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数数儿的儿歌是一种大有效果的儿童创作作品。为了又快又公平地挑 选游戏的参加者，孩子常用数数儿的儿歌一一押韵的短歌，通常都是幽默 性的。说数数儿儿歌的人按顺序地指向每个游戏者，一说“从环舞里出去 吧”或者“王，你出去吧”，一个人就被出局了。那个离开人的就要重新 开始游戏或者变成游戏主持人（取决于游戏的规则）。在游戏中数数儿的 儿歌是所有的参与者都应该执行的不成文法。说数数儿的儿歌对孩子很有 5 巴尔塔什维奇“游戏话” 〃 “白俄罗斯民间创作”，2卷/帕舍阔夫等编辑，第1卷。一明斯克：日俄百科 出版社，2005.-第503页。 ' 楚科夫斯基“从2岁至5岁"一明斯克，1957年.一第219-228页。 7 巴尔塔什维奇“号召歌” 〃 “白俄罗斯民间创作”，2卷/帕舍阔夫等编辑，第1卷0-明斯克：臼俄百科 出版社，2005.—第514页。 意思，因为包括数的过程，而且每个数字都是与有节奏和押韵的一句话结 合的。这种儿歌对孩子很简单，因为歌中的词大部分都有元音，没有很多 辅音。有的数数儿的儿歌里面没有列举，列举就在回答里面，比如：“需 要几个钉子，你快说吧”等。 数数儿的儿歌分成两个部分：有情节的歌和无情节的歌。数数儿的儿 歌，特别是有情节的歌包含各种动物：鸡、杜鹃、猫、蛤蟆等。主角中间 还有小偷、地主儿子、玛兰尼亚、沙皇、王8。短歌也可以作为数数儿的儿 歌，说出最后一个词的时候就会被挑出来，比如“在最好的地方下蛋”。 本书包括了传统白俄罗斯家庭在农业社会里最常见的摇篮曲、游戏 话、儿童歌儿、号召歌、数数儿的儿歌。作者希望这些民间创作的作品现 在也可以使孩子及其父母十分愉悦，民间教育学的准则和评价可以为培养 正在成长的一代的理论与实践打下基础。 » 巴尔塔什维奇“数数儿的儿歌” 〃 “白俄罗斯民间创作"，2卷/帕舍阔夫等编辑，第2卷。一明斯克：白 俄百科出版社，2006.—第46页。 INTRODUCTION iving birth and raising children were the main purposes for a Belaru， sian family. As for the folk culture, a child has always been deemed I I as a gift from God, a blessing for the family, the embodiment of — happiness, a means by which the family line continued and was closely associated with the notion of immortality. Having children meant having help and support while getting older and weaker, being sure the land was worked and hearing at home the jolly laughter of grandchildren. Over centuries the traditional agricultural society has worked out the best principles for the educating of children, teenagers and youth — folk pedagogics. Folklore for children was one of the most efficient educational means. The generations of tested and verified folk pedagogics were supposed to provide the transmitting of the necessary work skills as well as the knowledge about nature, the human being and the world around. As for the Belarusian folk pedagogics the periods of childhood and growing-up are subdivided into 5 main stages: 1) early infancy ——from birth up to 2-3 years old, the official pedagogics term later called this period the “nanny time”，“or “mummy period"; 2) infancy — from 2-3 up to 6-8 years old, according to the official pedagogics — “game and imitation period”； 3) childhood or the herder period ——from 6-8 up to 12-14 years old, "subsidiary work period”； 4) teenage — from 12-14 up to 16-17 years old, "socialized work period, all round preparation for life"; 5) youth — from 16-17 to 18-21 years old, "a person that is ready for life, productive work and family starting". Our ancestors were well-aware of the peculiarities that accompany the period of physical, psychological, mental and emotional development of a child as well as of each stage of the growing-up process. Later the empirical knowledge has been confirmed by the official pedagogics. For instance, our forefathers considered early infancy to be of crucial importance for the child's development. At the period of early infancy, lullabies and funny poems (later called by the folklore researches "mother folkloreH or "adult folklore for children”) were of the most frequent use. As for the traditional Belarusian family, from the very first day at home the child's mother or grandmother sang to him/her lullabies. The lullaby was not just a means of calming down and tenderly cradling the baby; it was a means for the first introduction into the family world. Children listened to the lullabies and acquired the initial vocabulary, which is a must-have in order to study the world around and develop thinking processes. Lullabies were exactly the tool that helped a child to learn the native language and its poetical and musical features. Our forefathers wanted a child to feel comfort and tenderness, hence the majority of the Belarusian folklore lullabies sounded soft, were kind and tender. “Listening to such a song…wrote the Belarusian national poet, Nil Hilevich, “…that eternal and immortal canto of *Mother Love', one inevitably thinks: it may be exactly from that very lullaby, that simple and at the same time absolutely genius melody that a person begins"1. It is known today that under the first month of life the lullaby melody with its special musical harmony calms down the baby and stays in the subconscious as a symbol of internal harmony, peace and happiness. It is exactly this lullaby (just unconscious!) that keeps a person from despair at difficult moments and in this regard, guards his/her life. As for the lullaby encyclopaedia definition, it is: umainly short songs with quite explicit practical function — to calm down the child, cradle, lull to sleep, sung by a mother or a nanny"2. The routine need of lullabies predetermined their closeness to daily life and brought about the song forms, first and foremost its rhythm, comprehensible content, simple composition and entertaining component. The lullabies have an ancient origin which is demonstrated by a spell-like form some of them possess, as well as by the mythical images of “Pu「r” and "Doze" that one hears; a refrain — “bayu, bai, bayushki'* comes from the old russian verb "bayatsn (old form of “tell”)，etc. Lullabies describe “Purr” and uSleepy Doze" as animated creatures that could come to nurse a child when a nanny asks for it, they could also be brought by a cat, in a basket, etc. Hilevich, N. S. Our Native Song / N. S. Hilevich. — Minsk: Har. asveta, 1968. — P. 173. Bartashevich, H. A. Lullabies/H. A. Bartashevich//Belarusian Folklore: encycl.: in2 vol./ed. Board.: H. P. Pashkou [et al.]. — Minsk: BelEn, 2005. — Vol. 1 : A cappella Kutia. — P. 620-621. Lullabies introduced the child to the world around them, narrated about the domestic and wild animals and birds, including their actions and adventures. The plots used to describe the same poeticized characters, subjects and natural phenomena. Among the most widespread Belarusian lullabies' images, one can name the cat, hens and pigeons. Yet the main character of the majority of works was the cat and that is why uto sing a lullaby" in Belarusian may sound the same as uto sing a cat". There was even a tradition: in order to provide a baby with a good night's sleep, before laying him/her in the cradle for the first time, one would put a cat in it. Almost every peasant household had a cat; it was the creature that a child got introduced to first. Lullabies depicted a cat as a welcome guest in the house, a helper to the woman, it was called to lull to sleep and cradle a child. Lullabies highlighted the careful manner in which a cat behaved towards the child; it was not only called up for sleep but many other services as well: a cat went to "the shop to bring Mary a lollypop" or to the fair uto bring Mary footwear". Cats from the lullabies took part in the household work, helped the hosts to spin, to weave, to thresh. In that gentle and tactful way, through the cafs actions the child was taught basic behaviour skills. Besides the cat, birds, like hens, pigeons or "huli-vuli" (Belarusian for “cootchy-cootchy-coo”)were some of the favoured characters featured in lullabies. Birds as well took a big part in watching and guarding the child. When they came flying in lullabies, hens and “huli-vuli” brought to children different presents, starting from uthe black horse" and up to "a happy minute". Apart from the above mentioned heroes, lullabies had a cowie, a bunny, a horsey and the grey wolfie, the latter was used as a precaution/threat in case a child didn't behave. Yet none of the lullabies have any mention of beasts which could actually scare the baby and cause harm to his/her health. In the same way, as in tales, subjects and animals were humanized in lullabies, they acted, talked and related to each other as if they were people. The lullabies1 forms and literary features were preconditioned by their purpose —to calm down the baby by monotonous singing and slow rhythm. All of the lullabies possess quite simple composition, distinct rhythm and exceptionally rich stock of beautiful rhymes. The lullabies rhythm managed to imitate cradle swinging. Some of the lullabies don't have a finished plot from the beginning to the end of its story. As in many other works for children, lullabies used a narrative structure. Plenty of them delivered quite definite information, which was interesting and necessary for the child. Subtle irony and humour are characteristic features of lullabies as well. The songs are usually rhymed and the plain rhyme is the most widespread one. Special melodiousness and tenderness of lullabies is created by repetition of definite words and sounds as well as by using diminutive suffixes. Last but not least one should mention onomatopoeic words that are often used for the lullabies' structure3. According to the Belarusian national pedagogics in order to bring up a healthy and cheerful person, the child should be encouraged in keeping joyous emotions when feeling lively. For that purpose our forefathers made up a great deal of different amusing rhymes that came together with some physical exercise and special massage. Amusing rhymes strived for an absolutely different effect than lullabies. These should have amused and diverted the child's attention, make him/her cheerful and roused, that's why their form differs from the one of melodious and monotonous lullabies. These verses remind sooner of multiline rhymes with speedy rhythm than of songs. Amusing rhymes feature humorous plots and are usually pronounced in line with the rhythm of the action or movement performed at that moment. Moreover, amusing rhymes contained an educational component, explanations of moral principles and rules of conduct for the benefit of future life. Apart from that, a child got acquainted with native language richness. The amusing and educational approaches which had been worked out, demonstrate a deep understanding of pedagogics and child psychology. An amusing rhyme accomplished three tasks at the same time: developed the child physically, taught logical and visual thinking and gave joyful emotions. One can single out special and amusing group from the rhymes: playing with the child's hands and fingers, playing with the child's feet; tickling, stroking, swinging, etc.4