Usna form to folklore. Misce of folklore in Russian literature. The system of folklore genres

A course of lectures from the RUSSIAN PEOPLE

poetical creativity

for students of the faculty of Russian language, literature and foreign languages ​​for specialty "philologist"

Vikladach - Danilian E.S.

Lecture N 1
FOLKLORE YAK SUBJECT

Philology VIVCHENNYA

Stretching out the capital of the Russian people, opening up and continuing to create a rich, sleepy journey. Have nautsi for meaning folk artісну кілька name In the middle of the 19th century, I will call it "folk poetry", which is what they wanted to see from the mass of the people. In the end of the XIX - the ear of the XX century. in nautsi they got a wide extension of the name: "sleepy verses", "folk words". In the Danish hour, in parallel, the terms “sleep the creativity of the people”, “the creativity of the people is sleepy-poetical”, “the folk-poetical creativity”. The order from usim with re-insured names bitter science to use the international term "folklore" (English folklore - literally folk - people, lore - knowledge, wisdom, tobto "folk knowledge", " People's wisdom"). Tsei termin in 1846 proponed the English teachings of William Toms for the meaning of materials for an old-fashioned journey, rituals and verifications. In Russian science, vikoristovuyuchi the term folklore, in the sense of only verbal folk creativity, and in the foreign science, the understanding is shirsh, it also includes everything that the people need: folk music, dance, invite the people. Science, schho vivchaє folklore, be called folklore.

The skin of the people who were guided by the new folklore imparted on the splinter, as if one of them was a sign - a sign of an unprecedented turn of nationality, usnost, tradition, artistry, a touch of folk and other signs. Tse means that folklore is even more foldable and guilty.

What is the distinction of the art of folklore, what is the specialty of the art of art? The price of food can be reached in a foldable science robots, I will continue to solve the problem. We want to just nagadati, shho, yak vidomo, rightly formulating people, giving birth to natural consumerism among people, giving the first and foremost forms a twist. The last hour, the art is not okremo from pratsi, but at the same time, it didn’t deceitfully evolve into an independent form of artistic art. Mystery, in the deyakiy world, є and in the images of the primordial religion, as well as in the collection of images of creatures were created as a kind of magic rituals and cults. Mystery winiklo yak an outrageous need in knowledge, in public, but dictated by the minds themselves labor activity... Before the recognition of classes in the suspension of folklore, the collective creativity of the clan and tribes, and the collective creativity of the family and tribes, and the collective creativity of folklore, was an embryo and a successor to the meaning of social nature to folklore. That folklore, which is a kind of nautsy at a time, is the whole folklore of that hour, if the class was already formulated in the suspension.

Even at the early stages of the generic suspension of the old words, the need for verbal artistic creativity was satisfied with the sleepy journey. Folklore of the clan suspension servicing the whole people. With the transition to the class suspension, the unity of folklore collapses. Naybilsh archaic forms of folklore, tied with a cult (snakes, spells, ceremonial songs, legends), more and more could prodzhuvati servants all the people, some of the relevance so chi іnkshe hunted for all the people to be classed. With the development of the suspension of the super-variability classes, it is necessary to produce before the skin class has its own peculiarities of usny creativity. A number of specialties are in the first place in the history of ideology;

The skin of the working groups of the population (villagers, craftsmen, robbers) made their own additions to folklore, the ale peasantry for a trivial hour was crowded with the bulk of the people and created the main riches of folklore.

Seemingly, the Russian people have created an unlimited number of prizes, orders, riddles, bilin, kazok; everywhere they drank lyrical songs, common people all stations. Also on the cob of the 20th century, Lalkars went to the villages and places of the 20th century and played glances at the comedy with Petrushka. And in our days, there are songs, passing from mouth to mouth by looking at short aphorisms. The spirit in all the names of the types of folk art are those that are important - the mystery of the word.

There are two types of verbal art - folklore and literature. The stench may smell richly spіlny, ale and very often come across as oneself. Folklore of ancient literature, wine vinik in old times, in the process of forming human movi (10,000-13,000 years ago). Literature is formed in conjunction with letters of warnings, in those hours, if there is a possibility of fixing artistic creations. On the vidminu from literary, folklore tvir prodovzhuvalo vіlyuvatsya in the oral words. Obviously, the illiteracy of the Russian people for a long time is one of the reasons for the formation of the folk journey, but not only by the fact, one can explain folklore in the old version. On the right, in the fact that the local literacy of the population is ignorant and cannot be brought to the end of such a specific rice to folklore, as it is quite “to sound a master of the word”. In the minds of the transmission of creatures from an individual to an individual, there is a development of acceptance, which will help to save in memory of great things to create; the formation of a particular poetry and style. orality- the like, in the power of folklore like the traditional creativity of the folk mass.

In folklore, less, less in literature, no artistic ear, learned by the people (in bilins, kazkas, lyrical songs and in their creations), or unaware (in those who are accustomed, in rituals, oddities, in wives. recognize the fact artistic creativity in qih vipadkah. The mystery of the word, which brings together folklore and literature, so it is itself derived from all of the mystery arts. The link to folklore with literature is not made until the writers victorious to the mark and forms of the creation of folk creativity. A whole lot of tinkling sounds are imperceptibly wider and more distant. In the early period of history, the closeness of literature and folk art is so great that it’s uncomfortably clear. "Ilyad" and "Odyssey" are always impressed with the work of antique literature and at the same time with the most beautiful stems of collective folk creativity, so that they can be seen before the "childish" period of the life of the human suspension.

Stretching out the table, try to stay in touch with literature and folklore, the stink of sucking one and one in a funky suspension. So, Russian folk creativity celebrated a great inflow into the old Russian literature, about how to say so redly, like “The Word of the Regiment of Igor”, “The Tale of Peter and Fevronia”, “Zadonshchina” and іn. Interconnections between folklore and literature are carried out in different forms, even the reference artist does not interfere with the story of folklore, but the development of the tradition of the usny poetical creativity... The originality of folklore whispering call through the door of the artistic literature, Ale even more and more often, it is one kind of one.

The creativity of the surrounding people in folklore is based on direct suspicion, changing the pratsi in front of them. The goal is to become the quickness of a collective robotics, to be grounded in folklore on the decline. mystery of folklore traditionally, Vono set off step by step, to grow and develop at the cossacks, which are tied to the onset. Kozhna talanovita lyudina - sp_vak, notifications - take in the traditional art of those who are close to you. People's creation was created by the force of collective creativity, but it does not mean that the creation of the guilty will be formed and visibly formed by several people at once. pid collective folklore followed the minds of thinking and appreciating the collective in the process of developing and expanding folk poetry. The poetry of the folk masses, spiraling into the tradition of the folk poetry, is not often tweeted, or it has been formed as a single people. Collectiveness in folklore is not the origin of the richness of our creatures, the skin of those created by the people. Zhoden tvir to folklore is not torn apart by kimos alone, without relying on the creativity of the others. The creativity of an individual author, his robot is part of the collective work. Contemporary folklore studies do not interfere with the role of the environment creative specialties And, navpaki, vvazhaє, how the problem of socializing the collective and individual in folklore is in the middle of being.

A sprinkle of dermal sleepy twir, vividly, spreading kimos in one, ale folklore cream, grows in the process of bouting, the transition from individual to individual. People who took the fate of collective robots over one and the same creature, maybe not only one nobility, the stench may be like an hour and space. Kozhen new storyteller can feel like a new addition.

Folklore tvir knows its own form and form because it is like living among the people, going through the process of changing and knowing the style, characteristic of the singing middle. All folk creations went through the whole process of folklore. Create, stacked in such a rank, styles in themes, ideas, plots, motives, images, compositions and styles. The tradition of style is not the same as a sign of folklore. Only tsim can explain the power of the authorities in folklore recordings, broken in early hour from different individuals.

tradition, To be familiar with the style of the verbal text to our liking, characterizing the vikonannya - it is important to see the rice in folklore. Tradition - the transfer of creation from generation to generation Mayzhe without changes - the power may be even to all folklore creators. Alle the most stylistic text may be those genres, in which the word is over magical and religious functions (snakes, ceremonies, spiritual verses). The style of texts is also a collective form of vikonannya (chorus of pictures).

The peculiarity of folk creativity is peculiar in that its tradition is indistinctly tied in without interruption to the new snake. The changes that were introduced into the text of the victors could have been very different - from insignificant stylistic variations to the thought of the revision. Folklore tradition of transferring postponed, following the finished show. The storyteller has no such creative freedom as an individual artist. The scribe can be trimatized in witness, but doesn’t repeat it, in folklore the nosy-creator doesn’t take into account the esoteric eye, but it’s oriented to the new, to the creative endurance of the generations ahead. Whether it’s like an empowerment, you’ll go along with the vicarious traditions of folklore and the peculiarities of that genre, before what can be found in the tvir, which was created by the empire’s paths. There are two main forms of collective creativity in folklore.

One more characteristic of rice folk creativity - the unhappiness of standing up the author of new creations - anonymity... Folklore creates a desire and crop yang to cob hikers who are alone, albeit, transmitted from individual to individual, as a result of numerical changes and additionally they knew the species, which is a common mean. In this vypadku it is not possible to see what the author is, having opened it.

Tvir has taken away the creativity of bagatokh specials, and none of them, around the time of taking, cannot be learned by the author. In literature, it is often the case with anonymous creators, whose authorship is brought to the fore by a special science - textology. But in the literature, the anonymity is tied to the author's undesirables for quiet reasons for giving his name. In folklore, anonymity is the result of spiritual creativity, how to go from among other people, and in literature, it’s not about the activity of the author.

Kozhne Narodne Tvir will walk among the people at the Great Kilkost options... Variants are seen from one to one, but there are more similarities, less distinctions in the head components of their form and shape. People's tvir is the head of іsnu in the development of more and more close people. The idea is to try to navigate in a repeated record, broken from one and the same individual. Riznitsya winykaє for a flood of bagatokh obstavin, even the storyteller can deduce in a simple way one and the same cue in the fallowness of the auditorium (a childish one), in the fallowness for an hour, finishes, and so on. And the axis of variability lies in the specialness of the viconauts himself, his giftedness, his memory, his mental capacity to empowerment. Varianti - manifestation of dynamism to folklore yak artistic manifestation, In them there is one idea, a thought, and some type of heroes. Options add one to one in detail; Close options are in that regard, if there are creative officials for them - officials of the hour and the middle. Trivially, the sleepy Tvir drowned in the people at the very moment to be infused with new furnishings. Variability is one of the reasons for a long life folk creations So how could the viconavtsi pristosuvati їkh until new living conditions. A characteristic butt - kazki, recorded in the 20s of the twentieth century, in which the prince call in the tower on the phone, or I will call it by photocart. And the axis of variability in folklore, which is not canonical to the text, is seen as variance in literature, de-variance to lie in the will of the writer.

The presenters stood up long ago, at the early stages of the development of a mystery syncretically(Tobto at once), in a new word, music, spiv, dance, іmіtatsіya labor process, etc. The vidlunnya of the ancient syncretism is manifested in folk art and in the given hour. In Russian folklore, the specialty is clearly manifested in bilins, seemingly, when bilinas were matched. Adding words to the artistic elements of the first time characteristic feature folklore. Ale step-by-step syncretism (ill-naturedness of soil and power) turns into a synthesis of mystery (polyelement). Synthesis is a single split, multiple components, which have already been seen. Most often, syncretism appears to be translated into a new kind, if the first syncretism is manifested in folk art. At the same time it is possible to show syncretism in folk art. In old folklore it is manifested in the games, for example, in the games "At the weddy in the forest", "Zaychenya" and in. In igrah, the word is syncretic with the rіznymi diyami, spіv, musical superconduct. Differentiation of the art, the vision of the surroundings of the art (dance, music, artistic word and іn.) The folk creativity has a great priyom, which is not a matter in literature - tse contamination one-sided creatures, ugrupovannya їkh about the post-hero of the Kazka, bilini, pisnі. The understanding of the term contamination is known in folkloristic studies of great changes, I want to interpret the understanding broadly in a superfluous way. When contaminated, it is possible to change the surroundings of the creation of any of its parts, but at the same time, I do not approve of the whole message. Also, I will order a solid cordon from folklore creatures, which do not get angry at times, if you create to get away. The head of the textual critic and the history of folklore of the field is in the fact that a foldable tangle of singularities and sounds of creations between themselves are created. One of the characteristic applications of contamination is the version of the bilini "Alosha Popovich and Tugarin", in which Alosha peremagak Tugarin on the road to Kiev, and then at the court of Prince Volodymyr and I know again. With the butt of a folding spoluka, you can use the "Tsarivna-toad" kazka, the other half of which has many options and ends. Do not make it clear, the deconstruction, but the deduction of new versions. Food about the inter-contamination and the present-day become a friend of the folklorist.

The folk poeziya has been playing its poetics, in which the whole system of artistic and imaginative means and accepting of the mind begins to appear in a sleepy way and to manifest itself in a new way. The folklore of the German heroes. In folk creativity, creative types are characterized, and types, images, social qualities and power of people. Folklore images are not subtle, but navpaki, to unite riznomanitni behind the plots to create. The image is even tidy about the type of hero for whole group collectively created creations.

Folk creativity is derived from its own composites (inspire the creator), for example, beginnings, chain ringing images, leitmotifs, symbolism, three-time repetitions, pictures and іn. The peculiarity of folklore є і yogo mova is not bookish, but rosy, due to all the powerful peculiarities of folk talkers (dialects). Move the folklore creatures of the authorities change-overly-festive Sufiks, short prikmetniki, repeat the words, words, priymenniks. Often, there are post-witch doctrines, synonyms (clan-tribe, pike-riba), tautology (woe to girke, marvelous divine), short prikmetniki (clear field, red dvitsya). The folklore of the authorities has no contact with the hearers, like pouring into the tvir, so that it can be victorious.

Folklore is the essence of our artistic creations, created by the people as a result of their social collective work. I am familiar with the ancestral one, with folklore with literature, it is necessary to know their belonging to the artistic creativity, and by the specific acquaintance, what the viriznya folklore is from the literature is a process-based, non-professional creativity, backed up. Tradition, collective, sleepy artistic creativity of the people is an axis of short presentation of the peculiarities of folklore.
Genre warehouse of PEOPLE'S CREATIVITY

In folklore, there is a lot of "spirituality" of people who have spіvakіv and informants, who create is the result of the robotics of people who need to see the kind of spirit that is common to create in a group genre. The peculiarities of the genre are taken by the skin creator. The genre in folklore has a greater style in the context of literature. The genre of the cordon in the literature is mensh stiyki, the stench is easier to change. In folklore genres specialties learned, and їх change will be deprived of once, if it is accepted by all people. In folklore with literature in folklore, there are fewer genres, less summery forms. Vivchati folklore genres and in any minds, it is impossible without a significant part of the theory.

Genri, who should enter the warehouse of Russian folklore, develop among themselves for the zmist, structure, poetry and functions. Stay home in scientific The classification of genres of folk art is not easy. Isnu kіlka try such a classification. Prominent folklorist V.Ya.Propp will classify the urahuvannya chotir'h moments "Genre" we will be mindful of the essence of creations, sharing the spirit of the poetic system, by-key designation, forms of vikonannya and musical harmony. " Visuvayuchi on the first plan of the poetics of the genre (poetic system), V.Ya.Propp, however, vvazhaє, that the genre is not meant to be of a single familiarity, but to a sukupnist sign, and the classification is to blame for a number of the main features of the genre. Prior to the classification of Russian folklore, vvazhaє V.Ya. Propp, the classification may have been stagnated, adopted in literary knowledge, to be taken to the canopy, see and genre.

It is propagated іnshі, more folding classifications, as proponated by V.E. Gusev. The understanding of "birth, type and genre" is alive in the first class, as well as the introduction of the category "group", including in its own words and "myths", which are used to say. And mіzh tim nі mіfi, nі relіgіynі legends are not accepted by the genre in literature, we want them to have some elements of art. Yak seemingly, mythology is one of the first forms of philosophical phenomena about light, and the information about mythology and folklore can be heard on the last day, not just trying to classify the genre of folk art. V.E. Gusev does not look at the genre of folklore as an interconnected system.

The folklore scholars will try to see the food about the classification of folklore genres by N.I. Kravtsov. I will accept the literary classifications, so that I can go to the curtains, see and genre. We will also take a look at the classifications. From the native mind of the intellectual way of imaging action (epic, lyrical and dramatic), from the viglyad - the type of artistic form (kazka, painting, etc.), by the genre - the thematic group of creations (kazki, kazut) In the traditional genre, there are different genres (bilina, balada, historical song) and prose (kazka, announcement and inn.). Lyrical birth in folklore, vikorist and virsovana form. A dramatic kind of my own self-esteem, in a new word and we have a feeling of being. A dramatic birth in Russian folklore, even with regrets.

In the folk art of the skin people, there are genres for all the light folklore (kazki, baladi, prisliv'ya, riddles, etc.), Ale deyaki genre may have special rice, power only given to the people. For example, the heroic epic of the Russian masters of the epic poetry is bilini, of the Spanish - the form of romance, of the other peoples - of the proverb with varied inserts. Russian folklore includes importantly epic and lyrical genus, and dramatic creations, which have rejected special developments in folklore of the Bagatian peoples (Czechs, Slovaks, Chinese and all.)

Russian folklore is rich in different genres, its vivchennya has developed a first-class meaning, and even the tvir of folk creativity can be visibly deprived of the urahuvannya of its genre characteristics. Vivchennya genres of folklore can only be seen in the presence of living minds, in which they figure and create.

The genre of folklore is categorized as historical and pozaklasov. In the boundaries of one and the same genre, there could be creation, which would represent the support of the nation, and create anti-people. Genri is not sensible and indispensable; stinks emerge, grow in the ranks of vipadkiv vidmiruyut, replace them. So, the calendar and family of ritual poeziya could win the power of the word and the miracle magically victoriously. From the beginning of the 20th century, to the rituals of poetry, ale to discover, for example, the genre of "working folklore", which developed in Russia since the end of the 18th century in the process of formulating the class of robots. The genre is self-reliant in relation to the history of the early ages in the history of artistic creativity. The modernity of the genres is explained by the building with the inevitable historical changes of life, eagerly significant for the duration of the hour. Zberіgayutsya until that hour, leaving vyavlyayutsya building a new zmіst in himself. The historical style of the genre is super-specific, the structural form of the genre in the future without changing the capital. Have your foreign powers stink so it is the same to live and develop native peoples I want, zychayno, not without mutually injected, ale in the boundaries of the artistic creativity of the skin people on the independent life of the soil.

The current folkloristic problem also has a problem of interconnection and interconnection of genres. Vzaєmovіdnosini genres may be rіznomanіtnі form: the whole and the genetic link of genres, so that the infusion of older genres into the formulation of new ones (bilina peredu historical pictures), And also a fiery infusion - new genres in the old, as a result of which the old genre can change its structure and poetics (the infusion of parts into lyrical paintings, which simplified the composition of lyrical songs, changed their length).

In folklore, it is also a phenomenon, as the inclusion of works of one genre in the same. So, when you turn on mayzhe in all genres; in some genres vikoristovuyutsya snakes, crying, voice, fragments of wedding rituals. In the scientific literature, Kazakh formulas were meant in terms of words, in snakes; bilinna phraseology in songs ("Yak will cry a good fellow").

The triviality of combining genres and their interactions is to produce up to them interpenetrating and evil, as a result of which industrial genres are identified. In Russian folklore and poetry, they occupy the intermediate place with “rozbiynitsky” songs (the stench behind the lyric genre) and balads, which are generally of an uncanny character. Folding problems in the development of young genres and lack of education.

Lecture N 2

CALENDAR-RITES OF THE POETRY

Until the ear of the twentieth century, Russian peasants celebrated a number of calendar saints in a choric manner, for the help of which they paused to cut off a great harvest. I met the rituals of the rituals and pour it into navkolishn_y light, Earth, water, seize yourself from bed, ailment, nervousness. The rituals were established as a result of the change of Christianity from language, the stench brought up the pre-Christian worship of the sun and the earth, the deification of creatures, the cult of ancestors. Calendar rituals took their name out of the fact that the stench to supravodzhuyut pratsy people by stretching out all the fate. In the Russian folk creativity, the earthmaking calendar folklore is borrowed in the world, as agriculture itself has become the main occupation of the common words.

Calendar folklore in doslіdzhennyi i navchalnyh posіbniki XIX - the ear of the XX century dwelt on the chotiri cycle after the pores of fate (I.P. Sakharov, brothers B. and Yu. Buslaev). Offense to cyclization is not tolerated by current folklore. The basis of the four-cycle podil was the understanding of the fate, but the opening of the uncleanness of the rituals; I went for two cycles (winter and summer) є trying to bring spiritual culture to religion. Contemporary folklore and specialties calendar folklore in fallowness due to the labor activity of the peasants and dividing it into two cycles: 1) rituals, directing for preparation and growing (winter, spring and summer cycle) and 2) rituals, such as supervising live (wintering, spring and summer cycle) Rituals of both cycles are influenced by their own character: in the first cycle, in a large number of vapors, there may be a lot of independent actions, so that you can go in parallel with the robots or navigate right through them; Ceremonial another cycle may not be self-sufficient, but deprived of supervising robots. Calendar rituals expanded in all light folklore; Seemingly, in the Ancient Greece and Rome Bully, it is widely known as a saintly saint, knitted from births.

In Russia, with a stretch of bagatokh to capitalize on the head boules, rituals: 1) Christmas Day of New Rock - Christmas Day (25th breast - 6th day). I would like to respect the fact that the Russian people found Christmas in the astronomical Novy Rik, they want to go to the Russian feudal state, right up to the era of Peter I, noviy rik having repaired in 1 spring; 2) Masnitsa abo Maslyaniy Tyzhden (kinets of the fierce one); 3) spring calendar rites; 4) Semіtskaya Tizden and Tіytsya; 5) summer calendar rituals (day of Ivan Kupali and Peter's day).

The winter cycle, having begun with a healthy winter on the holy Kolyadi, brought to the Rizdva of Christ, and ending with the wires of the winter to the masnitsa. Kolyada abo Christmastide(From 24 breasts to 6 sichnya) were held in rituals that igrah, like mali animistic - magical sense. In Russia, up to the number of stiff sings, there was a "row": the young people put on skins of twarins (vedmedya, bika, kozi), carried a plow around the village, baked special ceremonial pies, and dusted one of them with briar seeds and hops. The sacred rituals were supravated with songs: carols, ovsenevim, generous, subservient, etc. Kolyadskie pisni (derived from the Greek "calendae") were drunk with children, they walked side by side in the villages, wiggled the gentlemen, banged them overwhelming garazdivs, often in the songs they caught the rummaging about wine production. The composition of the best Christmas carols includes the following elements: 1). brutality to Kolyada, jokes її її ryazhenymi; 2). grandiose, describe the rite; 3). pozhannya prosperity, prokhannya about the wine city.

In Ukraine, "generous" sang, whose name is tied to that, how the stench spilled into the "generous evening" (bagatiy) in advance of the New Rock. "Ovsenevie" was written in winter and middle Russia, the stench behind the zesty mayzhe did not come from carols. All the pictures, behind the addition of verbal images, brought up a statement about harvest, wealth, and the addition of cattle.

Tsia Svyatkovy Tizden is reminiscent of іnіshie zvichay, for example, vorozhіnnіy, "іgrishchi", "sit-downs". New fortune-telling was supravated by special, "subservient", songs, which were spied by children. For an hour, one of them, before the friends of Wiimal, lay “by the stravoyu”, the embellishment wrote: “Whoever turns around, that wakes up, does not wake up". Rizni pisni saw rizne maybutn: "On the bend of the siju, I drive the Borg threads" - meant divinity; “I will rozsiplyusya namisto at the entrance, from kim namisto pick up hto? Take us with a mile friend "- shvidke Vesіllja.

New rituals and pictures of images in creative works by Russian writers of the 19th century: V. A. Zhukovsky ("Svitlana"), A. Pushkinim ("Evgeniy Ongin"), M. V. Gogol ("Evenings on the farm bіan" that in.

Maslyana- wide, merry, tied with bazhannyam to loosen up the spring, vlashtuvati "lead" the winter. At the Bagatokh regions of Russia, the oil was lost, then they drove it outside the village and burned it down. For an hour, they "conjured" the arrival of the sun, whipped up katannya for cola, cooked "ritual" ravages - baked mlints. Conduct masnitsy supravodzhuvalis to visit special ritual songs, in which there is a richness, generous character. The Great Pist was repaired with oil pressure, which was seen in the images:

In Russian literature, the image of "seeing the masnitsa" is seen in the "Snigurontsi" by A. Ostrovsky.

In Russia, the bulo is taken for the additional help of calendar rituals to help the coming of spring. For the whole, the ovens were baked near the bird figurines, the children traveled with them outside the village and spent the night with them - "Vesnyanki", Yaki were of the essence of a stately character:

In the іnshіy group of springworms, the furry until spring is intertwined with the motives of love and the mighty whore.

The offensive spring is holy - Troitsko-Semitskaya Tishden, It’s sacredly flowers of plants, in the center of the day I decorate booths with quip heads, ride on trikes, decorated with quits. At the same time, the children went to the lis, they picked up the birches, curled them, carried them with them to the ritual stravies, danced around and sang songs:

In the boy, the girls flowed through the wines, curls on the birch trees, they swore the oath of friendship and slept with the whole rite of the nepotism of the song: "We don't bark for you." Troyts' divchat yshli "razvivati" birches. For braided on birch trees, they were curious about their share. Having raised birches, the girls wove birches and bewitched. Vinok mav is symbolic meaning, vin grav is a magical role in zagaduvannya to shlyub, happiness; one hour vіn getting used to vgaduvannya svєї dolі.

The culmination of the spring-summer cycle of bouv holy Ivana Kupali(24 worms). In the middle of the night, a lot of legends and twists are tied together: juveniles violated to the shukati forest of miracles, most often ferns, which are nibito grown in tsyu nich. At the same time, all the rituals we see are taken over: enchanting, wickerworking, roasting, bathing in riches. The young stribal through the bagatta, with the rite of tying the yazychnitsky statement about the cleansing in the fire; They drank together in special bathing pictures, even more lyrical, their theme is the most frequent description of love experiences. The great expansion is small lyrical song about the quirk "Ivan and Marya": brother and sister, I don’t know about their homeland calls, they turned and reworked into a ticket, so that they could be folded from the still and blue dusts. Saint Ivan Kupali ended the spring-summer cycle; The villagers were also busy with important excavation robots.

The main cycle is not self-sustaining, but super-juvenile robotic. On the cob of stubble they rocked grapes and sheaves from spikelets, dyed them and brought them to the village; at the same time, special “dozhitchnye pisni” were made. They felt the severity of the village life, wobbled a rich harvest, the gentlemen were famous. The rest of the snip was naked as a birthday boy, he was dressed up in a sundress, adorned with stitching, a namist. Deyakі women glorified snіp - "іmenіnnik"; They skated or rolled across the field, encouraging them to pile them up with strength, with all the knowledge they were showing the song of the song:

In the harvesting season, there was a joy to end important work:

The main saints of the Russian agricultural calendar were added to the calendar ritual songs. Їх Зміст - the day of language and Christianity, to see the image of the peculiarities of the people of the country. Many aspects of the village pratsi were of a collective nature, when they were hungry, they were hungry, the smell was superfluous to wind the harvest of salted cabbage (25 Veresnya). The knowledge of the calendar-ritual poeziya is more helpful than the intelligence of the special life of the Russian people. The picking of the calendar-ritual travel began in the first half of the XIX century, until the end of the XIX century, calendar travel began to be known among the people, so the records at once represent a special interest, allowing them to be more beautiful than the intelligence of the mind.

Entry

Specificity and power of folklore

Genre warehouse for folklore

visnovok

Entry

Vyvchennya genre structures in the rest of the rock began to develop the perspective of the so-called "systemic" analysis, in a new way to the expansion of the folding problems of the history of genres and history of folklore. That is why the systemic analysis of this possibility as a method of advancement is state-of-the-art. For a very important reason, due to some systemic analysis, it is possible to tie into different genre structures: the intelligence of any structure as one of the components cannot be lost without the establishment of a systematic structure.

For the sake of consistency of folklore, it is important to prioritize material. Yakshcho basis for classification of vibano middle іstotnyh signs folklore, then the classification is very close to the resolution of the problems of system analysis, but if the basis of the basis will be given to the lack of meaning, then such a classification in a short way will appear like marnoy. Everything is based on the nature of the classification, so that, in its own right, spirals on to the problem of the genre. Classification, if Suvor and Glybok won’t bring the material into a system, and if the genre is classified, then it stinks systemic for its nature. Thus, it is necessary to understand the "system" and the "system of genres" before the need to learn. Whether the system is a success, it is a combination of knitted and crocheted elements in a specific order of elements - parts of a valuable solution. The system is there in manifestation, the change of one of the elements of the wikklic is the change of all those linked to him and the change of all the whole. Chi є taka system in folklore? Do you represent folklore in its entirety and its surroundings, and also do you create a system - the supremacy of interconnected parts, the change of skin from which victories are perceived to be the wake of the others and of the whole?

Folklore can be seen as an artist system.

1. Specificity and power of folklore

The word "folklore" (in English Folk -people and lore -vchennya, science) bulo proponated in 1846 by the English archaeologist John Thoms. Pastupovo became zahalnovzhivanim, faded in usi movi svitu. In 1879 the Russian Folklore Society of England officially took him to signify all the creation folk culture.

Individual creativity, uniquely perceptive, single, in the skin surrounding the new in ideas, images, plots, motives and styles, folklore does not know, but you also don’t know the creativity in literature, as it is done by the authors-professors. The creativity of the surrounding people in folklore is based on direct suspicion, changing the pratsi in front of them. Wono trivaє in new creative acts. The goal is to become the quickness of a collective robotics, to be grounded in folklore on the decline. Mystery of folklore is traditionally, it is done in deeds, to grow and develop at the Cossacks, which are knitted on the offensive. For reasons of creativity in folklore, it is in typical poetic forms, the versatility of those is great, but not indiscriminate. Kozhna talanovita lyudin -spіvak, notification of the coast in the tradition, wholly molded to the new mystery, which is close to you. P. G. Bogatirov gave a more accurate characterization of folklore tvir, saying about a new yak about "an extra-personal, independent visitor, who wants to admit deformation and the introduction of new creative and vicious material."

In folklore, yak, vіm, and in bagatokh іnіh areas of human dіyalnіstі, creativity wіll wіll іt wіll іt wіll іn іt іt wіth іt wіth іtѕ people, аlе іt іs individuals іn mind іn thе individual іn thе way іn individual іn thе author - artists with rice special wish in the light, інshim. Here creativity is strongly related to the sub-activity of the surrounding people and individual features yogo specialties. Only those who are of general interest are taken, close to everyone. The storyteller, the sp_vak, the kazkar create under special "laws", and the "laws" of mass creativity lead to the process of establishment, and the result of literary creativity.

It is important to educate, how collective in folklore -not arithmetic is the sum of the bagatokh of usnyh creatures, the skin of the skin is folded around by the people. Zhoden tvir to folklore, whether it be a song, a Kazakh, or a song or a tvir, in a kintsev rakhunka it wasn’t just one thing, without relying on the creativity of the people. It’s a general rule that you’ve heard about talented people, such as Iryna Andriyivna Fedosova, who’s famous storyteller of Bilin Trokhim Grigorovich Ryabopolinin, Samara Kazan Abramtsev. Whatever the creativity of an individual author, his robot is a part of collective work. The essence of the truth is that you should correctly understand the relationship and the quality of creativity of the surrounding people in folklore.

Folklore has a lot of creators who have been inhabited by others. It’s easy for a tsom to perekonatisya, looking at whether folklore tvіr. The axis, for example, is a riddle about a month: “There is a hlib color hanging over a babus’s hatinka; the dogs bark, by the way they can't. " For such a variant, the riddle of the bull was recorded in the Arkhangelsk Territory. In the інshih mіtsevstosti also know the whole riddle, a little bit in the іnh options. So, in the Novgorod region, you will be honored with the words: "For a woman's hatinka ...". In the early recordings, broken down from the young people in the early hours and in the early days, we have before us the post of one of those same tweez with a stiff figurative structure. The details changed, the style was slightly changed, and beyond the options it is impossible not to recognize one and the same riddles. Vona passed from man to man, from individual to individual, from the skin to the individual, from the skin to the zagaduvati, the brav and the thought, the image and the style. All options are taken to form a type-structure. It’s insane, the way the riddles come out, the novelty in the її traditional wisdom and form. Do not become involved in a purely private environment, alas, if the change has become folklore, it is necessary to have a more form of tradition, included in the poetical pobut.

Special additions to the environment of people in folklore are tsinnishe, which is more on the new to lay the seal of the zagalny. For a whole lot of intelligent reasons, when there are "laws" of mass creativity, creativity is not fenced in the surrounding creative act of great transformations, ale of anomalies and insights to become the least valuable in folklore, and I, as a rule, do not mind. “It is acceptable, -writing P.G. Bogatirov, -a member of the team that has opened up individually. It’s asleep, but it’s impossible for the team to see it for some reason or another, because the team members don’t get the hang of it, -won’t be condemned to bend. You can vryatuvati only vipadkova record of the picker, if it is necessary to transfer this sphere of your creativity into the sphere of writing literary ”.

A handful of skinny usny tir, squeakily, flashed by kimos alone, a little bit like folklore, as long as it didn’t boil over as much in front of creativity as it didn’t go over the top. You can create folklore in the process of running around, going from individual to individual. As a result of which creative acts were formed, the reception was formed, the cordon was established, in which there were various usny tvir.

The process of the development of folklore creations of development, albeit the truth of it, must become one and the same, in particular, from specific manifestations. A wider type of collective creativity can be used to respect the spiritual robot of many people over one and the same creative work. People who took the fate of collective robots over one and the same creature, maybe not only one nobility. Creative acts, as a rule, are distributed by the hour and spacious, alelective, the robot's spine becomes capable of transferring from individual to individual to the creature. skin Nova lyudina Especially if there is a feeling of overdrive from nature to health to creativity, you may feel like it is necessary to improve it. What kind of updates and changes? It is squeaky, moody, but there is no sound, it is nasty to remember, etc. weary creature... It is possible to transfer from individual to individual only those who are busy with everything, borrow everything. Forgetting the greatest creativeness in the distance, for engaging in everything that is tied up, for sleeping only with the special powers of the surrounding people. On the sleepy tvir, a friend of the one who is lured by the middle, in the yakiy isnu tvir. One hour the sleepy tvir consumed rice, not typical for the middle, into yakiy isnu. Masove, the people are becoming tradition, they are steadily taking advantage of the element of wisdom and form of creative work.

Specifically, the relationship of traditional and specific moments in transmissions, as a rule, also, as a rule, as to indicate the maddening of traditional, persistent moments of creativity over us, as a rule, because of the kind of surroundings. The third rule is even more important: an endorsement to the recording of a folklore creation depends on the need for a critical assessment -In the general record of the demand, there is a discernment of the traditionally styled moments of creativity and vividness, singly, uncharacteristic moments of transmission. The tradition of the weary creature is to keep up with the help of the ringing of his young records among himself: to establish their similarity and vision. It may be indicative of the variety of transmissions, and also about the variation of the traditionally changed form and form of creation. The creativity of folklore is alive and well. Vitvoryuyuchi the middle of folklore -notifications and spivacs -whisper and know the new possibilities of creative turn of traditions. This is how a collective robot is in folklore.

Systemicity of folklore as artistic creativity

Before the understanding of the "system" with such a wickedness like "system of genres", the precursors evolved quite recently. In 1963 D.S. ancient Rus". Understandings "system" were used for literary studies in the 1920s. Yu. N. Tinyanov wrote: "Literary tvir є system, і system є literature." The system of genres by assigning a nickname to the robot S. Volman. DS Likhachov's thought about the "systems of genres" is rooted in an offensive context: "It hasn’t gone to genres, it’s just about literary signs, and it’s just fine. For Russian literature, the purely literary principle of the vision of genres comes into force in the main in the 17th century. Until the end of an hour, the literary genre in this world is, in addition to literary functions, functions of internal literature. The genres begin to live ... More appearances are spostering in folklore, de non-folklore signs of genres may be even more significant, especially in found period(In ceremonial folklore, in historical, in kaztsi, etc.). Oskilki of genre in leather given to the era of literary development are seen in literature in the context of young bureaucrats, to be seen in the early signs, before the history of the literature of the genre ... It is true that the genre does not live just one form of one, but to form a singing system, as it changes historically ... ". Obviously, the understanding of the "system of genres" is dulled by D. S. Likhachov as one of the only things in the era of the history of literature. In genres that look from the point of view of unity, one can see the ability to grasp the general pattern of their determination, development and fall. D.S.Likhachov does not write about folklore genres and systems;

Folklorists tried to learn about the system of genres in 1969 N.I. Kravtsov. Understand the "system of genres" N. І. Kravtsov nudged a sense, characterizing folklore from the side of the imaginative and stylistic signs with a larger world, and not just quiet inner qualities, which are to destroy the system of genres, as if it were a system, one.

V.V. Kozhinov in the article “Navischo Vivchati Literary Tvir? Methodological notes ”write:“ Crazyly priceless tvir is organism of its own kind, ie. Varto more times to admit it, so it’s absolutely tied to life’s needs: when you hear it in yourself, it’s a little “all-power”, it’s more like a “law” of life, it’s worthwhile the creator, create, drawing on and "transfer" into his own tvir from the real bootty "). Also, the judgment is not alone: ​​it is practical for all modern structural and statistical robots to interpret as an autonomous self-regulating system to navigate without guards "yak bi" i. respect for the transference of the "law" of the self-styled interpretation of the art "from the real bootty." M. B. Khrapchenko correctly noting the pardon of such glances. In the article “Thinking about the systemic analysis of literature”, V.V. Kozhinov said: “The reference to the artistic principle of the body is not only belittling the creativity, it is the re-creation of the ear, but it’s to lie in its foundation, but to put out the specific power. ... At those times, organism lives by the laws, we will lay it in a new nature, artistic creation functions as a matter of authority, as the creator has given him, he is alive and well, according to the laws of social development. "

It is important to be aware of the fact that whether it is a masterpiece of art, human evidence is systematic. The product of the artist's skill is well-ordered, stocks of a part of the aesthetic comprehension of action. Vivchennya of internal "creative laboratories", copyright editors of the editors of the creatures, to improve the character of the artist's robot -win pragne in words svіy glance at svіt. In all kinds of vipad, beckon to talk about creative pathos -about the integrity of visual and emotional reception of light, embedded in the system, to understand and manifest.

All that is said in the main provisions is to be referred to folklore not less, not to be-yak literary creation, literary genre... Tilki to create a sub'ctom in folklore is not a specialty, not an author, but the people's prompts and spirits as a nosy and creative creativity, sanctioned by the mass middle-class. Yaksho spivak, kazkar innocent and not understandable functional validity of quiet components artistic creation Then, in general, in folklore and genres, in the development and preservation of traditions, the professionalism and deliberation are objectively promoted.

The system of the artistic creation depends on the creation of the system real light But the main thing in this system is the understanding of systemic links and common realities, and not real links and common realities, taken by themselves. On the first plan, there is a coriguval action of creative svidomosty, or, seemingly, in an idea, the idea of ​​the whole. I think in the surroundings of the creation to see the components of reality, the knowledge of the sense of directness in the creation of reality.

System of artistic creativity -sub-system system real life... The system can correctly represent reality, convey the reality of the day, grasp the real sounds and appear in the images of objects, or it can be either nonsense, pardonable, to impose reality on something that is mute. It is more correct to admit the cleverness in the transmission and comprehension. Ale and pomilkov, the imagination of action can be allowed for intelligence, if the mind of a smart family wants it. The intelligence can be matched with the great virtual intelligence of the active reality, with the order, the system calls and the synonyms, and it can be with the creation of the synchronicity and the synonyms. The cleverness of the artistic image is evidence of the activity of the creator.

When analyzing the artistic system and folklore works and genres as stiy structural arrangements In which reality is seen from the position of an active goal of directing to her, it is important to respect not just the links and interconnection of the components of the structure, but the support of all the components of the system of art. The systemic unity is far from all elements in the genre structure. In addition, it is admitted to be self-sufficient in the whole warehouse. Such a system, bezumovno, Yea i have folklorі Yogo genres, i їy not slіd pripisuvati samoregulyuyuchu force іsnuvannya, Square od dіyalnostі spіvakіv that opovіdachіv.

The system of poetical structure in the new genre forms has long been vivchayut by the ages, if the stench was not censured by terms, but they entered the current scientific discussion, for the sake of the bullets are occupied with specific problems, far from the system analysis. At the sound of zym, zokrem, one can say about the article by P. G. Bogatirov "Functions of leitmotifs in the Russian biline". The author sets before himself a zavdannya show, how the repetition of the stylistic components є "in a way that appears in the artistic form, the main change and the idea of ​​bilini". Stylistic analysis of bilin "Ilya Muromets and Kalin-tsar", "Ilya Muromets and Nightingale" the result and the number of times are repeated with a broach -in the misses of the characters and in the move. Such a leitmotif of defending Kiev -"Stand for the courage, for the vichizna", such are the leitmotifs of the "strili-visnyk", "the transfer of the horse", the infallible "straight road", that in.

According to the point, for additional analysis in bilines when sorting out the style of manifestations, one of the principles of the figurative genre structure of bilines. P. G. Bogatirov, having asked for the possibility of expanding his approach to the analysis of those other genres of folklore: "Posting food and about specific rice from victorian leitmotifs in the other general and general genres." The prospect of the development of leitmotifs will become even more astonishing, as well as the analysis of the future functions of the genre.

For many genres, the formulation of the problem of the system analysis will be left behind only by the bazhanoy. The comprehension of the living functions of genres is not yet on the same level as the task. In an even bigger world, there are problems in the development of folklore genres in general -yak system. Obviously, you can foresee the analysis of the backward ideas while serving you, but the stench cannot substitute for that specific analysis, which in case you need it before you see the backbone.

3. Genre warehouse for folklore

folklore artistic creativity bilin

Kazki, pisnі, bilini, vulichna vistava -all the values ​​of the genre of folklore, folk sleepy-poetical creativity... Oh, do not splutash, the stench is perceived by its specific features, the role in the popular misbehavior, in a smart way, to live the stench in happiness. All genres at once verbal folklore all sorts of foreign signs: all the stinks are created by the master of the word, in their turns are tied with the archaic forms of the master, to be jittery in sleepy transmissions, to constantly change. We want to start the interaction in them of collective and individual, consistently keeping up with tradition and innovation. In such a rank, folklore genre -Historical folding is a type of usnial poetry. In this chi іnshіy world, all folklore genres are connected with the history of the people, with the action, that has gone from life to life and from the beginning of the future. "Tell me how the people are alive, and I will tell you how I wrote", -the miracles of the words of the great Russian academician A.I. Veselovsky can be brought to sleepy creativity: As the people are alive, so are they? To that, folklore and open folk philosophy, ethics and aesthetics.

Wonder, what kind of genre warehouse of Russian folklore. V. Ya. Propp will introduce three main points, which are to unite the creation of one genre: the spirit of the poetry system, the by-point attribution to the character of the vikonannya. At the same time, it is fair to say that the sign doesn’t characterize the genre. Vyhodyachi z ts'go viznachennya, mi maєmo all present in the folklore of poetry, prose and dramatic genre. Before the first ones are introduced bilini, historical songs, balady, lyrical songs, like in their own devil, to go on rituals and non-rituals. Riznomanitni prose genres: kazki, perekazi, legends of bilichki and bivalitsin. Before the dramatic genres of folk songs ("Tsar Maximilians" and "Choven" and ") Lyalkovyh vistavs (" Petrushka "), the number of igri is introduced, the round dance and the rich genres behind their warehouse is a mirth rite.

To clarify the meaning of the genre given by V. Ya. Propp, it is necessary to especially emphasize the meaning of the function of the folklore, in order to name it by name. The very function is one of the primary ones, ale, slyly, not the only one I know in the concept of the genre.

The genre of Russian folklore, like the folklore of the other peoples, in the region of cultural interest: one of them -bilini, pisnі, parts -pissenny and indistinctly tied with folk music, іnshi -kazki, tell, legends -rospovidni, third -ryazheni, folk p'usi -dramatic. Bilini, perekazi, kazki, lyubovna lyrica live a pose with a sound with a rite; holosinnya, viroki friends, carols, spring flowers tightly knitted with family or calendar rites; koliskovі pіsnі, whispering in the childish middle; bilini, historical pictures, legends є over-the-bed, only grown up, etc.

Rizna and sounds around the old folklore genres with the bobbing, with the action, with the minds of the life of the Russian people, now and then the first historical portions.

So, for example, serpents, calendar rituals and calendar travels will inevitably go out of the people's beggars when the weather is lost in its magical significance, the fun rite is interrupted and the travels are connected with it, and there are some bad luck to cease being "sloppy" and to be transformed in the same holy.

To this, the historical valleys of the same genres were laid out in a fashionable way. Some of them in the Danish hour irrevocably went out of the folk pobutu, however, through those who stink live life in the bottom, they did not lose their meaning as an element of folk culture -such is the proportion of bilini. Інші genre to promote, constantly change and transform, life in a folk beggar -such is the proportion of kazoks and pisen. Bagato genre in our hour is getting to know, so as they got to change their minds, as they took their decisions and saved them, -this is the proportion of zm i ceremonial folklore... Deyaky genres move from one auditorium to one. For example, a number of ceremonial songs are included in the childish igri, and the kazki about the creatures are added to the banny of the childish repertoire.

Rіznі vidiі the genre of folklore is not stable, the stench in post-rus, Step by step interchange one with one. Create some genres, it is possible to almost certainly be from viconavtsiv-maestrovs, majzhe profesіonalіv, such as є announcements of bilin. For the old hours, the famous bilin became popular for an hour far beyond the borders of their village. Create other genres can live in the mouths of ordinary viconauts, Kazakhs and songwriters, middle ones, however, one can also see the knowledge of the mighty mystery. Nareshti, up to the third (by the order, by orders) the skin turns.

visnovok

With such a rank, we come to the establishment of the fact of a special systemic nature of folklore, like the glory of artistic creativity. folklore -the essence of folk creativity. Yogo forma include usnopoetic genres, music, dance, іgri, mythology, rituals, performances, crafts, architecture and other types of artistic creativity. So, musical folklore includes in itself a sensible and instrumental creativity of the people, which depicts its history, pobut, praznennya, think. Folk music Being the result of a collective creative process, it is formed on the basis of artistic traditions of bagatokh pokolin. Transmitted from voice to mouth, folk melodies are constantly changing and changing: in the rural regions of the country there can be a growing variety of one and the same motive, singing. Main area of ​​musical folklore -Narodna Pisnya -navazhlivishe dzherelo professional music. Inspired by the vinous richness and versatile genres (songs of rituals, satirical, works, games, lyrical and inn.), People's paintings rіznih lands may be specific rice (sub-voice polyphony of Russian folk songs, harmonious storehouse of melody of new songs, primitive rhythmic and intonic storehouse of baguettes of common drinks, etc.).

The reality is perceived in the eyes of artists not at all -here in the manifestation of vibrancy in the appearance of real light. Vitvoryuly and transformative power of artistic svidomosty is manifested in the most composited elements to appear in the active reality, in. Substitution of elements in the transfer of empirically learned facts to the gaggle. Tim himself, in the mystery, is spinning ideological or utilitarian-butt-like intrigue of the creator in cognizance of reality. Whether it is an artistic image, it’s the way it is brought up to reality, but it’s taken vibrantly, permeated with the public. Changing the judgment on the matter of thinking about the system, we can say: the system of the real entities themselves, their internal integrity and the unity of their components with different interrelationships -the system is povna, and the system of artistic creation -It is not perfect, for the given reason is the reality of the supply in the form of vibrating components. The systemic object in yogo real life cannot be extended or sounds beyond the rakhunok of something. On'єktivnі system іvіdrіnіyayutsya again, if only all the stench would not be recognized. On the right is a system, sub'actively set up by one author, or perhaps by creators: it may have been updated, re-energized, it may have been added to it. In artistic systems, the number of parts is obvious, that is, the number of parts is obvious.

The prospect of a systematic analysis of genres in folklore poses by all means: in vivede folklore on the way home history folklore. Poki really mozhliviy only skin analysis genre in okremo. Robot from the development of the "genre" ravine to the widest range of business, so there are genres in general, - on the right maybutny.

List of Victory Literature

1.Bogatirov P.G. folk art... M., 1971.

2.Veselovsky A.N. historical poetics... L., 1940.

.Volman S. System of genres as the problem of historical-historical literary knowledge // Problems of modern philology. M., 1965.

.Zhirmunskiy V.M. Entry to Literary Studies: Course of Lectures. SPb., 1996 ..

.N. Kondakov Logic vocabulary. M., 1971.

.Context - 1973. Literary and theoretical preliminaries. M., 1974.

.Kravtsov N. І. Problems of Slov'yan folklore. M., 1972.

.Likhachov D.S. Poetics of Old Russian Literature. M., 1979.

9.Pospelov G. N. Problems of historical development of literature. M., 1972.

.Propp V.Ya. Genre warehouse of Russian folklore. - In the book: Propp V.Ya. Folklore and performance. M., 1976.

.Ribnikova M.A. Riddles. M., 1932.

.Tinyanov Yu. N. Poetics. History of Literature. Kino. M., 1977.

.Khalizev V.Є. Theory of Literature. M., 1999.

.Khrapchenko M. B. Sobr. cit.: in 4 volumes, vol. 4.