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Hands find business themselves
Ex. 8. Render the text in English. Жилище марийцев Большое место в доме занимает печь (an oven). Она ставится на сруб (a frame-work) из еловых или сосновых бревен (logs). Чтобы хлеб в печи получался вкусным, в основание (foundation) печи клали прутья (twigs) в виде креста. При завершении работы проводили магические обряды (rites): клали ветки рябины (mountain ash), деньги, выносили каравай (a round loaf), ставили бутылку водки. Чтобы новая печь была теплой и служила долго, хозяйка (a hostess) дома пекла блины и первые из них бросала в огонь, остальными угощала (to treat) печника (stove-setter). Плодом (result) творческих фантазии народных зодчих являлась летняя кухня и амбар. Их архитектура выразительна и проста в конструкциях. Амбары были одно и двухэтажные. Они сооружались до 30-х годов прошлого века. Первый этаж был приспособлен (to be adjusted to) под хлебные закрома (bread granaries), а верхний служил хранилищем (a store-room) одежды и летней спальней. Баня (a bath house) также занимает важное место в жизни марийцев. Считалось, что в бане обитал дух-покровитель (patron) здоровья членов семьи. Считалось обязательным мыться в бане накануне (on the eve) праздников и молений. Топка бани считалась непременным условием гостеприимства (hospitality). В бане женщины рожали детей (to give birth to children). Бытовые функции (everyday necessities) бани связаны со стиркой белья, сушкой льняных и конопляных снопов. Ex.9. Read the text and do the tasks after it. Traditional Mari weaving One of the brightest display of the folk culture in which the traditions of the material and spiritual life of the nation was embodied, is the local crafts, connected with the process of manufacturing of home-made fabric for clothes. In 19-th century the main raw materials for producing home-made cloth were fibrous plants and sheep’s wool. Since ancient times the Mari people have used flax and hemp. Hemp was the most wide spread fibrous plant among Finno-Ugric peoples. Flax was used less; it was cultivated mainly in northern regions (modern Medvedevsky, Orshansky). The Mari people considered that herm cloth was much stronger than flax cloth. So they preferred to cultivate hemp though the process was rather labour-intensive. A great number of traditions connected with cultivation of hemp testify to the fact that hemp had great importance in every day life of the Mari people. For instance, during hemp sowing you shouldn’t have your hair cut, otherwise the harvest will be poor. You shouldn’t sow it after midday or it will grow short and weak. In order to have a rich harvest, the Mari people carried out a lot of magic rites, cook ritual dishes from hempseeds. Folklore also points out the importance of this plant. In numerous proverbs, sayings, riddles, songs people vividly expressed their centuries-old experience concerning cultivation of hemp. Hemp is a heat-loving plant which needs warmth, moisture and nutritious substances to grow quickly and to give good harvest of seeds and fibre. The Mari people sowed hemp at the end of May or at the beginning of June when the average temperature of air was about 12-18º C. According to the folk signs, the best time for it was the period when frogs started to croak. In September, when the harvest was gathered and hemp was bound, it was time to ret it. Along the bank of the river each family had its own pit for retting. The process was over in two weeks or so. Then the hemp sheaves were hung to dry and then were taken home. Flax was processed approximately in the same way, The last operation was to comb out the fibre. As a result, the fibre of three qualities was received. The first sort was used for making sacks, the second – for every day clothes, the third – for holiday shirts and skirts. Later the Mari women prepared threads from fibre. It was a long process and it was the first stage in cloth production. They say women were weaving since late autumn up to Shrovetide. When the threads were ready, they were put into the oven to bleach. Women used ashes, whey, alkaline solution to make the threads white. The bleached threads were dried in the open air, so that the sun and the frost could make them cleaner. At the end the dried yarn was moistened with yolks or soap to make it softer and not fleecy. So the yarn was prepared for weaving. The Mari girls were taught to weave since they were 14 years old. If a girl couldn’t weave, she couldn’t get married. Each girl had to prepare 12 shirts for her and in addition to it, a lot of presents for relatives and future husband. During the wedding ceremony the bride presented the guests with home-made cloth. The white canvas was a symbol of peace and the hand-made thread symbolized the life way. In conclusion, we can say that weaving was not only of great practical use, but due to these crafts the Mari people joined the world of art. This craft developed imagination, the ideas of beauty and harmony.
Ex. 10. Render the text in English. Ткачество Одним из самобытных (original) ремесел (craft) марийского народа является ткачество (weaving) – изготовление ткани. До конца 19 – начала 20 веков марийцы шили одежду из конопляного (hemp) и льняного (flax) холста (cloth). У восточных марийцев было развито узорное (patterned) и пестрядинное (tapestry) (браное) ткачество. Узор наносился шерстью. Из узорной ткани шили полотенца, занавески, рубахи. Уникальными изделиями можно назвать мужские и женские пояса. В браном ткачестве узор идет по всей ширине (width) ткани, то по лицевой стороне (face side), то по изнанке (inner side), образуя узор и его негативное изображение. В результате получался орнамент из чередующихся (eventually alternating)фигур. Изделия из узорного ткачества поражают (to impress) буйством красок (turbulent colours), неожиданностью цветовых сочетаний, разнообразием и более всего – ощущением внутренней (inner) свободы и радостным (joyful) восприятием (perception) жизни их творцов (makers). Ex.11. Read the text and open the brackets using the correct tense form. Traditional Mari embroidery In the process of historic development the Mari people (1.to acquire) the definite character of the embroidered pattern; original methods of fulfillment. The Mari women carefully (2. to keep) all the techniques of the embroidery of their region or settlement. Each village, each family used (3. to have) its own type of embroidery with particular colour combination and patterns. Different items of folk costume (4. to decorate) with the images of birds, animals, plants, flowers. No motif in such pictures (5. to repeat) twice. Each skilled woman had her own manner, “handwriting”, her own mark in the unique combination of patterns, ribbons, little brushes from multi-coloured threads. That’s why, due to colour gamut, and the pattern of the embroidery you could (6. to identify) the place of producing this or that thing. Unfortunately, the complete information, contained in the patterns can be re-coded neither by scientists nor by old residents. This task (7. to remain) the subject of research for ethnographers nowadays. Nature occupied an important place in the creative work of the Mari people. It was one of the sources which inspired a person in his art work. From nature people (8. to borrow) ideas for patterns which decorated their clothes and houses. The Mari people usually worshiped deer, bear, horse, bird. A deer in the Mari ornament was the object of hunting; a horse was connected with farming; a duck and a swan were defined as symbols of kindness, love and beauty. In the image of a bird the Mari girls (9. to embody) their dream of family happiness. That’s why one of the most widely used symbols in the Mary embroidery is a couple of birds at the towel ends or a branch and a leaf in the corner of a handkerchief. This tradition originated from the ancient legends about the creation of the world. One of them says that among the seas and oceans on a hill there (10. to be) a tree. The birds made a nest there and the life on Earth began. That’s why a tree became the symbol of life and the birds – the signs of family prosperity. Birds are often used in the ornaments of the Mountain Mari embroidery. A lot of ornaments include geometric patterns. It is considered to be the most ancient one. The meanings of some figures are discovered. They usually were the special signs for a pre-historic man that protected him from the evil forces. For example, wavy or straight lines meant “earth” or “water”, a circle substituted for the Sun. Embroidery (11. to demand) patience and good skills. The pattern (12. to have) to be placed on the definite surface not to break the lows of symmetry. The square, occupied by the embroidery on the dress, the character of the pattern depended on the woman’s age, social status. The smartest dress was a dress for a bride and a dress for a young girl.
Ex.12. Read the text and do the tasks after it. Colour variety in Mari embroidery The traditional Mari embroidery is characterized by a definite colour gamut. It is usually built on the four basic colours: black, red, yellow and green. The main colours are black and green. All the rest add something and make the embroidery more vivid; strengthen the esthetic perception of the complete colour design. Black and dark blue threads are used for making the outlines of a pattern; the central part is carried out in red colour with little dissemination of green and yellow ones. The red colour symbolizes the colour of fire, the Sun. The black colour was necessary to make the frames of the space. The dark, deep hues dominated in the Mari embroidery. To dye the threads the Mari women used substances of vegetable origin. Thus, the black colour was made with the help of oak bark. At first the large pieces of bark were put into the water together with rusty iron bars, then the threads were sunk into this strong solution. The red colour was received from the plant called madder. The root of this herb was dried, ground and mixed with water. Then the threads were boiled in this water for a few hours till the necessary hue was achieved. At the end of the 19-th century, with appearance of aniline dyes, the embroidery was enriched by new colours: blue, lilac, violet, orange, purple. Pink, blue and turquoise colours are especially liked by the Mari women.
Ex.13. Read the poem and do the tasks after it. Марийский узор Рассветов и закатов ярких краски И разноцветье луга, пестрота лесов Загадочною вышитою сказкой Легли узорами на чистоту холстов. А темно-красный в черном обрамлении Узор марийский радовал века Сейчас расцвечен он на удивленье – Как радуга переливаются цвета. Квадраты, треугольники и ромбы, Розетты и простые уголки – Переплетенье их торжественно и строго, И как они на белом льне легки. На платьях, фартуках, рубашках Искусно вышит женскою рукой. Веревочкой и крестиком и гладью Ведет узор волшебный разговор. (Т. Софронова)
Ex.14. Read the text and do the tasks after it. An embroidered bookmark Necessary materials: a picture with the ornament design, a piece of cloth (a canvas), coloured threads, needles, scissors, tambour. Procedure:
Ex.15. Read the text and do the tasks after it. |