Literary lyrical genres. See what "lyrical genres" are in other dictionaries
Lyrics (Greek linkob - musical, melodious), in contrast to the epic and drama, which depict complete characters acting in various circumstances, draws individual states of the character at individual moments of his life. It is not the object that is primary in it, but the subject of the statement and its relation to the depicted. The range of lyrical works is unlimited, since all the phenomena of life - nature and society - can cause human experiences. The poet-lyricist, creating an image-experience, uses such expressive means and creates such genre forms that provide greater emotionality of the lyrical work.
The lyrics gravitate towards the small form. The principle of the lyrical kind of literature was formulated by T. Silman: “As short as possible and as full as possible”244.
The lyrics are incompatible with the neutrality of tone that an epic work can have. In the phonetic-rhythmic construction of her text, in the choice of words, in the syntactic constructions, there is a lyrical expression that makes the lyrics related to music.
In the nature of lyrics, according to the remark of the German scientist J. Petersen, in the foreground are single states of human consciousness. Event series in the lyrics it is far from always indicated and very sparingly. Reading Pushkin's poem "Night lies on the hills of Georgia ...", we can only think of the story of the separation of two people, one of whom with light sadness (... my sadness is light, my sadness is full of you) remembers the other.
In lyrics, the experience is not so much indicated by words, but expressed as much as possible. The whole system of artistic means in the lyrics is subject to the disclosure of the dynamics of human feelings. Therefore, L.Ya. Ginzburg writes about lyricism as "the most subjective kind of literature", which "like no other, strives for the general, for the depiction of mental life as universal"245.
Describing the lyrics, literary critics speak of its suggestiveness - the ability to "inspire", intensely convey the emotional state, and its meditativeness - the ability to reflect on the eternal problems of being.
“Suggestive poetry, poetic suggestion (from Latin viddesio - hint, suggestion) is poetry, mainly lyrical, which relies not so much on logically formed connections as on associations, on additional semantic and intonation shades”246. So, fuzzy images, unsteady speech constructions, which are supported by the power of rhythm, are brought to the fore in Lermontov's stanza:
There are speeches - the meaning is dark or insignificant,
But it is impossible for them to listen without excitement.
(M. Lermontov)
A.N. Veselovsky understood suggestiveness as the effect of prompting: “They die out or are forgotten, before the turn, those formulas, images, plots that given time they do not suggest anything to us, they do not answer our demand for figurative idealization; those who are fuller and more varied in suggestiveness and are retained longer ... are retained in memory and renewed ...<...>We are all more or less open to the suggestiveness of images and impressions; the poet is more sensitive to their small shades and combinations, apperceives them more fully; thus it completes, reveals ourselves to us, renewing old plots with our understanding, enriching familiar words and images with new intensity...”247
Suggestive poetic speech is connected to the emotional sphere of the reader. It is characterized by melodious, and philosophical, and declamatory intonations,
which are heard in the poem by V.V. Mayakovsky "Listen! ..":
Listen!
After all, if the stars are lit, does it mean that someone needs it?
So - someone wants them to be?
So - someone calls these spitting pearls?
Declamatory intonation is created by figures of poetic syntax - rhetorical devices, repetitions.
In the poem by N. Zabolotsky "Juniper Bush" from the cycle "Last Love" the whimsical state of mind of the lyrical hero is described. The poet possessed the secret of creating unexpected combinations, bold transitions from one feeling to another. Here are two stanzas from this poem:
I saw a juniper bush in a dream
I heard a metallic crunch in the distance, I heard a ringing of amethyst berries,
And in a dream, in silence, I liked him.
I smelled a slight smell of resin through my sleep. Bending these low trunks,
I noticed in the darkness of tree branches A little living likeness of your smile.
Romantic mood, "captivating obscurity", "elusiveness" of feelings, images of sleep, nights, alliterated lines, anaphoric constructions, verses beautiful in euphony - all emphasize the philosophical content of this poem.
“Meditative lyrics (from Latin tesIShyu - in-depth and purposeful reflection), a genre-thematic variety of poetry, related to philosophical lyrics, but not merging with it...”1
Poetic meditations were originally associated with the teaching of meditation - psychological, intense meditation on something.
This genre occupied a prominent place in Russian poetry of the 1800-1810s, as a result of which the elegy replaced the ode. The elegiac shade of "thoughtfulness" also appeared in the epistles. K.N. Batyushkov in the poem "To a Friend" accurately formulated the purpose of "thoughtfulness": I seek consolation in my heart in it.
The meditative lyrics are based on the theme of the mysterious human soul and destiny.
According to G.N. Pospelova, “speech expressing emotional thoughts is meditative speech. Lyrics are primarily verbal meditations of the poet, expressing his inner world. This is the main variety of lyrics, in which it especially clearly reveals specific features and patterns.
Along with the meditative lyrics of G.N. Pospelov also identifies its other varieties: firstly, pictorial lyrics, first of all, descriptive lyrics, which reproduces the external world in its “statics” and, secondly, figurative-narrative lyrics, which reproduces the phenomena of life in their variability and inconsistency. .
In Russian literature, meditative lyrics abandoned abstract contemplation and acquired philosophical, less often social and figurative concreteness. Suffice it to recall "Do I wander along the noisy streets ..." by A. Pushkin, "I go out alone on the road ..." by M. Lermontov.
In the XX century. examples of meditative lyrics can be found in I. Annensky (“Desire”, “Awakening”), B. Pasternak (“It is snowy, snowy all over the earth ...”), R.M. Rilke ("Duino elegies").
Lyrics, to a greater extent than other types of literature, gravitates toward depicting a positive beginning in life. “At its very essence, lyricism is a conversation about significant, high, beautiful (sometimes in a contradictory, ironic refraction); a kind of exposition of the ideals and life values of a person. But also anti-values - in the grotesque, in denunciation and satire; but it doesn't pass here big road lyric poetry,” A.Ya. Ginsburg249.
The lyrics are not confined to the sphere inner life of a person, which intimate lyrics reveal, she is also attracted by external reality, because the relationship of a person with the world, with the time in which he lives, with the nature that surrounds him is multidimensional - hence the concepts of philosophical, civil, landscape lyrics.
The bearer of the experience expressed in the lyrics is the lyrical hero. The lyrical hero, according to M. Prishvin, “I am created” is “a very specific image of a person, fundamentally different from the images of narrators-storytellers, about whose inner world we, as a rule, do not know anything we know, and the characters of epic and dramatic works, which are invariably distanced from the writer.
The lyrical hero not only has close ties with the author, with his attitude to the world, spiritual and biographical experience, mental attitude, manner of speech behavior, but turns out (almost in most cases) to be indistinguishable from him. The lyrics in its main "array" are autopsychological. At the same time, the lyrical experience is not identical to what the poet experienced as a biographical personality. Lyric not only reproduces the feelings of the poet, it transforms them.
The image of the lyrical hero is built by the poet like artistic image in other kinds of literature. The relationship between the personality of the poet with his thoughts and feelings and the lyrical hero is the connection that arises between real person, which to some extent became the prototype of a certain character, and the character created by the writer (the poet is the prototype of the lyrical hero). The lyric poet expresses himself in poetry (Mayakovsky claimed: I am a poet. And this is what makes me interesting ...).
One of the fundamental questions for understanding lyrics as a kind of literature is the question of how the author and the subject (carrier) of speech correlate in lyrics. From Plato and Aristotle to the 19th century. there was a point of view that a lyric poem is a direct statement of the lyrical I and, to one degree or another, "an autobiographical statement of the poet." Only the science of the XX century. ceased to confuse the biographical author with the image of the author that arises in the lyrics.
“The data of historical poetics suggest that the weak dismemberment or syncretism of the author and the hero lies at the origins of all three types of literature. But the epic and drama took the path of a clear distinction between these subjects and the objectification of the hero as "another" in relation to the author. Lyricism, on the other hand, gave a different line of development: by refusing to objectify the hero, it did not develop clear subject-object relations between the author and the hero, but retained subject-subject relations between them. The price for this was the closeness of the author and the hero in the lyrics, which the naive consciousness perceives as their identity.
B.O. Korman252 proposes to differentiate the lyrical hero. He distinguishes between the author-narrator, the author himself, the lyrical hero and the hero of role-playing lyrics. S.N. Broitman considers the term "actual author" not entirely successful, because it encourages the identification of the author and the hero and proposes to include the lyrical I253 in this series.
Approaches to the solution of the theoretical side of the question of the hero of the lyrics were outlined by M. Bakhtin, arguing that the author is immanent to the created world as a value realized in the world, including the expressed ones. i.e. already “heroic” subjective forms, and that the peculiarity of the lyrical kind of literature is that, unlike the epic and drama, there are no “distinct and essential boundaries of the hero, and consequently, fundamental boundaries between the author and the hero m"254.
The lyrical hero is a subjective form that most of all approaches the "heroic" plan. He is not only a subject-in-itself as a lyrical I, i.e., in an independent way (which does not happen with the narrator and the “actual author”), but also with the subject of m - for - with e b i, i.e. it becomes its own theme.
A lyrical hero does not appear in every poet. And although it can be revealed in one poem, it can be fully expressed only in a cycle of poems or in the context of the entire work of the poet. Y. Tynyanov, who introduced the term "lyrical hero", wrote: "The block is the largest lyrical theme Blok. This theme attracts as the theme of the novel is still a new, unborn (or unconscious) formation. This lyrical hero is being talked about now. He was necessary, he was already surrounded by legend, and not only now - it surrounded him from the very beginning, it even seemed that it preceded Blok's poetry itself, that his poetry only developed and supplemented the postulated image. All Blok's art is personified in this image; when they talk about his poetry, almost always unwittingly substitute for poetry human face- and everyone loved the face, not the art "K
The “human face” of the lyrical hero is clearly marked in the poetry of the yearning and rushing M. Lermontov, the passionate M. Tsvetaeva, the “hard-footed archangel” V. Mayakovsky, the lyrical S. Yesenin.
The most conceptual characteristic of the lyrical hero was built by L.Ya. Ginzburg, who considers a necessary condition for the emergence of a lyrical hero to be the presence of a certain “unity of the author’s consciousness”, concentrated “in a certain range of problems”, endowed with “stable features - biographical, psychological, plot” and being “not only the subject, but also the object of the work”255.
Next to the lyrical hero, you can find the addressees of his poems - lyrical characters, conversations with which can be different plan: young Pushkin is talking to an older friend in the poem “To Chaadaev”, reflecting on the future of Russia; Nekrasov first addresses the general, who is hiding the truth about the builders of the railway from his little son, and then starts a conversation with the boy in the poem “Railway”; M. Tsvetaeva addresses her beloved with a tragic question: My dear, what have I done to you? ^
Lyrical characters can have prototypes, as in M. Lermontov's poem "I will not humiliate myself before you ...", which depicts the poet's suffering due to treason
N. Ivanova, as in the cycle of poems by F. Tyutchev, dedicated to the memory of E. Denisyeva. There are prototypes for the "girl in white" and "girl in blue" in the poetry of S. Yesenin.
The typology of lyrical characters can include biographically real and historical faces (Chaadaev, Catherine the Great, Pushchin, V. Mayakovsky, A. Blok, etc.), fictitious, created by the poet’s imagination (the image of a page who was “wearied by the queen”, who played “ tower of Chopin's castle" in I. Severyanin's poem "It was by the sea...", the image of the Beautiful Lady by A. Blok).
Lev Todorov, building a typology of lyrical characters, notes that "the spiritual breakdown of a person of the 20th century, expressed in poetic creativity, complicates his typology." He cites as an example the poem by A. Akhmatova “I had a voice. He called consolingly...”, in which the image of the “persistent but alien companion of the poet takes on an unexpected compositional and structural appearance: he remains outside the specific poetic text” (and thus his low significance, secondary for the author is indicated), and “ for the lyrical heroine, the tragic situation of her native country is important, the rejection of the conflict is fundamentally significant: Russia is the poet Akhmatova”256.
In the poetry of the period of the Great Patriotic War, a lyrical hero appeared, or rather, a lyrical heroine, who became a symbol of loyalty, courage, life in the poems of K. Simonov, A. Surkov, O. Berggolts,
A. Akhmatova, M. Isakovsky and others.
The image of a lyrical character is a specific and aesthetically complex phenomenon of poetry. It reveals the general patterns of Russian book lyrics.
In the XVIII - XIX centuries. genres such as thought, idyll, madrigal, ode, epistle, eclogue, elegy, epitaph, epigram were popular. Some of them were also addressed in the 20th century.
Lyrical works of poets of the XIX - XX centuries. most often classified on the basis of the thematic principle. Conventionally, they distinguish: citizens with some lyrics - poems of socio-political sound (“To Chaadaev”, “Arion” by A. Pushkin, “Farewell, unwashed Russia ...” by M. Lermontov), philosophical lyrics - poems - reflections on the main issues of life (“Fountain”, “Zepyit” by F. Tyutchev), intimate lyrics - poems about personal, mostly love experiences (“I remember a wonderful moment ...”, “Madonna” by A. Pushkin), landscape lyrics - poems about experiences caused by nature (“Spring Thunderstorm” by F. Tyutchev, “Birch” by S. Yesenin). However, it must be borne in mind that most lyrical works are multi-dark and can contain various motives: love, friendship, civic feelings (“October 19, 1825” by A. Pushkin, “I am writing to you” by M. Lermontov, “Knight for an hour” N . Nekrasov).
The genre form of a lyrical poem, written either on behalf of the author (“I loved you” by A. Pushkin), or on behalf of a fictional lyrical hero (“I was killed near Rzhev” by A. Tvardovsky), serves to express a unique experience. In those cases when the poet needs to capture a number of intimate experiences, he creates a poetic cycle. In the 1940s and 1950s, Nekrasov wrote the famous “Panaevsky cycle” (verses dedicated to A.Ya. Panaeva), in which for the first time in Russian poetry, next to the image of a lyrical hero, the image of a heroine appeared, having her own voice, changing from verse to verse 257. The poet here, as it were, surrendered himself to the direct experience of the various vicissitudes of a love story. And the image of the beloved woman was revealed in him in new and new, sometimes unexpected turns. And in the cycle "The Terrible World" A. Blok captured the tragic experiences caused by the gloomy reality of Russia in 1909-1916.
Along with the poem as the main form of lyrical creativity in lyrics, there is also a larger genre unit - a poem (Greek: ro1yota - creation, which is itself related to the Russian word "creativity"). This is much larger than a poem, a work in which not one, but a whole series of experiences is embodied. Such, for example, is the poem by A. Akhmatova "Requiem", in which the attitude to the difficult and tragic time of Stalin's repressions is expressed with great force, the suffering of the Woman, Mother and Wife is conveyed.
Most often, the poem is attributed to the lyric-epic genre. Throughout the history of writing, the poem has been one of the leading genres of literature, undergoing changes, but retaining two meaningful structural centers - the choice of a topic that reflects the "spirit of the era, the spirit of the nation" as a condition for its epic content, and the position of the narrator, which is associated with the evaluative moment in depicting characters and ongoing events, i.e., a subjective, personal beginning. Already in the classical poem there was that subjective view of events, which, in the course of the development of the genre, found expression in digressions addressed to the Muse, in introductions and epilogues1. The main features of the poem are the presence of a detailed plot and, at the same time, the deep development of the image of the lyrical hero (A. Tvardovsky "By the Right of Memory"). Accents can change: for example, in Pushkin's poem "Count Nulin" events are in the first place, and in "A Cloud in Pants" by V. Mayakovsky - the "fire of the heart" of the lyrical hero.
A modern poem, as defined by L.I. Timofeev, is "a large form of the lyrical epic genre, a poetic work with a plot-narrative organization, a story or a novel in verse"258. In modern literature, a dramatic branch of the poem has also been developed - a poetic drama, in which “the epic principle prevails, outwardly excluding the presence of a lyrical hero. The subjective, or lyrical, manifests itself here through a system of objectified images, but is always present. Let us recall the famous remark from the tragedy in verse by A. Pushkin "Boris Godunov": The people are silent. In this catchphrase contains not only an evaluative moment, a subjective, authorial principle, but also outlines Pushkin's historical and philosophical concept of "the people and the state""259.
Close to the poem and poetic drama: "Pugachev"
S. Yesenina, "Rembrandt" Dm. Kedrin, “The Cathedral” by J. Marcinkevičius.
Another genre, also related to lyric-epic, is the ballad (French ballade from the Middle Latin balla-ge - to dance, from Provence balada - dance song) - a choral song in medieval European poetry. The word "ballad" has several meanings. 1.
A solid form of French poetry of the 14th-15th centuries: three lines with identical rhymes with a refrain and a final semi-stanza "premise" (address to the addressee). Vivid examples - in the poetry of F. Villon. 2.
Lyric-epic genre of Scottish folk poetry of the XIV-XVI centuries. on historical (later - fabulous and everyday) topics about border wars, about the folk hero Robin Hood. Usually with tragedy, mystery, jerky narration, dramatic dialogue260.
In oral folk poetry, the ballad was formed as a lyrical-epic work, distinguished by its fantastic coloring.
There was great interest in folk ballads in the era of pre-romatism and realism. The German folk ballads "The Peasant and the Knight", "The Ballad of Heinrich the Lion", "The Dispute Between Life and Death", "The Little Violinist", "The Ballad of a Hungry Child", "Ancient Predictions of the Coming War,
which, however, will end in the spring”, “Lorelei”, collections of folk poetry by T. Percy “Monuments of Old English Poetry” (1765) and L. Arnima together with C. Brentano “The Magic Horn of a Boy” (1806-1808), examples of Russian family -household ballad "Vasily and Sophia".
There are heroic, historical, everyday, lyrical, comic, love ballads. The folk ballad gave rise to a similar genre of literary ballad in both foreign and Russian literature.
Remarkable samples of ballads were created by F. Schiller (“Cup”, “Glove”, “Polycrates ring”), I.-V. Goethe ("The Corinthian Bride", "The Forest King"); R. Burns ("John Barleycorn"), R.-L. Stevenson ("Heather Honey"), A. Milne ("The Ballad of the Royal Sandwich"). The most widespread ballad received in the era of romanticism. Many ballads are connected with legends (“Song of the Prophetic Oleg” by A. Pushkin), with fantastic mysterious incidents (“Lyudmila”, “Svetlana” by V. Zhukovsky). In a romantic ballad, the world appears as a kingdom of mystical, supernatural forces, events unfold in an atmosphere of mystery, the characters are ghosts, the dead, etc.
In the XX century. during the crisis of the romantic worldview, the ballad gradually loses its mystical character, but retains interest in exceptional phenomena (“The Ballad of the Blue Package”, “The Ballad of the Nails” by N. Tikhonov, “The Ballad of Twenty-Six”
S. Yesenin, "Grenada" by M. Svetlov, "The Ballad of a Comrade" by A. Tvardovsky, "The Ballad of Three Soldiers" by K. Simonov).
Elegy (Greek elegeia from elegos - plaintive song) is a lyrical poem imbued with a mood of sadness and sadness. She settled on Ancient Greece in the 7th century n. e. as a poem written in elegiac couplets regardless of content. Initially, the themes of the elegy were varied: from highly social to narrowly subjective. In the new European literature the elegy loses the clarity of form, but acquires a certainty of content, becoming an expression of predominantly philosophical reflections, sad reflections, sorrow. This is how the genre of elegy was defined by N.V. Gogol: an elegy - “this is a heartfelt story - it burned like a friendly, frank letter, in which the bends and states of the inner soul express themselves ... Like a heartfelt letter, it can be both short and long, stingy with words and inexhaustibly talkative, can embrace one object and many objects, as these objects are close to her heart. Most often she wears melancholy clothes, most often complaints are heard in her, because usually at such moments her heart seeks to speak out and is talkative.
New things came to elegiac poetry with the development of sentimentalism and especially romanticism.
The elegy fixes the discrepancy between the romantic ideal and reality. Indicative in this sense are the elegies of V. Zhukovsky (“Evening”, “Sea”). He was “the first in Rus' to utter in elegiac language a person’s complaints about life,” wrote V.G. Belinsky.
Romantics, pouring out complaints about fate, usually sought oblivion in the dream world they created. For lyricists of a realistic direction, both sadness and joy are within the limits of earthly reality. These are the elegies of A. Pushkin. In his elegy “Do I Wander Along the Noisy Streets...” thoughts about death, about the frailty of everything living are softened by thoughts about the change of human generations, about the eternity of life. Essentially, it ends with the anthem of youth:
And let Young play life at the coffin entrance,
And indifferent nature Shine with eternal beauty.
In the elegy "Crazy Years Faded Fun ..." Pushkin's rather gloomy thoughts about the future (the troubled sea promises me the work and grief of the future) are replaced by the conviction that life is beautiful and filled with high meaning. In it, the poet formulated his philosophy of life:
But I don't want, oh friends, to die;
I want to live in order to think and suffer...
In the poetry of N. Nekrasov, the elegy served as a means of social exposure of the ugly sides of Russian society. The mood of sadness is caused by reflections on the fate of the people in serf Russia. The elegy “Am I driving down a dark street at night...” was inspired by the tragic fate of a woman: hunger, the death of a child, forced prostitution. In the poem "Elegy" N. Nekrasov speaks bitterly about the Russian peasant, whose situation has not improved after the reform, and asks the question: The people are liberated, but are the people happy?
Elegiac motifs in Russian poetry of the XX century. connected primarily with the work of S. Yesenin (“I don’t regret, I don’t call, I don’t cry ...”, “We are now leaving a little ...”, etc.). Thinking about death, the poet rejoices that he had a chance to know life, its joy and beauty:
I know that in that country there will be no These fields, stagnant in the darkness...
That's why people are dear to me
that live with me on earth.
Assimilation of the definition of elegy, it is necessary to remember that "the world of elegiac poetry does not fit into any definitions of criticism and literary theory, they were only able to outline its outlines with a certain degree of certainty"262.
Duma is an epic-lyrical genre of Ukrainian verbal and musical creativity of the XV-XVII centuries. Initially, they were sung by kobzari singers (bandurists). They were historical in content, distinguished by free rhythm and improvisation.
The thoughts had a heroic, everyday and satirical content. In the 19th century thought began to be called poetic reflections on historical, philosophical, moral topics. Some features of the poetics of the Duma were used in their works by K. Ryleev, who, using the examples of the heroes of Russian history Ivan Susanin, Yermak, Dmitry Donskoy and others, taught his contemporaries to serve the fatherland, and M. Lermontov, who gave in his "Duma" a description of the generation of the 30s 19th century
And d y ll and I (Greek е1суСон - picture) is a genre form of bucolic poetry. It is a short poem in narrative or dialogic form describing the peaceful life of shepherds. Idylls were written by A. Sumarokov, J. Knyazhnin, N. Gnedich, V. Zhukovsky.
Dream? t (it. sonetto, from Provence. sonet - song) as a lyrical genre with a long tradition, it is a stable poetic form consisting of 14 lines (two quatrains and two tertiary lines).
The first major masters of the sonnet were the Italian poets of the 13th-16th centuries. Dante and Petrarch. Petrarch's sonnets in honor of Laura and on Laura's death are one of the pinnacles of Renaissance poetry. In the XI - XVIII centuries. sonnet in Italian poetry was the most popular genre. A classic example of sonnets written in the so-called "Italian rhyme" is the sonnet of L. de Camões, a classic of Portuguese literature (XVI century):
Empty dreams, meaning nothing
In the meantime, they do a lot of damage.
Only later do you understand how many troubles Hidden where luck was seen.
Changeable fate, love is blind,
Words, like the wind, fly away - and no;
Looking into the past many years later
What seemed funny, remember crying.
Life is a borrowed jewel
Whose outward brilliance is accessible even to the ignorant,
But the essence is hidden under the cover of darkness.
Do not believe chimeras, believe only that hope
What will live as long as we keep love in our hearts, and will not go out before.
In the XVI century. the sonnet has been spreading in Portuguese, Spanish, French, English poetry, since the 18th century. - in Russian. Its history spans several centuries. In the era of classicism and the Enlightenment, the genre of the sonnet was not widespread, during the heyday of romanticism and symbolism, it comes to life again as a genre of philosophical, landscape and love lyrics. The form of the sonnet was acceptable for expressing a wide variety of thoughts and feelings, which is facilitated by a clear internal division of the sonnet.
There are certain requirements for the sonnet form: 1)
his composition is as follows: 14 lines of 2 quatrains and 2
tercetes; 2)
the normative nature of the number of rhymes and rhyming methods (in the "French" sonnet it is most often abba abba cde dedf in the "English" - abab cdcd efef gg); 3)
the size of the verse for the sonnet was quite stable - eleven-syllable in Italian and Spanish poetry, Alexandrian verse - in French, iambic pentameter - in English, iambic pentameter and six-meter - in German. Russian sonnets were often written in iambic pentameter and sixmeter, but it was common to use iambic tetrameter, choreic verse, and three-syllable meters; 4)
ban on repetition of words; the last word should be "key"; 5)
completeness of each part of the sonnet.
The first experiments in this genre in Russian literature belong to V. Trediakovsky. The sonnet gained particular popularity in the 19th century. with the development of romanticism (A. Delvig, V. Venediktov, Ap. Grigoriev). Brilliant sonnets were created by A. Pushkin. One of his sonnets contains a brief history of the development of this genre (Severe Dante did not despise the sonnet, / Petrarch poured out the heat of his soul in it ...). Pushkin recreated the centuries-old history of the sonnet in 14 lines. In the first quatrain - the history of the sonnet from the Middle Ages to Pushkin; it contains the names of Dante, F. Petrarch, W. Shakespeare, Camões. In the second, the poet writes about his contemporary - the English romantic poet W. Wordsworth, whose line "Do not despise the sonnet, critic" became the epigraph to Pushkin's poem. Tercetes A.C. Pushkin addressed his friends - A. Mickiewicz and A. Delvig263.
At the beginning of the XX century. sonnets were created by K. Balmont,
V. Bryusov, M. Voloshin, I. Bunin and others. Later, S. Kirsanov and I. Selvinsky experimented with the form of the sonnet, one of whose poetic lines “There are stanzas of pearls” can be considered a poetic definition of the sonnet. The "golden age" of the Russian sonnet is rightfully considered the 20th century. The subject of the Russian sonnet is extensive: from intimate (love) lyrics to deep philosophical reflections, from legends and myths to specific historical events, from describing pictures of nature to reflections on socio-political problems.
An example of intimate lyrics is M. Voloshin's sonnet:
Like the Milky Way, your love shimmers with starry moisture in me,
In mirror dreams above the watery abyss The diamond of torture is hidden.
You are a tearful light in the iron darkness,
You are bitter star juice. And I,
I am the blurred edges of the Dawn, blind and useless.
And I feel sorry for the night ... Is that why,
What eternal stars native pain to us new death will the heart tighten?
Like blue ice my day... Look!
And the diamond thrill of the stars fades In the painless cold of dawn.
F. Sologub in his sonnet reflects on the historical predestination of Russia:
You are still playing, you are still a bride.
You, all in anticipation of a high destiny,
You go swiftly from the fatal line,
And the thirst for a feat in your soul blushed.
When spring covered your fields with grass,
You are striving your dreams into the foggy distance,
Hurry, worry, and crush, and crush the flowers, With a mysterious hand from the mountainous limit
Scattered here as a good gift to you.
Yesterday, submissive to a slow fate,
You are suddenly outraged, like a powerful element,
And you feel that your time has come,
And you're not the same as yesterday
My sudden, unexpected Russia. A.A. Akhmatova realizes the difficult path of the creator:
All your work seems to me.
Your blessed labors:
Linden, forever autumn, gilding And the blue of today's created water.
Think, and the subtlest slumber Already leads me to your gardens,
Where, afraid of every turn,
In unconsciousness I search for your traces.
Will I enter under the transfigured vault,
Turned into the sky by your hand,
To cool my hateful fever? ..
There I will be blessed forever,
And, hot adjoining eyelids,
There again I will find the gift of tears.
(to the artist)
The form of the sonnet has undergone changes over the centuries both in the choice of the size and method of rhyming, and in the arrangement of quatrains and terzets, but nothing has changed the basis of the construction of the sonnet. In the sonnet of K. Balmont, all the advantages of this poetic genre are noted:
I love you, completeness of the sonnet,
With your haughty beauty,
Like the correct clarity of the beauty's exquisitely simple silhouette,
Whose airy camp with a young chest Keeps the radiance of matte light In a wave of motionless golden hair,
Whose splendor she is half-dressed.
Yes, a true sonnet is like you, Plastic joy of beauty, -
But sometimes he takes revenge with his melody.
And more than once the Sonnet struck in the heart, deathly, burning with anger, Cold, sharp, well-aimed, like a dagger.
(Praise the sonnet)
The sonnet, although it is a traditional genre, is mobile. Despite strict regulation, in many sonnets there are justified deviations from the standard. In the poems of modern poets who believe that any poem of 14 lines is a sonnet, unfortunately, the genre boundaries of the sonnet are blurring.
Madrigal (from it. tapsga - herd or Provence. shaps! ge - shepherd) - in classical poetry, a poem of laudatory, complimentary content, usually dedicated to a woman. This genre arose in the XIV-XVI centuries. and was a popular song form. It was cultivated by Renaissance poets (Petrarch, Boccaccio, Sacchetti), and was written in free verse. Since the 17th century the madrigal has lost touch with the music, remaining a kind of gallant compliment. I. Dmitriev used one of the features of this genre, which was that the ending of the madrigal usually had a paradoxical meaning:
To be honest, you can't take your eyes off you;
But what attracts you?.. The riddle is incomprehensible!
You are not beautiful, I see ... but pleasant!
You could be better; but it's better the way it is.
In Russian poetry of the XIX century. madrigal becomes a genre of salon, album lyrics. The masters of this genre were N. Karamzin, A. Pushkin, M. Lermontov.
“The soul is corporeal,” you boldly assure everyone.
I agree, breathing love:
Your most beautiful body Is nothing but a soul!
(M. Lermontov)
Message, or epistola (Greek er151o1ё - letter) - literary genre, a poetic letter addressed to a person. The time of its distribution - XVII - XVIII centuries. In France, the classic examples of the message were created by N. Boileau and Voltaire, in Germany - by F. Schiller and J.-V. Goethe, in Russia the “Message to Dmitriev” by N. Karamzin is known, containing 170 lines, the message of A. Kantemir (“To my poems”), D. Fonvizin (“Message to my servants”), A. Pushkin (“In the depths of Siberian ore..."). Pushkin saved this genre from verbosity, sated it with thoughts, brought the language closer to the spoken language, for example, in the “Message to Prince. Gorchakov. In the era of romanticism, the epistle gradually goes out of fashion, and by the middle of the 19th century. ceases to exist as a genre.
Smoke tobacco air has left.
Room -
head in krunykhovsky hell.
Remember - behind this window for the first time
your hands, frenzied, stroked;
or a group of people, as in his poem "Hey!":
So that everyone, forgetting their northern mind, love, fight, worry.
Call the earth itself to the waltz!
For works of this nature in prose, the name letter has been preserved (for example, “Letter from V.G. Belinsky to N.V. Gogol”).
Anthem (Greek: yuspos - praise) - a solemn song to verses of a programmatic nature. State, revolutionary, military, religious anthems are known. In ancient Greece and in many other countries, hymns were sung in honor of the deity as cult songs. Socio-religious movement of the XV-XVI centuries. spawned spiritual hymns. In the new European poetry, there is a form of secular hymn, such as parodic hymns to Bacchus. V. Mayakovsky created satirical hymns ("Hymn to Dinner", "Hymn to Criticism", "Hymn to Bribe", etc.).
From ancient Greece, the ode originates (Greek bs1ё - song). Initially, songs of solemn content, performed by the choir, were called odes. Then this name began to denote a poem dedicated to the glorification of any event (“On the capture of Khotin”, “On the capture of Ismail” by M.V. Lomonosov), an important state person (“On the day of accession to the All-Russian throne of Her Majesty Empress Elizabeth
Petrovna in 1747 "M.V. Lomonosov), a majestic phenomenon of nature (“Evening reflection on the Majesty of God in the case of the great northern lights” by M.V. Lomonosov). The place of honor was occupied by the ode in the poetry of the classicists. How did the odographers become famous G.R. Derzhavin (“On the Death of Prince Meshchersky”) and M.V. Lomonosov, and its first samples belong to A.D. Kantemir (“On those who blaspheme the teachings ...”, “On shameless insolence”, “On human evils in general ...”) and V.K. Trediakovsky (“On the Inconstancy of the World”, “A Solemn Ode on the Surrender of the City of Gdansk”). Derzhavin's odes, along with the chanting of the crowned bearers, also included satirical elements ("Nobleman", "To Rulers and Judges"). Freedom-loving, patriotic odes were written by A. Radishchev (“Liberty”) and A. Pushkin (“Memories of Tsarskoye Selo”, “Liberty”). With the approval of critical realism, the ode as an independent genre disappears, and if used, then for the purpose of parody (Modern Ode by N. Nekrasov).
Epigram (Greek epigramma - inscription). 1.
In ancient poetry - a short lyrical poem of arbitrary content (first, dedicatory inscriptions, then - epitaphs, teachings, descriptions, love, drinking, satirical poems), written in elegiac distich.
The literary epigram appeared in Greek poetry (7th-6th centuries BC), its heyday dates back to the 3rd century. BC e. - I century. n. e. (Greek poets of the Palatine Anthology, Roman satirist Martial), its traditions developed in the Latin poetry of the Middle Ages and the Renaissance, and partly later (“Venetian epigrams” by I.-V. Goethe). 2.
In modern European poetry, epigrams are short satirical poems, usually with a witticism (pointe) at the end, partly processing traditional Martial motifs in the works of C. Maro, Voltaire, J.-J. Rousseau, G.-E. Lessing, R. Burns, A.P. Sumarokova and others (XVI - XVIII centuries), partly responding to topical, often political events, as in the epigrams of A.C. Pushkin on A.A. Arakcheeva, F.V. Bulgarin. The first trend disappears in the 19th century, the second continues to exist both in oral and in writing in the work of many poets of the XIX and XX centuries.1
In the modern sense, an epigram is a short poem that makes fun of a specific person. It responds to all phenomena of life - both private and public. 19th century poet E. Baratynsky defined its function as follows:
okogchepnaya flyer,
Ep gramm a - laughter,
Egoza epigram
Rubs, winds among the people,
And only a freak will envy -
Together, grab your eyes.
The emotional range of the epigram is very large - from friendly mockery to angry denunciation.
The effectiveness of the epigram is in wit and brevity. She captures the most characteristic in the subject of ridicule. The inscription of an unknown poet to the sculptural image of Nicholas I is laconic and expressive:
The original looks like a bust:
It is just as cold and empty.
L. Trefolev's epigrams are noted for their social acuteness. Widely known is his epigram to Pobedonostsev, the inspirer of the reaction in Russia in the last quarter of the last century:
Pobedonostsev - for the synod,
Lunch-bearers - for the yard,
Bedonostsev - for the people,
And informers - for the king.
In the art of world satire, the Russian classical epigram occupies a special place. Having absorbed the experience of ancient and European epigrams, she enriched it with the traditions of national culture.
Until the 16th century epigrams in Russia were written in Latin, then in their native language. An associate of Peter I, Feofan Prokopovich, "who did not let go of Martial," raised the epigrams to the level of political satire. His follower was A. Cantemir, who began with translations of Boileau's satires and Russified their plots and characters. His muse, through communication with poets from other countries, spoke in Russian:
What Horace gave, he borrowed from the Frenchman.
Oh, how poor my muse is!
Yes, it’s true: even the limits of the mind are narrow,
What he took in Gallic - he paid in Russian.
The Russian epigram has always relied on the folklore tradition. This genre attracted V. Trediakovsky and M. Lomonosov, and then A. Sumarokov, who considered the epigram as a satirical work. In Epistle II. On poetry” (1748) Sumarokov formulated the essence of the epigram genre:
Then they live, rich in their beauty,
When composed, sharp and knotty;
They must be short, and their strength lies in the fact To utter something with a mockery about someone.
Bitter irony permeated his epigram:
Dancer! You are rich. Professor! You are poor. Of course, the head is respectfully smaller than the legs.
Socio-political motives sound in the epigrams of G.R. Derzhavin, I.I. Khemnitser, V.V. Kapnist, however, for the era of Russian classicism, the ridicule of universal human shortcomings without indicating specific individuals remained characteristic.
In the literature of sentimentalism and realism, the emotional beginning of the epigram was strengthened, its satirical beginning was muffled: N.M. Karamzin, V.A. Zhukovsky, V.L. Pushkin gave it a salon character.
The Russian epigram in art has changed
A.S. Pushkin; Its novelty is most clearly seen in Pushkin's epigrams-portraits with their special psychologism:
On A.A. Arakcheeva
The oppressor of all Russia,
Governors are a tormentor And he is a teacher of the Council,
And he is a friend and brother to the king.
Full of malice, full of revenge
Without mind, without feelings, without honor,
Who is he? A devotee without flattery... a penny soldier.
On M.T. Kachenovsky
Hunter to the magazine fight
This soporific zoil Breeds ink opium With the saliva of a rabid dog.
Epigrammatic aphorisms were loved by I. Krylov,
A. Griboyedov, M. Lermontov and others:
Fedka eats radish with vodka,
Eating vodka with radish Fedka.
(I.A. Krylov)
Epitaph to wife
This stone is over my beloved wife!
She is there, I have peace here!
(VA. Zhukovsky)
On F.V. Bulgarin
Russia sells Thaddeus
Not the first time, as you know
Perhaps he will sell his wife, children,
Both the earthly world and heavenly paradise.
He would sell his conscience for a fair price,
Yes, it's a pity, laid in the treasury.
(M.Yu. Lermontov)
The element of the epigram was felt in the work of M.E. Saltykov-Shchedrin, in letters to I.S. Turgenev, in satirical verses by N.A. Nekrasov, as well as D.D. Minaeva, K.K. Sluchevsky, M.L. Mikhailova, B.C. Kurochkin, Kozma Prutkov, Zhemchuzhnikov brothers.
At the beginning of the XX century. the epigram continued to exist. V. Gilyarovsky's epigrams were widely known. Here was his reaction to the premiere of L. Tolstoy's play "The Power of Darkness":
There are two misfortunes in Russia:
Below is the power of darkness,
And above - the darkness of power.
The wonderful poet Sasha Cherny was also witty:
According to harsh critics, Parnassus has been empty for many years.
Undoubtedly, there are no new Pushkins,
But ... the Belinskys are also missing.
At the origins of the epigram new era, which began in the crucible of the revolutions of 1905, 1917. D. Poor and
V. Mayakovsky, who made the epigram speak in the “rough language of a poster”, for example:
Eat pineapples, chew grouse,
Denypvoy last comes, bourgeois.
As a phenomenon of art, the epigram has always defended enduring spiritual values, it expressed the signs of the time and the mood of people:
Berlin epigram
"The eighteenth year will not be repeated now!" - The words of the fascist leaders are shouting from the walls.
And on top of the inscription in chalk: "I'm in Berlin"
And the signature is expressive: "Sidorov".
(S.Ya. Marshak)
Epitaph (Greek eryarYoB - tombstone) - a poetic tombstone inscription or a short poem dedicated to the deceased; existed as a real inscription, but could be conditional (for a non-existent grave of an imaginary deceased). Along with the traditionally commendable, it could be satirical, as, for example, in R. Burns' Epitaph to William Graham, Esq.:
Leaning at the coffin entrance,
O death! - exclaimed nature. -
When will I be able to create such a fool again! ..
The epitaph entered literature as a kind of ancient epigram, enjoyed success in the Middle Ages, the Renaissance and classicism. Comic epitaphs are known, which the authors dedicated to themselves. Pushkin wrote in 1815:
Here Pushkin is buried; he spent a merry age with a young muse With love, laziness,
He did not do good, but he was a soul,
By God, good man.
Genre forms of lyrics are rich and diverse. Lyrics as a kind of literature has come a long way, comprehending the complex spiritual and spiritual world of man. In particular, in historical process, passed rus-
lyric lyrics, according to the observations of B.C. Baevsky, three dominants can be distinguished: in the 18th century. in the poetic consciousness the hierarchy of genres dominated, in the 19th - stylistic thinking, in the 20th century. - the struggle of poetic schools. During all this time, the attitude of poets to the word, to sound changed, there was a process of changing and combining different methods of intonation, a certain evolution of the methods of versification264. But... poetry is eternal. Real poems are multilayered: each reader discovers in them something of his own, close to his personal worldview, his ability to realize the "abyss of space" created by the poet (as Gogol said about Pushkin). According to E. Etkind, “we go to verses all our life and never exhaust their content: “the abyss of space” remains an abyss”265.
The originality of the lyrics is that it brings to the fore the inner world of the lyrical hero, his experiences. This is clearly seen not only in works that lack any visual images of the outside world (“And boring and sad ...” by Lermontov), but also in descriptive, narrative lyrics; here the experience is conveyed through the emotional expression of speech, the nature of the tropes, etc. (“Cliff”, “Three Palm Trees” by Lermontov). Therefore, the basis of the substantive genre division in the lyrics is the very character of experiences (pathos).
From ancient literature there is a tradition according to which lyrical genres express various feelings, often reaching the strength of pathos. These are ode, satire, elegy. Initially, they expressed the feeling of the poet, caused by some external object, event, life circumstances. Hence the descriptive-meditative composition and the relatively large amount of text
some works. The traditional genres of the small form include epigram, epitaph and madrigal (the latter originated in Italian poetry).
However, the system of these genres does not cover the entire field of lyrics, especially the lyrics of the 19th-20th centuries, when the former normativity of genre thinking is overcome in the artistic consciousness. A kind of mirror of genre restructuring in lyrics is the replacement of the genre principle of publishing the texts of poems with a chronological one. The emotional nature of the lyrical works of this time does not lend itself to an unambiguous genre definition; in many of them there is a whole gamut of experiences, passing one into another. Such, for example, is Pushkin's poem “October 19” (“The forest drops its crimson dress ...”), where a lyrical statement helps the poet overcome sadness and find joy. With the destruction of genre canons and the strengthening of the role of the lyrical hero, holding together various thematic motifs, a cycle of poems (often forming a book) acquires genre significance. The earliest cycles: “Songs of Innocence” and “Songs of Experience” by W. Blake, “Lyrical Intermezzo” by G. Heine, “Leaves of Grass” by W. Whitman, “Twilight” by E. Baratynsky, “Struggle” by A. Grigoriev. Cyclization is becoming the norm of creativity among poets of the 20th century. (Bryusov, who introduced this concept, Blok, Pasternak, Akhmatova, Lugovsky, Voznesensky).
As in epic and drama, differences can be traced in the lyrics in genre issues- national-historical, moralistic, romantic, which are manifested here through the typification of the very experience of the lyrical hero.
The emotional expressiveness of the lyrics corresponds to poetic speech, which is characteristic of most of its generic forms (lyrics in prose are a very rare phenomenon). Usually a lyrical work is a poem, and its rhythmic-strophic composition is the most important means of revealing the content. The traditional varieties of such a composition are the elegiac distich, the sonnet, the triolet, and others (see Ch. XVIII); in Eastern poetry - ghazal, rubaiyat, etc. - are solid strophic forms of lyrics that can express different content. Generic forms should also include such types of poems as a message (a poem addressed to a specific person and often containing his characteristics), stanzas
(each stanza in the stanzas is a self-contained and syntactically complete whole).
The volume of the text of the poem itself also acts as a side of the generic form. Along with the usual small amount of work in the lyrics, the middle form of descriptive and meditative genres stands out - odes, satires, and sometimes elegies. There is also a large form of meditative lyrics - the so-called lyric poem(“Flute-Spine” by Mayakovsky). Genre significance may also have a connection between a poem and singing (romance).
The genres of literary lyrics were formed on the basis of folk lyrical songs, in its various varieties.
Oh yeah- a poem expressing enthusiastic feelings that some significant object excites in the poet (the personality of a great man, historical event etc.). In the ode, the poet joins, first of all, with collective feelings - patriotic, civil. Genre issues in an ode can be national-historical or moralistic. National-historical odes in Russian literature were written by classical poets - Lomonosov ("Ode on the capture of Khotin"), Derzhavin (ode "On the capture of Ishmael"), as well as poets of revolutionary romanticism - Pushkin ("Liberty"), Ryleev ("Civil Courage ”), etc. Moral descriptive genre problems are typical for Lomonosov’s odes dedicated to Elizabeth. The poet reveals to the empress his program for the transformation of Russia: the development natural resources, development of sciences and arts, peaceful foreign policy ("Ode on the day of accession to the throne of Empress Elisaveta Petrovna, 1747"). This social state, desired by the poet for Russia, was sung by him sincerely and passionately.
The prototype of the ode in ritual choral lyrics was a solemn laudatory song in honor of the gods - a hymn among the ancient Greeks (they also had a special muse of hymns - Polyhymnia). On this basis, laudatory songs dedicated to people arose, for example, the ancient Greek "epini-kii" (songs in honor of the winner in gymnastic competitions). The word "ode" (gr. - ode - song) only gradually became the name special genre. Of the ancient lyrics, the European ode was most influenced by Pindar's epinicia and Horace's ode. They were imitated as a model by the poets of classicism Malherbe, Boileau, in Russia - Lomonosov, Sumarokov. Classicists attributed the ode to high
genres and adhered to the rules when writing it. The composition of the ode was supposed to be distinguished by “disorder”, behind which strict logic was hidden, the language had to be “decorated” with mythological images, tropes, rhetorical figures, all the techniques of oratory, the stanza was sustained according to a certain pattern. The Russian ode, following the example of Lomonosov, was written in iambic tetrameter and ten-line stanzas.
With the decline of classicism, the destruction of the ode as a normative genre begins. In Russian poetry, Derzhavin introduces humorous motives into the ode, the words "low calm" (ode "Felitsa"). The ode becomes the target of sarcastic criticism of the sentimentalists and is willingly parodied by them (Alien Sense by I. Dmitriev). However, the stylistic traditions of the ode to classicism still turn out to be fruitful in the civil ode of Radishchev, Pushkin, in the lyrics of the Decembrist poets.
Satire as a genre of lyrics is a poem expressing indignation, indignation of the poet with the negative aspects of society. Satire is moralistic in terms of genre issues; the poet in it is, as it were, the mouthpiece of the advanced part of society, preoccupied with its negative state. So, Cantemir in his satires acts as a defender of Peter's transformations; he stigmatizes the ignorant, "blaspheming the teaching", "evil-tempered noblemen", boasting of their origin - all who want to live in the old way. Belinsky considered the Kantemirovskaya tradition in Russian literature XVIII V. most closely associated with life.
Although many ancient Greek “iambs” (Archilochus, Hipponakt) are filled with caustic mockery, as a genre of satire, it takes shape in Roman literature, in the poems of Horace, Persia, Juvenal, written in hexameter; in the minds of subsequent eras, the “muse of fiery satire” (Pushkin) is, first of all, the muse of Juvenal.
Classicists sought to revive Roman satire (in France - Boileau, in Russia - Kantemir, Sumarokov), and later poets of revolutionary romanticism ("To the temporary worker" by Ryleev, "Message to the censor" by Pushkin), who used Alexandrian verse. With the development of realism in literature, the main form of expression of satirical pathos in lyrics becomes poems that do not obey any stylistic norms in their
composition, rhythm, volume (“The Moral Man” by Nekrasov, “The Sitting Ones” by Mayakovsky).
Elegy- a poem full of sadness, dissatisfaction with life. Sadness can be caused by some reason (“Sorrowful Elegies” by Ovid, written in exile, “The Dying Tass” by K. Batyushkov). But an elegy is possible in which the recreated experience has no specific motivation. For example, in Pushkin's elegy "I survived my desires..." the description of "storms of cruel fate" that led to suffering remains outside the text. Such an elegy is freer from the descriptiveness dictated by tradition.
An elegy can be different in its genre, for example, moralistic - to express sorrow for the civil state of society (Lermontov's Duma, Uncompressed Strip, Nekrasov's Elegy). But more often, elegiac sadness is associated with the personal fate of the poet, typical motifs of romantic elegies are loneliness, the suffering of love, memories of the past (“Rainy day went out ...” by Pushkin, “Confession” by E. Baratynsky, “Evening ringing” by J. Moore in translation I. Kozlova). Sometimes the disappointment of the poet in life takes on a philosophical character, in the elegy there are motifs of the transience of life, the inevitability of death, etc. (“On the death of Prince Meshchersky” by Derzhavin, “Do I wander along the noisy streets ...” by Pushkin).
The elegy apparently originated from an ancient Greek funeral song. But the very word "elegy" originally indicated a certain poetic form - an elegiac distich (see Chapter XVIII). In ancient Greek poetry (Mimnerm) and Roman (Tibull, Proper-tion, Ovid), the elegy was predominantly love in its subject matter. The classicists showed a certain interest in the elegy as an ancient genre, but its real heyday is associated with romanticism, one of the motives of which was "world sorrow". The usual size of the elegy was iambic. In a romantic elegy, a specific elegiac style is created with its own stable poetic "dictionary" (Let's recall the poet Lensky in "Eugene Onegin": "He sang separation and sadness, / / And something And foggy distance,//And romantic roses..."). But gradually this tradition is overcome, the content and style of the elegy acquire great diversity.
epigram, epitaph, madrigal- small forms of lyrics. In the history of literature, there are widely known (ancient
Greek) and narrow (later) meanings of the epigram. The ancient Greek epigram (literally "inscription") originates from inscriptions on cult objects (altars, tripods). The type of epigram was an epitaph - an inscription on a tombstone. The content and emotional tone of ancient Greek epigrams were varied. An epigram could contain a description of some object or person, a lesson, mockery, admiration, as, for example, in Plato:
You look at the stars, my star. I would like to be the sky; look with thousands of eyes, admiring you.
The originality of thought and the laconism of its expression - that's what has always been valued in the epigram.
Ancient Greek epigrams have come down to us mainly in collections - anthologies (rp. anthos - flower), hence the genre of an anthological poem in the poetry of modern times, inspired by antiquity.
The second, narrow meaning of the epigram, which was assigned to it from the 1st century BC. e. - a short humorous or satirical poem, most often ridiculing a certain person. The witticism in such an epigram is the result of careful wording (irony, pun, paraphrase, reminiscence, comparison, etc. are widely used); the epigram should unexpectedly amaze with its accuracy. So, in the epigram of V. Pushkin, the “illogical” ending gives rise to witticism:
"The snake bit Markel."
- "He died?" - “No, the snake, on the contrary, died!”
Humorous and satirical epigrams are a sharp weapon in the literary struggle. A. Pushkin, M. Lermontov, D. Minaev were brilliant epigrammatists. In Soviet poetry, the masters of this genre are S. Marshak (both his translated and original anthological epigrams are remarkable), A. Arkhangelsky and others.
The antipode of the epigram (in the narrow sense of the word) is the madrigal - a short half-joking poem of a complimentary nature (usually addressed to a lady). Madrigal was popular in Russian "album" poetry of the late XVIII - early XIX V.
Lyrics (from the Greek lyga - a musical instrument, to the accompaniment of which poems, songs, etc. were performed), one of three genera fiction(along with epic and drama), within which the attitude of the author (or character) is revealed as a direct expression, an outpouring of his feelings, thoughts, impressions, moods, desires, etc.
Unlike epic and drama, which depict complete characters acting in various circumstances, lyrics depict individual states of character at a certain moment in life. lyrical image- this is an image-experience, an expression of the author's feelings and thoughts in connection with various life impressions. The range of lyrical works is unlimited, since all the phenomena of life - nature and society - can cause corresponding human experiences. The peculiarity and power of the influence of lyrics lies in the fact that it always, even if it is about the past (if it is memories), expresses a living, immediate feeling, an experience experienced by the author at the moment. Each lyrical work, no matter how limited in size it may be, is a complete work of art, conveying the internally completed state of the poet.
The increased emotionality of the content of a lyrical work is also associated with the corresponding form of expression: lyrics require concise, expressive speech, each word of which carries a special semantic and emotional load, lyrics gravitate towards poetic speech, which contributes to the expression of the poet's feelings and a stronger emotional impact on the reader.
The lyrical work captures the personal experiences of the poet, which, however, are characteristic of many people, generalize and express them with the power inherent in poetry.
In a lyrical work, through the personal, the poet conveys the vital, the typical. Lyrics, like other types of fiction, develops under the influence of historical conditions, social struggle, causing people to express their attitude to new phenomena, their experiences associated with them. Lyrics are naturally connected to everything literary process, in particular with the change of various literary trends, trends and methods: classicism, romanticism, critical realism.
The heyday of lyrics occurs in the era of romanticism.
It is characteristic that in many countries it was during this era that the work of great national poets took shape (Mickiewicz in Poland, Hugo in France, Byron in England, Pushkin, Lermontov, Tyutchev in Russia).
Types and themes of lyrics
There are various classifications of types of lyrics.
They are classified by subject:
Philosophical (“God” by G. R. Derzhavin, “The Inexpressible” by V. A. Zhukovsky, “Vain Gift, Random Gift” by A. S. Pushkin, “Truth” by E. A. Baratynsky, “Fountain” by F. I. Tyutchev)
civil (“To Chaadaev” by A.S. Pushkin, “Farewell, unwashed Russia” by M. Yu. Lermontov, “Testament” by T. G. Shevchenko, “Reflection at the front door” by N. A. Nekrasov, “Readers of newspapers » M. Tsvetaeva, “Midnight in Moscow” by O. Mandelstam, “Russia” by A. A. Blok, “Poems about the Soviet passport” by V. V. Mayakovsky, “The torn base of the monument is crushed” by A. T. Tvardovsky)
Landscape (“Autumn Evening” by F.I. Tyutchev, cycles “Spring”, “Summer”, “Autumn”, “Snow” by A.A. Fet, “Green Hairstyle”, “White Birch” by S.A. Yesenin)
love (“I loved you” by A.A. Pushkin, “I don’t like your irony ...”, “Yes, our life flowed rebelliously ...”, “So this is a joke? My dear ...” N.A. Nekrasova)
Political (“Napoleon”, “As a daughter to the slaughter ...” F.I. Tyutchev), etc.
However, it must be borne in mind that for the most part, lyrical works are multi-dark, since various motives can be reflected in one experience of the poet: love, friendship, civic feelings (cf., for example, “I remember a wonderful moment”, “October 19, 1825” A. Pushkin, “In Memory of Odoevsky”, “I am writing to you ...” by M. Lermontov, “Knight for an Hour” by N. Nekrasov, “To Comrade Nette ...” by V. Mayakovsky and many others). Reading and studying the lyrics of different poets of different eras greatly enriches and ennobles the spiritual world of a person.
The following lyrical genres are distinguished:
· Ode - a genre that sings of some important historical event, person or phenomenon. This genre was especially developed in classicism: "Ode on the day of accession to the throne ..." by M. Lomonosov.
· Song - a genre that can refer to both epic and lyrical genres. The epic song has a plot: “The Song of the Prophetic Oleg” by A.S. Pushkin. The lyrical song is based on the emotional experiences of the protagonist or the author himself: Mary's song from A Feast in the Time of Plague by A.S. Pushkin.
Elegy - genre romantic poetry, the poet’s sad reflection on life, fate, his place in this world: “The daylight» A.S. Pushkin.
Message - a genre that is not associated with a particular tradition. A characteristic feature is the appeal to some person: "To Chaadaev" A.S. Pushkin.
· Sonnet - a genre that is presented in the form of a lyrical poem, characterized by strict requirements for form. A sonnet should have 14 lines. There are 2 types of sonnet: English sonnet, French sonnet.
An epigram is a short poem, no more than a quatrain, which ridicules or presents in a humorous form some individual person: “On Vorontsov” by A.S. Pushkin.
· Satire - a more detailed poem, both in terms of volume and scale of the depicted. Usually ridicules social failings. Satire is characterized by civic pathos: Kantemir's satires, “My ruddy fat-bellied mocker ...” A.S. Pushkin. Satire is often referred to as epic.
Such a division into genres is very conditional, because they are rarely presented in their pure form. A poem can combine several genres at the same time: "To the Sea" by A. Pushkin combines both an elegy and a message.
The main form of lyrical works is a poem, but it should be remembered that lyrics also exist in prose: these are insert lyrical fragments in epic compositions (such are some extra-plot elements of N.V. Gogol's Dead Souls), and isolated lyrical miniatures (some from "Poems in Prose" by I. S. Turgenev, many stories by I. A. Bunin).
One of the founders of Russian literary criticism was V. G. Belinsky. And although serious steps were taken in antiquity in the development of the concept of literary gender (Aristotle), it is Belinsky who owns the scientifically based theory of three literary genera, which you can get acquainted with in detail by reading Belinsky's article "Division of poetry into genera and types."
There are three types of fiction: epic(from the Greek. Epos, narration), lyrical(a lyre was a musical instrument, accompanied by which verses were chanted) and dramatic(from Greek Drama, action).
Presenting a particular subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:
First approach: can be detailed tell about the subject, about the events associated with it, about the circumstances of the existence of this subject, etc.; at the same time, the position of the author will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; the main thing in such a work will be precisely the story, narration about the subject, the leading type of speech will be exactly the narrative; this kind of literature is called epic;
The second approach: you can tell not so much about events, but about impression, which they produced on the author, about those feelings that they called; image inner world, experiences, impressions and will refer to lyrical kind literature; exactly experience becomes the main event of the lyrics;
Third approach: you can portray item in action, show him on stage; present to the reader and the viewer surrounded by other phenomena; this kind of literature is dramatic; in the drama itself, the voice of the author will be the least likely to sound - in remarks, that is, the author's explanations for the action and replicas of the characters.
Consider the following table and try to memorize its contents:
Genres of fiction
| EPOS | DRAMA | LYRICS |
| (Greek - narration) story about the events, the fate of the heroes, their actions and adventures, the image of the external side of what is happening (even feelings are shown from the side of their external manifestation). The author can directly express his attitude to what is happening. |
(Greek - action) image events and relationships between characters on the stage(a special way of writing text). The direct expression of the author's point of view in the text is contained in the remarks. |
(from the name of the musical instrument) experience events; depiction of feelings, inner world, emotional state; feeling becomes the main event. |
Each type of literature in turn includes a number of genres.
GENRE- This is a historically established group of works, united by common features of content and form. These groups include novels, stories, poems, elegies, short stories, feuilletons, comedies, etc. In literary criticism, the concept is often introduced literary style, is a broader concept than genre. In this case, the novel will be considered a type of fiction, and genres - various varieties of the novel, for example, adventure, detective, psychological, parable novel, dystopian novel, etc.
Examples of genus-species relations in the literature:
- Genus: dramatic; type: comedy; Genre: sitcom.
- Genus: epic; type: story; genre: fantasy story, etc.
Genres, being historical categories, appear, develop, and eventually "leave" from the "active reserve" of artists, depending on the historical epoch: the ancient lyric poets did not know the sonnet; in our time, an ode born in antiquity and popular in the 17th-18th centuries has become an archaic genre; nineteenth-century romanticism gave rise to detective literature, and so on.
Consider the following table, which lists the types and genres related to the different kinds of word art:
Genera, types and genres of fiction
| EPOS | DRAMA | LYRICS | |||
| Folk | Author's | Folk | Author's | Folk | Author's |
| Myth Poem (epos): Heroic Strogovoinskaya fabulous- legendary Historical... Fairy tale Bylina Thought Legend Tradition Ballad Parable Small genres: proverbs sayings puzzles nursery rhymes... |
epic novel:
Historical. Fantastic Adventurous Psychological R.-parable Utopian Social... Small genres: Tale Story Novella Fable Parable Ballad Lit. fairy tale... |
A game rite folk drama Raek nativity scene... |
Tragedy Comedy: provisions, characters, masks... Drama: philosophical social historical social-philosophical. Vaudeville Farce Tragifarce... |
Song | Oh yeah Hymn Elegy Sonnet Message Madrigal Romance Rondo Epigram... |
Modern literary criticism also highlights fourth, an adjacent genre of literature, combining the features of the epic and lyrical genera: lyrical-epic to which it refers poem. Indeed, by telling the reader a story, the poem manifests itself as an epic; revealing to the reader the depth of feelings, the inner world of the person who tells this story, the poem manifests itself as a lyric.
LYRICAL called a kind of literature in which the author's attention is paid to the image of the inner world, feelings, experiences. The event in the lyrics is important only insofar as it evokes an emotional response in the soul of the artist. It is the experience that becomes the main event in the lyrics. Lyrics as a kind of literature arose in ancient times. The word "lyric" is of Greek origin, but does not have a direct translation. In ancient Greece, poetic works depicting the inner world of feelings and experiences were performed to the accompaniment of a lyre, and this is how the word "lyric" appeared.
The most important character in the lyrics is lyrical hero: it is his inner world that is shown in the lyrical work, on his behalf the lyric artist speaks to the reader, and the external world is depicted in the context of the impressions that he makes on the lyrical hero. Note! Do not confuse the lyrical hero with the epic one. Pushkin reproduced in great detail the inner world of Eugene Onegin, but this epic hero, a participant in the main events of the novel. The lyrical hero of Pushkin's novel is the Narrator, the one who is familiar with Onegin and tells his story, deeply experiencing it. Onegin only once becomes a lyrical hero in the novel - when he writes a letter to Tatyana, just as she becomes a lyrical heroine when she writes a letter to Onegin.
By creating the image of a lyrical hero, the poet can make him personally very close to himself (poems by Lermontov, Fet, Nekrasov, Mayakovsky, Tsvetaeva, Akhmatova, etc.). But sometimes the poet seems to be "hiding" behind the mask of a lyrical hero, completely far from the personality of the poet himself; so, for example, A. Blok makes Ophelia a lyrical heroine (2 poems called "The Song of Ophelia") or a street actor Harlequin ("I was all in colorful rags ..."), M. Tsvetaeva - Hamlet ("At the bottom she, where the silt ... "), V. Bryusov - Cleopatra ("Cleopatra"), S. Yesenin - a peasant boy from a folk song or fairy tale ("Mother went to the bathing suit through the forest ..."). So it’s more literate, when discussing a lyrical work, to talk about the expression in it of the feelings of not the author, but the lyrical hero.
Like other types of literature, poetry includes a number of genres. Some of them arose in ancient times, others - in the Middle Ages, some - quite recently, one and a half to two centuries ago, or even in the last century.
Read about some LYRICAL GENRES:
Oh yeah(Greek "Song") - a monumental solemn poem glorifying a great event or a great person; distinguish between spiritual odes (arrangements of psalms), moralizing, philosophical, satirical, ode-messages, etc. The ode is three-part: it must have a theme stated at the beginning of the work; development of the theme and arguments, as a rule, allegorical (second part); final, didactic (instructive) part. Samples of ancient ancient odes are associated with the names of Horace and Pindar; the ode came to Russia in the 18th century, the odes of M. Lomonosov ("On the day of the accession to the Russian throne of Empress Elisaveta Petrovna"), V. Trediakovsky, A. Sumarokov, G. Derzhavin ("Felitsa", "God"), A .Radischev ("Liberty"). Paid tribute to the ode A. Pushkin ("Liberty"). By the middle of the 19th century, the ode had lost its relevance and gradually passed into the category of archaic genres.
Hymn- a poem of laudatory content; also came from ancient poetry, but if in ancient times hymns were composed in honor of gods and heroes, then at a later time hymns were written in honor of solemn events, festivities, often not only of a state, but also of a personal nature (A. Pushkin. "Feasting students" ).
Elegy(Phrygian "reed flute") - a genre of lyrics dedicated to meditation. Originated in ancient poetry; originally it was called crying over the dead. The elegy was based on the life ideal of the ancient Greeks, which was based on the harmony of the world, the proportionality and balance of being, incomplete without sadness and contemplation, these categories have passed into the modern elegy. An elegy can embody both life-affirming ideas and disappointment. Poetry XIX century still continued to develop the elegy in its "pure" form, in the lyrics of the twentieth century, the elegy is found, rather, as genre tradition like a special mood. In modern poetry, an elegy is a plotless poem of a contemplative, philosophical and landscape nature.
A. Pushkin. "To sea"
N. Nekrasov. "Elegy"
A. Akhmatova. "March Elegy"
Read A. Blok's poem "From the Autumn Elegy":
Epigram(Greek "inscription") - a small poem of satirical content. Initially, in ancient times, inscriptions on household items, tombstones and statues were called epigrams. Subsequently, the content of the epigrams changed.
Examples of epigrams:
Yuri Olesha:
Sasha Black:
Epistle, or message - a poem, the content of which can be defined as "letter in verse." The genre also came from ancient lyrics.
A. Pushkin. Pushchin ("My first friend, my priceless friend...")
V.Mayakovsky. "Sergey Yesenin"; "Lilichka! (Instead of a Letter)"
S. Yesenin. "Mother's Letter"
M. Tsvetaeva. Poems to Blok
Sonnet- This is a poetic genre of the so-called rigid form: a poem consisting of 14 lines, organized in a special way into stanzas, with strict principles of rhyme and stylistic laws. There are several types of sonnet in form:
- Italian: consists of two quatrains (quatrains), in which the lines rhyme according to the ABAB or ABBA scheme, and two three-verses (tercetes) with the rhyming CDС DСD or CDE CDE;
- English: consists of three quatrains and one couplet; general rhyming scheme - ABAB CDCD EFEF GG;
- sometimes French is singled out: the stanza is similar to Italian, but in tercetes there is a different rhyming scheme: CCD EED or CCD EDE; he had a significant influence on the development of the next type of sonnet -
- Russian: created by Anton Delvig: the stanza is also similar to Italian, but the rhyming scheme in tercetes is CDD CCD.
This lyrical genre was born in Italy in the 13th century. Its creator was the lawyer Jacopo da Lentini; a hundred years later Petrarch's sonnet masterpieces appeared. The sonnet came to Russia in the 18th century; a little later, he received a serious development in the work of Anton Delvig, Ivan Kozlov, Alexander Pushkin. Poets showed particular interest in the sonnet " silver age": K. Balmont, V. Bryusov, I. Annensky, V. Ivanov, I. Bunin, N. Gumilyov, A. Blok, O. Mandelstam ...
In the art of versification, the sonnet is considered one of the most difficult genres.
In the last 2 centuries, poets rarely adhered to any strict rhyme, often offering a mixture of various schemes.
- This content dictates features of the sonnet language:
- vocabulary and intonation should be sublime;
- rhymes - accurate and, if possible, unusual, rare;
- significant words should not be repeated in the same meaning, etc.
A special difficulty - and therefore the pinnacle of poetic technique - is wreath of sonnets: a cycle of 15 poems, the initial line of each being the last line of the previous one, and the last line of the 14th poem being the first line of the first. The fifteenth sonnet consists of the first lines of all 14 sonnets in the cycle. In Russian lyrics, the wreaths of sonnets by V. Ivanov, M. Voloshin, K. Balmont became the most famous.
Read "Sonnet" by A. Pushkin and see how the sonnet form is parsed:
| Text | Stanza | Rhyme | Content(topic) |
| 1 Severe Dante did not despise the sonnet; 2 Petrarch poured out the heat of love in him; 3 The creator of Macbeth 1 loved his game; 4 They mourn the thought of Camões 2 clothed. |
quatrain 1 | A B A B |
The history of the sonnet genre in the past, the themes and tasks of the sonnet of the classics |
| 5 And in our day he captivates the poet: 6 Wordsworth 3 chose him as an instrument, 7 When away from the vain light 8 of Nature he draws an ideal. |
quatrain 2 | A B A IN |
The meaning of the sonnet in modern European poetry to Pushkin, expanding the range of topics |
| 9 Under the shadow of the distant mountains of Taurida 10 Lithuanian Singer 4 in size his cramped 11 I instantly concluded my dreams. |
tercet 1 | C C B |
Development of the theme of quatrain 2 |
| 12 The virgins did not yet know him among us, 13 How Delvig forgot for him 14 Hexameter 5 sacred tunes. |
tercet 2 | D B D |
The meaning of the sonnet in modern Russian lyrics by Pushkin |
In school literary criticism, such a genre of lyrics is called lyric poem. There is no such genre in classical literary criticism. It was introduced into the school curriculum to somewhat simplify the complex system of lyrical genres: if bright genre features works cannot be singled out and the poem is not in the strict sense either an ode, or a hymn, or an elegy, or a sonnet, etc., it will be defined as a lyric poem. In this case, one should pay attention to the individual features of the poem: the specifics of the form, theme, image of the lyrical hero, mood, etc. Thus, poems by Mayakovsky, Tsvetaeva, Blok, and others should be referred to as lyric poems (in the school sense). Almost all the lyrics of the twentieth century fall under this definition, unless the authors specifically specified the genre of the works.
Satire(lat. "mixture, all sorts of things") - as a poetic genre: a work, the content of which is the denunciation - of social phenomena, human vices or individuals - by ridicule. Satire in antiquity in Roman literature (satires of Juvenal, Martial, etc.). The genre received new development in the literature of classicism. The content of satire is characterized by ironic intonation, allegoricalness, Aesopian language, and the technique of "speaking names" is often used. In Russian literature, A. Kantemir, K. Batyushkov (XVIII-XIX centuries) worked in the satire genre, in the 20th century Sasha Cherny and others became famous as the author of satires. Many poems from V. Mayakovsky's "Poems about America" can also be called satires ( "Six nuns", "Black and white", "Skyscraper in section", etc.).
Ballad- lyric-epic plot poem of fantastic, satirical, historical, fabulous, legendary, humorous, etc. character. The ballad arose in antiquity (presumably in the early Middle Ages) as a folklore ritual dance and song genre, and this is the reason for its genre features: strict rhythm, plot (the ancient ballads told about heroes and gods), the presence of repetitions (whole lines or individual words were repeated as an independent stanza), called refrain. In the 18th century, the ballad became one of the most beloved poetic genres of Romantic literature. Ballads were created by F. Schiller ("Cup", "Glove"), I. Goethe ("Forest King"), V. Zhukovsky ("Lyudmila", "Svetlana"), A. Pushkin ("Anchar", "Groom") , M. Lermontov ("Borodino", "Three Palms"); at the turn of the 19th and 20th centuries, the ballad was revived again and became very popular, especially in the revolutionary era, during the period of revolutionary romance. Among the poets of the twentieth century, ballads were written by A. Blok ("Love" ("The Queen lived on a high mountain ..."), N. Gumilyov ("Captains", "Barbarians"), A. Akhmatova ("The Gray-eyed King"), M. Svetlov ("Grenada"), etc.
Note! The work can combine the features of some genres: a message with elements of an elegy (A. Pushkin, "K *** ("I remember a wonderful moment ..."), a lyrical poem of elegiac content (A. Blok. "Motherland"), an epigram-message, etc. .d.
- The creator of Macbeth is William Shakespeare (the tragedy "Macbeth").
- Portuguese poet Luis de Camões (1524-1580).
- Wordsworth - English Romantic poet William Wordsworth (1770-1850).
- Lithuanian singer - Polish romantic poet Adam Mickiewicz (1798-1855).
- See topic #12.
- V.A. Zhukovsky. Poems: "Svetlana"; "Sea"; "Evening"; "Unspeakable"
- A.S. Pushkin. Poems: "Village", "Demons", " Winter evening"," Pushchino "(" My first friend, my priceless friend ... "," Winter Road "," To Chaadaev "," In the depths of Siberian ores ... "," Anchar "," The flying ridge is thinning clouds ... "," Prisoner " , "A conversation between a bookseller and a poet", "The poet and the crowd", "Autumn", "... I visited again ...", "Do I wander along the noisy streets ...", "A gift in vain, a random gift ...", "October 19" ( 1825), "On the Hills of Georgia", "I loved you...", "To ***" ("I remember a wonderful moment..."), "Madonna", "Echo", "Prophet", "To the Poet", "To the sea", "From Pindemonti" ("I don't cheaply appreciate high-profile rights..."), "I erected a monument to myself..."
- M.Yu.Lermontov. Poems: "Death of a Poet", "Poet", "How often, surrounded by a motley crowd...", "Duma", "Both boring and sad...", "Prayer" ("I, mother of God, now with a prayer...") , "We parted, but your portrait ...", "I will not humble myself before you ...", "Motherland", "Farewell, unwashed Russia ...", "When the yellowing field is worried ...", "No, I'm not Byron, I'm different ...", "Leaf", "Three palm trees", "From under the mysterious, cold half-mask ...", "The Captive Knight", "Neighbor", "Testament", "Clouds", "Cliff", "Borodino", "Clouds heavenly, eternal pages…”, “Prisoner”, “Prophet”, “I go out alone on the road…”
- N.A. Nekrasov. Poems: "I do not like your irony ...", "Knight for an hour", "I will die soon ...", "Prophet", "Poet and citizen", "Troika", "Elegy", "Zina" ("You are still on you have a right to life…”); other verses of your choice
- F.I. Tyutchev. Poems: "Autumn evening", "Silentium", "Not what you think, nature ...", "The earth still looks sad ...", "How good you are, O night sea ...", "I met you ...", " Whatever life teaches us…”, “Fountain”, “These poor villages…”, “Tears of people, oh human tears…”, “You can’t understand Russia with your mind…”, “I remember the golden time…”, “What are you talking about howling, night wind?", "The gray-gray shadows have shifted…", "How sweetly the dark green garden slumbers…"; other verses of your choice
- A.A. Fet. Poems: "I came to you with greetings ...", "More may night…", "Whisper, timid breathing…”, “This morning, this joy…”, “Sevastopol rural cemetery”, “A wavy cloud…”, “Learn from them - from the oak, from the birch…”, “To the poets”, “Autumn”, “What a night, how the air is clean…”, “Village”, “Swallows”, “On the railroad”, “Fantasy”, “The night shone. The garden was full of moon…"; other verses of your choice
- I.A. Bunin. Poems: "The Last Bumblebee", "Evening", "Childhood", "It's Still Cold and Cheese...", "And Flowers, and Bumblebees, and Grass...", "The Word", "The Knight at the Crossroads", "The Bird Has a Nest …", "Twilight"
- A.A. Blok. Poems: "I enter the dark temples ...", "Stranger", "Solveig", "You are like the echo of a forgotten hymn ...", "The earthly heart freezes again ...", "Oh, spring without end and without edge ...", " About valor, about exploits, about glory…”, “On the railway”, cycles “On the Kulikovo field” and “Carmen”, “Rus”, “Rodina”, “Russia”, “Morning in the Kremlin”, “Oh, I I want to live crazy ... "; other verses of your choice
- A.A. Akhmatova. Poems: "Song of the last meeting", "You know, I'm languishing in captivity...", "There are such days before spring...", "Tearful autumn, like a widow...", "I learned to live simply, wisely...", "Native land "; “I don’t need odic ratis…”, “I’m not with those who left the earth…”, “Courage”; other verses of your choice
- S.A. Yesenin. Poems: "Goy you, my dear Russia ...", "Do not wander, do not crush in the crimson bushes ...", "I do not regret, I do not call, I do not cry ...", "We are now leaving little by little ...", "Mother's letter", " The golden grove dissuaded…”, “I left my dear home…”, “Kachalov’s dog”, “Soviet Russia”, “Hewn drogs sang…”, “Uncomfortable liquid moonlight…”, “The feather grass is sleeping. Dear plain…”, “Goodbye , my friend, goodbye ... "; other verses of your choice
- V.V.Mayakovsky. Poems: “Could you?”, “Listen!”, “Nate!”, “To you!”, “Violin and a little nervously”, “Mom and the evening killed by the Germans”, “Gift sale”, “ Good attitude to the horses", "Left march", "On rubbish", "To Sergei Yesenin", "Jubilee", "Letter to Tatyana Yakovleva"; other poems of your choice
- 10-15 poems each (of your choice): M. Tsvetaeva, B. Pasternak, N. Gumilyov.
- A. Tvardovsky. Poems: "I was killed near Rzhev ...", "I know, no fault of mine ...", "The whole point is in one single testament ...", "In memory of the mother", "To bitter insults of my own person ..."; other verses of your choice
- I. Brodsky. Poems: "I entered instead of a wild beast...", "Letters to a Roman friend", "To Urania", "Stans", "You will ride in the darkness...", "On the death of Zhukov", "From nowhere with love...", "Notes of a fern "
Try everything literary works that are named in the work, read in a book, not in electronic form!
When completing tasks for work 7, pay special attention to theoretical materials, since doing the tasks of this work by intuition means dooming yourself to a mistake.
Do not forget to draw up a metric scheme for each analyzed poetic passage, checking it many times.
The key to success in this complex work is attention and accuracy.
Recommended literature for work 7:
- Kvyatkovsky I.A. Poetic dictionary. - M., 1966.
- Literary encyclopedic Dictionary. - M., 1987.
- Literary criticism: Reference materials. - M., 1988.
- Lotman Yu.M. Analysis poetic text. - L .: Education, 1972.
- Gasparov M. Modern Russian verse. Metrics and rhythm. - M.: Nauka, 1974.
- Zhirmunsky V.M. The theory of verse. - L .: Nauka, 1975.
- Poetic structure of Russian lyrics. Sat. - L .: Nauka, 1973.
- Skripov G.S. About Russian versification. Student aid. - M.: Enlightenment, 1979.
- Dictionary of literary terms. - M., 1974.
- Encyclopedic Dictionary of a Young Literary Critic. - M., 1987.
Lyric genres originate in syncretic art forms. In the foreground are personal experiences and feelings of a person. Lyrics are the most subjective kind of literature. Its range is quite wide. Lyrical works are characterized by laconism of expression, the utmost concentration of thoughts, feelings and experiences. Through various genres of lyrics, the poet embodies what excites him, upsets or pleases.
Features of the lyrics
The term itself comes from Greek word lyra (a kind of musical instrument). The poets of the period of antiquity performed their works to the accompaniment of the lyre. The lyrics are based on the experiences and thoughts of the protagonist. He is often identified with the author, which is not entirely true. The character of the hero is often revealed through deeds and actions. An important role is played by the direct author's characteristic. An important place is given to the most frequently used monologue. Dialogue is rare.
Meditation is the main means of expression. In some works, lyrics and drama are intertwined. In lyrical compositions there is no detailed plot. Some have internal conflict hero. There is also "role" lyrics. In such works, the author plays the roles of different persons.
The genres of lyrics in literature are closely intertwined with other types of art. Especially with painting and music.
Types of lyrics
How Lyricism Was Formed in Ancient Greece. The highest flowering occurred in ancient Rome. Popular ancient poets: Anacreon, Horace, Ovid, Pindar, Sappho. In the Renaissance, Shakespeare and Petrarch stand out. And in the 18-19 centuries the world was shocked by the poetry of Goethe, Byron, Pushkin and many others.
Varieties of lyrics as a kind: in expressiveness - meditative or suggestive; by theme - landscape or urban, social or intimate, etc.; by tonality - minor or major, comic or heroic, idyllic or dramatic.
Types of lyrics: poetic (poetry), dramatized (role-playing), prose.
Thematic classification
Lyric genres in literature have several classifications. Most often, such essays are distributed by topic.
- Civil. Socio-national issues and feelings come to the fore.
- Intimate. It conveys the personal experiences experienced by the protagonist. It is divided into the following types: love, friendship lyrics, family, erotic.
- Philosophical. It embodies the awareness of the meaning of life, being, the problem of good and evil.
- Religious. Feelings and experiences about the higher and spiritual.
- Landscape. It conveys the thoughts of the hero about natural phenomena.
- satirical. Exposes human and social vices.
Variety by genre
Lyric genres are diverse. This:
1. Hymn - a lyrical song expressing a festively upbeat feeling formed from some good event or exceptional experience. For example, "Hymn to the Plague" by A. S. Pushkin.
2. Invective. Means a sudden denunciation or satirical ridicule of a real person. For this genre semantic and structural two-dimensionality is characteristic.
3. Madrigal. Initially, these were poems depicting rural life. A few centuries later, the madrigal is significantly transformed. In the 18th and 19th centuries, free-form, glorifying the beauty of a woman and containing a compliment. The genre of intimate poetry is found in Pushkin, Lermontov, Karamzin, Sumarokov and others.
4. Ode - a laudatory song. This is a poetic genre, finally formed in the era of classicism. In Russia, this term was introduced by V. Trediakovsky (1734). Now it is already remotely connected with the classical traditions. There is a struggle of conflicting stylistic tendencies in it. Lomonosov's solemn odes are known (developing a metaphorical style), Sumarokov's anacreontic odes, and Derzhavin's synthetic odes.
5. Song (song) - one of the forms of verbal and musical art. There are lyrical, epic, lyro-dramatic, lyro-epic. Lyrical songs narration, exposition is not characteristic. They are characterized by ideological and emotional expression.
6. Message (letter in verse). In Russian, given genre variety was extremely popular. The messages were written by Derzhavin, Kantemir, Kostrov, Lomonosov, Petrov, Sumarokov, Trediakovsky, Fonvizin and many others. In the first half of the 19th century they were also in use. They are written by Batyushkov, Zhukovsky, Pushkin, Lermontov.
7. Romance. This is the name of a poem that has the character of a love song.
8. Sonnet is a solid poetic form. It consists of fourteen lines, which, in turn, break up into two quatrains (quatrain) and two three-line (tercet).
9. Poem. It was in the 19th and 20th centuries that this structure became one of the lyrical forms.
10. Elegy is another popular genre of melancholic lyric poetry.
11. Epigram - a short poem of a lyrical warehouse. It is characterized by great freedom of content.
12. Epitaph (tombstone).
Lyric genres of Pushkin and Lermontov
A. S. Pushkin wrote in different lyrical genres. This:
- Oh yeah. For example, "Liberty" (1817).
- Elegy - "The daylight went out" (1820).
- Message - "To Chaadaev" (1818).
- Epigram - "On Alexander!", "On Vorontsov" (1824).
- Song - "About the prophetic Oleg" (1822).
- Romance - "I am here, Inezilla" (1830).
- Sonnet, satire.
- Lyrical compositions that go beyond traditional genres - "To the Sea", "Village", "Anchar" and many others.
Pushkin's subject matter is also multifaceted: civil position, the problem of freedom of creativity and many other topics are touched upon in his works.
Various genres of Lermontov's lyrics make up the main part of his literary heritage. He is a successor to the traditions of civil poetry of the Decembrists and Alexander Sergeevich Pushkin. Initially, the most favorite genre was a monologue-confession. Then - romance, elegy and many others. But satire and epigram are extremely rare in his work.
Conclusion
Such works can be written in various genres. For example, a sonnet, madrigal, epigram, romance, elegy, etc. Also, lyrics are often classified by subject. For example, civil, intimate, philosophical, religious, etc. It is worth paying attention to the fact that the lyrics are constantly updated and replenished with new genre formations. In poetic practice, there are genres of lyrics borrowed from related art forms. From music: waltz, prelude, march, nocturne, cantata, requiem, etc. From painting: portrait, still life, sketch, bas-relief, etc. In modern literature, there is a synthesis of genres, so lyrical works are divided into groups.
