The oral-poetic creativity of the Enets is quite diverse. Along with the Nenets epic songs, the so called syudobichu, they have recorded fairy tales, myths, historical legends and other genres, all of which are called dyurechu, i.e. "tales". The Enets have popular legends about hunters morredewho hunted with a undercover reindeer. It is told that the Morrede hunt wild reindeer not collectively on spearings (‘pokolki’), i.e. on river crossings, which is characteristic, in particular, of the Nganasan folklore, but by individual hunting with the help of a tame male reindeer, the so-called 'manshik'. Many legends tell about clashes with Nenets and Evenks, about the history of origin of separate clans, about peculiarities of social organisation, traditional outlook and other cultural phenomena. In the middle of the 20th century, B.O. Dolgikh collected extensive folklore material in the course of field research among the Enets and published them in two volumes (Mythological tales and historical legends of the Enets, 1961; Household stories of the Enets, 1962).

In the Enets' folklore, a special place is occupied by shchuzybichu (fairy tale, tale, legend, myth), dyorichu (story, tale, tidings), bari (song).

The name ‘Shuzybichu’ (Shudobichu) is derived from the word ‘shuzybi’ (big, mighty, strong). They told about people-giants who crossed high mountains, wide rivers, had mighty strength and not always good temper. People were afraid of them and told terrible stories about them, which were passed from mouth to mouth (‘Aiyator’, ‘Last Year's Summer’). Usually, ‘shuzybichu’ were told over several evenings, the narrator skilfully combining narration with chanting. This amazing genre has been brought to the present day by Nikolai Sergeevich Palchin, a talented narrator from the village of Potapovo, Yenisei District, Krasnoyarsk Territory. He recorded two fairy tales ‘Heavenly’ (‘Nahaz’) and ‘The Witch’ (‘Olasne’). Tales endowed with humour were very popular - they ridiculed greedy, cunning and clever liars (‘Dyoah’, ‘The Voracious Mouse’). Some fairy tales have elements of magic: miracles, unexplained fantastic phenomena (‘The Shaman Owl’, ‘The Lost Man’, ‘Poshi and Kasali’). There are fairy tales of a moral character, fostering such qualities as respect and mutual assistance in the family, knowledge of the environment, telling about the origin of people on earth (‘The Cuckoo’, ‘The Star Myth’).

Dyorichu are plotless stories about seasonal migrations, hunting, fishing, preparing food supplies, making hunting gear, sledges and household utensils. These are a kind of teachings and instructions for young people on various circumstances that could be encountered in the ‘old life’, which contain a lot of ethnographic details and due to the passage of time have ‘grown’ a certain dose of fantasy and therefore sometimes they are perceived as fairy tales. These are almost plotless stories about seasonal migrations, hunting, fishing, the harvesting and distribution of food, how the heads of territorial groups manage their people on a daily basis, etc. Dyorichu is a kind of precepts and instructions for young people on various circumstances, cultivating such qualities as caution, foresight, courage, which could be encountered in the old life of the Enets.

Bari is a lullaby song for children and adults. With the birth of a child it was composed by the mother and close relatives. With age it changed its content and motive. The theme of a personal song (kerta bariza) reflected a person's family, economic, social life and world outlook. In adulthood, it was often a dialogue with oneself as a confession about one's fate. A personal song could be ‘overheard’ during leisurely work, long journeys, in moments of joy and sadness, because a personal song was never sung in public and in full voice. It was not customary to sing a personal song in the presence of the ‘master’ of the song and his relatives.

A characteristic feature of the historical folklore of the Enets, sharply distinguishing them from the historical legends of the Nganasans, is the absence of plots and some characteristic details peculiar to the so-called ‘Olenek khosun epic’. On the contrary, the Nganasans have a significant part of their historical legends genetically clearly connected with the ‘Olenek khosun epic’. In the historical folklore of the Enets there are works telling about the clashes of the Enets' ancestors with tattooed Evenks, similar to the Nganasan stories of Olenek (a district in the Republic of Sakha (Yakutia) type about the wars of the Nganasan ancestors with the “tattoo-faced” Tungus.

There were shamanic chants ‘tazyb sabuzima’, which were sung by the shaman during a shamanistic rituals. According to the elders, no one has ever managed to reproduce these songs.

In stories, it sometimes draws attention to the sudden transition from the third person narrative to the first person, i.e. the narrative begins in the person of the hero of the story and then again in the third person. This technique gives the story a special vividness and immediacy, although for the unfamiliar listener this technique sometimes makes it difficult to understand.

Another peculiarity of Enets folklore (as well as Nganasan folklore and folklore of other peoples of the North) is that in it the legend itself (or speech - the word of legend) appears as an ostensibly independent entity, i.e. there is a kind of personification of the narrative. Therefore, instead of saying: ‘Let's go now to that’, the Enets narrator says: ‘Now the speech is dyore (naurio), tired, gone to that’. Instead of saying: ‘There are chums on the seashore’, the Enets narrator says that ‘the dyore speech saw chums on the seashore’, etc.

The language of many of these works is very different from modern colloquial language. It is less influenced by foreign languages and is saturated with various pictorial means: idiomatic and figurative expressions, epithets, metaphors, hyperboles.

The Enets usually perform the work of their folklore in winter, especially during the polar night.

Young men and girls, gathering in the evenings, tell each other stories and tales before going to bed.

Sometimes good storytellers are specially invited to spend the winter together, so that in the evenings they tell the stories of syudobichu and dyore. It also happens that a guest comes to the chum from somewhere. After supper, when the guest has had enough and when all the inhabitants of the chum are sitting in front of the fire, the master will say:

- Dyore kudakitu (tell the tales).

Guest replies:

- Dyorechu diggo (no tales to tell).

Then the master says:

- Irioy kudakita (at least say something about life).

And the guest tells us something.

Sometimes old men gather in the evening. This is notified in advance, saying that in the evening old men and old women should gather in such and such a chum. When they have gathered, the owner of the chum or the one who is the oldest will say:

- Come on, old people. Who's gonna tell us something?

And that's when the stories begin.

Literature

1. Bolina Z.N. Ezzuui - Trace of Sleds. - Dudinka, 2014. - 155 p.: il. Reference: https://www.tdnt.org/pdf_poli.php?id=25&t=publ 
2. Peoples of Western Siberia : Khanty. Mansi. Selkups. Nenets. Enets. Nganasans. Kets (ed. by I.N. Gemuev), V.I. Molodin, Z.P. Sokolova ; Miklukho-Maclay Institute of Ethnology and Anthropology, Russian Academy of Sciences ; Institute of Archaeology and Ethnography, Siberian Branch, Russian Academy of Sciences. N.N. Miklukho-Maclay RAS ; Institute of Archaeology and Ethnography SB RAS. - Moscow: Nauka, 2005. - 805 с. - (Peoples and cultures). - ISBN 5-02-010297-0 (in per.). - С. 523. Source: https://vk.com/doc169710964_674614450 
3. Mythological prose of small peoples of Siberia and the Far East / Comp. EC. Novik. Reference: https://www.ruthenia.ru/folklore/novik/index.htm 
4. Songs of the native land. Amateur Enets artist Ivan Silkin. / Author-composer Z.N. Bolina. Reference: https://www.tdnt.org/pdf_poli.php?id=23&t=publ