Lovikova Olga Aleksandrovna, teacher of GBDOU d/s No. 23 of the Krasnogvardeisky district of St. Petersburg.
On modern stage development preschool education in the studies of educational psychologists (L.S. Vygotsky, D.B. Bogoyavlenskaya, A.V. Zaporozhets, O.S. Ushakova) the 5th-6th year of life is the period of the highest “linguistic talent”, a period of special sensitivity to the sound side speech, to language, figurative expressions.
As noted by psychologists and methodologists D.B. Elkonin, R.E. Levina, A.P. Usova, E.I. Tikheyeva, the child then acquires his native language, the expressiveness of the language when he has the opportunity to imitate colloquial speech surrounding people - parents and teachers.
Such modes of execution, even in casual streetwalker situations, are seen as a competition between the "good" or respectable norms and ideals of the community and the more ridiculous "bad" means of reputation seeking. Because linguistic varieties, used in such bad conversations are far from the so-called standard English in the continuum of speech, these modes of communication are maintained as an alternative means for respectability to achieve status in the community. Additionally, the ability to use such varieties in performance forms such as epic toasts or blues allows the performer to take some leadership in the reputation-seeking segment of the community.
The problem of developing the expressiveness of children's speech is reflected in the works of famous domestic psychologists(L.S. Vygotsky, S.L. Rubinshtein, B.M. Teplov, A.V. Zaporozhets) and teachers (A.M. Leushina, F.A. Sokhin, A.I. Polozova, etc.) However , a number of substantive and methodological issues have not yet been resolved: what means of expression are available for perception and independent use older preschoolers; How can children be widely practiced in using different means speech expressiveness; on what content and in what activities it is advisable to develop expressive speech.
The use of works of small forms of folklore in working with older preschoolers opens up broad prospects for the development of expressiveness of speech, which is due to the specific content and forms of works of small forms of folklore, and the nature of familiarity with them. Children perceive folklore works well thanks to their gentle humor, unobtrusive didacticism and familiarity. life situations.
Folklore can be considered the optimal content of artistic speech and play activity.
The term “expressiveness of speech” is used in several meanings, which are not fully differentiated. According to E.A. Zemsky expressiveness sounding speech is such a mandatory element as, for example, technicality, diction. This is due to the specifics of oral speech, in which special meaning acquire intonation, gestures, facial expressions, conditions of contact between interlocutors, etc. The importance of these factors is so great that they are known to influence the characteristics linguistic expression oral speech (morphology, syntax, etc.)
IN scientific literature Several homonymous terms “expressiveness” are used, which are used to designate one of the communicative qualities of speech. In the second meaning, it would make sense to use the term “means of expressive oral (sounding) speech.”
The scope of the concept of “means of expressiveness of oral speech” is currently not unambiguously defined in the scientific literature. Some authors reduce it to intonation. In this case, the scope of the term “intonation” expands quite significantly, including elements that are hardly related to it. Other authors expand this concept, including in means of expressiveness and technical side speeches, for example B.S. Naydenov names among the means of expressiveness of oral speech the strength of sound, its height, voice timbre, etc.
Expressiveness is the quality of spoken speech, which allows various means give voice emotional coloring, the ability to convey certain feelings with one's voice. Expressiveness is the result of the speaker's active attitude towards his speech. This source of expressiveness of B.S.’s spoken speech. Naydenov defined it as “the speaker’s passion.” The second source of expressiveness of speech plays a big role in the formation of good speech. At the same time psychological impact audience can be both positive and negative character. The speaker must correctly identify psychological state, the “mood” of the audience and structure your speech in such a way that in the best possible shape achieve specific communication goals.
“Expressiveness of speech is the ability to clearly, convincingly and at the same time, as concisely as possible, express one’s thoughts and feelings, the ability to master intonation, choice of words, construction of sentences, selection of facts, examples to influence the listener and reader,” wrote N.S. Rozhdestvensky.
The expressiveness of speech also depends on proper breathing, a sonorous voice, clear diction, and a normal tempo that corresponds to the purpose of the statement. The ability to regulate the strength and pitch of the voice contributes to the development of its flexibility and mobility. The ability to use different tempos of speech is gradually developed.
Elements of speech expressiveness. The expressiveness of spoken speech consists of two layers: logical and emotional.
Logical speech analysis includes a number of operations. First, the integral ones are identified semantic segments(syntagms) that make up a statement. The syntagma may coincide with the sentence, for example: It was drizzling lightly. Also, the syntagma may not coincide with the sentence, i.e. within the boundaries of one sentence there are several syntagmas, for example: I couldn’t answer her for a long time, // and we stood silently opposite each other, // holding hands, // straight, // looking deeply and joyfully into each other’s eyes. The division of speech into syntagms allows for variations. Usually the syntagma coincides with a respiratory group (a segment of speech pronounced in one exhalation).
Syntagms are separated from each other logical pauses, i.e. stops in speech that are determined by the content. Determining the locations of logical pauses is the next stage of logical analysis.
Logical pauses separate semantic segments from each other. At the same time, a logical pause can coincide with the boundary of the respiratory group and serve as a place where air must be inhaled and exhaled. This point connects the logic of speech and speech technique: the boundary of the respiratory group must necessarily be at the place of the logical pause, otherwise the inhalation will disrupt the logical division of speech.
Along with logical pauses, there are also psychological pauses, which appear in emotional, excited speech before the message of something important, unexpected, unusual, for example: And everything will be as if under the sky // and I was not there! (M. Tsvetaeva). And she said this to him! Mastering psychological pauses is extremely important for a teacher’s speech, as it makes it lively, emotionally rich, and helps establish psychological contact with students.
The next stage is finding the keywords in each syntagma. These keywords, pronounced with greater strength voices, energy, with “emphasis”, most important in semantically and form the logical core of the syntagma. Their emphasis is usually called logical stress, since with the help of this technique the speaker indicates the words that are most important from his point of view.
Finally, when forming the logical side of a statement, the tonal pattern (melody of the statement) should be determined. In the linguistic literature, the term “intonation” is used to define this concept, the concept of which is discussed above.
Emotional expressiveness of speech. By emotional expressiveness of speech we understand the ability to use the voice to express certain feelings, a person’s attitude, and embodiment in a statement.
Finally, for oral speech, for the direct contact of the speaker, they are also of no small importance additional funds expressiveness, such as gestures, facial expressions, etc.
Expressiveness of speech is the most important communicative quality, ensuring at the rhetorical level the achievement of the influence of the statement, its validity; in the culture of speech itself, this is its aesthetics, harmonic construction, which involves revealing the possibilities of words and their combinations. Expressiveness may be in conflict, for example, with pure speech, with its brevity and logic.
Expressiveness involves the use of a certain system of means in speech - figures, tropes, and structures. A system of means is needed in speech precisely for the purpose of expressiveness - in order to ensure not only adequate transmission of information and its understanding, but also the actual impact on the listener, as well as the maximum expression in words of thoughts, images, and one’s own attitude towards it.
“Every movement of the soul has its natural expression in voice, gesture, facial expressions,” wrote Cicero. The language of gestures, facial expressions, body movements is called language verbal communication.
The method of organizing non-verbal means of communication acquired by a person and transformed into an individual, concrete sensory form of actions and deeds is called non-verbal behavior.
Non-verbal means can be reduced to kinesic (body movements), spatial (organization of behavior, interpersonal communication), to the time characteristics of interaction.
Non-verbal means perform informative and regulatory functions in the process of communication.
Many scientists say that the verbal channel is used to transmit information, and the non-verbal channel is used for “discussion” interpersonal relationships.
Diction (from Latin diction - pronunciation) is a clear, clear pronunciation of speech sounds. Good diction is ensured by strict adherence to the articulatory (pronounced) characteristics of sounds.
Diction is one of the mandatory elements of speech technique; in addition, without diction normal communication is simply impossible. Unclear articulation results in slurred speech and therefore makes it difficult for listeners to understand the speaker.
talking man conveys to the listener the intonation of three types. Firstly, we find out what (what?) the person is talking about. This is logical or semantic information. It is transmitted through the selection of semantic content, words, their order, syntactic constructions. Secondly, who speaks, thanks to the characteristic personality of each person's voice. This is identifying information. By the voice one can determine the physical and psycho-emotional state of a person, his intentions and some character traits. It is thanks to the voice that what is said often turns into what is said, significantly complementing or even replacing the verbal content of speech.
Many linguists talk about the existence of identification information. For example, E. Sapir, noting: “...the phonetic appearance of speech, the speed and relative smoothness of pronunciation, the length and construction of sentences, the nature and volume of vocabulary... - all this is a small part of the complex indicators that characterize a person.”
The voice, as a set of sounds of varying height, strength and timbre, produced by a person using the vocal apparatus, has different range, expressiveness and endurance.
The voice is an individual “tool” of a person, just like fingerprints. Skillful control of the voice makes our speech more effective. The main feature of a voice is timbre. The sound coloring is very subtle and expressive characteristic speaker.
Features of the psychological, technical, communicative perception of the voice depend on such qualities as clarity of diction, as well as sonority, range, flexibility, adaptability, noise immunity, suggestiveness.
The sonority of the voice creates the so-called “euphony” of speech. A sonorous voice is a voice that is clear and clear in timbre (not hoarse, not nasal, not lisping), which is closely related to diction. Wheezing and various noises appear in the voice due to insufficient correct control speech apparatus, from poor speech breathing.
The term “intonation” has two meanings – narrow and broad. IN in the narrow sense it is used to indicate melody, the movement of tone. The broad meaning of the term, in addition to intonation, includes stress, pauses, tempo, rhythm, i.e. a set of jointly acting components of sounding speech, and in addition, is characterized by such properties of the whole as the general tone, tempo, volume of pronunciation, determined by the semantic and emotional content of the text, as well as the situation of its pronunciation.
Intonation is a set of jointly acting sound elements of oral speech, which is determined by the content and purpose of the utterance.
Intonation is a complex, holistic phenomenon. However, it distinguishes the following components: voice strength (loudness, logical stress), pause, tempo and rhythm (tempo rhythm), melody, emotional tone, timbre. It is intonation that actually organizes oral speech in general, including reading. With the help of intonation, sentences are given the meaning of a question, motivation, request, message... Intonation allows you to convey emotionally shades of meaning text, expressing the state, mood of the author (sadness, anxiety, joy...), his attitude towards what is being described (irony, respect, pride, etc.). In the works of N.I. Zhinkin it is argued that intonation is also inherent writing: must subtract the intonation that is included in the writer’s text. Without this, correct reading and understanding of the text is impossible.
MM. Bakhtin notes: “Intonation always lies on the border of verbal and non-verbal, said and unsaid. In intonation, the word is in direct contact with life. And above all, it is intonation that is social (primarily).”
The main tone of an utterance is a super-segmental unit of language and speech, an intonation-sound means of expressiveness of speech, and serves to express both semantic and emotionally additional shades of speech. As noted by T.A. Ladyzhenskaya, “...there can be as many tones as different emotions, different relationships."
The tone of speech is created not only by the timbre or melody of sound, but also by the entire complex phonetic means(voice timbre, pitch and its movement in a word, duration of a stressed vowel, lengthening of a consonant stressed syllable, complex pronunciation, tempo, volume, etc.)
Another component of intonation is volume. The volume of speech is determined by the strength and intensity of the sound.
Logical stress is the emphasis of a word due to its special semantic or emotional significance.
Logical stress is the selection of the word that is most significant from the point of view of the speech situation. K.S. Stanislavsky called logical stress " index finger”, marking the most important word in a sentence. There are four ways to emphasize a word: by speaking more slowly, by making your voice louder, by changing the pitch of your voice, or by pausing before (and sometimes after) the word.
Speech breathing. Speech breathing and physiological breathing have fundamental differences. The first difference is related to the arbitrariness of speech breathing; a person is able to control this type of breathing, unlike physiological breathing. The second difference is related to the definition of the active lobe of the lung. Correct speech breathing is diaphragmatic-costal. This means that with proper speech breathing, the lower lobes of the lungs are ventilated. This is the deepest type of breathing, most consistent with the requirements for sound production. For this reason, this type of breathing is called speech (sound, phonation). The third difference between speech and physiological breathing is due to their structure. Physiological respiration in a calm form it consists of inhalation and exhalation of the same duration. Speech breathing has a different structure: a short sigh, a delay and a long exhalation, during which sounds are formed.
Conversely, the speaker is good at placing one at the potential center of a self-respecting segment of the community. So we find a lot of discussion in the community about the bluesman in relation to the preacher and about in different ways speaking and performing in general. And the person who can control all these codes in the appropriate place has a very high status indeed. From the point of view of the history of codes and varieties, this situation in which a number of historically supported various forms for expressive purposes, contradicts the usual ways of learning the language and knowledge of ethnic communities.
Each writer develops a unique style based on his artistic goals. Depending on the theme and idea of the work, means of expression are selected. In the poem "Frost, Red Nose" the folk poetic layer plays a very important role. The poem is dedicated to describing the life of peasants, their way of life, and recreating the national spirit. Therefore, it organically appears folklore images, artistic media, characteristic of folklore. Natural metaphors play a big role. Daria's deceased husband is like a falcon in the minds of his grieving relatives:
Most often, of course, immigrant groups are observed and assessed in terms of how quickly and efficiently they update from an Old World language to American English. But in social situations when ethnic group and alternative languages have been in this country for some time, like African Americans, Mexican Americans and American Indians, this immigrant pattern of change is not relevant.
Rather, the concern of the sociolinguistically oriented folklorist has been to document the situation of language as it supports a range of codes or varieties as expressive resources. In the only work of folklore scholarship that explicitly focuses on native language, because she gravitates toward the English language, Barbara Kirshenblatt-Gimblet brings together a cast of materials from Toronto's Eastern European Jewish community. Not only preserved verbal forms The Old World is alive, while the new one emerged from the experience of immigration, but arose large number knowledge that activates an active and usually witty mixing of these languages and cultural forms.
Splash, darling, with your hands,
Look with a hawk's eye,
Shake your silken curls
Dissolve your sugar lips!
The special rhythm of the verse, similar in its melody to folk song, and the use of folk poetic epithets: “burning tears”, “blue-winged”, “desired”. The technique of lyrical parallelism - comparing a person, his feelings with a natural phenomenon - is used to describe the inconsolable widow:
The primary forms in such a situation are stories told in English on Yiddish pointe shoes, and vice versa. Kirshenblatt-Gimblt demonstrates that learning a new language is more complex process than the generally accepted one, because the situation of change itself gives rise to oral art forms as a means of displaying the central part of competence. This emerging knowledge is mainly metacommunicative - composed of knowledge devoted to the nature of communication in a new sociocultural environment.
Thus, the concept of multiculturalism becomes not so much a matter of shedding one culture and another, but also acquiring new cultural and language resources, which by their quality of novelty are “oriented” towards flexible and functional communication devices. In such a transitional situation there is an automatic foreground effect; through cultural contact, verbal knowledge becomes increasingly self-conscious as it draws on an ever-expanding range of expressive resources.
Birch in a forest without a top -
A housewife without a husband in the house.
The idea of the poem is the glorification of the “majestic Slavic woman”. The image of Daria is given a generalized lyrical character. It represents a national female type. It is important for Nekrasov to highlight her main qualities - external beauty and mental strength, vitality and wisdom. The epithets that Daria is endowed with are emotional and evaluative:
Narrative knowledge is especially used as a means of validating and testing new knowledge. In this situation, the multilingual narrator becomes a model for successful acculturation. By using other languages that speak differently, the narrator retains the usefulness of the old vocabulary, the old sayings, even if they serve only as a resource for humorous effects. The idea of using the creole continuum to understand processes affecting ethnic folklore arises from the need to recognize what alternative expressive resources exist for a community at any time in its history.
Beauty, the world is a wonder,
Blush, slim, tall...
Her description combines realistic moments with largely romantic ones: the woman’s strength, dexterity, and courage are exaggerated:
In the game the horseman will not catch her,
In trouble, he will not fail, he will save:
Stops a galloping horse
He will enter a burning hut!
Nekrasov's poem is very emotional, it contains metaphorical epithets, hyperbolic comparisons characteristic of the legendary fairy-tale genres of oral folk poetry. In Daria’s dream, the ears of rye are compared to the “Busurman army” that came out to fight the woman.
By emphasizing such alternatives, we recognize how oral creativity can operate in situations otherwise described as exclusion, marginalization and exploitation. Additionally, it is important to recognize that ethnicity is often an aspect of the performing self, a choice made individually about the role to be played, made possible by the persistence of these older modes of expression.
However, looking at the coexistence of many ethnic groups in the United States from outside those groups presents an entirely different perspective, since the outsider is especially aware of his or her status in the community and the differences between his or her traditions and the group's. When there is any defensiveness or social tension between such external observers and the group being observed, the result is often stereotypical. "Different" means randomness, acting like children or even animals; expressing yet another culture, then signs that have no culture have neither style nor taste.
Nekrasov’s nature throughout the poem appears as something hostile, people fight with it, conquer it. The bitter cold destroys Proclus, the voices of animals merge into the alarming noise of evil spirits:
I hear a horse neighing,
I hear the wolves howling,
I hear someone chasing me...
The symbolism of winter and bad weather is very important in the poem, natural phenomena serve as signs of impending troubles, people seem to be surrounded by darkness, a destructive force beyond their control:
But when such differences are dramatized in a climate of goodwill, lack of understanding can be translated into a willingness to learn about and even enjoy such cultural alternatives. Thus, outsiders are invited to witness how life is lived, the traditions carried out within ethnic group. Naturally, the activities most accessible to observation and even participation are those in which the group is at its best. better behavior" - as in rites, ceremonies and festive receptions - or when they are performed.
In a shrinking world, the activities that attract the attention of outsiders will be those that have strong feeling style and decorum. Indeed, these are such traditional and stylish dances, clowning, acrobatics, song, ceremony, decorative arts, crafts and cooking, which are most easily understood and which transcend linguistic differences. Consequently, it is in these areas that we witness traditional ethnic expression. In any cultural enclave, some traditional knowledge genres and some performance situations will be more private and family-oriented, and some will become more public.
Black cloud, thick, thick,
Hangs right above our village,
A thunder arrow will shoot out of the clouds,
Whose house is she breaking into?
The appearance of Frost the Voivode is accompanied by a change in the rhythm of the verse, the nature of the narrative changes, which indicates the approaching climax of the work. The poet uses the technique of anaphora - repetition initial parts poems in a stanza. This single principle makes poetic speech more expressive:
Scenes or events held within a family or peer group are obviously more private and more relevant in reference, and therefore more limited in audience, than larger gatherings. With the growing value of ethnic diversity, some of these more private forms of aesthetic encounters are increasingly evolving into public performances.
Typical of this drift was the use of festivals or fairs or some other announced public event as a means of dramatizing ethnic persistence in a community or area, church or social group. What was immigrant folklore and then ethnic folklore becomes ethnic folklore. Essentially, this requires using already public, sector-wide events as a means of getting an even wider public to engage with the nonprofit participant.
It is not the wind that rages over the forest,
Streams did not run from the mountains,
Moroz the voivode on patrol
Walks around his possessions.
The image of Moroz the governor is far from clear. This is not at all the fabulous Morozko, who should reward the girl for her perseverance. He is initially hostile to the principles of life to which Daria is accustomed. He persuades her to become queen in his ice kingdom. The fact that Nekrasov is primarily a realistic poet, the fact that his entire poem is devoted to depicting hard life peasants, without any embellishment, indicates to the reader that the author does not need Frost the Voivode to imitate the fairy tale. This is a symbol - a polysemantic and deep meaning image; it denotes an idea allegorically. Frost the Voivode is a symbol of everything that destroys a person, everything that he is unable to resist alone: exhausting labor, rulers who enslave a person, through whose fault he finds himself in the most difficult life circumstances, hostile nature and even cold death, which has no mercy. no one.
Events that at some point in a community's history were used as a means of establishing and maintaining ethnic boundaries become the very tools by which the border is opened - at least for at the moment. Likewise, more private forms become available for greater public exposure.
The concept of a living museum or folk museum is increasingly trying not only to recreate domestic behaviors such as cottage industry work and cooking; in addition, performances or reports of performances of games, riddles, stories and songs that are associated with the hearth or dining room are imported into these essentially tourist presentations. It is these public displays that make distinctive ethnic behaviors available for performance by anyone willing to learn them. In this way, ethnic style as well as performance objects are separated from the folk communities that give rise to them and used for completely different popular effects.
We saw that the poet borrows visual arts from folk poetry, weaves them into the author's text. N. A. Nekrasov is not characterized by the diversity of his own author’s poetic devices, complex metaphors, but this makes the symbols he created even more significant.
44. Folklore and its role in N. A. Nekrasov’s poem “Frost, Red Nose”
Nekrasov’s creativity coincided with the flourishing of Russian folklore studies. The poet often visited Russian huts, in practice he studied the common language, the speech of soldiers and peasants. It became his speech. Folk images in his works are not reduced to simple borrowing; Nekrasov used folklore freely, reinterpreted it, creatively subordinating it to his own artistic goals and style.
Instead of operating in nearly homogeneous communities in which participants meet face to face to entertain and instruct each other, these performance modes are used in groups that come together only for entertainment. Media recording, as well as a microphone, greatly increases the audience, and people perform with others who are not personally known. Folk traditions provide materials for the celebration of stylistic diversity that has little to do with the ethnic community from which it emerges; Far from being a statement of cultural continuity and rootedness, the performance of ethnicity appears rather as a way of entry into the market economy by those performing an ethnic style of performance or performance.
The poem “Frost, Red Nose” was written by a professional writer, and it contains a layer of literary and traditional poetic vocabulary, but its theme is the sphere of folk, peasant life, and the folk-poetic layer in it is even more noticeable. Roles folklore elements can be different, and they themselves can relate to both the formal and ideological spheres.
At this point, anyone can learn to play the banjo or even the Japanese koto, just as they can take lessons on how to cook grits or sukiyaki. This process of public privatization also often means dramatizing what has not previously been dramatic, performing actions that are not inherently performative. For example, in the development of folk festivals, the problem of creating crafts and working methods has arisen constantly. Early on it became obvious that the audience folklore festival as interested in the process of crafts and other work as in music and dancing.
If we pay attention to the language of the poem, we will notice a large number of words characteristic of folk poetry. These are words with diminutive suffixes: legs, back, Savrasushka, winter, Daryushka, Dubrovushka, girlfriends, skotinushka:
The sun heats the sickle,
The sun blinds my eyes,
It burns your head, shoulders,
Consequently, on-site illustrations of these crafts develop into performances as well as demonstrations. At such a moment, the mediation of presenters is required, people who can explain the process while it is being carried out. Such a figure often uses traditional narratives such as anecdotes, hero stories, and personal anecdotes as important features cropping performance. At such a point, although the elements of verbal art are essentially the same as those found in the folk community, their context and therefore their meaning changes significantly.
My legs and little hands are burning.
Function similar words in folklore it is not a diminutive: the rhythm of the works in most cases required polysyllabic words. Also in Nekrasov - these words serve to reproduce the rhythm of folk poetry. Thus formal means brings his poetry closer to folk verse, makes it just as melodious, and conveys the very spirit of folklore.
From the formal and content side, the poem can highlight such moments referring to folklore as a description of a children’s game, wedding ceremony, crying for the deceased.
Nekrasov was familiar with the difficult patriarchal family life of the peasants, he knew very well hard lot women: “to marry a slave,” “to be the mother of a slave’s son,” “to submit to a slave until the grave.” But the family of Proclus and Daria was different; wife and husband were bound by love and strong friendship. Therefore, the poet paints us happy moments, children’s games, parents’ thoughts about their future. The beautiful girl Masha always becomes the poppy in the folk game “Sow the poppy”:
Darling! our beauty
In the spring in a round dance again
Masha's friends will pick her up
And they will start swinging on their arms!
The life of Proclus and Daria, despite the need for hard daily work, was going well, so they dreamed of happy family and for their son Grisha, they did not allow the thought that his wedding would be joyless. Nekrasov knew that the magnificent rituals depicted in wedding ritual songs were designed to obscure the miserable life of the peasants, and in most of his works he debunked the ritual, translated it into a realistic household plan, but he did not deprive his heroes Daria and Proclus of bright dreams:
Chu, the bells are talking!
The train has returned
Come out to meet me quickly -
Pava-bride, falcon-groom! -
Sprinkle grains of grain on them,
Shower the young with hops!..
The relatives of Proclus see off with real people's lament. last path. Here is folklore imagery: “a birch tree in the forest without a top is a housewife without a husband in the house”, folklore structure: they address Proclus: “You are our blue-winged darling!”, they praise him for being a worker and a hospitable person, compare him to a falcon, list his sorrows , who wait for them without him and finally call him to rise from the grave, promise to arrange a feast in his honor. All these are mandatory elements of ritual mourning for the deceased. And is it possible to express human grief even more vividly?
Following the crying, we see how the dead man is being taken to the grave. Proclus's mother talks to the horse Savraska as if she were a person, a member of the family. This is also a sign of folk songs, again coming from the very way of life folk life. In a peasant family, if there was a horse, it was only one, and they cared about it no less than the children, respected it, took care of it: it was a help, an aid in any work.
But the poet uses folklore not only to reliably recreate folk life, not only for illustration, he also argues with it. The main dispute is waged on an ideological level and is reflected in the episode with Frost the Voivode. Daria behaves as befits the heroine of a fairy tale: to Moroz’s questions, she humbly answers that she is warm. But Frost the Voivode turns out to be not at all the kind fairy-tale Morozka, who must give the woman gifts for her perseverance. Nekrasov debunks the fairy tale. His Daria not only freezes and half-forgotten imagines Frost, this mystical force appears, as if in fact, embodying all the injustice of people's life, all the hardships that befell the woman and destroyed her.
So we see that the poet makes extensive use of folklore, but not simply by inserting its elements, but by weaving them into the very ideological structure of his text. The folklore in his poem is organic; he imparts to it the very spirit of folk poetry.
