Types of folk literature: fables, riddles, proverbs, sayings, counting rhymes, tongue twisters. What are nursery rhymes, sentences, tongue twisters, riddles, fables, proverbs and sayings. entertaining facts (grade 2) on the topic Funny folklore tongue twisters counting

Abstract

"At Ivanov's yard

The water caught fire.

The fire was extinguished in the whole village,

But the fire was not extinguished ... "

Fables. Nursery rhymes. Proverbs and sayings. Tongue Twisters. Rhymes

Fables

cat and hen

Proverbs and sayings

About skill and diligence

About laziness and negligence

About nature

Tongue Twisters

Rhymes

Fables. Nursery rhymes. Proverbs and sayings. Tongue Twisters. Rhymes

Fables

At Ivanov's yard

The water caught fire.

The fire was extinguished in the whole village,

And the fire was not extinguished.

Grandfather Foma came

Scattered beard.

He drove the people into the barn,

Put out the fire alone.

How Thomas put out the fire

He didn't say anything about it.

Only heard from the side:

He put out his beard!

nursery rhymes

cat and hen

cat on the window

sewing a shirt,

Hen in boots

The hut is sweeping.

Mice

Mice lead a round dance,

A cat is napping on a couch.

Hush, mice, don't make noise,

Don't wake the cat Vaska.

Here Vaska the cat wakes up,

Will break the whole round dance.

Cockerel

Cockerel, cockerel,

golden scallop,

butter head,

Silk beard!

Do you let Vanya sleep?

Proverbs and sayings

About Motherland

For your Motherland, do not spare either strength or life.

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

Where there is courage, there is victory.

About friendship

There is no friend - look for, but found - take care.

All for one, one for all.

About skill and diligence

Business before pleasure.

Teaching 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 negligence

Hurry up and make people laugh.

Under a lying stone and water does not flow.

Don't rush with your tongue, hurry with your deeds.

If you do it in a hurry, you will do it for a laugh.

About nature

Summer is a store, winter is a trap.

December ends the year, and winter begins.

Lots of snow, lots of bread

a lot of water - a lot of grass.

The frost is not great, but it does not order to stand.

Spring is red with flowers, and autumn with sheaves.

Tongue Twisters

Grass in the yard, firewood on the grass.

Do not cut wood on the grass of the yard.

* * *

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

* * *

The raven raven crowed.

Rhymes

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

I'm milking peas

I'm milking peas

On Ivanov current.

The hen is running towards me

The caulker is in a hurry.

Oh, she's running, in a hurry,

Does not say anything.

A feather from a chicken

Flew far away

Oh, far, far away

in Ivanovo village.

* * *

zealous horse,

Longmane

Rides across the field

Rides the field.

Togo will catch

With us in the halls

* * *

The countdown begins:

A jackdaw sat on a birch,

Two crows, a sparrow,

Three magpies, nightingale.

* * *

Oh you, dawn-dawn,

Evening dawn.

And who will find the dawn

He will go out.

* * *

Sun-bucket,

Look out the window!

Sunshine, dress up!

Red, show yourself!

At Ivanov's yard
The water caught fire.
The fire was extinguished in the whole village,
And the fire was not extinguished.
Grandfather Foma came
Scattered beard.
He drove the people into the barn,
Put out the fire alone.
How Thomas put out the fire
He didn't say anything about it.
Only heard from the side:
He put out his beard!

nursery rhymes

cat and hen

cat on the window
sewing a shirt,
Hen in boots
The hut is sweeping.

Mice

Mice lead a round dance,
A cat is napping on a couch.
Hush, mice, don't make noise,
Don't wake the cat Vaska.
Here Vaska the cat wakes up,
Will break the whole round dance.

Cockerel

Cockerel, cockerel,
golden scallop,
butter head,
Silk beard!
That you get up early
Do you sing loudly?
Do you let Vanya sleep?

Proverbs and sayings

About Motherland

For your Motherland, do not spare either strength or life.

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

Where there is courage, there is victory.

About friendship

There is no friend - look for, but found - take care.

All for one, one for all.

About skill and diligence

Business before pleasure.

Teaching 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.

In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes created for the little ones.

Lullabies are a folklore genre of all times and peoples, eternal and. a wonderful genre, addressed to the smallest representatives of the human tribe. In the old days, lullabies had a ritual, magical meaning: they drove away evil spirits, called for good forces. Often in lullabies, spells from ailments and damage were combined with a prayer entrusting the child to divine powers. In later samples of lullabies, pictures of nature, family life, and genre sketches are presented. Lullabies also pursue a purely practical goal - to calm the child, to put him to sleep. Hence the peculiarity of poetics - the monotonous repetition of the same syllables: guli-guli, bayu-bayu, lyuli-lyuli, etc.

Kotya, Kotinka, Kotok,

Kitten - gray tail,

Come, kitty, spend the night,

Rock my baby.

Through Grandma's Yard

A clear hawk flew,

He lost his boot, Shouts - grandmother, help me out,

Give me a shoe

Me: no time to help out,

We need to rock Vanechka in a cradle.

Pestushki and nursery rhymes. Accompany various manipulations with the child: dressing, washing, first steps, etc. Water, water, wash my face...

From goose water, from Vanyusha thinness ...

Magpie-white-sided ...

Let's go, let's go to the forest for nuts_

Funny children's folklore.

Both children and adults are well aware of nursery rhymes, fables, counting rhymes, teasers, tongue twisters, laughers and other poetic hype, which in everyday life is considered to be empty fun. In fact, without these cheerful and funny rhymes, without the verbal game that they contain, the child will never master his native language perfectly, will never become its worthy master, able to express any thoughts, feelings, experiences, understand the meaning of the speech addressed to him. Amusing folklore is a source of humor that forms this feeling, so necessary for adulthood, in young children. In addition, amusing folklore often underlies many literary works, especially children's poetry. It contains the origins of the absurd poetry so popular in the 20th century.

joke - a small funny work, statement or just a separate expression, most often rhymed. It can also exist outside the game (unlike a nursery rhyme). The joke is always dynamic, filled with energetic actions of the characters. At the heart of the joke is always action, movement. The joke raises the child to a new level of thinking, its reticence makes the reader and listener want to think, fantasize, that is, it awakens thought and imagination.

Often the joke is built in the form of questions and answers, dialogue. this makes it easier to perceive the switching of action from one scene to another, to follow the rapid changes in the attitudes of the characters.

Knocking, strumming down the street,

Thomas rides a chicken

Timoshka - on a cat,

On a crooked path.

Where, Thomas, are you going?

Where are you driving?

I'm going to mow hay.

What do you want hay for?

Feed the cows.

What do you want cows??

Milk milk.

Why milk?

Feed the kids.

Like a river no river / Katya, Katya, Katyukha ... / Like a thin ice ...

English folk songs

In one region there was such a case: walking once,

The sage came across a thorny bush and scratched out an eye.

But he was extremely smart

And without saying a word

he wandered into another bush

and scratched his eye again.

I give you my word of honor... Where were you today, pussycat?

So, jokes are colorful word pictures that make up the world of everyday impressions of a child: everything that surrounds him in the house, in the yard, on the street. the joke invites children to see the funny in life, to learn how to convey funny in a word. The humor of ridiculous provisions, questions, suggestions, prepositions is the element of these rhymes and songs. At the same time, the joke retains a serious intonation, giving the listener the opportunity to figure out for himself whether he is funny or not.

The same imaginary game in the unusualness of situations, questions, intonations is offered to the child by children's poets in comic poems. In prosaic, everyday, seemingly familiar phenomena and objects, poets are able to see the unusual and surprising. They invite the child to rejoice and be surprised with them, if, of course, the child solves the mystery of the verse, the verbal and semantic tricks of the author.

D. Kharms. "Amazing Cat" is an intellectual game of the absurdity of the proposal and its unexpected consequences. The cure is balloons. O. Grigoriev:

The summer resident took a purse and a basket,

He went to the forest to buy raspberries.

Returned home - Didn't bring anything!

There are berries - there are no sellers.

Changeling -"stupid absurdities", "rhymes upside down" eng. "topsy-

tarvey-rhymes". A group of folk poems, the content of which is deliberate nonsense, absurdity. Changeling - this word was invented by K. Chukovsky, he gave a definition to this genre: a game of the mind in reverse coordination, when the properties of object B are attributed to object A, and the properties of object A are attributed to object B. The basis of the changeling is the technique perversion

permutations of subject and object.

The village was passing by a peasant,

Suddenly a gate barks from under the dog. A stick jumped out with a woman in his hand

And let's beat the horse on the man.

The horse ate fat

And the man is an oat.

The horse sat in the sleigh

a man drove.

The roofs were scared

Sit on a raven

The horse drove

sixth man.

Fables-shifters moved into children's folklore from buffoon, fair folklore, in which the favorite technique was oxymoron- a stylistic device consisting in the combination of logically incompatible, opposite in meaning concepts, words, phrases, as a result of which a new semantic quality arises.

I'm not a tyatkin's son, I'm not a mother's son.

I grew up on a Christmas tree, the wind blew me away.

I fell on a stump, became a good boy.

I sat on a pear tree in the garden,

I wanted to dig beets.

But at that moment he called me

The same grandfather whose bow I tore.

Oh you are a thief! What a sin!

Again you climbed a nut!

Because of you I still

Didn't see ripe tomatoes!.

When reading turnarounds, the child takes pleasure in realizing that he is not a fool: he knows how things really happen, and he will never allow himself to be fooled and deceived on nonsense. Self-affirmation is necessary for a child in his daily difficult work of knowing the world. A children's game of shifters is a test of the strength of knowledge about the world. Absurdity, nonsense, changelings are an excellent means for educating a child's sense of humor, healthy food for a child's soul, satisfying the child's need for fun, laughter, and joy.

The virtuosos of changelings are children's poets. There is no such field of knowledge, including vocabulary, phonetics, grammar, syntax, where the writers of children's verses did not find the opportunity to indulge and play pranks.

Oleg Grigoriev.

The cook was preparing dinner

And then the lights were turned off.

Bream cook takes

And lowers it into compote.
Throws logs into the cauldron,

Putting jam in the oven

It interferes with the soup with a stalk,

Ugli beats with a ladle.

Caxap pours into the broth

And he is very pleased.

That was the vinaigrette

When they fixed the light!

E. Uspensky

I do not praise myself in vain,

I speak to everyone and everywhere. That any offer right away I will repeat

“Vanya rode a horse, Led a dog on a belt,

A old lady at this time

I washed the cactus on the window.

Vanya rode a horse

Led a dog on a belt, Well, a cactus at this time

I washed the old woman on the window "" I rode a cactus on the window,

Led the old woman on a belt,

A doggy at this time

Soap Vanya on horseback...

I know what I'm saying

I said I'll repeat

It came out without error

And why boast in vain,

Poems by K. Chukovsky "Confusion", S. Marshak "That's how absent-minded", D. Kharms "Ivan Toporyzhskin", G. Sapgir "Neblits in faces", "Crocodile and Rooster", B. Zakhoder "Where to put a busy" and many other. When writing turnarounds, the authors make sure that the child's thought does not get stuck in a template, is not content with what has been learned and assimilated, is not straightforward and boring.

Tongue Twisters. A tongue twister is a fun, harmless game of quickly repeating hard-to-pronounce words and phrases. The main purpose of turning to the tongue twister is to develop the correct diction in the child. Meanwhile, this rather boring goal is turned into a fun game. “There is grass in the yard, firewood on the grass”, “firewood”, “Sasha walked along the highway and sucked dryer”, “Karl and Clara stole corals” and many others. . other. One of the distinguishing qualities of many tongue twisters is humor, they are funny in their absurdity, they are not only difficult, interesting and useful, but also funny to pronounce. “On a hill, on a hillock, there were 22 Yegorkas, Raz - Erorka, two - Yegorka, etc.” Isn't this one of the origins of the art of the absurd?!

Rhymes- a way of realizing objective justice invented for children from time immemorial. As if fate itself, and not the authority of an adult, manages the distribution of roles. The most common type of rhyme is intended directly for the calculation of the players. The requirements of the rhyme are varied and rarely repeated. For example, in the counting rhyme “They sat on the golden porch ...” you need to correctly answer the question: “Who are you?”. The same type includes counting rhymes with the requirement to name the number of objects;

“The seagull warmed up the kettle, invited eight seagulls, come all for tea, how many seagulls, answer!

"Vanya was driving from Kazan,

one and a half hundred rubles sleigh,

fifty rubles arc,

The boy is the girl's servant.

You, servant, give the carriage,

And I'll sit down and go

You, servant, give me a broom,

And I will sweep in the carriage.

You, servant, give me a lemon

And roll out"

teasers - reflect negative aspects in the perception

children of the environment. The teaser is designed to put the offender in his place, to express his attitude to unpleasant deviations in behavior, habits, and appearance. Two waves of feelings merge in a teaser: laughter, fun, fooling around by strangers, those who shout the teaser, and resentment, shame, indignation of the one being teased. The more absurd the accusations, the more unbearable it is for the offender, the more joyful for the one who repairs verbal judgment. The teaser is prone to exaggeration, understatement, annoying repetition, nonsense, absurdity, changeling (“sneak - snag, salted cabbage, ate a rat without a tail, and said it was delicious”, greedy beef, pickled cucumber, lying on the floor, no one eats”, “The simpleton was deceived into four fists”, Reva-cow, give me milk, how much it costs, three nickels.

Children's knowledge of folk teasers, the ability to use them is not only the prevention of their own mental health, the ability to express negative emotions, but also a good preparation for the perception of satirical poetry.

Puzzles - an important genre of children's folklore, the mastery of which contributes to the mental development of the child. There are no trifles for a riddle, nothing uninteresting and unworthy. Celestial bodies and natural phenomena, household items, various forms and tools, and much more make up the main content of the riddles. The riddle does not describe the object, does not compare it with similar ones, but replaces it with something else, suggests something else instead of one. (Metaphor). For example, in a riddle about ants: peasants came without axes, cut down a hut without corners.

Of course, it is very difficult for children to guess the riddle, and sometimes it is impossible. Yes, this is not required. Having tormented the child with a riddle, an adult will tell you the answer. It is important to figure out what the y riddle has in common with the answer. therefore this couple - a riddle-answer - is always together, "White are the mansions, red are the supports." (goose)

Imagery, unexpectedness of comparison, non-standard thinking - this is taught to the child by riddles. Knowledge of riddles - not only develops memory, but brings up a poetic feeling, prepares the child for the perception of classical literature.

So, we have touched only on some genres of children's folklore. it cannot be considered that folklore is a category of deep antiquity. It continues to develop as long as there are creative people, including children's folklore. New genres of children's folklore are emerging and old ones are developing: horror stories, anecdotes and much more.

Literary critic V. Kalugin wrote: “Folklore is a treasure not only of folk poetry, prose, music, but also of pedagogical thought. Folklore is artistic pedagogy, education in words, music, movement, rhythm. Already lullabies, pestles, nursery rhymes tune the child to a certain musical and poetic mood. “Ladushki”, “Forty-white-sided” are also the best way to coordinate movements (folk aerobics), and tongue twisters - to develop speech, eliminate its defects (folk speech therapy). No less important in folklore education are riddles that develop intelligence, ingenuity, imaginative thinking_ through assimilation, a metaphorical description of the subject, riddles, like counting rhymes, children's games - this is also a way of teaching counting, a kind of "live arithmetic". Let's add to this proverbs and sayings: which from childhood they taught, instructed, added to the unwritten laws of people's life.

Comprehending the laws of life with the help of various folklore genres, the child learns about the world not only serious, but also funny truth, learns to think, rejoice and joke. Folk pedagogy is instruction, but not tediousness. The realm of fairy tales was the same - both serious and cheerful, but by no means boring.

The concept of "children's folklore" and its scope. Collecting and studying children's folklore. Classification of children's folklore Lullabies, their themes, images, style. Pestushki and nursery rhymes. Jokes. "Dirty Tales". Changelings. Invocations and sentences, their connection with calendar poetry. Teasers. Scary stories. Word games. Silences and voices. Cuts. Tongue Twisters. Game folklore. Draws. Rhymes. The value 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, due to age-related mental characteristics. In children's folklore is the key to understanding the developmental psychology, children's artistic tastes, children's creative possibilities. The term "children's folklore" came into scientific use in the Soviet era.

Most scholars classify children's folklore not only as what exists in the children's environment, but also as nurturing poetry, that is, adult poetry intended for children, which significantly changes the specifics and scope of the concept of "children's folklore". What exists in the children's environment is not always actually children's creativity. The role of borrowings from the folklore of adults, literature and other forms of art is great. With a visible difference between children's folklore and the folklore of adults, there is no clear boundary between them, and many works can equally be attributed to both. Thus, children's folklore is a specific area of ​​folk art. It unites the world of children and the world of adults, contains a whole system of poetic and musical-poetic genres of folklore.

In many children's songs and games, the time and events that have long been lost by the memory of the people are reproduced. Children's folklore helps historians, ethnographers to better understand the life, way of life, culture of our ancestors. Many children's amusements are "joking imitation of the serious business of adults", a means of preparing children for life. They reflect the production and economic activities, national psychological traits and the social life of the people.

History of collecting and studying children's folklore. At the beginning of the 19th century, A. Glagolev, who wrote about the beauty of rituals, drew on a children's song associated with the ritual of worshiping the sun and the cult of trees. I.P. Sakharov already in 1837 in "Tales of the Russian people" publishes nursery rhymes, a lullaby, gives a description of several children's games.

In 1837, in the Notes and Notes on Siberia, E.A. Avdeeva gave live 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 were singled out in a special group for the first time. A. Tereshchenko in the book "Life of the Russian people" (St. Petersburg, 1848) introduced a significant layer of children's creativity into science.

In the 60s, pedagogical journals 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. Potanin, M.F. Krivoshapkina, A.N. Afanasiev and others.

IN AND. Dahl in his collection "Proverbs of the Russian people" gave a significant place to tongue twisters, riddles, game sentences, cuts, counting rhymes. He tried to introduce into scientific circulation the terminology taken from the lips of the people (“horsemanship”, “lot”, “patter”, “jokes”, etc.).

A major step in the development of "folkloristics of childhood" was the collection of 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 pestle 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 includes 122 works. In the appendix were given options for songs and descriptions of children's games. At the end of the century, Shane published two hundred and eighty-five texts in the section of children's songs in Velikorus. P.V. Shane singles out the songs "lullabies and amusements", "song jokes and sentences", "drawing song jokes before the start of the game (konanya)", "children's games (with song sentences)". Children's folklore has already emerged as an autonomous area of ​​folk poetry.

In the 1970s and 1980s, much attention was paid to children's folklore. According to the scientific level, the works of V.F. Kudryavtsev, K. Ryabinsky and P.S. Efimenko, A.F. Mozharovsky. The most significant contribution to the science of this period was the works of E.A. Pokrovsky devoted 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 counting rhymes retained 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, the system of folk thinking. I.P. Khrushchev saw in children's songs a reflection of ancient pagan rites and modern peasant life. A.F. Mozharovsky considered children's folk art in connection with children's life, with the whole way of peasant life. E. V. Barsov advised to more fully reflect the influence of God and the church on the upbringing of the child. On the theoretical level, A. Vetukhov's study "Folk Lullabies" (M., 1892) stands out among all the works. The scientist singled out the main motifs of lullabies, their images, established their direct dependence on everyday life, living conditions, 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, writers systematically collected and studied children's creativity. Let us especially note the works of K.I. Chukovsky, O.I. Kapitsa, G.S. Vinogradova, M.N. Melnikov.

K.I. Chukovsky collected the richest material for the study of children's word creation and poetic creativity of children. His researches and observations, publications later combined in the book "From Two to Five", contain material of great scientific value. He developed the theory of the genre of shifters, showed when, how and under what conditions, children master folk poetic riches.

O.I. Kapitsa did a great job in organizing the collection, publication 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, 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. Starting from 1922, his works "On 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" literature", "Russian children's folklore: Game preludes", "Cuts".

At the end of the 50s, V.P. Anikin’s work “Russian folk proverbs, sayings, riddles and children's folklore” was published. Written at a 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 in textbooks on oral folk art and children's literature appear. The works of the talented Siberian folklorist M.N. Melnikov appeared. 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 generalizing theoretical work on children's folklore. In addition to theoretical articles, it contains the richest textual material.

Classification of children's folklore. So far, there is no generally accepted classification of genres of children's folklore. Almost every researcher puts forward his own classification scheme. O.I. Kapitsa proposes the division of children's folklore according to the age gradation of children. She attributed maternal poetry to children's folklore. Fairy tales created by children, in her opinion, cannot be the subject of study of folklore and ethnography at all.

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

V.A. Vasilenko singles out the following sections: 1) lullabies; 2) works related to game actions; 3) works that engage children with verbal content and are performed regardless of game actions.

The classification proposed by M.N. Melnikov, based 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 proposes the following classification of children's folklore.

Poetry of nurturing. It includes genres of poetry that are specific to each period of a child's life. This includes lullabies, pestles, nursery rhymes, jokes, boring tales.

household folklore. This includes children's folk songs, incantations and sentences, children's ritual poetry, nicknames and teasers, children's fairy tales, horror stories.

Amusing folklore includes word games, silent and golosyanki, poddevki, cuts, tongue twisters, fables, shifters, riddles.

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

POETRY OF NURSING has genres of poetry that are specific to each period of a child's life. In the works of maternal poetry, various methods of education are fixed. They not only teach, improve the mind, educate morally, but also deliver incomparable aesthetic pleasure to children. The poetry of nurturing is very diverse both in terms of poetics, and in the nature of performance, and in its everyday purpose.

Lullabies that lull a child to sleep got their name comes from the word sway (sway, sway, swing, sway). In some areas they were called "baizes" - from the verb "baykat" (lull, swing, lull). The genre features of these songs are determined by their function - the desire to lull, lull children to sleep. Hence their rhythmic correspondence to the movements of a woman rocking a child in her arms or in the cradle. They hear the creak of unsteadiness:

And swing, swing, swing,

The rooks came to us.

The gate is a creak, a creak,

And Vanechka sleeps, sleeps.

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

Even in ancient times, people well understood 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, a calm long sleep is an indispensable condition for rapid growth and development. People noticed that on the way, with rhythmic movement, swaying, the child quickly falls asleep. The monotonous lullaby with its simple rhythm soothed the child, lulled him to sleep, which is very important for physical development.

An analysis of the most ancient lullabies shows that the circle of poetized persons, objects, and phenomena is extremely narrow. This is the baby, mother, father, grandmother, grandfather of the child. These are domestic animals - a cat, a dog, ghouls (pigeons), rooks. These are the mythological images mentioned above: the mother calls the good Sleep and Dream, the strict Ugomon, the terrible Buku. This is a golden cradle, a cradle “turned, gilded”, a golden hook, a blanket. The idea of ​​the happiness of the family and the child was associated with bread, with food, with the dream of satiety. Caring for the nutrition of the child during the lullaby period was one of the main concerns of the mother. Therefore, the motif of food (“porridge in a cup, a piece of cake and a jug of milk”, etc.), feeding, food became almost a through motif of all lullaby poetry.

Constantly lacking sleep, the peasant woman spun and wove to dress her family. The whole winter passed in this exhausting, monotonous labor. In lullaby songs, a canvas bed is rarely mentioned. More often over the cradle of the child, the dreams of the mother are expressed

Bikes, bikes,

Mothers are Chinese

Father - kumach,

Brother - marigold ...

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

For more than a hundred years, scientists have been debating the motive of wishing the death of a child in some lullabies. In the 70s of the 19th century, reactionary journalism used this motif to prove the absence of a moral principle among the Russian peasantry. Other point of view: N.M. Eliash saw in the motive of wishing the death of 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, tried to deceive evil forces. (“Bai da lyuli, at least die today”, “Bai, bye, bye, even 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 protection to the child. The following lullaby has survived:

Bye-bye, bye-bye

Khan Mamai came to us.

Mamai came to us

He asks - give Vanya back.

And we will not give Vanya,

Suitable for us.

Artistic style of a 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, sensual perception of the world, the lullaby paints this world not in colorful immobility, but as a world of rapidly moving creatures and objects:

I shake, I shake

Father went for fish

Mother went to carry bags.

Boushka ear to cook,

Boushka ear to cook,

And grandfather beckon pigs.

Here each verse is a new dynamic picture. The child is not yet able to keep this or that image, this or that word in memory for a long time, to stop his attention on one thing for a long time. Lyrics are, as it were, 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 "nurse" - to nurse, raise) - these are short sentences. They amused the child, instilling in him the first life skills, forcing him to sit down, stretch, walk. Perhaps they once had a magical meaning. They infect the baby with cheerfulness and fun. According to the rules of folk pedagogy, in order to bring up a physically healthy, cheerful and inquisitive person, it is necessary to maintain joyful emotions in a child during his waking hours.

Having swaddled the child, the mother or nanny with both hands, slightly squeezing the child's body, passes several times from the neck to the feet. This kind of massage helps to restore blood circulation, excite the vital activity of the whole organism, which is very important during the period of initial growth.

Stretches, stretchers,

Across the plump

And in the legs of a walker,

And in the hands of a grabber,

And in the mouth of talkers,

And in the head of the mind.

As the child grows, the exercises become more difficult. To exercise the muscles of the hands and consolidate motor skills, the method of slowly spreading the child's hands is used, as if imitation of swimming. This is reinforced in the more complex text of the pestle:

Tyatenka - a sazhen,

Mom - a sazhen,

Grandfather - a sazhen,

Grandmother - a sazhen,

Brother - sazhen,

Sister - fathom,

And Kolyushka -

Big, big.

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 muscles of the torso, the development of courage in a child, he is often “tushed”, that is, by planting him on the palm of one hand and supporting his chest with the other hand, they throw him up, holding him with one hand, and then pick him up with the other.

Chuk, chuk, chuk, chuk,

Grandfather caught a pike

Grandma baked a fish

The pan is gone.

The most common and well-known are such nursery rhymes as “There is a horned goat”, “Magpie-crow cooked porridge”, “Ladushki”, “White hare, where he ran”, “On a flat path”, etc.

Jokes are songs of a plot nature with which adults amuse children. All jokes have one common goal - to amuse listeners. And at the same time, they are called upon to turn the small, closed world of the child into an “open” and infinitely diverse world, which is vital for him. Jokes, 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 on the stove

Crackers push.

Our cat has

Three sweet cakes

And our cat

Three cellars of milk.

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

The joke is characterized by high artistic merit: vivid imagery, rhymes, richness of alliterations, sound writing, etc. In the joke, the motive is repeated many times, giving new information, which helps to consolidate it in the child's memory.

This can be shown by the example of the joke "A goat went for bast, A goat went for nuts." In the very first two verses, the child is given an idea of ​​the intra-family division of labor. Further, the child learns that the forest is full of gifts (nuts), full of dangers (the goat is afraid of the wolf). That the wolf himself is afraid of the archer (armed man); and the archer is a bear. That “dubye” is cut with an ax, an ax is blunted by a stone, a stone is destroyed by fire, fire is afraid of water, etc. All this is knowledge with which a child will be able to correctly navigate the world.

And the child receives this knowledge through a poetically organized dialogue based on the game of sound and word:

Water does not pour fire,

Fire does not go to burn a stone,

The stone does not go to blunt the ax,

The ax does not go to chop the double,

Dubye does not go to beat the bear,

The bear does not go to tear the archer,

Sagittarius does not go to shoot the wolf,

The wolf does not go to drive the goat -

No goat with nuts

No goats with red-hot.

Such an artistic structure allows you to give a vast amount of knowledge, ensure their lasting memorization, lead the child to an understanding of cause-and-effect relationships, the fact that all objects and phenomena of nature are interconnected and interdependent.

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

Our daughter at home

What pancakes in honey

What pancakes in honey

Sweet apple in the garden.

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

- Titus! Go grind.

- My belly hurts.

- Go and eat porridge.

"Where's my big spoon?"

The boast of the child is answered with a joke-parable:

Van, where are you?

- Yes, here.

- What are you doing?

- Caught the bear.

- Bring him here.

- He's not coming.

- So go yourself.

- But he does not let go!

The term "boring 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 fabulous nature, with which storytellers entertain children or try to discourage their excessive interest in fairy tales. A "boring" fairy tale is offered instead of the usual one. Siberian folklorist M.V. Krasnozhenova wrote: “When telling, they observe pauses and the tone of a fairy tale story and suddenly end almost at the first phrase, and the guys got ready to listen. Raising a cry." She called these works "fairy tales-mocking."

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 the ford”. The narrative part of most texts is borrowed from fairy tales ("Once Upon a Time"). Fairy-tale narration is always broken 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 the text do not end the boring tale, but serve as a bridge to the repetition of the same text. M.N. Melnikov rightly noted that boring tales contribute to the development of endurance, moderation in desires, and a sense of humor. Growing up, children themselves use boring fairy tales to have fun, to make fun of the younger ones.

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

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

A large place in the children's repertoire is occupied by invocations and sentences. Calls - poetic appeals of children to the elements of nature. Once they had a magical meaning, and passed to children from adults. These are appeals to the sun (“Sun, sun”, “Sun, bucket”), rain (“Rain, rain, forest”, “Rain, rain, stop”), 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 sentences to the mouse: “Mouse, mouse, my tooth is on you” - when they throw a fallen milk tooth into a slot; “Mouse, mouse, pour out the water” - when they jump after swimming on one leg, trying to pour out the water that has accumulated in the ear. Now the sentences to the calf (“Telesh, telesh, where are you wandering?”), to birds (“Kite, kite, wheel”) have already been forgotten.

Nicknames and teasers go back to an ancient Russian tradition. The tradition of giving nicknames passed to children from adults. In everyday life in Rus', there were once not surnames, but nicknames given to people by their fellow villagers. A lot of nicknames are epithets created on the basis of consonances: Andrey the sparrow, Natashka the bug, Arkashka the cockroach, Sonya the sleepy, Petka the rooster, Masha the confused.

The teaser, in fact, is a detailed rhyming nickname: "Sneaky trouble, cockroach food." Sometimes teasers turn into whole songs:

petka-rooster

It's rotten on the heap.

Dropped an egg

I took it to the market.

They don't take it at the market

Petka is pulled by the ears.

Horror stories - scary stories - children's oral conditionally realistic or fantastic stories that have a setting for authenticity. Researchers of this genre of folklore O.N. Grechin and M.V. Osorina argue that "terrible stories" in the children's environment have been around for a long time. Direct or indirect confirmation of this can be found in the story of I.S. Turgenev "Bezhin Meadow", in the writings of A.S. Makarenko, A.L. Panteleev, L. Kassil.

This genre is based on fairy tales and bylichki. Some images (a witch, a sorceress), motifs of a magical transformation (a black spot turns into a terrible witch), an orientation towards authenticity came from the bylichki to the horror story. Traditional beginnings are borrowed from the fairy tale (“Once upon a time there was one family”, “A girl lived in one house”). There are traditional motives for violating the ban (not leaving the house, not buying black curtains, etc.). The method of trinity of episodes is used. At the heart of the conflict, as in a fairy tale, is the struggle between good and evil. Good is personified by a boy, a girl, and the police. Evil can be represented as a stepmother, a witch, an old man. Or inanimate objects: a black spot, curtains, a coffin on wheels, behind which an animate being always hides (after the transformation).

The artistic time of the horror story is recently past. The events in the horror story fit into 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 with the unusual, mysterious, terrible, joint collective overcoming of fear 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, poddevki, cuts, fables, shifters, riddles, tongue twisters. The purpose of these works is to entertain, cheer, amuse yourself and your comrades.

Word games were known in Ancient Rus'. Some of them retained archaic features. E.A. Avdeeva in 1837 described the game "Smoking room", which has long attracted the attention of scientists. The game consisted in the fact that the children sat in a circle, lit it, then extinguished it so that it only smoldered, and passed it from hand to hand, saying: “There was a Smoking Room, the legs were thin, the soul was short. Don't die, Smoking room, don't leave sadness, don't make me dance. Everyone tried to get rid of the Smoking Room as soon as possible, saying: he is alive. The one whose splinter went out had to give a phantom.

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

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

From speech games, one can also name the game “Lady”, in which the players had to follow the rules containing prohibitions: “Do not take black and white, do not say yes and no.” In addition, it was impossible to smile and laugh. The game brought up the will, taught to quickly formulate their thoughts and be able to create speech traps. Older people remember attention games: "The Gardener" ("Flowers"), "Paints and the Monk", "Broken Phone".

Once upon a time, “silence” and “golosyanka” were widespread. When playing "silent" after the verdict, it was impossible to laugh or utter a word. Silent women necessarily contain an agreement to remain silent in the form of a spell (“From now on, be silent”, “Who will say a word”, “Chok, chok, chok, teeth on the hook”). The formula of the sentence to the loser: "Whoever says, he will eat", "Whoever says a word, that's a click." Comic texts were very popular with children, for example: “The cat is dead, the tail has peeled off, whoever says it will eat it.”

"Golosyanka" was the opposite of "silence". The children competed to see who would hold out the last sound longer and louder. At first, everyone sang: "Let's sit in the clearing, tighten the golosyanka, and whoever doesn't make it, the same-oh-oh-oh ...". This game was called in a different way "hairy", because. the first one to stop was pulled by the hair, and he yelled at the top of his lungs. Probably, this game contributed to the development of voice data and the regulation of breathing.

Szechki is a word game accompanied by certain actions. The text of sections always contains an encrypted score. The most common number is 15. There are cuts for 22, 16, 23, 26, 41. Boys usually played this game in early spring. They were persuaded to apply a certain number of notches without counting. The player picked up some kind of cutting tool (for example, a knife) and began to quickly strike the tree, pronouncing the text of the cut at the same pace. For example:

Sek, sek twenty,

I'll carve fifteen -

All in full

To a single spot!

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

Tongue twisters, or frequent tongue twisters, were first published by V.I. Dalem in "Proverbs of the Russian people". Apparently, in the old days they belonged exclusively to the repertoire of adults, but later they passed to children. In the children's environment, tongue twisters are used for entertainment. This genre develops a sense of language, helps to eliminate tongue-tied tongue, 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 in speech lessons.

The difficulty in pronouncing tongue twisters is created by the selection of words with the same sounds, most often explosive consonants, for example: “There is grass in the yard, firewood on the grass.” Until now, many tongue twisters are popular with children: “Dust flies across the field from the clatter of hooves”, “Sasha walked along the highway”, “A Greek rode across the river”.

GAME FOLKLORE

For thousands of years, games have been an important means of physical, military and mental training of children, a means of moral and aesthetic education. Children's games are one of the greatest achievements of the national 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 games, children acquired valuable qualities for life. The people understood the pedagogical value of children's games and took care of their safety in every possible way.

It is no exaggeration to say that play occupies an exceptional position in a child's life. It underlies children's leisure, labor and sports. The game develops the spirit and body of the child, acquires knowledge, experience of the life of people of past generations and lays the foundation for his future activities. Playing, children imitate adults, learn life. This can be seen in the impromptu games of modern children. Playing with dolls, the girls "go to visit", reproducing the manners of communication of adults. They play "to the store", "to school". The 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 the book "Primitive Culture" argued that in children's folk games "the ancient stages of the history of the children's generations of mankind are reproduced." This will become obvious if we turn to children's games. The widely known and still popular game "blind man's blind man" reflects folk beliefs in the possibility of reviving the dead man ("blind man's blind man"), a meeting with which one must be able to avoid.

Until now, children play, mainly in kindergartens, the game "At the bear in the forest." This game clearly reveals traces of reverence for the totem beast, which in ancient times they went to “wake up” so that it would not oversleep the spring, put things in order in the forest. There are games that reflect labor processes: “Sow Flax”, “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, Polovtsy, Tatars) on Rus'. Then the ability to find shelter inaccessible to the enemy on the first distress signal was tantamount to the right to life. An analysis of various variants of the game of hide-and-seek, believes 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 who were hiding tried to find such a “lair”, to disguise themselves in such a way that no one would notice their close presence. In addition, the "lair" should not have hampered the actions of the hiding person and given him the opportunity, at the first threat to be caught, by a "bullet to fly out" from the "lair" and catch those who were looking for him. Such a game, Melnikov rightly believes, helped children develop an eye, the ability to disguise themselves, accurately measure their own strengths and capabilities, and run fast. She taught 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 splitting the players into two parties. The division was carried out by drawing lots. Draws are rhyming formulas that serve to distribute the team of players into two parties. The parties in the game are led by two "wombs", the leaders of their parties. In the dominance of the "wombs" one can see traces of matriarchy. All players shared in pairs. They agreed which of them would be conventionally called whom (“I will be a golden saucer, and you will be a bulk apple”). Then they came up and asked: “Uterus, uterus, whose interrogation?” One of the queens (alternately) responded: "My interrogation." One of the players: "Golden saucer or pouring apple?" Mothers were chosen. Then the next couple came up, and so on. until the complete separation of the players.

There is an abundance of actions in the draws: “To be at home or to sail on the sea?” “Plow the field or wave your hands?” “Stove to heat or feed a horse?”. But at the same time, sometimes the verbs are completely omitted: “A black horse or a golden saddle?” “With a swing under the shirt or with a run under the cart?” In ordinary language, this question would sound like this: “Do you take that daring man who can at one moment be under the cart, or the one who will instantly be under the shirt?” Here the speed of action is conveyed with the utmost parsimony of linguistic means and amazing liveliness.

Of all the variety of genres and forms of children's oral folk art, rhymes have the most enviable fate. From early childhood (3-5 years) and before entering adolescence, the counting rhyme is the favorite work of the child. It is customary to call counting rhymes short rhymed verses used by children to distribute roles in the game. In contrast to the draw, the rhyme usually has not two, but four or more verses of comic content. The draw has the form of a question, and the rhyme is pronounced in the form of a recount. The rhyme ensured the equality of the participants in the game. Whom she points to, he will “drive”, “gale”. Therefore, the rhyme was built in such a way that the last line contained an indication of who to drive. The leading recount chants, highlighting each syllable:

Tady-rady, tynka,

Where is our pig?

Tady-happy, talk,

The wolves ate the pig....

Tady-happy, Tishka,

Come out, coward.

Whoever the word “coward” fell on, he leaves, and the last one left is considered the leader.

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

Eniki-beniks, they ate dumplings.

Eniki-beniki, damn it!

Scientists attribute the origin of counting rhymes to pagan times and associate them with a conditional secret speech, on the basis of which the riddle was created. The fear of betraying one's intentions to animals, birds, fish, and even mushrooms led to the taboo of counting. Recall the prohibition of mushroom pickers when picking up to ask how many mushrooms he has already found. Housewives avoided counting chicken eggs so that the hens would not stop laying. Hunters believed that counting the game killed during the hunt would lead to failure. This led to the fact that people came up with allegorical forms of counting.

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

In terms of the strength of the aesthetic impact on the children, in terms of their prevalence, in terms of the number of works, counting rhymes are unmatched. The rhyme did not know class barriers. Almost every child knows more or less texts. Competition in the knowledge of counting rhymes makes children learn more poems, and thereby develop memory. The right to recount, according to children's unwritten laws, is not granted to everyone, but only to those in whom the rest are sure that he will honestly keep the score that determines the fate of the players. Violating this rule loses the trust of comrades. The performance of counting rhymes develops a sense of rhythm, which is necessary in a song, in a dance, in work. The sound organization of counting rhymes captivates with its beauty, makes an unforgettable impression.

What are ROLLS, SAYINGS, PATTERS, RIDDLES, TALES, PROVERBS AND SAYINGS.

ROLLS - short rhymes (less often songs) intended for the entertainment of infants and accompanied by elementary game movements: during pronunciation or singing. The purpose of nursery rhymes is to amuse, amuse the child, cause a good emotional state. Most Popular Stories: " Ladushki "(clap children's hands to the beat of the verses, at the conclusion. words, the pens are spread and placed on the head:"They flew, sat on the head!"); " Magpie "(playing with the fingers of a child imitates cooking porridge and distributing it to children);"There is a horned goat"(gestures of an adult depict a meeting with a goat). Nursery rhymes are a wonderful invention of folk pedagogy and folk poetic creativity, based on a deep penetration into the psychology of early childhood.

aba sowed peas -
Jump jump, jump jump!
The ceiling collapsed
Jump jump, jump jump!
Baba walked, walked, walked,
Found a pie
sat down, ate
Went again.
Baba stood on her toe
And then on the heel
They began to dance Russian
And then squat!

This basket
There are many colors.
We took them
from different gardens.
Rose, violet
Alee here is
Necessary for granddaughter
Weave a wreath.
Manyushka, Manyushka,
How good you are.
grandma loves you
From the bottom of my heart.

about the garden, in the garden
There is a dog running.
Legs are thin
Boca calls,
And a squiggle tail
They call her Bug.

- mustache, geese: - Ha-ha-ha.
- Do you want to eat? - Yes Yes Yes.
- Bread and butter? - No no no.
- And what? - Candy, candy!
- Well, fly as you like!
- Just take care of the wings!
- Gray wolf under the mountain
- He sharpens his teeth, he wants to eat us!

ryndi-bryndi, balalaika,
A babayka sits under the table,
And the babai is sitting on the stove,
He has rings in his ears.

we have a big family
Yes funny:
Two are standing by the shop;
Two want to learn;
Two Stepans with sour cream
Overeat;
Two Dashas at the porridge
Eat;
Two Ulkas in a cradle
sway;
One Masha is not ours,
Yes, and that's good.

- little murine,
Where were you?
- At the mill.
- Kitty-murisonka,
What did she do there?
- I grinded flour.
- Kitty-murisonka,
What was baked from flour?
- Gingerbread.
- Kitty-murisonka,
Who did you eat gingerbread with?
- One.
- Don't eat alone! Don't eat alone!

Sentences - appeal to animals, birds, insects. Household name "bewitchers".

ladybug

Fly to the sky

There are your children

Eat sweets

Everyone one by one

And you don't have one

bring me some bread

black and white

Just not hot

butterfly box

Fly to the cloud

There are your children

On a birch branch

snail of goodness

let out the horns

I will give you a cake

And a jug of milk.

Mouse, mouse

Take a rotten tooth

And give me a good one.

Patter - genre of oral folk art. This is a specially selected phrase with a difficult to pronounce selection of sounds, a quickly pronounced comic saying or a joke. They help the child to quickly master their native speech and learn to speak well.

The beetle buzzes over the lampshade,
buzzing beetle,
Buzzing, spinning.

Cuckoo cuckoo bought a hood.
Put on a cuckoo hood,
How funny he is in the hood!

Mystery , the genre of oral folk art among all peoples of the world; a poetic, often allegorical description of an object or phenomenon.The main purpose of the riddle is that it develops a person's ingenuity, ingenuity..

A girl sits in a dungeon

And the spit is on the street.

Ku-ka-re-ku he screams loudly,
Flapping its wings loudly, loudly,
Hen is a faithful shepherd,
What is his name?

Calls are appeal, certainly in poetic form, to natural phenomena.

Sunshine, sunshine
red bucket,
Rise high
Shine far:
To the dark forests
On raw borks,
To the river, to the fields,
To the blue seas
To the green garden
And for all the people.

Spring, red spring!
Come, spring, with joy.
With joy, joy
With great mercy:
Freak flax high,
Rye, oats are good.

Oh, sandpipers, larks,
Fly to us in odonushki
A sandpiper flew from across the sea,
Sandpiper brought nine locks.
"Kulik, kulik,
Close the winter
Unlock the spring
Warm summer!"

Fiction - it is fiction, fiction; something that doesn't happen in life. It awakens fantasy, imagination.

Early in the morning, in the evening
Late at dawn
Uncle rode on horseback
In a chintz carriage.
And behind him at full speed
jumping steps,
The wolf tried to swim
A bowl of pies.
The hare looked up at the sky
There's an earthquake
And from the clouds on him
Dripping jam.

Rides on a fox
hen riding,
The cabbage head is running
With a somersault hare.
Catching a pike in the sea
fisherman's net,
swimming cow
In a cap of milk.
grain of wheat
The sparrow pecks
And the worm to the crow
Carries in a box.

Proverbs and sayings- apt expressions created by the Russian people, as well as translated from ancient written sources and borrowed from works of literature ...

So the proverb is a whole sentence

a saying - just a phrase or phrase. This is the main sign distinguishing proverbs from sayings.

Proverb contains morality, morality, instruction. Proverbs usually consist of two parts: “If you do it in a hurry, you will make a mockery”; “The earth is painted by the sun, and man is painted by labor.” Often these parts rhyme. "Without proverbs speech is not spoken, ”they used to say in Rus'. Proverb: light in sight, like water off a duck's back, seven Fridays a week