Cry and lament. wedding lamentations

Crying and lamentations were performed by people who were called mourners. They were predominantly women, although among the Kurds and Serbs, laments were performed exclusively by men. They were specially invited to mourn a deceased relative or express grief over the outbreak of war, natural disaster (drought, flood, etc.). Crying and lamentations have existed since ancient times: they are mentioned in the Bible, they took place in ancient Greece.

How did the rite of lamentation originate?

Mourning is a whole rite. The lamentable tradition was especially developed in the North of Rus'. Allocate funeral and memorial, recruitment, wedding lamentations. Funeral-commemorative and recruit laments are close to each other in content. They mourn the deceased or the departing military service relative. At the same time, leaving for military service was analogous to the death of a person during his lifetime, because they were taken to the service for almost a lifetime. Funeral lamentations expressed the grief of relatives who have lost a deceased person.

In wedding lamentations, the bride laments her girlish will, which she loses when she gets married. These are conditional cries. It was believed that the bride must cry before the wedding: she buries her former unmarried life. The ceremony required the bride's tears.

There are also everyday cries and lamentations, in which, for example, a crop failure, the consequences of a fire, floods, etc. are lamented.

Examples of crying in literature

An example of lamentation is the lamentation of Yaroslavna on the walls of Putivl, described in The Tale of Igor's Campaign, where the princess mourns the dead soldiers who did not return from a military campaign. Crying is pagan tradition, in which ideas about death do not correspond to similar ideas in Christianity. The soul of a person after death turns into a “little bird”, a person rests in a coffin, soars in the clouds, etc. Dying is conveyed in images of a freezing tree or a sunset. That is why the church struggled with weeping for a long time, trying to eradicate the habit of mourning the dead strongly among the people. However, it was not possible to eradicate crying at all.

Crying was first investigated by V.A. Dashkov. famous collection of laments is the collection of Rybnikov “Songs” (part III), Metlinsky “South Russian Songs”, 1854. However, the collection of E.V. Barsov "Wailings of the Northern Territory", 1872; “Funeral, tomb and grave laments”, 1882 and many others. E.V. Barsov wrote down laments and laments under the dictation of one of the most skillful "prisoners" of the Russian North, Irina Fedosova.

Recruitment rituals, according to modern scientists, arose in the first half of the 18th century, after the introduction of universal recruitment duty by Peter I in 1699. 4 The "service of the sovereign" lasted 25 years, so the farewell to the army turned into a farewell: the future breadwinner left the family for military service. The recruits said goodbye to parents they might never see again, to brides, to friends, to their usual way of life. The famous writer and collector of folklore of the 19th century P.I. Yakushkin wrote about recruitment in the essay "Former Recruitment and Soldier's Life": "... Even to this day, in Russian villages, people look at soldiering as a misfortune, a misfortune that can disperse, ruin any family." Soldiering and recruiting, according to the people and the author, "a big, big poor thing." Recruitment in soldiers' songs - "grief", "longing-grief". The hero of the song complains: "They are forging me, a good fellow, they are forging me in iron, they are taking me, they are taking me, a daring young man, they are taking me to be a soldier." 5

The ceremonial character of the wires of the recruit was given lamentations. Lamentations are an ancient genre of folklore. The object of the image in lamentation is the tragic in a person's life. Lamentations are an example of high tragic art. "Crying out the unbearable, in normal conditions unimaginable and even unacceptable grief was in the life of the people almost physiological need. After crying out, the man half overcame an irreparable misfortune. Listening to the lamentations, the world, the people around share the grief, take on the burden of loss. Grief seems to spread over people. In weeping, moreover, sobs and tears seem to be ordered, their physiology recedes into the background, suffering acquires spirituality thanks to imagery.

Lamentations were fulfilled screamers or mourners. The works of this genre always reflect individual destiny. In them, the improvisational principle, combined with traditions, is very strongly manifested. They enchanted the audience with the drama of their performance, which had its own characteristics: the wailer walked around the room, around the yard, house, village, went out into the field, bowed, cried, hugged the participants in the ceremony. "The audience became a kind of partner of the wailer: at her request, the participants in the rite could perform ritual actions, answer her questions, console; they could enter into an equal dialogue with her with lamentations. with a pronounced declamatory beginning". 7

The compositional form of lamentations is a monologue. The language of lamentations is associated with the objective and spatial world of ritual action. The emotional mood is created with the help of epithets (dark forest, wide field, green meadows, azure flowers), diminutive suffixes, interjections “ah”, “oh”, as well as exclamatory and interrogative intonation.

Read also other articles in the section "Ritual Poetry":

calendar rites

Family rituals

Although some peoples (Kurds, Serbs) had specific male cries.

In Russian folk tradition lamentations form a vast area of ​​“deplorable culture” (T. A. Bernshtam), genetically correlated with the rites of passage. The main context of lamentations is the funeral rite, which sets the main parameters of the genre and, above all, its poetic and sound symbolism - the most important property lamentations in that they are well audible to the world of the dead. From this point of view, “the fulfillment of lamentations in other rites and ritualized situations is always, to a certain extent, a reference to the funeral” (Bayburin 1985, p. 65).

In folk culture, there were stable prohibitions and regulations governing the execution of lamentations over the deceased. One of the most important is temporary: it was believed that one could lament only during daylight hours. Excessive crying for the dead was also limited, since inconsolable sobs “flood” the dead in the “other” world. It was forbidden to perform lamentations by children and unmarried girls(with the exception of the daughter of the deceased).

An important feature of lamentations is improvisation. Lamentations are always performed in different ways, and in this case It's not about the usual traditional culture variation of the stable text. Each lamentation is formed simultaneously in the process of performing the rite. Although the mourner actively uses the "common places" characteristic of the local tradition of lamentations, each wail she generates is unique. The ceremonial context of funeral laments determined the specific nature of their poetic language. Lamentations had to simultaneously express a high degree emotional tension(inconsolable grief, intensity of mournful feelings), have the characteristic appearance of a spontaneous speech act and satisfy cruel ritual regulations.

Lamentations are usually classified according to the functional principle into three main categories: funeral and memorial, wedding and recruitment. Separately, the so-called everyday extra-ceremonial lamentations are singled out, which women could compose in difficult situations(e.g. after a fire, during hard work). Most often in culture there are funeral and everyday lamentations. Wedding lamentations are found only in those territories where the lamenting tradition is especially developed (for example, in the Russian North and among the Finno-Ugric peoples). In their poetic structure and system of images, funeral and memorial and wedding lamentations differ significantly from each other. In wedding lamentations, the bride not only expresses her feelings about the end of the "free" girl's life, but also performs a certain ritual role, as a result of which her laments are more conventional than funeral ones. On the contrary, funeral and recruit lamentations are very close to each other, both in tunes and in the system of poetic formulas. This is explained by the fact that a recruit leaving for the army is long years falls out of the peasant society, so that the separation of relatives from him is comprehended as "a funeral during his lifetime."

Notes

Publications and literature

• Lamentations of the Northern Territory, collected by E.V. Barsov. - St. Petersburg. , 1997. full text 1, 2 hours 1872 and 1882 and.
• Smirnov V.I. Folk funerals and lamentations in the Kostroma region. - Kostroma, 1920.
• Ritual Poetry of Pinezhye: Russian Traditional Folklore in Modern Recordings. - M., 1980.
• Konkka W.S. Poetry of sorrow. Karelian ritual laments. - Petrozavodsk, 1992.
• Alexiou M. The Ritual Lament in Greek Tradition. - Cambridge, 1974.
• Honko L. Itkuvirsirunous // Kirjoittamaton kirjallisuus. - Helsinki, 1963. - S. 81-128.

Categories:

• Music history
• Poetic genres
• Folklore
• Folklore of Russia
• folk poetry
• folk music
• Folk art
• Russian rites

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See what "Laments" are in other dictionaries:

Lamentations- Lamentations, or lamentations, cries, folk songs, lamentations. There are lamentations: funeral, wedding, recruiting. These are lyric epic songs depicting grief caused by death. loved one, separation from relatives when getting married, parting with a son ... Literary Encyclopedia

Lamentations- Lamentations, or lamentations, cries, folk songs, lamentations. There are lamentations: funeral, wedding, recruiting. These are lyric epic songs depicting grief caused by the death of a loved one, separation from relatives upon marriage, parting with ... ... Dictionary of literary terms

LAMENTS- (weeping), genre of folklore different peoples. Traditional mournful improvisations, mainly associated with funerals, wedding, recruiting and other ceremonies, or with hunger, fire, etc… Modern Encyclopedia

LAMENTS- (weeping) genre of folklore of different peoples, traditional elegiac improvisations, mainly associated with funerals, wedding, recruitment and other ceremonies, crop failure, illness, etc ... Big encyclopedic Dictionary

Lamentations- Lamentations. The custom of pouring out one's grief in special poetic forms, in upbeat, rhythmic speech, is rooted in the basics human psyche; Information about him has come down to us from ancient times and from various countries. Tombstones existed at ... ... Encyclopedia of Brockhaus and Efron

Lamentations- (weeping), a genre of folklore of different peoples. Traditional mournful improvisations, mainly associated with funerals, wedding, recruitment and other ceremonies, or with hunger, fire, etc. … Illustrated Encyclopedic Dictionary

Lamentations- a musically poetic form of mourning for someone who is leaving for another world or departing from his home, the village for a long time, maybe forever. Lamentations are mournful laments sung by relatives, friends, or mourners. In lamentations are transmitted ... ... Fundamentals of spiritual culture (encyclopedic dictionary of a teacher)

Lamentations- crying, wailing, a genre of folk poetic creativity. P. are known among many peoples of the world. Were widespread in folklore pre-revolutionary Russia. They were performed mainly by women professional captives and privates ... ... Great Soviet Encyclopedia

lamentations- (lament, lament), a genre of musical and poetic folklore of different peoples, traditional elegiac improvisations, associated mainly with funerals, wedding, memorial and other ceremonies, crop failure, illness, recruiting sets, etc. ... ... encyclopedic Dictionary

LAMENTS- LAMENTS, lamentation, a genre of folk poetry, traditional improvisation, associated mainly with funerals, wedding, recruiting and other ceremonies or with crop failure, hunger, fire, illness, etc. Being one of the oldest ... ... Literary Encyclopedic Dictionary

Books

• Great Russian wedding songs. Lamentations recorded in the Saratov province. , Sokolov M.E.. The book is a reprint edition of 1898. Although serious work has been done to restore the original quality of the edition, some pages may…

As part of the wedding ceremony, the most important place songs are occupied: they belong to the rite and are not performed outside the rite. Their function is ritual, they give publicity to the beginning, course and completion of the wedding as a domestic legal act. These songs combine their purpose with poetry traditional ritual. A distinctive feature of wedding songs is the epic, narrative style.

Ritual folklore - wedding songs are complex in composition. There are four main genres - wedding, laudatory, reproachful songs and lamentations.

Wedding ritual songs Russian people rich in figurative and expressive means. Characteristic features The traditional poetics of ritual songs are constant epithets (“high mansions”, “silk grass”), personifications (“duck admired its wing”), comparisons (“little like a lingonberry”), words with diminutive suffixes as in the designation of the bride and groom and family members (“Maryushka”, “Ivanushka”, “mother”, “father”, “girlfriends”, “svashenkos”, etc.).

Magnificent songs are characterized by the method of idealization in depicting the characters and appearance of the bride and groom. As the researchers note, the main feature common to glorious wedding songs is the extraordinary brightness of the pictures depicted, the beauty of the portraits drawn, the richness and splendor of the whole setting of the action, this is achieved primarily by selecting poetic means from folk songs of those images that have been associated with the concepts of wealth from time immemorial. , prosperity and happiness.

Lyrical images of wedding ritual songs: a drake, a falcon - for the image of the groom, and a duck, a cuckoo - for the image of the bride. The image of the cuckoo associated with funeral symbols does not appear in wedding songs by accident. By ancient rite initiation, the girl had to "die", burying her former life. It is characteristic that the symbol of the cuckoo sounds in the songs of the bachelorette party, as well as during the departure to the crown, that is, in the songs of the pre-wedding rituals.

To compare images from the natural world and the human world, the songs widely use the technique of psychological parallelism (“A duck and bathed in the sea”).

Some wedding songs have retained an ancient connection with the calendar-ritual poetry ( At the gate stood a birch)

Thus, wedding ceremony is a whole complex of ritual actions, elements of oral poetry, folk mythology and folk eloquence. This is a kind of encyclopedia of peasant life.

Stages of the wedding ceremony of the Russian people.

• Matchmaking
• Collusion
• hen-party
• Wedding day
• wedding feast

At the lessons of literary reading or music to schoolchildren as homework it is proposed to give examples of wedding ritual songs. Next, we give examples, texts, words, song titles of the wedding ritual folklore Russian people.

TLyrics of songs:

Lyrical wedding songs

The birch bowed to the dark forest...

The birch bowed to the dark forest:
- Thank you, dark forest, for standing.
I'm behind you, dark forest, insisted
Boughs, branches waved,
Seen the bright sun.
Lenochka with the father said:
- Thank you, father, for the festivities,
I have walked with you, father,
I was at dances, at feasts,
I fell in love with young Vanechka.

In the sea, the duck and bathed ...

In the sea, the duck and bathed,
I got out on the shore, shook myself off,
She admired her wing:
- My wing, wing, gray wing,
Will you be as gray as it was in the sea?
In the sea the wing was washed out,
Dried out in the bright sun.
And in the tower Lenochka was going,
She admired her little one:
- My face, my little one, my face is white,
Will you be as white as your father had?
And the father was personally washed out,
And the father-in-law was forced to work.

What are you, a birch torch, do not burn brightly ...

What are you, birch torch, not burning brightly, not burning brightly?
Or have you, torch, been in the oven, have you not been in the oven?
You will stay in the stove, you will see the heat, you will burn brighter.
Why don't you cry pitifully, Tanechka, don't you cry pitifully?
Or have you, Tanechka, been out of the public for a long time, long out of the public?
I haven’t been in people, I haven’t seen grief, I haven’t seen grief.
You will stay in people, you will see grief, Tanechka, you will cry more.

Wedding ritual ceremonial folk songs

The song announced the ceremony of congratulating the groom after the positive decision of the parents of the newlyweds about the wedding.

Like a matchmaker in the yard
At Mikhail Afanasyevich,
Three bells were struck
Well done congratulated
With his future (wife) -
With the soul of a red girl!.

He tells about the wedding ceremony of the bath in the bride's house.

Soap dish started up
Like our girls.
bathhouse flooded,
Lumberjacks flared up:
The first lumberjacks are birch,
Other lumberjacks are pine,
The third ones are woodcutters - cedar;
The stone heats up
Threefold pebbles,
Triple, semi-coloured,
Gemstones, azure!

The song was performed at a bachelorette party when the groom arrived, or on the wedding day.

All the boyars entered the yard.
Young people climbed onto the porch,
From the porch to the new hill!

And the duck swam... It was sung at a bachelorette party during the braiding. The act of unplaiting the braid was typical of an East Slavic wedding and symbolized the separation of the bride from girlhood.

And the duck swam in the dew,
And floated gray in the dew.
And the girl was crying over her braid
And she cried red on the braid.
- And who will unravel my scarf,
And who will unravel my blond hair?
And who will scratch my head,
And who will scratch my smoothie?
The sister will unravel the scarf,
Mother scratches her head.
Mother scratches her head
The daughter-in-law will braid the scarf.

The cuckoo was cuckooing in the garden... The content and words of the song correspond to the wedding symbolism: the eagle is the groom, the cuckoo is the bride. Wedding poetry in Russia is within the framework of the ritual symbolic system, in which the falcon (eagle) - the predator, attacks, and the swan (cuckoo) - the victim, suffers. Poetic imagery comes from symbols wedding action in ancient allegorical speech.

The cuckoo cuckooed in the garden,
Break your head(s) to a piece of paper.
Her birds were asked:
- What are you, cuckoo, cuckoo?
- How can I, cuckoo, not cuckoo?
I made my own nest
I laid my own egg.
Where did the eagle come from
He destroyed my nest
He took me, the cuckoo, with him.
Wept Manechka in the room,
Attaching the head to the sister.
Her girls were asked:
- What are you, Manechka, crying like that?
- Vanya broke the wreath.

At the gate stood a birch.. (Wedding calendar-ritual song) The parallel birch without a top (parents without a daughter) that appears in wedding songs is associated with spring calendar rituals aimed at the fertility of the earth. As already noted, it was in the top of the birch, according to popular beliefs, that all the growth force that had to be transferred to the earth was concentrated. In the wedding song, the bride tears off the top and thus takes with her her fertile power, because. Soon the girl herself should act in a new capacity as a mother and continuer of her husband's clan.

At the gate stood a birch,
The gate is covered with branches,
Maryushka drove there
And the top of that birch broke.
Stop, my birch,
Stop now without a top.
Live my father
Now without me...

The song announced the rite of redemption by the trainees of a place for the groom next to the bride.

Brother sold sister
For a ruble, for a half,
For gold hryvnia,
Sold, traded
Black cherochki tied up!

The song tells about the ritual of the groom sitting next to the bride after buying the place; it also reflects the magical rite of shedding the groom and boyfriend with grain.

White grapes rolled down the sun,
The sun is red and through the forest,
Druzhka with the prince and at the feast,
Behind him is a sprinkler sister,
Sprinkles with grain and hops;
Sprinkle with life to live well,
Sprinkle with hops to live well!

The song announced the rite of connection of the young - the central part of the rite of giving the bride to the groom; the ceremony went like this: taking the bride by the right hand, the friend connected the hands of the bride and groom; at the moment of joining hands, this song was sung.

Berry with berry slid down.
Berry with berry kissed,
Berry hugged with a berry!

She announced how the bride and groom sat down at the table after the ceremony of handing over the bride to the groom.

The nightingale fell on its nest,
The young prince sat down in his place!

The song announced the rite of gifting the groom.

The bells went through the city,
Gifts were brought along the tower:
Gave gifts of light (name of the bride).
The good fellow accepted the gifts,
Good fellow - newlywed prince.

In the yard, mother, that neither rain nor dew,
In the tower, the dear mother-in-law of the boyars gave:
Damask, taffeta, gold brocade,
Dear son-in-law - an eternal gift,
Eternal gift - his daughter!

The song announced the ceremony of blessing the bride by the parents.

Not thunder rumbles in the tower,
Not a willow in the field staggers,
Co. damp earth bows down
Sweet child is blessed
Go to the golden crown!

The song announced the departure of the wedding train from the bride's house.

Water spills.
Floods the whole wide yard;
There are three boats in the yard:
Like the first boat
With chests, with stacks,
And another boat
With merchants, with boyars,
And the third boat
With the soul of a red girl
With Anna's soul
Semyonovna!

The swan left behind
Yes, the white swan lagged behind
Away from the swan herd,
The swan came up
Yes, the white swan pestered
To the herd to the gray geese.

The song announced the performance magical rite showering the wedding train with hops.

Hare runs around the forest.
The gray forest runs around;
Svatyushka showers with hops,
Proud hop showers,
Druzhilushko follows.
Good whip whipping!

The song announced the arrival of the wedding train to the groom's house.

Andrey is going with his wife, with his wife
Ivanovich rides with a mummer, with a mummer,
With his betrothed Anna Ivanovna!

The song recorded the newlyweds sitting together at the wedding table in the groom's house.

The sun jumped in the window
The moon shines with the dawn;
Ivan sits with his wife,
With Avdotyushka soul!

Incantatory wedding ritual songs of the Russian people - text, examples

Performed on the wedding day

You and forge us
[Kuzma-Demyan], wedding! -
To firmly, firmly,
To forever, forever
So that the sun does not dry out,

So that the rain does not soak,
So that the wind does not scatter,
So people don't tell!

The song was sung on the eve of the wedding day during the planting of the loaf in the oven.

Bake, bake, loaf cheese,
Fight, fight, loaf cheese -
Above oak oak,
Above the mother of spruce,
Wider brick oven!

Ritual song for the wedding train

Not white drove -
What black as crows
What black as crows!
Yes, unwashed heads
Unwashed heads.
Yes, beards are not trimmed,
Beards not trimmed
Whose boyars are these.
Whose boyars are these?
Yes what boyars Ivanovs,
What boyars Ivanovs,
Yes, Ivanovich's travellers,
Travel Ivanovich!
- Yes, you are boyars, boyars,
You are already boyars, boyars,
Yes, you are the Ivanov boyars,
You are the Ivanov boyars,
Yes, Ivanovich's travellers,

Travel Ivanovich!
You must go, boyars.
You go, boyars,
Yes, you are on Lake Kitskoe,
You are on Kitskoye Lake,
Yes, insect the olshinnichka,
Insect the alder
Yes, you burn-to the ashes,
You burn-to the ashes,
Yes, boil-to lye,
Boil-to lye,
Yes, you wash your head,
You wash your heads
Yes, learn beards,
Comb your beards -
Yes, then you will be boyars,
Then you will be boyars,
And what boyars Oleksandrovs,
What boyars Oleksandrovs,
Yes, Ivanovich's travellers!

Ritual wedding song loach above the water

The loach spreads over the water.
Young groom, young groom
The groom is waiting at the gate.
They took him out, they took him out
They brought him chests full of good.
- It's not mine, oh, it's not mine,
This is not mine, but my brother-in-law's.
They took him out, they took him out
They brought him a raven horse.
- It's not mine, oh, it's not mine,
This is not mine, but my brother-in-law's.

They took him out, they took him out
They brought him the light of Nastasyushka.
- This is mine, oh, this is mine,
This is mine, God-given.
loach over water, loach over water,
The loach spreads over the water.
Guests at the gates, guests at the gates
Guests are gathering at the gate.

Wedding ritual songs, magnifications and lamentations - examples of texts

Magnificent Songs

Magnification is a genre of song praising mainly the groom, the bride. Initially, the function of magnificence in a wedding was connected with incantational magic: the well-being, happiness of the bride and groom, their relatives seemed to be real, already arrived. In later forms, incantational magic in greatness was supplanted by an expression of the ideal type moral behavior, beauty, household prosperity out of touch with magic.

They said our Marina...

They said our Marinushka
Netkaha, unscrupulous,
And she, our Gavrilovna,
Also silkscreen!
Thinly spun, often weaved,
White white
-The whole family gave:
She gave her father-in-law a shirt,
Mother-in-law - another,
And the falcon girls
Yes, on an embroidered handkerchief.

Oh, you wine berry...

Oh you wine berry
Poured sweet apple
- daring good fellow
Light Ivan Vasilyevich!
Born good and handsome,
He was born happy
Talkative, talented
Talkative, funny!
Why did his father-in-law love him
Mother-in-law complained:
Bestowed by a sweet daughter
- Light from Marya Ivanovna!

Quietly, boyars...

Quietly, boyars,
Come down from the mountain!
Don't break the cherries
Don't pick the berries
Cherry - Viktorushka,
Berry - Nastyushka!

Silk grass at the gate:
Who trampled the grass
And who trampled the weed?
trampled grass
All boyar matchmakers,
Wooed for a red girl,
We asked our neighbors:
- What, what is the red girl?
- She is tall, tall
Neither small nor great
face, face
White-round,
Eyes, eyes
What a clear falcon
Eyebrows like a black sable.
The girl herself is brave,
There is a scarlet ribbon in the braid.

That the moon has golden horns,
And the sun's rays are bright;
Ivan has blond curls
-From ring to ring spit out!
What are these little curls
The sovereign wants to favor him
The first city - glorious Peter,
Another city - White Lake,
The third city - stone Moscow!
On the White Lake - they brew beer there,
In stone Moscow - they drive wine there,
In glorious St. Petersburg - they want to marry there,
Take a daughter from a merchant, from a rich man,
smart daughter, smart daughter
- Katerina Panteleevna,
With her tribute, with a dowry,
With her box-clothes!

Lamentations

Lamentations are lyrical works that directly convey the feelings and thoughts of the bride, her relatives and friends, and other participants in the wedding. Initially, the function of lamentation was entirely predetermined by the rite. The bride imagined her departure from the family as an act against her will in order to avoid the unwanted revenge of the patrons of the hearth.

But it is possible that even at that distant time, crying was to some extent a direct expression of the true feelings of the bride at the moment of parting with native family. Later lamentations only partly followed the ancient ritual and for the most part became a direct expression of the feelings of people who were vitally concerned with the drama of separation from the family. The most significant stylistic feature of lamentation is the transmission of a person's confused feelings.

rolling red sun
You are a rolling star
A star sank behind the clouds,
What is from the bright month.
Our girl passed
What from the upper room to the upper room,
From the canteen to the new one,
As she crossed, she thought
That, thinking, she cried,
In tears, she said a word:
- Sovereign, my dear father,
Isn't it possible to do
Don't give me a girl?

Are you a mountain ash, a mountain ash,
Oh yes, you are a curly rowan,
You are a curly rowan,
Oh, when did you rise, when did you grow up?
- Oh, yes, I rose in the spring, grew up in the summer,
Oh yes, ripe for the autumn sun.
- Oh, why did you stagger early,
Oh yes, bowed to the damp earth?
- Oh, yes, it didn’t stagger by itself,
Oh yes, violent winds shook me,
Oh yes, the white snows bowed me,
Oh yes, not white snows, frequent rains.
- Oh yes, you are Elena Guryanovna,
Oh yes, why did you get married early,
Oh yes, why did you let me go so early?
- Oh yes, you are girlfriends, doves,
Oh yes, I didn’t get married by myself,
Oh yes, I didn’t allow myself,
Oh yes, good people stumbled,
Oh yes, the breadwinner drank father,
Oh yes, with my dear mother,
Oh yes, to a strange far side,
Oh yes, for one wine for green,
Oh yes, for the removal of the head.

Are the fields mine, the fields are clean,
My meadows are green
silk grasses,
My flowers are azure!
I loved to walk on you
I walk around you, show off,
Show off with your travel scythe;
I already had one braid
Yes, two wolves
Two volushki, and both free;
At least I will have two braids,
Yes, one will
One will, and that involuntary.

Corny wedding songs

The tearful tonality of the lamentations, the strict epic nature of the songs and the solemnity of the glorifications at the wedding were well complemented by the so-called corilla songs - joke songs, often parodies of glorifications. Korilyye songs were performed in the family of the bride and groom after the completion of all the main actions of the wedding "rite". Their function is purely entertaining and humorous.

This genre is quite old. Researchers believe that its occurrence was connected, perhaps, in order to propitiate the patronizing magical powers. The family was afraid of losing the favor of the mythical patrons, and in order not to lose their favor, it was necessary to present the departure of the bride as forced. Scorching songs lost their early magical meaning. Avarice, drunkenness, family troubles were ridiculed in the song.

Here are some examples and lyrics:

And in our moss ...

And in our moss ...
- All black grouse are mufflers,
And our matchmakers
-All fools:
They entered the house
- They bow to the stove.
Sitting on the stove
gray cat with tail
And the matchmakers thought
What is a pop with a cross.
They bowed to the cat
They kissed the gray ponytail.

Slobs, matchmakers, sluts...

Slobs, matchmakers, sluts,
- Unwashed shirts;
You were in a hurry to the wedding:
Shirts were dried in a tube.

The matchmakers came to Maryechka...

The matchmakers came to Maryechka
On a buckskin mare;
The dowry was taken
Mary has been forgotten.

They said: "Our matchmaker is rich!"

They said: "Our matchmaker is rich!"
They said: "He has a lot of money!".
Put a penny - for everyone
- Neighbor chickens laugh!
Take away, matchmaker, a penny -
Don't embarrass your family!

The custom of pouring out one's grief in special poetic forms, in elevated, rhythmic speech, is rooted in the foundations of the human psyche; information about it has come down to us from ancient times and from various countries. Tombstones existed among biblical Jews; in the Bible there are indications of their special performers, "lamenters" (Jerem., IX, 17) and an example of lamentations. Weeping (θρήνοι) was in the custom both among the Greeks (Iliad, XXIV), and among the Romans (lessum, nenia), who also had the institution of mourners (praeficae); Justinian replaced the weeping with the singing of David's psalms. Western Europe knew them even later; they are found in in large numbers in Corsica (published by Tommasea), where their performers (voceratrici) are very popular, in Serbia ("complaints of the Tuzhbalitsa", published by V. Karadzic) and in modern Greece. Hired "lamentatrices" met in France in the 13th century. Improvised, free rhythmic Trauergesänge were widespread in medieval Germany, but now they are preserved only among the Semigrad Germans and Gottschians (see; cf. Elard Hugo Meyer, "Deutsche Volkskunde", Strasbourg, 1898). Nowhere have P. been preserved in such vitality as in Northern Russia, where they still continue to be improvised by professional "prisoners". The custom of "wailing" over the dead and on other occasions in Rus' dates back to ancient times. Not to mention the elements of the mythical worldview, clearly expressed in our P., we have a number of historical indications of it; “people weeping over him with a great cry”, “let me cry over his tomb” - the usual expressions of the annals; in 1096, Monomakh, in a letter to his widowed daughter-in-law, pictorially depicts how she "sits like a dove on a susss tree of jelly"; there are many such examples, up to the famous lament of Yaroslavna in the Tale of Igor's Campaign. The very texts of ancient P. have not come down to us; only small fragments of them have been preserved in the lives of the saints. In their methods, it is not difficult to notice a deep similarity with modern folk p. IV question. 23 Stoglav (1751) until the order of Peter I (1715). This is explained not only by the pagan elements of P., but also by the non-Christian nature of the custom itself, which so sharply contradicted the conciliatory view of Christianity on death. We find the first presentations of P. (Western Russian) in Menenia (1551) and in Klenovich's poem "Roksolania" (Chervonno-Russian). WITH scientific point For the first time, V. A. Dashkov looked at P. for the first time and printed samples of them (Description of the Olonets Province., 1842); this was followed by recordings by Rybnikov ("Songs", part III), Bessonov ("Songs of the collection of Kirevsky", issue VI), Metlinsky ("South Russian songs" 1854), Tikhonravov ("Letop. Russian. lit. ", II), Sreznevsky ("News of the Academy of Sciences", 1852), Tereshchenko ("Life of the Russian people", part III), Shein ("Russian folk songs"). The real treasures of folk lamentation were brought to light by E. V. Barsov ("Lamentations of the Northern Territory"; part I, M., 1872 - "Funeral Laments, Gravestones and Gravestones"; part II, M. 1882 - "Crying of the conquered, recruiting and soldiers"; part III - "Weeping wedding, hand-beaten, parting, baenny and pre-wedding", in "Reader. Moscow. obsch. ist. and ancient.", 1885, book III and IV). In the "Collection" by E. V. Barsova, the funeral tale first appeared in such completeness and diversity that it made it possible to understand its inner significance for the folk history of literature. The vast majority of P. was written down by Barsov under the dictation of the wonderful keeper of the techniques and samples of folk art, the “captive” Irina Fedosova, a Zaonezhsky peasant woman, gifted not only with a rare memory, but also with a poetic mindset that gives her the opportunity to create new works in the traditional style of folk whim. The scientific significance of P. is very extensive, but we still do not have a detailed study of them; the best essay A. N. Veselovsky's article still remains about them: "Die neueren Forschungen auf dem Gebiete der russischen Volkspoesie. Die russischen Todtenklagen" ("Russische Revue", 1873, vol. III). The study of the song wealth of the Barsov collection led to the undoubted conclusion that the epic creativity of the Russian people is not limited to its - perhaps borrowed - epics. The content of P., imbued with the features of the Northern Russian folk life, is captured at the same time by the spirit of epic heroic legends: the same language, the same poetic techniques, the same ideas and ideas, imbued with pagan elements. Death does not appear to be the beginning of eternal rest; this is a "villainous death", "villainous likhodeitsa - murderer"; the process of dying is presented in mythical images of a sunset, freezing of a tree, etc. The soul flies away in the form of a "small bird"; existence beyond the grave, depicted either as a further stay in a coffin, or as an indefinite soaring in the clouds, is completely cut off from Christian ideas about hell and heaven. These elements of the ancient worldview are all the more interesting because they are completely reconciled with the new state system, depicted right there with its "state taxes", "dokhturs - glorious doctors" who "patrol and torment dead bodies", with its "staff bosses" and " world-eaters these intermediaries". P.'s language provides rich material not only for studying the regional Zaonezhsky dialect, but also for studying the development of folk speech and style in famous, unchanged forms. Epic formulas, comparisons, negative parallelisms in poetry are not inferior in their diversity to the poetic devices of epics. P.'s size is similar to the size of epics; interesting artificial ways reach a certain size - transferring stresses (well, a day), filling particles (ka, from, then, not, by), sometimes, as it were, giving the word the exact opposite meaning ( victorious little head instead of poor, etc.), doubling (with du-friend, poor), extreme richness of diminutives (talking, sighing, hurrying, ugly), explained by dactylic size. A typical difference between epics and epics is that their content, in contrast to the unchanged content of epics, varies depending on individual features case. However, one should not exaggerate the size of this creative scope of improvisation in P.: nevertheless, there is always not only a certain framework for the main idea (mourning for the dead) and characters (people close - wife, orphans), but also many once and for all suitable formulas, common places, images, techniques, etc. Recruitment and wedding laments, despite the difference in basic motives, differ little from funeral lamentations in literary terms. In the rite of the Onega wedding, laments predominate over songs to such an extent that they are called "tearful weddings"; the bride must constantly cry and wail to the words of the captive. The wails of the conquered naturally took the form of a tombstone in the mouths of the people, seeing off to soldier's service, as if to death; the rite of equipment for the service - the same "sad feast" with P.'s wife, mother and captive. Records of P. - exclusively regional and almost always wedding - are indicated in the geographical indexes of Mezhov. About P. wrote: Buslaev ("Historical essays", vol. I), Kotlyarevsky ("On the burial customs of the ancient Slavs"), Pogodin ("Ancient Russian history"), Barsov (in all 8 parts of the collection of explanatory articles on various issues related to P.), L. N. Maikov ("Journal of the Ministry of People's Education", 1872, XII, 1882, X, and in the "Report on 28 awards. Uvarov. award."), Pokrovsky ( "Civil.", 1872, Nos. 18 and 19, and "Gramatey", 1872, No. 6), Batalin ("Philological Record", 1873, No. 2), Ralston ("Academy", 1872, No. 61) , H. K. Mikhailovsky ("Coll.", vol. I), Vladimirov ("Introduction to the history of Russian literature", Kiev, 1896, IV, 8).

• - Lamentations, or lamentations, cries - folk songs, laments. there are: funeral, wedding, recruiting ...

  Dictionary of literary terms

• - type of bed creativity. P. are included in the folklore of many, but not all peoples. In the folklore of most P. peoples are widespread ...

  Music Encyclopedia

• - The custom to pour out one's grief in special poetic forms, in upbeat, rhythmic speech, is rooted in the foundations of the human psyche; information about him came to us from ancient times and from various countries ...

  Encyclopedic Dictionary of Brockhaus and Euphron

• - crying, wailing, a genre of folk poetic creativity. P. are known among many peoples of the world. They were widely distributed in the folklore of pre-revolutionary Russia ...

  Great Soviet Encyclopedia

• - a genre of folklore of different peoples ...

  Modern Encyclopedia

• - a genre of folklore of different peoples, traditional elegiac improvisations, mainly associated with funerals, wedding, recruiting and other ceremonies, crop failure, illness, etc....

  Big encyclopedic dictionary

"Laments" in books

Lamentations

From the author's book

Lamentations If scientists considered the fairy tale and the epic as originally male genres, then the lamentation has a completely different history of collecting and studying. Evidence recorded in the 19th century suggests that lamentation was exclusively female in Russia.

Lamentations

From the book Encyclopedic Dictionary (P) author Brockhaus F. A.

Lamentations Lamentations. – The custom to pour out one's grief in special poetic forms, in upbeat, rhythmic speech, is rooted in the foundations of the human psyche; information about it has come down to us from ancient times and from various countries. Tombstones existed among biblical

Lamentations

From the book Great Soviet Encyclopedia (PR) of the author TSB

Oppositional lamentations ... and the caravan goes on

From the book Russia in the Fury of Dollargasm and Ifbism author Arin Oleg

Opposition lamentations... and the caravan moves on. It must be admitted that the authorities managed to educate a submissive population. This is a statement, not an accusation. Well, what can you do: not the French, not the Italians, not the Germans. Tsar-obedient, God-given. Which are already there. Gotta survive, adapt

Selected Lamentations

From book Short story cynicism author Nevzorov Alexander Glebovich

Selected Lamentations Matvienko is good for everyone, but she doesn't know how to work with the "opposition", and she doesn't listen to me in this matter. In order to calm down any passions in the city, she would need to - about the Gazprom tower, about the marches of those who disagree - just once a

Crying and wailing

From the book Sad Rituals Imperial Russia author Logunova Marina Olegovna

Crying and lamentations Crying and lamentations were considered a special ritual, beginning with the wife of the deceased, who was supposed to “shout” until the end of the mourning events. During the funeral, professional mourners were hired, grimacing and yelling "just like wolves or dogs."

Chapter 499: What kind of lamentations for the deceased are undesirable.

From the book of Mukhtasar "Sahih" (collection of hadiths) by al-Bukhari

Chapter 499: What kind of lamentations for the deceased are undesirable. 620(1291). It is reported that al-Mughira (may Allah be pleased with him) said: “I heard the Prophet (peace and blessings of Allah be upon him) say: “Verily, blaming me is not the same as blaming anyone.