One day in late autumn a hunter was returning from the forest. Tired, hungry and decided to rest.

He sat down on a stump by a frozen stream, threw off his pester - a birch bark bag - from his shoulders and took out of it a large flat cake - taban. As soon as I took a bite, something rustled close to the shore.

The hunter parted the sedge and saw a whip lying on the ice. He wanted to lift it. I took a closer look, and it was not a whip at all, but a snake.

The snake raised its head, saw the hunter and said plaintively and plaintively:
- Save me, good man. You see, my tail is frozen to the ice. Help me out, otherwise I’ll disappear here.

The hunter took pity on the snake, took an ax from his belt and broke the ice around the snake's tail. The snake crawled ashore, barely alive.

- Oh, I'm cold, buddy! Warm me up.

The hunter picked up the snake and put it in his bosom.

The snake warmed up and said:
- Well, now say goodbye to life, your sheep's head! Now I'll bite you!
- What you! What you! - the hunter was scared. “After all, I did you a good thing—I saved you from certain death.”
“You saved me, but I will destroy you,” the snake hissed. “I always pay for good with evil.”
“Wait, snake,” says the hunter. “Let’s go along the road and ask the first person we meet how to pay for the good.” If he says - with evil, you will destroy me, and if he says - with good, then you will let me go.

The snake agreed.

So the hunter walked along the road, and the snake curled up on his chest.

They met a cow.

“Hello, cow,” says the hunter.
“Hello,” the cow answers.

Then the snake stuck its head out from the hunter’s bosom and said:
- Judge us, cow. This man saved me from death, but I want to destroy him. Tell me, how should we pay for good?
“I pay for good with good,” answered the cow. “My landlady feeds me hay, and I give her milk for it.”
- Do you hear? - says the hunter to the snake. “Now let me go, as agreed.”
“No,” the snake answers. - A cow is a stupid beast. Let's ask someone else.

“Hello, horse,” says the hunter.
“Great,” the horse replies.

The snake stuck its head out and said:
- Judge us, horse. This man saved me from death, but I want to destroy him. Tell me, how should we pay for good?
“I pay for good with good,” answered the horse. “The owner feeds me oats, and I work for him for it.”
- Here you see! - says the hunter to the snake. “Now let me go, as agreed.”
“No, wait,” the snake answers. “A cow and a horse are domestic animals, they live near people all their lives, so they stand up for you.” Let’s go into the forest and ask the wild beast whether I should destroy you or not.

There is nothing to do - the hunter went into the forest.

He sees a birch tree growing in the forest, and on the lowest branch a wild cat is sitting.

The hunter stopped near a birch tree, and the snake stuck its head out and said:
- Judge us, cat. This man saved me from death, but I want to destroy him. Tell me, how should we pay for good?

The cat flashed green eyes and says:
- Come closer. I'm old, I can't hear well.

The hunter approached the very trunk of the birch tree, and the snake stuck out even more and shouted:
- This man saved me from death, but I want to destroy him!.. Do you hear now? Judge us...

The cat released her sharp claws, jumped on the snake and strangled it.

“Thank you, cat,” said the hunter. “You helped me out of trouble, I will repay you kindly for that.” Come with me, you will live in my hut, sleep on a soft pillow in the summer, and on a warm stove in the winter. I will feed you meat and give you milk.

The hunter put the cat on his shoulder and went home.

Since then, a man with a cat great friendship live.

A genre that carries particularly expressive features children's creativity, are teasers - isaskonyos (from the verb "isaskyns"- tease). Teases are part of gaming folklore. They are quite common among children. Children accept the custom of giving nicknames and offensive nicknames from adults, but in the children's environment they are to a certain extent softened. Children love to tease each other and sing mocking songs. Such teasing songs and ridicule songs represent a special type of children's creativity. At first, these are simply rhyming additions to the name - nicknames. If you add some verse to them, a tease is formed: "Tanya-banya, rastabanya; Tabande mynym no wai"- “Tanya-Banya, Rastabanya; Give Tabani to me too.”

In most cases, teasing makes fun of a person's appearance: "Oops, tweedledee; Badӟym kӧto Mikalya..."- “Oops, tweedledum; Big-bellied Nikolai...” Although teasers are not very aesthetically pleasing, one cannot do without them: they condemn snitching, gluttony, laziness, as if in a distorting mirror, point out shortcomings and thereby contribute to their correction.

Puzzles

Spells, incantations, incantations

Genres of folklore, having arisen in different time, V artistic images reflected the stages of human knowledge of the surrounding nature and society. According to his pre-Christian beliefs, which survived until the 20th century, all nature was inhabited by creatures capable of helping or hindering or harming humans. Therefore in different cases they were addressed with the help of spells, invocations, conspiracies, which formed a separate original layer ritual poetry, pursuing utilitarian-magical goals.

The origin and initial functions of chants are very serious and are associated with ancient pagan mythology, deeply embedded in the life of the people. But over time, they became a game, as a lot of entertaining and funny things were added to them. Basically, such chant songs consist of two parts: in the first - an appeal to the sun, rain, etc.; in the second - an appeal to reward with something for fulfilled requests or an explanation and motivation for the request: "Shundye, sweat, sweat; Achim vёk nyan shoto"- “Sunny, come out, come out; I’ll give you the bread and butter myself.”

In most chants, Udmurt children turn to the sun. They affectionately call the sun “mother,” and “cloud” father. Such chants were usually sung while swimming, when after a long stay in the water they became hypothermic, and the sun was hidden in the clouds at that moment. With a call, they promised the sun a beautiful dress.

Calls-addresses often contain dialect words and word forms: addresses vary, for example, to the sun-mother (“neney”, “anay”, “mumi”, “neni”, etc.), to the father-cloud (“uncle ", "dad", "atay", etc.), while the plots of the chants are stable and almost not subject to change.

The peculiarities of the local dialect also affected the sentences addressed to animals, birds, and insects. Thus, in sentences addressed to ladybug(Zorkak), they call her what-mothers, Pali, tiri-papi etc. There are more than 11 titles in total. They reflected not only dialectal differences in the Udmurt language, but also ancient folk views. Conspiracies are similar to spells and invocations, but their significance in people’s minds is somewhat higher. This is emphasized both by the terms of execution and artistic features, and the fact that conspiracies were known only to certain individuals: sorcerers (tuno), healers (pellyaskis), pagan priests (vӧsyas).

Undershirts

Among children, unique word games existed and still exist - kylyn shudonyos, designed mainly for simpletons. Subdresses are based in most cases on consonances (rhyme): "- Kyzpu, shu!; – Kyzpu.; – Tybyr ulad tylpu"; " – Say, “birch”; – Birch; – There is a fire under your shoulder blade."

The usual form of quilting is a dialogue consisting of three lines. In the first line the player asks a question, in the second the word is repeated, which is asked to be repeated, and in the third line the answer is given. Pranks are similar in function to jokes and humorous answers. Merry word game for older children is the rapid repetition of difficult-to-pronounce verses and phrases - tongue twisters - ӝog veranyos. Tongue twisters are built on alliteration and assonance; they help children develop correct articulation and help them master the peculiarities native language. Help children feel and develop speech - clearly and quickly pronounce individual sounds, words and expressions. "Ozy, gozy, kuz gozy; Bakchayn thatcha ӟozy"- “So, a rope, a long rope; A dragonfly is jumping in the garden.”

The texts of some tongue twisters, like teasers, cannot be translated. When translating into Russian or other languages, the richness of the sound of words or individual sounds is lost.

Proverbs and sayings

Legends

Mythological legends

In Udmurt non-fairy tale prose, the universal genre of legends stands out, which is a verbal form of the people’s attitude to historical reality: mythical or realistic. In mythological legends, the motives of first creation, the appearance of any facts and realities of reality are processed in line with the later tradition with a predominance of moral and ethical attitudes, which creates a unique synthesis of narratives that are archaic in attitude, but later in form. One of bright examples- a story according to which spots on the moon appeared after a poor girl living with an evil stepmother asked the moon for protection, and she took her to her when the girl went to fetch water one Christmas evening. Since then, they say, she has been standing there, and on a full moon both the girl herself and the rocker with buckets are clearly visible.

Many texts are correlated with biblical subjects and images, but, unlike legendary legends, their content is closely intertwined with archaic ideas that melted new influences in the crucible of tradition, as, for example, in the legend “On the Creation of the World.” His heroes are Inmar(Supreme God) and Shaitan(Crap). Having decided to create the world, Inmar sends Shaitan to get earth from the bottom of the world's oceans. Having given the earth to Inmar, Shaitan hides its grains behind his cheeks, but when the earth, at Inmar’s command, begins to grow, he is forced to spit it out. This fact, according to legend, is the reason for the unevenness of the earth's surface.

Legendary tales

Historical legends

The richest section of legends is historical, cyclizing works around several main themes. In Udmurt historical legends, several main cycles stand out: about the ancient inhabitants of the region; heroic-heroic; on the settlement and development of the region; legends about robbers, fugitives; legends about treasures.

Legends about the ancient inhabitants of the region. The main characters of this cycle are giants - alangasary(southern Udmurts), giants - zerpaly(northern Udmurts). They are opposed to man in terms of time of residence on earth, intelligence and inability to create cultural values. In their portrait characteristics, attention is focused on growth and strength: they walk through the forest as if through nettles; they fight with uprooted trees; a man hollowing out a beeboard is mistaken for a woodpecker; They look at it in the palm of their hand, put it in their pocket or put it in their bosom. They have no clothes, no tools, and do not know how to use fire. While warming themselves by the fire, they protect themselves from its heat with clay, smearing their feet. Having discovered a creature on earth that can work (grow bread, raise bees), they are forced to leave their previous habitats. They go north, turning into huge blocks of stone, or die in pits, burying themselves alive. Evidence of the long-standing presence of giants in a particular area is often provided by the names of heights - mountains and hills ( Alai pydtysh– Scarlet’s heel, Alangasar Gurez- Mount Alangasar, Zerpal lay down- Zerpala hill/hill). An uneven surface, according to legend, is earth that has fallen off the foot or shaken out of the bast shoes of giants.

Alangasar became the starting point for the creation of two types of images in Udmurt folklore– heroes and mythical creatures. The heroes became the successors of their physical strength, the mythical creatures - their “mind”. The former became characters in the legends of the heroic-heroic cycle, the latter - in mythological tales. Alangasar in the archaic tradition is an exaggerated image of the past, a memory of a mythical, “pre-human” time.

Udmurt warriors

The elusive idea of ​​a giant as a first ancestor, present in the narratives of the cycle “On the Ancient Inhabitants of the Region,” is in this cycle replaced by a clear awareness that at the origins of individual clans are the heroic ancestors, to whose names are added terms of kinship or social status that determine their functions ( atay/buby"ancestor, grandfather. father"; vyzhyyyr"head of the clan"; exay"prince"; let's go"leader, military leader"; budӟyman"elder", "big, great").

Udmurt legends about heroic heroes received local development. Northern Udmurts, for example, are not aware of the epic characters of the southern regions. In folklore middle zone Udmurtia has its own circle of heroes, etc. Collectors of works of oral folk art have not recorded epic texts that would have a national resonance, that is, would exist in all regions where they live indigenous people.

Epic (non-fairytale) texts found in different areas and telling about various heroes, meanwhile, have common characteristic features, contributing to their unification into certain genres. They developed their own art form.

The vast majority of epic texts, with some exceptions, are narrated in prose. The narrator conducts his story as if recalling long-past events. It’s as if he himself believes in what he says, and makes his listeners believe in what he says. This creates a special style of storytelling. Episodes one after another are strung together on one thread and create a special plot.

The events depicted in the works take place in the Kama region. Therefore, the texts often contain pictures of nature characteristic of this region - fields and forests, meadows and rivers, mountains and valleys. The flora and fauna are typical for the area. The action can occur at any time of the day (morning, afternoon, evening) and year (summer, winter, etc.). The location of the action, as a rule, is specified and indicated more or less precisely. This is clearly evidenced by the toponyms found in the texts: names settlements, rivers, lakes, mountains, fields, etc. Among them, for example - White Kama, Vala, Cheptsa, Kilmez, Toyma, Izh, Pazyal, Mozhga, Dondykar, Karyl, Porshur.

One of the most widespread artistic techniques is hyperbole, which is used to describe various events and actions, especially when creating images of heroes. The Udmurt material confirms the theoretical position noted by folklorists - the further away from us in time the events described occurred, the greater the degree of hyperbolization of the facts. From the nature of the hyperbole, one can roughly determine the era of the events described.

The legend “Esh-Terek” tells about the struggle of the Udmurt warrior with the bigers (Tatars). There is no data in the text of the work indicating a specific historical time. Similar conflict situations were possible during the period of the Volga-Bulgar state (IX-XII centuries) and during the Tatar-Mongol yoke (XIII-XVI centuries). Analysis of hyperbole as an artistic device gives reason to assume that the work reflects an earlier time within the indicated eras.

Ash-Terek - mighty hero. He needs his weapons to match his strength. “He uprooted a maple tree, broke off the branches and bent it into an arc - and he had a bow.” The heroes “founded new settlements and fortresses on high hills, close to the river. In those places where they did not find mountains for punishments and fortresses, they grabbed a hillock with their hand, pulled it up to the size of a mountain, and on this mountain they settled with their comrades, the same heroes as the princes themselves" ("Donda Heroes" ).

In such cases, hyperbole performs both an artistic and a service function - to emphasize some feature of the hero through exaggeration. It symbolizes the power and strength of the clan, the leader of which is the hero. The images of heroes acquire a generalized character: through their deeds and actions, the life of an entire clan and tribe is narrated. The images of heroes reflect the period of formation of the patriarchal family, when the blood proximity of people began to be determined along the male line.

In ancient legends, heroes act as creators of clans, but over time this function is gradually obscured, and they begin to appear as leaders (tӧro) of clans. Subsequently, a specific name can mean any man from a given clan. The anthroponym gradually turns into an ethnonym, becoming the name of an entire clan or tribe. This happened with the names Vatka and Kalmez. Legends have brought to us the names of a number of clan leaders. This includes Dondy, Idna, Gurya, Mardan, Tutoi, Mozhga, Ozhmeg, Pazyal and others .

Some images of heroes retain direct indications or hints of a connection with a totemic ancestor. Dondy, for example, was turned into a swan after death. Reminiscences of ideas about the zoo- or ornithomorphic essence of the totemic ancestor are magical ability the hero turns into an animal or a bird: in order to avenge the murdered brother Bursin, the hero Selta first turns into a bear, and then into a raven, and in this guise he penetrates his enemies or runs away from them. An image lost in the process of evolution, capable of reincarnation, turns in legends into the image of a hero dressed in the skin of a totemic ancestor or having a fur coat of some kind of fur. Thus, an indispensable accessory of the “wardrobe” of the hero Bursin is a fur coat trimmed with beaver fur (my ku duro fur coat). The life of heroes, according to legend, is generally no different from the life of ordinary people. They are also engaged in hunting, fishing, farming, and often it is they or their children who are the founders of this or that type of farming or fishing. Apparently, the Udmurt heroes are already beginning to own property, expressed in the form of some kind of cut money, as evidenced by the mention of Shorem Kondon(chopped hryvnias), and an obligatory attribute of every settlement - an underground treasure. It is not without reason that the motif of storing countless riches in the places of settlements of heroes occupies one of the leading places in the composition of the text.

The status of the heroes changes when their territory is attacked by hostile neighbors (tushmon - enemy) in order to seize their lands. Bogatyrs lead in battles, for which their fellow tribesmen pay them tribute in peacetime or work in their fields. Claimants to the lands of their clans are both heroes of other Udmurt clans and neighboring peoples (Por - Mari, Biger - Tatars, ӟuch - Russians). The search for new lands (as a result of defeat in military clashes or in peaceful disputes-competitions: long-range archery, kicking bumps) and their development also fall on the shoulders of the warriors.

The position of heroes in society is mainly determined by their physical power. One of the main motives of the legends of this cycle is the motive of possessing extraordinary heroes physical strength– is the richest in various versions that reveal the appearance of the hero in specific details. The hero’s physical strength is manifested: in stretching hillocks with his hand to the size of a mountain; clearing the forest with bare hands; throwing stones from slings or whole logs from fort to fort; archery from 40, 80 or more miles; production of unusual in size and quality of tools and weapons; unusually fast movement; the ability to push a bump across a river to resolve a dispute over land and water. The incredible power of heroes can manifest itself even after their death.

The mighty strength of the heroes of the heroic cycle is increased many times due to supernatural capabilities predetermined by their priestly-witchcraft essence or acquired with the help of magical objects or magical assistants. The magical power of heroes is revealed: in the abilities of sorcery and prediction; in the possession of magical objects (magic skis - gold or silver, wonderful horses, enchanted sword/saber or knife/dagger); in connection with the other world.

The supernatural capabilities of the hero are most clearly and internally determined in his ownership of a special horse as a messenger of the other world. .

Legends may vary in theme, content and form. But nevertheless, in a number of texts there are identical episodes that are recreated in the same way. artistic techniques and become traditional. The reflection of similar events in folklore using the same traditional techniques creates a motive. Motives are always repeated many times. No matter how artistic techniques are used to show a single episode, it will not become a motif or acquire a traditional sound. Motifs characteristic of Udmurt legends:

The motive for comparing a person with a woodpecker (bird) or woodpecker. The Udmurts have lived in a forest region since ancient times, so they are well aware of the habits of forest birds. A woodpecker is hammering a tree, looking for food. The hard-working woodpecker impresses forest dweller, and he, working with an ax, begins to compare himself with a woodpecker. This motif is characteristic of the most ancient, cosmogonic legends telling about the universe, the origin of life and man. Moreover, the human woodcutter is compared to a woodpecker by his mythical opponents - alangasars, zerpals, giants.

“The little man began to plow the land, cut down the forest, and build huts. A giant boy saw one, took it in his hand and put it in his pocket along with the ax. He returned home and showed his mother:

Look, mother, what kind of woodpecker I caught, he was hollowing out a spruce tree.

And his mother says to him:

Son, this is not a woodpecker, this is a man. This means that we will soon be gone, only such people will remain in the world. They are small but hard-working; They know how to lead bees and catch animals. The time has come for us to leave here” (“On the Creation of the World”).

In all the legends in which a person is compared to a woodpecker, the giants go to an unknown place, and instead of them ordinary people remain to live in these parts.

The motive of fast movement. Bogatyrs overcome in a short time long distances, but this distance is given within the limits of what is actually possible. The hero moves on foot, on skis or rides a horse.

“He walked 25 miles to hunt. Every day, leaving home, he took a hot loaf of bread straight from the stove, which did not have time to cool down during the journey - he was skiing so fast” (“Idna Batyr”).

“His wife delivered the bread to him while it was still hot; the piebald horse galloped 30-40 versts so fast that the bread did not have time to cool down” (“Yadygar”).

“In winter, the Seltakar heroes put silver skis on their feet and went to the heroes of Karyl. These skis were so fast that they covered the space between these two settlements in an instant.” (“Donda heroes”).

“Zealous in work, Pazyal was zealous in the hunt. He ran 30 miles from Staraya Zhikya to the clearing so quickly that he did not have time to cool the hot bread he took for breakfast.” (“Pazyal and Zhuzhges”).

The time it takes to cover a certain distance is usually compared to hot bread cooling down. Where does this image come from? Why bread? Time is an abstract concept; it can be understood and explained only by consciousness. In ancient times, people tried to comprehend abstract concepts through concrete images. He felt the passage of time, but could not show it in hours and minutes. Therefore, he compared certain periods of time with the time spent on performing any operation in a subsistence economy or necessary to complete some phenomenon. It is known that hot bread taken from the oven cools down slowly, within about one hour. From here, the warriors covered distances of 25, 30, 40 or more kilometers in less than an hour (the hot bread did not have time to cool down).

The motive of throwing heavy objects. Whenever conflict situations Between the settlements, heroes throw heavy objects, and the legends do not talk about the consequences of these operations. The storytellers do not care what happened to the people of the other settlement. The very fact of throwing weights comes to the fore, i.e., the mighty strength of the heroes, their desire to defend their rightness, is emphasized.

“Dondykar heroes often quarreled with neighboring heroes. When fighting with them, they threw whole logs or large cast-iron weights to neighboring settlements. So, the Guryakar heroes threw logs with the Vesyakar heroes, and with the Balezinskiy they threw 40-pound weights. The Idnakar heroes threw weights of several dozen pounds at the Sepychkar heroes, and the Seltakar heroes threw logs at the Idnakar heroes, with whom they had frequent enmity” (“Dondinskie heroes”).

Motif of kicking hummocks across the river. The Udmurt region abounds in many rivers and rivulets, on both sides of which there are vast meadows. In ancient times, rivers were the main means of transportation. The ancestors of the Udmurts settled in the basins of the Kilmez, Vala, Izh and other rivers. Disputes arose between the old-timers and the new arrivals over their place of residence, meadows and forests. These disputes never resulted in bloodshed. They were always resolved by peaceful competition, one of the most common types of which was kicking bumps across a river or lake.

This competition reveals not only the physical strength of the heroes: who can throw a hummock across the river with a kick. One of the opponents always turns out to be smarter and more cunning, he cuts off the bump intended for him in advance, and, naturally, wins. The motive is curious in that it emphasizes the superiority of the mind over physical strength.

This is how the dispute between the heroes Mardan and Tutoi over the meadows and forests along the Vala River is resolved. “During the night, Mardan cut off the hummock and put it back in its place. He ordered his people to do the same.

At dawn, the debaters went to the river. With all his might, Tutoi kicked a large mound. The hummock broke off and flew up, then landed right in the middle of the river. Then Mardan kicked his cut mound. This bump flew across the river and hit the ground beyond the river.” (“Mardan atay and Tutoy”). The competition is won by the smart Mardan, although he is physically weaker than his opponent. And Tutoy and his people (with his family) were forced to leave these places. This motif is also found in the legends “Mardan-batyr”, “Tutoy and Yantamyr”, “Pazyal and Zhuzhges”, “Two batyrs - two brothers” and others.

Archery competition motive. The Udmurts have been good hunters since ancient times. Hunting equipment, along with other devices, included a bow and arrow. A bow can also be a warrior's weapon. He is mentioned in the legend “Esh-Terek”, in some legends about Pugachev and in other texts. But the archery scenes in them did not become traditional. In some legends, archery is given as a way to resolve controversial issues. The shooting itself turns into a kind of competition, and it creates a special motive in the plot of the text.

“Kaivan invited Zavyal to the forest. They stand on a mountain near a forest and from there they look at a huge pine tree on another mountain. Kayvan took the arrow, pulled the bow, aimed at the pine tree and said:

If this arrow sticks into a pine tree, let there be a cemetery there, and on the other side of the river - a repair. The places on this side of the Pozim River will be yours, and on the other side will be mine. The boundary between my and your possessions will be Pozim.

Okay, so be it,” said Zavyal.

Kayvan shot an arrow, and it stuck in a pine tree” (“Kayvan and Ondra Batyr”).

A similar motif is found in the legend “The Donda Heroes” and some others.

The motive for sawing bridge piles. The Kama region is a region of many rivers and deep ravines. On the roads there are many bridges over which heroes pass. Enemies, not daring to enter into an open battle with them, resort to cunning: along the route of the heroes, they saw down the bridge piles and set up an ambush. The bridge collapses, the heroes find themselves in a difficult situation and often die. This motif is found in the legends “Kalmez heroes”, “Yadygar”, “Idna batyr”, “Mardan batyr”, “Mozhga batyr” and a number of others.

Motif of the curse of the pinto horse and the second wife. It is usually connected with the previous motive. The hero usually rides several (two, three) horses; they, sensing danger, do not go to the deceptive bridge. The piebald horse cannot sense danger, the hero sits on him, the horse goes onto the bridge and falls through. Because of the piebald horse, the hero falls into a trap, for which he curses him. Where did it come from? negative attitude man to piebald horses?

Before adopting Christianity, the Udmurts professed a pagan faith. They sacrificed animals and birds to their pagan gods. According to prevailing popular beliefs, the sacrifices of the gods must be of a strictly defined color. They could not accept motley geese, motley lambs and bulls, piebald foals, etc. Animals and birds of a certain color, pleasing to the pagan gods, fall under the protection of patron spirits, who allegedly warn them in advance about danger and protect them from accidents. The kindness of the patron spirit does not extend to colorful animals and birds. Therefore, no one lets piebald horses know about the approaching danger; they do not feel it, for which they receive a curse from their riders.

The hero-hero’s predicament is further aggravated by his second wife, who did not have time to get used to her husband’s actions and words. When a hero sets off on a journey, he usually asks his wife to give him a loaf of bread. By loaf we mean the husband's personal weapon - saber, saber, etc. This reflects the ancient ban (taboo) on saying out loud the names of types of weapons. The first wife understood her husband perfectly and clearly fulfilled his allegorical request. But the hero is forced to marry a second time. Getting ready to go on the road, he turns to her with the same request. Finding himself in a difficult situation, he begins to look for his weapon in the cart, but, apart from bread, he finds nothing and curses his second wife in his hearts. This motif is quite widespread in Udmurt epic tales:

“The batyr’s first wife died, he married a second time. One fine day, Mardan got ready to go on the road, harnessing a piebald horse to a cart. The second wife forgot to give him a broadsword. The Pores (Mari) cut down the bridge piles on his way. His piebald horse did not stop in front of the bridge. Mardan the batyr and his horse fell under the bridge. As he fell, he shouted loudly:

A piebald horse is only a horse when there is no horse; the second wife is only a wife when there is no wife. “That’s how Mardan the batyr died.” Let's look at a few more examples.

“Thinking of saving himself, he began to look for a saber. But instead of a sharply sharpened saber, a loaf of bread came to hand. Mikola realized that death had come.

A pinto horse is not a horse, a second wife is not a wife,” he said while dying.” (“Two warriors - two brothers”).

Stylistically, the curse formula varies somewhat, but the essence remains the same - a sharply negative attitude towards the mentioned objects.

The motive of transformation. In some cases, the hero of epic tales, due to necessity, can be reincarnated in another image. The reasons for reincarnation may be different, but the fact itself suggests that people believed in the possibility of such a phenomenon. The idea of ​​a person’s ability to transform into an animal, bird or object arose on the basis of ancient totemistic views: the creator of a clan can be a totem - an animal, bird, plant, etc. The totem protects the clan, the well-being of all its members depends on it. It was believed that a person respected in his clan could himself take the form of a totem.

The motif of transformation into legends came from folk fairy tales, where it is presented much more widely and richly. In fairy tales, “the motif of a miraculous escape with transformation is of particular interest. Fleeing from persecution, the hero can turn into animals, objects, etc., in turn, his pursuers also turn into appropriate images to continue the chase.”

In legends, this motif is interpreted somewhat differently than in fairy tales. A hero, escaping from pursuit, can take on the appearance of an animal or bird, which his pursuers cannot do. For example. Selta Bakatyr, leaving the pores (Mari), turns into a bear, then into a hawk (“Kalmez heroes”).

In a similar way, the hero Mardan escapes from the pores. First he also turns into a bear, then into a raven, and cannot be caught (“Mardan atai and Biya the Fool”).

Sometimes the leader of a clan does not go to the other world after death, but turns into a patron totem. “Dondy lived to a ripe old age. He barely let out last breath how he was turned into a white swan by Inmar. In this image, he allegedly patronized the Udmurts, who do not forget him” (“Dondy”).

At the beginning of the legends, an indication of the past time is certainly given when the described event took place. The beginning often contains the word “vashkala,” which can be translated “a long time ago” or “in ancient times.” This word indicates the antiquity of the facts being told.

If the narrator wants to emphasize a greater degree of prescription, before the word “washkala” he puts the adverb of degree “tuzh” - “very”. At the beginning of some legends, the word “kemala” - “long ago” - becomes traditional. Compared to the word “washkala,” this word indicates an era that is closer to us, although significantly distant.

The time closer to us is marked with the word “azlo” - “before”. By this, the narrator seems to emphasize the recently passed time. In some cases, the degree of remoteness of the events described from us has no practical significance. There is no indication of time in the beginning; the narrator is only interested in the fact itself that he reproduces.

The beginning of Udmurt legends is usually laconic. But it sets a certain tone for both the narrator and the listeners, as if helping them to mentally transport themselves to the era in which the events described took place.

The ending of the story sums up everything that has been said. Stylistically, the ending has not developed a traditional form, but from the point of view of content (informative beginning), a certain pattern is observed in it. Many legends, especially heroic ones, end with the death of the hero. In some cases, the hero himself dies, having lived to a ripe old age, and the people mourn him.

In the end, the idea is often conveyed that the age of heroes is a passed stage, and the legend regrets this. The natural death of the hero Idna is narrated at the end of the Donda legend. To perpetuate his name, before his death, he uttered a spell: “Prince Idna took the largest bow, pulled it four times as tight as possible and fired four arrows to the four cardinal directions, saying: “Let my name be known and respected within that the place that I fired with my arrows!

A number of legends speak of the hero’s premature death, and the story itself ends there. The death scene turns into a kind of ending. The hero usually dies in the fight against the dark forces of nature (“Eshterek”), in a battle with other tribes (“Kondrat Batyr”, “Yadygar”) or during social-class clashes (“Kamit Usmanov”).

In some legends and traditions, at the end it is stated how life has changed after the events described or how and why people remember the facts of deep antiquity.

The beginning and ending create a compositional frame, due to which the work is perceived as a single, artistically integral tale with a certain content and form.

Sentences

Fairy tales

As in the folklore of other peoples, the Udmurts have fairy tales: about animals, social, everyday or novelistic, and magical.

Animal Tales

Short story tales

A unique genre of the Udmurt fairy-tale repertoire consists of short-story tales. In content and form they are close to everyday humorous or satirical stories. The heroes of these fairy tales: poor and rich brothers, peasant and master, merchants, priests, clever and cunning people - do not commit incredible acts, do not fight monsters, they act in ordinary everyday situations. The main weapon of social fairy tales is laughter: they ridicule human vices - greed, envy, stubbornness, stupidity, laziness, etc. The short story tale has freed itself from the signs of magical fiction, from the conventions of fairy tales about animals, from ancient forms mythological concepts and ideas. Without allegories or any other forms of allegory, it reveals deep social contradictions and convinces listeners of the injustice of existing social norms.

Fairy tales

Counting books

One of the components of the game with for a long time is a counting rhyme - lydyaskon - a kind of playful poetic miniature, or, as it is also called, a “game prelude”. The Udmurt term “lydyaskon” comes from the verb “lydyaskyny” - to count.

It is the presence of counting that is a feature of the genre and forms its poetics. The most commonly used numbers are cardinal and ordinal numbers. The use of numbers only in the first ten is apparently explained by the fact that these numbers are most accessible to the perception of young children. Counting in counting rhymes is used in different forms. Sometimes it goes through the entire text: "Odӥg, kyk, kuin, nyyl; Vit, kuat, sizyym, tyamys; Ukmys, das – ; Proud soldier potez"- "One, two, three, four; Five, six, seven, eight; Nine, ten -; The Red Soldier came out." Some rhymes are skillfully constructed on the principle of distorted counting: "Andes, dwands, trinds, fournds; Mines, monks, pen penokas; Dwarfs, ten". This method arose in connection with the taboo of counting. The ban on pronouncing the exact number made it possible to introduce abstruse elements into the counting system, which later naturally affected the gaming setting of the genre.

In Udmurt rhymes one can also find works with distorted text, arising mainly in a bilingual environment. Apparently, due to ignorance of other languages, when using folklore texts, not all words are understandable, and therefore their form is closest to native speech, and mixed vocabulary is introduced. Incomprehensible but sonorous words and phrases attract children, and they enthusiastically chant them. Sometimes they deliberately resort to distortion, finding pleasure in word creation itself. Hence the appearance of abstruse rhymes. They are educated different ways: repetition of words with the addition of a consonant - "ekete-bekete"; replacing the initial consonants of the same word - "cherek-berek".

The main feature of this genre is strict adherence to rhythm. If the rhythm disappears, the counting disappears too. In Udmurt rhymes, the rhythm-organizing element is most often the alternation of stressed syllables. With the help of assonance and alliteration, their intonation feature is achieved. In a poetic line of Udmurt rhymes, consisting of three or four words, there are usually at least three or more alliterative sounds. This promotes quick memorization and teaches children clear pronunciation.

The reader develops a sense of language and accustoms to the poetic features of folklore. Currently in children's repertoire counting rhymes remain one of the most popular genres. They are enriched with new content thanks to professional creativity. Children's poets actively use their images, rhythm and dynamics in their work.

Udmurt fairy tales.

Tales about animals.

Fairy tales.

Realistic fairy tales.

“When a person’s inquisitive gaze begins to penetrate into what surrounds him, fairy tales about animals and plants appear. ancient man tries to explain the reason for this or that peculiarity of representatives of the surrounding world. This is how fairy tales arise about why a bear hides in a den for the winter, why rye does not have a whole stalk of ears, why a pea consists of two halves, etc. Of course, these explanations are still a pure figment of fantasy, but they are already evidence of that that a person wants to know everything, that it has become impossible for him to live in ignorance.

In ancient times, man was largely dependent on the ability to recognize the habits and morals of animals. In tales about animals, the Udmurt - a hunter and nature lover - preserved and brought to the present day observations of the natural behavior of animals and animals. He treated them as his smaller brothers, although sometimes in some ways - in strength, agility, speed - they were superior to humans. Observing the successes and failures in communicating with the animal world, he began to pass on his experience to other generations through fairy tales about animals.

We now call fairy tales what for the first listeners were lessons in hunting and natural history, which taught us to respect the power of the bear, calling him “master of the forest” and even worshiping him in order to appease him and win him over. On occasion, however, he can be deceived: he is strong, but simple-minded. The wolf is weaker than the bear, but more impudent and stupid. In addition, he is always hungry, or rather, insatiable. The wolf is so stupid that even such harmless animals as a hare or a kid can outwit him. The long-tailed fox Vassa in the Udmurt fairy tale is cunning, as in the fairy tales of other peoples, flattering with the strong and arrogant with the weak, but she is also stupid. A rooster, a dove, and a cat defeat her without much difficulty. Over time, these tales ceased to be lessons in natural history: humanity has stepped far forward towards true knowledge. And fairy tales remained fairy tales.

Why do we still love fairy tales about animals? Is it because, firstly, they help us get to know our people better? younger brothers" - animals and, secondly, allow us to critically and not without humor evaluate our own behavior and the actions of the people around us. Arrogance, bragging, arrogance, cowardice, deceit, attributed in fairy tales to the bear, wolf, fox and other animals, don’t they help us take a stricter look at ourselves and the circle of our acquaintances? Do they not instill in us modesty, benevolence, integrity, selflessness? Yes, yes and yes! It is no coincidence characteristic feature A modern Udmurt fairy tale about animals is the victory of a weak character over a strong and cruel one: a kid defeats a wolf, a rooster or dove defeats a fox, a cat defeats a bear. The heroes of fairy tales about animals, having retained traditional habits and characters, have now found a new life and perform a noble task: they help raise a new person to be kind, strong, generous, ridiculing everything that is inert, alien, and backward.

Fairy tales are younger than fairy tales about animals. They contain what has been achieved by man and what has so far seemed unrealistic. In other words, fairy tales capture the people’s dream of an omnipotent, omnipotent man living on earth and conquering time, space, fire, and water. He managed this with the help of magical means obtained through labor and kindness. The world of the Udmurt fairy tale amazes with its ordinariness and fantasy. Her heroes experienced hunger and cold, injustice and deception. Struggling with need and untruth, they perform miracles: they climb into the sky, descend underground, do not burn in fire, do not drown in water. Thanks to wonderful items and helpers, they defeat the strongest opponents. These tales reflect one of the first stages of man's struggle against the evil forces of nature, the victory of a tireless seeker and worker over them, the wealth of his soul and his moral beauty.

The wonderful gift received by the hero of a fairy tale is taken away from him by cunning and deceit by envious and evil people: merchants, priests, rich people. However, the fairy-tale hero in the end achieves punishment for the offenders and again becomes the owner of the magical gifts intended for him. Why? Yes, because the people-creator and worker, at a time of lawlessness and oppression, believed in their creative forces and in the inevitable triumph of justice. True, he did not know in what ways this would be achieved, but he dreamed about it in fairy tales. He dreamed of wonderful helpers: a self-cutting axe, an invisibility scarf, rejuvenating apples, a self-assembled tablecloth, a self-dancing pipe, self-propelled bast shoes and others. They promised him a worthy reward for his work, relief from hard work, longevity, reduction of distances, good rest and much, much more, which would make life wonderful and amazing.

The hero of an Udmurt fairy tale is neither a king nor a prince, neither a king nor a prince. Most often it’s just Ivan or Poor Ivan. Sometimes it is a nameless soldier who has served the Tsar for a long time as a soldier and remains an orphan in this world: not a stake, not a yard, not a penny for a rainy day. And this is what is characteristic: the disadvantaged hero is not embittered, not bitter, but on the contrary, his heart is kind and sympathetic, his mind is bright and clear, his hands are dexterous and skillful. Such a hero confronts enemies strong and powerful. Yes, he not only fights, but also wins, as, for example, in the fairy tales “Poor Ivan”, “Gundyr Inmar and Prok the Headman”.

Why is the hero of a fairy tale omnipotent, omnipotent? Is it only because he became the owner of fantastic helping gifts? After all, these same gifts, falling into the wrong hands, almost lose their good power. Probably, the point is not in them, but in the fact that the hero of a fairy tale usually acts not only on his own behalf, but also on behalf of those whose interests he defends more than his own - on behalf of the family, fellow villagers, and people. This is what makes him invincible and omnipotent. Evil forces opposing the hero in fairy tales appear either as traditional fairy-tale kings or merchants, or are personified in the form of a serpent, devils and the god Inmar himself. These forces stand in the way of the hero to happiness and prevent him from living honest people, dooming them to troubles and extinction. But the hero overcomes them.

So, we can say that in fairy tale the main and indispensable moments are struggle, exploits, and extraction. Therefore, all the forces operating in it are sharply divided into two camps: heroes themselves, heroes in literally, and their enemies. A feature of fairy tales is the technique of exaggeration and hyperbolization. The difficulties in them are exaggerated so much that they seem impossible, the carriers of an evil principle - insurmountable, the possibilities of magical objects - innumerable or inexhaustible. But main character For the time being, he doesn’t particularly stand out in terms of intelligence, strength, and skill. All he has is a kind heart, sensitive to injustice and people's grief. It is this kind heart that makes him omnipotent. Thanks to him, he receives magical assistants as a reward, magic items or magical skill. That is why fairy tales are called magical.

The youngest of all fairy tales in science are considered realistic, or everyday. When a person was completely dependent on nature, when his immediate future depended on luck in hunting or fishing, legends, myths, and fairy tales about animals served him as a living book of life, they reflected his experience. The experience was replenished, and the oral book about it was replenished. In a fairy tale, an ancient man begins not only to share his life experiences, but also to dream about such helpers, objects, such a skill that could make him many times stronger and more powerful. A poor man, in order to achieve a little prosperity, had to be dexterous and cunning, resourceful and quick-witted. Then tales began to appear about the poor - deceivers and cunning people who cleverly deceived the self-righteous and greedy rich. The heroes of these fairy tales have neither magical helpers nor wonderful gifts or skills. They don’t need to make their way to the sun or descend into the underworld. And their goals are earthly and their means of achieving them are also everyday. They, driven to extremes by need, seek elementary justice, forcing the rich man, against his own desire, to return to the poor man what he or his brothers have earned. Their only wealth helps them in doing this: dexterity and intelligence.

The themes of everyday fairy tales are exceptionally diverse. You can find an example for literally all occasions in Udmurt everyday tales. Among them there are fairy tales on favorite themes, and they have their own favorite heroes. Thus, in most fairy tales the themes of the hero’s marriage, happiness, and fate vary.

Especially popular among the Udmurt people are tales about the clever Aldar Ivan or Aldar Agai. This is certainly a poor, but smart man. IN Lately he was somewhat displaced by Lopsho Pedun. Interesting story is happening before our eyes with this amazing hero. The antics of Lopsho Pedun remained as a memory of past times, as an example of humor that testified to the moral health of the Udmurt people.

An everyday fairy tale is a generalization, a typical reflection of life phenomena. And yet she is a fairy tale. Not a true story, not a separate fact of reality. It clearly shows the fairytale beginning, the fairytale essence. What is being told may have happened in some detail to someone somewhere in life, or rather, could have happened. A deft, smart worker, for example, could outwit the owner once, twice, several times. But this happened extremely rarely. In the overwhelming majority, it was the other way around: the owner would not be the owner if he did not profit at the expense of others, that is, at the expense of those who worked.

Some fairy tales show their age, that is, individual details can be used to tell approximately the time of their creation. However, for the most part, the tale does not reveal age. Only a specialist can sometimes figure it out. The fairy tale itself has no use for this: it is always young, always beautiful, just like the people who created it."

Candidate of Philology N Kralina.

Regional and ethnocultural directions in the activities of educational organizations.

Vyzhykyl (fairy tale) is an epic oral work, predominantly of a magical, adventurous or everyday nature, with a fictional focus. The nature of the story is always entertaining. It is precisely the entertaining nature and focus on fiction that distinguishes the fairy tale from other narrative genres of folklore.

The Udmurt fairy tale repertoire is rich and varied.As in the folklore of other peoples, the Udmurts have fairy tales: about animals, social, everyday or novelistic, and magical.

We now call fairy tales what for the first listeners were lessons in hunting and natural history, which taught us to respect the power of the bear, calling him “master of the forest” and even worshiping him in order to appease him and win him over. On occasion, however, he can be deceived: he is strong, but simple-minded. The wolf is weaker than the bear, but more impudent and stupid. In addition, he is always hungry, or rather, insatiable. The wolf is so stupid that even such harmless animals as a hare or a kid can outwit him. The long-tailed fox Vassa in the Udmurt fairy tale is cunning, as in the fairy tales of other peoples, flattering with the strong and arrogant with the weak, but she is also stupid. A rooster, a dove, a cat easily defeat her. Over time, these fairy tales ceased to be lessons in natural history: humanity has stepped far forward towards true knowledge. And fairy tales remained fairy tales.The main ones in the mythology of the Udmurts were Inmar, who lives in the sky and gives light and warmth, and Kyldysin, the patron of the earth, who gives people bread and food. There were also many other deities. In the water, the master was Vumurt (water), Vukuzyo (master of water), Vuperi (spirit of water).

Fairy talesyounger than animal fairy tales. They contain what has been achieved by man, andThat,which seemed unrealistic for now. In other words, fairy tales capture the people’s dream of an omnipotent, omnipotent man living on earth and conquering time, space, fire, and water. He managed this with the help of magical means obtained through labor and kindness.

The world of the Udmurt fairy tale amazes with its ordinariness and fantasy. Her heroes experienced hunger and cold, injustice and deception. Struggling with need and untruth, they perform miracles: they climb into the sky, descend underground, do not burn in fire, do not drown in water. Thanks to wonderful items and helpers, they defeat the strongest opponents. These tales reflect one of the first stages of man's struggle against the evil forces of nature, the victory of the tireless seeker and worker over them, the wealth of his soul and his moral beauty.

The hero of an Udmurt fairy tale is neither a king nor a prince, neither a king nor a prince. Most often it’s just Ivan or Poor Ivan. Sometimes it is a nameless soldier who has served the Tsar for a long time as a soldier and remains an orphan in this world: not a stake, not a yard, not a penny for a rainy day. And this is what is characteristic: the disadvantaged hero is not embittered, not bitter, but on the contrary, his heart is kind and sympathetic, his mind is bright and clear, his hands are dexterous and skillful. Such a hero confronts enemies strong and powerful. Yes, he not only fights, but also wins, as, for example, in the fairy tales “Poor Ivan”, “Gundyrinmar and Prok the Headman”).Some Udmurt fairy tales reflected traces of a long-past matriarchy. The Udmurt fairy tale knows the image strong women, whom male heroes cannot defeat in competitions. In the fairy tale “Museum and Marsalim”, the image of the daughter of the Fire King reflects that era, when a woman had great strength and unlimited power in society.

The youngest of all fairy tales in science are consideredrealistic, or everyday . When man was completely dependent on nature, when on his success in hunting or fishing depended on his immediate future; legends, myths, tales about animals served him as a living book of life, they reflected his experience. The experience was replenished, and the oral book about it was replenished. In a fairy tale, an ancient man begins not only to share his life experiences, but also to dream about such helpers, objects, such a skill that could make him many times stronger and more powerful. But how far it was still from the dream - self-propelled bast shoes - to airplanes! From the self-cutting ax to the Druzhba electric saw! The dream remained a dream for a long time, a very long time.

The themes of everyday fairy tales are exceptionally diverse. You can find an example for literally all occasions in Udmurt everyday tales. Among them there are fairy tales on favorite themes, and they have their own favorite heroes. Thus, in most fairy tales the themes of the hero’s marriage, happiness, and fate vary.

Tales about the clever Aldar Ivan or Aldaragai are especially popular among the Udmurt people.This is certainly a poor, but smart man. Lately he has been somewhat displaced by LopshoPedun. An interesting story is happening before our eyes with this amazing hero. He was born modest and moderately active, not under Soviet rule, but long before the revolution, somewhere within what is now Udmurtia.

How to make training more effective? What methods and means can be used to maintain interest in learning? Everyone knows that using game moments and lessons in a playful way, especially in primary school, are a necessary means of activating the cognitive activity of students. Particularly interesting are the lesson-excursion, lesson-travel, lesson-play, lesson-fairy tale. They make learning accessible and help increase children’s activity. Today I will talk about the use of Udmurt fairy tales in literary reading lessons in elementary school. Skillful use of fairy tale texts allows you to make the lesson brighter, more meaningful, and more interesting. Completing “fairy tale” tasks will help develop educational motivation, team building, and the ability to work in a team. There are many techniques for using fairy tales. Here are some of them. If you need to do a lot of monotonous exercises, you need to include them in the game shell in which they are performed to achieve the game goals In such cases I use the following techniques:

The “Attractive Goal” technique. Children can be given a goal - to help Lapshopedun restore his good name.

- “Magic wand” - a pen (pencil) is passed around the class in random order. The transmission is accompanied by speech according to some predetermined order-rule. For example, the transmitter names the name of a fairy tale, short story, story - one of the characters in this work;

Reception "Fabulous" puzzles." Puzzles are aimed at creating a creative and largely playful environment. Children can be offered the following tasks: - retelling this episode of the fairy tale shown in the picture; -description of the character; - writing your own continuation of the fairy tale;

Technique “Familiar heroes in new circumstances” Circumstances can be purely fantastic, incredible (animals live on flying saucers), or they can be close to the lives of children (with the help of a magic wand they ended up in the same cage of a city zoo);

Children love to travel. Therefore, the “Travel with a Fairytale Hero” technique will not let your child get bored in class. Let's hit the road. On the way we will encounter various obstacles. To overcome them, you need to be brave, fast, smart, and attentive. Such lessons contribute to the development of interest in the subject, attention and empathy literary heroes. In modern conditions, it is advisable to use computer technologies to enhance the cognitive activity of students in lessons and outside of school hours.

On lessons extracurricular reading after meeting with Udmurt fairy tales And fairy-tale characters the guys draw illustrations for fairy tales.

Department of Public Education of the Administration of Karakulinsky District

"Journey into the world of fairy tales of the Udmurt people

in extracurricular reading lessons"

Work performed by: S.A. Kiryanova

teacher primary classes

2015

UDMURTS- this is a people in Russia, the indigenous population of Udmurtia (476 thousand people). Udmurts also live in Tatarstan, Bashkiria, Perm, Kirov, and Sverdlovsk regions. The total number of Udmurts in Russia is 676 thousand people. 70% of Udmurts consider their family National language. The Udmurt language belongs to the Finno-Ugric language group. The Udmurt language has several dialects - northern, southern, Besermyansky and middle dialects. The writing of the Udmurt language is based on the Cyrillic alphabet. Most Udmurt believers are Orthodox, but a significant part adheres to traditional beliefs. The religious views of the Udmurts living among the Tatars and Bashkirs were influenced by Islam.

The past of the Udmurts dates back to the Finno-Ugric tribes of the Iron Age of the 1st millennium AD. The territory of modern Udmurtia has long been inhabited by tribes of Udmurts or “Votyaks” (3-4 centuries AD). In the 10th-12th centuries, the Udmurts were under the economic and cultural influence of the Volga-Kama Bulgaria. In the 13th century, the territory of Udmurtia was conquered by the Mongol-Tatars.

In 1489, the northern Udmurts became part of the Russian state. In Russian sources, the Udmurts have been mentioned since the 14th century as Ars, Aryans, Votyaks; Southern Udmurts experienced Tatar influence, because until 1552 they were part of the Kazan Khanate. By 1558, the Udmurts completely became part of the Russian state. Under their own name, the Udmurts were first mentioned in 1770 in the work of the scientist N.P. Rychkova.

The traditional occupation of the Udmurts was agriculture and animal husbandry. Hunting, fishing, and beekeeping were of an auxiliary nature. Udmurt villages were located along the banks of rivers and were small - a few dozen households. The decoration of the home included many decorative woven items. Udmurt clothing was made from canvas, cloth and sheepskin. In clothing, two options stood out - northern and southern. Shoes were wicker bast shoes, boots or felt boots. There were numerous decorations made of beads, beads, and coins. The traditional dwelling of the Udmurts was log cabin with a cold entryway under a gable roof. The diet of the Udmurts was dominated by agricultural and livestock products.

In the public life of villages, a large role was played by the neighborhood-type community, headed by a council - kenesh. For a long time, the clan divisions of the Udmurts, the Vorshuds, survived.

The religion of the Udmurts was characterized by a numerous pantheon of deities and spirits, among them Inmar - the god of the sky, Kaldysin - the god of the earth, Shundy-mumm - Mother of the sun, there were about 40 of them in total. Many ritual actions were associated with economic activities: gery potton - the festival of taking out plow, howl beetle - ritual eating of porridge from grain of the new harvest. Since the 19th century, many holidays began to coincide with the dates of the Christian calendar - Christmas, Easter, Trinity. Udmurts often had two names - a pagan one, given when they were named a midwife, and a Christian one, received at baptism.

Leading place in applied arts occupied by embroidery, patterned weaving, patterned knitting, wood carving, weaving, stamping on birch bark. Singing and dancing, accompanied by playing the harp and pipes, were widely developed among the Udmurts.

In the 18th century, the largest Udmurt factories were built in Udmurtia - Izhevsk and Votkinsk, which, in a transformed form, have retained their significance to this day. The region has turned into a major industrial center of Russia. Highest value received metallurgy, mechanical engineering and weapons production.