A favorite of poets and lovers of poetry, the sonnet traces its lineage to the works of the Provencal troubadours, who created secular lyrics and were the first to compose songs in in native language and not in Latin. The name of the genre goes back to the Provencal word sonet - a sonorous, sonorous song.
What is a sonnet? History of occurrence
(1209-1229), which swept the south of France, forced many troubadours to move to Sicily, where in the 1200s in Naples, at the court of the philanthropist and poet Frederick the Second, a school of poetry was formed. Its representatives contributed to the transformation of the sonnet - in Italian it was already called sonetto - into the leading genre of their work. Sicilian poets used the Tuscan dialect, which already at the turn of the 13th-14th centuries formed the basis of Italian literary language. Many geniuses of the Renaissance wrote sonnets: Petrarch, Dante, Boccaccio, Pierre de Ronsard, Lope de Vega, Shakespeare... And each of them brought something new to the content of the poems.
Form features
The classical sonnet consists of fourteen stanzas. In the era of the Italian and French Renaissance, poets wrote poems in the form of two quatrains (quatrains) and two tertsinas (three lines), and during the English period - three quatrains and one couplet.
The sonnet poem is incredibly musical, which is why it is easy for him to compose music. A certain rhythm was achieved due to the alternation of male and female rhymes, when the stress falls on the last and, accordingly, on the penultimate syllable. The researchers found that the classic sonnet contains 154 syllables, but not all poets followed this tradition. Italy, France and England are the three cradles of the development of this poetic form. The authors of the sonnets - natives of each country - made some changes in form and composition.
Wreath of sonnets
This particular form of the poem originated in Italy in the 13th century. There are 15 sonnets in it, and the last contains the main theme and idea of the remaining fourteen. For this reason, the authors started the work from the end. In the fifteenth sonnet, the first two stanzas are important, and according to tradition, the first sonnet must certainly begin with the first line of the last and end with the second. Other parts of the wreath poem are no less interesting. In the remaining thirteen sonnets, the last line of the previous must necessarily be the first line of the next.
Of the Russian poets in the history of world literature, the names of Valery Bryusov were also remembered. They knew perfectly well what a sonnet was, so they showed interest in a wreath of sonnets. In Russia, this form of writing originated in the 18th century. The genius Valery Bryusov was a master of this genre and strictly observed the established foundations. His last poem from a wreath of sonnets ("The Fatal Series") begins with the lines:
"Fourteen I had to name
Names of loved ones, memorable, alive!
To make the composition of the genre more understandable, it is necessary to conduct a little analysis. According to tradition, the first sonnet begins with the final stanza, and ends with the second; the third sonnet begins with the last line of the previous one, in this case - "the names of loved ones, memorable, alive!" It can be argued that Valery Bryusov has reached perfection in this genre. To date, literary critics have counted 150 wreaths of sonnets by Russian poets, and there are about 600 of them in world poetry.
Francesco Petrarch (1304-1374). Italian Renaissance
He was called the first man of the Renaissance and the founder of classical philology. Francesco Petrarca was educated as a lawyer, became a priest, but did not live according to the principle of theocentrism. Petrarch traveled all over Europe, being in the service of the cardinal, began his literary activity in the village of Vaucluse in the south of France. All his life he interpreted ancient manuscripts and preferred the ancient classics - Virgil and Cicero. Many of his poems, including sonnets, Petrarch placed in the collection "Canzoniere", which in literal translation means "Book of Songs". In 1341, for his literary merits, he was crowned with a laurel crown.
Features of creativity
The main feature of Petrarch is to love and be loved, but this love should apply not only to a woman, but also to friends, relatives, nature. He reflected this idea in his work. His book "Canzoniere" refers to the muse Laura de Noves, the daughter of a knight. The collection was written almost all his life and had two editions. The sonnets are called "On the Life of Laura", the second - "On the Death of Laura". There are 366 poems in total in the collection. In 317 sonnets of Petrarch, the temporal dynamics of feelings can be traced. In "The Canzoniere" the author sees the task of poetry in the glorification of the beautiful and cruel Madonna. He idealizes Laura, but she does not lose her real characteristics. The lyrical hero experiences all the hardships and suffers that he has to break his sacred vow. The author's most famous sonnet is 61, in which he is glad for every minute spent with his beloved:
"Blessed is the day, month, summer, hour
And the moment when my gaze met those eyes!
Petrarch's collection is a poetic confession in which he expresses his inner freedom and mental independence. He worries, but does not regret love. He seems to justify himself and glorify earthly passion, because without love humanity cannot exist. The sonnet verse reflects this idea, and it continues to be supported by later poets.
Giovanni Boccaccio (1313-1375). Italian Renaissance
The great Renaissance writer (best known for his work "The Decameron") was an illegitimate child, so he was initially treated with contempt, but talent prevailed, and young poet received recognition. The death of Petrarch touched Boccaccio so much that he wrote a sonnet in his honor, in which he revealed the idea of the frailty of earthly life.
"To Sennuccio, to Chino joined,
And to Dante you, and before you
Then what was hidden from us appeared visible."
Giovanni Boccaccio dedicated sonnets to Dante Alighieri and other geniuses, and most importantly - to women. He called his beloved by one name - Fiametta, but his love is not as exalted as that of Petrarch, but more mundane. He slightly changes the genre of the sonnet and sings of the beauty of the face, hair, cheeks, lips, writes about his attraction to the beauty and describes the Dodger and the beloved of women, a harsh fate awaited: disillusioned with the nature of beautiful creatures and having suffered betrayal, Boccaccio in 1362 took the clergy.
Pierre de Ronsard (1524-1585). French Renaissance
Born into a family of wealthy and noble parents, Pierre de Ronsard had every opportunity to receive good education. In 1542, he presented scanty French poetry with new poetic sizes and rhymes, for which he was deservedly called "the king of poets." Alas, he paid dearly for his success and lost his hearing, but the thirst for self-improvement did not leave him. Advanced ancient poets he considered Horace and Virgil. was guided by the work of his predecessors: he knew what a sonnet was, and described the beauty of women, his love for them. The poet had three muses: Cassandra, Marie and Elena. In one of the sonnets, he confesses his love for a certain dark-haired and brown-eyed maiden and assures her that neither red-haired nor fair-eyed will ever evoke bright feelings in him:
"I brown eyes I burn with living fire
I don’t want to see gray eyes ... "
William Shakespeare (1564-1616). English Renaissance
In addition to the magnificent comedies and tragedies included in the treasury of world literature, Shakespeare wrote 154 sonnets, which are of particular interest to modern literary scholars. It was said about his works that "with this key he opened his heart." In some sonnets, the writer shared his emotional experiences, while in others it was restrained, dramatic. Shakespeare dedicated fourteen stanza poems to his friend and the Swarthy Lady. Each sonnet has a number, so it is not difficult to identify the gradation of the author's feelings: if in the first works the lyrical hero admires beauty, then after the 17th sonnet, pleas for reciprocity come. In poems numbered 27-28, this feeling is no longer joy, but an obsession.
Shakespeare's sonnets were written not only in love themes: sometimes the author acts as a philosopher who dreams of immortality and condemns vices. Nevertheless, a woman for him is a perfect being, and he asserts with confidence that beauty is destined to save the world. In the famous sonnet 130, Shakespeare admires the earthly beauty of his beloved: her eyes cannot be compared with the stars, her complexion is far from the shade of a delicate rose, but in the last couplet he assures:
And yet she will hardly yield to those
Who was slandered in lush comparisons.
Italian, French and English sonnets: similarities and differences
The Renaissance gave mankind many masterpieces of literature. Beginning in Italy in the thirteenth century, little later era moved to France, and two centuries later - to England. Each writer, being a native of one country or another, introduced some changes into the form of the sonnet, but the most relevant topic remained unchanged - the glorification of the beauty of a woman and love for her.
In the classical Italian sonnet, quatrains were written in two rhymes, while tercetes were allowed to be written both in two and in three, and the alternation of male and female rhymes was optional. In other words, the stress in a stanza could fall on both the last and the penultimate syllable.
France introduced a ban on the repetition of words and the use of inaccurate rhymes. Quatrains from tercetes were strictly separated from each other syntactically. Renaissance poets from France wrote sonnets in ten syllables.
An innovation was introduced in England. The poets knew what a sonnet was, but instead of its usual form, consisting of two quatrains and two tercets, there were three quatrains and one couplet. The final stanzas were considered key and carried an expressive aphoristic maxim. The table shows normalized rhyme variants in different countries.
Sonnet today
fourteen stanza original form poetry has successfully evolved into creativity contemporary writers. In the twentieth century, the most common was the French model. After Samuil Yakovlevich Marshak brilliantly translated Shakespeare's sonnets, the authors became interested in the English form. The latter is in demand even now. Despite the fact that all the sonnets were translated by outstanding literary geniuses, interest in this genre remains relevant to this day: in 2009, Alexander Sharakshane released a collection with translations of all Shakespeare's sonnets.
MODERN RUSSIAN SONNET.
……………………………………………
Dear friends!
I gave my word to myself to stop writing poetry and articles, at least for a while, and finally answer all the reviews that you abundantly bestow on me. And then it feels like I took a loan from a bank and did not return it on time.
But it was not there! A certain Perepyolkin or Kanareikin appeared on my page and immediately declared: “Your sonnets are some kind of crap, not sonnets!”
“Well, I think, finally someone will explain to me what a sonnet is and how to write it correctly”
But that was not the case: my critic flew away as suddenly as he arrived.
“That's how it always is! - I sighed. - They call you a goat, but they forget to feed you cabbage. What kind of people?
I decided to call on the Internet for help. Read:
“SONNET (Italian sonetto, from Italian sonare - to sound), solid form, lyric poem of 14 lines in the form of a complex stanza, consisting of two quatrains (quatrains) for two rhymes and two tercetes (three lines) for three, less often - for two rhymes. This form was invented in ser. 13th c. Sicilian poet Jacopo da Lentini, and glorified her famous Italian Renaissance poets Dante, F. Petrarch, T. Tasso. The Italian (Petrarchian) sonnet consists of two quatrains with the rhyme abba abba or abab abab and two tercetes with the rhyme cdc dcd or cde cde, less often cde edc.
/end quote/
Petrarch Sonnet No. CCLXV
Ruthless heart, wild temper
Under the gentle, meek, angelic disguise
Infamous they threaten me with death,
Over time, by no means becoming kinder.
At the appearance and death of herbs,
And on a clear day, and under the desert moon
I'm crying. My lot is the reason
Madonna and Cupid. Am I not right?
But I don't want to despair
I know a small drop sample,
Sharpened marble and granite with zeal.
Tears, prayers, love, I'm sure
Anyone can be touched from the heart,
Ending cruelty forever.
Except Italy given form the sonnet became the leading one in France, Portugal, and Spain.
The sonnet was written mainly in iambic - five-foot or six-foot. 14 verses / lines / of the sonnet were grouped into two quatrains / quatrains / and into two three-line verses (tercet). In quatrains - in the first half of the sonnet - as general rule, there should have been two rhymes: one feminine, the other masculine.
Less stringent requirements for rhyming were imposed on tercetes.
. The first great sonnetists Dante (1265-1321) and Petrarch (1304-1374) used in each verse / line / words totaling 10 - 12 syllables, which many aesthetes call the "golden section" of poetry.
Sonnet construction examples:
1) abba, abba, ccd, ede
2) abba, abba, cdc, dee
3) abba, abba, cdd, ccd
4) abab, abab, cdc, cdc
5) abab, abba ccd, eed,
etc.
Nowadays, forgetting that such a sonnet was born in Italy, it is called French.
But what is good for a Frenchman may not be suitable for an Englishman. For this reason, the wise inhabitants of foggy Albion invented their own sonnet, in which there is practically nothing left of Petrarch's sonnet. In addition to the requirement to compose it from 14 verses / lines /.
In the middle of the 16th century in England, G. Howard, Earl of Surrey, developed a sonnet with the rhyming scheme abab cdcd efef gg. - 3 quatrains + 2 lines containing the author's conclusion for the sake of which 3 quatrains were written.
It was this form that William Shakespeare, whom we love so much, used in his work.
The first Russian sonnet was written by V. K. Trediakovsky (1735).
Following him, other Russian poets began to write sonnets.
The most famous are the works of A.A. Feta, V.Ya. Balmont, A.A. Blok, I.A. Bunin.
I call the sonnet of Russian poets modern, since many of our authors ignore many of the conventions of the medieval Western sonnet.
In addition to five and six-foot iambic, sonnets written in iambic tetrameter appeared in Russian poetry / I.F. Bagdanovich, S.S. Bobrov/.
Some authors were carried away by inverted sonnets, in which the tercetes were on top and the quatrains were below, lame sonnets written in multi-foot iambic.
P.P. Ershov has sonnets written in amphibrach pentameter, and K.D. Balmont with a pentameter anapaest. In a Russian sonnet, one could meet a "tail" to a sonnet of 1-2 additional lines.
In a word: the Russian soul does not tolerate any framework that limits its free flight!
There is no need to talk about the content of the Russian sonnet, which I call MODERN. Write about what your heart desires!
Task number 1.
TRY TO IDENTIFY WHICH OF THE FOLLOWING VERSE ARE THE SONNETS:
1.
The moment decides, but the hour prejudges,
Three days, a week, months and years.
An artist in a moment - an explosion in the womb of nature,
Translucent gaze into the Lord's eyes.
Poets. Brothers. crowned us
Not people. We are ancient people. We are vaults
other planets. We are Spirit transitions.
And the edge is a second, where our diamond is.
But if I'm a poet, let me not forget
What is underground in creativity
Spin, spin, spin the spindle.
It was a miracle to get out.
So that the spirit of the flower poured everywhere for miles.
So that the verse looked into the soul and fell to the bottom.
2. In conscience, say: whom do you love?
You know, many people love you.
But you are ruining youth so carelessly,
What is clear to everyone - you live without loving.
His fierce enemy, not knowing regret,
You destroy secretly day by day
Gorgeous, waiting to be updated,
Your inherited house.
Change - and I will forgive the offense,
In the soul love, not enmity warm.
Be as gentle as you look beautiful
And be kind and generous to yourself.
Let beauty live not only now,
But he will repeat himself in his beloved son.
3. Stop a beautiful moment!
Your hand is in my hand
Clouds float across the sky,
The wind caresses the skin,
From the clouds, shadows run across the field ...
Why do we need fruitless dreams?
Among the flowers, you and I walk, -
Stop for a great moment!
Nature has so much to offer!
Beauty seeing forests or meadows,
Accepting God's Grace
And we learn to appreciate each other.
We feel the depth of happiness
And two souls merge into one!
4. Everything here will outlive me,
everything, even dilapidated starlings
and this voeduh, vernal voeduh,
sea voyage.
And the voice of eternity advises
with the irresistibility of this,
and over the cherry blossoms
the radiance of the light moon pours.
And it seems so easy
whitening in the thicket of emerald,
I won't tell you where...
There among the trunks is even lighter,
and all the hike to the alley
at the Tsarskoye Selo pond.
5. Severe Dante did not despise the sonnet;
In it, the heat of Petrarch's love poured out;
The creator of Macbeth loved his game;
Camões clothed his mournful thought with them.
And today he captivates the poet:
Wordsworth chose him as an instrument,
When away from the vain light
Nature he draws an ideal.
Under the shadow of the distant mountains of Taurida
Singer of Lithuania in the size of his cramped
He closed his dreams instantly.
Our maidens did not know him yet,
How did Delvig forget for him
Hexameter sacred tunes.
6. Outlive everyone.
Live it again
like they are snow
the dancing snow of dreams.
Survive the corners.
Survive the corner.
tie the knots
between good and evil.
But take a moment.
And survive the century.
Survive the scream.
Experience laughter.
Experience the verse.
Survive everyone.
7.
Cupid, die blinding radiance
Two wondrous eyes sent down by you.
They bring me chills, then heat,
But there is not even a drop of compassion in them.
As soon as I knew their charm,
How to lose freedom and peace.
Neither the wind from the mountains, nor the shaft from the darkness of the sea
The fire is not extinguished, given in punishment.
Amur! Well, I'm ready to bear your oppression
And live as a slave in chains
Losing them is tantamount to death for me!
Only one can easily understand my misfortune
Who, not knowing how to control passions,
Suffered in the heat of love whirlwind.
The one who, having read all these verses, will say: “THIS IS THE SAME ALL SONNETS!”
1. Konstantin Balmont “Poet” / Series “Sonnets of K.P. Balmont"
2. W. Shakespeare Sonnet No. 10.
3. Sorry for the impudence - this is mine
4. Anna Akhmatova "Seaside Sonnet"
5. A.S. Pushkin "Sonnet"
6. I. Brodsky "Sonnet"
7. RAFAEL SANTI TO FORNARINA /Translated by A. Makhov/
All are so different - and all the sonnets! True, most of them are modern sonnets, not according to the rules of Jacopo da Lantini and Sir G. Howard, Earl of Surrey.
Slavic languages differ from both Romance and Germanic. Polysyllabic words are more common in them and the stresses do not fall in the same pattern as in Romanesque and Germanic.
What is iambic, beloved by classical sonnetists? This is the size in which an unstressed syllable is immediately followed by a stressed / Meaning logical stress /
ALL LIFE - THEATER AND PEOPLE IN IT - ACTORS
B U / B U / B U B / U / B U B /
In our favorite translations of Samuil Yakovlevich Marshak of Shakespeare's sonnets, iambic pentameter is often not mentioned:
Sonnet No. 1.
WE HAVE A HARVEST FROM THE BEST VINES
U/ B B UB / U / B U B/ U /
After the death of Stalin, who awarded Samuil Yakovlevich a prize own name, birds of all stripes fell upon Marshak: How could he call poems sonnets, where the size of a classic sonnet is not preserved! Is this Shakespeare?
There were many "correct - iambic" translations of Shakespeare. But they did not sound in Russian. Marshak, being an outstanding poet - translator, donated classic size for the sake of preserving the main thing - the philosophical wisdom and spiritual intimacy of the sonnet!
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LET'S SUMMARIZE:
There are 3 main types of sonnet:
-CLASSICAL / Franco-Italian / - 14 verses / lines /, combined by strict rules. Mandatory construction in the size of iambic five-six-foot, with the form 2a quatrain + 2a tercet. Syllables in line 10 -11. Rhyming, mostly encircling. The content is lyric-love and philosophical.
- ROMANTIC / Shakespeare / - 14 lines in iambic five-six-meter size. The number of syllables in a line is predominantly -10-11. Form: 3rd quatrain + 2nd final lines /author's conclusion/. Rhyming in quatrains is mostly cross. The content is lyric-love and philosophical.
- MODERN /Russian/ - 14 lines. The content is lyric-love and philosophical,
which is not limited, practically, by any requirements of the classical and romantic sonnet.
Sorry / those /, dear comrade / Mr. / Kurochkin, that my sonnets do not satisfy your / your / refined taste. But you left without saying in what direction I should work further. In the direction of Petrarch? Shakespeare? They wrote according to their own rules, for the people of their time. By the talent of our wonderful poets-translators, their poems have been adapted for our contemporary.
And the modern Russian sonnet has been written since the century before last in a language and thoughts that are already understandable to the modern reader!
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Zinnur Khusnutdinov - Aquarius:
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Very helpful information for those who write sonnets.
I just want to add that the classic Italian sonnet differs from the French one in the number of syllables. We translate the Italian 11th syllable in iambic pentameter, and the French 12th syllable in six-foot.
I really appreciate the sonnets of Du Bellay and Ronsard translated by V. Levik.
A sonnet is a type (genre) of lyrics, its main feature is the volume of the text: a sonnet always consists of fourteen lines. There are other rules for composing a sonnet (each stanza ends with a dot, not a single word is repeated), which are far from always observed.
The fourteen lines of the sonnet are arranged in two ways. It can be two quatrains and two tercetes, or three quatrains and distich.
You can specify the following sonnet forms:
Italian form (rhyming: abab abab cdc dcd, or cde cde).
French form (in quatrains there is a ring rhyme, and in terts three rhymes:
abba abba ccd eed).
English form(a noticeable simplification associated with an increase in the number of rhymes:
abab cdcd efef g).
The sonnet suggested a certain development sequence thoughts: thesis - antithesis - synthesis - denouement. However, this principle is also not always observed.
Of the constant attributes of the sonnet, musicality should be noted. It is achieved by alternating male and female rhymes. The rule prescribed: if the sonnet opens masculine rhyme then the poet is bound to complete his feminine, and vice versa.
There was also a certain norm of syllables. An ideal sonnet should contain 154 syllables, while the number of syllables in the lines of a quatrain should be one more than in tercetes.
Italy (Sicily) is considered the birthplace of the sonnet. The most likely first author of the sonnet is Giacomo da Lentino (the first third of the 13th century), a poet by profession a notary who lived at the court of Frederick II.
The sonnet turned out to be one of the most common types of lyrics. It was introduced into literary circulation by the poet of the "sweet style" Guido Cavalcanti, it was used by Dante Alighieri in the autobiographical story " New life", He was addressed in the "Book of Songs" dedicated to the Madonna Laura, Francesco Petrarch. It was thanks to Petrarch that the sonnet became widespread in Europe. "The conflict is due to Alceste's too harsh assessment of a sonnet composed by an aristocrat who imagines himself a poet.
In the 17th century, the sonnet genre received theoretical background. Nicolas Boileau, in the treatise "Poetic Art", which is the manifesto of classicism, devoted several lines to the praise of the sonnet, the rules of which were allegedly compiled by Apollo himself:
I wish you to know the French rhymers,
Strict laws in the Sonnet decided to introduce:
He gave two quatrains in a single formation at the beginning,
So that the rhymes in them sounded to us eight times;
At the end of six lines he ordered to skillfully place
And divide them into tercetes according to the meaning.
In the Sonnet of Liberty, he strictly forbade us:
After all, the count of lines and the size are given by the command of God;
A weak verse should never stand in it,
And the word does not dare to sound twice in it.
So Boileau theoretically consolidated the practice of composing sonnets, his prescriptions became the norm for a long time.
The first Russian sonnet was written in 1735 by V.K. Trediakovsky and was a translation of the French poet de Barro. Trediakovsky also owns one of the first and most simple definitions, which emphasized a constant number of lines and the presence of a sharp, important or noble thought.
Samples of sonnet lyrics were created by A.P. Sumarokov, who were also translations of Paul Fleming's sonnets dedicated to Moscow.
Pushkin in "Sonnet" ("Severe Dante did not despise the sonnet ...") presents the history of the sonnet genre, listing the authors of sonnets of past years. The poet fixes attention on the relevance of the genre, so he has contemporary poets: W. Wordsworth twice in the epigraph and in the main text, A. Mitskevich and A. Delvig. Pushkin himself appears here as a historian of the genre. The appeal to the genre of the sonnet in Pushkin's work was not isolated. For example, "Elegy" ("Mad years faded fun ..."). Despite the title, the poem is a sonnet in terms of genre, namely, a special variety of it, called the "overturned sonnet": two three-verses, which are separated by Pushkin, are in front of the four-line ones. Steam rhyme. This example helps to see the proximity of the sonnet form to other types of lyrics: stanzas, madrigals, odes, friendly messages. The similarity is in the closeness of the problematics and the duality of the sonnet, which acts either as a designation of the genre, or simply as a structure of stanzas. An example of this is Pushkin's poem"Elegy".
On the edge XIX-XX centuries Russian poets began to actively use such a form as a wreath of sonnets. In a wreath of sonnets, each last line of a sonnet becomes the first line of the next, and the last line of the fourteenth sonnet is simultaneously the first line of the first. Thus, there is a wreath of fifteen sonnets. The last, fifteenth sonnet (main) is formed from the first lines of all the previous fourteen sonnets. The wreath of sonnets originated in Italy, finally took shape on turn of the XVII-XVIII centuries.
First original versions wreath of sonnets belong to the poets" silver age"Vyach.I. Ivanov and M.A. Voloshin. The most famous are the wreaths of sonnets by K.D. Balmont, V.Ya. Bryusov, I.L. Selvinsky, S.I. Kirsanov, P.G. Antokolsky, V.A. Soloukhin At the present time, about one hundred and fifty wreaths of sonnets by Russian poets are known.In world poetry, the number of wreaths of sonnets is close to six hundred.
You can note the following types of sonnets:
love sonnet
Sonnet Poetry Manifesto
Sonnet dedication
sonnet portrait
ironic sonnet
Dudkin Evgeny, Bisenov Damir, Frolov Dmitry, Timofeev Sergey, Gogoleva Ekaterina, Zenkova Natalia, Petrukhina Angelina, Malyugin Alexander, Kruglov Nikolay.,
The work is research project in literature on the topic: "The sonnet as a poetic genre. The history of the sonnet."
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PROJECT
literature on the topic:
The sonnet as a poetic genre.
The history of the sonnet"
Head: Pistogova E.M.
Project participants: students 9 gr.
Dudkin E.
Bisenov D.
Frolov D.
Timofeev S.
Gogoleva E.
Zenkova N.
Vasilyeva E.
Petrukhina A.
Malyugin A.
Kruglov N.
Saratov 2007
Plan
1. Introduction.
2. The main part.
§ 1. Sonnet as a poetic genre.
§ 2. History of the sonnet:
1) W. Shakespeare and his contribution to the history of the sonnet.
2) A.S. Pushkin and his contribution to the history of the sonnet.
3) Sonnet in the works of poets of the Silver Age.
a) V. Bryusov.
b) K. Balmont.
c) O. Mandelstam.
d) I. Severyanin.
4) I. Bunin as a successor to Pushkin's tradition of writing a sonnet.
3. Conclusion.
4. List of references.
In the lessons devoted to the Silver Age of Russian poetry, we talked a lot about the role modernism played in the literature of the late 19th and early 20th centuries, what new things the modernist poets brought to poetic art. They used not only new rhymes, forms and sounds, but also confidently used the old, classical, forms of poetry. Among the often found in the poetry of the Silver Age of the classical poetic genre can be called sonnet.
What is this genre and how did it originate? Where are its origins? What is it in its original form and what are its forms in Russian literature? Why, over the course of several centuries, has it not lost, but only increased its originality and beauty? All these questions arose after studying the work of the poets of the Silver Age in literature lessons.
In our project, we want to dwell in more detail on the history of the creation of the sonnet, on the changes that it has undergone since its inception. We set ourselves the goal: to trace what forms of the sonnet were used by poets of different generations?
The sonnet is an unusual poetic genre that attracts with its musicality and at the same time strictness, clarity of construction, as well as an unusual ending. Its origin was described in the 17th century French poet and the theorist Nicolas Boileau, "the stern judge of French rhymers", the legislator of European classicism. He gave the honor of inventing the sonnet to the representative of the muses and the patron of poetry. solar god Apollo-Phoebus, who:
On the day when he was angry with the poets,
He invented the strict laws of the sonnet.
In the beginning, he said, there should be 2 quatrains;
Connect them 2 rhymes without fail;
The sonnet ends with two tercetes:
A completed thought is kept by any tercet.
In the sonnet, Apollo set up a strict order:
He indicated the size and counted all the syllables,
It forbade poets to repeat words in it
And the pale languid verse severely condemned.
Now he is proud of the work is not in vain:
A beautiful sonnet eclipsed the poet in a hundred words.
N. Boileau. Poetic art.
The birthplace of the sonnet was Italy, more precisely Sicily. It was there that in 1292 the first book of sonnets "New Life" was published, authored by Dante Alighieri, the great Western European poet of the Middle Ages. His book was a lyrical confession of the poet, consisting of 26 sonnets, which he dedicated to his beloved Beatrice.
First person new era- Renaissance is considered to be Francesco Petrarch. It was he who brought the sonnet genre to perfection. His poetic confession was the famous Book of Songs, which Petrarch completed in 1372. All the sonnets in the collection were dedicated to the beautiful Laura.
From this short preface, it becomes clear that at the dawn of its occurrence, the sonnet served to express the feelings of a lover, contained reflections on his experiences.
What is a sonnet as a genre and what are its features?
Sonnet is the first form of poetry since antiquity, which was born as written genre, bypassing the musical performance. The sonnet talked about love, gave an analysis of the feelings experienced, described experiences and hopes. The poet in the sonnet confessed his love for an earthly woman and found the highest beauty and goodness in the earthly.
Sonnet - this is one of the literary genres that was created not in Latin, but in national languages. With him begins a kind of birth of national European literatures. The sonnet finally took shape in Europe only in the 16th century. It was at this time that interest in this genre was great in Spain, France and England. Later, three main types of European sonnet began to be distinguished - Italian, French and English:
- Italian: 2 quatrains of cross or embracing rhyme for two consonances: abab abab or abba abba and 2 tercetes for 2 or 3 consonances, which also have a hidden idea of the cross in combination of rhymes: cdc dcd or “triangle” cdc cdc;
- French: 2 quatrains of embracing rhyme for 2 consonances: abba abba and 2 tercetes for 3 consonances arranged in parallel: ccd ccd or ccd cdc so that a couplet and a quatrain are obtained;
- English: a simplified model consisting of 3 quatrains of cross-rhyming and a final couplet. Sometimes it is called Shakespearean.
W. Shakespeare , the great English poet and playwright, contributed huge contribution in the development of the sonnet. His sonnet consists of three quatrains and a final couplet. Shakespeare did not seek to find new, unusual themes for his sonnets. The author's task was to provide a new poetic coverage of traditional lyrical stories associated with the reflection of a person's love experiences in the creation of vivid, unexpected images, metaphors, comparisons. Subtle shades of flowers, beautiful pictures of nature, music, flowers are the most common motifs in sonnet poetry. But Shakespeare boldly expands the circle of vital sources of creativity, referring to such areas human being, which, it would seem, are very far from the generally accepted ideas about the subject of poetry, about the beautiful, worthy of high poetic inspiration. Absorbing diverse objects of a motley reality full of contradictions, Shakespeare's sonnets reflect the poet's intense reflections on the surrounding life, complex philosophical and moral problems. He joyfully sings of light, beauty in people and their deeds. He is ready to forgive the offense inflicted unwittingly. But his anger is unstoppable when his gaze meets lies, hypocrisy, injustice. A sharp rejection of social vices, critical pathos, a fire of indignation burns the famous sonnet, all woven from contrasts:
I call death. I can't bear to see
Dignity that begs for alms
Over simplicity mocking lie,
Nothingness in luxurious attire,
And perfection is a false sentence,
And virginity, rudely desecrated,
And inappropriate honor shame ...
The outstanding phenomenon of our Shakespearean full translation sonnets English poet, made by S.Ya. Marshak. Shakespeare's sonnets in Marshak's translations will never lose their charm and attractiveness for the Russian reader, because this is real great poetry.
Without trying to compete with the great master, we want to offer our own translation of one of Shakespeare's sonnets.
(Translated from English Dudkin Eugene).
W. Shakespeare. Sonnet.
O time! You are a great creator!
Beautiful for the eyes - here's a lesson for the masters!
But the power of worlds, people, palaces -
You assign a term to everything.
You rush, time, there are no barriers in front of you,
And take our summer by the hand ...
The earth is lifeless, naked, strewn with foliage.
Here is the first snow. A cold wind wanders somewhere.
Summer has passed ... The smell of roses -
Beautiful prisoner, he is locked in glass,
Reminds: "Summer will come again, survive the frost!"
He is alive, although the bouquet withered in the decanter on the table.
Flowers drooped on a wilted bouquet,
But the beauty continues to live in the world!
Now it is necessary to recall the history of the Russian sonnet, which has been going on for two and a half centuries. In the Golden Age, the main authors of the sonnet are considered to be A.S. Pushkin and the poets of his entourage. Pushkin's tradition of writing a sonnet is felt by many poets of the 19th century.
The sonnet has always been considered the strictest poetic form, which is one of the main features of this genre. It is no coincidence that it is called the "solid form" and is defined as a poem consisting of 14 lines, forming 2 quatrains - a quatrain and 2 three-line - a tercet. But the stable features of the sonnet, which determine the basis of this genre, and by which one can unmistakably recognize a sonnet, cannot be associated only with a certain combination of quatrains and tercets (especially over time, this combination often changed). One of the stable features of the sonnet is a certain range of topics - the theme of love and the theme of thinking about poetry. Unlike other genres, where these themes also occur, in the sonnet they are shown as sublime and noble, often merging with each other.
Madonna
Not many paintings by old masters
I always wanted to decorate my abode,
So that the visitor marveled at them superstitiously,
Listening to the important judgment of connoisseurs.
In my simple corner, in the midst of slow labors,
One picture I wanted to be forever a spectator,
One: so that on me from the canvas, as from the clouds,
Pure and our divine savior -
She is with greatness, he is with reason in his eyes -
Looked, meek, in the word and in the rays,
Alone, without angels, under the palm tree of Zion.
My wishes have been fulfilled. Creator
He sent you down to me, my Madonna,
The purest beauty, the purest example.
In this work, poetic work is inspired by art and the holy images of the Madonna and the Savior, whose eyes are turned to the poet, and this work naturally turns into a high and pure feeling of love.
Speaking of the sonnet, I would like to note the variety of means of expression: different intonations - from narrative to exclamatory, frequent rhetorical questions and appeals, all sorts of comparisons and similes. Describing the divine Madonna in the picture, Pushkin alludes to the beloved of the lyrical hero, to a specific woman.
A special theme - the theme of the historical "review" of the genre of the sonnet by his predecessors and contemporaries became the main theme of Pushkin in another poetic work of this genre, which is called "Sonnet".
Sonnet
Severe Dante did not despise the sonnet;
In it, the heat of Petrarch's love poured out;
The creator of Macbeth loved his game;
Camões clothed his mournful thought with them.
And today he captivates the poet:
Wordsword chose him as an instrument,
When away from the vain light
Nature he draws an ideal.
Under the shadow of the distant mountains of Taurida
Singer of Lithuania in the size of his cramped
He closed his dreams instantly.
The virgins did not know him yet,
How did Delvig forget for him
Hexameter sacred tunes.
The whole history of the sonnet, its founders and successors, flashes before the reader. Pushkin recalls both Dante and Petrarch, writes about those poets who used and use this genre in their work. Speaking about each of them, Pushkin mentions the themes and emotions that were the main ones in their sonnets, thereby showing how wide the range of topics in this poetic genre is.
The merit of Pushkin, the creator of sonnets, lies in the fact that the novelty that he instilled in the classical sonnet lies in a kind of irony and sarcasm that reduces the sublime emotional structure this poetic genre. But, introducing something new into the genre, the poet preserved and activated the main features of the sonnet and created examples of the Russian sonnet - love (“Madonna”), philosophical and historical (“To the Poet”) and the original “sonnet within a sonnet”, which was a kind of comprehension of the genre ( "Sonnet").
Pushkin's successors in the process of transforming the sonnet weremodernist poets,who found in this genre useful and desired material for their creativity and original experiments. The most influential modernist movements in literary life the end of the 19th-beginning of the 20th century were: symbolism, acmeism and futurism. Symbolism - a literary and artistic direction, which considered the goal of art to be an intuitive comprehension of world unity through symbols. The unifying principle of such unity was seen as art, "the earthly likeness of divine creativity."
V. Bryusov , a prominent representative of symbolism, in his sonnets often refers to the traditional theme of Russian literature: the appointment of the poet and poetry. In his "Sonnet about the Poet" Bryusov, as it were, continues Pushkin's reflections on this topic. But unlike Pushkin, for whom the poet is a tsar with a free mind and accomplishing a feat with his work, the Bryusov poet is a poet of a special fate, he is lonely, he tries to comprehend the truth, a special fate awaits him.
Sonnet about a poet
Like the forces of bright and formidable fire,
Like a flame beating into the cold sky,
I am both life and death; my spirit always lives
Conception and death are kept in oneself.
Although no one knew, did not hear about me,
I know I'm a poet! But what sings in me
It has power over the soul, obscuring the whole world to me.
O abyss! I'm fenced off by you from everyone!
I live among people, but it is not clear to them,
How little I share their sorrows and laughter,
How bitterly I feel like a stranger among them
And how can I, behind the darkness of my silent days,
visions the whole world keep in your soul.
Bryusov compares the spirit of the poet with the power of fire, with a flame that beats "into the cold sky." Bryusov's sonnet is full of contradictory images: "both life and death", "conception and death", "sorrow and laughter"; it is the reflection of the author. If Pushkin is proud of high rank poet, Bryusov quite emotionally, with undisguised sadness, reflects on the appointment of the poet, speaks of his loneliness. It is no coincidence that Bryusov used the image of the abyss in the sonnet. This image not only emphasizes the importance of reflection and speaks of the connection between the poetic traditions of the times of Pushkin and Bryusov, but this image is also very symbolic. After all, the abyss is a symbol of the abyss and abyss, the search for truth, the work of the creator and the special fate of the lyrical hero.
Konstantin Dmitrievich Balmont- another bright star in the poetic firmament of symbolism. At the beginning of the 20th century, Balmont was the most popular of the Russian poets. In 1917, Balmont's collection "Sonnets of the Sun, Copper and Moon" was published, which included poems of virtuoso form. This collection includes over 200 sonnets.
K. Balmont diversified the themes of this genre enough. Along with sonnets, the main themes of which are the theme of love and the theme of reflection on life and death, the poet can find the theme of art and culture of the West and East, the theme of historical and geographical events, descriptions of pictures of exotic nature, earthly expanses and the boundless Universe.
In the work of Balmont there are many sonnets, the main theme of which is the theme of the creator and creativity. One of these sonnets is called "Praise to the Sonnet".
Praise the sonnet
I love you, completeness of the sonnet,
With your haughty beauty,
How to get the right silhouette
Beauties exquisitely simple,
Whose camp is airy with young breasts
Keeps the radiance of matte light
In a wave of motionless golden hair,
Whose splendor she is half-dressed.
Yes, a true sonnet is like you
The plastic joy of beauty, -
But sometimes he takes revenge with his melody.
And not once hit the heart
Sonnet, bringing death, burning with anger,
Cold, sharp, accurate, like a dagger.
In this sonnet, Balmont draws an unexpected comparison between the genre of poetry and a young beauty. The poet draws a certain connection between the beauty and completeness of the sonnet and the impeccability of the girl's silhouette. But the declaration of love for this genre and the enthusiastic mood of the poet are suddenly replaced by words about the possible revenge of the sonnet. We see how the furnace of bright and joyful feelings is suddenly interrupted and completely opposite confessions and comparisons arise before the reader. In the last lines of the sonnet, this genre is compared not with the beautiful and clear silhouette of a beauty, but with a well-aimed dagger that brings death: "Cold, sharp, well-aimed, like a dagger." On the example of this sonnet, the author's play with the reader's expectations, characteristic of this genre, is very clearly visible.
Now let's turn to acmeism - a modernist trend that declared concrete sensory perception outside world, returning the word to its original, non-symbolic meaning.
Acmeist representativeOsip Mandelstamvia artistic word showed the reality of that time. An example of this is the sonnet "Casino", where the poet managed to poeticize a simple, gray life.
Casino
I'm not a fan of preconceived joy,
Sometimes nature is a gray spot,
I, in a light intoxication, are destined
Experience the colors of a poor life.
The wind is playing with a shaggy cloud.
Anchor falls to the bottom of the sea
And lifeless as a sheet
The soul hangs over the damned abyss.
But I love casinos on the dunes
Wide view through a foggy window
And thin beam on a crumpled tablecloth;
And, surrounded by greenish water,
When, like a rose, in crystal wine, -
I love to follow the winged gull!
At the beginning of the sonnet, Mandelstam shares with the reader his ability to enjoy "a poor life." But all the same, the whole burden of life is felt, its hopelessness intensifies. His soul “is like a sheet… hanging over the abyss…” Again we have before us a symbolic abyss. Here she is the darkness, the dead end of life. Suddenly the mood of the lyrical hero changes and instead of the abyss appears new symbol, which are the dunes. This is soil, despite the fact that it is free-flowing and not very hard, but still soil. And on this basis - a casino that carries lyrical hero hope, joy, the opportunity to forget the gray days and failures.
In the sonnet, Mandelstam speaks of simple subjects familiar to everyone, but speaks of them in such a way that from the first lines there is an unrelenting sense of the tragedy of life, its imminent end, the abyss. But the ray of hope and light that has appeared - the casino, entitles the lyrical hero, and with him the reader, to believe in the future and that life is still worth living.
Modernists defended the special gift of the artist, able to predict the path new culture, relied on anticipation of the future and even on the transformation of the world by means of art. Special Role belongs to this futurists . Already in the name itself there is a desire for the future (from the Latin futurum - the future). Futurism made the installation to update the poetic language. The Futurists not only updated the meanings of many words, but were actively engaged in word creation, using new compositional and even graphic effects in poetry.
Representatives of Russian futurism did not bother themselves with the desire to preserve the classical canons and rules for writing sonnets. In this regard, at the time of futurism, the number of correctly written poetry of this genre. Among the futurist poets who carefully used the sonnet in their work, one can nameIgor Severyanin.
The efforts of the futurists to convey to their reader the so-called sense of primeval creation is well illustrated in Igor Severyanin's book Medallions. It contains more than 100 sonnets dedicated to figures of literature and art. I would like to dwell on one of the sonnets - the sonnet about Blok. It gives some insightful and objective characteristics of the famous poet.
Block
Handsome, like Vrubel's Demon for women,
He seemed like a swan, whose feather
Whiter than cloud and silver
Whose camp was friends, oddly enough, with a jacket ...
Benevolent to lesser and lesser,
Daring - poetically see good in evil.
took off. Broke down. Wandered in the wilds of thought,
Loved Love and Death, crowned with two.
He searched in vain on the earth for love:
She is not here. When will your grin
Revealed death, he understood: - Stranger -
At paradise, a light crunch of steps is heard;
Suitable block. With him - from his poems
Luminous - wanderer's knapsack...
The sonnet breathes solemnity and irony at the same time. Already in the first quatrain, I. Severyanin creates, on the one hand, the majestic image of the poet, and on the other hand, ironically over him. At the end of the sonnet, this rather sad irony: “He searched in vain for love on earth; she is not here ... ”A wanderer appears before us, which is Blok himself. It is not by chance that the northerner elevates the poet to the image of a wanderer, because the wanderer symbolizes wisdom and holiness, and the “radiant wanderer's knapsack” is the very main reward that is intended for the poet for his work.
In this sonnet, I. Severyanin created a complex image of the poet, and he achieved this by combining solemnity and irony. Such techniques in poetry were characteristic of futurism.
The northerner was accompanied by scandalous fame, enthusiastic praises and vicious attacks. He was called "high priest", "high priest", "imposter", "philistine in a cap". The poet himself called his fame "ambiguous." He was accused of egocentrism, vulgarity, narcissism. Few people noticed the irony, the parody of his poems.
In 1926, the poet wrote the poem "Igor - Severyanin", explaining himself:
He is good in that he is not at all
What does the empty crowd think of him,
Poems fundamentally not reading,
Since there are no pineapples and cars in them.
Foxtrot, cinema and loto -
Here, here is where the flock of people rushes!
Meanwhile, his soul is simple,
Like a day in spring. But who knows?
Bless the world, curse the wars
He sends in verse worthy of recognition,
Slightly grieving, sometimes slightly joking
Over the whole preeminent planet...
He is in every song, sung to them from the heart,
Ironic child.
In this poem, another poet stands before us - with a vulnerable soul, sensitive, possessing the gift of creating rhythmic and sound expressiveness.
Ivan Bunin does not belong to any of the modernist movements of the 20th century. Sonnets written by him continue the traditions of A.S. Pushkin and are distinguished by lyricism, smoothness and a strict choice of expressive means. The famous sonnet "Evening" is good example Bunin's works in this genre.
Evening
We always remember happiness.
And happiness is everywhere. Maybe it
This autumn garden behind the barn
And fresh air pouring out the window.
In the bottomless sky light white edge
Rise, the cloud shines. For a long time
I follow him ... We see little, we know
And happiness is given only to those who know.
The window is open. She squeaked and sat down
A bird on the windowsill. And from books
I look away tired for a moment.
The day is getting dark, the sky is empty.
The hum of the threshing machine is heard on the threshing floor...
I see, I hear, I am happy. Everything is in me.
These lines are filled with a special life-affirming energy, they exude happiness, joy of life and peace. Sonnet written plain language, smoothly, there are no mood swings and topic changes.
Bunin's sonnet has classic shape, but only in form does the poet follow the traditions of the genre. The content of the sonnet, the very subject of the image - this is Bunin's new word in writing this genre, and this is the merit of the poet.
The key images of the sonnet are the image of nature and the image of the evening, which lead to reflection, give rise to philosophizing and encourage the reader to co-create. The image of the evening here is very symbolic: it means not just the time of day, but the time to think about the past day, a kind of summing up, maturity in the life and consciousness of a person.
At the beginning of the sonnet there are reflections on happiness, which, according to the poet, is felt "everywhere". True, not everyone is destined to appreciate this happiness and be able to enjoy it, because "... happiness is given only to those who know." Only those who “know” understand that living, enjoying nature is already happiness.
And as a result of Bunin's thoughts - the last lines of the sonnet, where the poet's confession sounds: “I see, I hear, I am happy. Everything is in me."
Bunin's merit in writing sonnets lies in the fact that, without changing the stable traditions of previous generations of poets, he showed how it is possible to expand the boundaries of Russian verse, expand and improve its content.
Conclusion
For more than two centuries, the sonnet has been living in Russian poetry. There is some magic in this seemingly random poetic form which continues to captivate both poets and readers. The sonnet is not simple, but harmonious and classically clear and requires, as in general real poetry, talent, inspiration, significance of thought.
The Russian sonnet has reached a high level of perfection. And in our time, poets turn to the sonnet, telling us about today and in today's language. But along with them, great poets from Dante to Bunin continue to talk with readers about love, about life, about a person, about the Motherland in the chased lines of sonnets.
Bibliography
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