What works are lyrical. Lyrics and its types

Lyrics (Greek 1upkoB - musical, melodious), in contrast to epics and dramas, which depict complete characters acting in different circumstances, draws individual states of the character at separate moments of his life. It is not the object that is primary in it, but the subject of the utterance and its relation to the depicted. The range of lyric works is limitless, since all 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 lyric work.

The lyrics gravitate towards the small form. The principle of the lyrical kind of literature was formulated by T. Silman: “As briefly and as fully as possible” 244.

The lyrics are incompatible with the neutrality of tone that can be found in an epic piece. In the background-rhythmic construction of her text, in the selection of words, in the syntactic constructions, there is a lyrical expression that makes the lyrics akin to music.

In the nature of lyrics, according to the German scientist J. Petersen, in the foreground are individual states of human consciousness. The event series in the lyrics is not always indicated and very sparingly. Reading Pushkin's poem "Night haze lies on the hills of Georgia ...", we can only think out the story of the parting of two people, one of whom with light sadness (... my sorrow is light, my sorrow is full of you) recalls the other.

In the lyrics, the experience is not so much indicated by words as it is expressed as much as possible. The whole system artistic means in the lyrics, it obeys the disclosure of the dynamics of human feelings. Therefore, L.Ya. Ginzburg writes about lyric poetry as “the most subjective kind of literature”, which “like no other, strives towards the general, towards the depiction of mental life as universal” 245.

Characterizing the lyrics, literary scholars talk about its suggestiveness - the ability to “inspire”, intensely convey an 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 is based not so much on logically formed connections, but on associations, on additional semantic and intonational shades” 246. So, in the foreground in Lermontov's stanza, fuzzy images, unsteady speech constructions, which are supported by the power of rhythm, are highlighted:

There are speeches - the meaning is Dark or negligible,

But it is impossible for them to listen without excitement.

(M. Lermontov)

A.N. Veselovsky understood by suggestiveness the effect of prompting: “Those formulas, images, plots that do not prompt us anything at a given time do not answer our demand for figurative idealization; retained in memory and renewed are those that are fuller and more varied in suggestiveness and last longer ...<...>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, he appers them more fully; so he complements, reveals ourselves to us, renewing old plots with our understanding, enriching familiar words and images with new intensity ... "247

Suggestive poetic speech connected to the emotional sphere of the reader. It is characterized by melodious, philosophical, and declamatory intonations,

which are heard in the poem by V.V. Mayakovsky "Listen! ..":

Listen!

After all, if the stars are lit, it means that someone needs it?

So - someone wants them to be?

So - someone calls these spit a pearl?

Declamatory intonation is created by figures of poetic syntax - rhetorical techniques, repetitions.

The poem by N. Zabolotskiy "Juniper bush" from the cycle "Last Love" describes the whimsical state of mind of the lyric hero. The poet possessed the secret of creating unexpected combinations, daring transitions from one feeling to another. Here are two stanzas from this poem:

I saw in a dream a juniper bush,

I heard a metal crunch in the distance, I heard a ringing of amethyst berries,

And in a dream, in silence, I liked him.

I smelled a faint scent of tar through my sleep. Bending back these low trunks,

I noticed in the darkness of the tree branches a slightly 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 lyric poetry (from Lat. TesIShu - in-depth and purposeful reflection), a genre-thematic variety of poetry, akin to philosophical lyrics, but not merging with it ..." 1

Poetic meditations were initially associated with the teaching of meditation - psychological, intense meditation about something.

This genre took a prominent place in Russian poetry of the 1800-1810s, as a result of which the elegy supplanted the ode. An elegiac tinge of "pensiveness" appeared in the messages as well. K.N. Batyushkov in his poem "To a Friend" accurately formulated the purpose of "pensiveness": I seek comfort in my heart.

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. The lyrics are primarily the poet's verbal meditations, expressing his inner world. This is the main variety of lyrics in which she reveals especially clearly specific features and patterns ”248.

Along with the meditative lyrics by G.N. Pospelov singles out its other varieties: firstly, pictorial lyrics, first of all, descriptive lyrics, which reproduce the external world in its "statics" and, secondly, pictorial and narrative lyrics, which reproduce the phenomena of being in their variability and contradiction ...

In Russian literature, meditative lyrics abandoned abstract contemplation and the acquisition of philosophical, less often - social and figurative concreteness. Suffice it to recall "Am I wandering along noisy streets ..." A. Pushkin, "I go out alone on the road ..." M. Lermontov.

In the XX century. samples of meditative lyrics can be found in I. Annensky ("Desire", "Awakening"), B. Pasternak ("Melo, chalk all over the earth ..."), P.M. Rilke ("Duinesse Elegies").

Lyrics, more than other types of literature, tends to depict a positive beginning in life. “By its very essence, lyric poetry is a conversation about significant, lofty, beautiful (sometimes in a contradictory, ironic refraction); a kind of exposition of ideals and life values person. But also anti-values ​​- in grotesque, in denunciation and satire; but it is not here that the long road of lyric poetry passes, ”A.Ya. Ginsburg 249.

Lyricism does not close in the sphere of a person's inner life, which is revealed by intimate lyrics, it is also attracted by external reality, for a person's relationship with the world, with the time in which he lives, with the nature that surrounds him, is multidimensional - hence the notions of philosophical, civic, 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, have nothing we know, and the characters of epic and dramatic works, which are invariably distanced from the writer.

The lyrical hero is not only connected by close ties with the author, with his attitude to the world, spiritual and biographical experience, mental attitude, manner of speech behavior, but it turns out (almost in most cases) to be indistinguishable from him. The lyrics are mostly autopsychological. At the same time, the lyrical experience is not identical with what was experienced by the poet as a biographical person ”250. The lyrics not only reproduce the poet's feelings, it transforms them.

The appearance of the lyric 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 lyric hero is a connection that arises between a real person, who has become to some extent the prototype of a certain character, and the character created by the writer (the poet is the prototype of the lyric hero). The lyric poet in poetry expresses himself (Mayakovsky argued: I am a poet. And this 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 relate in the lyrics. Starting with Plato and Aristotle, until the 19th century. there was a point of view that a lyric poem is a direct expression of the lyric I and, to one degree or another, "an autobiographical statement of the poet." Only science of the XX century. stopped confusing the biographical author with the image of the author that appears in the lyrics.

“The data of historical poetics indicate that a weak dismemberment or syncretism of the author and the hero lies in the origins of all three types of literature. But the epic and the drama followed the path of a clear delineation of these subjects and the objectification of the hero as “another” in relation to the author. The lyrics, 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 the subject-subject relationship between them. The price for this was the closeness of the author and the hero in the lyrics, which is perceived by naive consciousness as their identity ”251.

B.O. Corman252 proposes to differentiate the lyrical hero. He distinguishes between the author-narrator, the author proper, the lyric hero and the hero of the role-playing lyrics. S.N. Broitman considers the term "the author proper" not entirely apt, because it pushes for the identification of the author and the hero and proposes to include the lyrical self in this series.

Approaches to solving 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. that is, already "heroic" subjective forms, and that the peculiarity of the lyrical kind of literature is that, in contrast to the epic and drama, there are no "distinct and essential boundaries of the hero, and therefore no fundamental boundaries between the author and the hero m "254.

The lyrical hero is a subjective form that most closely approaches the “heroic” plan. He is not only a subject-in-itself as a lyrical I, that is, an independent image (which does not happen with the author-narrator and "the author proper"), but also with e b i, i.e. it becomes its own theme.

Not every poet has a lyrical hero. And although it can appear 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. Yu. Tynyanov, who introduced the term “lyrical hero”, wrote: “Blok is Blok's greatest lyrical theme. This theme attracts as the theme of the novel a still new, unborn (or unconscious) formation. They are talking about this lyrical hero now. He was necessary, he was already surrounded by a legend, and not only now - she surrounded him from the very beginning, it even seemed that she preceded Blok's poetry itself, that his poetry only developed and supplemented the postulated image. All Blok's art is personified into this image; when they talk about his poetry, they almost always involuntarily substitute a human face for poetry - and everyone fell in love with the face, not art. "

The “human face” of the lyrical hero is clearly indicated in the poetry of the yearning and tossing M. Lermontov, passionate M. Tsvetaeva, “heavy archangel” V. Mayakovsky, lyric S. Yesenin.

The most conceptually characteristic of the lyrical hero was built by L.Ya. Ginzburg, who believes necessary condition the emergence of a lyric hero the presence of a certain “unity of the author’s consciousness”, concentrated “in a certain range of problems”, clothed with “stable features - biographical, psychological, plot” and being “not only the subject, but also the object of the work” 255.

Alongside the lyric hero, one can find the addressees of his poems - lyrical characters, conversations with which can be of different kinds: young Pushkin talks to an older friend in the poem "To Chaadaev", reflecting on the future of Russia; to the general hiding from little son the truth about the builders of the railway, Nekrasov first addresses, and then begins 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 captures the poet's suffering due to betrayal

N. Ivanova, as in the cycle of poems by F. Tyutchev, dedicated to the memory of E. Denisieva. 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 persons (Chaadaev, Catherine the Great, Pushchin, V. Mayakovsky, A. Blok, etc.), fictional, created by the poet's imagination (the image of a page who was "languished by the queen" who played " the tower of the Chopin castle "in the poem by I. Severyanin" 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 mental breakdown of a man of the 20th century, expressed in poetry, complicates his typology." He cites as an example the poem by A. Akhmatova “I had a voice. He called comfortingly ... ", in which the image of the" persistent, but alien companion of the poet takes on an unexpected compositional and structural appearance: he remains outside a specific poetic text "(and thus denotes its insignificance, secondary importance for the author), and" for the lyrical heroine the tragic situation of her native country is important, the rejection of the conflict is fundamentally significant: Russia is Akhmatova's poet ”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 verses of K. Simonov, A. Surkov, O. Bergholts,

A. Akhmatova, M. Isakovsky and others.

The image of a lyrical character is a specifically and aesthetically complex phenomenon of poetry. It reveals the general laws of Russian book poetry.

In the XVIII - XIX centuries. such genres as duma, idyll, madrigal, ode, message, 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. are most often classified on the basis of a thematic principle. Conditionally distinguish: citizens with some lyrics - poems of social and political sound ("To Chaadaev", "Arion" by A. Pushkin, "Goodbye, unwashed Russia ..." by M. Lermontov), ​​philosophical lyrics - verses - reflections on the main issues of life ("Fountain", "ZPepyit" by F. Tyutchev), intimate lyrics - poems about personal, mainly love experiences ("I remember a wonderful moment ...", "Madonna" by A. Pushkin), landscape lyrics - poems about experiences caused by nature (" Spring thunderstorm"F. Tyutchev," Birch "by S. Yesenin). However, it should be borne in mind that most lyric works are multi-dark and may 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" Nekrasov).

The genre form of the lyric poem, written either on behalf of the author (“I loved you” by A. Pushkin), or on behalf of the fictional lyric hero (“I was killed near Rzhev” by A. Tvardovsky), serves to express a unique experience. In those cases when the poet needs to capture whole line close experiences, he creates a poetic cycle. In the 40s - 50s, Nekrasov wrote the famous “Panaevsky cycle” (poems dedicated to A.Ya. Panaeva), in which for the first time in Russian poetry, next to the image of a lyric hero, the image of a heroine appeared, with her own voice, changing from the verse to verse 257. The poet here, as it were, gave himself up to the direct experience of various vicissitudes of a love story. And the image of his 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 lyric creativity in the lyrics, there is also a larger genre unit - a poem (Greek poleta - creation, which is naturally related to the Russian word "creativity"). This is much larger in volume than a poem, a work in which not one, but a whole series of experiences is embodied. Such is, for example, the poem by A. Akhmatova "Requiem", in which the attitude to the difficult and tragic time of Stalinist repressions is expressed with great force, the suffering of the Woman, the Mother and the Wife is conveyed.

Most often, the poem is classified as a lyric-epic genus. Throughout the history of writing, the poem is one of the leading genres of literature, undergoing changes, but retaining two meaningful structural centers - the choice of a theme that reflects "the spirit of the era, the spirit of the nation" as a condition of its epic content, and the position of the narrator, with which the evaluative moment in depicting characters and ongoing events, that is, 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 lyrical 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"). The 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. Timofeeva, represents “ large form lyroepic genre, a poetic work with a narrative organization, a story or a novel in verse ”258. In modern literature, a dramatic branch of the poem has also developed - a poetic drama, in which “the epic principle prevails, outwardly excluding the presence of the lyric hero. The subjective, or lyrical, manifests itself here through a system of objectified images, but it is always present. Let us recall the famous remark from the tragedy in the poems of A. Pushkin "Boris Godunov": The people are silent. This catch phrase contains not only an evaluative moment, a subjective, author's principle, but also outlines Pushkin's historical and philosophical concept “people and state” ”259.

Close to the poem and poetic dramas: "Pugachev"

S. Yesenin, "Rembrandt" Dm. Kedrin, “Cathedral” by Y. Martsinkevichius.

Another genre, also related to the 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 XIV-XV centuries: three lines for the same rhymes with a refrain and a final semi-strophe "premise" (address to the addressee). Vivid examples are in the poetry of F. Villon. 2.

Lyro-epic genre of Scottish folk poetry of the XIV-XVI centuries. on historical (later - fabulous and everyday) themes about border wars, about the national hero Robin Hood. Usually with tragedy, mystery, abrupt narration, dramatic dialogue 260.

In oral folk poetry, the ballad was formed as a lyric-epic work with a fantastic flavor.

There was great interest in folk ballads in the era of preromatism and realism. The German folk ballads "The Peasant and the Knight", "The Ballad of Heinrich the Lion", "The Argument Between Life and Death", "The Little Violinist", "The Ballad of a Hungry Child"

which, however, will end in spring ”,“ Lorelei ”, collections of folk poetry by T. Percy“ Monuments of Old English Poetry ”(1765) and L. Arnim together with K. Brentano“ The Boy's Magic Horn ”(1806-1808), examples of Russian family -Household ballad "Vasily and Sophia".

Ballads differ heroic, historical, everyday, lyrical, comic, love. Folk ballad gave birth to a similar genre of literary ballads in both foreign and Russian literature.

Wonderful examples of ballads were created by F. Schiller ("Cup", "Glove", "Polycratic Ring"), I.-V. Goethe (The Corinthian Bride, The Forest King); R. Burns ("John Barleyseed"), R.-L. Stevenson (Heather Honey), A. Milne (The Ballad of the King's Sandwich). The most widespread ballad was in the era of romanticism. Many ballads are associated with legends ("The 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, actors there are ghosts, dead people, etc.

In the XX century. during the crisis of the romantic world outlook, the ballad gradually loses its mystical character, but retains interest in exceptional phenomena ("The Ballad of the Blue Package", "The Ballad of Nails" by N. Tikhonov, "The Ballad of Twenty-Six"

S. Yesenin, “Grenada” by M. Svetlov, “Ballad of a Comrade” by A. Tvardovsky, “Ballad of Three Soldiers” by K. Simonov).

Elegyia (Greek elegeia from elegos - plaintive song) is a lyric poem, imbued with a mood of sadness and sadness. She was identified in Ancient Greece in the 7th century. n. NS. as a poem written independently of its content in elegiac couplets. Initially, the elegy's themes were varied: from highly public to narrowly subjective. In the new European literature, elegy loses its clarity of form, but acquires a certainty of content, becoming the expression of predominantly philosophical reflections, sad thoughts, and sorrow. This is how N.V. Gogol: elegy - “this is a heartfelt story - he burned that friendly, frank letter, in which the bends and states of the inner soul are expressed by themselves ... Like a heart letter, it can be both short and long, stingy with words and inexhaustible talkative, can embrace one object and many objects as they are close to her heart. Most often, she wears melancholic clothes, most often complaints are heard in her, because usually at such moments the heart seeks to express itself and is talkative ”261.

New in elegiac poetry came with the development of sentimentalism and especially romanticism.

The elegy records the discrepancy between the romantic ideal and reality. In this sense, V. Zhukovsky's elegies ("Evening", "Sea") are indicative. He was "the first in Russia to utter the elegiac language of a person's complaints about life," wrote V.G. Belinsky.

Romantics, pouring out their 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 bounds of earthly reality. Such are the elegies of A. Pushkin. In his elegy "Do I wander along noisy streets ..." thoughts about death, about the frailty of all living are softened by reflections on the change of human generations, on the eternity of life. In essence, it ends with a hymn to youth:

And may life play at the grave entrance of Mlada,

And indifferent nature to shine with eternal beauty.

In the elegy "Crazy years, extinguished fun ..." Pushkin's rather gloomy reflections 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 to die, oh friends;

I want to live in order to think and suffer ...

In N. Nekrasov's poetry, the elegy served as a means of social exposure of the ugly aspects of Russian society. Moods of sadness are caused by reflections on the fate of the people in serf Russia. The elegy "Am I driving along a dark street at night ..." was inspired by the tragic fate of a woman: hunger, death of a child, forced prostitution. In the poem "Elegy" N. Nekrasov speaks with bitterness about the Russian peasant, whose situation has not improved after the reform, and asks the question: The people have been liberated, but are the people happy?

Elegiac motives 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, frozen in the darkness ...

That's why people are dear to me,

That live with me on earth.

While assimilating 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 only managed to outline its outlines with a certain degree of certainty" 262.

The Duma is an epico-lyric genre of Ukrainian verbal and musical creativity of the 15th-17th centuries. Initially, they were sung by kobzari singers (bandura players). They were historical in content, distinguished by free rhythm, improvisation.

Dumas had a heroic, everyday and satirical content. In the XIX century. Duma began to call poetic reflections on historical, philosophical, moral themes. Some features of the poetics of the Duma were used in his works by K. Ryleev, who, using the examples of the heroes of Russian history Ivan Susanin, Ermak, Dmitry Donskoy and others, taught his contemporaries to serve the motherland, and M. Lermontov, who in his Duma described the generation of the 30s XIX century.

Idll and I (Greek e1c1yShop - picture) is a genre form of bucolic poetry. It is a short poem in a narrative or dialogical form describing the peaceful life of shepherds. Idylls were written by A. Sumarokov, J. Knyazhnin, N. Gnedich, V. Zhukovsky.

Dream? t (Italian sonetto, from Provence sonet - song) as a lyric genre with long-standing traditions is a stable poetic form consisting of 14 lines (two quatrains and two tricycles).

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 the death of Laura are one of the pinnacles of Renaissance poetry. In the XI - XVIII centuries. the sonnet was the most popular genre in Italian poetry. A classic example of sonnets written in the so-called "Italian rhyme" is the sonnet of L. de Camões, a classic of Portuguese literature (16th century):

Empty dreams, meaning nothing

Meanwhile, they do considerable harm,

Only afterwards do you realize how many troubles Lurked where luck was seen.

Fate is changeable, love is blind,

Words, like the wind, will fly away - and no;

Looking into the past many years later,

What seemed ridiculous, you remember crying.

Life is a borrowed jewel

Whose external splendor is available to the ignorant,

But the essence is hidden under the cover of darkness.

Don't trust chimeras, trust only that hope

That will live as long as we keep love in our hearts, and will not go out before.

In the XVI century. the sonnet spreads in Portuguese, Spanish, French, English poetry, from the 18th century. - in Russian. Its history goes back 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 revives 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 shape of the sonnet: 1)

its composition is as follows: 14 lines of 2 quatrains and 2

tercets; 2)

normativeness of the number of rhymes and ways of rhyming (in the "French" sonnet, most often it is abba abba cde dedf in "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 iambic six-foot in German. Russian sonnets were often written in five- and six-foot iambic, but it was common to refer to iambic tetrameter, choreic poetry, and three-syllable meter; 4)

a ban on repeating 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). The brilliant sonnets were created by A. Pushkin. One of his sonnets contains a short history of the development of this genre (Severe Dante did not despise the sonnet, / In it Petrarch poured out the heat of his soul ...). Pushkin recreated the centuries-old history of the sonnet in 14 lines. In the first quatrain - the history of a 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 poet and romanticist W. Wordsworth, whose line “Do not despise the sonnet, critic” became the epigraph to Pushkin's poem. Tercets A.C. Pushkin addressed to his friends A. Mitskevich 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, I. Selvinsky experimented with the form of the sonnet, one of whose poetic lines “There are stanzas from pearls” can be considered a poetic definition of a sonnet. The 20th century is rightfully considered the "golden age" of the Russian sonnet. The theme 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 flickers with starry moisture in me,

In the mirrored dreams above the abyss of water, the Diamondness of torture is concealed.

You are a tear light in the iron darkness,

You are the bitter juice of the stars. And I,

I am the clouded edges of Dawn, blind and useless.

And I'm sorry for the night ... Because eh,

That the native pain of the eternal stars will unite our hearts with a new death?

How blue ice is my day ... Look!

And the stars are fading diamond trembling In the painless cold of the 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 achievement in your soul blushed.

When spring covered your fields with grass,

You strive your dreams into the misty distance,

In a hurry, you worry, and you wash, and you wash flowers, With a mysterious hand from the upper limit

Scattered here, as a good gift to you.

Yesterday obedient to a slow fate,

You are suddenly outraged, like a powerful element,

And you feel that your time has come,

And you are not the same as you were 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 blue water created today.

Think, and the subtlest slumber Already leads me to your gardens,

Where, everyone is afraid of the turn,

I am unconscious looking for your footprints.

Will I go under the vault transformed,

Turned into the sky by your hand,

To cool down my hateful fever? ..

There I will become blissful forever,

And, red-hot eyelids,

There I will again find the gift of tears.

(To the artist)

The shape 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, the completeness of the sonnet,

With your arrogant beauty,

How the correct clarity of the silhouette of the Beauty is exquisitely simple,

Whose body is airy with a young breast Keeps the radiance of matte light In a wave of motionless golden hair,

Whose splendor is she half-dressed.

Yes, a true sonnet is like you, Plastic joy of beauty, -

But sometimes he takes revenge with his chant.

And more than once the Sonnet struck in the heart, bringing death, burning with anger, Cold, sharp, well-aimed like a dagger.

(Praise the sonnet)

Although the sonnet is a traditional genre, it is mobile. Despite the strict regulation, in many sonnets there are justified deviations from the standard. In the verses of modern poets, who believe that any poem in 14 lines is a sonnet, unfortunately, there is a blurring of the genre boundaries of the sonnet.

Madrigal (from Italian taps1ra - herd or Provence. Chaps! 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 the poets of the Renaissance (Petrarch, Boccaccio, Sacchetti) and was written in free verse. Since the 17th century. madrigal has lost touch with music, remaining a kind of gallant compliment. I. Dmitriev used one of the features of this genre, which consisted in the fact that the ending of the madrigal usually had a paradoxical meaning:

Honestly, you can't take your eyes off you;

But what attracts to you? .. The riddle is incomprehensible!

You are not a beauty, I see ... but pleasant!

You could have been better; but it is better as 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 bodily" - you assure everyone boldly.

I agree, breathing love:

Your most beautiful body is nothing but a soul!

(M. Lermontov)

Message, or epistola (Greek ep151o1ё - letter) - literary genre, a poetic letter addressed to a person. The time of its spread is the 17th - 18th centuries. In France, classical samples of the message were created by N. Boileau and Voltaire, in Germany - F. Schiller and I.-V. Goethe, Russia knows the "Epistle to Dmitriev" by N. Karamzin, containing 170 lines, the epistle of A. Kantemir ("To my poems"), D. Fonvizin ("Epistle to my servants"), A. Pushkin ("In the depths Siberian ores... "). Pushkin saved this genre from verbosity, saturated it with thoughts, brought language closer to the spoken language, for example, in the "Epistle to the book. Gorchakov ". In the era of romanticism, the epistle is gradually out of fashion, and by the middle of the 19th century. ceases to exist as a genre.

The smoke escaped the tobacco air.

Room -

chapter in kruchenykhovsky hell.

Remember - outside this window for the first time

I stroked your hands, stupid;

or a group of people, as in his poem "Hey!":

So that everyone, having forgotten their northern mind, loved, fought, worried.

Call the earth itself to the waltz!

For works of this nature in prose, the name letter has been retained (for example, "Letter from VG Belinsky to NV Gogol").

Hymn (Greek Lushpoz - praise) is a solemn song based on poems of a program nature. State, revolutionary, military, and religious hymns are known. In ancient Greece and in many other countries, hymns were sung in honor of the deity, like cult songs. Socio-religious movement of the XV-XVI centuries. spawned spiritual hymns. In new European poetry, there is a form of a secular anthem, for example, parody hymns to Bacchus. V. Mayakovsky created satirical hymns ("Hymn to dinner", "Hymn to criticism", "Hymn to bribes", etc.).

The ode (Greek bs1ё - song) originates from Ancient Greece. At first, solemn songs sung by the chorus were called odes. Then this name began to denote a poem dedicated to the glorification of an event ("On the capture of Khotin", "On the capture of Ismail" by MV Lomonosov), an important state person ("On the day of the accession to the All-Russian throne of Her Majesty Empress Elisabeth

Petrovna in 1747 "M.V. Lomonosov), a majestic phenomenon of nature ("Evening meditation on the Majesty of God in the event of the great northern lights" MV Lomonosov). An honorable place was occupied by an ode in the poetry of the classicists. How Odographers became famous G.R. Derzhavin ("On the Death of Prince Meshchersky") and M.V. Lomonosov, and its first samples belong to A.D. Kantemiru ("On blasphemous doctrine ...", "On shameless impudence", "On human malice in general ...") and V.K. Trediakovsky ("On the impermanence of the world", "A solemn ode to the surrender of the city of Gdansk"). Derzhavin's odes, along with the chanting of the crowned heads, also included satirical elements ("The Grandee", "To the Sovereigns and Judges"). Freedom-loving, patriotic odes were written by A. Radishchev ("Liberty") and A. Pushkin ("Memories of Tsarskoe Selo", "Liberty"). With the establishment of critical realism, the ode as an independent genre disappears, and if it is used, then for the purpose of parody ("Modern Ode" by N. Nekrasov).

Epigram (Greek epigramma - inscription). 1.

In ancient poetry - a short lyric poem of arbitrary content (first dedicatory inscriptions, then - epitaphs, teachings, descriptions, love, drinking, satirical verses), written by an elegiac distich.

The literary epigram appeared in Greek poetry (VII-VI centuries BC), its flowering dates back to the III century. BC NS. - I century. n. NS. (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 J.-W. Goethe). 2.

In modern European poetry, epigrams are short satirical poems, usually with a sharpness (pointe) at the end, partly reworking traditional Martial motives in the works of C. Marot, Voltaire, J.-J. Rousseau, G.-E. Lessing, R. Burns, A.P. Sumarokov and others (XVI-XVIII centuries), partly responding to topical, often political events, as in the epigrams of A.C. Pushkin to A.A. Arakcheeva, F.V. Bulgarin. The first tendency disappears in the 19th century, the second continues to exist both orally and in writing in the works of many poets of the 19th and 20th centuries.1

In the modern sense, an epigram is a small poem that makes fun of a specific person. It responds to all phenomena of life, both private and public. Poet XIX v. E. Baratynsky defined its function as follows:

Okogchepnaya flyer,

Ep igmm a-laughter,

Epigram-fidget

Rubs, curls among the people,

And he envies only the freak -

At once it will grab into the eyes.

The emotional range of the epigram is very large - from friendly ridicule to angry denunciation.

The effectiveness of the epigram lies 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 marked with social acuteness. His epigram to Pobedonostsev, the inspirer of reaction in Russia in the last quarter of the last century, is widely known:

Pobedonostsev - for the synod,

Dinners - for the yard,

Badbearers - 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 the ancient and European epigram, she enriched it with the traditions of national culture.

Until the XVI century. epigrams in Russia were written in Latin, then in native language... The associate of Peter I, Theophan Prokopovich, who “did not let go of Martsial’s hands,” raised the epigrams to the level of political satire. His follower was A. Cantemir, who began with translations of the satyr Boileau and Russified their plots and characters. His muse, through communication with poets of other countries, spoke in Russian:

What Horace gave, borrowed from a Frenchman.

Oh, if my muse is poor!

Yes it is true: though the limits of the mind are narrow,

What he took in Gallic - he paid in Russian.

The Russian epigram has always been based on folklore tradition. This genre attracted V. Trediakovsky and M. Lomonosov, and then A. Sumarokov, who regarded the epigram as a satirical work. In Epistol II. On Poetry ”(1748) Sumarokov formulated the essence of the epigram genre:

Then they live, they are 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 of whom.

His epigram is also permeated with bitter irony:

Dancer! You are rich. Professor! You are wretched. Of course, the head is less respectable than the legs.

Social and political motives sound in the epigrams of G.R. Derzhavin, I.I. Chemnitzer, V.V. Kapnist, however, for the era of Russian classicism, ridicule of universal human shortcomings without specifying specific persons 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 has changed in creativity

A.S. Pushkin; Its novelty is most clearly visible in Pushkin's epigrams-portraits with their special psychologism:

A.A. Arakcheeva

Oppressor of all Russia,

A tormentor of governors And of the council he is a teacher,

And he is a friend and brother to the king.

Full of anger, full of revenge

Without a mind, without feelings, without honor,

Who is he? A devotee without flattery ... a penny soldier.

On M.T. Kachenovsky

Magazine brawl hunter

This lulling zoil Dilutes the opium of ink With the saliva of a mad dog.

I. Krylov loved epigrammatic aphorisms,

A. Griboyedov, M. Lermontov and others:

Fedka eats radish with vodka,

Fedka eats vodka with radish.

(I.A.Krylov)

Epitaph to the wife

This stone is over my beloved wife!

She is there, I have peace here!

(VA Zhukovsky)

On F.V. Bulgarin

Russia is being sold by 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,

It's a pity, it is included in the treasury.

(M.Yu. Lermontov)

The element of the epigram was felt in the works of M.E. Saltykov-Shchedrin, in the letters of I.S. Turgenev, in the satirical poems of N.A. Nekrasov, as well as D.D. Minaeva, K.K. Sluchevsky, M.L. Mikhailova, B.C. Kurochkin, Kozma Prutkov, brothers Zhemchuzhnikov.

At the beginning of the XX century. the epigram continued to exist. The epigrams of V. Gilyarovsky were widely known. Here is 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 remarkable poet Sasha Cherny was also distinguished by his wit:

According to critics, harsh Parnassus has been empty for many years.

Undoubtedly, there are no new Pushkins,

But ... there are no Belinsky either.

At the origins of the epigram of a new era, which began in the crucible of the revolutions of 1905, 1917. were 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!" - Shout from the walls the words of the fascist leaders.

And above the inscription in chalk: "I am in Berlin"

And the signature is expressive: "Sidorov".

(S.Ya. Marshak)

Epitaph (trans. EryarNoB - gravestone) - a poetic gravestone 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 meritorious, it could be satirical, as, for example, in R. Burns's Epitaph to William Graham, Esq.

Leaning at the coffin entrance,

Death! - exclaimed nature. -

When will I manage to create such a fool again! ..

The epitaph entered literature as a kind of ancient epigram, enjoyed success in the Middle Ages, Renaissance and Classicism. There are comic epitaphs that the authors dedicated to themselves. Pushkin wrote in 1815:

Here Pushkin is buried; he and his young muse spent a merry century with love, laziness,

I didn’t do good, but I was a soul,

By God, a kind person.

The genre forms of the lyrics are rich and diverse. Lyrics as a kind of literature has passed a centuries-old path, comprehending the complex spiritual and mental world of man. In particular, in the historical process passed by the Russian

lyric poetry, 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 XIX - style thinking, in the XX century. - the struggle of poetry schools. During all this time, the attitude of poets to the word, to sound changed, a process of changing and combining different methods of intonation took place, a certain evolution of the methods of versification264 took place. But ... poetry is eternal. Real poems are multi-layered: each reader discovers in them something of his own, close to his personal perception of the world, his ability to realize the “abyss of space” created by the poet (as Gogol said about Pushkin). According to E. Etkind, “... we go to poetry all our life and will never exhaust their content:“ the abyss of space ”remains an abyss” 265.

Grade 7 report.

Lyrics, in turn, are also subdivided into works of different types and genres. A genre is a certain warehouse of a work of art, its constant basis, a combination of certain features that unite works of a given type. Genre is not something external to the meaning of the work. This is not a set of rules for decorating the idea of ​​a work, but, on the contrary, a deep expression of the writer's attitude to the subject of the image. For the reader analyzing work of fiction, the subtitle of the book, following the title and defining the genre of the work, is of great importance. The genre sets a certain tone for the entire work, arouses certain expectations in the reader. Speaking about the main features of the genres of lyric works, we can compare them with the ancient patrons of art - the muses. V Greek mythology nine sisters, daughters of Zeus and the goddess of memory Mnemosyne, were companions of Apollo, the patron saint of the sun and arts. Let us dwell on those muses that are associated with lyrics as a kind of literature. Polyhymnia is a strict and noble muse of solemn chants and hymns. In her gestures, the energy of impulse and restraint. Anthem is a literary genre that originates in ancient times and still exists today. The hymn glorifies any event, person, image; he is born of admiration, solemn, powerful, dignified. This is the main feature of the genre. The anthem can be written in non-rhymed, free verse, but there is always a strong, solemn melody in it. The genre, collecting certain signs of works of art, becomes the keeper of memory in art. We expect solemnity, sonority, power from the anthem, from a love song - sincerity, emotion. Erato is the muse of love poetry. She is inherent in both tenderness and suffering. Fuste-imbued poems are called elegies. Most often motives of love, separation from the homeland, reflections on nature, dissatisfaction with society are heard in them. Euterpe is the supreme muse of all lyric poetry, to which all other poetic genres were given. Usually, the muse was portrayed with a double flute in her hand, gentle and graceful, light and daring. When reading lyric poetry, it is important to feel the kinship of the reader and the poet in order to hear the music and the meaning of the verse. The reader and the poet must merge in a single feeling, like two flutes in the hands of Eutherpa. Then the poem sounds, its deep meaning is revealed. The appeal of lyric poetry to the reader is especially noticeable in such a genre as a message.

The choice of the genre testifies to the poet's attitude to what is depicted, therefore, when analyzing a lyric work, it is necessary to indicate to which genre the literary text belongs, and in some cases, highlight the characteristic genre features that help in comprehending the ideological and thematic originality of the poem. In some cases, knowledge of the genre nature of a lyric work helps in the analysis, indicating which aspects should be paid closer attention.

However, not all lyric works have a clear genre structure. For example, such lyrical works of A.S. Pushkin, as "On the hills of Georgia lies the night haze ...", M.Yu. Lermontov's "Parus", "Prophet" and others.

The main lyric genres:

Elegy is a genre of lyric poetry in which the poet's sad thoughts, feelings and reflections are clothed in poetic form. The main questions disclosed in the elegy: the meaning of life, human existence, the poet's place in the world, philosophical reflections (for example, Alexander Pushkin's elegy " daylight... "," Crazy years, extinct fun ... ", AA Akhmatova "The March Elegy" and others).

Stanzas - in Russian poetry of the 18th - early 19th centuries, works of elegiac lyrics (more often meditative, less often love), usually written in quatrains, most often in iambic tetrameter (for example, AS Pushkin's stanzas "In the hope of fame and good ...")

Epigram - translated from Greek epigatta means "inscription": 1) a small lyric poem in ancient literature, written on an arbitrary theme in an elegiac distich; 2) a small satirical poem, built, as a rule, in contrast (for example, the epigram of A.S. Pushkin: “The snake stung Markel.” / - “He died?” - “No, the snake, on the contrary, died!” And etc.).

Sonnet is a lyric poem, consisting of fourteen lines, divided into two quatrains (quatrains) and two three verses (tercets); in quatrains only two rhymes are repeated, in tercets - two or three. The arrangement of the rhymes allows various options (for example, NS Gumilyov's sonnet "Like a Conquistador in an Iron Shell ...", etc.).

Epitaph - a gravestone inscription in poetic form; a small poem dedicated to the deceased.

Song is a genre of written poetry that expresses a certain ideological and emotional attitude; the basis for subsequent musical adaptations.

The anthem is a solemn song adopted as a symbol of state or social unity (for example, the anthem of Russia by S. V. Mikhalkov, etc.).

Message - a poetic work written in the form of a letter or address to any person (for example, the message of AS Pushkin "To Chaadaev", "In the depths of Siberian ores ...", etc.).

Romance is a small melodious lyric poem, which reflects the feelings, moods, feelings of the lyric hero; can be set to music (for example, SA Yesenin's romance "You are my fallen maple, icy maple ...", etc.).

Questions about the report:

1) What is a genre?

2) What ancient Greek muses can you compare lyric genres with?

3) List the main lyric genres.

4) Is it always possible to determine the genre of a lyric work?

1. Oh yeah- a genre that usually glorifies some important historical event, person or phenomenon (for example, the ode to AS Pushkin "Liberty", the ode "On the day of the ascension ..." by MV Lomonosov). The origins of the genre go back to antiquity (for example, the odes of Horace). It received special development in classicism. 2. Song- can act both as an epic and as a lyric genre. An epic song has a plot (see the definition of epic genres) and, as a rule, it is of larger volumes than a lyric one (for example, "The Song of Oleg the Prophetic" by Alexander Pushkin), while the lyrical song is based on the experiences of the protagonist or the author (for example, the song of Mary from "Feast during the Plague" by Alexander Pushkin). 3. Elegy- the genre of romantic poetry, the poet's sad reflection on life, fate, his place in this world (for example, "The daylight went out" by Alexander Pushkin). 4. Message- a genre that is not associated with a specific tradition (romantic, classic, etc.). The main characteristic feature is an appeal to a certain person (for example, "Pushchin", "To Chaadaev" by A. Pushkin). 5. Sonnet- a special type of lyric poem, characterized by strict requirements for the form: the sonnet should have 14 lines (for example, "Severe Dante did not despise the sonnet ..." by Alexander Pushkin). There are two types of sonnets: 1. An English sonnet, consisting of three quatrains and one couplet at the end (for example, W. Shakespeare's sonnets). 2. French sonnet, consisting of two quatrains and two three verses. This variety, as the name implies, was widely used by French poets (for example, the Pleiades poets - P. Ronsar, J. du Bellay and others, later by the French symbolists - P. Verdun, C. Baudelaire, etc.) ... In Russia, this variety was especially popular in the era of Symbolism, almost all Russian Symbolists used it in their work (for example, K. D. Balmont, V. Ya. Bryusov, A. A. Blok and others). 6. Epigram, satire... An epigram is a short poem, as a rule, no more than a quatrain, ridiculing or presenting in a humorous manner any particular person - (for example, "On Vorontsov" by A. Pushkin). Satire is a more detailed poem, both in volume and in scale of what is depicted. Usually in satire, it is not the shortcomings of any particular person that is ridiculed, but social vices. A civic pathos is characteristic of satire (for example, satire by A. D. Kantemir, “My rosy critic, a fat-bellied mocker ...” by A. Pushkin). The origins of the epigram and satire date back to antiquity, especially to ancient Roman literature (for example, the works of Marcial, Catullus, etc.). Such a division into genres is conditional, since the listed genres are quite rare in their pure form. Usually a poem combines features of several genres. For example, "To the Sea" by A. Pushkin combines the signs of an elegy and a message, while Pushkin's "Village" is an elegy, but at the same time raises civil problems.

Drama genres

Dramaturgy originated in ancient times. Even then, two major dramatic genres emerged - tragedy and comedy. The main conflict in the tragedy was the conflict in the soul of the protagonist between duty and conscience. However, the ancient drama had its distinctive features, the most important of which is the idea of ​​fate, predestination, destiny. The chorus played an important role in ancient drama - it formulated the attitude of the audience to what was happening on the stage, pushed them to empathize (that is, the audience, as it were, were participants in the action). It is assumed that the playing of tragedies was originally an integral part of the so-called "Dionysias" or, in the Roman version, "bacchanalia", festivities associated with the veneration of the god of winemaking and viticulture Dionysus (Bacchus); the presentation of scenes from the life of this god was an important link in the so-called "orgaistic" (that is, erotic) rituals, the ultimate goal of which was: to release the restrained instinctive desires, to survive the purification, the so-called "catharsis", which is defined in Aristotle's Poetics as "cleansing with fear and compassion." The comedy was based mainly on everyday plots, which were based on funny misunderstandings, mistakes, comic incidents, etc. In the Middle Ages, the Christian Church promoted the emergence of new dramatic genres - liturgical drama, mystery, miracle, morality, school drama. In the 18th century, drama was formed as a genre (see below), melodramas, farces, and vaudeville also spread. After ancient times, drama reaches a special flourishing in the era of classicism. It is precisely in the era of classicism that special rules of drama were formulated, the main of which was the so-called "unity of place, time and action" (see the section "Classicism"). In modern drama, such a genre as tragicomedy is becoming increasingly important. The drama of the last century also includes a lyrical beginning - the so-called "lyrical dramas" (M. Maeterlink, A. A. Blok).

genre- the concept is wide enough, in artistic creation any author thinks in genre categories. In a sense, a genre is a frame that fits life experience the author. But the frame dictates not only the volume of the text, but the way it is organized.

According to the ancient classification, the lyrics can be divided into: sonnet, excerpt, satire, epigram and epitaph, praise (sympathy for one person), message (addressing a person in the form of a letter).

The sonnet is one of the poetic forms of the Renaissance. A dramatic genre, in which its structure and composition are united in meaning, as a struggle of opposites. Sonnet, favorite genre William Shakespeare, has the canonical form of the poem, consisting of 14 lines. In turn, the sonnet is divided into Italian and English. The Italian sonnet consists of two quatrains (a quatrain associated with ideas about the constituent parts of the world: earth, water, air, fire) and two three-verses. The English sonnet consists of three quatrains and one couplet. Thus, the structure is the main difference between the English and Italian sonnets.

A passage is a fragment of a work or an intentionally unfinished poem of philosophical content.

Satire, as a genre, is a lyric-epic work designed to ridicule any phenomenon of reality or social vices, in essence it is an evil criticism of public life.

The epigram is a short satirical work. This genre was especially popular among Pushkin's contemporaries, when the evil epigram served as a weapon of revenge on the rival author, later Mayakovsky revived the epigram.

An epitaph is a grave inscription dedicated to the deceased, often the epitaph is written in poetic form.

This division persisted for a long time, but around the middle of the 19th century and later, lyric genres of a large form began to appear, for example, a lyric poem (Whitman's "Leaves of Grass", Blok "Nightingale's Garden"). They replaced a short lyric song - an elegy (Zhukovsky, Lermontov, Beranger). Such genres are related to the genre of ballads ("Lyudmila" and "Svetlana" by V. Zhukovsky, "Knight for an hour" by N. Nekrasov). Some lyric genres, due to their musical arrangement, are called romances.

Ballad is a genre of lyric poetry, which includes works with a narrative component. It developed from folk dance songs of love content, common among the southern Romanesque peoples, initially in Provence, and then in Italy. From about the 12th century, a small lyric poem was called a ballad, consisting of three or four stanzas, more often eight, ten or twelve stanzas, interspersed with a chorus (refrain), and usually containing a love complaint. Initially, such a piece was sung to accompany the dances.

In Italy, among many other ballads, Petrarch and Dante also composed ballads. Provençal troubadours loved to use this form of a small epic poem. Under Charles V, ballads also came into use in northern France. Under Charles VI, Alain Chartier and Duke Charles of Orleans became famous for their composition of ballads

The lyric-epic genre of a literary and artistic work combines the features of epic and lyric poetry: the narrative of the events is combined in them with the narrator's emotional-meditative statements, creating the image of the lyric "I". The connection between the two principles can act as a unity of the theme (revolution is the theme of the epic narration in V.V. Mayakovsky's "Good!" artistic concept (the lyrical theme in "Eugene Onegin" by Alexander Pushkin brings the spirit of spiritual freedom into the inner atmosphere of the novel, where the heroes are "slaves" of honor, passion, fate). Compositionally, this connection is often formed in the form of lyrical digressions. The heyday of the lyric-epic genre occurs in the literature of sentimentalism and romanticism, when interest in the personality of the narrator grows and genre-generic canons are subverted. The most characteristic of the lyric-epic genre in the 19th and 20th centuries. is the genre of the poem.

The poem is a work in verse ("Ruslan and Lyudmila" by AS Pushkin, "Mtsyri" by M.Yu. Lermontov, "Vasily Terkin" by AT Tvardovsky), which occupies an intermediate position between the epic and the lyrics. In the lyric-epic poem, the event plot, which often unfolds in wanderings, appears as the result of the author's experience. An ancient and medieval epic, unnamed and author's, is also called a poem. There are many genre varieties of the poem: heroic, didactic, satirical, burlesque, including ironic-comic, a poem with a romantic plot, lyric-dramatic. Leading branch of the genre long time considered a poem on a national-historical or world-historical (religious) theme (Virgil's Aeneid, Dante's Divine Comedy, Paradise Lost by J. Milton, etc.). At the same time, a very influential branch in the history of the genre was the poem with the novel features of the plot, connected to one degree or another with the tradition of the medieval, mainly knightly, novel. Gradually, the poem brings to the fore the personal, moral and philosophical problematics, the lyrical and dramatic elements are strengthened, folklore tradition- features already characteristic of pre-romantic poems ("Faust" by J. V. Goethe, poems by W. Scott). The heyday of the genre takes place in the era of romanticism, when the greatest poets of various countries turn to the creation of a poem. The works "summit" in the evolution of the genre of the romantic poem acquire a socio-philosophical or symbolic-philosophical character ("The Bronze Horseman" by Alexander Pushkin, "The Demon" by M. Yu. Lermontov, "Germany, Winter's Tale" by G. Heine). In the 2nd half of the 19th century. the decline of the genre is obvious, which does not exclude the appearance of individual outstanding works ("The Song of Hiawatha" by G. Longfellow). In the poems of N. A. Nekrasov ("Frost Red Nose", "Who Lives Well in Russia"), genre tendencies characteristic of the development of the poem in realistic literature (a synthesis of moral description and heroic principles) are manifested. In the poem of the XX century. emotional experiences correlate with great historical upheavals, they are imbued with them, as it were, from the inside ("A Cloud in Pants" by V. V. Mayakovsky, "Twelve" by A. A. Blok, "First Date" by A. Bely).

In relation to prose works of the lyric-epic genre, the term "lyric prose" is often used, it is widely represented by modern autobiographical works, essays, essays, travel diaries (A. Saint-Exupery, M. M. Prishvin, K. G. Paustovsky).

The lyric-dramatic genre is a genre of mixed form that combines the features of depicting reality inherent in lyrics and drama. For example: A.P. Chekhov "The Cherry Orchard".

Lyrics is one of the three (along with epic and drama) main literary genres, the subject of which is the inner world, the poet's own "I". Unlike the epic, the lyrics are often plotless (not eventful), unlike the drama, they are subjective. In the lyrics, any phenomenon and event in life capable of influencing the spiritual world of a person is reproduced in the form of a subjective, direct experience, that is, an integral individual manifestation of the poet's personality, a certain state of his character.

“Self-expression” (“self-disclosure”) of the poet, without losing its individuality and autobiographical character, acquires universal significance in the lyrics due to the scale and depth of the author's personality; this kind of literature has access to all the fullness of expression of the most complex problems of being. Alexander Pushkin's poem "... I visited again ..." is not limited to a description of rural nature. It is based on a generalized artistic idea, a deep philosophical thought about the continuous process of the renewal of life, in which the new replaces the departed, continuing it.

Each time develops its own poetic formulas, specific socio-historical conditions create their own forms of expression of the lyrical image, and for a historically correct reading of a lyric work, knowledge of a particular era, its cultural and historical originality is necessary.

The forms of expression of the experiences and thoughts of the lyrical subject are different. It can be an internal monologue, a meditation alone with oneself (“I remember a wonderful moment ...” by A. Pushkin, “About valor, about exploits, about glory ...” by A. A. Blok); monologue on behalf of the character introduced into the text ("Borodino" by M. Yu. Lermontov); an appeal to a certain person (in various styles), which allows you to create the impression of a direct response to some phenomenon of life ("Winter Morning" by A. Pushkin, "Sitting Down" by V. V. Mayakovsky); an appeal to nature, helping to reveal the unity of the spiritual world of the lyrical hero and the world of nature ("To the Sea" by A. Pushkin, "Forest" by A. V. Koltsov, "In the Garden" by A. A. Fet).

In lyric works, which are based on acute conflicts, the poet expresses himself in a passionate dispute with time, friends and enemies, with himself ("The Poet and the Citizen" by N. A. Nekrasov). From the point of view of subject matter, the lyrics can be civil, philosophical, love, landscape, etc. Most of the lyrical works are multi-dark, in one experience of the poet various motives can be reflected: love, friendship, patriotic feelings, etc. ("In memory of Dobrolyubov" by N. A. Nekrasov, "A Letter to a Woman" by S. A. Yesenin, "Bribed" by R. I. Rozhdestvensky).

The genres of lyric works are diverse. The predominant form of lyricism of the XIX-XX centuries is a poem: a work written in verse that is small, compared to a poem, volume, allowing to embody in a word the inner life of the soul in its changeable and multifaceted manifestations (sometimes in literature there are small works of a lyrical nature in prose in which means of expressiveness inherent in poetic speech: "Poems in Prose" by I. S. Turgenev).

The message is a lyric genre in poetic form in the form of a letter or an appeal to a certain person or group of persons of a friendly, amorous, panegyric or satirical nature (“To Chaadaev”, “Message to Siberia” by Alexander Pushkin, “Letter to Mother” by S. A Yesenin).

Elegy is a poem of sad content, which expresses the motives of personal experiences: loneliness, disappointment, suffering, frailty of earthly life ("Confession" by E. A. Baratynsky, "The clouds are thinning ..." by A. Pushkin, "Elegy" N. A. Nekrasova, “I don’t regret, I don’t call, I don’t cry ...” S. A. Yesenin).

A sonnet is a poem of 14 lines, forming two quatrains and two three verses. Each stanza is a kind of step in the development of a single dialectical thought ("To the Poet", "Madonna" by A. Pushkin, sonnets by A. A. Fet, V. Ya. Bryusov, I. V. Severyanin, O. E. Mandelstam, I. A. Bunin, A. A. Akhmatova, N. S. Gumilyov, S. Ya. Marshak, A. A. Tarkovsky, L. N. Martynov, M. A. Dudin, V. A. Soloukhina, N. N. Matveeva, L.N. Vysheslavsky, R.G. Gamzatova).

An epigram is a small poem that viciously ridicules a person or social phenomenon(epigrams by A. S. Pushkin, M. Yu. Lermontov, I. I. Dmitriev, E. A. Baratynsky, S. A. Sobolevsky,

B. S. Solovyova, D. D. Minaeva). In Soviet poetry, the epigram genre was developed by V.V. Mayakovsky, D. Bedny, A. G. Arkhangelsky, A. I. Bezymensky, S. Ya. Marshak, S. A. Vasiliev.

Romance is a lyric poem designed for musical arrangement. Genre signs (without strict adherence): melodious intonation, syntactic simplicity, completeness of the sentence within the stanza (verses by A.S. Pushkin, M. Yu. Lermontov, A. V. Koltsov, F. I. Tyutchev, A. A. Fet , N. A. Nekrasov, A. K. Tolstoy, S. A. Yesenin).

The epitaph is a gravestone inscription (usually in verse) of a laudable, parodic or satirical character (epitaphs by R. Burns translated by S. Ya. Marshak, epitaphs by A. P. Sumarokov, N. F. Shcherbina).

Stanzas - a small elegiac poem in several stanzas, often meditative (deeply reflecting) than love content. Genre signs are vague. For example, "Am I wandering along noisy streets ...", "Stanza" ("In the hope of fame and good ...") A. Pushkin, "Stanza" ("Look how calm my gaze ..." ) M. Yu. Lermontov, "Stanses" ("I know a lot about my talent") S. A. Yesenin, etc.

Ecloga is a lyric poem in a narrative or dialogical form, depicting everyday rural scenes against the background of nature (eclogs of A.P. Sumarokov, V.I. Panaev).

Madrigal is a small compliment poem, more often of a love-lyrical content (found in N. M. Karamzin, K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov).

Each lyrical work, which is always unique, carries the poet's integral worldview, is considered not in isolation, but in the context of the artist's entire work.

A lyric work can be analyzed either holistically - in the unity of form and content - by observing the movement of the author's experience, the lyrical meditations of the poet from the beginning to the end of the poem, or combine a number of works thematically, dwelling on the core ideas, experiences revealed in them ( love lyrics A. S. Pushkin, the theme of the poet and poetry in the works of M. Yu. Lermontov, N. A. Nekrasov, V. V. Mayakovsky, the image of the Motherland in the works of S. A. Yesenin).

It is necessary to abandon the analysis of the poem in parts and from the so-called questions of content. It is also impossible to reduce the work to a formal list of the figurative means of the language taken out of context.

It is necessary to penetrate into the complex system of cohesion of all elements of the poetic text, to try to reveal that basic feeling-experience with which the poem is imbued, to comprehend the functions of linguistic means, the ideological and emotional richness of poetic speech.

Even V.G Belinsky in his article "The division of poetry into genera and types" noted that a lyric work "can neither be retelled, nor interpreted, but only what can be given to feel, and then only by reading it the way it came out - under the pen of a poet; being retold in words or translated into prose, it turns into an ugly and dead larva, from which a butterfly, shining with rainbow flowers, has just fluttered out. "

Lyrics is a subjective kind of fiction, as opposed to epic and drama. The poet shares his thoughts and feelings with readers, talks about his joys and sorrows, delights and sorrows caused by certain events in his personal or social life. And at the same time, no other kind of literature awakens such a reciprocal feeling, empathy in the reader - both contemporary and in subsequent generations.

If the basis of the composition of an epic or dramatic work is a plot that can be retelled “in your own words,” a lyric poem cannot be retellable, everything in it is “content”: the sequence of depicting feelings and thoughts, the choice and arrangement of words, repetitions of words, phrases, syntactic constructions, style of speech, division into stanzas or their absence, the ratio of dividing the flow of speech into verses and syntactic division, poetic meter, sound instrumentation, ways of rhyming, the nature of rhyme.

The main means of creating a lyrical image is language, poetic word... The use of various tropes in the poem (metaphor, personification, synecdoche, parallelism, hyperbole, epithet) expands the meaning of the lyrical statement. The word in the verse is ambiguous.

In a poetic context, the word acquires, as it were, additional semantic and emotional shades. Thanks to its internal connections (rhythmic, syntactic, sound, intonation), the word in poetic speech becomes capacious, condensed, emotionally colored, as expressive as possible. It tends to be generalized, symbolic.

The highlighting of a word, especially significant in revealing the figurative content of a poem, in a poetic text is carried out different ways(inversion, transfer, repetitions, anaphora, contrast). For example, in the poem "I loved you: love still, maybe ..." by A. Pushkin, the leitmotif of the work is created by the key words "loved" (repeated three times), "love", "beloved."

Many lyrical sayings tend to be aphoristic, which makes them winged like proverbs. Such lyrical phrases become walking, memorized, used in relation to a certain mood of thoughts and the state of mind of a person.

The winged lines of Russian poetry seem to focus on the most acute, polemical problems of our reality at different historical stages. The winged string is one of the primary elements of true poetry. Here are some examples: "Yes, only things are still there!" (I. A. Krylov. "Swan, Pike and Cancer"); "Listen! lie, but know the measure ”(A. Griboyedov.“ Woe from Wit ”); "Where are we going to sail?" (A. Pushkin. "Autumn"); “I look at the future with fear, I look at the past with longing ...” (M. Yu. Lermontov); “When the master comes, the master will judge us” (N. A. Nekrasov. “The Forgotten Village”); “It is not given to us to predict how our word will respond” (F. I. Tyutchev); “So that words are cramped, thoughts are spacious” (N. A. Nekrasov. “Imitation of Schiller”); “And an eternal battle! We only dream about peace ”(A. A. Blok.“ On the Kulikovo Field ”); “You can't see a face face to face. Great things are seen at a distance "(S. A. Yesenin." Letter to a Woman "); "... Not for the sake of glory, for the sake of life on earth" (AT Tvardovsky. "Vasily Terkin").

Introduction to literary criticism (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin, etc.) / Ed. L.M. Krupchanov. - M, 2005