geographical location itself was a significant factor, making possible close contact with the rich folklore traditions of neighboring peoples, including the Finns, the nomadic Turkic tribes, and the non-Russian peoples of the vast Siberian region.
Evidence of a folklore tradition appeared in Russian medieval religious and secular works of the eleventh through the fourteenth centuries, and conflicting attitudes toward its existence prior to the eighteenth century are well documented. The church considered it as evil, as the work of the devil. But memoirs and historical literature of the sixteenth and seventeenth centuries indicate that folklore, folktales in particular, was quite favorably regarded by many. Ivan the Terrible (1533-1584), for example, hired blind men to tell stories at his bedside until he fell asleep. Less than one hundred
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Prince Ivan and the Grey Wolf, nineteenth-century engraving after a watercolor by Boris Zvorykin. THE ART
years later, however, Tsar Alexis (1645-1676), son of Peter the Great (1696-1725), ordered the massacre of practitioners of this and other secular arts. Royal edict notwithstanding, tellers of tales continued to bring pleasure to people, and on the rural estates of noblemen and in high social circles of seventeenth- and eighteenth-century Moscow, skillful narrators were well rewarded.
The earliest collection of Russian folklore, consisting of some songs and tales, was made during the seventeenth century by two Oxford-educated Englishmen: Richard James, chaplain to an English diplomatic mission in Moscow (1619-1620), and Samuel Collins, physician to Tsar Alexei (during the 1660s).
The first important collection of Russian folklore by Russians was that of folksongs from the Ural region, made during the middle of the eighteenth century and published early during the nineteenth century. At about the same time a real foundation was laid for folklore research and scholarship in Russia, due largely to the influence of Western romanticism and widespread increase in national self-awareness. This movement, represented in particular by German romantic philosophers and folklorists such as Johann Herder (1744-1803) and the brothers Grimm (Jacob, 1785-1863; Wilhelm, 1786-1859), was mirrored in Russia during the early years of the nineteenth century among the Slavophiles, a group of Russian intellectuals of the 1830s, who believed in Russia’s spiritual greatness and who showed an intense interest in Russia’s folklore, folk customs, and the role of the folk in the development of Russian culture. Folklore now began to be seriously collected, and among the significant works published were large collections of Russian proverbs by V. I. Dal (1801-1872) and Russian folktales by A. N. Afana-sev (1826-1871).
But the latter part of the nineteenth century signaled the most significant event in Russian folklore scholarship, when P.N. Rybnikov (1831-1885) and A.F. Hilferding (Gilferding, 1831-1872) uncovered a treasury of folklore in the Lake Onega region of northwestern Russia during the 1860s and 1870s, including a flourishing tradition of oral epic songs, which up to that time was believed to be almost extinct as a living folklore form. This discovery led to a systematic search for folklore that is still being conducted during the early twenty-first century.
During the Soviet period folklore was criticized for depicting the reality of the past and was even considered harmful to the people. Until the death of Stalin in 1953 folklore scholarship was under constant Party supervision and limited in scope, focusing on social problems and ideological matters. But folklore itself was recognized as a powerful means to promote patriotism and advance Communist ideas and ideals, and it became a potent instrument in the formation of Socialist culture. New Soviet versions of folklore were created and made public through a variety of media-concert hall, radio, film, television, and tapes and phonograph records. These new works included contemporary subject matter: for example, an airplane instead of the wooden eagle on whose back the hero often traveled, a rifle for slaying a modern dragon in military uniform, or marriage to the daughter of a factory manager rather than a princess.
FOLKLORE
Since the 1970s, Russian folklore has become free from government control, and the sphere of study has expanded. During the early twenty-first century, folklore of the far-flung regions of the former Soviet Union is being collected in the field. Many of the older, classic collections of Russian folklore are being republished, old cylinder recordings restored, and bibliographies published, mainly under the direction of the Folklore Committee of the Institute of Russian Literature (Pushkin House) of the Academy of Sciences of the USSR in St. Petersburg and the Folklore Section of the Gorky Institute of World Literature in Moscow.
Among the most important narrative folklore genres are Russian oral epic songs and folktales, which provide a rich diversity of thematic and story material. The oral epic songs are the major genre in verse. Many of them concern the adventures of heroes associated with Prince Vladimir’s court in Kiev in southern Russia; the action in a second group of epic songs occurs on the “open plain,” where Russians fight the Tatar invaders; and the events of a third group of songs take place near the medieval city of Novgorod in northern Russia. The stories are made up of themes of feasting, journeys, and combats; acts of insubordination and punishment; trials of skill in arms, sports, and horsemanship; and themes of courtship, marriage, infidelity, and reconciliation. Some popular songs are about the giant Svyatogor, the Old Cossack Ilya Muromets, the dragon-slayer Dobrynya Nikitich, Alyosha Popovich the priest’s son, and the rich merchant Sadko.
The leading genre in prose, one that is well known beyond Russia, is the folktale, which includes tales of various kinds, such as animal and moral tales, as well as magic or so-called fairy tales, similar to the Western European fairy tales. Russian magic or fairy tales often tell a story about a hero who leaves home for some reason, must carry out one or several different tasks, encounters many obstacles along the way, accomplishes all of the tasks, and gains wealth or a fair maiden in the end. Among the popular heroes and villains of Russian folktales are Ivan the King’s son, the witch Baba Yaga, Ivan the fool, the immortal Kashchey, Grandfather Frost, and the Firebird. See also: FIREBIRD; FOLK MUSIC; PUSHKIN HOUSE
BIBLIOGRAPHY
Afanasev, Alexander. (1975). Russian Fairy Tales. New York: Random House. Bailey, James, and Ivanova, Tatyana. (1998). Russian Folk Epics. Armonk, NY: M.E. Sharpe. Ivanits, Linda J. (1989). Russian Folk Beliefs. Armonk, NY: M.E. Sharpe. Miller, Frank J. (1990). Folklore for Stalin: Russian Folklore and Pseudofolklore of the Stalin Era. Armonk, NY: M.E. Sharpe. Oinas, Felix J. (1985). Essays on Russian Folklore and Mythology. Columbus, OH: Slavica. Oinas, Felix J., and Soudakoff, Stephen, eds. (1975). The Study of Russian Folklore. The Hague: Mouton. Sokolov, Y.M. (1971). Russian Folklore, tr. Catherine Ruth Smith. Detroit, MI: Folklore Associates.
Russian folk music is the indigenous vocal (accompanied and unaccompanied) and instrumental music of the Russian peasantry, consisting of songs and dances for work, entertainment, and religious and ritual occasions. Its origins lie in customary practice; until the industrial era it was an oral tradition, performed and learned without written notation. Common instruments include the domra (three- or four-stringed round-bodied lute), balalaika (three-stringed triangular-bodied lute), gusli (psaltery), bayan (accordion), svirel (pennywhistle), and zhaleyka (hornpipe). Russian folk music includes songs marking seasonal and ritual events, and music for figure or circle dances (korovody) and the faster chastye or plyasovye dances. A related form, chastushki (bright tunes accompanying humorous or satirical four-line verses), gained rural and urban popularity during the late nineteenth century. The sung epic bylina declined during the nineteenth century, but protyazhnye-protracted lyric songs, slow in tempo and frequently sorrowful in content and tone-remain popular. Significant stylistic and repertoire differences exist among various regions of Russia.
Russian educated society’s interest in folk music began during the late eighteenth century. Numerous collections of Russian folk songs were published over the next two centuries (notably N. L. Lvov and J. B. Pr?c, Collection of Russian Folk Songs with Their Tunes, St. Petersburg, 1790). From the nineteenth century onward, Russian composers used these as an important source of musical maFOLKLORE
Russian peasants playing folk music, early-twentieth-century postcard. THE ART ARCHIVE/BIBLIOTH?QUE DES ARTS D?CORATIFS PARIS/DAGLI ORTI native folk music in the face of increasing urbanization. In 1896 Vasily Andreyev (1861-1918) organized an orchestra of folk instruments, and in 1911 Mitrofan Piatnitsky (1864-1927)
