Presentation for a literature lesson on the topic "ballad as a literary genre." Methodological development in literature (grade 6) on the topic: "Ballad as a lyrical epic genre and its features"
The term "ballad" comes from the Provencal word and means "dance song". Ballads originated in the Middle Ages. By origin, ballads are associated with legends, folk legends, they combine the features of a story and a song. Many ballads about a folk hero named Robin Hood existed in England in the 14th-15th centuries.
The ballad is one of the main genres in the poetry of sentimentalism and romanticism. The world in ballads appears mysterious and enigmatic. They are bright characters with clearly defined characters.
The creator of the genre literary ballad became Robert Burns (1759-1796). The basis of his poetry was oral folk art.
A person is always at the center of literary ballads, but the poets of the 19th century who chose this genre knew that the strength of a person does not always make it possible to answer all questions, to become the sovereign master of one's own destiny. Therefore, often literary ballads are a plot poem about fatal fate, for example, the ballad "The Forest King" by the German poet Johann Wolfgang Goethe.
The Russian ballad tradition was created by Vasily Andreyevich Zhukovsky, who wrote both original ballads ("Svetlana", "Aeolian harp", "Achilles" and others), and translated Burger, Schiller, Goethe, Uhland, Southey, Walter Scott. In total, Zhukovsky wrote more than 40 ballads.
Alexander Sergeevich Pushkin created such ballads as "The Song of the Prophetic Oleg", "The Bridegroom", "The Drowned Man", "The Raven Flies to the Raven", "There Lived a Poor Knight...". Also, his cycle of "Songs of the Western Slavs" can be attributed to the ballad genre.
Mikhail Yuryevich Lermontov has separate ballads. This is the Airship from Seydlitz, the Sea Princess.
The ballad genre was also used by Alexei Konstantinovich Tolstoy in his work. He calls his ballads on the themes of his native antiquity epics ("Alyosha Popovich", "Ilya Muromets", "Sadko" and others).
Entire sections of their poems were called ballads, using this term more freely, A.A. Fet, K.K. Sluchevsky, V.Ya. Bryusov. In his "Experiences" Bryusov, speaking of a ballad, points to only two of his ballads of the traditional lyrical-epic type: "The Abduction of Bertha" and "Divination".
A number of comic ballads-parodies were left by Vl. Solovyov ("The Mysterious Sexton", " Autumn Walk Knight Ralph" and others)
The events of the turbulent 20th century once again brought to life the literary ballad genre. E.Bagritsky's ballad "Watermelon", although it does not tell about the turbulent events of the revolution, was born precisely by the revolution, the romance of that time.
Features of the ballad as a genre:
the presence of a plot (there is a climax, a plot and a denouement)
combination of real and fantastic
romantic (unusual) landscape
mystery motif
plot can be replaced by dialogue
conciseness
combination of lyrical and epic beginnings
The term "ballad" comes from the Provencal word and means "dance song". Ballads originated in the Middle Ages. By origin, ballads are associated with legends, folk legends, they combine the features of a story and a song. Many ballads about a folk hero named Robin Hood existed in England in the 14th-15th centuries.
The ballad is one of the main genres in the poetry of sentimentalism and romanticism. The world in ballads appears mysterious and enigmatic. They are bright characters with clearly defined characters.
The literary ballad genre was created by Robert Burns (1759-1796). The basis of his poetry was oral folk art.
A person is always at the center of literary ballads, but the poets of the 19th century who chose this genre knew that the strength of a person does not always make it possible to answer all questions, to become the sovereign master of one's own destiny. Therefore, often literary ballads are a plot poem about a fatal fate, for example, the ballad "Forest King" by the German poet Johann Wolfgang Goethe.
The Russian ballad tradition was created by Vasily Andreyevich Zhukovsky, who wrote both original ballads ("Svetlana", "Aeolian harp", "Achilles" and others), and translated Burger, Schiller, Goethe, Uhland, Southey, Walter Scott. In total, Zhukovsky wrote more than 40 ballads.
Alexander Sergeevich Pushkin created such ballads as "The Song of the Prophetic Oleg", "The Bridegroom", "The Drowned Man", "The Raven Flies to the Raven", "There Lived a Poor Knight...". Also, his cycle of "Songs of the Western Slavs" can be attributed to the ballad genre.
Mikhail Yuryevich Lermontov has separate ballads. This is the Airship from Seydlitz, the Sea Princess.
The ballad genre was also used in his work by Alexei Konstantinovich Tolstoy. He calls his ballads on the themes of his native antiquity epics ("Alyosha Popovich", "Ilya Muromets", "Sadko" and others).
Entire sections of their poems were called ballads, using this term more freely, A.A. Fet, K.K. Sluchevsky, V.Ya. Bryusov. In his "Experiences" Bryusov, speaking of a ballad, points to only two of his ballads of the traditional lyrical-epic type: "The Abduction of Bertha" and "Divination".
A number of comic ballads-parodies were left by Vl. Solovyov ("The Mysterious Sexton", "Knight Ralph's Autumn Walk" and others).
The events of the turbulent 20th century once again brought to life the literary ballad genre. E.Bagritsky's ballad "Watermelon", although it does not tell about the turbulent events of the revolution, was born precisely by the revolution, the romance of that time.
Features of the ballad as a genre:
the presence of a plot (there is a climax, a plot and a denouement)
combination of real and fantastic
romantic (unusual) landscape
mystery motif
plot can be replaced by dialogue
conciseness
combination of lyrical and epic beginnings
Features of the ballad genre
V. A. Zhukovsky introduced the Russian reader to one of the most beloved genres of Western European romantics - the ballad. And although the ballad genre appeared in Russian literature long before Zhukovsky, it was he who gave it poetic charm and made it popular. Moreover, he merged the poetics of the ballad genre with the aesthetics of romanticism, and as a result, the ballad genre turned into the most characteristic sign of romanticism.
What is a ballad? And why exactly this genre attracted Zhukovsky? A ballad is a short poetic story of a predominantly heroic-historical or fantastic nature. The presentation of a pronounced plot in the ballad is lyrically colored. Zhukovsky wrote 39 ballads, of which only five are original, the rest are translations and arrangements.
Early XIX century. Zhukovsky is disappointed in life, his soul suffers from unfulfilled happiness with his girlfriend, with early years he constantly feels the bitterness of social inequality. He is constantly confronted with social issues. This is a Decembrist movement, which he is forced to perceive from two points of view: both as a friend of many Decembrists and persons from their environment, and as a courtier close to royal family. All this prompted Zhukovsky to take the path of ethical solution of acute problems. From the very beginning of his ballad work, Zhukovsky fought for a morally pure personality.
The main theme of his ballads is crime and punishment, good and evil. Permanent hero of ballads - strong personality who has thrown off moral restrictions and fulfills her personal will, aimed at achieving a purely egoistic purpose. Let us recall the ballad "Warwick" - the original translation of the Sau-ti ballad of the same name. Warwick seized the throne by killing his nephew, the rightful heir to the throne. And all because Warwick wants to reign.
According to Zhukovsky, the crime is caused by individualistic passions: ambition, greed, jealousy, selfish self-affirmation. The man failed to curb himself, succumbed to passions, and his moral consciousness turned out to be weakened. Under the influence of passions, a person forgets his moral duty. But the main thing in ballads is still not an act of crime, but its consequences - the punishment of a person. The criminal in Zhukovsky's ballads is punished, as a rule, not by people. Punishment comes from a person's conscience. So, in the ballad "Castle Smalholm" no one punished the murderer of the baron and his wife, they voluntarily go to monasteries, because their conscience torments them. But even monastic life does not bring them moral relief and consolation: the wife is sad, not dear to her. White light, and the baron "is shy of people and is silent." By committing a crime, they themselves deprive themselves of the happiness and joys of life.
But even when the conscience does not wake up in the criminal, the punishment still comes to him. According to Zhukovsky, it comes, as it were, from the very depths of life. The conscience is silent in the greedy Bishop Gatton, who burned down the barn with the hungry poor and thought with cynical satisfaction that he had rid the hungry land of greedy mice (ballad "God's Judgment on the Bishop").
"Nature in Zhukovsky's ballads is fair, and she herself takes on the function of revenge - for the crime: the Avon River, in which the little heir to the throne was sunk, overflowed its banks, overflowed, and the criminal Warwick drowned in furious waves. The mice began a war against Bishop Gatton and killed him.,
In the ballad world, nature does not want to absorb evil into itself, to preserve it, it destroys it, takes it away forever from the world of being. The ballad world of Zhukovsky arguing that in life there is often a duel between good and evil. In the end, good, high moral principle always wins), Zhukovsky's JjbcV pp is a fair retribution. The poet firmly believes that a vicious act will be surely punished. And the main thing in Zhukovsky's ballads is the triumph of the moral law.
A special place among the works of Zhukovsky is occupied by ballads dedicated to love: "Lyudmila", "Svetlana", "Aeolian harp" and others. The main thing here for the poet is to reassure, set on the true path a man in love who has experienced a tragedy in love. Zhukovsky here also demands the curbing of egoistic desires and passions.
The unfortunate Lyudmila is cruelly condemned because she indulges in passion, the desire to be happy at all costs with her beloved. The passion of love and the bitterness of the loss of the groom so blind her that she forgets about her moral obligations towards other people. Zhukovsky, by romantic means, seeks to prove how unreasonable and even dangerous for a person is this selfish desire for one's own happiness in spite of everything:
Coffin, open;
to live fully;
Double heart
not to love.
So exclaims Lyudmila, distraught with grief. The coffin opens and the dead man takes Lyudmila into his arms. The horror of the heroine is terrible: they turn to stone, their eyes grow dim, the blood turns cold. And it is already impossible to regain the life she so unreasonably rejected. But Zhukovsky's terrible ballad is full of life. The poet prefers real life despite the fact that she sends a severe test to a person.
The ballad "Svetlana" is close to "Lyudmila" in its plot, but it is also profoundly different. This ballad is a free arrangement of the ballad by the German poet G. A. Burger "Lenora". It tells how the girl wonders about the groom: he has gone far and does not send news for a long time. And suddenly he appears in a charming dream inspired by divination. Darling calls the bride to get married, they gallop through the blizzard on mad horses. But the groom suddenly turns into a dead man and almost drags the bride to the grave. However, everything ends well: there is an awakening, the groom appears in reality, alive, and the desired, joyful wedding is performed. Zhukovsky goes far from the original, introducing a national Russian flavor into the ballad: he includes a description of divination in the "Epiphany evening", signs and customs:
Once a Epiphany Eve
The girls guessed:
Shoe behind the gate.
Taking off their feet, throwing
Snow weeded, under the window
listened to, fed
Counted chicken grain,
Burning wax was drowned
In a bowl with clean water
They put a golden ring,
emerald earrings,
Spread out white boards
And they sang in tune over the bowl
The songs are submissive.
The poet reproduces an attractive and graceful girlish world, in which the slipper, the emerald earrings, and the golden ring are significant.
The ballad not only told about an episode from the life of a young creature, but presented it inner world. The whole ballad is full of life, movement, both internal and external, some kind of girlish bustle. The spiritual world of Svetlana is also full of movements. She then refuses baptismal games, then she agrees to join the fortunetellers; she is afraid and hopes to receive the desired news, and in a dream she is overcome by the same feelings: fear, hope, anxiety, trust .. to the groom. Her feelings are extremely tense, sensations are aggravated, her heart responds to everything. The ballad is written in a rapid rhythm: the ballad horses are racing, the girl and the groom are racing on them, and her heart is breaking.
Interesting in the ballad "Svetlana" and colors. The entire text is permeated with white: it is, first of all, snow, the image of which arises immediately, from the first lines, the snow that Svetlana dreams of, a blizzard over the sleigh, a blizzard all around. Further, this is a white scarf used during divination, a table covered with a white tablecloth, a snow-white dove, and even a snowy sheet with which the dead man is covered. The white color is associated with the name of the heroine: Svetlana, light, and: pi-nvrodno - white light. Zhukovsky is here White color is undoubtedly a symbol of purity and innocence.
The second contrasting color in the ballad is not black, but rather dark: it is dark in the mirror, dark is the distance along which the horses rush. The black color of the terrible ballad night, the night of crimes and punishments, is softened and brightened in this ballad.
Thus, White snow, dark night and bright points of candlelight or eyes - this is a kind of romantic background in the ballad "Svetlana".
And yet the charm of the ballad is in the image of the young Svetlana in love. Her fears have dissipated, she is not guilty of anything. But the poet, true to his ethical principles, warned the young being about the vice of the sagas of prayer. Faith in providence turns into faith in life:
Smile my beauty
To my ballad
It has great wonders.
Very little stock.
Here are my ballads:
« Best friend us in this life -
The blessing of the builder backwater:
Here misfortune is a false dream;
Happiness is an awakening."
So, using the example of the best and main ballads of V. A. Zhukovsky, we tried to analyze the basic principles of the ballad genre. I must say that, after Zhukovsky, Russian writers actively turned to this genre: this is A. S. Pushkin "The Song of the Prophetic Oleg" (1822), and M. Yu. Lermontov "Airship" (1828), "Mermaid" (1836), and A. Tolstoy "Vasily Shibanem" (1840).
Over time, the genre acquired clichés, which gave rise to numerous parodies: “The German Ballad” by Kozma Prutkov (1854) is a parody of Schiller’s ballad translated by Zhukovsky “Knight Togenvorg”. In 1886, several ballad parodies were written by Vl. Solovyov: "Vision", "The Mysterious Sexton".
If you like stories about mysterious events, about the fate of fearless heroes, the sacred world of spirits, if you are able to appreciate noble chivalrous feelings, female devotion, then, of course, you will love literary ballads.
In literature lessons in this academic year we met with several ballads. This genre blew me away.
These poems, which combine elements of lyricism, epic and drama, are a kind of "universal" poetry, according to the famous 19th century poet Wordsworth.
The poet “selecting events and situations from the most everyday life of people, tries to describe them, if possible, in the language that these people actually speak; but at the same time, with the help of the imagination, give it a coloring, thanks to which ordinary things appear in an unusual light. ".
The topic "Features of the literary ballad genre" seemed interesting to me, I continue to work on it for the second year.
The topic is undoubtedly relevant, as it allows you to show independence and develop the abilities of a critic.
2. Literary ballad: the emergence of the genre and its features.
The term "ballad" itself comes from the Provencal word meaning "mysterious song", ballads originated in the harsh times of the Middle Ages. They were created by folk storytellers, transmitted orally, and in the process of oral transmission they were greatly modified, becoming the fruit of collective creativity. The plot of the ballads was Christian legends, chivalric romances, ancient myths, works of ancient authors in medieval retelling, the so-called "eternal" or "wandering" stories.
The plot of the ballad is often built as a disclosure, recognition of a certain secret that keeps the listener in suspense, makes him worry, worry about the hero. Sometimes the plot breaks off and is essentially replaced by dialogue. It is the plot that becomes the sign that distinguishes the ballad from other lyrical genres and begins its rapprochement with the epic. It is in this sense that it is customary to speak of the ballad as a lyrical genre of poetry.
In ballads there is no border between the world of people and nature. A person can turn into a bird, a tree, a flower. Nature enters into a dialogue with the characters. This reflects the ancient idea of the unity of man with nature, of the ability of people to turn into animals and plants and vice versa.
The literary ballad owes its birth to the German poet Gottfried August Burger. The literary ballad was very similar to the folklore ballad, since the first literary ballads were created as an imitation of the folk ones. Thus, at the turn of the 18th and 19th centuries, the folk ballad was replaced by a literary ballad, that is, an author's ballad.
The first literary ballads arose on the basis of pastiche, and therefore it is very often difficult to distinguish them from genuine ones. folk ballads. Let's turn to table number 1.
A literary ballad is a lyrical epic genre based on a narrative narrative with dialogue included in it. Like the folklore ballad, its literary sister often opens with a landscape opening and closes with a landscape ending. But the main thing in a literary ballad is the voice of the author, his emotional lyrical assessment of the events described.
And now we can note the features of the difference between a literary ballad and a folklore one. Already in the first literary ballads, the author's lyrical position is manifested more clearly than in folk works.
The reason for this is understandable - folklore is guided by the national ideal, and the literary ballad contains the author's personal attitude to the very popular ideal.
At first, the creators of literary ballads tried not to go beyond the themes and motives of folk sources, but then they more and more often began to turn to their favorite genre, filling the traditional form with new content. Fairy-tale ballads, satirical, philosophical, fantastic, historical, heroic ballads began to appear along with family, “terrible”, etc. Broader themes distinguished the literary ballad from the folk one.
There were also changes in the form of a literary ballad. First of all, it concerned the use of dialogue. A literary ballad much more often resorts to a hidden dialogue, when one of the interlocutors is either silent or takes part in the conversation with short remarks.
3. Literary ballads by V. A. Zhukovsky and M. Yu. Lermontov.
The wide poetic possibilities of the Russian ballad opened up to the Russian reader thanks to literary activity V. A. Zhukovsky, who worked at the beginning of the 19th century. It was the ballad that became the main genre in his poetry, and it was she who brought him literary fame.
Zhukovsky's ballads were usually based on Western European sources. But the ballads of V. A. Zhukovsky are also a major phenomenon of Russian national poetry. The fact is that when translating English and German literary ballads, he used artistic techniques and images of Russian folklore and Russian poetry. Sometimes the poet went very far from the original source, creating an independent literary work.
For example, a wonderful translation of the literary ballad of the great German poet Johann Wolfgang Goethe "King of the Elves", written on the basis of German folklore, conveys the inner tension of the fantastic ballad and the lyrical attitude of the author (J. W. Goethe) to the events described. At the same time, Zhukovsky, in his ballad The Tsar of the Forest, describes a forest that is surprisingly similar to Russian, and if you don’t know that we have a translation, you can easily take this work as created in the Russian tradition. "The Forest King" is a ballad about a fatal fate, in which an age-old dispute between life and death, hope and despair, hidden by an ominous plot, takes place. The author uses various artistic techniques.
Let's turn to table number 2.
1. In the center is not an event, not an episode, but human personality, acting on one or another background, is a colorful landscape of the forest kingdom and an oppressive reality.
2. Division into two worlds: earthly and fantastic.
3. The author uses the image of the narrator to convey the atmosphere of what is happening, the tone of the depicted: a lyrically scary tone at the beginning with an increase in a sense of anxiety and a hopelessly tragic one at the end.
4. Images real world and a visitor from the "other" world.
5. The characteristic rhythm of the ballad is the stomp of a horse associated with the chase.
6. Use of epithets.
There are many bright colors and expressive details in Zhukovsky's ballads. The words of A. S. Pushkin about Zhukovsky are applicable to them: “No one had and will not have a style equal in its power and diversity to his style.”
“The Judgment of God on the Bishop” is a translation of the work of the English romantic poet Robert Southey, a contemporary of V. A. Zhukovsky. "God's Judgment on the Bishop" - written in March 1831. First published in the edition of "Ballads and Tales" in 1831. in two parts. Translation of the ballad of the same name by R. Southey, based on medieval legends about the stingy Bishop Gatton of Metz. According to legend, during the famine of 914, Gatton treacherously invited the starving to a "feast" and burned them in the barn; for this he was eaten by mice.
This time, the Russian poet very closely follows the original "terrible" ballad, describing the cruelty of a foreign bishop and his punishment.
1. You won’t find such a beginning in a folklore ballad: not only a certain lyrical mood is created here, but through the description of a natural disaster, a picture of people’s grief is briefly and vividly created.
2. There is no dialogue in R. Southey's ballad. The poet introduces only replicas into the narrative, but the characters do not address each other. The people are surprised at Gatton's generosity, but the bishop does not hear people's exclamations. Gatton talks to himself about his atrocities, but only God can know his thoughts.
3. This is a ballad of retribution and redemption. In it, the Middle Ages appears as a world of opposition between earthly and heavenly forces.
The tragic tone remains unchanged in this ballad, only the images and the narrator's assessment of their position change.
4. The ballad is built on the antithesis:
“There was a famine, people were dying.
But the bishop, by the grace of heaven
Huge barns are full of bread"
The general misfortune does not touch the bishop, but at the end the bishop “calls God in a wild frenzy”, “the criminal howls”.
5. In order to evoke sympathy from the reader, the author uses unity of command.
“There were both summer and autumn rainy;
Pastures and fields were sunk"
Zhukovsky always chose works for translation that were internally consonant with him. Good and evil in a sharp confrontation appear in all ballads. Their source is always the human heart and otherworldly mysterious forces that control it.
"Castle Smalholm, or Midsummer's Evening" - a translation of Walter Scott's ballad "St. John's Eve". The castle was in the south of Scotland. Belongs to one of Walter Scott's relatives. The poem was written in July 1822. This ballad has a long censored history. Zhukovsky was charged with “blasphemous combination of the love theme with the theme of Ivanov’s evening. Ivanov's Eve national holiday Kupala, rethought by the church, as a celebration of the birth of John the Baptist. Censorship demanded a radical reworking of the finale. Zhukovsky appealed to the censorship committee to the Chief Prosecutor of the Synod and the Ministry of Public Education, Prince A.N. Golitsyn. The ballad was printed by changing "Midsummer's Day" to "Duncan's Day".
Of the ballads I have read, I would like to highlight the ballads of M. Yu. Lermontov.
The ballad "The Glove" is a translation of the knightly ballad by the German writer Friedrich Schiller. Lermontov - the translator relies on the experience of Zhukovsky, so he seeks to convey not so much the form of the work as his emotional attitude towards the treacherous woman who, for fun, subjects her knight to a death test.
1. The landscape beginning depicts a crowd in a circus, gathered in anticipation of a spectacle, a dangerous game - a fight between a tiger and a lion.
2. There is a dialogue in the ballad: there is an appeal by Kunigunde to the knight, there is also his answer to the lady. But the dialogue is broken: the most important event takes place between the two remarks.
3. The tragic tone replaces the general fun.
4. An important element of the composition is its brevity: it looks like a spring compressed between the tie and the denouement.
5. In the area artistic speech the generosity of metaphors is noted: “The choir of beautiful ladies shone”, “but the slave in front of his master grumbles and gets angry in vain”, “the annoyance of the cruel blazing in the fire”
The heroic ballad, glorifying the feat and intransigence towards enemies, was widespread in Russia.
One of the best patriotic poems created by Russian poets is M. Yu. Lermontov's ballad "Borodino".
1. 1. The whole ballad is built on an extended dialogue. Here, the element of the landscape beginning ("Moscow burned by fire") is included in the question of a young soldier, with whom the ballad begins. Then follows the answer - the story of a participant in the Battle of Borodino, in which the replicas of the participants in the battle are heard. It is these remarks, as well as the speech of the narrator himself, that allow the poet to convey a truly popular attitude towards the Motherland and towards its enemies.
2. This ballad is characterized by polyphony - many voices sound. For the first time in Russian poetry, true images of Russian soldiers, heroes of the famous battle, appeared. The story of the day of the Battle of Borodino begins with a call from the soldier, with flashing eyes, the commander-colonel. This is the speech of an officer, a nobleman. He easily calls the old honored soldiers "guys", but is ready to go into battle together and die like their "brother".
3. The battle is beautifully depicted in the ballad. Lermontov did everything so that the reader could, as it were, see the battle with his own eyes.
The poet gave a great picture of the Battle of Borodino, using sound writing:
"Damask steel sounded, buckshot screeched"
“I prevented the nuclei from flying
Mountain of bloody bodies"
Belinsky highly appreciated the language and style of this poem. He wrote: "In every word one hears the language of a soldier who, without ceasing to be crudely ingenuous, is strong and full of poetry!"
In the 20th century, the ballad genre was in demand by many poets. Their childhood and youth were spent in hard time great historical upheavals: revolution, civil war, Great Patriotic War brought with them blood, death, suffering, devastation. Overcoming hardships, people reshaped their lives anew, dreaming of a happy, just future. This time, swift as the wind, was difficult and cruel, but it promised to make the most daring dreams come true. Among the poets of this time, you will not find fantastic, family or "terrible" ballads; in their time, heroic, philosophical, historical, satirical, social ballads are in demand.
Even if the work tells about an event from ancient times, it is experienced as today's in D. Kedrin's ballad "The Architects".
Tragic is K. Simonov's ballad "An old song of a soldier" ("How a soldier served").
A newspaper excerpt, which gives the work a publicity, is preceded by the "Ballad of Poaching" by E. Yevtushenko. Its text includes a salmon monologue that appeals to the human mind.
Noble solemnity and rigor distinguishes V. Vysotsky's "Ballad of the Struggle", lines appear in memory:
If, cutting through the path with his father's sword,
You wound salty tears on your mustache,
If in a hot battle I experienced what how much, -
So, you read the necessary books as a child!
The ballad "Architects" by D. Kedrin is the pride of Russian poetry in the first half of the 20th century, written in 1938.
In The Architects, Kedrinsky's understanding of Russian history, admiration for the talent of the Russian people, faith in the all-conquering power of beauty and art were manifested.
In the center of the poem is the story of the creation of the Temple of the Intercession Holy Mother of God on Red Square in Moscow, known as St. Basil's Cathedral.
The temple was built in 1555-1561 in honor of the victory over the Kazan Khanate. Skillful architects Postnik and Barma conceived and implemented an unprecedented deed: they united eight temples into one whole - according to the number of victories won near Kazan. They are grouped around the central ninth tent camp.
There is a legend about the blinding of the builders of St. Basil's Cathedral. The atrocity was allegedly committed at the behest of Tsar Ivan IV, who did not want a cathedral like this to appear anywhere. Documentary evidence of the legend does not exist. But what is important is that the legend arose, that it was passed down from generation to generation, already testifying by the fact of its existence that such cruelty of the autocrat was possible in the popular mind. Kedrin gave the topic a generalizing meaning.
1. This poem tells about an important historical event. There is a plot, and we see here a typical ballad technique - “repetition with growth”. The king twice addresses the architects: "And the benefactor asked." This technique enhances the swiftness of the action, thickens the tension.
2. Dialogue is used, which drives the plot in ballads. The characters of the characters are outlined convexly, in relief.
3. The composition is based on antithesis. The poem is clearly divided into 2 parts, which are opposed to each other.
4. The story is told as if on behalf of the chronicler. And the chronicle style requires dispassion, objectivity in the depiction of events.
5. There are very few epithets at the beginning of the text. Kedrin is stingy with paints, he is more concerned about the tragic nature of the fate of the masters. Speaking about the giftedness of the Russian people, the poet emphasizes their moral health and independence with epithets:
And two came to him
Unknown Vladimir architects,
Two Russian builders
When the "chronicler" comes to the description of the "terrible royal favor", his voice suddenly trembles:
falcon eyes
If they use an iron awl
To white light
They couldn't see.
They were branded
They were flogged with batogs, sick,
And threw them
On the cold bosom of the earth.
The form of folk lamentation is emphasized here by folklore "permanent" epithets.
There are several comparisons in the poem that emphasize the beauty and purity of the Church of the Intercession of the Most Holy Theotokos:
and, wondering, as if in a fairy tale,
I looked at that beauty.
That church was
Like a bride!
What a dream!
There is only one metaphor here (they are out of place in the annals):
And at the feet of the building
The market place was buzzing
6. The rhythm is suggested by the phrase "the chronicler's tale speaks": the measured, impressive voice of history itself. But the rhythm in the poem changes: the stanzas associated with the presence of the sovereign sound solemn and majestic. When it comes to the unfortunate blinded architects, emotional tension dictates abrupt change intonation, rhythm: instead of solemnity - the sound of one piercingly sharp note in the whole line:
And in the gluttonous row,
Where the blockage of the tavern sang,
Where the fuselage reeked
Where it was dark from a couple
Where the deacons shouted:
"The state's word and deed!"
Masters for Christ's sake
They asked for bread and wine.
The tension of the rhythm is also created by the anaphora (where, where, where), forcing tension.
7. Archaisms and historicisms enter the work organically, they are always understandable in the context.
Tat - a thief, circled - a tavern, torovo - generously, right - punishment, blasphemy - beauty, green - very, velmi - very, smerd - peasant, zane - because
Kedrin ends with the expression “popular opinion”:
And a forbidden song
About the terrible royal mercy
Sang in secret places
Across wide Rus', guslars.
August 29, 1926 " TVNZ" printed "Grenada" - and Svetlov suddenly became the most popular Soviet poet. V. Mayakovsky, having read "Grenada", memorized it and recited it at his creative evenings. For some reason, it seems to everyone that this ballad is about civil war in Spain. In fact, the war began a few years after the poem appeared. The lyrical hero simply dreams of fanning the world fire.
From one word "grew" the poem "Grenada". What fascinated this word of the poet? Why did it become the song of a Ukrainian lad, a cavalry soldier who died in the civil war? Of course, Mikhail Svetlov first of all liked the sound of the word Grenada. There is so much energy in it, and there is absolutely no aggression, rudeness; in its sound at the same time, and strength, and tenderness, and the distinctness of reality, and the unsteadiness of a dream, and the swiftness of an impulse, and the calmness of the end of the path. In the mouth of a young fighter beautiful name becomes a sound symbol of his dream of a new life for all.
1. Landscape painting wide open space Ukrainian steppes. The ballad tells about the fate and heroic death of a young soldier.
3. M. Svetlov sharpens the rhythm of the ballad, breaking the quatrains into eight lines. In this rhythm, the rhythm of the movement of the cavalry detachment is clearly heard:
He sang while looking
Native lands:
"Grenada, Grenada,
Grenada is mine!
The word Grenada itself reproduces the size of the ballad: it has three syllables and the stress falls on the second syllable.
4. The tragic tone is replaced by the ringing melody of the resurrection of a dream.
Here's over the corpse
The moon bowed
Only the sky is quiet
Slipped later
On the velvet of sunset
teardrop of rain
Personification and metaphor indicate that no matter how grandiose the event, its meaning cannot alleviate the pain of loss.
Vysotsky wrote 6 ballads - “The Ballad of Time” (“The Castle is Hidden by Time”), “The Ballad of Hatred”, “The Ballad of Free Riflemen”, “The Ballad of Love” (“When Water Flood”), “The Ballad of Two Dead Swans”, “The Ballad of the Struggle” (“Among the Sagging Candles and Evening Prayers”) for Sergei Tarasov’s film “The Arrows of Robin Hood”.
“I wanted to write a few songs for the youth who will watch this picture. And he wrote ballads about struggle, about love, about hatred - six rather serious ballads in total, not at all like what I did before, ”the author writes.
Finally, he spoke out in direct speech - as they say, without a pose and a mask. Only the "Song of the free shooters" - conditional, role-playing, or something. And the rest - without a game bifurcation, without hints and subtexts. There is some kind of anti-irony here: courageous directness, like a blow of a sword, crushes ironic smirks, cuts off the head of any cynicism
But the ballads were banned and Vysotsky’s recordings were later used by Tarasov in the film “The Ballad of the Valiant Knight Ivanhoe”.
1. The beginning in the “Ballad of Time” is interesting: not only a certain lyrical mood is created here, but through the description of an ancient castle, “hidden by time and wrapped in a delicate blanket of green shoots”, a picture of the past is created with campaigns, battles and victories.
2. In V. Vysotsky's ballad, the dialogue is hidden. The form of a dramatic monologue is used. The poet introduces only his own lines into the narrative - appeals to descendants, the characters do not address each other, tournaments, sieges, battles take place in front of us, as on the screen.
3. This ballad of eternal values. In it, the Middle Ages appears as a world built on antithesis:
Enemies fell into the mud, screaming for mercy
But not everyone, staying alive,
Keeping hearts in kindness
Protecting your good name
From the deliberate lies of a scoundrel
4. The solemn tone remains unchanged in this ballad. The author uses unity of command:
And the price is the price, and the wine is the wine,
And it's always good if the honor is saved
"In these six ballads, life position poet. It's deeper than at first glance. This is like his inspiration, testament, ”wrote one of V. Vysotsky’s friends.
In this article we will talk about such a literary genre as a ballad. What is a ballad? This is a literary work written in the form of poetry or prose, which always has a pronounced plot. Most often, ballads have a historical connotation and you can learn about certain historical or mythical characters in them. Sometimes ballads are written to be sung in theatrical performances. People fell in love with this genre, first of all, because of the interesting plot, which always has a certain intrigue.
When creating a ballad, the author is guided either by the historical event that inspires him, or by folklore. In this genre, specially fictional characters are rarely present. People like to recognize the characters they liked before.
ballad like literary genre has the following features:
- The presence of the composition: introduction, main part, climax, denouement.
- Having a storyline.
- The attitude of the author to the characters is conveyed.
- The emotions and feelings of the characters are shown.
- A harmonious combination of real and fantastic moments of the plot.
- Description of landscapes.
- The presence of mystery, riddles in the plot.
- Character dialogues.
- A harmonious combination of lyrics and epic.
Thus, we figured out the specifics of this literary genre and gave a definition of what a ballad is.
From the history of the term
For the first time, the term "ballad" was used in ancient Provençal manuscripts as early as the 13th century. In these manuscripts, the word "ballad" was used to describe dance movements. In those days, this word did not mean any genre in literature or other forms of art.
As a poetic literary form, the ballad began to be understood in medieval France only at the end of the 13th century. One of the first poets who tried to write in this genre was a Frenchman named Jeannot de Lecurel. But, for those times, the ballad genre was not purely poetic. Such poems were written for musical performances. The musicians danced to the ballad, thus amusing the audience.
In the 14th century, a poet named Guillaume fe Machaux wrote more than two hundred ballads and quickly became famous as a result. He wrote love lyrics, completely depriving the genre of "dancing". After his work, the ballad became a purely literary genre.
With the advent printing press, in France, the first ballads printed in newspapers began to appear. People really liked them. The French loved to gather with the whole family at the end of a difficult labor day to enjoy together interesting plot ballads.
In classical ballads, from the time of Machaux, in one stanza of the text, the number of verses did not exceed ten. A century later, the trend changed and ballads began to be written in square stanzas.
One of the most famous balladists of that time was Christina Pisanskaya, who, like Masho, wrote ballads for print, and not for dances and dances. She became famous for her work The Book of a Hundred Ballads.
After some time, this genre found its place in the work of other European poets and writers. As for Russian literature, the ballad appeared in it only in the 19th century. This happened due to the fact that Russian poets were inspired by German romanticism, and since the Germans of that time described their lyrical experiences in ballads, this genre quickly spread here as well. Among the most famous Russian ballad poets are Pushkin, Zhukovsky, Belinsky and others.
Among the most famous world writers, whose ballads, no doubt, went down in history, one can name Goethe, Kamenev, Victor Hugo, Burger, Walter Scott and other outstanding writers.
IN modern world, in addition to the classical literary genre, the ballad also found its primary musical roots. In the West, there is a whole musical direction in rock music, which is called "rock ballad". The songs of this genre sing mainly about love.