What are the characteristics of northeast folk stories?

Northeast folk stories are an important category of northeast folk literature and the main body of northeast literature. It is a unique traditional national culture created by the Northeast people who have lived on the land of Kanto for generations in the process of long-term development and construction of the Northeast.

It constitutes the deep foundation and broad background of folk stories of various nationalities in Northeast China, and accumulates the thoughts, feelings and values of the broad masses of people in Northeast China.

Northeast folk stories have a long history and rich contents, including myths, legends, fables and jokes. , reflecting the long history of all ethnic groups in Northeast China and the customs of Northeast China, has a unique artistic style. It exists among all ethnic groups in Northeast China and is attached to the existence of all ethnic groups in Northeast China.

Many northeast folk stories reveal a simple, rough, simple and mellow style. In particular, some special stories, customs and legends describing ancestors' fishing, hunting, digging or fighting to show the natural environment atmosphere in the north are the most abundant.

Fantasy stories occupy a large number of articles in northeast folk life stories, which are full of national characteristics. The work not only embodies the national charm in the environment and language shell, but also permeates the ancient concept of social totem worship in the magical and rich imagination. Moreover, it is characterized by beautiful and lingering description, tortuous plot, strange form and complex deformation.

Northeast folk stories, like other northeast folk literature styles, have their own historical process of emergence and development, and have characteristics different from other northeast folk literature styles, from which we can see the life customs, aesthetic tastes, values, religious beliefs and ideals of the Kanto people.

Northeast folk stories, like other folk creations, are often spontaneously created by different people on certain collective occasions due to the stimulation of real life scenes or to meet certain needs in real life.

Sometimes it is to inspire fighting spirit or labor mood, sometimes it is to reduce the labor burden or adjust the action of collective labor, sometimes it is to celebrate festivals or express one's views on things, and sometimes it is to express joy, optimism, sadness and anger. In this case, folk stories are produced.

Whether it is group creation or individual creation, as long as it is created, Northeast folk stories will naturally enter the field of communication, spread among the people, and be told and praised by the general public.

In the process of being recited and praised, these folk stories have undergone various tests, including story content, story expression, story language and so on.

If these folk stories can adapt to people's life needs, aesthetic psychology, living habits and tastes, and to people's ideology and values, then they will be loved by the general public, with strong vitality and long survival time, and will be circulated among the general public, and in the process of circulation, people will continue to process and polish them, so as to enrich them.

Generally speaking, there is no author in the northeast folk stories, and they are all anonymous, which forms the characteristics of anonymity and anonymity in the northeast folk stories. There are no specific authors in northeast folk stories, such as Old Li with a Bald Tail, Girl with a Cudgel, Legend of Dalian, Story of Taurus, Golden Bowl and so on.

Oral communication is the earliest form of literary communication, and the communication of northeast folk literature is also oral communication, which has the nature of oral literature.

Oral communication enables northeast folk stories to be widely spread and passed down for a long time. For example, kanto region's well-known stories, such as Meng Jiangnu, Princess Mausoleum and Erlang God, are never tired of hearing, and have even been circulated for more than a thousand years, and spread to many parts of the country. Many stories are still widely circulated, and some even become the subject matter on the stage and screen.

Northeast folk stories are always in a state of constant change, which is manifested in the frequent changes of words, story plots, themes and themes of oral works.

For example, the story of Meng Jiangnv, a northeast folk story circulating in Yushu, Jilin Province, tells that Meng Jia and Jiang Jia, who live on the north bank of Songhua River, gave birth to a daughter because of the gourd planted by the willow camphor tree between them. Both families love each other and raise them together, and take their surnames as the girls' names.

There is a story circulating in Lan Shu, Jilin Province: The old lady of the Meng family saved a swallow, and the swallow gave the Meng family a gourd in return. The Meng family planted a gourd vine and climbed to Jiang's house. When the gourd grew up, it was sawed open and there was a little girl inside. So, the two families named the girl with their respective surnames.

Deep origin, collective creation, oral inheritance and constant change are the important characteristics of northeast folk stories, and these four characteristics are closely related.

Manchu folk stories are an important part of northeast folk stories, which contain profound Manchu cultural connotations. Manchu folktales came into being in the specific historical stage of Manchu's transformation from "fishing and hunting" to "farming", and were closely contacted and integrated with Han culture, gradually forming a mixed cultural feature of Manchu and Han.

These characteristics are clearly reflected in the stories created by Manchu people collectively and passed down from generation to generation, and "record" their living world and meaningful world.

Manchu folk stories are very rich in connotation, and there are legends about gods, such as the myth of gods' creation, natural myth, ethnic origin myth, animal worship, totem worship myth, shamanism goddess myth and so on.

Some Manchu folk stories mainly reflect the hunting scenes and barbaric battles in the primitive tribal period, primitive religion and simple ancestors' folk customs; There are heroic entrepreneurial legends featuring Agoudas and Nurhachi; There are life stories to show the production and life scenes of Manchu ancestors in a specific natural environment; There are also animal and plant stories reflecting the unique products of Manchu hometown and the customs and legends derived from them, which are composed of ginseng, tussah, brown bear, Siberian tiger, salmon, humulus scandens and so on.

Most hunting stories of Manchus in Northeast China are dominated by civilian hunters, which shows that they rely on years of hunting experience to deal with brown bears, subdue evil tigers, catch deer and shoot mink. The hunting details in the story are described in detail, and the brave charm and intelligence of Manchu people are vivid.

Hunting is usually intertwined with fantasy stories of tribal fighting or pursuit of happiness, becoming a compound story.

Daur folk literature is rich, including myths, legends, folk stories, proverbs, riddles, carols, folk songs, folk dance lyrics, etc. It not only has a wide range of topics, but also has rich contents, which comprehensively reflects Daur's material production, social life, history and culture, and is also an artistic representation of its economic and social activities.

Folk stories are the most abundant genre in Daur folk literature.

Stories about people, such as the legends of Apoka Teemo Rigen and Debuku. There are animal stories, such as "Tao Gaqin escaped from danger"; There are life stories, such as alatan Nimrigan; There are also shaman stories, such as The Legend of the Nissan Shaman, De Morrigan and Chiniwahato. There are stories about "Mang Beggars", such as "Kill Mang Beggars" and "God is better than Mang Beggars".

As a typical negative face, "Mang Gai" often appears in the folk literature works of various nationalities in northern China. It is a harmful troll with huge body and strange image, and it is also the representative of natural forces and social evil forces. The story of the struggle against "Mang Gai" entrusted the Daur people with a strong desire to conquer nature and defeat evil forces.