КНІГІ ОНЛАЙН
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To date, all over Belarus each and everyone knows of the amusing game played with the hands of a child “u ladki” (hand-clapping game, similar to "pat 3 Folklore for Children. — Minsk: Navuka i technika, 1972. — P. 16-17. 4 Ibid. —P. 18-19. ty-cake"), following the rhyme or song rhythm an adult or an elder child claps the baby's hands. The child would rejoice, become cheerful, burst into laughter and soon start to clap their own hands directly after hearing the first few lines of the rhyme. Another popular Belarusian entertainment for the child was playing with the baby's fingers while reading out the amusing lines of a rhyme, such as: "saroka-varonan (in approximate translation uonce a magpie baked a pie”，or pointing out each finger of the baby's palm while saying “we've been cooking porridge" and in the end not giving any "porridge" to the lazy finger that "didn't beat the grain, didn't bring the water, didn't knead the dough”. That amusing rhyme is one of the brightest examples of Belarusian national pedagogics' wisdom: using a comprehensible way, appropriate for the child's age, a baby was taught the notions of good and justice, what is more, the principle of working was conveyed as an integral constituent of human life. Almost without exception, peasant families knew the necessary amusing rhymes for baby feet tickling, such as: "shoeing, shoeing footsie”. While repeating the rhyme, an adult gently knocked, with their fingers, a baby's foot or heel or tickled the sole. In order to strengthen the back muscles and develop courage in an infant, an adult threw him/her up with one hand while carefully supporting the infant with the other hand, or bounced astride the knee repeating the rhymes “lai-di-lai, grandpa catches pike…”.And what a pleasure, for both a child and a baby, a tickling game (most often with the “goat” 一 finger horns), a game that has always been accompanied by a child's laughter. To calm down a baby before sleep, an adult stroked the baby while repeating another sort of rhyme for amusing and calming, the most popular among them named “Lasachka” (a word-play: 'least-weasel" and “caress” sound the same in Belarusian). The composition of amusing rhymes differs from verse to verse. Whereas some of them are built in the question-answer form, others have dialogue as just a small part of the rhyme. The dialogue-like structure permits to play amusing rhymes as short funny performances, onomatopoeia imitates actions or living beings and diminutives create the atmosphere of tenderness and caress5. Bartashevich, H. A. Amusing Rhymes / H. A. Bartashevich // Belarusian Folklore: encycl.: in 2 vol.— Vol. 1. —P. 503. Folklore for children in the form of songs, counting-out and appealing rhymes performed by children themselves became especially popular under the periods of infancy and childhood. The children's songs used to have different themes, yet mainly the characters belonged to the animal kingdom although behaved like humans. The animals, birds and insects (heand she-goat, grey-crow, jay, woodpecker, etc.) that took part in the narrations were well-known to children and teenagers and a were part of their daily life. Cock-and-bull songs were most beloved among children; these songs demonstrated absolute inversion in the order of things. K. I. Chukovsky paid special attention to studying of how cock-and-bull stories affect the listener and came to the conclusion that such stories are especially appealing to the children that are already well-aware of the regular order of things. These stories help them to be sure of the conclusions they've made and to get a better understanding of the events in real life6. So-called annoying songs and onomatopoeic songs were other ways to have a good time. There were special children's songs sung while dancing in a circle: “Greyish little bunny...”，“Let us plant a pear tree../', etc. From infancy to adolescence, appealing rhymes — short verses and songs addressing the sun, the rain, insects, birds and plants with some special request —could be heard in children's circles. In order to get the weather forecast, one sought for a ladybird or a stork. The day-to-day of that time involved picking mushrooms by children and teenagers during the whole season, for that purpose special appealing rhymes were used. As for performing, appealing rhymes were sooner recitatives than songs. The verses had rhythm and were adapted for the collective performing the rhyme. Laconic texts contained certain vocabulary7. Counting-out rhymes were an especially useful genre of the folklore for children. Each company of children used counting-out rhymes in verse, mostly of Chukovsky, K. I. From two to five / K. I. Chukovsky. — Minsk : Uchpedgiz BSSR, 1957. — P. 219-228. Bartashevich, H. A. Appealing Rhymes / H. A. Bartashevich 〃 Belarusian Folklore: encycl.: in 2 vol.— Vol. 1. —P. 514. humorous content, to quickly decide the positions for every participant of the game. The one that was pronouncing the rhyme pointed in turn to each participant and after saying, for example: "Step out from the circle", 'This one steps out”，“Go out, Knyaz" (Knyaz — a Slavic noble title, a prince) the participant that got pointed to was either out or became the leader (depending on the previous agreement). The counting-out rhyme was a non-written law ruling over all of the game participants. The rhyme pronouncing was a captivating process as it was embracing counting and the use of a rhymed phrase for every figure as well as a special rhythm that predetermined correct counting. The verses were easy to pronounce as they were composed mainly of vowels without difficult consonant combinations. Some of the rhymes were not actually counting yet demanded the count when answering, for example: “hey say, how many nails", etc. All the counting-out rhymes are divided into two groups depending on the presence or absence of the plot: plotless or with a plot. Especially the rhymes with widely used plot characters from the animal world: cluck-cluck hen, cuckoo, cat, toad, etc. There were villains, little master, Malannya, tsar and knyaz8. Short songs were also used as counting-out rhymes — in that case the leader was chosen by pronouncing the last word, for example: “lay eggs in the best place". Our book presents the most common lullabies, amusing, appealing and counting-out rhymes and songs for children that were popular among traditional Belarusian families, children and peasantry in former times. The author's hope is that even today, presented folklore works will be able to bring joy to both children and their parents, whereby principals, norms and national pedagogics* standpoints expressed by the folklore for children will be used as a theory and a training ground for the upbringing of a younger generation. 8 Bartashevich, H. A. Counting-out Rhymes/ H. A. Bartashevich〃Belarusian Folklore: encycl.: in 2 vol/ed. Board.: H. P. Pashkou [et al.]. — Minsk: BelEn, 2006. — Vol. 2 : Traditional Art Studio — "Yashchur". — P. 46. КАЛЫХАНКІ 摇篮曲 LULLABIES 二一二二二二三-三二 一善更 童喝 三三三三三 Мастак А. Стальмашонак бел. A... a..., люлі, q... a..., люлі. Cni, сыночак міленькі, Галубочак сізенькі. Мой сыночак будзе спаць, А я буду калыхаць. Нашто, вецер, ты гудзеш, Спаць Міхаську не даеш? Спі, сыночку міленькі, Ой, да люлі-люленькі... Ўспомніш матку ты сваю, Як цябе люляла, Як табе у ноч не раз Песню я спявала. кіт. 啊 啊 ， 我亲爱的儿子， 睡吧，小鸽子。 我的儿子睡得香， 我把儿子摇。 大风啊，为什么你呼呼呼, 不让我米哈希睡觉觉？ 睡吧，我亲爱的儿子， 你要记得妈妈来， 怎么哄你快入睡， 整夜给你唱儿歌。 англ. A... Q…，Cl... Q…，lyuli Sleep, my baby, sleep, my son, Sleep, my sweetie, my dear one. Baby shall be sleeping, Mother shall be lulling. Wind, please do not howl a strut, Do not wake Mikhas'ka up. A... q…，lyuli, a... a..., lyuli... S/eep, my baby, sleep, my son. One day you '〃 recall your Mom Lulling you to fall asleep, Singing songs for you all night, A gentle kiss upon yo〃r cheek. Мастак В. Гормаш-Дрэбезава бел. Хадзіў каток па капусце, Насіў сотык ў белай хусце. Усім сончык прадаваў, А табе, Зосю, дарма даў. кіт.猫在白菜中逛着， 睡梦在白巾上带着。 睡梦它要卖给大家， 但却要送给卓夏。 англ. The cat walks through the cabbage, Dreams in a white kerchief package, Selling all his dreams with glee, To you, Zosya, he gives for free. Мастак Д. Петрусевіч-Кавальчук 6е九 Ой ты, коце шэры, Просім цябе у сені. А ты, коце стракаты, Просім цябе дахаты. Будзеш у нас начаваці, Мікалайку калыхаці. кіт. 啊，灰色的猫， 请到大厅来。 啊，斑纹的猫， 请到家里来。 你在这里休息好， 哄着尼科莱睡觉觉。 англ. Oh, you, little kitty, Please come to ourseni. You too, motley kitty, Here you'll be homely. As the night goes by, We'll lull our Mikhalay. Мастак Ю. Мацура бел. Баю-баю-баенькі, Люлі-люлі-люленькі, Прыляцелі гуленькі, Селі яны ў люленькі, Сталі яны гуркатаць, Дзіцятачка калыхаць. Маўчы, маўчы, не крычы. кіт. 宝宝，睡吧， 做许多香梦吧， 一对鸽子飞过来， 坐在摇篮上， 发着咕咕声， 摇着小孩子。 睡吧，睡吧，别哭啦。 англ. Sleep, sleep, sleep, Lyuli, lyuli, Doves have come, Come by the cradle, Started cooing, Lulling the child, Hush, hush, hush, don't cry. Мастак К. Вішнеўская бел. Ля коціка варката, На малютку сон-драмата. Ты спі, ляжы, малютка! Прыйдзі, коцік, начаваць, Малютачку калыхаць. кіт. 猫旁边有睡梦， 哄宝宝睡好觉。 宝贝，别动，快睡！ 猫，你在这里休息好, 摇着宝宝睡好觉。 англ. Drowsiness follows cat, Soon to sleep in no time flat. Sleep, my baby, sleep, my child, Come cat, come, and stay a while, While “way and lull my child. бел. ЛЮЛЯЮ-ЛЮЛЯЮ, Я коціка налаю, Каб ён да нас не хадзіў, Цябе, дзетка, не збудзіў. А ты, каток, пайшоу вон, А дзетачцы аддай сон. Ходзіць сон каля акон, А дрымота каля плота. I пытае сон дрымоту: —Дзе мы будзем начаваць? — Дзе хацінка цяпленька, Дзе дзетачка маленька, А мы пойдзем начаваць I дзяцінку калыхаць. кІ根.我把猫儿骂一顿， 你不要在这儿留， 弄醒我们宝贝儿。 猫，你就出去吧， 把睡梦给我婴儿。 梦在窗户下面走， 睡在篱笆旁边逛。 睡眠问一下瞌睡： “我们要在哪儿过夜? “把暖和的房子找， 把婴儿的摇篮找， 我们在这里休息好， 摇着宝贝儿去睡觉”。 англ. Lulling, lulling, I will tell the kitten off, Do not come in from the wild, Do not wake up our child, Kitten, please, kitten, flee, Give a dream to our baby, Dream is walking by the door, Drowse is crawling on the floor. ——Where will we spend the night? —Where home's warmth falls, Where a small child Ues, It is there that we shall go. Lull the baby on this night, Lull the baby to and fro.