Lyricism is a literary genre in which the feelings, thoughts, moods of the poet are directly reproduced, caused by the phenomena of life that excited him. L. I. Timofeev notes that "lyricism is a reflection of the entire diversity of reality in the mirror of the human soul, in all the subtlest nuances of the human psyche and in the fullness of speech expression that corresponds to them" *.
* (L. I. Timofeev. Fundamentals of Literary Theory, p. 108.)
Unlike all other literary genres, lyric poetry is primarily and most of all oriented towards the emotional perception of the reader. And this brings it closer to another area of art - music, which is also a figurative expression of human experiences and affects precisely the feelings of a person. Even the very name of the literary genus ("lyre" - a musical instrument in ancient Greece) emphasizes its connection with music. This synthesis of word and music has survived to this day and led to the allocation of related genera, such as lyrical-vocal and musical-dramatic.
The genetic connection of poetry with music is manifested in its subordination to rhythm and many other specific features of this art (up to the development of leitmotifs or compositional forms such as rondo or ballad). The musicality of poetry is recognized by both poets and composers. The development of lyrics has always been to a large extent connected with the development of music.
A specific feature of the lyrics is the subjective reflection of experiences in images.
The subjective perception of reality manifests itself in poetry in different ways. An obvious exaggeration is the attempt of some literary critics to reduce the content of any lyrical work only to the "self-expression" of the poet, only to the disclosure of his "I", considered moreover in a narrow biographical plan. Even in the most intimate poems, such as, for example, "I loved you" by Pushkin, not only the author's feelings are expressed, but also what is close, what is deeply understandable and dear to readers. In other words, through the specific, uniquely individual experience of the poet, the general, essential, characteristic is transmitted, which is the specificity of the figurative reproduction of life.
In many of the best works, the artist typifies those experiences that are either a concentration of his emotions, or become, as it were, their projection for transmission to a fictional character who is endowed with qualities that are not directly characteristic of the poet. In this regard, an important question about the lyrical hero arises. The introduction of this concept into literary criticism is justified by the theorists' desire to distinguish between the author's "I" and the typified "I" of a fictional character whose feelings and thoughts are expressed in the work in the first person.
Even N. G. Chernyshevsky, in his article "Poems of Countess Rostopchina", argued that "it should not be assumed that each "I", expressing his feelings in a lyrical play, is necessarily the "I" of the author himself, who wrote the play "*.
* (N. G. Chernyshevsky. Poll. coll. cit., vol. 3, pp. 455-456.)
Considering poems like Pushkin's Black Shawl, one can only speak of a lyrical hero who was created by the author's creative imagination and who expresses in a peculiar way the feelings and thoughts that excited him.
The concept of a lyrical hero cannot also be interpreted too broadly, associating it with the image of the narrator in the epic. The lyrical hero is only one of the possibilities for expressing the personality of the poet in the work. The Soviet critic L. Ginzburg rightly asserts that "in lyrics, the author's consciousness can be expressed in a variety of forms - from a personified lyrical hero to an abstract image of a poet included in classical genres, and, on the other hand, to all sorts of" objective "plots, characters , objects that encrypt the lyrical subject precisely so that he continues to shine through them" * .
* (L. Ginzburg. About lyrics. M.-L., 1964, p. 6.)
This "encryption of the lyrical subject" is especially characteristic of epigrams and madrigals, in which specific characters are depicted, and the author's subjective attitude towards them is manifested precisely in the assessment of certain of their qualities, deliberately exaggerated, and most importantly, one-sidedly selected and isolated from others, characterizing the appearance of a prototype person. .
At the same time, it is necessary to recognize the conventionality of distinguishing between the image of a lyrical hero and the image of a poet. Even N.V. Gogol rightly wrote that in any work, to a greater or lesser extent, the personality of the author himself is reflected. However, in poems like Pushkin's "Monument", the poet directly expresses his thoughts, feelings, thoughts about poetic work, about the meaning of creativity, about the connection of literature with life. The poetic declaration expressed in the work fully coincides with the views of the author himself. Before us stands the image of the poet with his worries, anxieties, sympathies, with his philosophical reflections.
In other poems, the image of the poet approaches the image of the narrator. In Nekrasov's "Reflections at the Front Door" all events are conveyed through the perception of the author, who is an eyewitness to the sinister injustice and cruel heartlessness of those in power, their disdain for the hardships and needs of the people. The image of the poet is revealed through his emotional attitude to the events depicted.
In many lyrical poems, the image of the poet appears along with the central characters in real everyday situations (for example, in the poems "Schoolboy" by Nekrasov or "To Comrade Netta - a steamboat and a man" by Mayakovsky).
In a lyrical poem, images-characters can also be reproduced, acting quite objectively, regardless of the author. Such, for example, is the image of Katyusha in Isakovsky's song of the same name. However, the feelings of these images-characters are colored by the likes and dislikes of the poet himself. In satirical poems, these author's emotions are expressed in the form of the artist's direct condemnation of the negative phenomena of reality.
The problem of plot in lyrics is quite complex. Some researchers attribute all or almost all lyrical poems to plotless works due to the fact that they do not directly convey the development of events. Others consider this issue too broadly, without taking into account the specifics of the genus.
Of course, landscape poems have no plot. This also applies to those lyrical works that only describe certain emotional states (epitaphs, madrigals, etc.).
A peculiar, so-called lyrical plot can be discussed in relation to works that depict the complex development of growing feelings. In this sense, we can talk, for example, about the poem by A. S. Pushkin "I loved you", revealing the history of the relationship of the lyrical hero with his beloved.
One can speak quite definitely about the plot in connection with the characteristics of those poems in which, in the form of memoirs or in the form of a response, events from the life of the characters, the history of their relationships, and changes in their destinies are reflected.
In the 19th century the process of convergence of lyric poetry with epic prose began, which determined the widespread use of elements of the epic plot even in such traditional lyrical genres as a message or an elegy.
In some poems, the composition is directly determined by the plot, in others it is subordinated to the development of the central image. This image, which appears directly at first, can then be replaced by a metaphor, as, for example, in the poem "Spark" by Isakovsky.
Often the compositional integrity of a work is achieved with the help of a repeat ring (sometimes changed) of the first lines (stanzas) at the beginning and at the end.
Classification of lyrical works
The classification of lyrical works by types and varieties is very complex. A variety of lyrical poems expressing the most diverse shades of feelings, moods, experiences; more definite than in works of other kinds, the dependence of the genre on the features of composition and language, as well as on rhythm and strophic - all this makes it difficult to systematize, makes it very difficult to distinguish according to any single principle.
There were different principles of genre differentiation of lyrics.
In antiquity, and then in the era of classicism, they sought to clearly differentiate genres in form and content. The rationalistic views of the classicists determined the establishment of certain genre canons. In the future, many traditional types of lyrics did not receive their development (eclogue, epithalamus, pastoral), others changed their character, acquiring a different social meaning (elegy, epistle, epigram).
In poetry since the second half of the 19th century. the distinctions between the preserved species became very conditional. The message, for example, often acquired the features of an elegy or an ode.
The classification based on the differentiation of poems by stanza has almost become obsolete. From it, in modern European poetry, only the allocation of sonnets remained, and in Eastern poetry - eight lines, gazelles, rubaiyas and some other stable strophic forms.
The most common classification is now based on the thematic principle. In accordance with it, the lyrics are divided into patriotic (for example, "Poems about the Soviet" passport "by Mayakovsky), socio-political ("Communist Marseillaise" by Poor), historical ("Borodino" by Lermontov), philosophical ("Man" by Mezhelaitis), intimate, (“Lines of Love” by Shchipachev), landscape (“Spring Thunderstorm” by Tyutchev).
Of course, this distinction is very conditional, and therefore the same poem can be attributed to different types. So, Lermontov's "Borodino" is a work both historical and patriotic. In the landscape poems of F. I. Tyutchev, his philosophical ideas are expressed (for example, in "Fountain"). "Poems about the Soviet passport" by Mayakovsky, usually referred to as patriotic lyrics, with no less reason can be considered both as an example of a socio-political and as an example of an intimate poem. In this regard, when determining the type, it is necessary to take into account the ratio in the lyrical work of various leitmotifs, determining which of them has the dominant role.
At the same time, lyrical poems continue to appear in modern poetry, corresponding to a greater or lesser extent to such traditional genre forms as an epigram, a message, an elegy, an ode.
Oh yeah
In modern literary criticism, an ode is usually defined as a lyrical poem that glorifies an important historical event or an outstanding historical figure.
The origins of the ode are in ancient poetry. However, in ancient Greece, this name denoted not only laudatory songs, but also works of various contents, performed to the accompaniment of a musical instrument. The development of this genre was further influenced by the "epinikia" (laudatory odes) of the ancient Greek poet Pindar (518-442 BC), who glorified the heroes - the winners of the competitions in a solemn form saturated with exquisite paths and figures. The odes of Pindar and Horace were considered as models by the classicists, who developed the main criteria for this genre. Already in the work of the founder of classicism in France, F. Malherba (1555-1628), the ode appeared as the "highest" genre, most accurately and fully reflecting the principles of this literary trend. The ode served to praise the absolute monarchy and its adherents, to glorify the victories of kings and generals. The solemn loftiness of the content determined the originality of the composition and the peculiarities of the language.
Poets resorted to numerous tropes (especially metaphors and paraphrases) and rhetorical figures in their odes. Words from a living spoken language, and even more so vernacular and vulgarisms, were expelled from ods as alien to its sublime nature. The mandatory requirements for the ode included the accuracy of the strophic construction (the most common was a ten-line stanza), the purity of the rhythmic structure (the inadmissibility of the Pyrrhic), the sonority of rhymes, the inadmissibility of hyphenation, etc.
The theory and practice of the French classicists had a strong influence on the development of this genre in the literatures of other European countries until the end of the 18th century.
Odes were intended to be recited in a solemn, festive atmosphere, which brought them closer to the speeches of orators.
In Russian poetry, solemn odes were created by M. V. Lomonosov, G. R. Derzhavin and other classicists. Lomonosov's "Ode on the Day of Accession to the All-Russian Throne of Her Majesty Empress Elizabeth Petrovna in 1747" is a classic example of works of this genre. “Lomonosov’s ode,” Yu. Tynyanov wrote, “can be called oratorical, not because or not only because it is thought to be pronounced, but mainly because the oratorical moment has become defining, constructive for her. Oratorical principles of greatest impact and verbal development have subordinated and transformed all the elements of the word...".
The outstanding Russian poet G. R. Derzhavin, adhering to these classic principles in his "Discourse" On Lyric Poetry or on the Ode ", in his creative practice significantly expanded the narrow framework of this genre. depiction of everyday details, irony and even a satirical element.
In the future, both the content and the form of the ode evolved. In the work of progressive poets of the XIX century. criticism of tyrants was combined with the glorification of freedom. Such are the ode "Liberty" by Radishchev, the poem of the same name by Pushkin, a number of works by Decembrist poets. The creation of odes was especially often addressed during the years of the rise of the revolutionary movement. However, this largely rhetorical, traditional genre did not correspond to the basic principles of progressive romanticism and critical realism. In the second half of the XIX century. the ode gives way to hymns, cantatas, oratorios and other types of lyric-vocal kind. In this one cannot fail to notice a return to the origins of odic poetry, organically connected with music at the dawn of its development.
In Soviet poetry, "Ode to the Revolution" was created by V. V. Mayakovsky. Other poets also turned to the creation of works of this genre. Serious changes in the specifics of the ode that occurred during this period are expressed in a significant reduction in volume, in the renewal of vocabulary, in a more limited use of tropes and figures.
Elegy
The elegy has also undergone a significant evolution in the history of world poetry. It originates from the ancient vocal genre - a plaintive song (the term itself comes from the name of the ancient Greek instrument that accompanied this song).
However, later the term "elegy" began to denote works of various fields of art: in music - small instrumental works of a sad, mournful nature, in poetry - small lyrical poems expressing sadness. This genre was widely spread among sentimentalists. Gray's "Elegy Written in a Rural Cemetery" had a strong influence not only on English poetry, but also on the work of German, French and Russian poets, in particular on V. A. Zhukovsky.
I. Goethe, F. Schiller, A. S. Pushkin, M. Yu. Lermontov turned to the genre of elegy, who filled these poems with deep philosophical thoughts, sincere, excited feelings and experiences. Such, for example, is the elegy of A. S. Pushkin "The fading joy of the mad years ..." (1830), imbued with the sadness of bygone days and heavy forebodings.
Elegies are close to the genre (some works by N. A. Nekrasov and others. However, in the poetry of critical realism, it gradually loses its specific specific features. The content of even the most mournful lyrical poems of these poets is not limited to regret for personal losses, they reflect social contradictions. The elegy also acquires a social character, such as Nekrasov's poem "In Memory of Dobrolyubov" in which bitterness over the untimely death of a young talented friend translates into the poet's civic grief over the loss of one of the best sons of the Motherland.
In the literature of socialist realism, this genre in its classical form hardly develops. Very close in content to the elegy is the poem by V. V. Mayakovsky "To Comrade Netta - the steamer and the man." It is filled with thoughts about the fate of a friend who died in the fight against enemies for Soviet power, and at the same time (imbued with optimism, faith in the immortality of the heroes who gave their lives to the people. All this sharply contradicts the sad emotional mood that determined the specificity of this species.
In the era of the Great Patriotic War, intimate lyrics clearly manifested those features that allow many of the poems to be classified as elegies ("With you and without you" by Simonov, "I was killed near Rzhev" by Tvardovsky, etc.). “Sadness, sadness, bitterness of loss, a feeling of pity that squeezes the heart - these are their emotional contents,” writes the modern researcher Kuzmichev. “But not only sadness or bitter feeling determines their tone ... The great truth of feeling in them is associated with deep anxiety for the fate of the fatherland " * . Poems close to elegy by Y. Smelyakov, N. Zabolotsky, M. Svetlov, written in the post-war years, are also distinguished by optimism, an indissoluble connection between personal and public.
* (I. Kuzmichev. Genres of Russian literature of the war years. Gorky, 1962, p. 166.)
Message
A message is a poem written in the form of an appeal, most often to a well-known person directly named by his own name. In it, poets express their thoughts and feelings caused by the events of the political, scientific, literary struggle. In accordance with this, the main types of messages are distinguished: political ("To Chaadaev" by Pushkin), scientific (Lomonosov's message to Shuvalov "On the Usefulness of Glass"), literary ("Epistole on Poetry" by Sumarokov). Joking and satirical messages very close to epigrams and madrigals, but more lengthy than them, are also widespread. ("Message to my servants" Fonvizin). Poems of this genre are usually distinguished by sincerity, wit.
The very form of address provides an opportunity for a direct presentation of the views expressed by close friends, like-minded people. For all its specific "attachment" even to certain historical figures, each poetic message has a generalizing character. Many of them are so saturated with theoretical propositions and polemics on scientific problems that they approach treatises. This led to the attribution of the message by some literary critics to didactic poetry or journalism.
The emergence of the poetic message as an independent type of lyric is attributed to the time when Horace and Ovid appeared in Roman poetry with works of this genre. Poets of later literary epochs (Voltaire, Rousseau, Goethe, and others) also willingly turned to him.
The heyday of the message in Russian poetry is associated with the work of A. S. Pushkin and the Decembrist poets, who gave it a sharp socio-political orientation, an agitational and propaganda character, and at the same time an exceptional emotional tension, a simple and elegant form. "Message to Siberia" by A. S. Pushkin and the answer of the Decembrist A. I. Odoevsky ("Fiery sounds of prophetic strings ...") belong to the masterpieces of this genre.
Researchers of Russian lyrics note a decline in interest in the message in the literature of the second half of the 19th century, believing that in the future poets use it mainly for the purpose of stylization. However, in Soviet poetry this genre was intensively developed, acquiring a distinct concreteness and publicism ("Message to the proletarian poets" by Mayakovsky, "Open Letter" by Simonov, etc.).
Epigram
In terms of volume, and most importantly in content, the epigram differs sharply from odes, elegies and epistles. So now they call laconic satirical or humorous poems directed against a certain person or event. These works are distinguished by a peculiar composition. They usually consist of two parts - a premise that tells the signs of the person or event referred to in the poem, and a short final witticism (French point), which, with its unexpectedness, accuracy, aphorism, determines the meaning of the epigram. Such, for example, is the well-known epigram of A. S. Pushkin to Count M. S. Vorontsov (1824):
Half-my lord, half-merchant, Half-sage, half-ignorant, Half-scoundrel, but there is hope, What will be complete at last.
The epigram has a complex centuries-old history. In ancient Greek poetry, this was the name given to inscriptions on monuments to the dead or on any objects (the very word "epigram" in ancient Greek means "inscription").
Antique epigrams were distinguished by a special rhythm: the first line was a hexameter, the second - a pentameter. Subsequently, any poems corresponding to this poetic form (elegiac distich) began to be called epigrams in ancient poetry. From them originate the so-called anthological epigrams, which are short poems of a philosophical nature, written in elegiac distich. They were also created in Russian poetry of the 19th century. An example of an anthological epigram is a poem by A. S. Pushkin addressed to N. I. Gnedich, the translator of Homer's Iliad:
I hear the silenced sound of the divine Hellenic speech, I feel the shadow of the great Elder in my confused soul *.
* (A. S. Pushkin, Poli. coll. cit., vol. 3, p. 183.)
More intensive development was received by another kind of epigram - satirical. Researchers consider the Roman poets Martial and Catullus, the creators of caustic and witty poems with unexpected endings, to be the founders of this genre. Many French and German poets of the 18th-19th centuries turned to this genre, including J. Lafontaine, J. Goethe, F. Schiller.
The heyday of this genre in Russian poetry dates back to the first third of the 19th century. Widespread since the end of the 17th century. in our literature, the varieties of the epigram - everyday, political, literary - during this period become a sharp weapon in the struggle of progressive poets with the reactionary phenomena of Russian reality. Such is the sharply accusatory epigram of A. S. Pushkin on Tsar Alexander I.
In the middle and in the second half of the XIX century. the role of the epigram in the literary and political struggle in Russia begins to weaken due to the emergence and development of those satirical and journalistic genres (feuilletons, pamphlets, etc.), which made it possible to more specifically and purposefully denounce the enemies of freedom. However, even during this period, witty epigrams were created by N. A. Nekrasov, N. P. Ogarev, M. Mikhailov and other representatives of revolutionary democracy. In the last decades of the XIX century. there is a "shredding" of the epigram, which responds only to minor everyday questions or insignificant phenomena of literary life.
The revival of the epigram in Russian poetry is associated with the work of poets of socialist realism. Back in the pre-October years, D. Bedny successfully used this genre to denounce representatives of autocratic-bourgeois Russia. In Soviet poetry, the epigram was successfully developed by V. V. Mayakovsky, S. Ya. Marshak, M. Svetlov. A. Bezymensky, S. Smirnov, E. Krotky and other satirists turn to this genre.
In the literature of recent years, there has been a close convergence of the epigram with the caption to a friendly caricature and with the so-called short fable.
Laikina Elizabeth
Lyrics are the kind of literature that forms the spiritual world, subtly and deeply influencing a person. Rika is the kind of literature that forms the spiritual world, subtly and deeply influencing a person.
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Research work Lyrics and its genres Completed by the student of the 8th "b" class Laikina Elizaveta Lecturer Tkachenko l.s.
LYRICS AND ITS GENRES Lyrics are the kind of literature that forms the spiritual world, subtly and deeply influencing a person. When studying lyrics, the logical and emotional principles are combined. To study the lyrics, it is necessary to find out the artistic image, the most characteristic of the lyrics - the lyrical hero.
A lyrical image is an image of experience, a direct reflection of thoughts and feelings. In lyrics, experience becomes an independent object of observation. In the lyrics, the feeling of the poet is expressed directly, directly. The artistic image in lyrics, just like the image in epic and drama, has a generalized, technical character. A huge role in the lyrics, much greater than in the drama and even in the epic, is played by the personality of the poet. “THE LYRICAL POEM EXPRESSES THE DIRECT FEELING EXCITED IN THE POET BY A KNOWN PHENOMENON OF NATURE OR LIFE. The main thing here is not in the feeling itself, not in passive perception, but in the internal reaction to the impression that is received from the outside.
The perception of a lyrical work is a complex creative process. Not one of the types of literary creativity is perceived as specifically, individually, as lyrics, since lyrics are the most subjective type of creativity. Features of the power of the impact of lyrics is that it always expresses a living direct feeling, experience. Lyrical works are multi-dark, since various motives can be reflected in one experience of the poet: love, friendship, civic feelings. The artistic image of any work, including a lyrical one, generalizes the phenomena of life through an individual personal experience, expresses thoughts and feelings. The subject of literary lyrics is the most diverse. Poetic feelings can cause various phenomena of the surrounding life, memories, dreams, objects, reflections. Although it is very difficult to divide poems by rank, types can be distinguished in the lyrics.
Types of lyrics Philosophical (meditative). Philosophy is the love of wisdom. Reflections about life and death, about the destiny of man, the meaning of life, about good and evil, immortality, peace and war, about creativity, about the trace that a person will leave on earth - a person thinks about a lot, and these reflections cause certain emotions that the poet, together with his thoughts, expresses in a poem. For example, Pushkin's poem "Bird" In a foreign land, I sacredly observe Native custom of antiquity: I release a bird into the wild On a bright holiday of spring. I became available for consolation; Why should I grumble at God, When I could grant freedom to at least one creature!
Civil (political). A person is connected by feelings not only with loved ones, friends, enemies, but he is also a citizen, a member of society, a unit of the state. Attitude to society, homeland, country, attitude to political events are reflected in civil lyrics. Poem by N.A. Nekrasov is a vivid example of civil lyrics. Yesterday, at six o'clock, I went to the Sennaya; There they beat a woman with a whip, a young peasant woman. Not a sound from her chest, Only the whip whistled, playing ... And I said to the muse: “Look! Your own sister!"
Intimate (friendly and loving). Intimate is an indifferent, close relationship of one person to another, first of all, a feeling of love. Love distinguishes a person, it has many shades and expressions. This is one of the main feelings in the life of every person. It determines the degree of his happiness. Everyone wants to love and be loved. At all times, poets created poems about love, but there is no end to this topic. In addition to love, two people can be connected by relations of friendship, respect, gratitude. All this is told by intimate lyrics. Pushkin's poem I loved you can serve as an example of intimate lyrics: love, perhaps, has not completely died out in my soul; But don't let it bother you anymore; I don't want to sadden you with anything. I loved you silently, hopelessly, Now with timidity, now with jealousy; I loved you so sincerely, so tenderly, How God forbid you be loved by others.
Landscape. Each person has his own special relationship with nature. Her perception depends on the mood, on the state. And sometimes nature itself changes a person, gives him a new idea of the laws of life, fills him with new forces and feelings. Poets are especially receptive to pictures of nature, so landscape lyrics occupy a large place in their work. Poems by A.A. Feta often capture extraordinary pictures of nature. This morning, this joy, This power and day and light, This blue vault, This cry and strings, These flocks, these birds, This dialect of waters, These willows and birches, These drops are tears, This fluff is not a leaf, These mountains These valleys, These midges, these bees, This tongue and whistle, These dawns without eclipse, This sigh of the nocturnal village, This night without sleep, This haze and heat of the bed, This fraction and these trills, This is all - spring.
Lyric genres. According to their genres, the lyrics are divided: 1. Lyric poem 11. Ode 2. Song or song 12. Pastoral 3. Elegy 13. Message 4. Ballad 14. Romance 5. Burime 15. Rondo 6. Burlesque 16. Ruban 7. Verses 17. Sonnet 8. Free verse 18. Stanzas 9. Dithyramb 19. Eclogue 10. Madrigal 20. Elegy
Features of the lyrics The peculiarity of the lyrics is that the main thing in it is the lyrical hero. A lyrical hero is an image of that hero in a lyrical work whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, this attitude to nature, social life, and people. The peculiarity of the poet's worldview, worldview, his interests, character traits find a corresponding expression in the form, in the style of his works.
Lyrics are distinguished from prose by rhythm and rhyme. Versification is based on the correct alternation of stressed and unstressed syllables, common for all lines-verses. Rhythm is the repetition in poetic speech of homogeneous sound features. Rhyme is a coincidence, a repetition of sounds that connect separate words or lines. Each combination of stressed and unstressed syllables that are repeated in a certain order is called a foot. When several poetic lines are combined, a poetic meter arises. The feet are two-component and three-complex. Disyllabic: trochee (ro-za), iambic (re-ka). Wa-nya I-van. Tresyllabic: dactyl), amphibrach, anapaest (de-re-vo (be-re-za) (bi-ryu-za) Va-nech-ka Va-nu-sha I-va-nov
By the number of feet, there are two-foot (three-, four-, five-, six-foot) trochaic or iambic, two-foot (three-, four-foot) dactyl, amphibrach, anapaest. The foot helps to catch the rhythm. The combination of two or more poetic lines, united either by a system of rhymes or intonation, is called a stanza. The stanzas range from simple to complex.
One verse: Oh, cover your pale feet! (V. Bryusov) Couplet (distich): Poetry is in you. You know how to elevate simple feelings to art (W. Shakespeare) Three lines (tertsina): They are in you yourself. You are your own highest court; You will be able to appreciate your work more strictly. Are you satisfied with it, demanding artist? Satisfied? So let the crowd scold him And spit on the altar, where your fire burns, And your tripod sway in childish playfulness? (A.S. Pushkin.)
Quatrain (quatrain) Even in the fields the snow is whitening, And the waters are already rustling in the spring - They run and wake up the sleepy shore, They run and shine and say ... F.I. Tyutchev Pentistish (quintet) The fragrant bliss of spring has not had time to descend To us, The ravines are still full of snow, The cart still rumbles at dawn On the frozen path. A.A. Fet Shestistishie (sextina) Mom, look out the window - It was not for nothing that the cat washed its nose yesterday: There is no dirt, the whole yard is dressed, It has brightened, turned white - It can be seen that there is a frost. A.A. Fet
Semitishie (sentima) - Tell me, uncle, it's not for nothing that Moscow, burnt by fire, was given to the Frenchman? After all, there were combat fights, Yes, they say, some more! No wonder the whole of Russia remembers About the day of Borodin! M. Lermontov Eight lines (octave) The Terek howls, wild and vicious, Among the rocky masses, Its cry is like a storm, Tears fly in sprays, But, scattering across the steppe, He took on the sly form And, affably caressing, Murmurs to the Caspian Sea ...
The Nine Lines (nona) are used less frequently. Give once in a lifetime and freedom, As to a share alien to me, To look closer to me. Decathlete (decima) The sciences nourish young men, Give joy to the young, Decorate in a happy life, Protect in an accident, In domestic difficulties, joy And in distant wanderings is not a hindrance. Science is used everywhere, Among peoples and in the desert, In city noise and alone, Sweet in peace and work. M. Lomonosov
Eleven lines Both twelve lines and thirteen lines are allowed. Special forms: triolet (an octet line in which the lines are repeated in a certain order), rondo (two five-line lines and three lines between them), sonnet (two quatrains, two tertets) and Onegin stanza (fourteen lines, specially organized). The stanza is organized by rhyme. There are rhymes: cross (ab ab), adjacent or paired (aa bb), ring or encircling (ab ba).
Rhymes are masculine - with an emphasis on the last syllable of the line (window - for a long time), feminine - with an emphasis on the second syllable from the end of the line (for nothing - by fire), dactylic - with an emphasis on the third syllable from the end of the line (spreads - spills), hyperdactylic with stress on the fourth and subsequent syllables from the end (hanging - mixing). Exact rhymes differ (repeating sounds are the same: mountains - rubbish, he is a dream), inaccurate (with mismatched sounds: story - longing, crucified - passport)
The main thing in the lyrics is the artistic image, which is created with the help of a variety of figurative and expressive means. The most common tropes are metaphors, epithets, personifications, comparisons. Metaphor - the use of a word in a figurative sense based on the similarity in any respect of two objects or phenomena: diamond dew (sparkles like a diamond), the dawn of a new life (beginning, awakening). Personification is a figurative means that consists in attributing the properties of living beings to inanimate objects: What are you howling about, night wind, what are you so madly complaining about. An epithet is a poetic, figurative definition, usually expressed by an adjective, sometimes a noun, an adverb, a participle: velvet eyes, a tramp-wind, looking greedily, rushing sparkling. Comparison - a figurative comparison of two phenomena: Below, like a steel mirror, the lakes of the jet turn blue.
EXPANDED METAPHOR - a combination of several metaphors, when the connecting link between them is not named and exists in an open form. The forest overturned in the water, It drowned in water with jagged peaks, Between two curving skies. Mentally drawing a picture, we will restore the missing image in the text: a mirror of water. Restoring the missing image creates an extended metaphor. In versification, various other tropes and figures of speech are also used.
Conclusion. I managed to consider only some features of the lyrics and its genres. It can be concluded that lyrics are a whole huge world of literature that lives according to its own laws, knowing which we can not only understand poems, but also enrich our spiritual world and develop our creative abilities.
The term comes from the Greek lyra - a musical instrument, to the accompaniment of which ancient poets performed their poems. Those works that were performed accompanied by a lyre were called lyrical. At the heart of the lyrics - du. Umki and experiences of the lyrical hero. The term "lyrical hero" was introduced. Yu. Tynyanov, the lyrical hero cannot be identified with the author, although he is associated with the author, his spiritual and biographical experience, his spirituality, mental attitude. Lyrical experiences can be inherent not only to the poet, but also to other persons who are unlike those who were not like before.
The character of the lyrical hero is often revealed through actions, deeds. In a poem. V. Simonenko "Do not believe me" the lyrical hero in love characterizes the state of his soul in this way and:
The words are clear, only I know
In muttering boring pour
Your smile in cold fatigue
Thoughtlessly, headless drown
And I'll be stupid
And it's inappropriate to whine for some reason
But when you need to cry
I am homeric, stupidly laughing
An important place in lyrical works is occupied by a direct author's characteristic. V. Simonenko addresses the layman with words;
You do not wake up alarm in the morning
Your brain does not revel in sweat
poisonous miracle curtains
You closed the world
You are wise, you know a lot
You know everything
You yawn with jokes
When the explosion shakes the earth
Often used in lyrical works of autocharacteristics:
When I'm even gray
and my life will go hazy
I will be beautiful to you
but for some, maybe none
And for someone evil, stubborn
for someone else a witch, a cobra
And by the way, if frankly
it was me stupid and kind
(L. Kostenko, "By the way")
An important role in revealing the character of the lyrical hero is played by the description of the appearance:
You must be rich girl
hides a capricious smile in the corners of his lips
What looks like pivzamerzlu viburnum
(V. Vovk, "The Ballad of a Girl Who Was Autumn")
In addition to the lyrical hero, in the lyrics there is an author-narrator and the author himself. S. Broitman calls this lyrical "I", which does not coincide with the lyrical hero. In works with an author-narrator, the lyrics are characterized by a value-based expression of depression, which is expressed through the sub-subjective forms of the author's consciousness: statements belong to a third person, and the subject of the language is not grammatically expressed through expressions.
Such hot autumn leaves. Peche palms
The ash trees creak sadly. awake
Dachshunds hot leaves in autumn like dreams that were. But didn't come true
(X. Kerita, "So hot leaves in autumn")
In works where the face of the speaker is not revealed, in which she is only a voice, the illusion is created that the speaker does not split into the hero and the author, the author himself dissolves in his creation
Unlike the author-narrator, the author himself is a grammatically expressed person, he is present in the text as "I" or "we" In the foreground, it is not him, but situations, circumstances, events. In such works, according to L. Ginsburg, the lyrical personality "exists as a form of the author's consciousness, in which themes are refracted, but does not exist as an independent theme" In X. Kerit's poem "Time forgot about my existence" her experiences and not the author herself experiencing; її experience, and not the author herself:
Time has forgotten my existence. Gone are all the petty anxieties beckoning the stars in the trembling twilight, the ceiling of the blue unknown roads. Big one below me. Earth,. And I myself, like a hard bird. Deep in the heavens I have brought my wings together, I already try the whirlpool with my wings.
We can talk about the lyrical "I" in the case when the native speaker becomes a subject-in-itself, in an independent way. According to. S. Broitman, "the lyrical hero is a subject in itself and a subject in itself, and for-itself. In the lyrics of the XIX century, the number of such forms of expression is growing, in which the one who speaks sees himself from the inside and from the side, from the middle and from the side."
Lyricism originates in syncretic art, where, in addition to the story and the dramatic action, there were feelings and experiences. Lyrics are the most subjective kind of literature. The range of lyrics is wide. Everything that excites, pleases or upsets the poet can be the subject of lyrical experience. A characteristic feature of the lyrical work is laconicism. Thoughts, feelings, experiences in a lyrical work are compressed, condensed, or more generalized than in an epic "Lyrics," wrote the theorist of romanticism. F. Schlegel, "always draws only a state of mind in itself, for example, impulse, surprise, an outburst of anger , pain, joy, and so on - here the whole, in fact, is not a whole. Here the unity of feeling is necessary "1. The lyrics do not strive to create a complete character of the heroic character of the hero.
Lyrical works are predominantly in poetic form. Lyrical works in prose are rare ("Poems in prose" by I. Turgenev, "Your letters always smell of withered roses" by Lesya Ukrainian, poetry in prose. Yu. Because Orshosh-Kumyatsky .. Borshosh-Kum "Yatsky").
a common form of a lyrical work is a monologue, dialogues are rare. The main means of presentation is reflection. Descriptions (of nature, things, interior) are often used in lyrical works, they are a means of luxurious closure of the inner world of a person. In some lyrical works there are stories about events - epic elements. There are also dramatic elements (dialogues). So, the lyrics use the means of other kinds of literature. Lyric poetry is close to music; music, like lyrics, expresses the inner world of a person. In lyrical works there is no detailed plot, situation. In some lyrical works there is a conflict between the lyrical hero and the voice, he fills the lyrical work with drama ("The sun sets" T. Shevchenko, "Bricklayers" I .. Franko Kamenyari "I .. Frank).
There is "role-playing" lyrics. In such lyrics, the author plays the role of one or the other person. It was interesting to use the form of role-playing lyrics. P. Tychina in "Letters to a Poet" Three points of view of three readers are the points of view of the author himself and the author himself.
Lyricism as a literary genre was formed in. Ancient. Greece, reached a high level of development in. Ancient. Rome. Famous ancient poets were. Pindar. Sappho,. Anacreon,. Horace,. Ovid. In an era. From drodzhennya there are works. Petrarch,. Shakespeare of the XVIII-XIX centuries gave the world poetry. Goethe. Byron. Shelley. Shevchenko,. Pushkin. Franco,. Lesya Ukrainians.
Ukrainian lyrics developed from folk songs. Songs of the legendary. Marousi. Churay. Forever included in the golden fund of Ukrainian lyrics:. He was a famous post-lyricist. Pan. P. Tychina, M. Rylsky, V. Sooyura, A. Malyshko, D. Pavlychko, V. Simonenko, Lina Kostenko, P. Skunts P. Skunk.
Types and genres of lyrics
A. Tkachenko for a phased comprehension of the phenomenon of lyrics suggests the following sequence: "1. Genus - lyrics 2. View -
a) poetic, or poetry;
b) dramatized, or role-playing;
c) prose (miniatures and large forms)
3. Genre (song, ode, elegy, epigram, etc.)
Each of these positions in this hierarchy can have its own. Ranov go. For example:
1 genus - lyrics; genus varieties:
a) from the point of view of expressive (autopsychological / role-playing; meditative / suggestive);
b) in terms of themes (landscape / urban; intimate / social; mythopoetic / cultural, etc.);
c) in terms of tonality (minor / major; heroic / comic; dramatic / idyllic, etc.)"
In addition to such varieties, other parameters are possible: tendentious / non-tendential, metaphorical / autological. In accordance with the types of pathos, other varieties are possible. Probable and other hierarchical chains. Yes, and intimate lyrics can be loving.
Ode (Greek give - a lyrical work that glorifies the gods, prominent people, important social events, majestic natural phenomena. In the era of antiquity, a choral song was called an ode. Pi. Indar (5th century BC) was an outstanding classic of odic poetry. He wrote religious hymns of a mythological nature in honor of Dionysus, solemn songs in honor of the military victories of the Greeks and epinicia - songs in honor of the winners in the Olympic Games, only epinicia have survived to this day. Odes of Pindar (522 - 422 BC) had a solemn , pompous style, refined methods, strict metrical form and composition (stanza - antistrophe - epod). The Roman poet Horace (4th century BC) glorified in his odes Venus, Bacchus, the emperor Octavian Augustus V Renaissance ode becomes popular in the work of the Pleiades poets, headed by the famous French writer Ronsard, who published the book "Odes" (1550). The ode was a favorite genre of the classicists. They considered the ode to be high poetic genre. N. Boileau in his work "The Art of Poetry" outlined the rules of description. According to him, the ode should be solemn and touch the reader. There were well-known odes. Klopstock,. Schiller (Germany). Lomonosov,. Kantemir (Russia),. Byron (England) Lomonosov,. Cantemir (Russia). Byron (England).
In Ukrainian literature, the ode genre was formed at the beginning of the 19th century (I. Kotlyarevsky "Song for the new year 1805 to our lord and prince. Alexei. Borisovich. Kurakin"). In the Baroque era, the ode was known as paneg girik, Ukrainian poets moved away from the high style of the ode. Gulak-Artemovsky made a revision in the burlesque style of od. Horace ("K. Garaska", "K. Parkhom"). In the literature of the 20th century, this genre has lost its popularity; poets rarely use it. The famous cycle from. S. Kryzhanovsky ("Ode to a Man", "Ode to a Tree", "Ode to Speed", "Ode to a Library"). The genre of ode was also addressed. Muratov, I. Drach. In Soviet times, socialist realists extolled in the odes of the leaders of the communist party;
I. Kachurovsky calls the ode a stanza with a genre tendency. Three forms are known:
1) an eight-verse stanza of two quatrains with cross rhymes, size - iambic tetrameter;
2) an eight-verse stanza of two quatrains, the first of them has cross rhymes, the second - ohopni;
3) a ten-verse stanza from a quatrain with cross rhymes and six verses with tournament rhymes
There were odic stanzas of twelve verses
Pean (Greek raian, rayeon, raion - healer, savior) - a hymn in honor of the god of poetry and the sun, the protector from trouble. Apollo, later. Peano began to be called songs-prayers, songs of gratitude in honor of other gods. Formed as a genre. Sparta (VII century BC). Authors. Peano were. Alcman,. Bacchilides. Pinda. Pindar.
Hymn (from the Greek hymnos) - a solemn song in honor of an outstanding event or hero. V. Ancient. Egypt and. Greece in hymns praised the gods (cult hymns). Aphrodite. Artemis and Heroes (war hymns). V. Kievskaya. Russ composed hymns in honor of the princes. In the Middle Ages, religious hymns gained popularity. Ancient hymns had a special composition. They included a form of address to the object of praise, in the hymn the feats were sung in detail. The works ended with a prayer, a spell, a wish, they used exclamatory, interrogative figures, and repetitions. V. Ancient. Greece hymns were subject to them.
In Ukraine, the role of national anthems was performed by "Testament" by T. Shevchenko, "The Eternal Revolutionary" and.. Franko. The anthem of independent Ukraine is "Ukraine has not died yet" (words by P. Chubinsky, music by M. Verbitsky)
canzones (Italian canzone - song) - a genre of medieval lyrics of troubadours. Provence, dedicated to the love of the canzone had a strophic structure, through rhymes. The last stanza was shorter, it is dedicated to the lady of the heart. Canzone genre and used. Dante. Petrarch,. Boccaccio, Ukrainian poets rarely addressed this genre. In Ukraine, canzones are known from translations. I.. Franco and. M. Bazhan.. Bazhan.
Psalms (Greek psalmos - song, playing a stringed instrument) - a song of religious content. Psalms were popular during the Baroque era. known psalms. G. Skovoroda ("The Garden of Divine Songs"). T. Shevchenko ("Davydov and Psalms"). With certain changes, this genre was used. P. Tychyna ("Psalm to iron"),. There is. Malanyuk ("Psalms of the steppe" zu "), Y.. Malanyuk ("Psalms of the steppe").
Madrigal (Italian madrigale - a song in the native language) - a short essay (2-12 lines) on the theme of love. N. Boileau wrote that the madrigal should breathe "tenderness, sweetness and love." The madrigal has the form of address, it is marked by wit, contains compliments to the person to whom it is addressed. He appeared in the era. Renaissance. The authors of madrigals were. Petrarch,. Boccaccio. Madrigal is common in salon and album poetry of the 16th-18th centuries. Rarely used in later poetry. The author of the Ukrainian madrigals were. Clement. Zinoviiv,. O. Konissky,. M. Staritsky,. Olga. Petrovna, I. Franco,. Lesya Ukrainian. Alexander. Oles,. Oleg Olzhyndr. Oles,. Oleg. Olzhich.
Dithyramb (Greek dithyrambos) is a solemn choral song dedicated to God. Dionysus, later other gods and heroes. The dithyramb with solemn pathos is close to an ode and a hymn, it was accompanied by dances. The heyday of difi iramba is associated with creativity. Pindara and. Bacchilid, and the formation of the genre with the lyrics of the ancient Greek poet. Arion. Aristotle believed that the dithyramb developed the Greek tragedy of the end of the 4th century BC difi. Rambam ceased to exist. Now, by praises we understand the excessive praise of some face of an individual.
Stanzas (Italian stanza - stop, room) - a four-line stanza, has a complete thought and the genre of meditative lyrics. In terms of content, the stanzas are a cross between an ode and a hymn. A textbook example of stanzas is a poem. O. Pushkin "Do I wander along the noisy streets" The authors of the stanzas are. M. Rylsky,. B. Kravtsov and. M. Vingranovsky. in creative heritage. B. Kravtsiva is a collection of "Sonnets and stanzas. From a poetic diary (1971-1973) of a student (1971-1973)".
Alba (Provence alba - dawn) - a genre of courtly lyrics of the 11th-12th centuries. This is a song that takes the form of a dialogue or monologue, the situation of the Alba is the separation of lovers at dawn. It contains complaints that the dawn, the watchman from the tower, the first sound of the horn interrupted the spell of love, the date of the troubadour knight with the "lady of the heart" Alba characters: a lady, a knight, a jealous husband, a knight's comrade who stands guard. The creators of the album were talented. Ukdela. Bacalaria,. Bertrand de. BorBertrand de. Born.
Rubai is a genre of meditative lyrics borrowed from the folklore of Tajiks and Persians. The heyday of the rubaiyat falls on the 11th century, it is associated with creativity. Omar. Khayyama and. Abu. Sayida. Rubaiyat includes four lines, of which the first, second and fourth rhyme. The first bayt (two-line poem) is the premise, the third is the conclusion, which is reinforced by the aphoristic expression in the last line. Rubaiyat-dramas, rubaiyat-descriptions, edge-to-edge and panegyrics are known. The set of rubaiyat is called rubaiyat.
The rubaiyat genre was addressed. D. Pavlychko,. O. Plowman,. Galina. Tarasyuk,. V. Bazilevsky. The study is devoted to the features of the rubaiyat. Helena. Semochkin "Rubai in the genre-style system of Ukrainian poetry of the second half of the XX century" (2005 p "(2005 p.).
Epithalama (Greek epithal was used in the 8th-6th centuries BC. The authors of the epitals were. Sappho,. Theocritus,. Catullus. V. Trediakovsky, and. Severyanin addressed this genre, it is found in the work of. M. RilskogRilsky.
Serenade (French serenade from Italian sera - evening) is a love song that is performed to the accompaniment of a mandolin or guitar. The serenade glorified the virginity of the girl, invited her on a date. It was distributed in Spain and. Italy, in the music of the XVIII-XIX centuries it became an instrumental work of a chamber character.
In a poem. Lesya Ukrainian "Old fairy tale" knight. Bertoldo won the beauty's heart with serenades. Isidora. The serenade genre was addressed. M. Voronoy,. There is. Comb,. S. Cherkasenko
Epitaph (Greek epitaphios - grave word) - a poem that is intended for inscription on a tombstone. Such an inscription in the form of an epigram, epinicia (song about the buried dead) is associated with the cult of the dead, it had a didactic function. V. Ancient. Greek epitaphs glorified the virtues of outstanding people, heroes, in particular defenders. Fatherland. Subsequently, epitaphs appeared in honor of non-existent people, in which certain human vices were exposed. In Ukraine, epitaphs became widespread in baroque literature (Lazar. Baranovich, Varlaam. Yasinsky, Feofay. Prokopovich). Epitaphs appeared in the literature of the 20th century. V. Ellan-Blue. V. Simonenko,. M. Soma. This genre has not lost its significance even today.
Epigram (Greek epigramma-inscription) is a genre of satirical lyrics. V. Ancient. In Greece, epigrams were written on altars, first in the form of an elegiac distich, later in iambic meter. The history of the epigram is connected with names. Ez zopa. Plato. Sappho,. Simonides. Anacreon, in Roman literature -. Marshall. Juvenal. The epigram was popular in creativity. G. Smotrytsky,. A. Rimshi. This genre was used. I. Franko,. V. Samoylenko,. V. Sos yu-ra,. D. Belous,. V. Simonenko,. P. Osadchuyuo,. P. Osadchuk.
Elegy (Greek elegeia - complaint) - a lyrical work of melancholy, sad content. The elegy appeared in Ancient. Greece in the 7th century BC Small form of elegiac distich. Archilochus. Tirtaeus,. Solon wrote patriots ichni elegies. Mimnerm - intimate. Roman literature cultivated the genre of love elegy (Propertius, Tibull, Ovid). The elegy was a favorite genre of sentimentalists, Ukrainian romantics (M. Petrenko, V. Zab elaia). Famous elegies-confessions (S. Rudansky), elegies-thoughts (T. Shevchenko), elegies-songs (L. Glebov). There are elegies in art. I.. Franco ("Maiovi elegies"),. Lesia Ukrainsky ("To my pianoforte" ("Elegy about the ring of night", "Elegy about the ring of love"). Modern poets turn to this genre (P. Tychina, A. Malyshko, and. Drach,. Lina. Kostenko). Features of the genre of elegy were studied by such literary scholars as G. Sivokon ("Long ago the elegy was embodied by such literary scholars as G. Sivokin" ("Long ago
Ukrainian poetics"), V. Maslyuk ("Latin poetics and rhetoric of the 17th - first half of the 18th century and their role in the development of literary theory in Ukraine"), Elena Tkachenko ("Ukrainian classical elegy")
Messages - a lyrical work written in the form of a letter or appeal to some person or person. In the works of this genre, didactic or moral-philosophical problems were used, which were combined with non-gibberish, humorous or satirical. The founder of the genre was a Roman poet. Horace, the author of the message "K. Pisoniv" The genre of the message was addressed. T. Shevchenko ("My friendly message to my dead, and the living, and unborn lands in Ukraine and not in Ukraine", "Gogol", "Mark. Vovchka", "K. Osnovyanenko"), and. Franco ("Comrades from prison", "Young friend"),. Lesya Ukrainian (of this genre is in the work of P. Tychyna, M. Rylsky, M. Dry-Khmara, V. Sosyur. The top genre is the creative dorobka. P.. Tichini,. M. Rilsky,. M.. Dry-Khmari, V.. Sosyuri.
A lyrical portrait is a poem in which an assessment of a certain real person is given (There is. Malanyuk - "To the portrait. Mazepa", D. Pavlychko - "Alexander. Dovzhenko", M. Rylsky - "Shevchenko"). In lyrical portraits, the appearance and inner world of a lyrical hero or a personified hero, or a specific individual, are painted.
Opinion (duma) is a lyrical genre of a meditative-elegiac nature, common in the works of Ukrainian, Polish, Belarusian romantic writers of the 19th century. Thoughts are works. T. Shevchenko "Why do I need black eyebrows", "It's hard to live in the world", a cycle of poems. M. Petrenko "Thoughts and Songs" Dumi and Spivy.
Fiction is developing, the lyrics are enriched with new genre formations. In poetic practice, there are genres borrowed from music (march, nocturne, prelude, waltz, variation, suite, rhapsody symphony, requiem, oratorio, cantata), painting (etude, portrait, self-portrait, still life, bas-relief). Sometimes poets call their works monologues, reports, essays, short stories, short stories, pamphlets.
Since a fine classification of lyrical works in modern literature is impossible, pure genres rarely occur, they are synthesized, it is advisable to single out broad genre groups of works, in particular, philosophic, meditative, suggestive, journalistic, satirical and scientific lyrics. In philosophical lyrics, the rational dominates over the emotional; its subject is the philosophical development of man and the world, the general laws of the development of society and nature, ontological and existential problems. Philosophical lyrics use such genres as elegy, etude, sonnet, ghazal, rubaiyat. In the 50-70s of the XX century in the genre of philosophical pp. The coins worked. M. Rylsky,. A. Malyshko,. P. Shestov.. Tichina.
Meditation (Latin meditatio - reflection) is a genre of lyrical poetry in which the poet reflects on ontological, existential problems. At the heart of meditative lyrics is an analysis of the inner world of a person, sleeping and being seen with the environment. The author of meditation seeks to know himself and the world, certain life phenomena. Meditations were written in Ukrainian poetry. Lazarus. Baranovich,. G. Skovoroda,. T. Shevchenko,. P. Kulish, and. Franco,. M. Rylsky. M. Zerov,. B-I. Antonich,. Lina. Kostenko,. P. Movchan,. Igor. Kalinets Igor. Kalynets.
Suggestive lyrics (lat. suggestio - hint, suggestion) - a genre group of lyrical works, mastering the spiritual sphere, internal conflicts of a moral and psychological nature. An important role in suggestive lyrics is played by associative links, rich metaphor, melodiousness, blurry images, shattered cultural and intonational constructions, and indirect allusions. Suggestive lyrics are more often a stream of feelings, complex emotional experiences without determining motives, reasons, incomprehensible, elusive states of a lyrical hero that are difficult to reproduce by realistic means. Suggestive verses are written by poets of a philosophical and meditative way of thinking. It is most often addressed by artists with introspective thinking (B. Pasternak - "Winter Night", Lina. Kostenko - "Autumn day, autumn day, autumn" іnіy day, оіній...).
In poetic suggestion, the impressionistic style dominates; in it, a living impression is in the foreground. A sample of such lyrics is a poem. Lina. Kostenko "Autumn day, autumn day, autumn"
Autumn day, autumn day, autumn day!
Oh blue day, oh blue day, oh blue!
Hosanna of autumn, in sorrow
Is it autumn, autumn, oh!
The last asters back filled with pain
Gene, a carpet woven from birds, flies over the field
Baghdad thief stole summer, Baghdad thief
And the horse is crying among the grasses - there are no melodies
Journalistic lyrics are openly tendentious works, its subject is social, political, ideological problems, tasks: to approve or refute some idea. Journalistic lyrics are addressed to a specific person or a wide range of readers. It organically combines the rational and the emotional, it resorts to such a method of expression as a declaration.
Journalistic lyrics use the genres of monologue, message, ode, pamphlet, reportage, open letter
It is difficult to name a poet who would not write journalistic poems
satirical lyrics. Satire (lat. satira from satura - mixture, all sorts of things) combines works of different genres that expose negative phenomena in the life of society or a person. In a narrow sense, these are lyrical works of accusatory content. The first examples of this genre are found in the Roman poet. Juvenalnala.
“In the era of classicism,” notes T. Valkovaya, “poetry satire could be epic and lyrical in its compositional structure. In some posts, satire had a lyrical-epic character (Kantemir, Derzhavin) and sometimes more epic than lyrical (Kantemir ), in others - lyrical (Lomonosov,. Sumarokov,. Derzhavin). Creating a satirical image, the poet uses hyperbole, grotesque, caricature. Satire is represented by such genres as parody, epigram, satirical miniature, satirical author's song, satirical dialogue, microbike, paradoxical aphorism, lyrical feuilleton, epitaph, satirical pamphlet, friendly caricature, replica, variety verse.
Scientific lyrics. This is a genre of lyrics in which the content is a scientific component. The theoretician of scientific poetry is the French literary critic 3. Gil. AT"". Treatise on the word "(1869) he wrote about the need to combine. Uvat in a work of art science and art. An example of scientific poetry is the work of. Titus. Lucretius. Kara" On the nature of things "Horace ("K. Pisoniv"),. N. Boileau ("Poetic Art") violated the theory of art with the problem in their works. Scientific poetry is gaining particular popularity in the literature of the 20th century. It is represented by M. Dolengo ("Objective Lyrics. Schemes and Diagnoses", 1923), V. Polishchuk ( "Brilliant crystals"). The influence of scientific and technological progress was reflected in the lyrics of the futurists, constructivists. Scientific problems are comprehended by I. Drach ("Ballad of DNA", "Chernobyl. Madonna"). Samples of scientific poetry are individual works from the collection. RCT "In the space orchestra" P. Tychyna, "Number" M. Desirable. Scientific poetry can have philosophical (P. Antokolsky - "The Fourth Dimension", and. Selvinsky - "Space Sonata"), meditative (L. Vysheslavsky - "Star sonnets"), journalistic (I. Drach - "Ballad of Fr. DNA") characteristic - "Cosmic Sonata"), meditative (L.. Vysheslavsky - "Zoryanі sonnets"), journalistic (І.. Drach - "Balad about. DNA") character.
From what has been said about lyrics, we see that the problems of its classification remain open.
When studying lyrical works, thematic classification is often used. The following genres are distinguished:
1. Civic lyrics - reveals social and national issues and feelings ("Golden hubbub" by P. Tychyna, "Love Ukraine" by V. Sosyura, "To any parliament" by P. Skunts)
In civil lyrics, one can single out socio-political ("Anti-globalistic" by P. Skunts) and patriotic ("I don't care" by T. Shevchenko) themes
2. Intimate lyrics reflect the experiences of the hero related to the personal life of its variety:
a) love - about love as a state of mind of a lyrical hero ("No one loved like that" by V. Sosyura);
b) erotic - about bodily sensual love (collection "Golden Apple" by D. Pavlychko);
c) family ("Gray-haired swallow" B. Oleinik);
d) lyrics of friendship ("Without leaders" by P. Skunts)
3. Philosophical lyrics - understanding the meaning of human life, the problem of good and evil (collection of Lina. Kostenko "Over the shores of eternity")
4. Religious lyrics - expresses religious feelings and experiences ("Prayer" by T. Shevchenko, "My Temple" by Zoreslav)
5. Landscape lyrics convey the reflections and experiences of the lyrical hero, caused by natural phenomena ("Autumn in the Hutsul region" by Y. Borshosh-Kumyatsky, "Again the rain under the windows laments" by X. Kerita)
6. Satirical lyrics expose social or human vices ("Caucasus" by T. Shevchenko, "From voiced to deaf" by P. Skunts)
Lyrics- one of the three (along with the 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 most often plotless (not eventful), unlike the drama, they are subjective. In lyrics, any phenomenon and event of life that can affect the spiritual world of a person is reproduced in the form of a subjective, direct experience, i.e. a holistic 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 autobiography, acquires in the lyrics due to the scale and depth of the author's personality a universal meaning; this kind of literature has access to all the fullness of expression of the most complex problems of being. A. S. Pushkin's poem "... Again I visited ..." is not reduced to a description of rural nature. It is based on a generalized artistic idea, a deep philosophical thought about the continuous process of life renewal, in which the new comes to replace the departed, continuing it.
Each time develops its own poetic formulas, specific socio-historical conditions create their own forms of expression of a lyrical image, and for a historically correct reading of a lyrical work, knowledge of a particular era, its cultural and historical identity is necessary.
The forms of expression of experiences, thoughts of the lyrical subject are different. It can be an internal monologue, reflection alone with oneself ("I remember a wonderful moment ..." A. S. Pushkin, "About valor, feats, glory ..." 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 a different style), which allows you to create the impression of a direct response to some kind of life phenomenon (“Winter Morning” by A. S. Pushkin, “The Sitting Ones” by V. V. Mayakovsky); an appeal to nature, which helps to reveal the unity of the spiritual world of the lyrical hero and the world of nature ("To the sea" by A. S. Pushkin, "Forest" by A. V. Koltsov, "In the garden" by A. A. Fet). In lyrical 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). In terms of subject matter, lyrics can be civil, philosophical, love, landscape, etc. For the most part, lyrical works are multi-dark, various motives can be reflected in one experience of the poet: love, friendship, patriotic feelings, etc. I. Rozhdestvensky).
There are various genres of lyrical works. The predominant form of lyrics in the 19th–20th centuries. - poem: a work written in verse of a small, compared with a poem, volume, which makes it possible to embody in a word the inner life of the soul in its changeable and multilateral manifestations (sometimes in literature there are small works of a lyrical nature in prose that use means of expressiveness characteristic of poetic speech: "Poems in prose" by I. S. Turgenev). Message- a lyrical genre in poetic form in the form of a letter or appeal to a certain person or group of people of a friendly, loving, panegyric or satirical nature ("To Chaadaev", "Message to Siberia" by A. S. Pushkin, "Letter to a Mother" by S. A. Yesenin). Elegy- a poem of sad content, which expresses the motives of personal experiences: loneliness, disappointment, suffering, the frailty of earthly existence ("Recognition" by E. A. Baratynsky, "The flying ridge is thinning clouds ..." A. S. Pushkin, "Elegy" N A. Nekrasova, "I do not regret, I do not call, I do not cry ..." S. A. Yesenin). Sonnet- a poem of 14 lines, forming two quatrains and two tertiary lines. Each stanza is a kind of step in the development of a single dialectical thought ("To the Poet", "Madonna" by A. S. 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. Soloukhin, N. N. Matveeva, L. II. Vysheslavsky, R. G. Gamzatov). Epigram- a short poem, viciously ridiculing any person or social phenomenon (epigrams by A. S. Pushkin, M. Yu. Lermontov, I. I. Dmitriev, E. A. Baratynsky, S. A. Sobolevsky, S. Solovyov,
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. A romance is a lyrical poem intended for musical arrangement. Genre features (without strict observance): melodious intonation, syntactic simplicity, completeness of a sentence within a 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). Epitaph- a gravestone inscription (usually in verse) of a commendable, parodic or satirical nature (epitaphs by R. Burns translated by S. Ya. Marshak, epitaphs by A. P. Sumarokov, N. F. Shcherbina). The stanzas are a small elegiac poem in a few stanzas more often meditative (in-depth reflection) than love content. Genre attributes are indefinite. For example, "Do I wander along the noisy streets ...", "Stans" ("In the hope of glory and goodness ...") by A. S. Pushkin, "Stans" ("Look how calm my eyes are ..." ) M. Yu. Lermontov, "Stans" ("I know a lot about my talent") S. A. Yesenin and others.
Eclogue- a lyrical poem in a narrative or dialogic form, depicting everyday rural scenes against the backdrop of nature (eclogues by A.P. Sumarokov, V.I. Panaev).
Madrigal- a small poem-compliment, 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 a holistic worldview of the poet, is considered not in isolation, but in the context of the entire work of the artist. A lyrical work can be analyzed either holistically - in the unity of form and content - observing the movement of the author's experience, the poet's lyrical thoughts 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 (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 the so-called content questions. It is also impossible to reduce the work to a formal list of visual means of the language taken out of context. It is necessary to penetrate into the complex system of linking all the elements of the poetic text, to try to reveal the basic feeling-experience that permeates the poem, to comprehend the functions of language means, the ideological and emotional richness of poetic speech. Even V. G. Belinsky in the article "The division of poetry into genera and types" noted that a lyrical work "can neither be retold nor explained, but only what can be made to feel, and then only by reading it the way it came out of -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 iridescent colors has just fluttered out.
Lyrics are a subjective kind of fiction, unlike 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 of 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 a contemporary and in subsequent generations. If the basis of the composition of an epic or dramatic work is a plot that can be retold "in one's own words", a lyrical poem cannot be retold, 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 the division of the flow of speech into verses and syntactic articulation, poetic size, sound instrumentation, rhyming methods, the nature of the rhyme.
The main means of creating a lyrical image is language, a 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 has many meanings. 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, compacted, emotionally colored, and as expressive as possible. It tends to generalization, symbolism. The selection of a word, especially significant in revealing the figurative content of a poem, in a poetic text is carried out in various ways (inversion, transfer, repetitions, anaphora, contrast). For example, in the poem "I loved you: love still, perhaps ..." A. S. Pushkin's leitmotif of the work is created by the key words "loved" (repeated three times), "love", "beloved".
Many lyrical statements tend to be aphoristic, which makes them winged like proverbs. Such lyrical phrases become walking, memorized, used in relation to a certain mood of thought and state of mind of a person. In the winged lines of Russian poetry, the most acute, polemical problems of our reality at different historical stages are focused, as it were. The winged line is one of the primary elements of true poetry. Here are some examples: "Yes, but things are still there!" (I. A. Krylov. "Swan, Pike and Cancer"); "Listen! lie, but know the measure" (A. S. Griboyedov. "Woe from Wit"); "Where are we going to sail?" (A. S. Pushkin. "Autumn"); "I look at the future with fear, I look at the past with longing ..." (M. Yu. Lermontov); "Here comes the master - 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 the eternal battle! We only dream of peace" (A. A. Blok. "On the Kulikovo field"); "You can't see a face face to face. You can see a lot at a distance" (S. A. Yesenin. "Letter to a Woman"); "... Not for the sake of glory, for the sake of life on earth" (A. T. Tvardovsky. "Vasily Terkin").
