Read funny folklore, tongue twisters, counting rhymes, and fables. Types of folk literature: fables, riddles, proverbs, sayings, counting rhymes, tongue twisters. About skill and hard work

Annotation

"At Ivan's yard

The water caught fire.

The whole village put out the fire,

But the fire was not extinguished..."

Tales. Nursery rhymes. Proverbs and sayings. Tongue Twisters. Counting books

Tales

Cat and chicken

Proverbs and sayings

About skill and hard work

About laziness and carelessness

About nature

Tongue Twisters

Counting books

Tales. Nursery rhymes. Proverbs and sayings. Tongue Twisters. Counting books

Tales

At Ivanov's yard

The water caught fire.

The whole village put out the fire,

But the fire was not extinguished.

Grandfather Thomas came

Graying beard.

He drove the people into the barn,

One fire was put out.

How Thomas put out the fire,

He didn't say anything about it.

Only audible from the side:

He put out his beard!

Nursery rhymes

Cat and chicken

Cat on the window

Sews a shirt

Chicken in boots

Sweeps the hut.

Mice

The mice dance in circles

The cat is dozing on the bed.

Hush, mice, don't make noise,

Don't wake up Vaska the cat.

Vaska the cat will wake up,

It will break up the whole round dance.

Cockerel

Cockerel, cockerel,

golden comb,

Butterhead,

Silk beard!

Don't you let Vanya sleep?

Proverbs and sayings

About the Motherland

Do not spare your strength or your life for your Motherland.

The Motherland is your mother, know how to stand up for her.

Where there is courage, there is victory.

About friendship

If you don’t have a friend, look for him, but if you find him, take care of him.

All for one, one for all.

About skill and hard work

Business before pleasure.

Learning is the path to skill.

Patience and a little effort.

Measure seven times and cut once.

You can’t even pull a fish out of a pond without difficulty.

The sun paints the earth, and labor paints man.

About laziness and carelessness

If you hurry, you will make people laugh.

No water flows under a lying stone.

Don't be quick with your words, be quick with your actions.

If you do it hastily, you'll do it out of laughter.

About nature

Summer is provision, winter is tidy.

December ends the year and begins winter.

A lot of snow - a lot of bread,

a lot of water - a lot of grass.

The frost is not great, but it is not good to stand.

Spring is red with flowers, and autumn is red with sheaves.

Tongue Twisters

Grass in the yard, firewood on the grass.

Don't cut wood on the grass in your yard.

* * *

From the clatter of hooves, dust flies across the field.

* * *

The crow missed the crow.

Counting books

Ay, choo-choo, choo-choo, choo-choo,

I'm milking peas

I'm milking peas

On Ivanov Current.

The chicken is running towards me

The caulker is in a hurry.

Oh, she's running, she's in a hurry,

Does not say anything.

And a feather from a chicken

Flew far away

Oh, far, far away

Village on Ivanovo.

* * *

Zealous horse

Long-maned

Jumps across the field

The cornfield is jumping.

He'll catch him

Tag with us

* * *

The counting begins:

A jackdaw sat on a birch tree,

Two crows, a sparrow,

Three magpies, a nightingale.

* * *

Oh, you little dawn,

Evening dawn.

And who will find the dawn,

He'll go there too.

* * *

Bucket sun,

Look out the window!

Sunny, dress up!

Red, show yourself!

Goals.

Educational:

– generalization of students’ knowledge about small genres of children’s folklore - proverbs, sayings, nursery rhymes, fables, riddles, counting rhymes, tongue twisters; enrichment of students' vocabulary.

Educational:

– development of communicative competence (the ability to formulate one’s thoughts in oral speech, prepare a public speech, answer questions, formulate one’s thoughts in the form of standard written communication products of a simple structure);

– development of information competence (the ability to accurately present the information received, generalize, group facts by attribute, present the result of one’s activities in an accessible, understandable manner, draw conclusions based on generalization of knowledge);

– developing the competence to solve a problem (express your point of view and try to justify it, listen to others);

– development of memory, artistic abilities,

Educational:

– fostering respect for the origins of the culture of one’s people, interest in children’s folklore, and the history of the Russian people.

Equipment: media projector, presentation, cards for a diagram with the names of genres of children's folklore, sound recording of the Russian folk song “Two Cheerful Geese”; dolls, costumes for dramatization.

1.Org.moment.

We all managed to get together,
Get to work together.
Let's think and reason
Can we start the lesson?

– In what mood did you come to class today?

– Can you guess what we will talk about today? (Children's answers.)

– What goals do you think we will set for ourselves?

U - What is it? "folklore"?(Oral folk art, translated from English means “folk wisdom”, “folk knowledge”)

– How do you understand these three key words:

ORAL FOLK CREATIVITY

Oral - passed from mouth to mouth, not written down.

Creativity comes from the word “to create,” that is, to compose, invent.

– What genres of folklore do you know? (Children list.)

(Signs with the names of genres are posted.)

SLIDE

Our conversation today will only focus on small genres of children's folklore, and we will conduct it in the form of an oral journal. (Cards are hung up, students write down the names of genres in their notebooks)

SLIDE

*lullabies,
*pestushki, nursery rhymes, fables;
*puzzles,
*proverbs,
*counting cards,
*Tongue Twisters,
*ditties.

(Gradually, a homemade book on the genre is hung under the card with the name of the genre.)

– We hear our first folklore works from our grandmother and mother at a very early age. Lullabies are passed down from generation to generation.

How many of you want to sing a lullaby?

(A lullaby is performed while rocking the doll.)

Hush, Little Baby, Do not Say a Word,
Don't lie on the edge.
The little gray top will come
And drag you into the woods
Under a broom bush.
Don't come to us, little top.
Don't wake up our Masha.

Bye - bye - bye,
Let's buy felt boots for my son,
Let's put it on the legs,
Let's go down the path,
Our son will walk
New felt boots to wear.

Bye - bye, bye - bye,
Get to sleep quickly!
The little ones have arrived,
We sat down near the cradle,
They started cooing
Rock our baby.

– Why is the lullaby performed tenderly and melodiously? (The word “lullaby” comes from the words “to oscillate”, “to sway”, “to swing”.)

Page 2 “PESTUSHKI”, “Rhyme Nurseries” (or “Jokes”)

– What word does the word “pestushki” come from?

(Nurturing - nursing, carrying, carrying a child in her arms, raising, nurturing, nurturing, looking after the baby. Very short. If the child gets hurt, then the mother, stroking it, what words can she say?

The magpie is in pain,
The crow is in pain
Live with Fedenka!

– When they bathe a baby, what words can they say?

Water off a duck's back,
Petya is thin.

– How do pestushki differ from nursery rhymes?

(Rhymes (jokes) are a special kind of fun for adults with small children, playing with fingers, legs, arms, short stories, appealing to children, praising distinctive features of character and beauty.)

Give examples.

Physical exercise.

The horned goat is coming,
There's a butted goat coming,
Legs top top,
Eyes clap-clap.
Who doesn't eat porridge?
Doesn't drink milk -
Gored, gored, gored.

Nursery rhymes of my own composition.

Our Polenka is in the house,
Like pancakes in honey,
Like pancakes in honey.
Sweet berry in the garden.

Hey you eyes, hey you ears.
We'll put you on pillows.
Lie down, lie down,
Rest and sleep.

The bunny is jumping along the path,
Skok, skok.
Right leg, left leg,
Skok, skok.
Jump, jump, legs together,
Skok, skok.
And let's clap our hands,
Skok, skok.

– A tall tale cheerfully teaches you to distinguish between reality and fantasy, and develops your imagination. Draws unusual, unprecedented pictures of life.

Fedul, why are you pouting your lips?
The caftan was burned.
You can sew it up.
Yes, there is no needle.
How big is the hole?
One gate remains.

Foma, why aren’t you coming out of the forest?
Yes, I caught a bear!
So bring it here!
He's not coming!
So go yourself!
He won't let me in!

What are your girls doing?
They sew and sing.
What about mothers?
They spank and cry.

Foma, is it warm in your hut?
Warm. You can warm up on the stove in a fur coat!

Page 3 “RIDDLE”

– In Russian folklore, riddles are a fun verbal art, an intricate game, and clever fun. (Mysteries of my own composition)

Who was hiding under the bush?
Little coward
He is very afraid
Wolf and fox. (Hare.)

Who's sitting in the kennel?
And then she's in the yard on the grass
Jumps and gallops
Barks and plays. (Dog.)

He loves to play, meow,
Loves to eat and lap.
He's fluffy like a toy
Gray little animal. (Kitty.)

Who bites
Barks loudly
Does she not let you near the house? (Dog.)

– Who has the answer to all situations in life, when you have sorrow, when you have joy? You are young, old, sick, healthy, thinking about your affairs - for any experience, for any news, he will give reasonable advice, guidance, comfort, cheer... (children answer in unison)- PROVERB.

– I’ll now read you a poem, and your task is to find proverbs in it.

Well, who among you will not agree,
That without labor the dream is dead;
That the master's work is afraid,
That life is given to us for good;
That a friend is not the one who smears honey,
And then the one who will tell the truth directly.
What a long day until the evening,
If there is nothing to do,
That he will only destroy himself,
Who doesn't love others at all.
And, of course, without difficulty
You can't even pull a fish out of a pond.
Remember! Someone who wants to know a lot
He shouldn't sleep for long.
Agree: laziness and a cheat
It won't come to any good.

– What proverbs did you hear? (Children's answers.)

– I propose to write down 2 proverbs.

The Russian language is rich in vivid, figurative expressions - these are proverbs and sayings. Catchwords and, of course, phraseological units (stable combinations of words)

Contest: Phraseological riddles. The rule in the game is this: I read the first statement, if you guess, we move on to the next riddle, if not, I read the second statement. You have three to four attempts. So, let's begin. (Annex 1)

Homework: find as many stable phrases as possible with the words: nose, tooth, tongue, legs.

– What kind of genre is this?

(Counting tables are short rhyming poems used by children to choose a leader or distribute roles in a game.)

One two three four five
We start playing:
In cat and mouse, tag,
Hide and seek, catch up.
We will read books
We will know a lot.

GAME “Wider circle”

Children stand in a circle holding hands. The driver stands in the center, eyes closed, right hand extended forward, fingers clenched into a fist, except for the index. Children walk in a circle saying:

Wider, wider, wider circle.

U... (child's name) hundred girlfriends.

This, this, this, this,

And this one is my favorite.

At the end of the words, the round dance stops. The child pointed to by the driver comes out into the circle and stands with his back to the driver. Everyone counts to three in unison. On the count of “three,” the driver and the chosen one turn their heads. If they turn in one direction, they kiss on the cheek. If in different directions, they bow to each other. In any case, after performing the action, the leader stands in a round dance, and the chosen one performs his role. The game is repeated again, and the child's name changes in the song.

– For what purpose did they compose and are composing tongue twisters?

- Let's play tongue twisters. For this game we will need a counting rhyme to choose who from the group will participate.

(Tongue twisters performed by children.)

– Chatushka is one of the most popular and favorite genres of folk art. The ditty can be heard everywhere.

(Performance of ditties.)

Hey little girls laughing
Let's start singing ditties,
Let's start having more fun
To please the guests.

I didn't want to dance.
I stood and was shy,
And the harmonica started playing
I couldn't resist.

And in our yard
The frogs croaked
And I'm barefoot from the stove,
I thought they were girlfriends.

I walked through the village
And I saw Vanyushka -
He sat under a bush and cried:
The chicken offended me.

I danced with three legs
Lost my boots
I looked back;
My boots are lying there.

If there was no water,
There wouldn't even be a mug
If there were no girls,
Who would sing ditties?

Lesson summary. Reflection.

– Our oral journal is coming to an end.

– Have you achieved all your goals?

Finish the sentence...

- I appreciate...

- I need to pay attention...

- I want to thank...

- It was interesting to me…

– What were the main difficulties you encountered and how did you cope with them?

SLIDE

Thanks for the lesson!

Showing homemade books to students.

The child grows up, and jokes and fables appear in his life. Fables have existed among people for a long time, but folk art preserves the best, gradually weeding out everything unnecessary. The difference between fables and nursery rhymes and nursery rhymes is that they are not associated with any movements, but they contain some kind of fairy-tale or fantastic plot. These are pictures from the life of animals or short fairy tales that expand a child’s knowledge of the world around him. Fable songs and shapeshifters, which help the child understand the real and the fantastic, strengthen the child in the correct perception and sense of the world. Young children (up to 3 years old) perceive paradoxes as reality. Fables are intended for children who already have sufficient life experience to feel the paradoxical nature of the situation being described. Reading such poems contributes to the development of freedom of thinking, imagination and, importantly, a sense of humor. It is important that the child hears surprise in the adult’s voice and understands that something incredible is happening... By putting a new meaning into the familiar, turning everything upside down, the child learns to better operate with concepts, develops freedom of thinking, imagination and, most importantly, learns to understand humor.
For an adult this is nonsense, but for a child - funny stories about something that doesn't happen. When a child discovers the laws of the world around him, new concepts, he begins to play with these concepts, because through play he learns about the world.

Tu-tu-tu-tu,
I'll play the trumpet
The pipe is fake,
Copper rings.
Through the cat's house
Smoke billows out.
A chicken is running with a bucket,
Floods the cat's house.

Tu-tu-tu-tu-tu-tu,
A raven sits on an oak tree.
He plays the trumpet
And the pipe is spruce.
She is juniper.
And tu-tu-tu-tu-tu-tu,
The man lost his pipe.
I rummaged and rummaged - I couldn’t find it,
He cried and left.

om-bom-bom,
The cat's house caught fire.
A chicken is running with a bucket,
Floods the cat's house.
The cat jumped out
Her eyes bulged
She ran to the river -
I drank some water.
She ran to the tavern -
I've taken a lot of tobacco.

ugly males
They stole our goat
Milked on the stove,
The goats were given water.

there was an important turnip,
Each old woman marveled:
One day
You can't go around it.
The whole village ate
The whole week.
One crust was applied,
So the cart was broken!

Anya-Vanya, simplicity
I bought a horse without a tail.
I went to get married
Tied the trough.
The trough breaks,
The wife smiles.

oron in red boots,
In gilded earrings,
Black raven on an oak tree,
He plays the trumpet
Turned pipe,
Gold plated,
Okay pipe
The song is complex.

All the dogs are small
They put on Vaaalenki,
And the big dogs
They put on sa-po-gi!

listen guys
My fairy tale is not rich
From the humpbacked horse
And the dancing bear:
Just like a motley pig
She made a nest on an oak tree.
She made a nest and brought out the children.
Sixty piglets
They sit on the knots.
The piglets are squealing
They want to fly.
Let's fly, fly.
It's like a bear flying through the sky.
The bear is flying
Head turns.
And he’s carrying a cow,
Black-and-white, white-tailed.
And the cow is mooing
Yes, he's twirling his tail!
Know the bear shouts:
- Let's go right
Let's go left
And now let's get straight to it!

rum rolled through the mountains -
A mosquito fell from the oak tree,
Crashed on a rhizome
Old mosquito-mosquito.
Instantly the flies flocked -
Two rumble-burners,
They raised the poor brother,
They began to buzz and kill themselves:
- Old mosquito-mosquito,
It hurts so much, my friend!
Our poor little light,
How sorry we are for you, mosquito!

and brother Kondrat were building a bathhouse.
The waders were darkening,
The cranes were doing
The woodpecker was cutting through the pipes,
The cockroach was carrying firewood,
The flea lye lye,
The nit wet the brooms,
The louse was steaming,
I'm tired of it
Run around your butt -
Everything is like the old bug,
Remember the slave-
Seru louse in the coffin.

Evushka Pelageyushka.
What did you do?
- Herded foals.
- What did you take out?
- Foal.
-And where he?
- Nikolka took him away.
-Where is Nikolka?
-Gone behind the cells.
-Where are the cells?
- It was washed away by the water.
-Where is the water?
- The bulls drank.
-Where are the bulls?
-They went through the grass.
-Where is the grass?
- The priests were mowed down.
-Where are the priests?
- They went home.

Food neighbor,
Where did you go?
- In the forest.
- What did you see?
- Birdie.
- What is she sitting on?
- On the Christmas tree.
-What is she singing about?
- Everyone is dude, dude,
Let's come and drink some tea with me,
Otherwise I’ll fly away to the talnik.

there is such a stick
Stick wand.
You'll knock with a catcher -
A blue siskin flies out.
At the siskin's, at the siskin's
Little red tuft,
And on a small paw
Scarlet little boot.
Chizhik knows a song
About the mice, about the ladder:
“Like a crowd of stairs
There were mice in the pantry.
The ladder fell down
The mice rolled..."

Hala village
Past the man
Suddenly from under the dog
The gates are barking.
He grabbed the club
The ax chopped
And for our cat
Ran through the fence.
The rooftops got scared
We sat on the raven,
The horse is racing
A man with a whip.

Hala village past a man,
Suddenly from under the dog
The gates barked
"True," said the horse
And the man laughed
The horse went into the hut,
And the man stood
The horse was eating buns
And the man is oats,
The horse got into the sleigh,
And the man was lucky.

Ayats white,
Where did you run?
- To the oak forest.
- What were you doing there?
- He tore the bark.
- Where did you put it?
- I cleaned it under the deck.

because of the forest, because of the mountains
Grandfather Yegor is coming.
He's on a cart,
On a creaking horse,
Belted with an axe,
The belt is tucked into the waistband,
Boots wide open
Zipun on bare feet.

because of the forest, because of the mountains
Grandfather Yegor is coming.
Himself on a filly,
Wife on a cow
Children on calves
Grandchildren on baby goats.
We came down from the mountains,
They lit a fire
They eat porridge
Listen to a fairy tale.

liushechka-grebushechka,
Where were you? - Grasping horses.
What did you graze? - Foal.
Where's the foal? - In a cage.
Where's the cell? - It was washed away by the water.
Where is the water? - The bulls drank.
Where are the bulls? - They went to the talnik.
Where's the waistcoat? - The girls were knocked out.
Where are the girls? - Got married.
Where are the husbands? - They went to war.
Where is the war? - In the middle of the threshing floor.

the donkey walked on the water,
I found a bag of malt
Steamed the kulishka.
Kulishka, Kulishka,
Sweet, honey
Haven't been in the oven
I stood under the crack,
The mouse got caught
Don't touch it - don't touch it
Shepherdesses for lunch.

Oshka walks along the edge,
She's pulling her hair
Weaves bast shoes for the cat,
And the cat has no time -
We need to brew beer
We need to brew beer
Yes, my son needs to be married.
Son Maxim, balalaika player,
I bought a balalaika
Yes, I fell in love with all the girls:
You're slouchy
You're hunchbacked
Come out, marry me
Yes for the rich guy.
I have something about you
There's a whole river of milk,
Kisel's barns are intact.

Isa ran through the forest,
The fox lost its tail.
Vanya went into the forest
Found a fox tail.
Lisa came early
Vanya brought berries,
She asked me to give her tail.

scarlet tatars
They took a stick,
They hit the board
Let's go to Moscow.
They're building a bridge there,
Piglets are baptized.
They look up
They want to fly away.
We arrived early
They brought a ram
With cool horns.
He stamped his feet.

Amont and Papont were walking on the river,
The babant and the dedant were lying on the stove.
And the grandson was sitting on the porch
And he rolled his trunk into rings.

between heaven and earth
The little pig was rummaging
And accidentally tail
Clings to the sky.

At Ivanov's yard
The water caught fire.
The whole village put out the fire,
But the fire was not extinguished.
Grandfather Thomas came
Graying beard.
He drove the people into the barn,
One fire was put out.
How Thomas put out the fire,
He didn't say anything about it.
Only audible from the side:
He put out his beard!

Nursery rhymes

Cat and chicken

Cat on the window
Sews a shirt
Chicken in boots
Sweeps the hut.

Mice

The mice dance in circles
The cat is dozing on the bed.
Hush, mice, don't make noise,
Don't wake up Vaska the cat.
Vaska the cat will wake up,
It will break up the whole round dance.

Cockerel

Cockerel, cockerel,
golden comb,
Butterhead,
Silk beard!
Why do you get up early?
Do you sing loudly?
Don't you let Vanya sleep?

Proverbs and sayings

About the Motherland

Do not spare your strength or your life for your Motherland.

The Motherland is your mother, know how to stand up for her.

Where there is courage, there is victory.

About friendship

If you don’t have a friend, look for him, but if you find him, take care of him.

All for one, one for all.

About skill and hard work

Business before pleasure.

Learning is the path to skill.

Patience and a little effort.

Measure seven times and cut once.

You can’t even pull a fish out of a pond without difficulty.

The sun paints the earth, and labor paints man.

The concept of “children’s folklore” and its volume. Collecting and studying children's folklore. Classification of children's folklore Lullabies, their themes, images, style. Pestushki and nursery rhymes. Jokes. "Boring Tales." Changelings. Calls and sentences, their connection with calendar poetry. Teasing. Horror stories. Word games. Silent and vocal. Chops. Tongue Twisters. Game folklore. Draws. Counting books. The meaning of children's folklore.

The life of children is closely connected with the life of adults, but the child has his own vision of the world, determined by age-related mental characteristics. Children's folklore contains the key to understanding developmental psychology, children's artistic tastes, and children's creative potential. The term “children's folklore” entered scientific use in Soviet times.

Most scientists consider children's folklore not only what exists in children's environment, but also the poetry of nurturing, that is, the poetry of adults intended for children, which significantly changes the specificity and scope of the concept of “children's folklore.” What exists in children's environments is not always children's creativity itself. The role of borrowings from adult folklore, literature and other forms of art is great. Despite the apparent difference between children's folklore and the folklore of adults, there is no clear boundary between them, and many works can equally be classified as both. Thus, children's folklore represents a specific area of ​​folk art. It unites the world of children and the world of adults, and contains a whole system of poetic and musical-poetic genres of folklore.

Many children's songs and games reproduce times and events long lost in the memory of the people. Children's folklore helps historians and ethnographers better understand the life, way of life, and culture of our ancestors. Many children's amusements are “comic imitation of the serious business of adults,” a means of preparing children for life. They reflect production and economic activity, national psychological traits and social life people.

History of collecting and studying children's folklore. IN early XIX century A. Glagolev, who wrote about the beauty of rituals, draws on a children's song associated with the ritual of sun worship and the cult of trees. I.P. Already in 1837, Sakharov published nursery rhymes, a lullaby, and described several children's games in “Tales of the Russian People.”

In 1837, in “Notes and Notes on Siberia” E.A. Avdeeva gave lively sketches of children's life, texts of game sentences and ritual races. In 1844, a small collection of children's folk tales was published, which special group were identified for the first time. A. Tereshchenko in his book “The Life of the Russian People” (St. Petersburg, 1848) introduced a significant layer of children's creativity into science.

In the 60s, pedagogical magazines were published (“Education”, “Russian Pedagogical Bulletin”, “Yasnaya Polyana”, “Pedagogical Collection”, “Teacher”, “Journal of the Ministry of Public Education”). Works of children's creativity are published in many popular magazines, in collections and studies by G.N. Potanina, M.F. Krivoshapkina, A.N. Afanasyeva and others.

IN AND. Dahl, in his collection “Proverbs of the Russian People,” devoted significant space to tongue twisters, riddles, game sentences, crosses, and counting rhymes. I tried to introduce into scientific circulation terminology taken from the mouths of the people (“horsing”, “lot”, “tongue twisters”, “jokes”, etc.).

A major step in the development of “folkloristics of childhood” was the collection by P.A. Bessonov "Children's Songs" (1868). This is the first collection of children's poetry. It presents almost all genres of children's folklore, from lullabies and pesters to big songs and games from the repertoire of teenagers

P.V. Shane, in the collection “Russian Folk Songs,” singled out children's songs in a special section. It included 122 works. The appendix provided song options and descriptions of children's games. At the end of the century, in Velikorus, Shane already published two hundred and eighty-five texts in the children's songs section. P.V. Shane singles out the songs “lullabies and funny ones”, “song jokes and sentences”, “draw song jokes before the start of the game (konanye)”, “children’s games (with song sentences)”. Children's folklore has already emerged as an autonomous area of ​​folk poetry.

In the 70-80s, children's folklore received a lot of attention. In terms of scientific level, the works of V.F. stand out. Kudryavtsev, K. Ryabinsky and P.S. Efimenko, A.F. Mozharovsky. The most significant contribution to science of this period were the works of E.A. Pokrovsky, dedicated to children's games: “Physical education of children among different peoples of Russia” (1884); “Children's games are predominantly Russian” (1887); “Children's outdoor games” (1892). E.A. Pokrovsky considered children's games as an indispensable school of physical, mental and moral education.

V.A. Popov believed that the counting rhymes preserved traces of the mythological thinking of our ancestors, their beliefs and superstitions. N.I. Kostomarov saw in folklore images a reflection of the national way of life, a system of folk thinking. I.P. Khrushchev saw in children's songs a reflection of ancient pagan rituals and modern peasant life. A.F. Mozharovsky considered children's folk art in connection with children's life, with the entire way of peasant life. E.V. Barsov advised to more fully reflect the influence of God and the church on the upbringing of a child. In terms of theoretical level, among all the works, A. Vetukhov’s study “Folk Lullabies” (M., 1892) stands out. The scientist identified the main motives of lullabies, their images, established their direct dependence on everyday life, living conditions, and national mental makeup. Only children's games and lullabies could be considered more or less studied.

During the Soviet period, dozens of folklorists, ethnographers, teachers, and writers systematically collected and studied children's creativity. We especially note the works of K.I. Chukovsky, O.I. Kapitsa, G.S. Vinogradova, M.N. Melnikova.

K.I. Chukovsky collected a wealth of material for the study of children's word creation and poetic creativity of children. His research and observations, publications, later compiled in the book “From Two to Five,” contain material of great scientific value. He developed a theory of the genre of reversals, showed when, how and under what conditions children master folk poetic riches.

O.I. Kapitsa did a great job in organizing the collection and publication of works of children's folklore and its popularization. Personally and with the help of students, she collected more than eight thousand texts, organized a commission on children's folklore, published a number of popular collections, articles, bibliographic reviews of literature on Russian and foreign children's folklore, and a collection of articles “Children's Life and Folklore” (1930). Her long-term search was completed by the book “Children's Folklore” (1928), which for more than fifty years was the only generalizing work on children's folklore in Russian folklore.

The largest researcher of children's folklore was G.S. Vinogradov. Since 1922, his works “Towards the study of children's folk games among the Buryats”, “Children's folk calendar”, “Children's satirical lyrics”, “Children's folklore and life”, “Folk pedagogy”, “Children's folklore in the school course” have been published. Literature", "Russian Children's Folklore: Game Preludes", "Sechki".

At the end of the 50s, V. P. Anikin’s work “Russian folk proverbs, sayings, riddles and children’s folklore” was published. Written on high theoretical level, it predetermined three productive directions in the study of children's folklore: historical-genetic, philological and functional-pedagogical.

In the 60s - 70s. publications, articles, dissertations, monographs, collections, chapters appear in textbooks on oral folk art and children's literature. The works of the talented Siberian folklorist M.N Melnikov appear. One of his best works was his book “Russian Children's Folklore of Siberia” (Novosibirsk, 1970). In 1987, his book “Russian Children's Folklore” was published, which was a general theoretical work on children's folklore. In addition to theoretical articles, it contains a wealth of textual material.

Classification of children's folklore. There is no generally accepted classification of children's folklore genres yet. Almost every researcher puts forward his own classification scheme. O.I. Kapitsa proposes a division of children's folklore according to the age gradation of children. She also included mother's poetry as children's folklore. Fairy tales created by children, in her opinion, generally cannot be the subject of research in folklore and ethnography.

G.S. Vinogradov identified five main sections of children's folk poetry: play folklore, amusing folklore, satirical lyrics, everyday folklore and calendar folklore. This classification is based on domestic use.

V.A. Vasilenko distinguishes the following sections: 1) lullabies; 2) works related to gaming activities; 3) works that engage children with verbal content and are performed independently of play activities.

Classification proposed by M.N. Melnikov, relies on the discoveries of G.S. Vinogradov, but takes into account the principle of age gradation of children and some other provisions of the work of O. I. Kapitsa. He offers the following classification of children's folklore.

The poetry of nurturing. It includes genres of poetry specific to each period of a child’s life. This includes lullabies, nurseries, nursery rhymes, jokes, and boring fairy tales.

Household folklore. This includes children's folk songs, chants and sayings, children's ritual poetry, nicknames and teases, children's fairy tales, and horror stories.

Amusing folklore includes word games, silences and voices, jokes, cuts, tongue twisters, upside-down tales, and riddles.

Game folklore is divided into: a) formal role-playing games without a poetically organized text, b) formal role-playing games with game refrains, c) formal role-playing games with game sentences, d) improvisation games, e) lotteries and counting rhymes.

NURSHIP POETRY has genres of poetry that are special for each period of a child’s life. The works of maternal poetry contain a variety of parenting techniques. They not only teach, improve the mind, and educate morally, but also provide incomparable aesthetic pleasure to children. The poetry of nurturing is very diverse in its poetics, in the nature of its execution, and in its everyday purpose.

Lullabies, which are used to lull a child to sleep, get their name from the word kolybat (to sway, sway, swing, sway). In some areas they were called “baikas” - from the verb “baikat” (to lull, rock, lull). The genre features of these songs are determined by their function - the desire to lull and put children to sleep. Hence their rhythmic correspondence to the movements of a woman rocking a child in her arms or in a cradle. You can hear the creaking of the unsteady in them:

And swing, swing, swing,

The rooks flew to us.

The gate is creaking, creaking,

And Vanechka sleeps, sleeps.

Scientists talk about the relationship between a lullaby and a spell in combining a word with an action (swinging). In conspiracies against childhood insomnia we will find the same motives and images (“Sleep and Sandman, roll away from me”) as in the lullaby (“Sleep walks along a bench, Sandman walks on another. Sleep is in a white shirt, and Sandman is in blue").

Even in ancient times, people understood well that in the first years of life, the child’s body is mainly occupied with its own creation. In the first months of a child’s life, quiet, long sleep is an indispensable condition. rapid growth and development. People have noticed that on the way, with rhythmic movement and rocking, the child quickly falls asleep. The monotonous lullaby song, with its simple rhythm, calmed the child and lulled him to sleep, which is very important for physical development.

An analysis of the oldest lullabies shows that the circle of poeticized persons, objects, and phenomena is extremely narrow. This is the baby, mother, father, grandmother, grandfather of the child. These are domestic animals - cats, dogs, ghouls (pigeons), rooks. These are the mythological images mentioned above: the mother calls the kind Sleep and Dream, the strict Ugomon, the terrible Buka. This is a golden cradle, a “chiseled, gilded” cradle, a golden hook, a blanket. The idea of ​​happiness for a family and a child was associated with bread, with food, with the dream of satiety. Taking care of the baby's nutrition during the cradle period was one of the mother's main concerns. Therefore, the motif of food (“porridge in a cup, a piece of pie and a jug of milk”, etc.), feeding, food has become almost a cross-cutting motif of all lullaby poetry.

Constantly lacking sleep, the peasant woman spun and weaved to clothe her family. The whole winter passed in this exhausting, monotonous work. Lullabies rarely mention a canvas bed. More often than not, the mother's dreams are expressed over the cradle of a child.

Tales, tales,

Mothers are Chinese

To my father - to my father,

Brother marigold...

Fantasy painted a rich life in vivid images: “You will walk in gold, wear pure silver...”

For more than a hundred years, the motive of wishing death for a child in some lullabies has been controversial among scientists. In the 70s years XIX century, reactionary journalism used this motive to prove the lack of a moral principle among the Russian peasantry. Other point of view: N.M. Eliash saw in the motive of wishing death for a child “echoes of ancient ideas, ancient beliefs about the redemptive power of child suffering and death.” V.P. Anikin claims that in this way mothers fought for the life and health of their children and tried to deceive evil forces. (“Bai and Lyuli, at least die today”, “Bai, bye, bye, at least die today”, “Sleep, Tonya, for two days, and on the third - for firewood”)

In lullabies one can find echoes of historical eras, in particular, the Mongol-Tatar invasion. Apparently, in Rus' there was a custom to frighten children with the name of a strong enemy and at the same time promise the child protection. The following lullaby has been preserved:

Bye-bye, bye-bye,

Khan Mamai came to us.

Mamai came to us,

He asks - Give Vanya back.

But we won’t give Vanya,

It will be useful to us ourselves.

Artistic style of lullaby. The poetics of a lullaby is directly dependent on its function, in close connection with the content, with folk psychology, with folk life. Taking into account the psychological characteristics of a child of lullaby age, the concrete-figurative, sensory perception of the world, the lullaby paints this world not in colorful stillness, but as a world of rapidly moving creatures and objects:

I sway, I sway,

Father went to get fish

Mother went to carry bags.

Grandma cook the fish soup,

Grandma cook the fish soup,

And grandfather attracts pigs.

Here, each verse is a new dynamic picture. The child is not yet able to retain this or that image, this or that word in memory for a long time, or focus his attention on one thing for a long time. The lyrics seem to be woven from nouns and verbs. And this is despite the amazing wealth of expressive and visual means of Russian folklore. Not only metaphor, metonymy, but also epithet are rare. The exception is personification.

Pestushki (from the word “to nurture” - to nurse, to raise) are short sentences. They amused the child, instilling in him the first life skills, forcing him to sit down, stretch, and walk. Perhaps they once had magical significance. They infect the baby with cheerfulness and fun. According to the rules of folk pedagogy, in order to raise a physically healthy, cheerful and inquisitive person, it is necessary to maintain joyful emotions in the child during his waking hours.

Having unswaddled the child, the mother or nanny with both hands, lightly squeezing the child’s body, runs several times from the neck to the feet. This kind of massage helps restore blood circulation and stimulate the vital activity of the whole organism, which is very important during the period of initial growth.

Stretchers, stretchers,

Across the fat girl

And there are walkers in the legs,

And into the hands of the grabbers,

And in the mouth there is a talk,

And some sense in my head.

As the child grows, the exercises become more difficult. To exercise the arm muscles and consolidate motor skills, the technique of slowly spreading the child’s arms is used, as if simulating swimming. This is enshrined in the more complex text of the pestelka:

Dad - fathoms,

Mama - a fathom,

Grandfather - fathom,

To grandma - a fathom,

Brother - fathom,

To my sister - a fathom,

And Stickleback -

Bigger, bigger.

Nursery rhymes serve to entertain the child; with their help, adults draw the child into the game. At the same time, they not only entertain the child, but also convey to him moral and labor concepts. They contribute to both the physical and moral development of the child. Taking care of strengthening the torso muscles and developing courage in the child, he is often “tityushka”, that is, sitting on the palm of one hand and supporting the chest with the other hand, he is thrown up, holding him with one hand, and then picked up by the second.

Chuk, chuk, chuk, chuk,

Grandfather caught pike

Grandma baked fish

The frying pan leaked.

The most common and famous are such nursery rhymes as “The horned goat is coming”, “The magpie-crow was cooking porridge”, “Ladushki”, “White hare, where did he run”, “On a flat path”, etc.

Jokes are songs with a plot nature that adults use to amuse children. All jokes have one common task - to amuse listeners. And at the same time, they are called upon to transform the child’s small, closed world into an “open” and infinitely diverse world, which is vital for him. Jokes and jokes genetically go back to the comic songs of buffoons and inherited a system of images from them. These include songs about animals, insects doing human things, for example:

Cat in a basket

Sews shirts

And the cat is on the stove

Rusks are pounding.

Our cat

Three sweet flatbreads,

And our cat

Three milk cellars.

In jokes, ducks play pipes, a cat sews a fly, a cockroach chops wood, a raven plays a trumpet, etc. Often jokes are built like fables. In them, a man mows hay with an awl, a pig builds a nest in an oak tree, a piglet lays an egg, a bear flies in the clouds, etc.

The joke is characterized by high artistic merits: bright imagery, rhymes, rich alliteration, sound writing, etc. In the joke, a motif is repeated many times, providing new information, which helps to consolidate it in the child’s memory.

This can be illustrated by the example of the joke “The goat went for basts, the goat went for nuts.” In the first two verses, the child is given an idea of ​​the intrafamily division of labor. Next, the child learns that the forest is full of gifts (nuts), but also full of danger (the goat is afraid of the wolf). That the wolf himself is afraid of the archer (armed man); and Sagittarius is a bear. That the “bludgeon” is chopped with an axe, an ax is dulled by a stone, a stone is destroyed by fire, fire is afraid of water, etc. All this is knowledge with the help of which a child can correctly navigate the world.

And the child receives this knowledge through a poetically organized dialogue based on playing with sound and words:

Water does not pour fire,

The fire does not come to burn the stone,

The stone does not blunt the axe,

The ax does not go to chop the oak tree,

Dubye does not go to beat the bear,

The bear does not go to fight the archer,

Sagittarius does not go to shoot the wolf,

The wolf does not go to chase the goat -

No goat with nuts

No goats with red-hot ones.

Such an artistic structure makes it possible to provide a vast amount of knowledge, ensure its lasting memorization, and lead the child to an understanding of cause-and-effect relationships, that all objects and natural phenomena are interconnected and interdependent.

The genre of jokes is far from homogeneous. It includes short songs (without a comic element), appeals to children such as:

Our daughter is in the house,

Like pancakes in honey,

Like pancakes in honey,

Sweet apple in the garden.

There are jokes and parables that represent a moral lesson accessible to children, presented in an entertaining form; The following joke-parable is well known:

- Titus! Go threshing.

- My belly hurts.

- Go ahead and porridge.

-Where is my big spoon?

A child’s boast is answered with a joke-parable:

- Van, where are you?

- Yes here.

- What are you doing?

- I caught the bear.

- Take him here.

- But he doesn’t come.

- So go yourself.

- But he won’t let me in!

The term “boring fairy tales” was introduced into scientific use by V. I. Dal. He first published these works in 1862. Under this term it is customary to combine jokes of a fairy-tale nature, with which storytellers entertain children or try to discourage them from excessive interest in fairy tales. A “boring” tale is offered instead of the usual one. Siberian folklorist M.V. Krasnozhenova wrote: “When telling a story, they observe pauses and the tone of a fairy-tale story and suddenly end almost on the first phrase, and the guys got ready to listen. They raise a cry." She called these works “mocking fairy tales.”

There are still boring fairy tales “The priest had a dog”, “Once upon a time there were two geese”, “About a white bull”, “Once upon a time there was a grandfather and a woman”, “A bear came to a ford”. The narrative part of most texts is borrowed from fairy tales (“Once upon a time”). The fairytale narrative is always disrupted by mockery. This sometimes consists in the fact that immediately after the beginning it is announced that the fairy tale is over: “Once upon a time there were two geese... That’s the whole fairy tale!”

Sometimes the last words of a text do not end a boring tale, but serve as a bridge to the repetition of the same text. M.N. Melnikov rightly noted that boring fairy tales contribute to the development of self-control, moderation in desires, and a sense of humor. Growing up, children themselves use boring fairy tales to have fun and make fun of their younger ones.

TO CHILDREN'S HOUSEHOLD FOLKLORE M.N. Melnikov includes genres that reflect various aspects of children's life. These are children's fairy tales, songs, horror stories, chants, ritual songs, teasers.

As for children's folk songs, these are mainly songs that were passed down to children from adults. Thus, in the 19th and early 20th centuries, the song “Goat, goat, bast eyes” was widely used among children, which, according to M.N. Melnikov, was associated with the game of girls, a version of the game of catch, but with a developed verbal prelude. Other songs - “The goat went for basts”, “I served with the master”, “Grandfather planted a radish”, “I will put jelly”, etc. also clearly came from the adult repertoire. Everything that reflected the old peasant life is now forgotten. Now there are several songs left in the children's repertoire, for example, about a goat or a magpie that herded horses, about a hare that tore a bast and scared wolves.

Calls and sentences occupy a large place in children's repertoire. Calls are children's poetic appeals to the elements of nature. They once had magical meaning and were passed on to children from adults. These are appeals to the sun (“Sun, sun”, “Sun, bucket”), rain (“Rain, rain, more”, “Rain, rain, stop”), and the rainbow (“Rainbow-arc”). Sentences – appeals to animals and insects. The sentences “Butterfly-cut”, “Ladybug”, “Snail, snail” are widely known. In children's everyday life there are still sayings about the mouse: “Mouse, mouse, you have my tooth” - when they throw away the fallen one baby tooth into the gap; ““Mouse, mouse, pour out the water” - when after bathing they jump on one leg, trying to pour out the water that has accumulated in the ear. Now the sentences for the calf (“Telesh, telesh, where are you going?”) and for the birds (“Kite, kite, wheel”) have already been forgotten.

Nicknames and teasing go back to ancient Russian tradition. The tradition of giving nicknames was passed down to children from adults. In everyday life in Rus' there were once not surnames, but nicknames given to people by their fellow villagers. Many nicknames are epithets created on the basis of consonances: Andrey the Sparrow, Natasha the Bug, Arkashka the Cockroach, Sonya the Sleepyhead, Petka the Rooster, Masha the Confused Man.

The teaser is essentially an extended rhyming nickname: "Sneaker, trouble, cockroach food." Sometimes teasers turn into entire songs:

Petka the rooster

It's rotten at the dump.

laid the egg,

I took it to the market.

They don’t take it at the market

They pull Petka by the ears.

Horror stories - scary stories - children's oral conventionally realistic or fantastic stories with an emphasis on authenticity. Researchers of this genre of folklore O.N. Grechin and M.V. Osorina argue that “scary stories” have been around among children for a long time. Direct or indirect confirmation of this can be found in I.S. Turgenev’s story “Bezhin Meadow”, in the works of A.S. Makarenko, A.L. Panteleeva, L. Kassilya.

This genre is based on fairy tales and epic tales. Some images (witch, sorceress), motives for magical transformation (a black spot turns into a terrible witch), and an emphasis on authenticity came from fairy tales into horror stories. Traditional openings are borrowed from the fairy tale (“Once upon a time there was a family,” “A girl lived in the same house”). There are traditional motives for violating the ban (not leaving the house, not buying black curtains, etc.). The technique of trinity of episodes is used. At the heart of the conflict, as in a fairy tale, is the struggle between good and evil. Goodness is personified by boys, girls, and police. Evil can be represented in the form of a stepmother, a witch, or an old man. Or inanimate objects: a black spot, curtains, a coffin on wheels, behind which an animate creature is always hidden (after transformation).

The artistic time of the horror story is recently past. The events in the horror story take place in an extremely short time (three nights; once). Artistic space: room, apartment, house, underground passage, cemetery. The attributes in the horror story are modern: radio, telephone, piano, mechanical doll, piano, etc.

According to O.N. Grechina and M.V. Osorina, horror stories exist among children from 6 to 14 years old. The works are performed in a collective environment (in pioneer camps). Meeting the unusual, mysterious, scary, and jointly overcoming fear together teach children the ability to overcome fear, maintain clarity of mind, self-control, and the ability to act.

M.N. Melnikov singles out FUNNY FOLKLORE into a special group. This includes word games, silences, jokes, slaps, inverted tales, riddles, and tongue twisters. The purpose of these works is to entertain, amuse, amuse yourself and your comrades.

Word games were known in Ancient Rus'. Some of them have retained archaic features. E.A. Avdeeva in 1837 described the game “Smoking Room,” which has long attracted the attention of scientists. The game consisted of children sitting in a circle, lighting it, then extinguishing it so that it only smoldered, and passed it from hand to hand, saying: “Once upon a time there was a Smoking Room, thin legs, short soul. Don’t die, Smoking Room, don’t leave sadness, don’t make you dance.” Everyone tried to get rid of the Smoking Room as quickly as possible, saying: alive. The one whose torch went out had to give away a forfeit.

The famous English ethnographer E. Tylor noticed that this game is known in almost all European countries and is preserved in different countries. common features. In his book "Primitive Culture" he proved that this is a very ancient game that dates back to the drawing of lots before a sacrifice. Whoever's fire went out had to be sacrificed.

Another game that was once popular in Russia, associated with a splinter, is “Burn, burn bright, Zakharka has arrived...”, in our opinion, goes back to the ancient Kupala marriage games of youth. Children adopted games from adults and reinterpreted them in their own way, putting a completely different meaning into them.

Among speech games, one can also name the game “Lady”, in which the players had to follow the rules containing prohibitions: “Don’t take black and white, don’t say “yes” and “no.” In addition, it was forbidden to smile or laugh. The game cultivated willpower, taught people to quickly formulate their thoughts and be able to create speech traps. People of the older generation remember attention games: “Gardener” (“Flowers”), “Paints and the Monk”, “Broken Phone”.

Once upon a time, “silencers” and “voices” were widespread. When playing “silence” after the verdict, you could neither laugh nor utter a word. Silences necessarily contain an agreement to remain silent in the form of a spell (“Keep silent from now on,” “Whoever says a word,” “Chok, chok, chok, teeth on a hook”). The formula for sentencing the loser: “Whoever says a word, eats,” “Whoever says a word, gets a click.” Texts with a comic content were very popular among children, for example: “The cat is dead, its tail has fallen off, whoever says a word will eat it.”

“Golosyanka” was the opposite of “silent woman”. The children competed to see who could make the last sound longer and louder. At first, everyone sang: “We’ll sit in the clearing, let’s start singing, and whoever doesn’t make it, the same one…” This game was also called “hairball”, because... The first one who stopped was pulled by the hair, and he screamed at the top of his lungs. This game probably contributed to the development of vocal skills and breathing regulation.

Catch is a verbal game accompanied by certain actions. The text of the cuts always contains an encrypted score. The most common number is 15. There are scores for 22, 16, 23, 26, 41. Boys usually played this game in the early spring. They were persuaded to inflict a certain number of nicks without counting. The player picked up some cutting instrument (for example, a knife) and began to quickly strike the wood, pronouncing the text of the cutting at the same pace. For example:

I'll take a second, I'll take twenty seconds,

I will carve fifteen -

Everything in full

Every single spot!

G.S. Vinogradov, the only researcher of cuttings, believed that they once existed among adults, then they passed to adults. He refers to the fact that in the Urals and Altai, lumberjacks and carpenters used to play similar games. Now the chives are almost forgotten, gone from children's use.

Tongue twisters, or frequent twisters, were first published by V.I. Dahlem in “Proverbs of the Russian People”. Apparently, in the old days they belonged exclusively to the repertoire of adults, but later passed on to children. In children's environment, tongue twisters are used for entertainment. This genre develops a sense of language, helps eliminate tongue-tiedness, and develops clear articulation in children and adults. In particular, tongue twisters are still used in kindergartens by speech therapists, as well as in theater schools for speech lessons.

The difficulty of pronouncing tongue twisters is created by the selection of words with the same sounds, most often plosive consonants, for example: “There is grass in the yard, there is firewood on the grass.” Many tongue twisters are still popular among children: “Dust flies across the field from the clatter of hooves,” “Sasha was walking along the highway,” “A Greek was driving across the river.”

GAME FOLKLORE

For thousands of years, games have been an important means of physical, military and mental training for children, as well as a means of moral and aesthetic education. Children's games are one of the greatest achievements of the people's pedagogical genius. According to the correct conclusion of V.P. Anikin, they “combine the important principles of practical pedagogy, art and a harmonious system of physical education.” In the process of playing, children acquired valuable qualities for life. The people understood the pedagogical value of children's games and took every possible care of their safety.

Without exaggeration, we can say that play occupies an exceptional position in a child’s life. It underlies children's leisure, work and sports. In the game, the child’s spirit and body develop, knowledge and life experience of people of past generations are acquired, and the foundations are laid for his future activities. While playing, children imitate adults and learn about life. This can also be seen in the improvised games of modern children. While playing with dolls, girls “visit”, reproducing the communication styles of adults. They play “to the store”, “to school”. Boys play “war,” “drive” and “repair” cars, build snow “fortresses” and “houses.”

Scientists have long noticed that in many children's games traces of ancient beliefs, rituals, and labor processes have been preserved. E. Tylor, in his book “Primitive Culture,” argued that in children’s folk games “the ancient stages of the history of children’s generations of humanity are reproduced.” This will become obvious if we look at children's games. The widely known and still popular game of “blind man’s buff” reflects folk beliefs in the possibility of a dead person (“blind man’s buff”) coming to life, a meeting with whom one must be able to avoid.

Until now, children play, mainly in kindergartens, the game “Bear in the Forest.” This game clearly reveals traces of the veneration of the totemic beast, which in ancient times people went to “wake up” so that it would not oversleep the spring and restore order in the forest. There are games that reflect labor processes: “Flax to sow”, “Poppy”, “Wolf and Sheep”, “Kite”, “Geese-geese”, etc.

One of the most popular and still preserved children's games is the game “Hide and Seek”. There is no doubt that it arose during the period of endless raids of nomads (Khazars, Pechenegs, Polovtsians, Tatars) on Rus'. Then the ability to find a shelter inaccessible to the enemy at the first distress signal was tantamount to the right to life. Analysis of various variants of the game of hide and seek, says M. N. Melnikov, leads to the idea that this skill was specially taught to children. Let's consider the Siberian version - the game "Lair".

All players were divided into two parties. One party was looking, the other was hiding. Those hiding tried to find such a “lair” and disguise themselves in such a way that no one would notice their close presence. In addition, the “den” should not have hampered the actions of the one hiding and given him the opportunity, at the first threat, to be caught by a “bullet” flying out of the “den” and to catch those who were looking for him. Such a game, Melnikov rightly believes, helped children develop an eye, the ability to camouflage, accurately measure their own strengths and capabilities, and run quickly. She taught us to wait in ambush for a long time, regardless of weather conditions. In addition, this game required discipline and unity of action of all participants.

Many games required players to split into two parties. The division was carried out by drawing lots. Draws are rhyming formulas that serve to distribute the group of players into two parties. Parties in the game are led by two “queens”, the leaders of their parties. In the dominance of the “queens” one can see traces of matriarchy. All players divided into pairs. They agreed which of them would be conventionally called who (“I will be a golden saucer, and you will be a pouring apple”). Then they came up and asked: “Maki, uteri, whose interrogation?” One of the queens (in turn) responded: “My interrogation.” One of the players: “Golden saucer or pouring apple?” The queens were chosen. Then the next couple came up, and so on. until the players are completely separated.

There is an abundance of actions in the draws: “Should we be at home or sail on the sea?” “Should I plow the field or wave my arms?” “Should I heat the stove or feed the horse?” But sometimes the verbs are completely omitted: “A black horse or a golden saddle?” “Swiftly under the shirt or running under the cart?” In ordinary language, this question would sound like this: “Do you take the daredevil who can at one moment find himself under the cart, or the one who will instantly find himself under his shirt?” Here the speed of action is conveyed with the utmost sparingness of linguistic means and amazing liveliness.

Of all the variety of genres and forms of children's oral folk art, counting rhymes have the most enviable fate. From early childhood (3-5 years) until adolescence, the counting rhyme is a child’s favorite work. Counting tables are usually called short rhyming poems used by children to distribute roles in the game. Unlike the drawing of lots, a counting rhyme usually has not two, but four or more verses of humorous content. The drawing of lots takes the form of a question, and the counting is pronounced in the form of a recount. The counting table ensured equal rights for the participants in the game. Whoever she points to will be the one who will “drive” and “roar.” Therefore, the counting rhyme was constructed so that the last line contained an indication of who should drive. The leader of the recount chants, emphasizing each syllable:

Tada-rady, tynka,

Where is our pig?

So happy, all the talk,

The wolves ate the pig...

So happy, Tishka,

Come out, little coward.

Whoever gets the word “coward” goes out, and the last one remaining is considered the leader.

However, a direct indication at the end of the counting rhyme is not necessary. The counting table can be a comic poem, which is pronounced in a chant, and the leader becomes the one on whom the last syllable falls:

Eniki-beniki, ate dumplings.

Eniki-beniki, dumpling!

Scientists attribute the origin of the rhymes to pagan times and associate them with the conventional secret speech, on the basis of which the riddle was created. The fear of revealing one's intentions to animals, birds, fish and even mushrooms led to the taboo of counting. Let us remember the prohibition against mushroom pickers, when picking, asking how many mushrooms he has already found. Housewives avoided counting chicken eggs so that the chickens would not stop laying eggs. Hunters believed that counting killed game during a hunt would lead to failure. This led to people coming up with figurative forms of counting.

This explains the accumulation in many children's counting rhymes of artificial words that replace numbers: “azi, dvazi, trizi.” The predominance of the rhythm of a word over its meaning, the abundance of “abstruse” words testifies to the ancient origins of children's folklore. And their preservation in children's folklore is explained by the heightened sense of rhythm characteristic of children, children's love for word play, rhyme, and sound repetitions. Many rhymes are built on this: “Torbu, orbu, crayfish, crayfish, shmaki”, “Shara-mara went to the forest”, “Tera, yora, shuda, luda, heel, sata, beer, willow”, “Abul, fabul, dumen", "Riki, tics, grammars", etc.

In terms of the power of their aesthetic impact on children, in terms of their prevalence, and in terms of the number of works, counting rhymes have no equal. The counting book knew no class barriers. Almost every child knows more or less texts. Competition in the knowledge of rhymes forces children to learn more poems, and thus develop their memory. The right to recount, according to children's unwritten laws, is not granted to everyone, but only to those in whom others are confident that he will honestly keep the score that determines the fate of the players. Anyone who violates this rule loses the trust of his comrades. Performing counting rhymes develops a sense of rhythm, necessary in song, dance, and work. The sound organization of the rhymes captivates with its beauty and makes an unforgettable impression.