Poetry is a kind of artistic creativity. Often refers to the types of poems that do not use everyday speech. Sometimes it can denote a special speech in which non-standard phrases are used.
Although now the definition of "poetry" implies a form of art, but this is not always the case. There are many texts, for example, advertising, which are not works of art. Despite this, they are also written in a poetic style.
Previously, not only works of art were written in poetic form, but also other texts distant from it. This style was used to create scientific treatises and articles for special journals. They were not works of art, but were removed from everyday speech.
Types of poetry
There are several types of poetic text - rhythm, meter, meter and rhyme. Their main differences from each other are described below.
Rhythm is a writing style that arranges text according to certain criteria. These features define the system of versification, which consists of several parts:
1. Free verse - a text that is organized on the method of dividing words.
2. Ordered lines of text - are equalized according to various signs, most often sound.
3. The system of versification, which arranges the text according to a number of features - the size of syllables, their form and pronunciation. Much also depends on the tone with which the verse is pronounced.
Meter - a combination of strong and weak words into a harmonious text. The main types of meter are iambic, trochaic, anapaest, dactyl and others.
Poetic size is one of the varieties of meter. It does not have a specific caesura in itself, and also contains strong endings, which are also called clauses.
Rhyme - refers to more artistic works. This type of poetry is based on combining lines of text in sound. The sound of different lines can be combined. Consonance can be either two lines or four. At the same time they form - external. It connects the first and last lines of the segment. Internal rhyme connects internal lines. This type of rhyme is also called a quatrain.
- analysis
If we take as an example works of art such as poems or prose, then rhyme is used. It creates a special sound for the piece.
There are many artistic types of poetry. These include "white" verses that do not use rhymes, but also have their own special sound.
In the case of scientific treatises, the poetic style gives them the necessary sound. Have you ever seen a scientific article written in plain language? They use more complex words that create a special effect.
As you can see, the definition of poetry as a poem is not always correct.
Poetry in journalism and advertising
As mentioned above, this type of versification can be used in advertising texts and magazine articles.
How is it used in copywriting? Many authors work on their text for a very long time, especially if sales depend on it. They try to use the style of writing that suits their audience. It can also be called poetry. By the way, in journalism it is used similarly.
Based on this, we can say that the standard definition of "poetry" is not correct, but rather, true for all applications.
Origin
In ancient times, there were few types of poetry. If we take a long period, then poetry can be attributed to the musical form of art.
One of the first proven works were the songs of bards in Ancient Rome, the legends of the Magi in Ancient Russia. The songs of the skalds in Scandinavia and the Celtic tribes are also taken into account.
poetry
and. grace in writing; everything artistic, spiritually and morally beautiful, expressed in words, and, moreover, in more measured speech. Poetry, abstractly, is called grace, beauty, as a property, a quality that is not expressed in words, and creativity itself, the ability, the gift to renounce the essential, to ascend with a dream, imagination to the highest limits, creating prototypes of beauty; finally, writings of this kind and the rules invented for this are called poetry: verses, poems and the science of poetry. Some considered poetry a slavish imitation of nature; others - visions from the spiritual world; still others see in it a combination of goodness (love) and truth. Poet m. piita, a man endowed by nature with the ability to feel, to recognize poetry and convey it in words, to create grace; poet. Poetic, -chesky, related. to the poetry that contains it; elegant. The poem poetic narrative, poetic story of a holistic content.
Explanatory dictionary of the Russian language. D.N. Ushakov
poetry
(by), poetry, pl. no, w. (Greek poiesis).
the art of figurative expression of thought in a word, verbal artistic creativity. Pushkin was called to be the first poet-artist of Russia, to give her poetry as art, as a beautiful language of feelings. Belinsky. Any poetry should be an expression of life, in the broadest sense of the word, embracing the entire physical and moral world. Belinsky.
Creative artistic genius, the element of artistic creativity (poet.). And poetry awakens in me. Pushkin.
Poems, poetic, rhythmically organized speech; opposite prose. Poetry and prose. Love poetry. Department of poetry (in the journal).
A collection of poetic works. social group, people, era, etc. (lit.). proletarian poetry. Poetry of the French Revolution. Romantic poetry. History of Russian poetry.
The artistic creation of a poet, a group of poets in terms of its features, distinctive features (lit.). Study Mayakovsky's poetry. Characteristic features of Pushkin's poetry.
trans. Elegance, charm, amazing imagination and sense of beauty (book). Poetry of an early summer morning. It is fun for me to remember this poetry in the hops, the grace of the mind and heart. Pushkin.
trans. The realm of imaginary being, the world of fantasy (obsolete, often ironic). (Dolinsky) seems to be limping on poetry! she suspected him ... meaning by the word "poetry" exactly what practical people mean by this word. Leskov.
Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.
poetry
Verbal artistic creativity, preimusch. poetic.
Poems, works written in verse. P. and prose. Classic Russian p. Modern p.
transfer; what. The beauty and charm of something that excites a feeling of charm. P. summer morning.
adj. poetic, th, th. Poetic creativity. P. landscape.
New explanatory and derivational dictionary of the Russian language, T. F. Efremova.
poetry
The art of figurative expression of thought in a word; verbal art.
Creative artistic genius, creative talent.
Artistic, poetic.
Poems, poetic, rhythmic speech (opposite: prose).
A collection of poetic works people, some era, social group, etc.
The artistic creation of a poet, a group of poets in terms of its features, distinctive features.
trans. Elegance, charm of smth., deeply affecting the senses and imagination.
Something lofty, meaningful.
obsolete The realm of the imaginary, the world of fantasy.
Something that affects the imagination.
Encyclopedic Dictionary, 1998
poetry
POETRY (Greek poiesis)
to ser. 19th century all fiction as opposed to non-fiction.
Poetic works as opposed to fiction (eg, lyrics, drama or novel in verse, poem, folk epic of antiquity and the Middle Ages). Poetry and prose are the two main types of word art, differing in the ways in which artistic speech is organized and, above all, in rhythm construction. The rhythm of poetic speech is created by a distinct division into verses. In poetry, the interaction of verse form with words (the juxtaposition of words in terms of rhythm and rhyme, a clear identification of the sound side of speech, the relationship of rhythmic and syntactic structures) creates subtle shades and shifts in artistic meaning that cannot be realized in any other way. Poetry is predominantly monologue: the character's word is of the same type as the author's. The boundary between poetry and prose is relative; there are intermediate forms: rhythmic prose and free verse.
Poetry
(Greek póiesis), in a broad sense, all fiction (in the 20th century, the term is rarely used); in the narrow sense, verse works (see Verse) in their correlation with artistic prose. See Poetry and prose.
Wikipedia
Poetry (album)
Poetry- the debut album of the Russian group Polyus, recorded in St. Petersburg at the Dobrolyot studio in 2003. The presentation of the album took place in the club "Red" on October 30, 2003 at a joint concert with a friendly group of Baobabs.
The album featured the song Poetry, which brought the band to media attention.
Poetry
Poetry (club)
Poetry Club- a literary and artistic association that arose in Moscow in 1985 and united a wide range of Moscow uncensored poets of the 30-year-old generation. The first head of the Club was the writer Leonid Zhukov, who managed to register it and get the opportunity to hold paid performances of the participants. Subsequently, the leadership of the Club passed to Igor Irteniev and Gennady Katsov. In 1988, the Poetry club lost its legal status, but continued to hold various events until the mid-1990s, ceasing to exist with the death of Nina Iskrenko, who became its informal leader: in the words of Yevgeny Bunimovich, "Nina left - and the holiday was gone."
Poetry (film)
"Poetry" (; Xi) is a Korean drama directed by Lee Chang-dong. The world premiere took place on May 13, 2010. Poetry won Best Screenplay at the 63rd Cannes Film Festival.
Poetry (disambiguation)
Poetry- an ambiguous term, in addition to main value may refer to:
- Poetry is the debut album by the Russian band Polusa.
- Poetry is a 2010 South Korean film directed by Lee Chang-dong.
- Poetry is a literary almanac.
An asteroid discovered in 1921.
Examples of the use of the word poetry in literature.
In general, autobiographical prose, critical articles and poetry make Grigoriev three cornerstones of his work, being in a kind of relationship with each other.
AT poetry, as in any other form of speech, the addressee is no less important than the speaker.
Nizami's unknown poem caused a sensation among specialists and amateurs alike. poetry, as it opened to mankind new facets of the talent of the great Azerbaijani poet.
That winter our program was extensive: first Goethe and Schiller, then Chekhov, Gorky, and poetry- from acmeists to Mayakovsky and Yesenin, Soviet literature.
Ubaldo Capadosio said goodbye to all three, or rather, said goodbye, because only the dead are forever said goodbye, and went to conquer the glorious state of Alagoas, where human life is valued low, but poetry- high, and a good poet can get recognition there, earn money and, if he is not a timid dozen, warm the bed of some pretty dark-skinned girl.
Taking on a militant, revolutionary orientation poetry Shelley, they learned at the same time some of the specific features of his romantic artistic method: abstraction, allegorism, direct personification of abstract ideas and human feelings.
To do this, he took advantage of the baggage of metaphors, comparisons, antitheses and other decorations of classical rhetoric, while his native poetry borrowed the tool of alliteration to give his prose a bright sound coloring.
We know that in Greek and Latin poetry, rich in alliteration, and there was no rhyme at all.
Obviously, Smirnov was not aware of John Florio's allusion to the literary work of Rutland in the dedication of the Italian-English dictionary to him, Johnson's words in the message to Elizabeth Rutland that her husband loved art poetry not to mention many other facts.
The work of Mayakavsky and especially Bagritsky, conversations with these major poets had a significant impact on Jack Althausen, contributing to the formation of his character poetry and his first poetic successes.
Long anapestic verses begin, expressing the majesty poetry Aeschylus.
If we talk about it at all, then in the mind of the Russian reader of such a phenomenon as the English language poetry, does not exist.
A long time ago, when I was still living in my hometown, someone gave me a typescript: Andrey Sergeev's translations from the English poetry.
Here is another significant difference between the English poetry: a poem in English is a poem with predominantly masculine endings.
Folding Spanish knives fit neatly into the verses of the Andalusian sigiriya, but poetry Garcia Lorca is the highest expression of flamenco poetics.
“Poetry and prose are the essence of the phenomenon of language,” says Wilhelm Humboldt, which is the starting point for the theory of poetry. The general course of human thought is the explanation of the new, the unknown through the media of the already known, known, named.
The creation of a language is an unceasing, and in our time there is a constant systematization of the external world by means of introducing new phenomena to impressions that already have a name. The child sees an unknown object - a ball on a lamp - and, attaching it to the cognized impression, calls the ball "watermelon". The poet sees a special movement of the tops of the trees and, finding in the stock of impressions one that is most suitable for this movement, he says: "The tops of the trees fall asleep." The people, seeing a new way of transportation, creates a name for it according to its most prominent feature: "cast iron". This is how every new word is created; every word is a "figurative expression"; There are no "own" expressions and words; all words - from the point of view of their origin - are "the essence of the path" (G. Gerber), that is, poetic works. “The ability to designate systematically objects and phenomena (by articulate sounds - words) poses a problem for cognition that can only be resolved on the soil of Russia” ( K. Borinsky). Accordingly, poetry is recognized as a special kind of thinking, opposed to prose, science; poetry is thinking in verbal images, while prose is thinking through abstractions, schemes, formulas. "Science and art are equally striving for the knowledge of truth," notes Moritz Quarry, - but the first one moves from fact to concept and idea and expresses the idea of being in its universality, strictly distinguishing between a separate case and a general rule - the law, while the second embodies the idea in a separate phenomenon and merges the idea and its visual manifestation (image) into ideal.
Poetry does not speak abstractly: the place of this new phenomenon in the system is such and such; it seems to identify it with another phenomenon, which is the image of the first one, and thus outlines its place in the system - roughly and clearly, but sometimes surprisingly deep. What is an image? This is a reproduction of a single, concrete, individual case, which tends to be a sign, a substitute for a whole series of various phenomena. For human thought, weighed down by the fragmentation of the world and looking for generalizing forms in order to satisfy its eternal “thirst for causality” (German: Causalitätsbedürfniss), the poetic image is precisely such a generalizing beginning, the basis on which the unified phenomena of life are grouped by organized masses.
Poetry can be called the knowledge of the world with the help of images, symbols, and this figurative way of thinking is characteristic of everyone - both children and adults, and primitive savages, and educated people. Therefore, poetry is not only where great works are (like electricity is not only where there is a thunderstorm), but, as can be seen already from its embryonic form - words - everywhere, every hour and every minute, where people speak and think. “Poetry is everywhere where behind the few features of a certain closed image there is a variety of meanings” (Potebnya). In its content, a poetic image may not differ in any way from the most prosaic thought, from an indication of the simplest everyday fact, such as the fact that "The sun is reflected in a puddle." If for the listener this indication is only a message about a physical fact, then we have not gone beyond the limits of prose; but once given the opportunity to use the fact as an allegory, we are in the realm of poetry. In a prosaic understanding, the special case would remain special; poetized, it becomes a generalization. The message of a negligible perception - "The sun is reflected in a puddle" - gets the ability to talk about something completely different, for example, about "a spark of God in the soul of a corrupt person." The individual case becomes suggestive in the hands of the poet, says modern aesthetics; he "suggests" how Alexander Veselovsky translates this term; it acquires the property of being allegorical, suitable for countless applications, says Potebnya.
What place poetic thinking occupies in the development of human thought in general, and what properties of the mind determine the origin of this method of explaining phenomena, is best seen from its comparison with its kindred way of thinking - the so-called mythological thinking. Therefore, the mental foundations of mythology are an essential part of modern poetics. The basis of the mythical mindset is, as in poetic thinking, the analogy of the phenomenon being explained with an invented image; but poetic thinking clearly sees fiction in this image, mythical thinking takes it for reality. Saying: "Cholera is coming," poetic thinking has no pretensions to the anthropomorphic reality of this image; the mythical, on the contrary, is so imbued with its real character that it finds it possible to fight it by means of ploughing, drawing a line across which the personified "Cholera" cannot cross. Having noticed a common feature between an epidemic and a living being, primitive thought, in which one sign of a phenomenon occupies the entire breadth of consciousness, hastened to transfer the entire complex of signs of an explanatory image (man, woman) into the phenomenon being explained (epidemic); you can not let him into the house by locking the doors; he can be propitiated by giving him a sheep. Primitive animism and anthropomorphism are only a particular case of this complete identification of the known with the known. Therefore, such cases of a mythical view of an object where there is no anthropomorphism are also possible. "Hot, flammable, quick-tempered heart"For us - a poetic image, a metaphor, infinitely far from the idea of a real, physical temperature: the mythical view transfers all the properties of a flammable object to a quick-tempered heart and therefore freely comes to the conclusion that such a heart is suitable for arson. This was the case in Moscow under Ivan IV the Terrible, when the Glinskys were accused of sprinkling houses with infusion from human hearts and thereby setting a fire. This view is similar in origin and in the form of a concrete idea to the poetic one; but there is no allegory in it, there is no main element of poetic thinking - it is completely prosaic. To explain the origin of the black and white color of the pelican, the Australians tell how the black pelican was painted white to fight, just as the savages themselves are painted - but did not have time, etc. “This story,” notes Ernst Grosse(“Die Anfänge der Kunst”) is, of course, very fantastic, but, despite this, it is not at all poetic, but scientific in nature ... This is simply a primitive zoological theory.
From this point of view, it is necessary to make some reservations to the generally accepted position that poetry is older than prose: in the complex course of the development of human thought, prose and poetic elements are inextricably linked, and only theory separates them. In any case, the use of the image as a poetic work requires a certain power of analysis and presupposes a higher stage of development compared to that in which "ideal ideas had in the eyes of adult men and women the reality that they still have in the eyes of children" (Taylor ). Poetic and prosaic elements are inextricably intertwined in myth: myth lives for a long time along with poetry and influences it. There are, however, facts that indisputably testify to the movement of thought in the direction from myth to poetry. We have such facts in the history of poetic language. The phenomenon of parallelism, which characterizes its earlier stages, bears a strong imprint of mythical thinking: two images - nature and human life - are placed side by side, as equivalent and unambiguous.
The green yalinochka leaned on the Yar,
The young girl turned into a Cossack.
There is no longer a direct identification of man with nature in this Cossack song, but the thought has just come out of him. She goes further - and begins to insist on the absence of such an identity: simple parallelism turns into a negative (“negative comparison”):
That not swallows, not killer whales curl around the warmth of the nest
Here the native mother hangs around.
Here it is directly indicated that the explanatory image should not be identified with the explained. Even further follows an ordinary poetic comparison, where there is no hint of mixing the compared objects.
This transition from the mythical method of thinking to the poetic takes place so slowly that for a long time the two modes of thought do not exclude each other. A poetic expression, being by its origin a simple metaphor (spring has come), can, due to the so-called “disease of the language” (M. Müller), turn into a myth and force a person to attribute the properties of a material image to spring. On the other hand, the proximity of the myth makes the ancient poetic language extremely vivid and expressive. “Assimilations of the ancient bards and orators were meaningful, because they, apparently, saw and heard and felt them; what we call poetry was real life for them.”
Over time, this property of a young language - its figurativeness, poetry - is violated; words, so to speak, "wear out" from use; their visual meaning, their figurative character, is forgotten. To the sign of the phenomenon, which served as the starting point of its name, the study adds new, more significant ones. Saying: daughter, no one thinks that it actually means "milking", the bull - "roaring", the mouse - "thief", the month - "meter", etc., because the phenomenon has received a different place in thought. The word from the concrete becomes abstract, from the living image - an abstract sign of the idea, from the poetic - prosaic. However, the former need of thought for concrete representations does not die. She tries to fill abstraction again with content, sometimes with old content; it replaces the “old words” with new ones, sometimes identical with the former ones in essence, but not yet losing the power to give birth to living images: the word “generous”, for example, pales, and the new expression, “a person with a big heart”, is tautological with the first, more cumbersome and the uncomfortable, however, seems to be more vivid and excites in a person spiritual movements, which the first, which has lost its visibility, cannot excite. On this path, more complex, in comparison with the word, forms of poetry are born. - so called trails.
trails- this is a consequence of the ineradicable need of a person’s thought “to restore the sensual side of words that stimulates fantasy activity”; trope- not the material of poetry, but poetry itself. In this sense, the poetic devices characteristic of folk poetry are extremely curious, and above all the so-called "epic formulas" - constant epithets and more.
epic formula, for example, in its common form (epitheton ornans) - it only renews, refreshes the meaning of words, “restores its inner form in the mind”, then repeating it (“doing a thing”, “thinking to think”), then designating it with a word of a different root, but of the same meaning (“clear dawn”), Sometimes the epithet has nothing to do with the “own” meaning of the word, but joins it to revive it, to make it more specific (“tears are burning”). In the future existence, the epithet merges with the word so much that its meaning is forgotten - and hence contradictory combinations appear (in the Serbian folk song, the head is certainly blond, and therefore the hero, having killed the Arapin (Negro), cut off his “light brown head”).
Concretization (Versinlichung - y Career) can also be achieved by more complex means: first of all, by comparison, where the poet tries to make the image visual through another, better known to the listener, more vivid and expressive. Sometimes a poet's thirst for concreteness of thought is so great that he dwells on an explanatory image longer than is necessary for the purposes of explanation: tertium comparisonis already exhausted, and a new picture is growing; such are the comparisons in Homer (Odyssey), in N.V. Gogol.
Thus, the activity of elementary poetic forms is wider than the simple revitalization of the visualization of a word: restoring its meaning, thought introduces new content into it; the allegorical element complicates it, and it becomes not only a reflection, but also an instrument for the movement of thought. The “figures” of speech have absolutely no such meaning, the whole role of which is that they give expressiveness to speech. “The image,” defines Rudolf Gottschall, “flows from the intuition of the poet, the figure from his pathos; it is a scheme in which a ready thought fits.
Thus, there is a tension between the philosophical understanding of poetry, which seeks to discover its meaning in the opposition between man and the world, as well as its historical and linguistic essence, and the literary definition, the purpose of which is to study structural moments, or trusting the empirical fact of the publication of certain works. With a philosophical approach, in contrast to the literary one, poetry is determined not from the results of its production, that is, poems, but from the ontological meaning of this phenomenon.
Thanks to the latter, philosophers can call poetry what is not poetry for literary critics. For example, the literary critic and poet Pavel Arseniev proves and illustrates in his own practice (the so-called framing, etc.) that modern poetry should not correspond to the previous ideas about the poetic as about the poetic. On the contrary, Arseniev says, following the French philosopher Thierry De Duve, modern poetry must break with the poetic tradition, supplementing itself not with linguistic, but with visual, auditory, theatrical and other elements.
Theories on the origin of poetry
Already the simplest form of poetry - the word - is inextricably linked with the musical element. Not only at the so-called pathognomic stage of speech formation, when the word almost merges with an interjection, but also in further stages, "the first poetic words were probably shouted out or sung." Gesticulation is also necessarily connected with the sound expressions of primitive man. These three elements are combined in that pre-art, from which its individual types are subsequently distinguished. In this aesthetic aggregate, articulate speech sometimes occupies a secondary place, being replaced by modulated exclamations; samples of songs without words, songs of interjections were found among various primitive peoples. Thus the first form of poetry, in which one can already notice the beginnings of its three main genera, is choral action accompanied by dances. The content of such an “action” is facts from the everyday life of the community, which is both the author and performer of this work, dramatic in form, epic in content and sometimes lyrical in mood. Here there are already elements for the further separation of poetic genera, originally connected - as Spencer pointed out for the first time - in one work.
Against this theory of original "syncretism", some remarks were also made, which boil down to the fact that in a primitive poetic work one or another element can outweigh, and in the poetry of a cultural warehouse, elements of the three main poetic genera are mixed. These objections do not eliminate the theory, especially since it asserts “not confusion, but the absence of difference between certain poetic genres, poetry and other arts” (Veselovsky A.N.). Grosse disagrees with most literary historians and aestheticians, who consider drama to be the latest form of poetry, when in fact it is the oldest. In fact, the primitive "dramatic action without drama" is drama only from a formal point of view; it acquires the character of a drama only later, with the development of the personality.
Primitive man, one might say, is subject not so much to individual psychology as to "group psychology" (Völkerpsychologie). The personality feels itself to be an indefinite part of an amorphous, monotonous whole; she lives, acts and thinks only in an inviolable connection with the community, the world, the earth; her whole spiritual life, all her creative power, all her poetry is imprinted by this "indifference of collectivism." With such a personality, there is no place for individual literature; in collective spectacles, choral, general dances, opera-ballets, all members of the clan “alternately play the roles of either actors or spectators” (Letourneau). The plots of these choral dances are mythical scenes, military, funeral, marriage, etc. The roles are distributed among the groups of the choir; choral groups are the leaders, choreges; the action sometimes focuses on them, on their dialogue, and here the seeds of the future development of personal creativity are already contained. From this purely epic material about the bright events of the day, exciting society, poetic works stand out, imbued with general pathos, and not with the personal lyricism of an isolated singer; this is the so-called lyrical epic song (Homeric hymns, medieval cantilena, Serbian and Little Russian historical songs). There are among them songs (for example, the French "historical chanson") with content not from public, but also from personal history; the lyrical mood in them is expressed very strongly, but not on behalf of the singer himself.
Little by little, however, active sympathy for the events depicted in the song is fading away in society; it loses its exciting, topical character and is transmitted like an old memory. From the mouth of a singer weeping with his listeners, the story passes into the mouth of an epic narrator; an epic is made from a lyroepic song, over which they no longer cry. Professional carriers and performers of poetic tales stand out from the formless environment of performers - singers, at first community singers, singing only in the circle of their relatives, then wandering, spreading their song treasures among strangers. It - mimi, histriones, joculatores in ancient Rome, bards, druids, phyla among the Celts, tulirs, then skalds in Scandinavia, trouvers in Provence, etc. Their environment does not remain invariably monotonous: some of them descend into areal jesters, some rise to written literature, not only performing old songs, but also composing new ones; so, in medieval Germany on the street - spielmans (German Gaukler), at the courts - scribes (German Schriber) replace old singers. These keepers of the epic tradition sometimes knew several songs about the same heroes, about the same events; it is natural to try to connect various legends about the same thing - at first mechanically, with the help of common places. The indefinite material of folk songs is consolidated, grouped around a hero popular among the people - for example, Sid, Ilya Muromets. Sometimes epic creativity, like ours, does not go beyond these cycles, vaults; sometimes its development ends with an epic.
The epic stands on the border between group and personal creativity; like other works of art, during this period of the awakening of the personality, it is still anonymous or bears a fictitious name of the author, not individual in style, but already "reveals the integrity of personal design and composition." A. N. Veselovsky considers three facts of historical life to be the conditions for the emergence of great folk epics: “a personal poetic act, without consciousness of personal creativity; the rise of people's political self-consciousness, which required expression in poetry; continuity of the previous song tradition, with types capable of changing content, in accordance with the requirements of social growth. The consciousness of a personal initiative would lead to an individual assessment of events and to discord between the poet and the people, and therefore to the impossibility of an epic. It is difficult to determine, in general terms, how the consciousness of personal creativity is born; in different cases this question is solved differently. The question of the emergence of the poet is immeasurably more difficult than the question of the origin of poetry. It is only possible and important to note that, no matter how great the difference between the impersonal creativity of a primitive community and the most individual creation of personal art, it can be reduced to a difference in the degrees of one phenomenon - the dependence of every poet on a number of conditions, which will be indicated below.
With the decomposition of the primitive communal way of life, a new system of worldview coincides; a person begins to feel that he is not a "toe" of some large organism, but a self-sufficient whole, a personality. He has his own sorrows and joys not shared by anyone, obstacles that no one helps him overcome; the social system no longer fully encompasses his life and thoughts, and sometimes he comes into conflict with it. These lyrical elements are already found earlier in the epic; now these expressions of personal life stand out in an independent whole, in a poetic form prepared by previous development. The lyrical song is sung with the accompaniment of a musical instrument; this is indicated by the term itself (lyric, from the Greek. Λίρα ).
The complication of social forms, which led to the opposition in the minds of the individual and society, causes a new look at tradition. The center of gravity of interest in an old legend passes from the event to the person, to his inner life, to his struggle with others, to those tragic situations in which he is placed by the contradiction of personal motives and social demands. Thus conditions are prepared for the appearance of drama. Its external structure is ready - this is an ancient form of choral rite; little by little, only a few changes are made - the characters are more sharply delimited from the choir, the dialogue becomes more passionate, the action is livelier. At first, the material is drawn only from tradition, from myth; then creativity finds poetic content outside the life of gods and heroes, in the life of ordinary people. How rare it is to turn to fiction at the beginning is evident from the fact that in Greek dramatic literature only one drama is known that is not based on epic material. But the transitional moment necessarily comes with the further disintegration of everyday life, the fall of national self-consciousness, the break with the historical past, in its poeticized forms. The poet withdraws into himself and responds to the changed spiritual needs of the surrounding masses with new images, sometimes directly opposite to tradition. This new form is typified by the degenerate Greek novella. There is no longer any talk of social content here: the subject of the narration is the vicissitudes of personal destinies, due primarily to love. The form has also departed from tradition; here everything is personal - both the individual creator and the plot.
So, the forms of epic, lyric, drama that stand out with sufficient clarity appear; at the same time, a different author creates poetry - an individual poet of the new time, according to the old poetics, obeying only the impulses of his free inspiration, creating from nothing, infinitely free in choosing a subject for his chants.
This "triple" theory, which separates the former passive spokesman of the communal soul from the new, personal poet by a whole abyss, has been largely rejected by modern poetics. She points to a number of conditions by which the greatest poet, the most unbridled science fiction writer, is bound in his work. The very fact that he uses a ready-made language, having only an insignificant, comparatively, opportunity to modify it, indicates the role of obligatory categories in poetic thinking. Just as “to speak means to adjoin with one’s individual thinking to the general one” (Humboldt), so to create means to take into account in creativity its obligatory forms. The impersonality of the epic poet is exaggerated, but the freedom of the personal creator is even more exaggerated. He proceeds from the finished material and clothes it in the form for which the demand has appeared; he is a product of the conditions of the time. This is especially clearly expressed in the fate of poetic plots, which seem to live their own lives, being updated with new content, invested in them by a new creator; the germs of some favorite plots of quite modern poetic works are being found - thanks to that new branch of knowledge that is called
POETRY
POETRY
(Greek - “creativity”) the art of depicting beauty in a word. P. serves as an expression of the ideal aspirations of a person; on the one hand, it does not coincide with the real world, but on the other hand, it does not represent anything false or deceptive. P-yu is divided into 3 types, historically developed one after another: epic, lyric and drama.
Dictionary of foreign words included in the Russian language. - Pavlenkov F., 1907 .
POETRY
(Greek, from poieo - to create). One of the two tonic arts, reproducing, with the help of the word, the ideal world; harmony between the content and the form in which it is expressed.
Dictionary of foreign words included in the Russian language. - Chudinov A.N., 1910 .
POETRY
Greek poiesis, from poieo, to create. The immediate development of truth, in which the thought is expressed through the image, and in which the main agent is fantasy.
Explanation of 25,000 foreign words that have come into use in the Russian language, with the meaning of their roots. - Mikhelson A.D., 1865 .
POETRY
the image of the beautiful word.
A complete dictionary of foreign words that have come into use in the Russian language. - Popov M., 1907 .
Poetry
(gr. poiesis creativity)
1) the art of the word;
2) poetic, rhythmically constructed speech (as opposed to prose);
3) the totality of poetic works of some people, time, poet or group of poets;
4) charm, charm; smth. beautiful, exciting.
New dictionary of foreign words.- by EdwART,, 2009 .
Poetry
[by], poetry, pl. no, w. [Greek poiesis]. 1. The art of figurative expression of thought in a word, verbal artistic creativity. Pushkin was called to be the first poet-artist of Russia, to give her poetry as art, as a beautiful language of feelings. Belinsky. || Creative artistic genius, the element of artistic creativity (poet.). And poetry awakens in me. Pushkin. 2. Poems, poetic, rhythmically organized speech; opposite prose. Poetry and prose. 3. The totality of poetic works of some kind. social group, people, era, etc. (lit.). Romantic poetry. History of Russian poetry. || The artistic creation of a poet, a group of poets in terms of its features, distinctive features (lit.). Study Mayakovsky's poetry. 4. trans. Elegance, charm, amazing imagination and sense of beauty (book). Poetry of an early summer morning. 5. trans. The realm of imaginary being, the world of fantasy (obsolete, often ironic).
A large dictionary of foreign words. - Publishing house "IDDK", 2007 .
Poetry and, and. (Polish poezja lat. poesis Greek Poiesis creativity poieō do, create).
1.
pl. no. Poetic verbal art.
2.
collected Works written in verse. Russian p.
3.
pl. No, trans. , what. Elegance and beauty of something, evoking a feeling of charm. P. dawn. P. labor.
Explanatory Dictionary of Foreign Words L. P. Krysina.- M: Russian language, 1998 .
Synonyms:
See what "POETRY" is in other dictionaries:
Art * Author * Library * Newspaper * Painting * Book * Literature * Fashion * Music * Poetry * Prose * Public * Dance * Theater * Fantasy Poetry Consolidated encyclopedia of aphorisms
poetry- and, well. poésie f., German. Poesie lat. poesis, c. poiesis. 1. Verbal artistic creativity. ALS 1. Poetry is the creative reproduction of reality as a possibility. Belinsky Cossacks story by A. Kuzmich. All troubadour poets are noble, ... ... Historical Dictionary of Gallicisms of the Russian Language
- [according to], poetry, pl. no, female (Greek poiesis). 1. The art of figurative expression of thought in a word, verbal artistic creativity. "Pushkin was called to be the first poet-artist of Russia, to give her poetry as art, as a wonderful language of feelings." ... ... Explanatory Dictionary of Ushakov
Cm … Synonym dictionary
Modern Encyclopedia
- (Greek poiesis) 1) to ser. 19th century all fiction, as opposed to non-fiction.2) Poetic works, as opposed to fiction (e.g., lyrics, drama or novel in verse, poem, folk epic of antiquity and the Middle Ages) ... Big Encyclopedic Dictionary
1) all fiction, as opposed to non-fiction; 2) poetic works in their comparability with artistic prose (eg lyrics, drama or novel in verse, poem, folk epic). Poetry and prose are the two main types of art... ... Encyclopedia of cultural studies
Poetry- (Greek poiesis), 1) until the middle of the 19th century. All literature is fiction (as opposed to non-fiction). 2) A poetic work, in contrast to fiction (for example, lyrics, drama or a novel in verse, a poem, a folk epic of antiquity and ... ... Illustrated Encyclopedic Dictionary
poetry- POETRY, versification, poetry, poetry, neglect. poetry, tradition poet. singing, traditional poet. songs, trad. poet. chant, obsolete versification, obsolete. versioning, unfolding rhyme, colloquial rhyming POETIC ... Dictionary-thesaurus of synonyms of Russian speech
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.
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Rhythm(gr. rhythmos, from rheo teku) in poetry is the general ordering of the sound structure of poetic speech. The nature of this ordering determines versification system:
- Texts that have no other organization than division into verses, free verse.
- Lines of verses are ordered, equalized (exactly or approximately, consecutively or periodically) by the presence of certain sound elements.
- Systems of versification based on several signs: most often the total number of syllables and the arrangement of syllables of a certain length, strength or height at certain positions of the syllable series are most often ordered simultaneously.
Syllabic versification determined by the number of syllables tonic- the number of strokes; and syllabo-tonic- a combination of both.
Meter- ordered alternation in verse strong points (ikts) and weaknesses. Syllabo-tonic meters include iambic, trochaic, dactyl, anapaest, and amphibrach among others.
Poetic size- a private variety of meter, characterized by the length of the line, the presence or absence of a caesura, the nature of the ending (clause): for example, a pentameter non-caesura iambic.
“Poetry and prose are the essence of the phenomenon of language,” says Wilhelm Humboldt’s saying, which is the starting point for the theory of poetry. The general course of human thought is the explanation of the new, the unknown through the media of the already known, known, named.
The creation of a language is an unceasing, and in our time there is a constant systematization of the external world by means of introducing new phenomena to impressions that already have a name. The child sees an unknown object - a ball on a lamp - and, attaching it to the cognized impression, calls the ball "watermelon". The poet sees a special movement of the tops of the trees and, finding in the stock of impressions one that is most suitable for this movement, he says: "The tops of the trees fall asleep." The people, seeing a new way of transportation, creates a name for it according to its most prominent feature: "cast iron". This is how every new word is created; every word is a "figurative expression"; There are no "own" expressions and words; all words - from the point of view of their origin - "the essence of the path" (Gerber), that is, poetic works. “The ability to systematically designate objects and phenomena (by articulate sounds - words) poses a problem for cognition that can only be resolved on the basis of poetic abilities” (Borinskiy). Accordingly, poetry is recognized as a special kind of thinking, opposed to prose, science; poetry is thinking in verbal images, while prose is thinking through abstractions, schemes, formulas. “Science and art are equally striving for the knowledge of truth,” remarks Career, “but the first one moves from fact to concept and idea and expresses the thought of being in its universality, strictly distinguishing between the individual case and the general rule - the law, while the second embodies the idea in separate phenomenon and merges the idea and its visual manifestation (image) in the ideal.
Poetry does not speak abstractly: the place of this new phenomenon in the system is such and such; it seems to identify it with another phenomenon, which is the image of the first one, and thus outlines its place in the system - roughly and clearly, but sometimes surprisingly deep. What is an image? This is a reproduction of a single, concrete, individual case, which tends to be a sign, a substitute for a whole series of various phenomena. For human thought, weighed down by the fragmentation of the world and looking for generalizing forms in order to satisfy its eternal “thirst for causality” (German: Causalitätsbedürfniss), the poetic image is precisely such a generalizing beginning, the basis on which the unified phenomena of life are grouped by organized masses.
Poetry can be called the knowledge of the world with the help of images, symbols, and this figurative way of thinking is characteristic of everyone - both children and adults, and primitive savages, and educated people. Therefore, poetry is not only where great works are (like electricity is not only where there is a thunderstorm), but, as can be seen already from its embryonic form - words - everywhere, every hour and every minute, where people speak and think. “Poetry is everywhere where behind the few features of a certain closed image there is a variety of meanings” (Potebnya). In its content, a poetic image may not differ in any way from the most prosaic thought, from an indication of the simplest everyday fact, such as the fact that "The sun is reflected in a puddle." If for the listener this indication is only a message about a physical fact, then we have not gone beyond the limits of prose; but once given the opportunity to use the fact as an allegory, we are in the realm of poetry. In a prosaic understanding, the special case would remain special; poetized, it becomes a generalization. The message of a negligible perception - "The sun is reflected in a puddle" - gets the ability to talk about something completely different, for example, about "a spark of God in the soul of a corrupt person." The individual case becomes suggestive in the hands of the poet, says modern aesthetics; he "suggests" how Alexander Veselovsky translates this term; it acquires the property of being allegorical, suitable for countless applications, says Potebnya.
What place poetic thinking occupies in the development of human thought in general, and what properties of the mind determine the origin of this method of explaining phenomena, is best seen from its comparison with its kindred way of thinking - the so-called mythological thinking. Therefore, the mental foundations of mythology are an essential part of modern poetics. The basis of the mythical mindset is, as in poetic thinking, the analogy of the phenomenon being explained with an invented image; but poetic thinking clearly sees fiction in this image, mythical thinking takes it for reality. Saying: "Cholera is coming," poetic thinking has no pretensions to the anthropomorphic reality of this image; the mythical, on the contrary, is so imbued with its real character that it finds it possible to fight it by means of ploughing, drawing a line across which the personified "Cholera" cannot cross. Having noticed a common feature between an epidemic and a living being, primitive thought, in which one sign of a phenomenon occupies the entire breadth of consciousness, hastened to transfer the entire complex of signs of an explanatory image (man, woman) into the phenomenon being explained (epidemic); you can not let him into the house by locking the doors; he can be propitiated by giving him a sheep. Primitive animism and anthropomorphism are only a particular case of this complete identification of the known with the known. Therefore, such cases of a mythical view of an object where there is no anthropomorphism are also possible. "Hot, flammable, quick-tempered heart"For us - a poetic image, a metaphor, infinitely far from the idea of a real, physical temperature: the mythical view transfers all the properties of a flammable object to a quick-tempered heart and therefore freely comes to the conclusion that such a heart is suitable for arson. So it was in Moscow under Ivan IV the Terrible, when the Glinskys were accused of sprinkling houses with infusion from human hearts and thereby setting a fire. This view is similar in origin and in the form of a concrete idea to the poetic one; but there is no allegory in it, there is no main element of poetic thinking - it is completely prosaic. To explain the origin of the black and white color of the pelican, the Australians tell how the black pelican was painted white to fight, just as the savages themselves are painted - but they didn’t have time, etc. “This story,” remarks Grosse (“Die Aufange der Kunst” ), - of course, is very fantastic, but, despite this, it is not at all poetic, but scientific in nature ... This is simply a primitive zoological theory.
From this point of view, it is necessary to make some reservations to the generally accepted position that poetry is older than prose: in the complex course of the development of human thought, prose and poetic elements are inextricably linked, and only theory separates them. In any case, the use of the image as a poetic work requires a certain power of analysis and presupposes a higher stage of development compared to that in which "ideal ideas had in the eyes of adult men and women the reality that they still have in the eyes of children" (Taylor ). Poetic and prosaic elements are inextricably intertwined in myth: myth lives for a long time along with poetry and influences it. There are, however, facts that indisputably testify to the movement of thought in the direction from myth to poetry. We have such facts in the history of poetic language. The phenomenon of parallelism, which characterizes its earlier stages, bears a strong imprint of mythical thinking: two images - nature and human life - are placed side by side, as equivalent and unambiguous.
The green yalinochka leaned on the Yar,
The young girl turned into a Cossack.
There is no longer a direct identification of man with nature in this Cossack song, but the thought has just come out of him. She goes further - and begins to insist on the absence of such an identity: simple parallelism turns into a negative (“negative comparison”):
That not swallows, not killer whales curl around the warmth of the nest
Here the native mother hangs around.
Here it is directly indicated that the explanatory image should not be identified with the explained. Even further follows an ordinary poetic comparison, where there is no hint of mixing the compared objects.
This transition from the mythical method of thinking to the poetic takes place so slowly that for a long time the two modes of thought do not exclude each other. A poetic expression, being by its origin a simple metaphor (spring has come), can, due to the so-called “disease of the language” (M. Müller), turn into a myth and force a person to attribute the properties of a material image to spring. On the other hand, the proximity of the myth makes the ancient poetic language extremely vivid and expressive. “Assimilations of the ancient bards and orators were meaningful, because they, apparently, saw and heard and felt them; what we call poetry was real life for them.”
Over time, this property of a young language - its figurativeness, poetry - is violated; words, so to speak, "wear out" from use; their visual meaning, their figurative character, is forgotten. To the sign of the phenomenon, which served as the starting point of its name, the study adds new, more significant ones. Saying: daughter, no one thinks that it actually means "milking", the bull - "roaring", the mouse - "thief", the month - "meter", etc., because the phenomenon has received a different place in thought. The word from the concrete becomes abstract, from the living image - an abstract sign of the idea, from the poetic - prosaic. However, the former need of thought for concrete representations does not die. She tries to fill abstraction again with content, sometimes with old content; it replaces the “old words” with new ones, sometimes identical with the former ones in essence, but not yet losing the power to give birth to living images: the word “generous”, for example, pales, and the new expression, “a person with a big heart”, is tautological with the first, more cumbersome and the uncomfortable, however, seems to be more vivid and excites in a person spiritual movements, which the first, which has lost its visibility, cannot excite. On this path, more complex, in comparison with the word, forms of poetry are born. - so called trails.
trails- this is a consequence of the ineradicable need of a person’s thought “to restore the sensual side of words that stimulates fantasy activity”; trope- not the material of poetry, but poetry itself. In this sense, the poetic devices characteristic of folk poetry are extremely curious, and above all the so-called "epic formulas" - constant epithets and more.
epic formula, for example, in its common form (epitheton ornans) - it only renews, refreshes the meaning of words, “restores its inner form in the mind”, then repeating it (“doing a thing”, “thinking to think”), then designating it with a word of a different root, but of the same meaning (“clear dawn”), Sometimes the epithet has nothing to do with the “own” meaning of the word, but joins it to revive it, to make it more specific (“tears are burning”). In the future existence, the epithet merges with the word so much that its meaning is forgotten - and hence contradictory combinations appear (in the Serbian folk song, the head is certainly blond, and therefore the hero, having killed the Arapin (Negro), cut off his “light brown head”).
Concretization (Versinlichung - y Career) can also be achieved by more complex means: first of all, by comparison, where the poet tries to make the image visual through another, better known to the listener, more vivid and expressive. Sometimes a poet's thirst for concreteness of thought is so great that he dwells on an explanatory image longer than is necessary for the purposes of explanation: tertium comparisonis already exhausted, and a new picture is growing; such are the comparisons in Homer (Odyssey), in N.V. Gogol.
Thus, the activity of elementary poetic forms is wider than the simple revitalization of the visualization of a word: restoring its meaning, thought introduces new content into it; the allegorical element complicates it, and it becomes not only a reflection, but also an instrument for the movement of thought. The “figures” of speech have absolutely no such meaning, the whole role of which is that they give expressiveness to speech. “The image, - defines Rudolf Gotschall, - follows from the intuition of the poet, the figure - from his pathos; it is a scheme in which a ready thought fits.
Theories on the origin of poetry
Already the simplest form of poetry - the word - is inextricably linked with the musical element. Not only at the so-called pathognomic stage of speech formation, when the word almost merges with an interjection, but also in further stages, "the first poetic words were probably shouted out or sung." Gesticulation is also necessarily connected with the sound expressions of primitive man. These three elements are combined in that pre-art, from which its individual types are subsequently distinguished. In this aesthetic aggregate, articulate speech sometimes occupies a secondary place, being replaced by modulated exclamations; samples of songs without words, songs of interjections were found among various primitive peoples. Thus the first form of poetry, in which one can already notice the beginnings of its three main genera, is choral action accompanied by dances. The content of such an “action” is facts from the everyday life of the community, which is both the author and performer of this work, dramatic in form, epic in content and sometimes lyrical in mood. Here there are already elements for the further separation of poetic genera, originally connected - as Spencer pointed out for the first time - in one work.
Against this theory of original "syncretism", some remarks were also made, which boil down to the fact that in a primitive poetic work one or another element can outweigh, and in the poetry of a cultural warehouse, elements of the three main poetic genera are mixed. These objections do not eliminate the theory, especially since it asserts "not confusion, but the absence of difference between certain poetic genres, poetry and other arts" (Veselovsky). Grosse disagrees with most literary historians and aestheticians, who consider drama to be the latest form of poetry, when in fact it is the oldest. In fact, the primitive "dramatic action without drama" is drama only from a formal point of view; it acquires the character of a drama only later, with the development of the personality.
Primitive man, one might say, is subject not so much to individual psychology as to "group psychology" (Völkerpsychologie). The personality feels itself to be an indefinite part of an amorphous, monotonous whole; she lives, acts and thinks only in an inviolable connection with the community, the world, the earth; her whole spiritual life, all her creative power, all her poetry is imprinted by this "indifference of collectivism." With such a personality, there is no place for individual literature; in collective spectacles, choral, general dances, opera-ballets, all members of the clan “alternately play the roles of either actors or spectators” (Letourneau). The plots of these choral dances are mythical scenes, military, funeral, marriage, etc. The roles are distributed among the groups of the choir; choral groups are the leaders, choreges; the action sometimes focuses on them, on their dialogue, and here the seeds of the future development of personal creativity are already contained. From this purely epic material about the bright events of the day, exciting society, poetic works stand out, imbued with general pathos, and not with the personal lyricism of an isolated singer; this is the so-called lyrical epic song (Homeric hymns, medieval cantilena, Serbian and Little Russian historical songs). There are among them songs (for example, the French "historical chanson") with content not from public, but also from personal history; the lyrical mood in them is expressed very strongly, but not on behalf of the singer himself.
Little by little, however, active sympathy for the events depicted in the song is fading away in society; it loses its exciting, topical character and is transmitted like an old memory. From the mouth of a singer weeping with his listeners, the story passes into the mouth of an epic narrator; an epic is made from a lyroepic song, over which they no longer cry. Professional carriers and performers of poetic tales stand out from the formless environment of performers - singers, at first community singers, singing only in the circle of their relatives, then wandering, spreading their song treasures among strangers. It - mimi, histriones, joculatores in Ancient Rome, bards, druids, phyla among the Celts, tuliers, then skalds in Scandinavia, trouvers in Provence, etc. Their environment does not remain invariably monotonous: some of them descend into areal jesters, some rise to written literature, not only performing old songs, but also composing new ones; so, in medieval Germany on the street - spielmans (German Gaukler), at the courts - scribes (German Schriber) replace old singers. These keepers of the epic tradition sometimes knew several songs about the same heroes, about the same events; it is natural to try to connect various legends about the same thing - at first mechanically, with the help of common places. The indefinite material of folk songs is consolidated, grouping around a hero popular among the people - for example, Sid, Ilya Muromets. Sometimes epic creativity, like ours, does not go beyond these cycles, vaults; sometimes its development ends with an epic.
The epic stands on the border between group and personal creativity; like other works of art, during this period of the awakening of the personality, it is still anonymous or bears a fictitious name of the author, not individual in style, but already "reveals the integrity of personal design and composition." A. N. Veselovsky considers three facts of historical life to be the conditions for the emergence of great folk epics: “a personal poetic act, without consciousness of personal creativity; the rise of people's political self-consciousness, which required expression in poetry; continuity of the previous song tradition, with types capable of changing content, in accordance with the requirements of social growth. The consciousness of a personal initiative would lead to an individual assessment of events and to discord between the poet and the people, and therefore to the impossibility of an epic. It is difficult to determine, in general terms, how the consciousness of personal creativity is born; in different cases this question is solved differently. The question of the emergence of the poet is immeasurably more difficult than the question of the origin of poetry. It is only possible and important to note that, no matter how great the difference between the impersonal creativity of a primitive community and the most individual creation of personal art, it can be reduced to a difference in the degrees of one phenomenon - the dependence of every poet on a number of conditions, which will be indicated below.
With the decomposition of the primitive communal way of life, a new system of worldview coincides; a person begins to feel that he is not a "toe" of some large organism, but a self-sufficient whole, a personality. He has his own sorrows and joys not shared by anyone, obstacles that no one helps him overcome; the social system no longer fully encompasses his life and thoughts, and sometimes he comes into conflict with it. These lyrical elements are already found earlier in the epic; now these expressions of personal life stand out in an independent whole, in a poetic form prepared by previous development. The lyrical song is sung with the accompaniment of a musical instrument; this is indicated by the term itself (lyric, from the Greek. Λίρα ).
The complication of social forms, which led to the opposition in the minds of the individual and society, causes a new look at tradition. The center of gravity of interest in an old legend passes from the event to the person, to his inner life, to his struggle with others, to those tragic situations in which he is placed by the contradiction of personal motives and social demands. Thus conditions are prepared for the appearance of drama. Its external structure is ready - this is an ancient form of choral rite; little by little, only a few changes are made - the characters are more sharply delimited from the choir, the dialogue becomes more passionate, the action is livelier. At first, the material is drawn only from tradition, from myth; then creativity finds poetic content outside the life of gods and heroes, in the life of ordinary people. How rare it is to turn to fiction at the beginning is evident from the fact that in Greek dramatic literature only one drama is known that is not based on epic material. But the transitional moment necessarily comes with the further disintegration of everyday life, the fall of national self-consciousness, the break with the historical past, in its poeticized forms. The poet withdraws into himself and responds to the changed spiritual needs of the surrounding masses with new images, sometimes directly opposite to tradition. This new form is typified by the degenerate Greek novella. There is no longer any talk of social content here: the subject of the narration is the vicissitudes of personal destinies, due primarily to love. The form has also departed from tradition; here everything is personal - both the individual creator and the plot.
So, the forms of epic, lyric, drama that stand out with sufficient clarity appear; at the same time, a different author creates poetry - an individual poet of the new time, according to the old poetics, obeying only the impulses of his free inspiration, creating from nothing, infinitely free in choosing a subject for his chants.
This "triple" theory, which separates the former passive spokesman of the communal soul from the new, personal poet by a whole abyss, has been largely rejected by modern poetics. She points to a number of conditions by which the greatest poet, the most unbridled science fiction writer, is bound in his work. The very fact that he uses a ready-made language, having only an insignificant, comparatively, opportunity to modify it, indicates the role of obligatory categories in poetic thinking. Just as “to speak means to adjoin with one’s individual thinking to the general one” (Humboldt), so to create means to take into account in creativity its obligatory forms. The impersonality of the epic poet is exaggerated, but the freedom of the personal creator is even more exaggerated. He proceeds from the finished material and clothes it in the form for which the demand has appeared; he is a product of the conditions of the time. This is especially clearly expressed in the fate of poetic plots, which seem to live their own lives, being updated with new content, invested in them by a new creator; the germs of some favorite plots of completely modern poetic works are found - thanks to that new branch of knowledge that is called folklore - in the distant past. “A talented poet can attack this or that motive by chance, captivate to imitation, create a school that will follow in his rut. But if you look at these phenomena from a distance, in a historical perspective, all the small touches, fashion and school, and personal trends, are obscured in a wide alternation of social and poetic demands and proposals ”(Veselovsky).
The difference between a poet and a reader is not in type, but in degree: the process of poetic thinking continues in perception, and the reader processes the finished scheme in the same way as the poet. This scheme (plot, type, image, trope) lives as long as it lends itself to poetic renewal, as long as it can serve as a “permanent predicate with a variable subject” - and is forgotten when it ceases to be an instrument of apperception, when it loses the power to generalize, explain something from the stock of impressions .
In this direction, in the past, research was carried out on the origin of poetry. To see in it a historical law, of course, there are no grounds; this is not a mandatory formula of succession, but an empirical generalization. Classical poetry went through this history separately, separately and anew, under the dual influence of its original beginnings and the Greco-Roman tradition, the European West did it, separately - the Slavic world. The scheme has always been approximately the same, but the exact and general psychological prerequisites for it have not been determined; under the new conditions of society, other poetic forms may take shape, which, apparently, cannot be predicted.
Therefore, it is hardly possible to justify from a scientific point of view those deductive foundations for the division of poetic genera, which theory has long offered in such a variety. Epic, lyric and drama have succeeded each other in the history of poetry; these three forms, without much stretch, exhaust the poetic material we have and therefore are suitable as a didactic device for educational purposes - but one should by no means see in them given forms of poetic creativity once and for all. One can see in the epic the predominance of objective elements, in the lyrics - the predominance of subjective ones; but it is no longer possible to define drama as a synthesis of both, if only because there is another form of combining these elements, in a lyrical epic song.
The Importance of Poetry in the Modern World
Neither the growing predominance of prosaic elements in language, nor the powerful flourishing of science, nor the possible transformations of the social order threaten the existence of poetry, although they can decisively influence its forms. Its role is still enormous; its task is similar to the task of science - to reduce the infinite variety of reality to the smallest possible number of generalizations - but its means are sometimes wider. Its emotional element (see Aesthetics) gives it the ability to influence where the dry formulas of science are powerless. Not only that: without the need for precise constructions, generalizing in an unsubstantiated but convincing image an infinite variety of nuances that elude the “Procrustean bed” of logical analysis, poetry anticipates the conclusions of science. Generating common feelings, giving the most subtle and at the same time generally understandable expression of spiritual life, it brings people together, complicates their thought and simplifies their relationships. This is its primary significance, this is the reason for its gift, among other arts, position.
