday nature. And also just a play on words, an exercise for the development of children's speech. Chabyrgakhs were performed very quickly as recitatives or half sung. In chabyrgakh, a number of poetic techniques of Yakut oral folk art were used - alliteration, rhymes. The imagery of characters in chabyrgakh was achieved through the widespread use of epithets, hyperboles, repetitions, comparisons, parallelism, and onomatopoeic words. Chabyrgakh's verse was laconic and rhythmic.

Based on the functional significance of chabyrgakhs, the following classification is proposed in the work:

1) Children's chabyrgakhs, which in turn are divided into three subgroups: a) tongue twisters for the development of children's speech; b) f chabyrgakhs to instill imaginative thinking in children; 3) children's satirical chabyrgakhs;

2) Chabyrgakh-riddles;

3) Amusing or humorous chabyrgakhs;

4) Fable-satirical chabyrgakhs.

Children's chabyrgakhs mainly consisted of counting tongue twisters, but they also contained puns, which served in Yakut ethnopedagogy as a means of developing speech in children. The group of children's chabyrgakhs included traditional descriptive chabyrgakhs, which promote the development of imaginative vision of various objects of the surrounding world - animals, beasts, birds, etc. In terms of their functional significance, they are close to riddle chabyrgahs. Recently, more and more chabyrgakhs of a satirical nature are being written, intended for children, participants in amateur performances, in which the character flaws and behavior of children are ridiculed. Therefore, children's satirical chabyrgakhs can still be distinguished.

Chabyrgakh-riddles are a more complicated version of children's chabyrgakhs of the second subgroup. These chabyrgakhs provide not only a poetically intricate description of an object, but also a spatial characteristic environment and the life of the Sakha (Yakut) people in allegorical content. These chabyrgakhs were intended for adults and older children.

Funny or humorous chabyrgakhs are a traditional type of chabyrgakh. Their words are archaic, and therefore sometimes incomprehensible even to the performers themselves. Translating the texts of such chabyrgakhs into Russian is almost impossible, the main content of which is “absurd” of a certain everyday nature. They are full of light humor, sometimes caustic irony, or may have “obscene content,” or simply a play on words.

In fable-satirical chabyrgas, the bad qualities of people are criticized - immodesty, arrogance, frivolity, debauchery, etc. Slobs, lazy people and truants were condemned in chabyrgakhs. In Soviet times, shamans, rich people, church workers, and employees of the tsarist administration were ridiculed. In these chabyrgakhs the form of the traditional chabyrgakh is preserved but, apparently, they were written mainly in Soviet times “on the topic of the day.” At this time, a tendency was laid towards the development of chabyrgakh only as a genre of satire. Thus, these chabyrgakhs can be considered prototypes of modern author’s satirical chabyrgakhs, designed for performance by participants in amateur performances.

A controversial point in the genre definition of chabyrgakh in Yakut folklore is the question of folds about what was seen and heard by Deaf Peter - Yakov Vasilyevich Titov. In our opinion, it is impossible to classify these works as chabyrgakh genre. Firstly, in size they gravitate toward the epic “toyuk” genre. in them narrative form, in addition to a colorful description of nature, it tells about different famous people of that time, as well as about animals and birds living in Yakutia. Folds consist of an introductory and main part, and almost all options have a final part. Each option consists of 200 to 400 lines. The folds are characterized by parallelism of construction, consisting of alliterative poems. They create a peculiar rhythm of performance at a fast pace, characteristic of the narrative part of the Yakut epic work - olonkho. Thus, only by the nature of the performance, i.e. Based on one criterion that defines the genre, we cannot call “folds about what was seen and heard” - chabyrgakhs.

The narration in the folds is conducted on behalf of one person. The folds about what Deaf Peter saw and heard are the author’s works, the initial form of Yakut oral folk verse. There are no abstruse and allegorical words here, the main distinguishing feature of traditional chabyrgakhs. Thus, they can be called a new type of Yakut oral folk art, original poems of an epic nature.

Chabyrgakh as a traditional genre of Yakut folklore is based on a number of poetic techniques of Yakut oral folk art. Chabyrgakhs are distinguished by their brevity and, like folk versification, “gravitate” towards equal complexity of lines, which is due to the clear rhythm of their execution. In chabyrgakhs, the main role is played by horizontal alliteration. Vertical alliteration in chabyrgakh covers no more than two or three parallel lines.

Vowel harmony and internal rhyme of lines, i.e. “functional alliteration and rhyme” [Dyachkovskaya 1998, p. 25], in chabyrgakh perform the rhythm-forming function of its rapid execution. Also, the final rhyme in chabyrgakh, as in epic verse, “is a structural element of sound organization” [Decree. cit., p.29]. Thus, in the structure of chabyrgakh, both internal and final rhymes and cross rhymes play a significant role. They mainly rhyme nouns and definitions, and verbal rhymes are found only in descriptive chabyrgakhs.

The favorite means of poetics of this genre are various kinds of epithets. The short formulaic epithets “chuo-chuo cholbon” (bright Venus), “dardyr syarga” (thundering sleigh), etc. are most often used in chabyrgakh. Chabyrgakhs use hyperboles, comparisons, parallelisms and repetitions. They also skillfully use “pictorial” and onomatopoeic words to characterize objects figuratively. Thus, poetic techniques * of Yakut oral folk art are widely used in chabyrgakh. Euphemisms and allegories are also skillfully used. The peculiarity of traditional chabyrgakhs is their brevity and rhythm.

The founders of Yakut literature A.E. Kulakovsky, A.I. Sofronov treated chabyrgakh, as well as other oral and poetic genres of Yakut folklore, creatively. The content of their chabyrgakhs is more or less veiled. In form and content they are close to traditional chabyrgakh. But in their works, unlike traditional ones, there is a storyline. They reflect events not of everyday content, but of general civil, social significance. And therefore, we can say that the works of the first Yakut writers laid a new level of development of chabyrgakh, namely, as a genre of allegorical, descriptive nature, which then in the works Soviet writers was not further developed.

Although, in the works of Soviet writers P.A. Oyunsky, V.M.

Novikova-Kyunyuk Urastyrov there are poems close to chabyrgakh, but there is no allegory or secrecy in them. In such works, the negative phenomena of modern society are openly ridiculed. Essentially they are poems t of satirical content and in their structure are intended for quick execution.

Children's chabyrgakh-folds, in the form of separate works, are found in the works of K.N. Tuyarsky, P.N. Toburokov, but only as isolated cases. And therefore, Yakut writers are faced with the task of working on the chabyrgakh genre, namely, as a genre of abstruse, allegorical and satirical content.

After the October Revolution, a new stage of life began in the fate of the Yakut people. At this time, chabyrgakh as a satirical genre for castigating individual shortcomings of society became popular in amateur artistic performances. Author's chabyrgakhs of folk singers, olonkhosuts S.A. appeared. Zvereva, R.P. Alekseev, where in a sarcastic style (close to the characterization negative characters olonkho - V.N.) lazy people were ridiculed. The repertoire of amateur artistic groups included proclamatory texts by unknown authors that were satirical in nature. They exposed the shortcomings of the old world and Soviet society.

Currently, local newspapers and magazines publish individual texts by amateur authors. Separate collections are also published, which include chabyrgakhs intended for ensemble performance.

Chabyrgakh lost its traditional environment during Soviet times. It has become a popular genre of satire and humor for amateur artists. Performers and authors of chabyrgakhs, like S.S. Egorov, I.E. Efimov, M.I. Danilova, M.G. Gerasimova and others received high recognition during this period. They composed chabyrgakhs on modern themes, castigating relics of the past and negative facts in the life of the people.

Results of the 1990 and 2003 competitions. showed that chabyrgakh as a genre is currently loved and in demand by the people, and is part of mass culture. However, in the repertoire of amateur performances, traditional chabyrgakhs are inferior to chabyrgakhs of a satirical nature. As a result, a one-sided understanding of chabyrgakh only as a genre of satire can lead to the final loss of the main content of the traditional Yakut chabyrgakh - wordplay, riddles, humor and allegory.

It should be noted that our attention was drawn to an interesting remark by D.K. Sivtseva that chabyrgakh “is not a common genre in the folklore of other nations. But they are similar to Russian tongue twisters, except perhaps children’s rhymes.” Indeed, as we know, certain peoples of Siberia have a genre of tongue twisters, which are designated by the Tuvans as “türgen chugaa” or by the Altaians “medern sisters”, i.e. fast speech. Among the Buryats and Mongols, tongue twisters are called "Turgen Khelelge" or "Turgen Helle". "Turgen" - quickly; "helelge" or "helle" - speech, i.e. "quick speech" But the Buryats and Mongols have texts of tongue twisters, which are called “zhoroo uge-khuurnuud” and “zhoroo ug”, 4X0 literally means “zhoroo” - “ambling [horses]”, “uge” - “word”, khuur" - “narration.” Buryats and Mongols also distinguish between children’s rhymes “Ukhibuudei toolomzho” (children’s counting rhyme) [Baldaev 1960, pp. 361-362; Dashdorzh 1966, p. 118]. Therefore, in our opinion, the statement about “not widespread "a genre similar to chabyrgakh among other peoples is premature. In the folklore of the above-mentioned peoples, the genre of tongue twisters has not yet become the object of special research.

Thus, a comparative study of the genesis of the chabyrgakh genre is possible with the appearance of works devoted to the tongue twisters of peoples related to the Yakuts. 1

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61. Ergis G.U. Yakut tales. 2nd ed. Yakutsk: Nat. Book publishing house "Bichik", 1994. - 392 p.

62. Ergis G.U. Companion of the Yakut folklorist. Yakutsk, 1945. - 95 p. Ergis G.U. Memo to a collector of Soviet folklore. - Yakutsk, 1947.-56 p.

63. Erilik Eristiin. Buura Dokhsun: The heroic epic of Olonkho. - Yakutsk: national. book publishing house, 1993. -416 p.

64. Yadrikhinsky P.P. (Bedeeele). Dyrybyna Dyrylyatta Kyys hero: Yakut olonkho. Yakutsk: book. publishing house, 1981. - 200 p. Yakut folk songs. Part II. - Yakutsk,: book. publishing house, 1977. - 424 p.

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YAKUT FOLKLORE. The largest genre of Yakut folklore is the heroic epic - olonkho (a separate legend is also designated). Its main content is the heroic deeds of heroes for the benefit of the Aiyy Aimaga and Uraanghai Sakha tribes, therefore the legends are called by the name of the hero (“Er Sogotokh”, “Nyurgun Bootur”, “Kyys Debiliye”). Olonkho is genetically close to the legends of the Turkic-Mongolian peoples of Siberia. The epic is performed by folk storytellers - olonkhosuts. The characters' speeches are sung, the rest of the text is recited, usually without instrumental accompaniment. The main milestones of the ancient history of the Yakut ethnic group are interpreted in myths, legends and traditions. They contain visible elements of a person’s early understanding of the world around him, reflecting ethical standards of behavior and everyday rules.

Traditions are especially widespread. The bearers of Yakut folklore call traditions, legends and myths “kepseen (sehen)” - “stories (legends)”. Fairy tales are divided into 3 groups: about animals, magic and everyday ones. The first explain the way of life of birds and animals, their coloring and behavior. In fairy tales, weak people emerge victorious in conflicts with monsters (Magys or others). The plots and images of everyday fairy tales are based on the real experience of everyday life of the people; they reveal the moral and social ideals of people. The song (yrya) has several varieties: olonkho yryata - epic singing, khabarga yryata - a special way throat singing With closed mouth, dyeretii yrya - a drawn-out song, degeren yrya - a “frequent” song, sung in recitative without flourish, with a clear rhythm; chyychaakh yryata - “birds singing”. A special song genre is toyuk (lingering song). It occupies a central place in the musical folklore of the Yakuts, representing an original national feature of Yakut singing. Toyuk performs everyday, ceremonial, love songs, and speeches of the main characters of the olonkho. A unique type of Yakut folk poetry is chabyrgakh (tongue twister). The essence of the performance is to recite the entire piece rhythmically and expressively without taking a breath. The Yakuts have many proverbs and sayings, genetically common with the sayings of the Turkic-Mongolian peoples. The poetic works that accompany most traditional rituals are called “algys” by the Yakuts. In essence, with this word they designate various works of ritual poetry - well-wishes, blessings, prayers, incantations, spells and hymns. A special type is represented by osuokhai - a round dance that arose in the bosom of the ritual of the traditional Yakut holiday Ysyakh, where the main point was the worship of the aiyy deities.

Yakut folklore was studied by folklorists and ethnographers G.U. Ergis, A.A. Popov, G.V. Ksenofontov, I.V. Pukhov, G.M. Vasiliev, N.V. Emelyanov, P.E. Efremov S.P. Oyunskaya, V.V. Illarionov, N.A. Alekseev, Yu.N. Dyakonova, S.D. Mukhopleva, A.S. Larionova, musicologists N.N. Nikolaeva, Yu.I. Sheikin, V.A. Nogovitsyn and others.

Lit.: Ergis G.U. Essays on Yakut folklore. M., 1974; Kyys Dabiliye. Yakut heroic epic. Novosibirsk, 1993; Traditions, legends and myths of the Sakha (Yakuts). Novosibirsk, 1995; Mighty Er Sogotokh: Yakut heroic epic. Novosibirsk, T. 10; Encyclopedia of Yakutia. M., 2000. T. 1; Ritual poetry of the Sakha (Yakuts). Novosibirsk, 2003.

T.V. Illarionova

Irina Belaya
Yakut folklore as a means of educating preschool children

From the first years of life, a child must love his native land, ethnic culture with his heart and soul, and experience a sense of national pride, as they say. "take root in native land» . Preschool age, according to psychologists, is the best period for the formation of love for one’s small homeland.

Yakutskaya the land is rich in forests and rivers. You look at the beauty of the forests and you can’t get enough of it, you drink sweet spring water and you don’t get drunk, and the fields, like a generous tablecloth, are endowed with vegetables.

Among Villages and towns spread across forests and fields. Roads and paths ran from village to village, from city to city. They invite you to take the road and beckon you to walk and drive through the beautiful Yakut region.

In this world there are many ways to travel to near and far lands, and among known since time immemorial - a journey through fairy tales and various wonderful stories - a path that allows you to follow unknown roads behind a magic ball, which must be thrown to the ground and say: “Roll, roll, ball, unwind, silver thread, stretching along the ground in a clear path.”

The ball will roll through forests and fields, through mountains, through villages and cities, and will lead you straight to wherever you want. A better guide on earth for a fairy-tale hero than a magic ball and its silver thread, perhaps, cannot be found. So, we throw a magic ball in front of us and hit the road...

The feeling of the Motherland begins in a child with the relationship in the family, the closest people - mother, father, grandmother, grandfather. These are the roots that connect him with his home and immediate environment.

The feeling of the Motherland begins with admiration for what evokes a response in his soul. And, although many impressions are not yet deeply realized by him, but, passed through childhood perception, they play a huge role in the development of the personality of the future patriot.

U Yakut people nature is an important factor education. In childhood, children learn about the plant and animal counterpart of man, about Ducks as the creators of the world and the receptacle of the human soul, about Deer as a patron god, about the fact that trees give their energy to good people and take it away from bad people.

Raising love and respect for animals, birds, trees, rivers, we use myths, legends, traditions, fairy tales.

Our region has a unique culture. Wonderful legends and fairy tales Yakut people always carry a charge of special warmth, kindness, and morality. Each Yakut The fairy tale is a wonderful lesson in generosity, decency, and kindness for the little citizen.

Yakut fairy tales attract children's audiences with their optimism and knowledge. This is one of the reasons that people do not forget their fairy tales, do not part with them, they have a moral impact on the development of children.

Yakut legends and traditions played a big role in the emergence of literature and various types of art and have not yet lost their significance. They are the source education Children have feelings of love for their native land. Works Yakut folk poetry is played important role in the spiritual life of the people, the formation public consciousness, philosophical, aesthetic ideas about nature and social life, in raising not only children, but also their parents.

As long as the people are alive, they will develop and folklore, and all types of arts. Folklore, covering in its numerous genres all aspects of our multifaceted life, is one of the forms of social consciousness, an oral form folk history, the memory of the life of past ancestors, a unique folk philosophy.

True folklore always aimed at promoting goodness, beauty, focused on the formation of such a person who would direct all his energy and will to the defense of his homeland, peaceful life and international friendship between peoples, the victory of good over evil, and the achievement of social harmony.

Past experience contained in folklore, serves as an excellent and inexhaustible source in preparing the person of the future.

Yakut folklore- an integral part of creativity Yakut people. For many centuries this is the main means of education.

Children's folklore in all its genre richness (lullabies, songs, nurseries, jokes, chants, sayings, rhymes, teasers) is used in working with children preschool age at training Yakut language.

Children's folklore works with their cheerful, playful poems, verbal play, and vivid imagery contribute to the in-depth mastery of the riches of the native language and the development of speech. Lullabies occupy a special place.

More common type Yakut lullabies- songs with improvised text:

The little child is sleeping

Father went to town

He will sell a squirrel or a hare,

He'll bring bagels and gingerbread

The little baby will eat-

It will become big.

In lullabies, the first seeds of poetry for babies are born - their melodies. Elements of imitation of the sounds of nature instill in children speech skills and develop an ear for music.

Yakut lullabies are excellent examples of oral folk art. Through them, the child’s primary vocabulary is formed, without which knowledge of the world around him is impossible, and his thinking develops.

Therefore, when teaching children preschool age Yakut vernacular language is used folklore, which begins with an exploration of lullaby poetry.