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Gasharova Aida R.,
Candidate of Philology, Senior Researcher
G. Tsadasy Institute of Language, Literature and Art
Dagestan Federal Research Center of the Russian Academy of Sciences
e-mail: aida.2015@yandex.ru
https://orcid.org/0000-0002-1651-1740
The article examines the evening ritual of putting a child to sleep, associated with lulling and the liminal (‘threshold’, ‘borderline’) state. An important part of this ritual is the lullaby, which has its origins in the distant past. It is noted that although the folk lullaby is part of children’s folklore, it is created and used by adults. The lullaby is intended for the child, but it gives the mother (the lullaby performer) the opportunity to reflect her whole day, reveal the reality in which she lives, her social status and express her personal attitude towards the world, etc. An analysis of a number of Lezgin folk lullabies showed that they have a direct purpose and sacred meaning. A lullaby is close to magic, a spell, a ritual. It has been revealed that from birth the mother tries to protect her and her child’s well-being and comfort. The form and performance of the lullaby depend on the culture in which the singer lives. An archaic form of sedation is performed using rhythmic movements (rocking the cradle). The mother’s emotional confessions and concentration are designed to calm the child. When falling asleep, the child is in a threshold, transitional state, and when singing a lullaby, the character (mainly the mother) is also in this state. Lezgin lullabies addressed to babies are filled with lyrical images from the natural world and religious characters.
Keywords: Lezghin folklore, children’s folklore, nurturing poetry, lullaby song
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