poetic genres. Genres of poetry

Fiction as a cultural phenomenon.

Literary genera and genres. Poetry and prose.

Types of literature- these are large associations of verbal and artistic works according to the type of relationship of the speaker ("carrier of speech") to the artistic whole. There are three types: drama, epic, lyrics.

DRAMA is one of the four genres of literature. In the narrow sense of the word - the genre of a work depicting a conflict between characters, in a broad sense - all works without the author's speech. Types (genres) of dramatic works: tragedy, drama, comedy, vaudeville. LYRICS - one of the four types of literature, reflecting life through the personal experiences of a person, his feelings and thoughts. Types of lyrics: song, elegy, ode, thought, message, madrigal, stanzas, eclogue, epigram, epitaph. LYROEPIC is one of the four types of literature in which the reader observes and evaluates the artistic world from the outside as a plot narrative, but at the same time events and characters receive a certain emotional assessment of the narrator. EPOS is one of the four types of literature, reflecting life through a story about a person and the events that happen to him. The main types (genres) of epic literature: epic, novel, story, short story, short story, artistic essay.

Types (genres) of literature.

COMEDY- type of dramatic work. Displays everything ugly and ridiculous, funny and awkward, ridicules the vices of society.
LYRICAL POEM (in prose) - a type of fiction, emotionally and poetically expressing the feelings of the author.
MELODRAMA- a type of drama, the characters of which are sharply divided into positive and negative.
FEATURE ARTICLE- the most reliable type of narrative, epic literature, displaying facts from real life.
SONG, or SONG - the most ancient type of lyric poetry; a poem consisting of several verses and a chorus. Songs are divided into folk, heroic, historical, lyrical, etc.
STORY- medium form; a work that highlights a series of events in the life of the protagonist.
POEM- type of lyrical epic work; poetic storytelling.
STORY- a small form, a work about one event in the life of a character.
NOVEL- large form; a work, in the events of which many characters usually take part, whose fates are intertwined. Novels are philosophical, adventure, historical, family and social.
TRAGEDY- a type of dramatic work that tells about the unfortunate fate of the protagonist, often doomed to death.
EPIC- a work or a cycle of works depicting a significant historical epoch or a great historical event.

Poetry(Greek ποίησις, “creativity, creation”) - a special way of organizing speech; introducing an additional measure (measurement) into speech that is not determined by the needs of ordinary language; verbal art, mostly poetry. An additional measure of speech is a verse (poetic line), as well as rhymes, meter, and so on. Often the word poetry used in a metaphorical sense, meaning the elegance of presentation or the beauty of what is depicted, and in this sense a purely prosaic text can be called poetic; to avoid confusion in scientific literature, there is therefore a tendency to avoid the word poetry and talk only about verse(verses), however, such word usage is not free from shortcomings, since the main meaning of the term "verse" is a separate poetic line.

In modern culture, poetry is usually understood as a form of art, forgetting that in today's everyday life there are enough poetic texts, but not artistic ones (for example, advertising). Historically, texts of any content could be poetic, up to scientific and medical treatises. The expediency of wrapping these texts in a poetic form was due to the fact that in this way the text distanced itself from ordinary speech, was marked as the most important, significant.

Prose(lat. prōsa) - oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic constructions (periods, sentences, columns). Sometimes the term is used as a contrast of fiction in general (poetry) to scientific or journalistic literature, that is, not related to art. In ancient Greece, along with poetry, there was also artistic prose: myths, legends, fairy tales, comedies. These genres were not considered as poetic, since the myth for the ancient Greeks was not an artistic phenomenon, but a religious one, tradition was historical, a fairy tale was everyday, comedy was considered too mundane. Non-fiction prose included oratorical, political, and later scientific works. Thus, in the ancient world, Ancient Rome and then in medieval Europe, prose was in the background, representing everyday or journalistic literature, as opposed to highly artistic poetry.

By the second half of the Middle Ages, the situation began to gradually change. Along with the decay of the ancient, and then the feudal society, the poem, tragedy, and ode are gradually decomposing. In connection with the development of the commercial bourgeoisie, its cultural and ideological growth, on the basis of the culture of big cities, prose genres are growing and developing more and more. There is a story, a short story, after them a novel develops. The old poetic genres, which played the main role in the literature of feudalism and slave-owning society, are gradually losing their main, leading significance, although they by no means disappear from literature. However, the new genres, which play a major role first in bourgeois styles, and then in all the literature of capitalist society, clearly gravitate towards prose. Artistic prose begins to challenge the leading place of poetry, becomes close to it, and even later, by the heyday of capitalism, even pushes it aside. By the 19th century, prose writers, novelists and novelists became the most prominent figures in fiction, giving society those great typical generalizations that, in the era of the triumph of poetry, were given by the creators of poems and tragedies.

Literary genres traditionally classified as prose include:

Novel- a large narrative work with a complex and developed plot.
Tale- a kind of epic poetry, close to the novel, depicts some episode from life; differs from the novel in less completeness and breadth of pictures of everyday life, mores.
Novella- a literary small narrative genre, comparable in volume to a story (which sometimes gives rise to their identification), but differing from it in genesis, history and structure.
epic- an epic work of monumental form, which is distinguished by nationwide problems.
Story- a small epic genre form of fiction - small in terms of the volume of the depicted phenomena of life, and hence in terms of the volume of its text.
Essay- a prose essay of a small volume and free composition, expressing individual impressions and considerations on a specific occasion or issue and obviously does not claim to be a defining or exhaustive interpretation of the subject.
Biography- an essay that tells the story of the life and work of a person. [

3. The concept of "Myth". Animism, Totemism, fetishism, anthropocentrism in myth. Initiation in mythological subjects.

Myth(ancient Greek μῦθος) in literature - a legend that conveys people's ideas about the world, man's place in it, about the origin of all things, about Gods and heroes; certain idea of the world.

The specificity of myths appears most clearly in primitive culture, where myths are the equivalent of science, an integral system in terms of which the whole world is perceived and described. Later, when such forms of social consciousness as art, literature, science, religion, political ideology, and the like are singled out from mythology, they retain a number of mythological models that are uniquely rethought when included in new structures; myth is experiencing its second life. Of particular interest is their transformation in literary work.

Since mythology masters reality in the forms of figurative narration, it is close in its meaning to fiction; historically, it anticipated many possibilities of literature and had a comprehensive influence on its early development. Naturally, literature does not part with mythological foundations even later, which applies not only to works with mythological foundations of the plot, but also to realistic and naturalistic life writing of the 19th and 20th centuries (suffice it to name Oliver Twist by Charles Dickens, Nana by Emile Zola, "Magic Mountain" by Thomas Mann).

Animism. The unconditional core of ancient myths was animism (lat. anima - soul). This doctrine of the soul was based on a group of facts that recorded the active manifestations of life: the ability to self-generation, growth, movement, and so on. The contrast between living and dead bodies made a special impression. The imagination turned this knowledge into animism, according to which there are many souls and each soul is a subtle-bodily formation, similar to steam, breath, air or shadow. Everything that exists is alive due to the presence of a soul. This idea was later called "hylo-zoism" (Greek hyle - substance, zoe - life). In a person, the soul controls the body and is able to leave it temporarily (fainting, sleep) or permanently (death).

3.3. Totemism. We are talking about the belief that a certain type of plant or animal once gave birth to a given tribe or clan. The corresponding myths tell about the wanderings of the totem (English totem - sacred ancestor), describe certain places where the first ancestor stopped: rocks, gorges, reservoirs. They became the centers of rituals, where totemic emblems (images of an oak, a raven, a snake, etc.) were kept.

3.2. Fetishism. Fetishism is associated with animism (port. feitisso - made). This ancient idea recognizes the presence of the spirit in a material object that struck the imagination of primitive people. Rare and unusual objects acted as such an object - parts of the body of an animal, precious stones, a special form of a stick, roots, etc. There was a belief that the fetish was able to protect from evil spirits and heal from diseases. Fetishism was later transformed into cults of amulets, talismans, idols and relics.

Initiation- a certain, usually mystical, rite associated with the transition of a person to a new social level. Initiation includes the functions of rite, myth and ritual. The central place in the circle of mythological plots (tales about gods, heroic epos, fairy tales) is occupied by the initiation of the hero, that is, a journey to the other world (temporary death), communication with its owners and, as a result, obtaining magical powers, weapons, etc. The rite of initiation among archaic peoples, as a rule, included taking the initiated by close relatives into the forest, painful torture in a hut, the entrance to which depicted the mouth of the owner of the world of death, various rituals symbolizing the absorption and spewing of the initiate by a zoomorphic progenitor, numerous trials, finally returning to the tribe and marriage.

Similar information.

Lesson 7

Today we will talk about history again. History of poetry.

We need to get acquainted with the basic poetic styles.

What is style? This is the idea (the worldview of the poet), its characteristic, distinctive features, and literary devices with the help of which this idea is realized in poetry in a certain historical period. Of course, one can write in one style or another even after the end of this “certain period”, however, in literary criticism, the emergence, dawn and fading of style is usually associated with specific dates, with the work of the brightest authors, through whose works the style took shape as a style.

CLASSICISM - (from lat. classicus - exemplary).

A "classic" poem is a logically constructed whole, with a strict (even schematic) plot and composition. Heroes are presented in a straightforward manner and are strictly divided into positive (which are often idealized) and negative.

Mikhail Lomonosov

The bliss of society is increasing day by day;

The monarch combines labors with labors.

Trying for the good of great joys to us,

The upbringing of small children is taken care of;

So that what is left contemptuously in the Patronymic,

Bought him a priceless treasure;

And so that from a difficult number for society

Erect with morals commendable crafts.

Guardians of good for future posterity!

Listen with joy to useful pets:

It is commendable to despise the poor,

Pure praise for the benefit of educate;

Nature says, faith commands.

Heed the importance of the royal example:

Catherine leads you to this honor,

Hurry with generosity, as with fidelity, after her.

REALISM - (from lat. realis - real).

The poet "realist" speaks not only about facts and events, he is interested in people and things, patterns that operate in life - the relationship between man and nature, heroes and time.

Alexander Pushkin"Eugene Onegin. Ch. 1, III"

Serving excellently, nobly,

His father lived in debt

Gave three balls annually

And finally screwed up.

The fate of Eugene kept:

At first Madame followed him,

Then Monsieur replaced her.

The child was sharp, but sweet.

Monsieur l "Abbé, poor Frenchman,

So that the child is not exhausted,

Taught him everything jokingly

I did not bother with strict morality,

Slightly scolded for pranks

And he took me for a walk in the Summer Garden.

ROMANTISM - (German Romantik).

The "romantic" poet expresses a subjective position in relation to the depicted, not so much recreates as re-creates. The hero of romanticism is an exceptional person. Lonely, dissatisfied with the order of things, rebellious, rebellious, striving for absolute freedom and an unattainable ideal.

Mikhail Lermontov

I go out alone on the road;

Through the mist the flinty path gleams;

The night is quiet. The desert listens to God

And the star speaks to the star.

In heaven solemnly and wonderfully!

The earth sleeps in the radiance of blue ...

Why is it so painful and so difficult for me?

Waiting for what? do I regret anything?

I don't expect anything from life

And I do not feel sorry for the past at all;

I'm looking for freedom and peace!

I would like to forget and fall asleep!

But not with that cold dream of the grave...

I wish I could sleep like this forever

So that the life of strength dozes in the chest,

So that breathing quietly heaves the chest;

So that all night, all day cherishing my hearing,

Above me to be forever green

The dark oak leaned over and rustled.

SENTIMENTALISM - (from French sentiment - feeling).

In sentimentalism, the human personality is the movement of the soul, thoughts, feelings, experiences. Topics - love, friendship, internal contradictions, suffering. The hero is a simple person.

Vasily Zhukovsky"SONG" When I was loved ...

When I was loved, in delight, in pleasure,

Like a captivating dream, my whole life flowed.

But I'm forgotten by you - where is the ghost of happiness?

Oh! your love was my happiness!

When I was loved, inspired by you,

I sang, my soul lived with your praise.

But I'm forgotten by you, my instant gift died:

Oh! your love was my genius!

When I was loved, gifts of beneficence

My hand carried to the abode of poverty.

But I am forgotten by you, there is no compassion in my heart!

Oh! your love was my goodness!

CIVIL POETRY

Not style - genre, journalism in verse. But it needs to be said.

The main theme is the protection of public interests, statehood, civic duty. Poems express social moods, wake up society, call for activity.

Nikolai Nekrasov"Poet and Citizen"

... No, you are not Pushkin. But as long as

The sun is nowhere to be seen

It's a shame to sleep with your talent;

Even more ashamed in the hour of grief

The beauty of valleys, skies and seas

And sing sweet affection ...

The storm is silent, with a bottomless wave

The skies are arguing in the radiance,

And the wind, gentle and sleepy,

Barely shakes the sails

The ship runs beautifully, harmoniously,

And the heart of travelers is calm,

As if instead of a ship

Below them is solid ground.

But the thunder struck; the storm is moaning

And the tackle is tearing, and the mast is tilting,

No time to play chess

It's not time to sing songs!

Here is a dog - and he knows the danger

And barks furiously into the wind:

He has nothing else to do...

What would you do, poet?

Is it in a cabin remote

You would become an inspirational lyre

Delight sloths ears

And drown out the roar of the storm?

May you be faithful to the appointment

But is it easier for your homeland,

Where everyone is devoted to worship

Your single personality?

In front of good hearts,

To whom the homeland is holy.

God help them!.. And the rest?

Their goal is shallow, their life is empty...

IMPRESSIONISM - (from French impression - impression).

Characteristics of style - compositional fragmentation, associative connection of objects and images, subjectivity, momentary impressions. The poet seeks to capture a moment of life that will never happen again.

Athanasius Fet

Don't wake her up at dawn

At dawn she sleeps so sweetly;

Morning breathes on her chest

Brightly puffs on the pits of the cheeks.

And her pillow is hot

And a hot tiring dream,

And, blackening, they run on their shoulders

Braids tape on both sides.

And yesterday at the window in the evening

For a long, long time she sat

And watched the game through the clouds,

That the moon was gliding.

And the brighter the moon played

And the louder the nightingale whistled,

She became more and more pale

My heart was beating harder and harder.

That's why on a young chest,

On the cheeks so the morning burns.

Don't wake her up, don't wake her up

At dawn she sleeps so sweetly!

SYMBOLISM - (fr. Symbollisme, from the Greek symbolon - a sign, an identification sign).

Concept: the world and man - through scientific experience, logical analysis and realistic depiction - are fundamentally unknowable. The symbolist poet recognizes only intuitive knowledge, wants to guess or feel the deep state of the world, and discover its ideal (spiritual) essence.

Vladimir Solovyov

Dear friend, can't you see

That everything we see

Only reflections, only shadows

From invisible eyes?

Dear friend, don't you hear

That the noise of life is crackling -

Just a garbled response.

Triumphant harmonies?

Dear friend, don't you hear

What is one thing in the whole world -

Only what heart to heart

Saying hello?

AKMEISM - (from the Greek akme - the highest degree, peak, maximum, flourishing).

Concept: a new discovery of the beauty and value of human existence, simplicity and clarity of poetic language, rigor of composition, precise words and

images, materiality, objectivity, “joyful admiration of being” (Nikolai Gumilyov).

Anna Akhmatova

Husband whipped me patterned

Double folded belt.

For you in the casement window

I sit with fire all night.

It's dawning. And above the forge

Smoke rises.

Ah, with me, a sad prisoner,

You couldn't be again.

For you, I'm gloomy

I took my share.

Or do you love a blonde

Or a redhead?

How can I hide you, sonorous groans!

In the heart of a dark, stuffy hop,

And the rays fall thin

On an unrumpled bed.

FUTURISM - (from lat. futurum - the future).

The poet "futurist" does not recognize the classical heritage, experiments with the word, shocks the public, is a literary hooligan (the manifesto of Russian futurists was called "Slap in the Face of Public Taste") and puts himself, his ego, above all else.

Igor Severyanin"Egopolonaise"

Live, Live! Tambourines under the sun

Come on, people, into your polonaise!

How fruitful, how golden-trumpeted

rye sheaves of my poetry!

Love and Nega fall in them,

Both Pleasure and Beauty!

All the sacrifices of the world in the name of Ego!

Live, Live! - sing the mouth.

There are only two of us in the whole universe,

And these two are always one:

Me and Desire! Live, Live! -

You are destined for immortality!

DECADENCE - (from French decadence - decline).

Decadence is also not a style - a direction. Concept: loss of hopes, ideals, a sense of the meaninglessness of life. Topics: non-existence, death, the cult of fading beauty,

freedom of the individual, the preaching of "art for art's sake", detachment from reality and "withdrawal into oneself".

Zinaida Gippius"Powerlessness".

I look at the sea with greedy eyes,

Chained to the ground, on the shore...

I stand over the abyss - over the heavens, -

And I can’t fly to the blue.

I don't know whether to rise or submit,

No courage to die or live...

God is close to me - but I can not pray,

I want love - and I can not love.

I stretch out my hands to the sun

And I see a canopy of pale clouds...

I think I know the truth

And I just don't know the words for her.

IMAGINISM - (from fr. image - image).

Concept: the victory of an intrinsically valuable image over the meaning and idea of the work.

The poet "Imagist" considers poetic creativity as a process of language development through metaphor. His poem should be a "catalog of images", read the same way from the beginning and from the end.

Sergey Yesenin

Furtively in moonlight lace

The valley catches ghosts.

At the deity behind the lamp

Magdalena smiled.

Someone bold, rebellious,

Envy the smile.

Inflated walleye black evening,

And the moon - as in a white unsteady.

The three-blizzard played out,

Sweat splashes, cold, tart,

And weeping bream

Climbs to the wind on the backs.

Death in the dark sharpens the razor...

Look, Magdalene is crying.

remember my prayer

One who walks in the valleys.

ABSURD - (from lat. absurdum - absurdity, nonsense).

Concept: emphasized violation of causal and temporal relationships, grotesqueness, alogism, shocking. Bright ideologists and practitioners of style united in the OBERIU group (Association of Real Art).

Alexander Vvedensky"Excerpt"

There was a case near Poltava

no, it's not a case, it's a medal

we fought then with the Swede

slightly to the right we are to the left

shh we see ran

torn blue skirt

I scream stop

slightly to the right we are to the left

behind a pine near Poltava

naked sitting Mazepa

says he would be Fedor

it would be more fun

here is my whole army

burst into tears

will scream and speak

what an unfortunate

since that time the tavern has been here.

SOCIALIST REALISM

Concept: life-affirming pathos, loyalty to the ideals of socialism and communism, internationalism, a clear belonging of the hero to the social stratum (working class, peasantry, intelligentsia, bourgeoisie).

Vladimir Mayakovsky"Vladimir Ilyich Lenin"

a story about Lenin.

But not because

no more

what a sharp longing

became clear

conscious pain.

Lenin's slogans whirlwind.

spread out

tear puddle,

more than alive.

Our knowledge is

and weapons.

CONCEPTUALISM - (from lat. conceptus - thought, idea).

reaction to socialist realism. The poet "conceptualist" does not work with images - with ideas. Often uses the ideological clichés that developed in the Soviet period “Soviet texts or slogans, speech or visual clichés worn to holes” (V. Rudnev).

Timur Kibirov“Twenty sonnets to Sasha Zapoeva. 5"

Days passed. You have already eaten from a spoon

Here's a jingle tooth. Here the ass is rounded.

You filled with meaning, you were furious,

gurgling in the midst of eternal emptiness.

There were congresses. It snowed. Flowers bloomed.

Diathesis flourished. The diapers were golden.

The German carriage rolled into the distance.

And I forgot the rebellious dreams.

What is glory? What are the delights of voluptuousness?

What is happiness? It must be happiness.

You collected, like a lens, in a bundle

scattered in the stormy air

rays of love, and this light kindled -

no, not coal - a lamp wick.

And finally, the style of the new time:

COSMISM - (Greek κόσμος - “ ordered world»)

Concept: space is a structurally organized ordered world, man is a citizen of this world. The microcosm is like the macrocosm. The poet in one line is able to combine the small and the big.

Andrey Romanov"Light of Creation"

I would call the Universe by your long name.

Having conquered nothingness

not having time to enjoy the victory ...

The trams ran

as if Perseus and Andromeda,

Empty housing,

enough space for two.

Indifferent dawn

Touched your hair

In anticipation of frost, he put on hiking boots.

To find you

I was given seconds

If you believe in the word

cosmic star clock.

The snow is falling

drowning out the noise of the people.

The atom threw out the quanta,

like white flags - apartment

besieged city...

Creation Light

Just reached

Petersburg night squares.

And the trams stood on tiptoe,

Listening to the snow

The one who was born

On the firn forehead of Everest.

And Palace Square, as if someone else's bride,

Will remind me of you

One that is long gone:

Our youth is gone

Catching a cold in the opposite wind.

Ligovka came to her senses.

Washing knows no doubt.

And over the Neva Bay,

In the coming delirium of the floods,

You whisper to me through the blizzard

That I will never die.

Lecture number 19.

lyrics ( from the Greek lyra - a musical instrument, to the accompaniment of which poems, songs were performed), a kind of literature in which not the object is primary, but the subject of the statement and its relation to the depicted. The central character of the lyrical work is its creator himself, and above all his inner world. This is the objectification of lyrical experience in the form of lyrical experience (alienation of a personal state, but again in personal forms).

lyric hero, the image of the poet in the lyrics, one of the ways to reveal the author's consciousness. The lyrical hero is an artistic counterpart of the author-poet, growing out of the text of lyrical compositions (a cycle, a book of poems, a lyrical poem, the whole set of lyrics) as a clearly defined figure or life role, as a person endowed with the certainty of an individual fate, the psychological distinctness of the inner world, and sometimes and plastic features. This concept was first formulated by Yu. Tynyanov in 1921 in relation to the work of A. Blok. The lyrical hero is the created “I” (M. Prishvin). At the same time, this image is accompanied by a special sincerity and "documentation" of the lyrical outpouring, self-observation and confession prevail over fiction. When referring to the image of a lyrical hero, it is necessary to remember about his: 1) integrity; 2) inadequacy to its author. Attention to the inner life of the lyrical hero, changes, states, sensations.

In literary criticism, there is a classification of lyrics according to genres and topics (love, civil, philosophical, landscape).

There are also meditative lyrics (reflections on the eternal problems of being) and suggestive (inspiring, focused on conveying an emotional state).

Lyrical genres: dithyrambs, hymns, iambs, songs, elegies, satires, lamentations, lamentations, tensons, albs, ballads, pastorellas, sirvents, canzones, madrigals, sonnets, triplets, epistles.

Historical principle of lyric classification:

In folk art, lyrical works differed either in their everyday function (lamentations: wedding, funeral, recruiting, songs: dance, game, round dance, wedding, carols), or in tune (drawn-out, frequent).

In ancient literature - by the nature of performance: choral and monodic, declamatory and song, elegiac and satirical; hymn, dithyramb, paean, ode, scholia, frenos, elegy, encomia, epithalama, epigram, epitaph, iambic.

Middle Ages - troubadours (alba, ballad, romance, pastorella, canzona, sirventa, tenson, lament), trouvers (songs about the crusades, weaving songs, songs about unsuccessful marriages).

Renaissance - canzone, sonnet, madrigal, triolet, rondo, rondel.

Alba(Provence alba, lit. dawn) a genre of medieval courtly lyrics: a morning song about a secret nocturnal love rendezvous interrupted by the morning dawn; in form it is predominantly a strophic form of dialogue. Formed by the troubadours. Wed serena: "evening song" - an invitation to a date (see. Serenade).

Anacreon poetry, light cheerful lyrics common in European literatures of the Renaissance and Enlightenment. The late Greek collection of poems Anacreontica, created in imitation of the ancient Greek poet Anacreon and later erroneously attributed to him, served as a model for A. p. The main motives of anacreontics are earthly joys, wine, love, less often political freethinking. Anacreontic poems in Russia were written by M.V. Lomonosov, G.R. Derzhavin, K.N. Batyushkov.

Ballad(French ballade, from Prov. ballada - dance song), 1) solid form of French. poetry of the XIV-XV centuries: three stanzas with the same rhymes (ababbcbc - for 8-complex and ababbccdcd for 10-complex verse) with a refrain and a final semi-stanza - "premise" (address to the addressee). Vivid examples - in the poetry of Fr. Villon. Distribution outside of French poetry received only in stylizations (V. Bryusov, M. Kuzmin). 2) Lyric-epic genre of English-Scottish. folk poetry of the XIV-XVI centuries on historical (later even on fairy-tale and everyday) topics - about border wars, about nat. folk legendary hero - Robin Hood - usually with tragedy, mystery, jerky narration, dramatic dialogue. Interest in the folk ballad in the era of pre-romanticism and romanticism gave rise to a similar genre of literary ballad (W. Scott, G. Burger, F. Schiller, A. Mitskevich, V. Zhukovsky, A. Pushkin, M. Lermontov, A. Tolstoy); fairy-tale or historical themes were usually developed here, modern themes were rarely involved, usually with the aim of glorifying an event or, conversely, ironically (G. Heine). In Soviet poetry, poems about exploits during the Great Patriotic War (N. Tikhonov, K. Simonov) often took the form of a ballad.

Bucolic poetry ( Greek bukolika, from bukolikos - shepherd) genre of ancient poetry of the Hellenistic and Roman times (3rd century BC - 5th century AD), small hexameter poems in narrative or dialogic form describing the peaceful life of shepherds, their simple life, tender love and flute songs (often with the use of folklore motifs). The works of bucolic poetry were called idylls (lit. - picture) or eclogues (lit. - selection), later it was conventionally believed that an idyll requires more feeling, and an eclogue requires more action. The initiator and classic of Greek bucolic poetry was Theocritus, Roman - Virgil. In modern European literature, bucolic poetry, crossing with medieval folklore in the pastoral of the 12th-13th centuries, gave rise to various pastoral genres of the 14th-18th centuries. Long's Daphnis and Chloe adjoins bucolic poetry.

Gazelle(Arabic ghazal), a type of monorhymic lyric poem (usually 12-15 baits). Common in the poetry of Bl. and Wed. East and South East. Asia. Most likely, it originated from a pre-Islamic Persian folk lyric song and was finally formed by the 13th-14th centuries. In the first beat, both half-lines rhyme, then there is a rhyme according to the scheme ba, ca, da ... In the last beat, the author's tahallus should be mentioned. Each bayt of a ghazal, as a rule, contains a complete thought and has, as it were, an independent meaning. The genre reached a high degree of perfection in the works of Persian and Tajik poets Rudaki, Saadi, Hafiz.

Hymn ( Greek gymnos - praise), celebrations. song on programmatic verses. State, revolutionary, religious anthems, in honor of historical events, etc. are known. The oldest hymns go back to the literature of the early state formations of Egypt, Mesopotamia, and India (for example, the hymn of the Rig Veda). In the anthem, they see the beginnings of the epic, lyrics, drama.

Dithyramb(Greek dithyrambos), a genre of ancient lyrics that arose (probably in ancient Greece) as a choral song, a hymn in honor of the god Dionysus or Bacchus, later in honor of other gods and heroes. Accompanied by an orgaistic dance; had the beginnings of a dialogue (between the lead singer and the choir), contributed to the emergence of ancient drama. Literally took shape in the 7th century BC. e., flourishing in the 5th - 6th centuries BC (poetry of Simonides of Chios, Pindar). In the new European literature, there are imitations of the ancient dithyramb (for example, in F. Schiller, J. Herder, satirical - in F. Nietzsche).

Cantata ( from ital. cantata, from lat. canto - I sing). 1) A large piece of poetry, designed for musical accompaniment, usually in the form of alternating arias, recitatives and choirs, written in different sizes; in content - usually festive poems for the occasion, high allegorical style, close to the Pindaric ode. There were cantatas of more religious and epic content (oratorios) and more secular and lyrical ones (cantatas proper). They were developed in the art of baroque and classicism of the 17th - 18th centuries (J.B. Rousseau, G.R. Derzhavin).

2) A large vocal-instrumental work of a solemn or lyrical-epic nature, consisting of solo (arias, recitatives), ensemble and choral parts. Russian composers of the second half of the 19th–20th centuries composed cantatas on poetic texts that were not specially intended for this purpose (“Moscow” by P. Tchaikovsky to the verses by A. Maikov, “On the Kulikovo Field” by Yu. Shaporin to the verses by A. Blok).

Madrigal ( French Madrigal, Italian. Madrigale, from Late Lat. Matricale - a song in the mother's native language), a short poem written in free verse, mostly lovingly complimentary (less often abstractly meditative) content, usually with a paradoxical sharpening at the end (bringing the madrigal closer to the epigram). It developed in Italian poetry of the 16th centuries on the basis of the madrigal of the 14th-15th centuries - a short love song (to music) with motifs of bucolic poetry; was popular in the salon culture of Europe in the 17th-18th centuries (in Russia - N. Karamzin).

Macaronic poetry(Italian . poesia maccheronica), satirical or humorous poetry, in which comicality is achieved by mixing words and forms from different languages. Russian macaronic poetry was based mainly on parodying the speech of the French nobility.

Message, epistole (Greek epistole), lit. genre, poetry. It first appeared in European poetry in Horace, lives in the Latin new-language poetry of the Middle Ages and the Renaissance, flourishes in the era of classicism of the 17th-18th centuries. (N. Boileau, Voltaire, A. Pop, A.P. Sumarokov). In the era of romanticism, it loses genre features (V.A. Zhukovsky, K.N. Batyushkov, A.S. Pushkin “Message to the Censor”), and by the middle of the 19th century it disappears as a genre.

The formal sign of the message is the presence of an appeal to a specific addressee and, accordingly, such motives as requests, wishes, exhortations. The content of the message, according to tradition, is predominantly moral-philosophical and didactic, but there were numerous narrative, panegyric, satirical, love, etc. messages. satires (Horace), elegies (Ovid), didactic poem (A. Pop), lyrical poems of an indefinite genre (“In the depths of Siberian ores” by A.S. Pushkin).

Oh yeah ( from the Greek ode - song), a genre of lyric poetry. In antiquity, the word "ode" at first did not have a terminological meaning, then it began to denote a lyrical choral song of a solemn, upbeat, moralizing character (especially the songs of Pindar) written in stanzas. In the Renaissance and Baroque era (XVI-XVII centuries), the word was applied mainly to pathetic high lyrics, focusing on ancient samples (Pindar, Horace) and written in strophic verse (P. Ronsard). In the poetry of classicism, the ode (XVII-XVIII centuries) is the leading genre of high style with canonical themes (glorification of God, the fatherland, wisdom of life), techniques (quiet or swift attack, the presence of digressions, permitted lyrical disorder) and views (odes spiritual solemn - pindaric , moralizing - Horatian, love - Anacreontic). Classics of the genre - F. Malherbe, J.B. Rousseau. In Russia - M.V. Lomonosov and A.P. Sumarokov (respectively "enthusiastic" and "clear" types). In the era of pre-romanticism (the end of the 18th century), the genre features of the ode are loosened (G.R. Derzhavin).

lyrics ( from the Greek lyra - a musical instrument, accompanied by verses, songs), a kind of literature in which not the object is primary, but the subject of the statement and its relation to the depicted. The central character of the lyrical work is its creator himself, and above all his inner world. This is the objectification of lyrical experience in the form of lyrical experience (alienation of a personal state, but again in personal forms).

lyric hero, the image of the poet in the lyrics, one of the ways to reveal the author's consciousness. The lyrical hero is an artistic counterpart of the author-poet, growing out of the text of lyrical compositions (a cycle, a book of poems, a lyric poem, the entirety of lyrics) as a clearly defined figure or life role, as a person endowed with the certainty of an individual fate, the psychological distinctness of the inner world, and sometimes and plastic features. This concept was first formulated by Y. Tynyanov in 1921 in relation to the work of A. Blok. The lyrical hero is the created “I” (M. Prishvin). At the same time, this image is accompanied by a special sincerity and "documentation" of the lyrical outpouring, self-observation and confession prevail over fiction. When referring to the image of a lyrical hero, it is necessary to remember about his: 1) integrity; 2) inadequacy to its author. Attention to the inner life of the lyrical hero, changes, states, sensations.

In literary criticism, there is a classification of lyrics by genres and topics (love, civil, philosophical, landscape).

There are also meditative lyrics (reflections on the eternal problems of being) and suggestive (inspiring, focused on conveying an emotional state).

Lyrical genres: dithyrambs, hymns, iambs, songs, elegies, satires, lamentations, lamentations, tensons, albs, ballads, pastorellas, sirvents, canzones, madrigals, sonnets, triolets, epistles.

Historical principle of lyric classification:

In folk art, lyrical works differed either in their everyday function (lamentations: wedding, funeral, recruiting, songs: dance, game, round dance, wedding, carols), or in tune (drawn-out, frequent).

Middle Ages - troubadours (alba, ballad, romance, pastorella, canzona, sirventa, tenson, lament), trouvers (songs about the crusades, weaving songs, songs about unsuccessful marriages).

Renaissance - canzone, sonnet, madrigal, triolet, rondo, rondel.

Gazelle(Arabic ghazal), a type of monorhymic lyric poem (usually 12-15 baits). Common in the poetry of Bl. and Wed. East and Southeast. Asia. Most likely, it originated from a pre-Islamic Persian folk lyric song and was finally formed by the 13th-14th centuries. In the first beat, both half-lines rhyme, then there is a rhyme according to the scheme ba, ca, da ... In the last beat, the author's tahallus should be mentioned. Each bayt of a ghazal, as a rule, contains a complete thought and has, as it were, an independent meaning. The genre reached a high degree of perfection in the works of Persian and Tajik poets Rudaki, Saadi, Hafiz.

solid forms- these are poetic forms in which both the volume and the strophic structure of the poem are more or less firmly defined by tradition. In terms of the predictability of formal elements, solid forms are close to stanzas, but in stanzas the repetition of identical forms takes place within one poem, and in solid forms between different poems of the same tradition.

According to the severity of the organization, solid forms are distinguished, in which 1) both the volume and the strophic are fixed ( sonnet, triolet, rondo, rondel, sextine; 2) the volume is not fixed, the stanza is fixed ( tercina, villanelle, ritornello; 3) neither volume nor stanza is fixed ( canzona, virele, glossa).

villanelle(French Villanelle - village song) - a solid poetic form: 6 stanzas with rhyme A 1 bA 2 abA 1 abA 2 abA 1 abA 2 abA 1 A 2, where A 1 and A 2 are repeating refrains. It developed in the French poetry of the 16th century on the model of imitations of Italian folk songs, it became widespread only in stylizations (“It was all an instant dream ...” V.Ya. Bryusov).

Virele(French virelai - refrain, chorus based on onomatopoeia) - song form in medieval French poetry: chorus + 2-member stanza of a structure that is not identical with the chorus + 1-member stanza of a structure identical to the chorus + refrain: ABBA + (cd + cd + abba +ABBA).

Gloss- a solid form in Spanish poetry of the XIV-XVII centuries: a verse of several stanzas (usually 4 decims), the last lines of which constitute a special stanza (introductory motto), commented on by subsequent stanzas (for an example, see Cervantes' novel Don Quixote, part II , Ch.18). Not commonly used in other literatures; compare, for example, similarly constructed poems by V. Bryusov "Stained-glass triptych" and "Parks of women's babble ...".

Canzona(from Italian canzone - song) - a semi-solid form of Italian. poetry. The stanza of the classical canzone consists of an ascending part (two members with an identical arrangement of short and long verses) and a descending part (one member, coda (Italian coda, lit. tail: 1) the descending part of the stanzas of song and dance origin, closing the two-term part; 2 ) additional lines, i.e., in excess of 14 at the end of a comic sonnet)). The whole poem consists of 5-7 stanzas and one more coda. In other literatures, it is used in stylizations. An example of a canzone stanza (Vyach. Ivanov according to Petrarch's scheme: AbC + AbC + cDdEE, where capital letters are long and small letters are short verses):

Great Bell on a pilgrimage

I called you ... Longing

trembled suddenly impatient

And the soul escaped into its freedom

(For a feat or peace?)

From the tender shackles of jealous love ...

And again over a thin field

I see you as a serpent Ceres:

With sadness and faith

You call the rain and the sun to the fields,

Where the captive rain still conceals the earth.

Acrostic

An acrostic is a poem in which the first words of the lines are chosen in such a way that their initial letters, folded in order from top to bottom, form a word, less often a short phrase. This version of versification first began to be used in ancient Greece, and only then - in the poetry of other countries. In Russian versification, the first acrostics appeared in the 17th century.

Composing such poems is a rather difficult task. Many authors love this method - with the help of the first letters, you can convey a certain message or hint at the hidden meaning of the entire poem, although most often the name of the person to whom the acrostic is dedicated is formed from the first letters. For aspiring poets, writing such poems can be a great exercise. Less common are mesostich and telestych - more complex forms of acrostic, when a word or phrase is composed of the middle or last letters of each line.

free verse

Free verse is somewhat different from the usual poems, where all the requirements of rhythm are met and rhyme is used. When writing free verse, the number of stops in stanzas should not be the same, only the observance of rhythm and rhyme is important. The result is a poetic work that sounds completely different from traditional poetry.

Most often, free verse is used in fables; earlier it was common in lyric poems, epigrams and epitaphs. It is interesting that rhyme in free verse does not appear in accordance with a certain pattern, but arbitrarily, that is, the alternation of groups of lines rhyming with each other can be absolutely any, while their sequence can change in different parts of the poem.

When writing free verse, the author has more expressive means at his disposal, because he is almost free from the framework of rhythm. That is why many poets are very fond of writing in the genre of free verse.

Blank verse

White verse is characterized by a complete absence of rhyme, the endings of its lines do not have consonance, however, the stanzas themselves are written taking into account the requirements of the metric, that is, they have the same number of stops and are sustained in the same size. Compared to free verse, blank verse is easier to hear. When writing white verse, the author has great freedom in using expressive means, therefore such poems are usually very emotional.

mixed verse

A mixed verse is a poetic work, during the addition of which the number of stops (rhythmic groups) in stanzas can vary, and the size of the verse itself can also change (for example, iambic can alternate with trochee). When writing mixed poems, it is easier for the author to convey the mood and hidden meaning of the verse. That is why free poetry usually carries a strong emotional load.

Vers libre

Poetry has always been the most capacious and accurate form of expressing feelings, thoughts and emotions. At the same time, any verse falls under certain canons both in form and in content. The technique of versification is full of conventions, which every author is obliged to adhere to, while observing the size, rhyme and a certain number of lines. The only exception is vers libre - a verse that is not subject to literary canons.

This term first appeared in European poetry of the 20th century. thanks to the supporters of such a literary movement as Imagism. Its authorship belongs to the English writer, poet and literary critic Richard Aldington, who in 1914 described the work of such European Imagists as Hilda Doolittle, Francis Stuart Flint, Ezra Pound and Thomas Ernst Hume with this capacious word. In particular, Richard Aldington noted that free verse (from the French vers libre - free verse) is one of the highest forms of poetry, as it allows the author to accurately convey his feelings in words. In fairness, it should be noted that the collection of Imagists, to which Richard Aldington wrote a preface, also included his 10 "free poems". Therefore, European critics took the poetic anthology rather coolly, and the term vers libre for many years became synonymous with bad taste and lack of poetic gift. In particular, the English critic and modernist poet Thomas Eliot described the adherents of this poetic genre as follows: "The author of free verse is free in everything, except for the need to create good poetry."

By the middle of the 20th century, the literary world was actually divided into two opposing camps, in which there were supporters and opponents of vers libre. It is noteworthy that even the venerable poets of that time, who strictly adhered to the poetic canons, eventually resorted to the help of vers libre in order to more fully and concisely convey their ideas to readers. At the same time, authors such as Guillaume Apollinaire, Paul Eluard, Marie Louise Kashnitz, Nelly Sachs and Jürgen Becker appealed to the fact that free verse is by no means a new form of poetry, and similar poems can be found among authors of various eras. The biblical commandments can rightly be considered classics of free verse. which are well known to every Christian since childhood:

“Do not covet your neighbor's house;

Do not covet your neighbor's wife,

Neither its field

Nor his servant

Nor his slave

Neither his will,

Nor his donkey

Nor any of his cattle,

Nothing that your neighbor has."

Modern literary critics are unanimous in the opinion that only people endowed with an undoubted poetic gift are capable of composing truly figurative and sensual free verse. That is why, sooner or later, adherents of the classical iambic and chorea turn to prose poetry. But at the same time, work on vers libre is much more difficult than on a regular poem. The thing is that the already familiar framework of versification is absent in this case. There is no need to carefully rhyme words and observe the size of each stanza. But at the same time, it is necessary to have a truly colossal inner freedom in order to create a thin poetic canvas from familiar words, filled with meanings, feelings and personal experiences.

"I am looking at

the same

shade

already

5 years.

He collected

Bachelor Dust

And the girls who entered here -

Too busy

To clean it up.

But I don't mind

I've been too busy

To write

About it before

That the light bulb shines lousy

All these 5 years” (Charles Bukovsky).

Due to the fact that free verse is completely devoid of any conventions and canons, each author has the right to use those means of expressing thoughts that in each particular case seem most acceptable to him. Therefore, rhyme is often found in free verse, which is used solely to correctly place accents in a poetic work. This technique was often used by Russian poets of the early 20th century., among which are Marina Tsvetaeva, Anna Akhmatova, Alexander Blok, Lev Gumilyov.

“A strange illness happened to him,

And the sweetest one found dumbfounded on him.

Everything stands and looks up,

And sees neither stars nor dawns

With his keen eye - a lad.

And doze off - eagles to him

Noisy-winged flock with a scream,

And they have a marvelous argument about it.

And one - the lord of the rock -

He ruffles his curls with his beak.

But dense eyes closed,

But his mouth is half open - he sleeps for himself.

And does not hear the night guests,

And he does not see how the vigilant beak

The golden-eyed bird will wake up ”(Marina Tsvetaeva).

Arvo Mets is considered to be the modern ideologist of Russian vers libre, who theoretically substantiated the need to use such a poetic form for a more capacious and complete creation of images. “Free verse is a qualitative leap - a transition from a syllabic style of speech to a new element - to the element of a full-fledged word. Any significant word becomes the basis, the unit in free verse.

Quantems, dotted lines, versets, znomes

The art of poetry, known to mankind since before biblical times, is constantly evolving. The purpose of poetry is to fully illuminate the state of the human soul, without leaving the strict forms of the poetic genre. However, many poets are looking for new poetic forms that could reveal both their poetic gift and the language itself from an unexpected side.

Classical poetic forms, such as, for example, sonnets, are most often determined by the method of rhyming (alternating male and female rhymes) and their arrangement (through line, from line to line, etc.). The new poetic forms do not rely only on rhyme, they become more "conceptual", that is, their formality gives way to meaningful content.

Let's take, for example, the new poetic form "znom", which was introduced into the poetic circulation by the Belarusian poet Ales Ryazanov.

“Clouds float above the earth ... They do not belong to it, they do not depend on it. But suddenly they rain down on the ground and fall like lightning.
A high-altitude inhabitant - an eagle - majestically soars in the sky. He knows no equal. But suddenly it breaks down to the prey - everything that happens on earth is in sight.
Such is poetry, such is art, such is philosophy: they must soar high and engage in "high" things, but at the same time they must connect with the earth - rain, lightning, the rapacity of an eagle.

(translated by V.I. Lipnevich)

As critics and the poet himself note, these poetic passages ( znoma- a word coined by the author) are not only aesthetic, but also epistemological units that reveal the poet's view of the knowledge of the world. Now the creator is not only the one who can express his intimate sense of the world, but also give the reader a way of understanding, with the help of which he himself can come to creative insight.

Sometimes a new poetic form emerges from a rethinking of what has already been. Such a form, for example, is a verset. Probably the very first verses of mankind - biblical verses - were written in the form of a verset. Modern versets are a variation of white verse, when a whole paragraph of meaning fits in one line. Take, for example, the verse of Malvina Maryanova, a poetess who wrote in the 1920s.

“The thin, fragile strings of our hearts have broken.
We are walking different paths.
If someone connected them, we would be together...
People are walking past, not hearing your moan, my complaint.
And the divided souls weep...

In a more modern way, versets find themselves in the poetry of the same Ryazanov.

"PLATES

There are signs on the trees.
They say how old each tree is, what it is called, what is its thickness and height.
People pass by the trees without noticing them - they read the signs.
And the voices of the trees remain unheard
and the writing of the trees remains unread.”

(translated by V. Kozarovetsky)

Versets allow today's poets to speak the language of parables, referring to the very ancient strings of our soul.

dotted lines- these are short (4-6 lines), but capacious poetic forms, somewhat reminiscent of traditional Japanese haiku, but without strict rules for composition.

"Willows
leaned over the river
like this -
on running water
motionless reflections?

(translated by V. Lipnevich)

quantems but they are distinguished by understatement, fragmentation, when the reader himself must think out for the author the course of his images and build a picture of what is happening. Here is a poem by a still young poet Anton Letov, who is mastering quantems.

"Paradise,
Hell.
May is not winter.
The grass grows
The grass doesn't know
Who planted her.
"Herself".

Poems in prose

On the verge between prose and poetry, there is an intermediate style of writing poetry, namely poetry in prose. As early as the beginning of the 20th century, they were considered poetry without hesitation, but today poetry in prose occupies a marginal position. This genre is characterized by poetic content, often with a sustained meter, but the very way they are written is extremely close to the prose manner of presentation - there is no rhyme, no rhythm, no clear division into stanzas.

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poetic genres. Genres of poetry

Historical principle of lyric classification:

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