Thesis

Kovylin, Alexey Vladimirovich

Academic School:

Candidate of Philology

Place of protection dissertation:

Vac Special Feature Code:

Specialty:

Folkliristics

Number of prints:

The formation of the genre of Russian folk ballads of the XIV centuries.

1. Historical prerequisites for the formation of the genre of Russian folk ballad

2. Cycle ballad about half-colored girls.

3. Related form. "Avdotea Ryazan".

4. "Kozarin".

Development of the genre of Russian folk ballads of the XIV - XVII centuries.

1. Senior ballads of the XIV - early XVI centuries.

2. Changes in the genre structure of ballads in the XVI century.

3. The cycle of evil wife.

4. A loan about a hopeless young man.

5. Historic song And ballad poetry.

6. Processing novelistic Epos.

Genre changes in Russian folk ballads of the XVII - XIX centuries.

1. Types of cyclization of the genre of Russian folk ballads.

2. Lurization of folk ballads.

The dissertation (part of the author's abstract) On the topic "Russian folk ballad: the origin and development of the genre"

The ballad genre is one of the most complex and unexplored in Russian population. Lots of research work Dedicated to the ballad, and nevertheless, it remains the most controversial and mysterious form for modern science. In the educational literature only in 1971. V.P. Anikin first introduced the topic of Baladen genre1. Until this time, the term ballad did not have a sufficient theoretical justification in the training publications. In the scientific world, an increase in interest in the study of the specifics of the genre only since the end of the 50s of the twentieth century, since the publication of the meeting of the Russians, V.Ya. Proppap and born Putylov. From the 60s Specific features of the genre shape of ballad are set, attempts are made to trace the origins and fate of the genre, old collections are investigated, new ones are being produced, active work is being made to pick up ballad songs in the regions. However, the main, global genre issues remain unresolved. What is a ballad in a generic attitude, why does the Lyric manifest itself in the genre of extremely unevenly and nevertheless the ballad goes into lyric forms? How does a folk ballad arise, what are the causes of its lyricization, as well as transformation into a genre of literary romantic ballads? Why ballad is a flexible genre unit capable of reflecting the artistic requests of several historical formations, from the XIV to the XVIII - XIX centuries.? How are the epic, lyrical and dramatic principles in its genre structure combined at specific historical stages, and do the presence of general laws of creating specific works in different periods of balladic creativity determine? What does the XV century ballad differ in the genre of the XVI ballads? What is the specificity of the interaction of the genre with other forms of folk poetry: ritual, epic, lyrical, historical, spiritual songs?

We will try in our work to trace the evolution of the genre of Russian folk ballads and answer the questions. We should not disregard the correlation of Russian and European folk ballads. Under the Folk European Ballone, the plot narrative lyrical songs of epic origin are traditionally understood.

They have a common content and uncertain genre specificity. In the works of Western European scientists, the eponym is the same ballad, since it has a plot, causes certain emotions, feelings and reflects the privacy of the hero. "Russian ballads," epics "or" old days "differ from all other ballads of Europe in shape, style and topics" 3. Therefore, it seems appropriate to study the evolution of the genre, taking into account the national specifics of each ballad region. Only by collecting data on all ballads, you can compare evolutionary chains, take into account national features - in a word, to carry out a comparable analysis of the ballading heritage of various european countries and determine the general model, the genome type of people's European ballad. this work Deals with Russian folk ballads and is a material for such a generalizing study.

Before proceeding with the study of Russian folk ballads, you need to stay on the general model of the origin of the genre in Europe. Until the 20th century, the theory of the occurrence of ballads in the conditions of the primitive communal era was widespread. The term ballad goes back to the Italian Word Ballata (Ballere verb means dancing). Under the ballads, there are songs performed by music in dance (FB Gammer, A.S. McKinji, R.G. Malton, etc.) Dance is understood as the early form of primitive art, respectively, the ballad has one of the most early form poetry. "INASMUCH AS DANCING IS THE MOST SPORTANEOUS OF ALL THE ARTS, IT MAY BE REGEDED AS THE EARLIEST". "The Ballad Is A Song Made in The Dance, and so by the dance" 4. In Russia, the connection of the ballads genre with ritual creativity was pointed by A.N. Veselovsky. "At the beginning of all development, the ancient layer of choral, ritual poetry, songs in faces and dance, from which lyrical and epic genres were sequentially separated." Ballads "endured their epic canvas from choral action, they were performed mimically and dialogically, before their connected text was formed, under which they continued to dance" 5. The same ballads " addressed from the spring cycle"6.

In the 20th century, the theory of origin of ballads in primitive communal

- "* -" "GT 7 Epoch defended the famous scientist P.V. Lintur. It is possible to note the opinion of G.A. Kalandadze, who supported the tradition of the XIX century:" The emergence of ballads is more connected directly with the emergence and development of dance dance, which lead their origin from Ancient times "8. The works of other researchers are greater caution. Professor N.P. Andreev in the introductory article to the first column of folk ballad, prepared by V.I. Chernyshev, notes:" You can think that some songs similar to the ballad have existed And before, but they are not preserved before us in their original form. "In modern meaning The scientist belongs to the ballad to the early refortion and serfral period9. Such a point of view dominated over the first half of the twentieth century. Previously, in 1916, V.M. Zhirmunsky, obviously, under the influence of the comparative historical method, A. N. Veselovsky, wrote about the English folk ballad: "In the ballad form, the features have been preserved, forcing the occurrence of this form to the era of poetic syncretism, to choral song-dance. But the theory does not apply to the ballads to the real Ballads, this theory does not claim such antiquity. "10 Later, almost half a century later, in his epochal labor "People's Heroic Epos", the scientist speaks with all certainty and clarity that the People's Ballad comes to replace the heroic epic at the same time as a knightly novel in the XIII - XIV - XIV

Such a point of view should be recognized as promising, it can be traced in the vast majority of European and Russian works on the XX century ballad. "The European Ballad is a product of social conditions that it is determined, taking into account the exact limits for each individual nation" 12. Modern science believes that the ballad, as any genre of oral folk creativity, is a poetic form of reflection of reality, in this case, the needs of medieval time. "Talking about the emergence and flourishing ballads as a genre of folk poetry, you have to install. Compliance of a particular type of ballad social Development With the attitude of it inherent in it, and thinking "13. To the conclusion of the reflection of the Balladian conflict and the historical conditions of the medieval era, an ideological and artistic analysis of concrete ball belts.

Apparently, the People's Ballad arises as a genre in the general era of the Middle Ages in all European countries and has pronounced national features. The origin of the genre is characterized by typological, in each country, ballads arise as a completely independent genre. At an early stage of development, it worked closely with developed close genre forms, which subsequently can have a noticeable impact on the entire genre appearance of national ballads (specialists allocate the type of English and Scottish ballads, Scandinavian, German, French, Slavic ballads, Spanish romances, etc.). It should be noted the difference marked by researchers of the ballading genre, the type of Slavic ballad from Western European (a special position is occupied by the Spanish region in which the features of both types of both types are historically reasonable). In all likelihood, Original Bladlae called a dance song, more precisely, she denoted the spring dance song of love content. Such songs K. XIII century Transfer into solid literary forms and have widespread in Western Europe. "It is impossible not to notice that the Romanesque form of ballads, barely becomes folk, immediately turned into a literary" 14. "From the dance song of the ballad already in the XIII century in Italy, and then in France turned into a literary genre, having a certain metric shape and purely lyrical content" 15.

The emergence of a new, actual ballad genre, approval of his aesthetic platform involves interaction with developed genre forms. The ballad borrows a certain form, the form of execution of dance songs, thereby turns on to the system of folk genres and artistically reflects new modern conflicts. So the Scandinavian ballad borrows the custom of dance and Romanesque poems. The famous researcher of the Scandinavian ballad poetry M.I. Steblen-Kamensky notes: "Baladnaya poems, like the custom of dance, accompanied by singing, were presented in that era, when the ballad arose, outside Scandinavia, and above all in France. . As usual is assumed, from France, apparently, in the first half of the XII century, penetrated into Scandinavia, and above all, to Denmark and the custom of dance accompanied by singing "16. In other countries, the ballad was not most often associated with the dance, and in the Slavic region (especially among the South and Eastern Slavs), it has a tonic session, since they had such a form heroic eposa popular at the time and have a significant impact on a new genre.

Of principled importance is the question of the genre structure of ballads.

V.Ya. Propppe proposed to determine the folk genre the set of "his

17 poetics, household use, form of execution and attitude to music. "

V.V. Mitrofanova pointed out the need to analyze ideological and thematic

18 unity, community of plots and situations. Scientists note the complexity of the classification of the genre of folk ballads, since it does not have a clear form of execution, it does not have sustainable domestic use (ballads are fulfilled primarily on the case, sometimes - in well-known holidays), and "The rhythmic structure of ballads opens space for the most peculiar musical abilities." nineteen. Apparently, the ballad is determined by its own genre specificity, and researchers establish the general signs of the ballading genre. The ballad has an installation on the image of the world of private people, "the world of human passions, tracked tragically" 20. "The world of ballads is the world of persons and families scattered,

21 disintegrating in a hostile or indifferent environment. " The focus of the ballad pays the disclosure of the conflict. " Centuries were the selection of typical conflict situations and was cast in balobow"22. In ballads, "sharp, irreconcilable conflicts are opposed to good and evil, truth and not true, love and hatred, positive characters and negative, and the main place is given to a negative character. Unlike fairy tales in ballads, not good, and evil, although negative characters suffer moral defeat: they condemn and often repent in their actions, but not because they realized their inadmissibility, but because at the same time with those who they

23 They wanted to destroy, dying and loved by them. " The conflict is revealed dramatically, and, it should be noted, dramatic literally permeates the entire ballad genre. " Artistic specificity Ballads are determined by its drama. The needs of dramatic expressiveness are subject to both the composition, and the image of a person's image, and the principle of typing life phenomena. The characteristic features of the composition of ballads: single-contact and compression, intermittentness of presentation, abundance of dialogues, repetition with increasing drama. The action of ballads is reduced to one conflict, to one central episode, and all events that predict conflict, or set out to be extremely short. Or are missing. "24

Images of ballad characters are also disclosed on a dramatic principle: through speech and actions. It is the installation on the action, on the disclosure of a personal position in conflict relationships determines the type of hero of ballads. "The creators and listeners ballads are not interested in personality. They primarily concern the attitudes of the characters among themselves, transferred, epically copying the world of blood-study and family relationships "25. The actions of the heroes ballad have a universal meaning: they define the entire plumes of ballads and are dramatically tense, preparing the soil for tragic junction. "Events are transmitted in the ballad in their most tense, the most effective points, there is nothing in it, which would not be treated for action." 26 "The action in the ballad, as a rule, develops rapidly, jumps, from one vertex scene to another, without binding explanations, without introductory characteristics. Speech characters alternate with narrative rows. The number of scenes and characters minimized. . And the ballad often represents a preparation for the junction "27. Scientists celebrate the plot incompleteness of the genre of ballads, almost any ballad can be continued or deployed to a whole novel. "Mysteriousness or inexpensive, resulting from the composite properties of ballads, inherent in ballads of all nations" 28. As a rule, the ballad has an unexpected and cruel junction. Heroes do actions impossible in the usual, everyday lifeAnd to make such actions, they are pushing the artistically built chain of accidents, leading usually to the tragic final. "The motives of unexpected misfortunes, irreparable accidents, terrible coincidences are common for ballads" 29.

The presence of listed features suggests that "Ballads have so specific character that we can talk about them as

30 About the genre. "

Currently, four theories of the definition of the genre of ballads can be distinguished.

1. Ballad is an epic or epic-dramatic genre. Supporters of such a position include N. Andreev, D. Balashov, A. Kulagin, N. Kravtsov, V. propppe,

Y. Smirnov. "Ballad - epic (narrative) song dramatic

31 characters. " The source of the emotionality of the story is a dramatic beginning, the author's presence in the ballad is not pronounced, and therefore the lyrics as a generic feature of the genre is absent. The lyrical beginning is understood as a direct expression of the author's attitude to reality, author

32 mood.

2. Ballad is a lyric view of poetry. At the moment of the development of science, such a point should be considered abandoned. Its emergence refers to the XIX century. It was believed that the ballad in literary form reflects the form of a folk and easily correlated with such lyrical genres as Romance and Elegy. Pavel Yakushkin, one of the famous collectors of folk poetry, wrote: "Ballada so easily goes to Elegy and, on the contrary,

33 Elegy in the Ballad, which is impossible to strictly delimit them. " They differ except for the number of options presented more in the ballad34. Such a theory does not withstand serious criticism, much earlier VG Belinsky wrote about belonging to ballads arising in the Middle Ages to Epic Works, although in general it should be considered, according to criticism, in

section of lyrical poetry.

3. Ballad - Laro-epic genre. Such a point of view is divided by A. Veselovsky, M. Gasparov, O. Tumilevich, N. Elin, P. Lintur, L. Alurstein, V. Erofeev, Kalandadze, A. Kozin. Until recently, this theory was considered classic. There is every reason to believe that it arises from the assumption about the lyrical warehouse of ballads, and a common in the XIX century. Scientists note a kind of lyrization of folk ballads: "If the main route of transformation is a transformation into prose, in the form of a wide set of prosaic forms ,. That for ballads the main route of transformation is the transition to lyrics, in the form of, perhaps, a wider set of lyrol-epic and lyrical forms "36. Considering such lyrol-epic ballads of the XVIII - XIX centuries., Researchers come to a legitimate conclusion that the leading start in the structure of the genre is precisely lyric. Unfortunately, in determining the specific manifestation of the lyrical principle, the term itself lurisism is given general, mostly off-lands. We are talking About special emotional perception, lyric acquisition of listeners in the content of ballads, their sympathy for the suffering and death of heroes. Also, as a lack of this concept should be indicated on the lack of work devoted to genre evolution of ballads: maybe an ancient form of ballad songs is not constant, changes over time and does not fully correspond to the modern type of ballad.

4. Ballad - epics-lyrol dramatic genre. Such an approach to the definition of ballads now enters leading positions. Supporters of such a concept are M. Alekseev, V. Zhirmunsky, B. Putilov, A. Gugnin, R. Wright-Kovaleva, A. Mikeshin, V. Gusev, E. Tudorovskaya. "People's ballad - Epico

37 Lyrical song with pronounced elements of dramatic. " In principle, to such a definition, Russian folklorism went for a long time and independently, but it is possible to establish connections with the analytical work of German poets and collectors of the People's Poetry of the XVIII - XIX centuries., Creating a type of romantic ballad. I.V. Guete believed that "the singer enjoys all three main types of poetry ,. He can start lyrically, epically, dramatically, and, changing at the request of the form, continue. "38. The definition of ballads as a symbiosis of three poetic clans I.G. Gerder added another mythological element. The dramatic start is one of the leading elements forming the genre of ballads. The dramatic statement of the event series, the dramatic conflict and the tragic interchange is not lyric, but the dramatic type of emotionality of the ballad genre. If the lyrics in the folklore means the author's subjective attitude to the events depicted, then the dramatic start is the attitude of the heroes to the events taking place, and the ballowing genre is formed in

39 According to this approach.

The last group of scientists believes that the dramatic start is an indispensable genre sign and has an equal role with epic and lyrical. In a specific song of the epics-lio-dramatic type, they can be used to varying degrees, depending on the needs of historical time and ideological and artistic installation of the work. This position, in our opinion, seems to be the most promising and fruitful in relation to the study of the genre of folk ballads.

Unfortunately, it is necessary to recognize that the works devoted to the origin and development of the genre of Russian folk ballads are numbered. V.M. Zhirmunsky in the article " English folk ballad"In 1916, he proposed to divide ballads on genre varieties (epic, lyric-dramatic or lyrical) 40, thereby removing the issue of the problem of the evolution of the ballad genre as such.

In 1966, a study is published " The history of the development of the genre of Russian folk ballads»D.M. Balashov, in which the author on a particular material shows the thematic nature of the change of ballads in the XVI - XVII centuries, and in the XVIII century notes signs of the destruction of the genre as a result of the development of an outcompact lyrical stretching song and "absorption of epic tissue ballads lyrical elements" 41.

N.I. Kravtsov summarized all the circumstances and proposed to approve four groups or cycles in the educational literature: family-household, love, historical, social42. In 1976 in scientific labor

Slavic folklore "The scientist noted the evolutionary nature of the data

In 1988, Yu.I. Smirnov, analyzing East Slavic ballads and the form close to them, presented the experience of the signs of plots and versions, which subjected to an informed criticism of artificiality, the conventionality of the division of ballads for fantastic, historical, social and domestic, etc. "Such an artificial division breaks natural ties and typological relations between the plots, as a result of which the family or close to them turn out to be disconnected and are considered isolated" 44. The scientist clarifies the rules for constructing an evolutionary chain45 in relation to the ballading material, highlighting the five derivatives of the genre (from a long-standing or "volatile" song intended for choral execution, to literary ballad songs that are among the people) 46.

In general, it consists total picture evolution of the genre of folk ballads from epic shape To lyric. In this paper, private, practical questions about the paths and the causes of the modification of genre elements of ballad are solved, the links between the fragmented plots are established and the genre specificity of specific texts is determined. In our work, we use the method of reconstruction of texts, the foundations of which were laid in the writings of historical and typological school V.Ya. Proppap and born Putylov. With reference to the ballading genre, it has its own specifics and is implemented in the following aspects.

It is assumed that the Baladen genre is organized in certain cycles that contribute to the maximum disclosure of all genre features of ballads. The cyclization of the ballading genre is primarily the plot-variable implementation of one conflict. In ballad cyclization, the fundamental element will be the fundamental element, which in practice is to create a) variants of the dramatic situation (early cycles), then conflict interchanges; b) versions of the dramatic situation, conflict.

A variant of the ballowing cycle is called such a song that repeats the specified conflict model, but it intends to the most complete plot disclosure. The version is a qualitative change in the text, the creation of a new conflict based on a developed cycle or a separate ancient ballad ("Omelph Timofeevna helps his relatives" and "Avdota Ryazan", "Tatar Polon" and a cycle about half-water girls). The cycles are studied in their direct interaction, internal evolutionary bonds, also traced, as over time, the principles of folk cyclization are changed.

The study of the composition of the cycle involves the genre analysis of the plot-variable series of songs. Special attention is paid to the study of the main components of the genre specificity of ballads. The type of cyclization and the formality, the type of hero and the level of conflict, the nature of the People's / author's assessment and the dialogic / monological speech of the characters, the use of folklore and intragenital tradition, the type of convention and the reflection of the aesthetics of the artistic / direct case, establishes the role of formal storylines, the category of wonderful and symbolic . The features of the poetic language and art techniques Stylistics ballad. Emphasizes the impact on specific plots The traditions of adjacent ballad forms and ritual, epic, lyrical, historical songs, as well as spiritual poems. All results of analytical work are provided in accordance with the requirements of historical time, this is determined by the approximate time of the demand of the ballads cycles.

Ultimately, the typological features of the ballad genre at each historical stage are established. The character and features of the genre changes of ballads in its generic and artistic aspects are detected, general principles Her evolution. Balance cycles are considered in their immediate coupling and get accurate dating to one degree or another.

As a result of the analysis of the ballad material in the Russian region, it is established that the ballad is a flexible, mobile unit of an epics-dramatic nature, which has certain sustainable typological features at each historical stage of its development since the end of the XIII - early XIV centuries. By the XVIII - XIX centuries. Initially, the lyrics are attracted in the form of tradition and has no significant role in the genre structure of ballads. Gradually, the lyrical start changes the genre appearance of ballads, which ultimately leads to the lyricization of the genre or transformation into literary analogues. Balladian world summelation seems to prepare the soil and contributes to the emergence of personal and historical artistic consciousness, which caused the development of the forms of surviving lyrical and historical poetry. Subsequently, the ballad genre cannot fully display conflicts new era. Competing with historical and lyrical songs in the XVI - XVII centuries, the enhancing role of the lyrical element in its genre structure, the ballad will gradually be dissolved in the lyrical element, which is more consistent with the reflection of the entire depth and contradictory of the coming era. At best, from genuine ballad remains an external form, a kind of balobowa style of presentation or ballowstock plotty (type of mesh-ballad). The genuine genre of folk ballad is preserved in the XIX - XX centuries. The most famous, relevant for a particular area of \u200b\u200bBalafort plots are stored. They are given a lyrical form, they are lyrically processed, but certain sustainable typological features remain unchanged (CP. Previously, a similar process in epic creativity). Such ballads are gradually disappearing as the literacy of the population, the dissemination of books and the disappearance of the ballads themselves and performers themselves.

In the work on the dissertation, we were guided, first of all, the concept of a historical and typological school (V.Y. Propp, B.N. Putilov) on the historical study of genres folk Creativity and establishing certain typological features at certain historical stages of development of a particular genre in accordance with a single process of forming a genre of European ballads. Analysis of the genre structure of specific ballad songs is carried out taking into account the requirements of V.Ya. Proppage to the study of the genre of Russian folklore as a holistic system. The links of the genre of Russian folk ballads with Western European and Slavic samples are also taken into account (the works of scientists of the comparative historical school A.N. Veselovsky, P.G. Bogatyreva, V.M. Zhirmunsky, N.I. Kravtsova). On the other hand, we support the opinion of D.M. Balashov about the independent role of the genre of Russian ballads, her national originality and the leading role in Russian oral folk creativity from the XIII to the XVI - XVII centuries.

The main object of the study is Russian folk ballads presented in the collections of MD. Chulkov, Kirsi Danilova, P.V. Kireevsky, P.A. Bessonova, P.N. Rybnikova, A.N. Sobolevsky, V.I. Chernysheva, D.M. Balashova, B.N. Putylov, S.N. Azbelian. Internal connections of scattered songs are established, the model of their evolutionary development. Sustainable typological features are determined, allowing to give a clear definition of the genre. Finally, it is given general view About the fate of ballads and its place in the system of genres of the song folklore.

Thus, the relevance of the work is determined by understanding on the basis of specific observations of the problems of the evolution of the genre system of Russian folk ballads, its place in the system of genres of Russian oral poetic creativity and the further prospects for the transition to literary analogues through the type of German romantic ballad.

The decision of these problems involves the consideration of the Russian Baladenal heritage a) as a dynamic system that has its logic and the specifics of development interacting with close form of folk poetry; b) in the context of historical changes in the artistic consciousness of the people who have influenced the aesthetics and the fate of the whole genre; c) taking into account the theory of the emergence and development of the genre of European ballads.

Based on the above, the specific tasks of the dissertation were:

1. Systematization and analysis of the ballads of the scenes presented in the Russian region.

2. Establishment of genre specifics of Russian folk ballads, typological traits at specific historical stages, whose combination can give a clear definition of the genre.

3. Determination of specific genre changes in Russian folk ballads since its occurrence before the transition to lyrical forms and literary analogues.

4. Conference of the place and the value of the genre of folk ballads in the genre system of the Russian Song Folklore.

5. Establishing the time of occurrence and existence of both individual ballads, and cycles in general.

The analysis methodology is based on the principles of the historical and typological method, the basis of which is a comparison of possible ballads, its ideological and artistic analysis with the requirements of the urgency of the historical era, in which it arises and develops, as well as the establishment of the typological similarity of the ballading creativity of different peoples as a general pattern of a single process And, at the same time, as its various national variations.

The following provisions are made on the defense:

1. The Russian People's Ballad is an epiko-lyrol-dramatic genre, in which, depending on the historical feasibility and necessity, in strict accordance with the evolutionary theory, the data began to receive a different role.

2. The history of the development of Russian folk ballads involves the occurrence of the genre from the end of the XIII century as an epiko-dramatic song. The ballad takes a lyrical form in the XVIII - XIX centuries.

3. Ballad - initially mobile and flexible genre system, which makes it possible to reflect the conflicts of various historical formations.

4. The establishment of internal genre connections of the Russian Baladenal heritage involves the organization of the entire ballad material in cycles.

Scientific novelty thesis is determined by the integrated approach to the study of the genre of Russian folk ballads. The cycles of the Russian balladic heritage are restored and analyzed, which are built into a clear evolutionary model that sets the specific dates of the occurrence and existence of ballad songs.

Structure and scope of work. The thesis consists of administration, three chapters, conclusion, notes and bibliography, including 290 items.

Conclusion of dissertation on "folklorism", Kovylin, Alexey Vladimirovich

Conclusion

Russian folk ballad as a genre organization arises at the end of the XIII century and develops up to XVIII. In the XIX - XX centuries. The ballad loses sustainable genre signs and is transformed into form of lyrical or historical poetry or goes into literary analogs.

In our work, we proceeded from the concept about the inseparable communication of the people's song and historical time. Genres of folk poetry arise to reflect the actual needs of the era, they are associated with real life And it is determined. Russian epic poetry (epic of the era of the Tatar-Mongolian invasion) tells about state conflicts at the time of the transformation of mythological thinking in conditionally historical. At the same time, a new genre of ballads is formed, reflecting personal conflicts. Epoch XIII - XIV centuries. embodies new Type The artistic consciousness of the people: conditionally historical (epic creativity) and conditionally personal (balladic creativity). Therefore, with the second half XVI Century, during the formation of personal and historical consciousness, almost immediately, without certain genre searches, new forms of historical and lyrical poetry become one level with a developed genre of ballads. It can be said that it is the people's artistic consciousness in the turning stages of his evolution that creates new genres and not only affects the forms of oral creativity, but also enshrines, undergoing the stage of formation and development.

The genre is so stable and a flexible unit that can reflect the change of epochs, a change in the types of consciousness. The genre system receives a new impetus for development, and such works will be in the root differ from the previous ones. Russian epic poetry creates the epics of a new sample under the influence of a new type of artistic consciousness, which established in the era of the Tatar-Mongolian yoke, and in parallel develops a new genre of ballads. Only from the end of the XV - XVI centuries. Russian epic poetry comes closer with Western European and creates new entertaining novelistic Plots. However, the poetics of epic poetry are exactly the opposite of the ideals of the era of personal consciousness, so the episons cannot be developed further. Genres that cannot comply with the needs of historical time are preserved, create a so-called frozen tradition. Epic novelistic Creativity served as the basis for the tradition of genre modification of the forms of ballads and historical poetry. Thus, it is possible to note the special association of folk genres. Each genre should be studied in the system of development of close genre forms and not to lose the possibility of mediated exposure to completely different in the aesthetic platform of species of folk art. Folk genres create a tradition, certain ways to solve conflicts that can be in demand later than a completely different historical era.

It was such a holistic approach that was applied in the study of the genre of folk ballads. In this paper, we made an attempt to indicate the features and complexity of the interaction of the Baladen genre and epic, ritual, historical and out-of-payment lyrical poetry. Many questions require a detailed and detailed study. However, certain conclusions can be made.

The ballad is a flexible, fundamentally mobile genre unit capable of reflecting the needs of many historical eras. To a certain extent, it is a durable genre, whose popularity of whose popularity can be found and at the present time.

The ballad is formed from the opposition and development of poetics of the heroic epic. When creating a cycle about girls-bands, the genre structure also comes into contact with the tradition of lyrical poetry. In this case, the leading, dominant feature of the genre is a dramatic beginning. In other words, the genre of ballads arises and is formed as a synthesis of generic features, like an epiko-lyrol-dramatic phenomenon. In the formation of the genre of the lyrics is attracted as a tradition, when stagnation - a lyrical start can act a leading line of ballads. Due to the combination of different generic concepts in one genre of the ballad, it manifests itself as a mobile and flexible system, which allows to fully reflect conflicts of each other with each other epoch.

Unlike historical poetry, which will take such a principle of genre structure, the ballad is a full and sustainable genre. It will keep a fundamental originality, namely the leading genre-forming Sign of forming separate genre. We are talking about the dramatic beginning of the ballad, which literally creates a genre structure. We are watching dramatic lighting of the conflict in ballad songs. The conflict becomes formula, it is the basis for memorizing and cyclizing ballad songs. Images of heroes are also disclosed on a dramatic principle: through speech and action, and the flourishing of the genre of ballads claims the dialogic form of the position of the hero. The exclusiveness of events, the intensive drama of the narrative, the absence of the narratives of the action itself - everything in the ballad is devoted to the speedy achievement and resolution of the conflict. The ballad sensation produced by the performer on the listeners is definitely dramatic. In principle, it can be argued by the Baladen Genre - first of all the genre dramatic.

In our work, we noted all the stages of the evolution of the genre of ballads, sufficiently dwelling on the peculiarities of the modification of the genre structure at each historical stage. Balladny songs were studied in accordance with genre theory and the method of reconstruction of texts. In each ballad, a deep conflict is detected, the goal, with which the work was created, and the ways of its artistic incarnation. The type of conflict, the nature of the assessment and the role of the author and the narrator, the figurative system and the type of ballad hero, the type of dialogue, the nature of the convention, the role of an artistic or direct case, the category of wonderful and symbol, type of formality, type of cyclization and variability of variability are analyzed. This paper traces the features of their modification at certain historical stages.

When considering a large amount of material, a holistic picture of the principles of the organization, modification and genre evolution of the ballad form is made. When taking into account the development of forms of epic, historical and lyrical poetry, it is possible to trace the development of the ballading genre based on its components, to explain the reasons for direct lyricization, rapprochement with the poetics of the historical song, the appearance at the last stage of the development of scattered, isolated, independent of the tradition of scene songs or lyrical songs situations. On a concrete material, establishing compliance with ballad to real conflicts of a particular historical era, its connection with the preceding and subsequent options, versions and plots, you can determine the initial idea of \u200b\u200bthe song. Thus, it can be separated from the alleged primary source further layers, genre changes associated with evolution, and at the last stage - with the nature of the existence of the ballading genre. This will allow with a sufficient degree of confidence with an accuracy of half a century to dawn ballad text and clarify its place in the ballading cycle.

With all the mobility and variability of the genre system, both in kind and species and species, the ballad develops certain sustainable genre signs, the presence of which allows you to clear the definition of the genre.

The main, leading line of the genre is, as we have already noted above, a dramatic beginning, which manifests itself at all levels of the genre system. The dramatic start forms the composition, the nature of the action of ballads, features of the actions and statements of the characters, the special role of the narrative, drama of the presentation of the material and the impact on the listeners. The epic and lyrical start of the folk ballad are also exposed to the dramatic component and acquire a dramatic sound. Even with stagnation of the genre for ballads, plot songs with a dramatic junction of genuine drama in the conflict will be taken, in the relationship of heroes can be replaced by the story, but it always remains.

If the dramatic start is noticeably reduced, it is leveled, it is necessary to say either about the transformation of ballads in lyrical samples, or on the effects of adjacent genres: novelistic epic, historical songs, spiritual poems.

The next stable feature of the genre is a single-mounted folk ballad. Songs always have one conflict and strive to reveal it as much as possible in accordance with the dramatic principle: through speech and the actions of heroes. The actions of the ballad characters are reduced to the speedy achievement of the conflict, in this regard, we can talk about the unity of the action of folk ballads aimed at achieving a conflict situation. The change in the conflict system does not imply its disappearance, it becomes formal, goes into the case category. The extraordinary event of the later folk meshchansky ballads, spectacular decoupling reflects the essence of the plot conflict and typishes the genuine conflict of ballads. In the absence of a conflict, the song cannot be recognized by Bladlae, the same can be said when unfolding the ballading plot under the influence of the novelist epic and turning it into a multiconflial work, a kind of ballad poem.

The type of balladic heroes is one of the distinctive features of the genre. This is one of the most difficult moments of analysis, since it is in the figurative system that all genre modifications of ballads throughout the history of its development are catalyzed. The emergence of the poorer genre itself primarily implies the change of the value of the epic figurative system. The change in the type of heroes in the ballad goes continuously, more deeply and visibly illuminating the conflicts of historical eras. At a certain stage, the image of the ballad hero can become formula and creating certain cycles ballad (cycles of poisoning, a rampant young man, partly about evil wife). Such continuous, continuous development does not only strengthen the principal mobility and flexibility of the genre system, but also reflects the evolution of the lyrical component of ballads. It is through a figurative system in the occurrence of a ballading genre (cycle about half-colored girls) Lyrics as a generic feature of ballads enters its structure and subjures it subsequently a certain processing, composite correspondence with the appearance of a lyrical song. Strictly speaking, you can observe the instability and mobility of all generic components of the genre, even the dramatic start changes its role under the influence of the transformation of lyric and epic elements.

Ballad hero is typified, it private man, decisive private conflicts transmitting concrete through their private fate historical events. The classic ballad character is disclosed on a dramatic principle: through a dialogic speech and actions. It does not have a copyright expression plan, he determines the plot and cannot be considered outside it. The actions of it are exceptional in order to maximize the dramatic exacerbation of the conflict, the speech determines the vital position of the hero, its essence. In the ballad we will not find narratives Moments of action that slow down the movement of a dramatically unfolding plot. This is possible due to the functioning of the type of balladic heroes.

Gradual lyricization of the figurative system of ballad does not cancel the dramatic role of characters. Heroes may have a certain specified value, then develop the term character and more individually, psychologically motivate their actions. The dialogic speech is replaced by a monologue statement, the narrator - copyright, popular evaluation - the author's, but the Baladen hero is a dramatic character, since the work is focused on the realization of the conflict. Romantic literary ballad borrows such type of hero and uses it as type literary hero. When the copyright began, the ballad character should be defined as lyric, then it is not possible to consider the work with such a type of hero as ballad.

Also for distinctive feature The genre should recognize its variability. Ballad seeks to maximally fully reveal the established conflict situation and creates plots options representing all possible ways to resolve the conflict. As a result, the Baladen genre gets the opportunity to create song cycles associated with a reflection of a certain conflict. With a change in the type of ballad conflict, it produces appropriate types of cyclications associated with each other by intraphanage tradition. Even the versioning cyclization is based on the use of ballading heritage.

Refusal of communication with tradition means a refusal of variability in the ballading genre. Specific plot songs are created, describing certain cases, events and not involving the presence of options for such plots. This process is characteristic of ballads of the XVIII - XIX centuries. and is called the stagnation of the genre. The ballad loses creative productivity and is preserved, either proceeds to the adjacent forms of folk poetry or in literary analogues. The folk ballad loses the prospect of subsequent development, it goes to the path of the author's poetry. It was the author that describes the events striking his events and transmits him from the face of the ballad hero or narrator. Such songs are short-lived and soon forgotten, since they do not reflect genuine conflicts of historical time and are trying to deny communication with the intraharan tradition. The old ballads associated with the general achievements of the genre, make the very question of copyright art. Any balladic work passes through a century tradition, experienced on authenticity, changes, varies and becomes truly folk workreflecting the people's perception of the era.

A feature of the ballad genre can be considered the very mobility of the genre system. The ballad is not only rebuilding in the course of its development, it can attract any poetic genre for a deeper display of conflicts of alternating eras. Ballad can process for its own purposes any type of thinking: mythological, epic, historical, personal - and organically use certain motifs and genre features From this kind of works in ballad form. It can be concluded about the principal longevity of the genre, the People's Ballada loses its importance with the extrusion of folklore poetry (with the exception of lyrical and historical forms and their similar new genre formations) and the change of its author's or literary. Here it should be noted the role of distribution of book literacy in the XIX - XX centuries. and written fixation of folk songs.

This paper presents an attempt to find internal connections of scattered ballad plots. For the convenience of presenting the history of the development of the genre, the ballads were elected the path from elders to later songs, although in other cases the peculiarities of the development of certain genre elements required immediate disclosure of their subsequent fate in the time of the occurrence of ballads.

Thus, it can be concluded that the folk ballad occurs as an epiko-lyrol dramatic genre, where the dramatic start is the main and leading. When becoming the genre, the lyrical element acts as a tradition, moving into a secondary plan, since the personal artistic consciousness at the time has not yet been formed. From the second half of the XVI century, Lyrics enters the ballad as a genre-forming element and gradually becomes one of the main criteria for the principles of creating a new type ballad. There is a type of so-called lyrol-dramatic ballad, and gradually this species in the XIX - XX centuries. turns into lyric, that is, nonsense.

The genre is on the path of creating separate, scene songs of an epics-lyrol-dramatic nature, but in the absence of intraphanage tradition and lead genre-forming Principle (the dramatic beginning here is equally expressed with lyrical and epic). Such songs lose the ability to longevity and quickly disappear from the memory, replaced by others, also not capable of reflection of genuine conflicts of the new era (cf. development of historical or lyrical poetry until the XVI century). Such ballads do not have a clear genre structure and development prospects. They serve material for the formation of a new genre aesthetics of romantic literary ballads and repeat final stage its development in the genre of folk literary binding ballads. In the 20th century, the ballad is understood as a tense, dramatic story, leading to exacerbate and often tragic events. Perhaps only in the tragic time of wars (the second world, war in Afghanistan, Chechnya) the genre of folk ballad will again be in demand. However, with attentive consideration, we discover the lack of sustainable genre signs of ballads, the pseudomination of existence related to the popularity of author's poetry and existing literary heroes.

Requires a special study, the question of the transition of the genre of folk ballads in the literary analogue. In previous studies, we have noted an artificial nature of such a transformation, caused by the possibility of the development of the genre structure, but the requirement of the ideal compliance of the author's theory of imagination and aesthetics german romanticism . Russian literary romantic ballad does not have such a direct connection with folk samplesShe arises as a transferable and forms a genre of literary binding ballads, which finds a correspondence with a domestic folkal analogue.

Also, a special study requires the topic of the relationship of ballads and historical, ballads and lyrical poetry. This paper presents only general provisions requiring detailed consideration and clarification. Of particular interest is the not yet studied type of southern ballad, having roots in Russian ballading work, but also possessing autonomous sustainable genre education.

This paper reflects the principle of studying the genre of folk ballads in a separate Baladen region, namely in Russia. Most likely, it is such a principle of particular to general that the most fruitful in establishing genre appearance of the people's European ballads and accounting for national development features. The next step in this direction should be a deep study of the peculiarities of the development of the German, English, Scandinavian, Spanish, Balkan, Ukrainian, Polish ballad regions and minimize one system general provisions The genre of folk ballads. Only after such a generalizing work it is possible to trace the legitimacy and the validity of the transition of genres of German and English folk ballads in the literary romantic type. Then it will be possible to finally clarify the question of the principles and paths of the transition of the genre of folk ballad in its literary analogue.

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Note the above scientific texts Posted for familiarization and obtained by recognizing original texts of theses (OCR). In this connection, they may contain errors associated with the imperfection of recognition algorithms.
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For manuscript rights

Kovylin Alexey Vladimirovich

"Russian folk ballad: the origin and development of the genre"

Specialty 10.00.09 - Folklicy

dissertations for the degree of candidate of philological sciences

Moscow 2003.

The work was performed at the Department of Literature of the Philology Faculty of Moscow State Open Pedagogical University named after M. A. Sholokhov.

Nnuchny leader:

dr. Philological Spider, Professor Google »Alexander Alexandrovich

Official opponents:

doctor of Philological Sciences researcher Vinogradova Lyudmila Nikolaevna

Leading organization:

candidate of Philological Sciences, Starishin Researcher Govsnyko Tatyana Vladimirovna

Moscow State University named after M.V. Lomonosov.

Protection will be "..x." ... bt.fif.fja. 2003 in l. "*, Hours at the meeting of the dissertation council D 212.136.01 at the Moscow State Open Pedagogical University. M.A. Sholokhov at: 109004. Moscow, ul. Upper Radishchevskaya, d. 16-18.

The dissertation can be found in the Library of MGOU them. MA Sholokhov

Scientific Secretary of the Council, ^

c. F.N., Associate Professor / UI ^^ Chapaeva L.G.

phkhaishl "I axis 1 * p. Gvg.m ii and i

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The history of the development of the genre of Russian folk ballad leaves great interest in the modern scientific world. A lot of research works are devoted to the ballad, and nevertheless, it remains the most controversial and mysterious form for modern science there are still many unresolved questions about the specifics of the Russian folk ballad as a genre organization. What is a ballad in a generic attitude, why does the Lyric manifest itself in the genre of extremely unevenly and nevertheless the ballad goes into lyric forms? As the folk ballad occurs, what are the causes of its lyricization. and also transformation into a genre of literary romantic ballads? Why the ballad is a flexible genre unit capable of reflecting the artistic requests of several historical formations, from XIV in terms of x \\ and x1x centuries.? How are the epic, lyrical and dramatic stages be combined at specific historical stages in its genre structure, and does their presence determines the laws of creating concrete works in different periods of balladic creativity? What the XV Ballast differs in the genreality. from ballads XVI century? What is the specificity of the interaction of the genre with other forms of folk poetry: ritual, epic, lyrical, historical, spiritual songs?

In the dissertation study, an attempt was made to trace the evolution of the genre of Russian folk ballads and respond to the questions. This work :) is devoted to the study of the genre of Russian folk ballads, however, the fact of the correlation of Russian and European folk ballads is not ignored. It seems appropriate and at this stage it is necessary to study the evolution of the genre, taking into account the national specifics of each ballad region. Thus, confusion can be avoided in the definition of genre specifics of the total type of European ballads, when, for example, Russian epics or a German lyrical song is interpreted as private national forms of European ballads. Only by collecting data on all ballads in the regional regions, you can compare evolutionary chains, take into account the national characteristics of the word, to carry out a comparative analysis of the ballading heritage of various European countries and to determine the general model, the genome view of the people's European ballad. This work is a specific material in the Russian Balad region for such a generalizing study.

In the work on the dissertation, we were guided, first of all, the concept of the Isgorico-Typiological school (V.Ya. propp. B, N. Putilov) historical study of genres of folk creativity and establish certain typological traits at certain historical stages of development of a particular genre in accordance with the Unified The process of forming a genre of European ballads. Analysis of the genre structure

specific ballad songs are conducted taking into account the requirements for

B.Y. Proppage to the study of the genre of Russian folklore as a holistic system. Also taken into account the relationship between the genre of Russian folk ballads with Western European and Slavic samples (the works of scientists of the Comparative Nastor school A.N. Veselovsky. P.G. Bogatyreva, VM. Zhirmunsky. N.I. Kravtsova). On the other hand, we support the opinion of D.M. Balashov about the independent role of the genre of Russian ballads, its national identity and leading roll in Russian oral folk art with the XIV in the XVI - XVII centuries.

The main object of the study is Russian folk ballads presented in the collections of MD Chulkov, Kirsi Danilov. P.V. Kirievsky, P.A. Bessonova, P.N. Rybnikova. A.N. Sobolevsky. V.I. Chernysheva. DM Balashova, B.N. Putylov.

C.N. Azbelian. Internal connections of scattered songs are established, the model of their evolutionary development. Sustainable typological features are determined, allowing to give a clear definition of the genre. Finally, the general idea of \u200b\u200bthe fate of ballads and the place occupied by it in the system of genres of the song folklore.

Thus, the relevance of the work is determined by understanding on the basis of specific observations of the problems of the evolution of the genre system of Russian folk ballad, its place in the system of genres of Russian oral poetic creativity and the further prospects for the transition to literary analogues through the type of pre-gaseous and romantic ballads.

The solution of these problems involves the consideration of the Russian Balladian heritage

a) as a moving genre system, which has its own logic) "The specifics of development interacting with close form of people's poetry:

b) in the context of historical changes in the artistic consciousness of the people who have influenced the aesthetics and the fate of the whole genre;

c) taking into account the theory of the emergence and development of the genre of European ballads.

Based on the foregoing, specific tasks of the dissertation

The analysis methodology is based on the principles of the Eastor-typological method, the basis of which is to compare the possible options for ballads, its ideological and artistic analysis with the requirements of the relevance of the historical era into which it arises and develops, as well as the establishment of the typological similarity of balobowa creativity;! Rachged peoples of both the general patterns of the unified process and its collaborative national variations.

The following provisions are made on the defense:

1. The Russian People's Ballad is an epiko-lyrol-dramatic genre, in which, depending on the historical feasibility, to necessity, in accordance with the evolutionary theory, the data began to receive a different role. "

2. The history of the development of Russian folk ballads implies the emergence of the genre from the end of the HS. as an epnko-drama song. The ballad takes a lyrical form in the XVIII - XIX centuries.

4. The establishment of internal genre bonds of the Russian lilitia bash is assumed to organize the entire ballad material in cycles.

Scientific novelty thesis is determined by the integrated approach to the study of the genre of Russian folk ballads. The cycles of the Russian Balader Heritage are restored and analyzed. Which are built into a clear evolutionary model that establishes specific dates of the occurrence and existence of ballad songs.

Approbation of work. The main provisions of the thesis are reflected in the reports at the Inter-University Conferences "Russian and Foreign Literature: History, Modernity, Interrelations" 1997. 1998, 1999. 2000. 2001, as well as in the monograph and 6 articles.

Structure and scope of work. The thesis consists of introduction, three chapters, conclusion, notes and bibliographies, including 288 items.

The objectives and objectives of the study are determined by the VSDCIIN, the relevance of the thesis is justified, its scientific

novelty. There is also an overview of domestic and, partly, foreign studies on the study of the genre structure of the European and Russian folk ballads, the emergence and further development of Russian folk ballads.

Until the XX century The theory of the base of the ballad was widespread in the conditions of the primitive-free system (FB Gammer, A.S. McKinji, R.G. Malton, A.N. Veselovsky, etc.). It was believed that the ballad comes from ritual poetry or arises as the earliest form of poetry, executed to the music in dance. In the 20th century, a few scientists share such a point. In Russia, it should be noted the position of P.V. Lintura, G. A. Kalandadd. Modern science believes that the European ballad is a product of social conditions, that is, a ballad, as well as any genre of oral folk creativity, is a poetic form of reflection of reality, namely medieval time. As a genre organization, it is drawn up in the period of the Middle Ages in all European countries, although it may be that some songs that similar ballad existed before, but in their original form were not preserved (Yap. Andreev, V.I. Chernyshev, early articles V.M. Zhirmunsky and others). Excluding communication with the primitive-free era of the emergence of songs, similar to Balladny, or with the denying such approval, the works of DM are published. Balashova, B.K Putylova, V.M. Zhirmunsky, kg United et al.

Apparently, the origin of the ballad genre is characterized by typological, in each country the Balafort songs arise as an independent genre and have pronounced national characteristics. In all likelihood, Original Bladlae called a dance song, more precisely, she denoted the spring dance song of love content. Such songs by the XIII century) - pass into solid literary forms and are widespread in Western Europe. The emergence of the genre of folk ballad does not have a single direct source. In Scandinavia, the ballad, arising as a new genre unit, borrows a certain form, the form of execution of the developed genre of the dance song. Thus, the ballad is included in the system of folk genres associated with the overall tradition. People's ballad in this way can artistically fully reflect new modern conflicts, for which the occurrence of this genre itself was created in the Middle Ages. In the Slavic region (southern and eastern Slavs) of the ballad, on the contrary, has a tonic session, since such a form had songs of the heroic epic, popular at the time and had a significant impact on a new genre. It should be noted the fact that the national name of the ballad songs is not common. In each country, the songs are called differently (in Russia "Babia Starina", in Polish-Ukrainian

region "Duma", in Spain "Romances", in England "Songs". "IYMES". In Denmark "Viser", in Germany "Lieder"),

1. The ballad is an epic or epic-dramatic genre (N. Andreev. D. Balashov. A. Kulagin, N. Kravtsov. V. propp. Y. Kruglov. Yu. Smirnov).

2. Ballad is a lyric view of poetry. At the moment, the development of science has such a point of view, which arose in the environment of poets, literary observers and collectors of folk poetry of the XIX century, should be considered abandoned.

3. Ballad - Laro-epic genre (A. Veselovsky, M. Gasparov. O. Tumilevich. N. Elin, P. Lintur. J1. Alurstein, V. Erofeev, Kalandadze, A. Kozin).

4. Ballad - epics-lyrol dramatic genre. Such an approach to the definition of ballads now enters leading positions. Supporters of such a concept are M. Alekseev, V. Zhirmunsky, B. Putilov, A. Gugnin, R. Riga-Kovaleva, A. Michepshn, V. Gusev, E. Tudorovskaya. The last group of scientists believes that the dramatic start is an indispensable genre sign and has an equal role with epic and lyrical. In a specific song of the epics-lio-dramatic type, they can be used to varying degrees, depending on the needs of historical time and ideological and artistic installation of the work.

Unfortunately, it is necessary to recognize that the works devoted to the origin and development of the genre of Russian folk ballads are a bit. V.M. Zhirmunsky in the article "The English People's Ballad" in 1916 suggested dividing ballads on genre varieties (epic, lyrical and dramatic or lyrical), thereby removing the issue of the problem of the evolution of the ballad genre as such. In 1966, a study "The history of the development of the genre of Russian folk ballads" DM is published. Balashov, in which the author on a particular material shows the thematic nature of the change of ballads in the XVI-XVII centuries, and in the XVIII century. Notes signs of the destruction of the genre as a result of the development of an unprincipled lyrical stretching song and "absorption of epic tissue ballad lyrical elements." N.I. Kravtsov summarized all the circumstances and proposed to approve four groups or cycles in the educational literature: family-household, love, historical, social ones. In 1976, a scientist noted the evolutionary nature of these groups in the book "Slavic Folklore". In 1988, Yu.I. Smirnov, analyzing East Slavic ballads and close MI forms, presented the experience of the signs of the plots in the versions, where the informed criticism

artificiality, the conventionality of separation of ballads for fantastic, historical, social and domestic, etc. The scientist clarifies the rules for constructing an evolutionary chain in the book "Slavic epic traditions: the problems of evolution" in relation to the ballading material, highlighting the five derivatives of the genre (from a long-standing or "volatile" song intended for choral execution, to literary ballad songs that are among the people).

In general, the overall picture of the extermining genre of folk ballads from the epic form to the lyrical one. In this paper, private, practical questions about the paths and the causes of the modification of genre elements of ballad are solved, the links between the fragmented plots are established and the genre specificity of specific texts is determined. The first chapter "Formation of the genre of Russian folk ballads of the XIV-XV centuries." Decoded to the early period of the development of Russian folk ballads.

The chapter consists of four paragraphs. In the first paragraph "Historical prerequisites for the formation of the genre of Russian folk ballads", it seems to the sources of the formation of the first samples of balladic creativity. The genre of Russian folk ballad has its noble\u003e an enformed predecessor of the song of the heroic epic, epics. The ballad borrows the principle of - agenic restructuring, changes, modifications of heroic songs. The new epic poetry that came to the change of poetry to the state system, chooses the chief element in the poetics of the Mythological Epoch. Shifting accents, gradually changes all poetic systems). "Also in the second type of works arising from this era - in ballad songs - the functionality of the hero is changing. Gradually (with the development of a cycle about half-water girls) is approved by a new Baladnaya worldview: to replace the epic The ideal of a mighty hero comes private, typical man, physically weak, helpless before the external evil forces. Not by chance the favorite hero of ballads becomes a woman. To approve a new artistic idea, the ballads genre is looking for conformity in the system of folk genres, where such tasks found certain solutions. The ballad is included in the system of genres of oral folk creativity, using elements as a tradition from genre systems of epic, fairy tales and lyrical outcomes. On the one hand, to change the stories of the heroic epic, which is still associated with the heritage of the mythological era, the ballad opens up new horizons: the main place is not the hero, but the plot: the event that reveals the inability to the hero's hero's hero. The dramatic story, who exposed human powerlessness in the surrounding world, more consistent with the formation of the type of individual, private, divided into human world harmony. On the other hand, in the cycle about ballad girls, attracts as

traditions lyrical forms of poetry. The study of this issue is dedicated to the second paragraph "Cycle Ballad Out of Major Ski-Polonanka".

The cycle of ballads about half-colored girls has a long development. It arises in the HSH HSU centuries, in the XVI receives a new impetus for development in the south of Russia. This cycle presents a new type of hero - this is a heroic woman who fell into a hopeless tragic position, but actively struggling for his personal and thereby national independence. According to the plan - this is an epic image, the formation of the cycle also has an epic installation: the songs are organized around one center - around the middle of the girl. Epic design in the Baladen genre Trans (| It is commemmed: the heroic image of a woman is fully revealed due to the dramatic situation in which hero is the hero. It is the dramatic situation that shows the procurement of the hero before the external evil forces and causes the manifestation of a genuine heroism to the whole woman. Original ballad cycle organizes songs According to the principle of having a common dramatic situation.

In the ideological and artistic plan, F ° RMir ° bath is opposed by the Epos. The ballad is not interested in the hero-bogatyr, showing its qualities in active and successful overcoming epic obstacles, the ballad is interested in the priority of the dramatic situation over the hero. The ballad hero is determined first through the finding in the dramatic situation, then through active actions, the tragic choice, showing the defenselessness and weakness of active and heroic in their actions before the external evil forces. Thus, the goal of creating a cycle is epic, but the emphasis is displaced: the epic vision of the world is modified. The dramatic principle of the organization of the text is introduced into the genre structure of ballads and in its own way simulates the worldview of ballads songs. In the first place, the dramatic vision of the world gradually comes out.

The role of lyrics as a genre-forming element in a ballad song at an early stage of development, therefore, will be insignificant. Lyrics acts as a tradition that does not give back to a new genre. The means of his expression is the same new image The hero, which should form a ballad.

When analyzing the specific ballads, the cycle, when comparing their variapts and versions, we came to the conclusion of the changes in the principle of genre structuring of ballads. The epic setting of the cycle being created is replaced by a dramatic approach in text modeling. A figurative system of ballad is modified, the main epic hero turns into a dramatic type of equivalent characters. Moreover, a folk assessment is introduced into the image of the hero, later turning into the author. It brings closer

the genre structure of ballads with lyrical songs in contrast to the epic heritage. Principles of song cyclization become clearer: with the opening of the type of equivalent heroes, with the opening of the dialogue as a lead artistic principles, Creating a Song Conflict Model, the Balad Cycle is understood as the creation of conflict options. However, the songs do not lose touch with previous samples, they are closely related to each other.

Third paragraph "Related form. Avdotea-Ryazanochka is devoted to the problem of determining songs that combine elements of various genres in their structure. The song "Avdotea-Ryazanochka" is considered to be the first sample of the ballad genre, although many scientists believe that this work is a historical song, and not the ballas. Indeed. "Avdotea-Ryazanochka" cannot be unconditionally ranked in the ballading genre. The attention of the narrator is not paid to the conflict of the song, not different options for its full disclosure, and the epic goal is a formation of a new type of heroic character - women who do not have the status of a hero, but a concerning a terrible enemy. This is an epic type of hero. Avdota Ryazan is going towards danger - and defeats the invincible enemy. This is an epic feat, the only thing - makes his unusual character - not a full-time. but ordinary woman. The image of Avdotne-Ryazanochkin relies on the ballading tradition, the tradition of creating a heroic female image in a cycle ballad about half-water girls. Thus, in the image of the hero, the epic and ballads traditions are combined.

In the adjacent form "Avdotea-Ryazan" emphasizes the main idea: the epics and ballads on a certain stu of development are approaching and create new samples in genre attitude. The time of creating adjacent forms is related to Hu-hmm. It is during this period that the rapprochement of balladic creativity with the songs of the heroic epic takes place. You can get abstusted that such songs like "Avdota Ryazan". "Prince Roman and Mary Yurievna," Miraculous Salvation, "create their own special tradition, and the songs of direct attitude are dealing with them. We have every reason to believe that related forms were predecessors in the development of the Russian folklore of the tradition of creating novels epic Hu1-Hui centuries ... The main function of which was tailored to enormality knight Romana in the West.

The undoubted influence on the Baladen genre was provided by the "Kozarin" Hu-X / P of BB ... to determine the role of which the fourth paragraph "Kozarin" is dedicated. The episodas represents a new type of hero-hero - this is a faded hero. He makes a feat in the name of the family's preservation, but himself is an exile from his home. Father does not forgive him his hero.

because in the coming era, a private typed family is the norm, the standard of life, in which it is not a place to be richar.

"Kozarin" is one of the first attempts to create the image of a tragic hero, who did not find a place for himself in an epic tradition, nor in the new system of the world. The image of a tragic hero, which subordinate to the Balagal aesthetics, will then find its embodiment in such heroes like Sukhman and Danilo Lovechanin This song according to its plan is a product of epic creativity and has no ballow installation. However, the impact on the episodas of the aesthetics of the ballad genre is undoubtedly. The episodium itself corresponds to the Balad ministry that later "Kozarin" is reissued to the ballow versions. First of all, "Kozarin" is closer to the cycle of glony girls. The image of the main character, rooted hero, the hero of one feat, was also reflected in the Balary type of rooted well done, rejected by a new ideal; Coming era is a typey private family.

The second chapter "Development of the genre of Russian folk ballads of the XIV-XV centuries.", Consisting of six paragraphs, is devoted to the definition of genre signs of Russian folk ballads and their subsequent modifications of the HUC-HUP centuries. In the first paragraph "Senior ballads of the XIV - early XVI centuries." The so-called "classic" type of Russian folk ballad is established. Senior ballads include cycles of neither daughter-in-law of mother-in-law and the murder of his wife's wife, the cycle about the girls-half-leaves also continues to develop. In Hu-Hu1 centuries. Based on the songs about Prince Mikhail, a cycle ballad about the murder of his wife's wife is created. Data analysis ballad shows that older ballads form sustainable genre signs of folk ballads of the XV - early XVI centuries., The presence of which allows us to talk about the development of a new holistic genre in Russian folklore. The figurative system of Russian folk ballad undergoes significant changes. The development of the cycle about the girls-bands forms a tragic female image, in the senior ballads the heroine has the status of a tragic victim. The status of the victim for the image of a woman completely reflects the idea of \u200b\u200bthe Baladen Genre on the defenselessness of a private, separate man before the forces of external evil. The status of a defenseless victim makes the conflict of relations between heroes as much as possible, and the new genre is building his poetics on the dynamics of such aggravation, on the cyclization of the conflict situation.

The circle of songs about the municipality of the daughter-in-law of mother-in-law forms a male image in Baladnaya work. The development of senior ballads show two directions of development of the type of male hero. The first, male character repeats the model development model of the opposition. Prince is the involuntary victim of the evil strength of the surrounding reality that have

a specific embodiment in the type of mother-in-law ("Prince Mikhailo", "slander wife." "Ryabinka"). At the beginning of the XVI century. The Ballad "Vasily and Sophia" is created, which can be viewed as the final stage of the process of rapprochement of the male and female character in the status of the victim.

The second path of development implies the formation of an active negative male character ("Prince Roman's Roman woven". "Dmitry and Domn"). At the same time, mother-in-law as a duplicating character is outlined beyond the scope of the ballading plot. The type of "classic" balladic characters, having different positions in the extremely aggravated conflict, but equal to each other. The ballad genre opens in the XV century. The type of equitable characters (here it is necessary to note the influence of the developing cycle about half-colored girls and the adjacent form "Wonderful salvation", in which similar relations of the heroes are folded).

In the senior ballads of the X1U-HU Vent. The type of popular evaluation is changing. In the cycle about girls-bands, the assessment is laid in a dramatic situation that determines the type of hero. In the senior ballads, the hero is estimated primarily in its specific actions. With the development of the dialogue system, its genre-forming role, the national assessment is disclosed on a dramatic principle - through speech and actions of equal characters. In other words, the teachers are interested in the conflict of relations of equal characters, disclosed on a dramatic principle. This is how the type of formality of the ballad genre changes: the formality is translated from the dramatic situation to the level of conflict of the work or cycle. The singer remembers the conflict model of the song and on the basis of it restores the plot or creates its option. Thus, the dramatic principle in the disclosure of the conflict of the work, the images of the main characters, the brevity and tension of the unfolding events, subordinate the idea of \u200b\u200bthe most complete resolution of the conflict, the developed system of dialogue, a clearly pronounced type of folk evaluation, artistic convention, the formality of the genre create the so-called "classic" type of Russian Folk ballads. It is such samples that serve as a source for modifying the genre system of Russian ballads in the XVI-XVII centuries. The second paragraph "Changes in the genre structure of ballads in the XVI century" is devoted to the disclosure of this topic.

"Classic" type of Russian folk ballad is not sustainable, "frozen" genro Form. It cannot be considered as a certain sample, the standard that should be imitated. The ballad has an initially moving genre system, so already in the XV century. In the senior ballads themselves, you can observe changes occurring with the genre. It can be noted that the changes that occurred in the velocities of the older ballad were largely due to the features

genre structure of the initial samples. When analyzing the circle of senior ballad, ballads XVI in .. Subsequent options and versions we can note that in the XVI century. There is the beginning of the process of reducing the dramatic principle in the disclosure of the figurative system. Heroes are disclosed not only on a dramatic principle: through speech and actions - but also receive a certain sustainable value. The values \u200b\u200bof the images of heroes in some ways are determined by the formality of the ballading genre. The hero, based on its value, can perform certain actions and have a certain specified position. Formility is gradually translated into the figurative system of the genre, the plot of ballads can be restored, remembering the values \u200b\u200bof the images of heroes and their position determining the conflict of the work.

In the XVI century The Baladen genre creates prerequisites for reducing the value male image and strengthening the role of female. The male character gets a negative value and is revealed in the cycles about a hopeless young man, about unfortunate fate. He can also mean a sacrifice hero, to have a common with female Character Position ("Vasily and Sophia", instication cycle). In the future, such a hero enters the cycles about the evil wife, about poisoning where the heroine is active negative Character. The national assessment laid down in the position of heroes in the senior ballads of the XV century, translates with the help of a category of wonderful to the figurative system. Due to this modification, the images of the heroes will further receive clearer n values.

Category wonderful in the Russian folk ballad in the XVI century. Reaches the limit of its development. First of all, the wonderful manifests itself under the direct influence of the epic, the use of ballads of epic traditions. Also, wonderful expresses itself as a form of evaluation. It is genre help when transferring a folk assessment, which dropped over the dramatic principle to the image system. Such a process reflected the Ballad "Vasily and Sophia". Thus, the category "buzzing in Russian ballads wears a subordinate character, as an advantage it acts as a form of popular evaluation. This is one of the differences from the poetics of the Western European ballad genre.

As a form of evaluation with a category of a wonderful touch the category of symbolic. The symbolism in the Baladen genre rather converges with the concept of allegory, which in folk poetry applies with a complete replacement of one image to others as a way to illustrate a certain idea. Such a symbolic expansion of the text, the use of allegoric characters takes place in the circle of Cossack allegorical ballads. It is also characteristic of the desiccaric tradition of the comic image of household scenes ("Travnik", "Myzgir"), another manifestation of symbols in the ballading genre is characteristic of a special application from the XVI century. Sustainable epithets.

Epitts characterize a new value, a new type of image. It can overlap on the old value, but always completely modifies the entire type of hero. We observe the effect of lyrical forms in structuring the figurative system, in other words, in the XVI century. The genre structure of ballads is laid by the principles of lyric organization of the text. Of course, with the general value of the type of hero, the symbolic understanding of it will be deeply individually in each text.

Thus, in the XVI century. There is a modification of the genre structure of ballads. Specific changes in the ballad texts themselves can show the analysis of the cycles of Hu1-x / L1 centuries. These are the cycles ballad about an evil wife and a rapid young man. In the third paragraph "The cycle of evil wife" is analyzed by concrete ballads, reflecting the development of female images. The songs of the cycle about the superiority of a girl over a young man, which is an adjacent form, a cycle about an evil wife, which includes a circular ballad on poisoning, conditional cycle about smart wife, on the formation of which a certain influence has songs about the tragic hero. In these songs, there is a process of gradual waste from the specification of the image of the hero image. The formation of the author's assessment, monologue self-dissection of the images of heroes, the statement in the Baladnaya genre of the conflict of the situation (in the ballads about the tragic hero) implies a waste from the use of tradition in Balladny creativity. People's performers in Hu1-X \\ L1 centuries. More interested in the psychological disclosure of the images of heroes, the external storylive plausibility. We observe the same changes in the genre structure of Russian folk ballads in the cycle about a rampant young man, the study of which is dedicated to the fourth paragraph "The cycle about a rapid young man."

The cycle of a rapid wellhead includes a circle of Cossack allegorical ballads and a cycle of ballads about fate, which includes songs about the mountain. Analysis of these texts shows that the features of the construction of ballad songs in the XVII century. Defined not only by the artistic and ideological idea of \u200b\u200bthe work, but also the plot logic of the text. It can be noted that from the second half of the XVI century. There is a general desire for clarity, accuracy and concreteness of the depicted. In the Baladnaya genre in the XVII century. The trend towards concreteness and clarity of the depicted will lead to the emergence of secondary story motivations in senior ballads, to clarify the causes of the character actions in accordance with the formal story logic of the text.

New artistic deterministic consciousness, causal thinking destroys the old links of the text and introduces new, logical, plotically motivated narration links. Changes in the genre structure of ballads in the X / T-HUP centuries. prepare the soil for

absolutely new samples of ballad songs XVIII in at the turn of the XVII-XVIII centuries. The specified meaning of the images of ballads heroes is forgotten, the heroes become ordinary characters that reveal their position. As a rule, in a monologue statement. In the XVIII century The formality of ballad is an exceptional event, a direct case, on the basis of which an entertaining storyline is built. Actually 6LL; covers in the XVII 1-XIX centuries. present scene storiesEntertaining, mostly tragic cases from life.

In the fifth paragraph, the "Historic Song and Baladnaya Poet", the problems of interaction of historical poetry and ballads are considered, the texts that are combined in their genre structure elements of different genres in their genre structure, but they exclude the possibility of creating an adjacent form. The historical song represents a peculiar conglomerate of genres, depending on the purpose of the product that uses any genre tradition as the dominant element. Interesting the process of interaction between historical songs and ballads. The historic song uses the ballowing genre in terms of plot design. Plot formality is laid, as a rule, in one-connecting. Dramatically aggravated plot. An image of personal conflicts is used in order to form a generic genre system as a characteristic of the image of the hero. Balary plots are rethought, and based on them are created by new artistic plan Works ("Grozny and Domn". "Ivan Lsvovnov". "Well done to three Tatar". "The Tasting of the Queen"). The historical song can borrow certain ballads and use them for their own purposes. Baladen genre in the XVII century. experiences direct impact on the genre structure associated with the rapid distribution in<|юльклоре исторических песен. Баллада как гибкий и подвижный жанр перенимает достижения исторической поэзии и теряет устойчивые жанровые черты. Позже с использованием тематического подхода, балладная эстетика будет использоваться в создании различных групп таких произведений: удалых, солдатских и др. Сами баллады также могут создавать такие тематические циклы, например о неволе, и размывание устойчивой жанровой традиции в таких песнях будет особенно заметно и сблизит жанры баллады и исторической песни. Таким образом, психологическое раскрытие образной системы персонажей, использование сюжетных, причинно-следственных мотивировок, тематический подход в циклизации произведений - все это было подготовлено развитием самого балладного жанра, но таким быстрым к радикальным прорывом в трансформации структуры жанра баллада об л шил воздействию на нее исторического и личного художественного сознания, наиболее полно выразившегося в жанре исторических песен.

The interaction of the genre of ballads with heritage of epic creativity is devoted to the sixth paragraph "Processing of the novelist epic". The recycling of the novelnestic epic ball ballad is presented, firstly, the thematic expansion of adjacent forms, direct borrowing of the story of the epic creativity. Also in the XV-XVI centuries. The ballad genre can use a specific plot motive from the epics and on the basis of creating a complete ballad. In the XVII century Not only the plot situation can be processed, but also the plot itself as such. It is at this time that the ballad prefers an interesting, entertaining plot, where the images of heroes are revealed psychologically and their actions have clear motivation and validity. Thus, in the ballast genre in the XVII century. There is a tendency to create separate plot stories based on the preceding genre tradition. Gradually, the role of the plot organization of text increases, and, accordingly, the impact of balobala traditions weakens, and the songs receive autonomous meaning. They represent separate, isolated entertaining plots, combined with interest in the image of an unusual case. Their emergence relates to the end of the XVII-XVIN centuries. The time of the new processing of the ballad genre.

The third chapter "The genre pzmepennya of Russian folk ballads of the XVII - XIX centuries", consisting of two paragraphs, is devoted to the study of the genre of Russian folk ballads in the final period of its development. With a general tendency to approve in the genre of conflict, the position, to the psychological interpretation of the image of the hero, his certain passivity, to the establishment of the author's assessment of the character and the author's assessment of even the very balladic work interpreted in the morality, to the plot organization of the text, at which special attention is paid to the disconnection, There are types of cyclications that hold ballad songs from lyricization and give a certain stability of the genre system in the XVII-XVIII centuries., Partially in the XIX century. The first paragraph "Types of cyclization of the genre of Russian folk ballads" is devoted to the definition of all the types of the types of ballads cyclingations from the moment of the formation of the genre of the types of ballads. It presents a general model for the development of the genre of Russian folk ballads from its very occurrence, explaining the chaoticness and scatterness of the existence of ballad songs in the XV11-XIX centuries.

Strictly speaking, there are two types of cyclization in the ballading genre. The first of them is the cyclization of genre. It is the leading, the main one, thanks to her rash ballad, is always modern and relevant, it can be modified and reflecting the conflicts of the new time. The second cyclization is more conditional and the main goal sets

maximum expansion of ballad material by creating versions. Such, we call its versionable, the cyclization is secondary, but it accompanies and complements genre cyclization from the time of the origin of the genre itself. The basis of genre cyclization is the desire of people's performers to create a cycle, based on the idea of \u200b\u200bthe nature of the conflict, in common for the ballading genre at a certain stage of its development. Genre cyclization consists of four stages: the creation of cycles on a dramatic situation, according to the conflict of relations, on the conflict of the image and conflict. Cyclization Ballades on a dramatic situation has the goal to approve the balladic vision of the world and the heroic female image, physically weak, but opposing in the hopeless struggle of the injustice and cruelty of the world. This is a cycle about half-colored girls, which combines two dramatic situations: escape and full.

Cyclulation of ballads on the conflict "relationship of Hu-Hmm explosives. Reveals the personal position of a private typed person in his opposition to the world around him, later society. Conflicts of equal characters, father and children, husband and wife, brother and sisters laid the foundation for changing the semantic load of the generated system itself Genre. This includes such cycles as a mother-in-law of mother-in-law, a cycle about the murder of his wife's husband, "Tatar Polon", developing the oldest ballads of the cycle on girls, and the cycle of incest.

From the second half of the XVI century. Cycles are formed according to a given image value. The hero carries a certain value, its specified type determines the conflict and should be revealed as fully as possible. These are the cycles about the superiority of a girl over a young man, about a rayless young man who includes such education such as cycles about grief and fate, these are the cycles of poisoning, an evil wife and a conditionally formed by the Balad Balad group. The cyclization on the conflict laid down in the image of the hero is a transitional, rapping cyclization on the conflict of relations and the conflict conflict.

Cyclization on the conflict of the situation or cyclization of the junction refers to the second half of the XVII century. The ballad gradually proceeds to the plot formality, seeks to create separate, entertaining stories, and this transitional moment, as it is impossible to reflect cyclization on the conflict of the situation. Old songs are processed, almost without any changes the text remains, but the ballad now acquires the story ending. It is the disconnection of works becomes the organizing principle in Balladnaya creativity. The disconnection always represents a special tragic hopeless position in which the hero turns out, and forms the situation of choice, as a rule, between life and death, humility and moral victory. The value of the image

changes, the hero loses the definition of its type, acquires more individual features and has the right to a psychological interpretation and the author's assessment.

From the second half of the XVII century. Ballad cannot create new cycles (exception - the development of a rather controversial, to a certain degree of artificial cycle about smart wife). However, the cycles continue to develop, the huge poetic heritage of old times is processed, but already with new genre positions, positions of versioning cyclization. It consists of the following groups: cyclization in motive, plot and social.

Cyclization on the motive is quite conditional, as. Actually, all the versioning cyclization. The motive does not forms its own cycle, it is only included in similar balladic organizations as a genre training, the tradition, which gives genre a new life. The goal of cyclization on the motive is not only in increasing the ballading material, but primarily in the artistic processing of a motive carrying or capable of aggravating a dramatic or conflict situation. On the other hand, from such motifs can be recreated and developed whole ballads, which will serve as a transitional step to the creation of versions of ballads, that is, to plot cyclization.

Scene cyclization in the Baladen genre is implemented in three directions. These are cyclization by conflict, in the image and actually in the plot. They can mix and complement, clear boundaries can be determined by learning the goals that are pursuing each of them. Scene cyclization on the conflict is implemented in the creation of versions of the old Balladian plots, in full conflict of conflict in relation to new conditions. The scene cyclization in the image is to fit the hero type and its meaning to the new W "Words, a decrease in the hero type and the creation of a ballad based on the psychological value of the image. Such cyclization can develop in parallel and indisputably with cyclization by conflict or plot, it is largely determined by genre Cooling on the conflict of the situation. Actually, plot cyclization or cyclization in the plot involves the creation of original plots based on both ballads and chosen material, plotting cycles, creates various kinds of contamination and gets closer with the aesthetics of the nineteen epic, ultimately seeking to create separated from tradition Entertaining stories. Such cyclization, failing much earlier, especially pronounced himself in Hush-X1x centuries, gradually becoming the leading, the main cyclization of the Baladen genre, interacting and absorbing genre cyclization on the conflict of the situation.

Social cyclization involves the expansion of ballad material and its adaptation for the needs of new social groups. Actually, the ballads cannot be called such works. They are designed to more fully reveal the conflicts of social groups along with the songs of genres of historical and lyrical poetry. Social cyclization forms some symbiosis with these genres, it is the key to the thematic approach in historical poetry, and the entire material belonging to it is definitely the Ioengt is a divorce character. The main importance of the spread of social cyclization is the erosion of genre signs of ballads. Mixing all types of versioning cyclization, the absence of variable cycles leads to the absence of an organic idea in structuring the genre and its special exposure to the aesthetics of historical and lyrical forms of poetry, as well as literature samples.

On the one hand, we observe the process of direct lyricization of the genre of folk ballads and its transition to the composition of lyrical and historical poetry. In such works, it is possible to speak only about ballading motifs or a special, ballading nature of the story. This path leads to the death of the ballading genre, its dissolution in line with historical and lyrical poetry. The ballad loses its genre base, autonomous and sovereign principles of organizing specific plots, it loses independence and is considered as an integral part of historical or lyrical poetry.

Another path of the development of the ballad genre is perhaps the only possible and saving. The ballad is opposed to the absorption of its genre structure with close forms of folk poetry attempt to create separate, isolated works with a bright, memorable, pseudo-blank plot. usually. on the criminal theme. Such songs are short-lived and exist due to the severity of perception of the extraordinary plot, its relevance. Such a path will lead to the formation of a new genre of a pseudonal literary model - Meshchansk ballad.

Both directions showing the prospects for the development of the genre of Russian folk ballads are considered in the second paragraph "Lyrnization of folk ballads". Lyrnization of folk ballad denotes a change in the genre in Hush-CZH centuries. and consists of two directions, genre and adjacent lyrination. Both directions are developing at the same time and develop certain provisions based on which we can talk about the prospects for the development of the Baladen Genre. The adjacent lyrination involves rapprochement of ballads with the forms of folk poetry historical, genre -s literary. Related lyrination implies direct interaction with the forms of historical and lyrical poetry, turns to the erosion of genre

signs of ballad genre. A completely special provision in this respect occupies a circle of the so-called Cossack ballad. They are widespread in the south of Russia, in modern Ukraine. Here the process of the libelization of the ballad heritage has its own genesis and is radically different from the actual Russian creativity. Such a process can be fairly called a special term - the lyplization of the south. The southern ballad is more saturated, compressed, relief, in a shorter time undergoes the stage of development of Russian folk ballad and forms its stable lyrol-epic type of works, not affected by decay, erosion of the genre structure, but. On the contrary, absorbing new achievements of a whole genre at different stages of its development. Without a doubt, the type of southern ballad requires a special study, science is still waiting for work dedicated to the analysis of the genre structure of Ukrainian ballads, degrees and ways to influence it lyrical and Russian ballad songs.

Special study requires genre lire "The Fotation of Ballads. This is the path of creating a special ballad shape - the so-called Meshchansky ballad. They are divided into two groups: People's Meshchansky Ballads and Actually People's Meshchansky Ballads of the Literary Sample. The first group refers to x \\ sh1-x1x centuries. Data analysis ballad shows that the conflict of the case. "Defined idleness of content, reduction and typing of genuine conflict relations, plot formality and dominant of the junction, author's disclosure of the hero's image on a dramatic principle in order to comply with the dynamics of unfolding events, theme-stability of the material setting, a given plot model defining As the character functions and the ideological-artistic importance of the entire text. - All this reflects the structure of the RA of the People's Meshchansky ballad. The specified model of the plot and the ending does not imply the creation of options and cycles, since the conflict of such works is typed and does not need disclosure. Analysis of further development People's Meshchansk ballad shows that the stability of its genre structure is illusory and, mostly, is based on the use of old ballad plots and conditional, but enough explicit communication with tradition.

Since the literary Meshchansky ballad is also the form of folk poetry, we must touch back the final stage of the development of the genre of Russian folk ballads. In principle, the connection of literary binding literature with its folk analogue is mediated. The literary Meshchansky ballad dates back to the genre of the author's romantic ballad and, only in a certain way, reworking her poetics, gets closer to popular poetry. Initially, in the first half of the XIX century, the Meshchansky ballad borne unchanged, memorizes the author's poems V. Zhukovsky. A. Pushkin, A. Koltsova, A. Ammosova, etc.

Then the expected changes occur, the focus of the author's lyrics towards the aesthetic needs of the people. And here we are observing the processes, almost completely repeating the fate of the genre of folk binding ballads. On the one hand, the People's Meshchansky Ballad, as well as the Literary Meshchansky Ballad, develops in line with the author's literary lyrics and gets closer to the genre of Romance. Literary Meshchansky ballads, on the contrary, arguing the dominant plot over the image of the inner world of characters, are easily forgotten if only they are not directly transferring the author's lyrics or not reflect, to a greater degree randomly, a long-eating tradition. Thus, it can be said with the confidence that the People's Ballad at the order of their development goes into literary analogs or disappears under the influence of the lyricization process, approaching and dissolving in line with lyrical poetry (songs-situations) or historical (short-lived entertaining plots).

The conclusion summarizes observations on the development of the genre of Russian folk ballads, the characteristic features of the genre system of Russian ballad are determined, its meaning in the system of folk genres, further research paths are indicated. Russian folk ballad as a genre organization occurs at the end of the XIII century. And develops up to the XVIII century. In the X1X-twentieth centuries. The ballad loses sustainable genre signs and is transformed into form of lyrical or historical poetry or goes into literary analogs. The ballad is a flexible, fundamentally mobile genre unit capable of reflecting the needs of many historical eras. To a certain extent, it is a durable genre, whose popularity of whose popularity can be found and at the present time. When considering a large amount of material, a holistic picture of the principles of the organization, modification and genre evolution of the ballad form is made. When taking into account the development of forms of epic, historical and lyrical poetry, it is possible to trace the development of the ballading genre based on its components, to explain the reasons for direct lyricization, rapprochement with the poetics of the historical song, the appearance at the last stage of the development of scattered, isolated, independent of the tradition of scene songs or lyrical songs situations.

This paper reflects the principle of studying the genre of folk ballads in a separate Baladen region, namely in Russia. The next step in this direction should be a deep study of the peculiarities of the development of the German, English, Scandinavian, Spanish, Balkan, Ukrainian, Polish ballad regions and minimize the system of the general provisions of the genre of folk ballads.

The main provisions of the thesis are set out in the following publications:

1. Russian People's Ballad: the origin and development of the genre. M., 2002 (Monographs of the Scientific Center of Slavic-German Research. 5.). -180 p.

2. "People's and literary ballad: the relationship of genres" // Problems of the history of literature. Sat Articles. Eating the third. M .. 1997. P. 5465.

3. "Ballada as a poetic genre. (On the issue of generic features in the ballad) "// Problems of the history of literature. Sat Articles. Seventh release. M., 1999. P. 23-29.

4. "The formation of Russian folk ballads. Article first "// Problems of the history of literature. Sat Articles. Extract tenth. M .. 2000. P. 1318.

5. "The formation of Russian folk ballads. Article Second: "Avaeta-Ryazan". (On the issue of the genesis of the genre of folk ballads) "// Problems of the history of literature. Sat Articles. Edition eleventh. M., 2000. P. 17-35.

6. "The formation of Russian folk ballads. Article Three: Cycle Ballad On Girls-Polinky "// Problems of Literature History. Sat Articles. The release of Tetal Tsate. M., 2001. P. 14-37.

7. "The formation of Russian folk ballads. Article Fourth: Once again on the issue of one plot riddle (epic about Kozarin) »// Problems of the history of literature. Sat Articles. Release fourteenth. M., 2001. P. 107- 114.

Printed B Ltd. KLSF SPSSSTRAVSSRVIS-92 »Copying-multiple department Order 40 Circulation / 00

The formation of the genre of Russian folk ballads of the XIV centuries.

1. Historical prerequisites for the formation of the genre of Russian folk ballad

2. Cycle ballad about half-colored girls.

3. Related form. "Avdotea Ryazan".

4. "Kozarin".

Development of the genre of Russian folk ballads of the XIV - XVII centuries.

1. Senior ballads of the XIV - early XVI centuries.

2. Changes in the genre structure of ballads in the XVI century.

3. The cycle of evil wife.

4. A loan about a hopeless young man.

5. Historic song and ballad poetry.

6. Processing of the novelist epic.

Genre changes in Russian folk ballads of the XVII - XIX centuries.

1. Types of cyclization of the genre of Russian folk ballads.

2. Lurization of folk ballads.

Introduction of the dissertation 2003, Author's abstract on philology, Kovylin, Alexey Vladimirovich

The ballad genre is one of the most complex and unexplored in Russian population. Many research works are dedicated to the ballad, and nevertheless, it remains the most controversial and mysterious form for modern science. In the educational literature only in 1971. V.P. Anikin first introduced the topic of Baladen genre1. Until this time, the term ballad did not have a sufficient theoretical justification in the training publications. In the scientific world, an increase in interest in the study of the specifics of the genre only since the end of the 50s of the twentieth century, since the publication of the meeting of the Russians, V.Ya. Proppap and born Putylov. From the 60s Specific features of the genre shape of ballad are set, attempts are made to trace the origins and fate of the genre, old collections are investigated, new ones are being produced, active work is being made to pick up ballad songs in the regions. However, the main, global genre issues remain unresolved. What is a ballad in a generic attitude, why does the Lyric manifest itself in the genre of extremely unevenly and nevertheless the ballad goes into lyric forms? How does a folk ballad arise, what are the causes of its lyricization, as well as transformation into a genre of literary romantic ballads? Why ballad is a flexible genre unit capable of reflecting the artistic requests of several historical formations, from the XIV to the XVIII - XIX centuries.? How are the epic, lyrical and dramatic principles in its genre structure combined at specific historical stages, and do the presence of general laws of creating specific works in different periods of balladic creativity determine? What does the XV century ballad differ in the genre of the XVI ballads? What is the specificity of the interaction of the genre with other forms of folk poetry: ritual, epic, lyrical, historical, spiritual songs?

We will try in our work to trace the evolution of the genre of Russian folk ballads and answer the questions. We should not disregard the correlation of Russian and European folk ballads. Under the Folk European Ballone, the plot narrative lyrical songs of epic origin are traditionally understood.

They have a common content and uncertain genre specificity. In the works of Western European scientists, the eponym is the same ballad, since it has a plot, causes certain emotions, feelings and reflects the privacy of the hero. "Russian ballads," epics "or" old days "differ from all other ballads of Europe in shape, style and topics" 3. Therefore, it seems appropriate to study the evolution of the genre, taking into account the national specifics of each ballad region. Only by collecting data on all ballad regions, you can compare evolutionary chains, take into account national characteristics - in a word, to carry out a comparable analysis of the balladsin heritage of various European countries and determine the general model, the genome view of the people's European ballad. This work is devoted to Russian folk ballads and is a material for such a generalizing study.

Before proceeding with the study of Russian folk ballads, you need to stay on the general model of the origin of the genre in Europe. Until the 20th century, the theory of the occurrence of ballads in the conditions of the primitive communal era was widespread. The term ballad goes back to the Italian Word Ballata (Ballere verb means dancing). Under the ballads, there are songs played to music in dance (FB Gammer, A.S. McKinji, R.G. Malton, etc.) Dance is understood as the early form of primitive art, respectively, the ballad is one of the earliest forms of poetry . "INASMUCH AS DANCING IS THE MOST SPORTANEOUS OF ALL THE ARTS, IT MAY BE REGEDED AS THE EARLIEST". "The Ballad Is A Song Made in The Dance, and so by the dance" 4. In Russia, the connection of the ballads genre with ritual creativity was pointed by A.N. Veselovsky. "At the beginning of all development, the ancient layer of choral, ritual poetry, songs in faces and dance, from which lyrical and epic genres were sequentially separated." Ballads "endured their epic canvas from choral action, they were performed mimically and dialogically, before their connected text was formed, under which they continued to dance" 5. The pool songs themselves "addressed from the spring cycle" 6.

In the 20th century, the theory of origin of ballads in primitive communal

- "* -" "GT 7 Epoch defended the famous scientist P.V. Lintur. It is possible to note the opinion of G.A. Kalandadze, who supported the tradition of the XIX century:" The emergence of ballads is more connected directly with the emergence and development of dance dance, which lead their origin from Ancient times "8. The works of other researchers are greater caution. Professor N.P. Andreev in the introductory article to the first column of folk ballad, prepared by V.I. Chernyshev, notes:" You can think that some songs similar to the ballad have existed And before, but they were not preserved before us in their original form. "In modern sense, the scientist belongs to the ballad to early refortional and serfral period9. Such a point of view dominated over the first half of the twentieth century. Previously, in 1916, V.M. Zhirmunsky, Obviously, under the influence of the comparative historical method, A. N. Veselovsky, wrote about the English folk ballad: "In the ballading form, the features are preserved, forcing it This form for the era of poetic syncretism, to the choral song-dance. But the theory does not apply to the ballads to the real Ballads, this theory does not claim such antiquity. "10 Later, almost half a century later, in his epochal labor "People's Heroic Epos", the scientist speaks with all certainty and clarity that the People's Ballad comes to replace the heroic epic at the same time as a knightly novel in the XIII - XIV - XIV

Such a point of view should be recognized as promising, it can be traced in the vast majority of European and Russian works on the XX century ballad. "The European Ballad is a product of social conditions that it is determined, taking into account the exact limits for each individual nation" 12. Modern science believes that the ballad, as any genre of oral folk creativity, is a poetic form of reflection of reality, in this case, the needs of medieval time. "Talking about the emergence and flourishing ballads as a genre of folk poetry, you have to install. Compliance of a particular type of ballads of a certain stage of social development with an inflation inherent in it and way of thinking "13. To the conclusion of the reflection of the Balladian conflict and the historical conditions of the medieval era, an ideological and artistic analysis of concrete ball belts.

Apparently, the People's Ballad arises as a genre in the general era of the Middle Ages in all European countries and has pronounced national features. The origin of the genre is characterized by typological, in each country, ballads arise as a completely independent genre. At an early stage of development, it worked closely with developed close genre forms, which subsequently can have a noticeable impact on the entire genre appearance of national ballads (specialists allocate the type of English and Scottish ballads, Scandinavian, German, French, Slavic ballads, Spanish romances, etc.). It should be noted the difference marked by researchers of the ballading genre, the type of Slavic ballad from Western European (a special position is occupied by the Spanish region in which the features of both types of both types are historically reasonable). In all likelihood, Original Bladlae called a dance song, more precisely, she denoted the spring dance song of love content. Such songs by the XIII century go into solid literary forms and are widely distributed in Western Europe. "It is impossible not to notice that the Romanesque form of ballads, barely becomes folk, immediately turned into a literary" 14. "From the dance song of the ballad already in the XIII century in Italy, and then in France turned into a literary genre, having a certain metric shape and purely lyrical content" 15.

The emergence of a new, actual ballad genre, approval of his aesthetic platform involves interaction with developed genre forms. The ballad borrows a certain form, the form of execution of dance songs, thereby turns on to the system of folk genres and artistically reflects new modern conflicts. So the Scandinavian ballad borrows the custom of dance and Romanesque poems. The famous researcher of the Scandinavian ballad poetry M.I. Steblen-Kamensky notes: "Baladnaya poems, like the custom of dance, accompanied by singing, were presented in that era, when the ballad arose, outside Scandinavia, and above all in France. . As usual is assumed, from France, apparently, in the first half of the XII century, penetrated into Scandinavia, and above all, to Denmark and the custom of dance accompanied by singing "16. In other countries, the ballad was most often associated with the dance, and in the Slavic region (especially among the South and Eastern Slavs), it has a tonic session, since such a form had songs of the heroic epic, popular at the time and had a significant impact on a new genre.

Of principled importance is the question of the genre structure of ballads.

V.Ya. Propppe proposed to determine the folk genre the set of "his

17 poetics, household use, form of execution and attitude to music. "

V.V. Mitrofanova pointed out the need to analyze ideological and thematic

18 unity, community of plots and situations. Scientists note the complexity of the classification of the genre of folk ballads, since it does not have a clear form of execution, it does not have sustainable domestic use (ballads are fulfilled primarily on the case, sometimes - in well-known holidays), and "The rhythmic structure of ballads opens space for the most peculiar musical abilities." nineteen. Apparently, the ballad is determined by its own genre specificity, and researchers establish the general signs of the ballading genre. The ballad has an installation on the image of the world of private people, "the world of human passions, tracked tragically" 20. "The world of ballads is the world of persons and families scattered,

21 disintegrating in a hostile or indifferent environment. " The focus of the ballad pays the disclosure of the conflict. "The centuries were the selection of typical conflict situations and was cast in ballad form" 22. In ballads, "sharp, irreconcilable conflicts are opposed to good and evil, truth and not true, love and hatred, positive characters and negative, and the main place is given to a negative character. Unlike fairy tales in ballads, not good, and evil, although negative characters suffer moral defeat: they condemn and often repent in their actions, but not because they realized their inadmissibility, but because at the same time with those who they

23 They wanted to destroy, dying and loved by them. " The conflict is revealed dramatically, and, it should be noted, dramatic literally permeates the entire ballad genre. "Art specificity ballad is determined by its drama. The needs of dramatic expressiveness are subject to both the composition, and the image of a person's image, and the principle of typing life phenomena. The characteristic features of the composition of ballads: single-contact and compression, intermittentness of presentation, abundance of dialogues, repetition with increasing drama. The action of ballads is reduced to one conflict, to one central episode, and all events that predict conflict, or set out to be extremely short. Or are missing. "24

Images of ballad characters are also disclosed on a dramatic principle: through speech and actions. It is the installation on the action, on the disclosure of a personal position in conflict relationships determines the type of hero of ballads. "The creators and listeners ballads are not interested in personality. They primarily concern the attitudes of the characters among themselves, transferred, epically copying the world of blood-study and family relationships "25. The actions of the heroes ballad have a universal meaning: they define the entire plumes of ballads and are dramatically tense, preparing the soil for tragic junction. "Events are transmitted in the ballad in their most tense, the most effective points, there is nothing in it, which would not be treated for action." 26 "The action in the ballad, as a rule, develops rapidly, jumps, from one vertex scene to another, without binding explanations, without introductory characteristics. Speed \u200b\u200bcharacters alternate with narrative lines. The number of scenes and characters minimized. . And the ballad often represents a preparation for the junction "27. Scientists celebrate the plot incompleteness of the genre of ballads, almost any ballad can be continued or deployed to a whole novel. "Mysteriousness or inexpensive, resulting from the composite properties of ballads, inherent in ballads of all nations" 28. As a rule, the ballad has an unexpected and cruel junction. Heroes make actions impossible in ordinary, daily life, and to commit such actions, they pushes the artistically built chain of accidents, which usually leads to the tragic final. "The motives of unexpected misfortunes, irreparable accidents, terrible coincidences are common for ballads" 29.

The presence of listed features suggests that "Ballads have so specific character that we can talk about them as

30 About the genre. "

Currently, four theories of the definition of the genre of ballads can be distinguished.

1. Ballad is an epic or epic-dramatic genre. Supporters of such a position include N. Andreev, D. Balashov, A. Kulagin, N. Kravtsov, V. propppe,

Y. Smirnov. "Ballad - epic (narrative) song dramatic

31 characters. " The source of the emotionality of the story is a dramatic beginning, the author's presence in the ballad is not pronounced, and therefore the lyrics as a generic feature of the genre is absent. The lyrical beginning is understood as a direct expression of the author's attitude to reality, author

32 mood.

2. Ballad is a lyric view of poetry. At the moment of the development of science, such a point should be considered abandoned. Its emergence refers to the XIX century. It was believed that the ballad in literary form reflects the form of a folk and easily correlated with such lyrical genres as Romance and Elegy. Pavel Yakushkin, one of the famous collectors of folk poetry, wrote: "Ballada so easily goes to Elegy and, on the contrary,

33 Elegy in the Ballad, which is impossible to strictly delimit them. " They differ except for the number of options presented more in the ballad34. Such a theory does not withstand serious criticism, much earlier VG Belinsky wrote about belonging to ballads arising in the Middle Ages to Epic Works, although in general it should be considered, according to criticism, in

section of lyrical poetry.

3. Ballad - Laro-epic genre. Such a point of view is divided by A. Veselovsky, M. Gasparov, O. Tumilevich, N. Elin, P. Lintur, L. Alurstein, V. Erofeev, Kalandadze, A. Kozin. Until recently, this theory was considered classic. There is every reason to believe that it arises from the assumption about the lyrical warehouse of ballads, and a common in the XIX century. Scientists note a kind of lyrization of folk ballads: "If the main route of transformation is a transformation into prose, in the form of a wide set of prosaic forms ,. That for ballads the main route of transformation is the transition to lyrics, in the form of, perhaps, a wider set of lyrol-epic and lyrical forms "36. Considering such lyrol-epic ballads of the XVIII - XIX centuries., Researchers come to a legitimate conclusion that the leading start in the structure of the genre is precisely lyric. Unfortunately, in determining the specific manifestation of the lyrical principle, the term itself lurisism is given general, mostly off-lands. We are talking about a special emotional perception, lyrical acquisition of listeners to the content of ballads, their sympathy for the suffering and death of heroes. Also, as a lack of this concept should be indicated on the lack of work devoted to genre evolution of ballads: maybe an ancient form of ballad songs is not constant, changes over time and does not fully correspond to the modern type of ballad.

4. Ballad - epics-lyrol dramatic genre. Such an approach to the definition of ballads now enters leading positions. Supporters of such a concept are M. Alekseev, V. Zhirmunsky, B. Putilov, A. Gugnin, R. Wright-Kovaleva, A. Mikeshin, V. Gusev, E. Tudorovskaya. "People's ballad - Epico

37 Lyrical song with pronounced elements of dramatic. " In principle, to such a definition, Russian folklorism went for a long time and independently, but it is possible to establish connections with the analytical work of German poets and collectors of the People's Poetry of the XVIII - XIX centuries., Creating a type of romantic ballad. I.V. Guete believed that "the singer enjoys all three main types of poetry ,. He can start lyrically, epically, dramatically, and, changing at the request of the form, continue. "38. The definition of ballads as a symbiosis of three poetic clans I.G. Gerder added another mythological element. The dramatic start is one of the leading elements forming the genre of ballads. The dramatic statement of the event series, the dramatic conflict and the tragic interchange is not lyric, but the dramatic type of emotionality of the ballad genre. If the lyrics in the folklore means the author's subjective attitude to the events depicted, then the dramatic start is the attitude of the heroes to the events taking place, and the ballowing genre is formed in

39 According to this approach.

The last group of scientists believes that the dramatic start is an indispensable genre sign and has an equal role with epic and lyrical. In a specific song of the epics-lio-dramatic type, they can be used to varying degrees, depending on the needs of historical time and ideological and artistic installation of the work. This position, in our opinion, seems to be the most promising and fruitful in relation to the study of the genre of folk ballads.

Unfortunately, it is necessary to recognize that the works devoted to the origin and development of the genre of Russian folk ballads are numbered. V.M. Zhirmununsky in the article "The English People's Ballad" in 1916 proposed to divide ballads on genre varieties (epic, lyrical-dramatic or lyrical) 40, thereby removing the issue of the problem of the evolution of the Baladen genre as such.

In 1966, a study "The history of the development of the genre of Russian folk ballads" DI is published. Balashov, in which the author on a particular material shows the thematic nature of the change of ballads in the XVI - XVII centuries, and in the XVIII century notes signs of the destruction of the genre as a result of the development of an outcompact lyrical stretching song and "absorption of epic tissue ballads lyrical elements" 41.

N.I. Kravtsov summarized all the circumstances and proposed to approve four groups or cycles in the educational literature: family-household, love, historical, social42. In 1976 in scientific labor

Slavic folklore "The scientist noted the evolutionary nature of the data

In 1988, Yu.I. Smirnov, analyzing East Slavic ballads and the form close to them, presented the experience of the signs of plots and versions, which subjected to an informed criticism of artificiality, the conventionality of the division of ballads for fantastic, historical, social and domestic, etc. "Such an artificial division breaks natural ties and typological relations between the plots, as a result of which the family or close to them turn out to be disconnected and are considered isolated" 44. The scientist clarifies the rules for constructing an evolutionary chain45 in relation to the ballading material, highlighting the five derivatives of the genre (from a long-standing or "volatile" song intended for choral execution, to literary ballad songs that are among the people) 46.

In general, the overall picture of the evolution of the genre of folk ballads from the epic form to the lyrical one. In this paper, private, practical questions about the paths and the causes of the modification of genre elements of ballad are solved, the links between the fragmented plots are established and the genre specificity of specific texts is determined. In our work, we use the method of reconstruction of texts, the foundations of which were laid in the writings of historical and typological school V.Ya. Proppap and born Putylov. With reference to the ballading genre, it has its own specifics and is implemented in the following aspects.

It is assumed that the Baladen genre is organized in certain cycles that contribute to the maximum disclosure of all genre features of ballads. The cyclization of the ballading genre is primarily the plot-variable implementation of one conflict. In ballad cyclization, the fundamental element will be the fundamental element, which in practice is to create a) variants of the dramatic situation (early cycles), then conflict interchanges; b) versions of the dramatic situation, conflict.

A variant of the ballowing cycle is called such a song that repeats the specified conflict model, but it intends to the most complete plot disclosure. The version is a qualitative change in the text, the creation of a new conflict based on a developed cycle or a separate ancient ballad ("Omelph Timofeevna helps his relatives" and "Avdota Ryazan", "Tatar Polon" and a cycle about half-water girls). The cycles are studied in their direct interaction, internal evolutionary bonds, also traced, as over time, the principles of folk cyclization are changed.

The study of the composition of the cycle involves the genre analysis of the plot-variable series of songs. Special attention is paid to the study of the main components of the genre specificity of ballads. The type of cyclization and the formality, the type of hero and the level of conflict, the nature of the People's / author's assessment and the dialogic / monological speech of the characters, the use of folklore and intragenital tradition, the type of convention and the reflection of the aesthetics of the artistic / direct case, establishes the role of formal storylines, the category of wonderful and symbolic . The features of the poetic language and artistic techniques of stylistry ballad are investigated. The impact on the specific stories of the tradition of adjacent ballads and ritual, epic, lyrical, historical songs, as well as spiritual poems, is particularly noted. All results of analytical work are provided in accordance with the requirements of historical time, this is determined by the approximate time of the demand of the ballads cycles.

Ultimately, the typological features of the ballad genre at each historical stage are established. The nature and features of genre changes of ballads in its generic and artistic aspects are detected, the general principles of its evolution. Balance cycles are considered in their immediate coupling and get accurate dating to one degree or another.

As a result of the analysis of the ballad material in the Russian region, it is established that the ballad is a flexible, mobile unit of an epics-dramatic nature, which has certain sustainable typological features at each historical stage of its development since the end of the XIII - early XIV centuries. By the XVIII - XIX centuries. Initially, the lyrics are attracted in the form of tradition and has no significant role in the genre structure of ballads. Gradually, the lyrical start changes the genre appearance of ballads, which ultimately leads to the lyricization of the genre or transformation into literary analogues. Balladian world summelation seems to prepare the soil and contributes to the emergence of personal and historical artistic consciousness, which caused the development of the forms of surviving lyrical and historical poetry. Subsequently, the ballad genre cannot fully display conflicts of the new era. Competing with historical and lyrical songs in the XVI - XVII centuries, the enhancing role of the lyrical element in its genre structure, the ballad will gradually be dissolved in the lyrical element, which is more consistent with the reflection of the entire depth and contradictory of the coming era. At best, from genuine ballad remains an external form, a kind of balobowa style of presentation or ballowstock plotty (type of mesh-ballad). The genuine genre of folk ballad is preserved in the XIX - XX centuries. The most famous, relevant for a particular area of \u200b\u200bBalafort plots are stored. They are given a lyrical form, they are lyrically processed, but certain sustainable typological features remain unchanged (CP. Previously, a similar process in epic creativity). Such ballads are gradually disappearing as the literacy of the population, the dissemination of books and the disappearance of the ballads themselves and performers themselves.

In the work on the dissertation, we were guided, first of all, the concept of historical and typological school (V.Ya. Prippet, B.N. Putilov) on the historical study of genres of folk creativity and the establishment of certain typological features at certain historical stages of the development of a particular genre in accordance with The single process of forming a genre of European ballads. Analysis of the genre structure of specific ballad songs is carried out taking into account the requirements of V.Ya. Proppage to the study of the genre of Russian folklore as a holistic system. The links of the genre of Russian folk ballads with Western European and Slavic samples are also taken into account (the works of scientists of the comparative historical school A.N. Veselovsky, P.G. Bogatyreva, V.M. Zhirmunsky, N.I. Kravtsova). On the other hand, we support the opinion of D.M. Balashov about the independent role of the genre of Russian ballad, its national originality and leading role in Russian oral folk art from the XIII to the XVI - XVII centuries.

The main object of the study is Russian folk ballads presented in the collections of MD. Chulkov, Kirsi Danilova, P.V. Kireevsky, P.A. Bessonova, P.N. Rybnikova, A.N. Sobolevsky, V.I. Chernysheva, D.M. Balashova, B.N. Putylov, S.N. Azbelian. Internal connections of scattered songs are established, the model of their evolutionary development. Sustainable typological features are determined, allowing to give a clear definition of the genre. Finally, the general idea of \u200b\u200bthe fate of ballads and the place occupied by it in the system of genres of the song folklore.

Thus, the relevance of the work is determined by understanding on the basis of specific observations of the problems of the evolution of the genre system of Russian folk ballads, its place in the system of genres of Russian oral poetic creativity and the further prospects for the transition to literary analogues through the type of German romantic ballad.

The decision of these problems involves the consideration of the Russian Baladenal heritage a) as a dynamic system that has its logic and the specifics of development interacting with close form of folk poetry; b) in the context of historical changes in the artistic consciousness of the people who have influenced the aesthetics and the fate of the whole genre; c) taking into account the theory of the emergence and development of the genre of European ballads.

Based on the above, the specific tasks of the dissertation were:

1. Systematization and analysis of the ballads of the scenes presented in the Russian region.

2. Establishment of genre specifics of Russian folk ballads, typological traits at specific historical stages, whose combination can give a clear definition of the genre.

3. Determination of specific genre changes in Russian folk ballads since its occurrence before the transition to lyrical forms and literary analogues.

4. Conference of the place and the value of the genre of folk ballads in the genre system of the Russian Song Folklore.

5. Establishing the time of occurrence and existence of both individual ballads, and cycles in general.

The analysis methodology is based on the principles of the historical and typological method, the basis of which is a comparison of possible ballads, its ideological and artistic analysis with the requirements of the urgency of the historical era, in which it arises and develops, as well as the establishment of the typological similarity of the ballading creativity of different peoples as a general pattern of a single process And, at the same time, as its various national variations.

The following provisions are made on the defense:

1. The Russian People's Ballad is an epiko-lyrol-dramatic genre, in which, depending on the historical feasibility and necessity, in strict accordance with the evolutionary theory, the data began to receive a different role.

2. The history of the development of Russian folk ballads involves the occurrence of the genre from the end of the XIII century as an epiko-dramatic song. The ballad takes a lyrical form in the XVIII - XIX centuries.

3. Ballad - initially mobile and flexible genre system, which makes it possible to reflect the conflicts of various historical formations.

4. The establishment of internal genre connections of the Russian Baladenal heritage involves the organization of the entire ballad material in cycles.

Scientific novelty thesis is determined by the integrated approach to the study of the genre of Russian folk ballads. The cycles of the Russian balladic heritage are restored and analyzed, which are built into a clear evolutionary model that sets the specific dates of the occurrence and existence of ballad songs.

Structure and scope of work. The thesis consists of administration, three chapters, conclusion, notes and bibliography, including 290 items.

Conclusion of scientific work dissertation on the topic "Russian folk ballad"

Conclusion

Russian folk ballad as a genre organization arises at the end of the XIII century and develops up to XVIII. In the XIX - XX centuries. The ballad loses sustainable genre signs and is transformed into form of lyrical or historical poetry or goes into literary analogs.

In our work, we proceeded from the concept about the inseparable communication of the people's song and historical time. Genres of folk poetry arise to reflect the actual needs of the era, they are associated with real life and are determined. Russian epic poetry (epic of the era of the Tatar-Mongolian invasion) tells about state conflicts at the time of the transformation of mythological thinking in conditionally historical. At the same time, a new genre of ballads is formed, reflecting personal conflicts. Epoch XIII - XIV centuries. Protects a new type of artistic consciousness of the people: conditionally historical (epic creativity) and conditionally personal (balladic creativity). Therefore, from the second half of the XVI century, during the formation of personal and historical consciousness, almost immediately, without certain genre searches, new forms of historical and lyrical poetry are becoming one level with a developed genre of ballads. It can be said that it is the people's artistic consciousness in the turning stages of his evolution that creates new genres and not only affects the forms of oral creativity, but also enshrines, undergoing the stage of formation and development.

The genre is so stable and a flexible unit that can reflect the change of epochs, a change in the types of consciousness. The genre system receives a new impetus for development, and such works will be in the root differ from the previous ones. Russian epic poetry creates the epics of a new sample under the influence of a new type of artistic consciousness, which established in the era of the Tatar-Mongolian yoke, and in parallel develops a new genre of ballads. Only from the end of the XV - XVI centuries. Russian epic poetry comes closer to Western European and creates new entertaining new eulfical plots. However, the poetics of epic poetry are exactly the opposite of the ideals of the era of personal consciousness, so the episons cannot be developed further. Genres that cannot comply with the needs of historical time are preserved, create a so-called frozen tradition. The epic novelistic creativity served as the basis for the genre modification of the forms of ballads and historical poetry. Thus, it is possible to note the special association of folk genres. Each genre should be studied in the system of development of close genre forms and not to lose the possibility of mediated exposure to completely different in the aesthetic platform of species of folk art. Folk genres create a tradition, certain ways to solve conflicts that can be in demand later than a completely different historical era.

It was such a holistic approach that was applied in the study of the genre of folk ballads. In this paper, we made an attempt to indicate the features and complexity of the interaction of the Baladen genre and epic, ritual, historical and out-of-payment lyrical poetry. Many questions require a detailed and detailed study. However, certain conclusions can be made.

The ballad is a flexible, fundamentally mobile genre unit capable of reflecting the needs of many historical eras. To a certain extent, it is a durable genre, whose popularity of whose popularity can be found and at the present time.

The ballad is formed from the opposition and development of poetics of the heroic epic. When creating a cycle about girls-bands, the genre structure also comes into contact with the tradition of lyrical poetry. In this case, the leading, dominant feature of the genre is a dramatic beginning. In other words, the genre of ballads arises and is formed as a synthesis of generic features, like an epiko-lyrol-dramatic phenomenon. In the formation of the genre of the lyrics is attracted as a tradition, when stagnation - a lyrical start can act a leading line of ballads. Due to the combination of different generic concepts in one genre of the ballad, it manifests itself as a mobile and flexible system, which allows to fully reflect conflicts of each other with each other epoch.

Unlike historical poetry, which will take such a principle of genre structure, the ballad is a full and sustainable genre. It will maintain a fundamental originality, namely the leading genre-forming sign that shapes a separate genre. We are talking about the dramatic beginning of the ballad, which literally creates a genre structure. We are watching dramatic lighting of the conflict in ballad songs. The conflict becomes formula, it is the basis for memorizing and cyclizing ballad songs. Images of heroes are also disclosed on a dramatic principle: through speech and action, and the flourishing of the genre of ballads claims the dialogic form of the position of the hero. The exclusiveness of events, the intensive drama of the narrative, the absence of the narratives of the action itself - everything in the ballad is devoted to the speedy achievement and resolution of the conflict. The ballad sensation produced by the performer on the listeners is definitely dramatic. In principle, it can be argued by the Baladen Genre - first of all the genre dramatic.

In our work, we noted all the stages of the evolution of the genre of ballads, sufficiently dwelling on the peculiarities of the modification of the genre structure at each historical stage. Balladny songs were studied in accordance with genre theory and the method of reconstruction of texts. In each ballad, a deep conflict is detected, the goal, with which the work was created, and the ways of its artistic incarnation. The type of conflict, the nature of the assessment and the role of the author and the narrator, the figurative system and the type of ballad hero, the type of dialogue, the nature of the convention, the role of an artistic or direct case, the category of wonderful and symbol, type of formality, type of cyclization and variability of variability are analyzed. This paper traces the features of their modification at certain historical stages.

When considering a large amount of material, a holistic picture of the principles of the organization, modification and genre evolution of the ballad form is made. When taking into account the development of forms of epic, historical and lyrical poetry, it is possible to trace the development of the ballading genre based on its components, to explain the reasons for direct lyricization, rapprochement with the poetics of the historical song, the appearance at the last stage of the development of scattered, isolated, independent of the tradition of scene songs or lyrical songs situations. On a concrete material, establishing compliance with ballad to real conflicts of a particular historical era, its connection with the preceding and subsequent options, versions and plots, you can determine the initial idea of \u200b\u200bthe song. Thus, it can be separated from the alleged primary source further layers, genre changes associated with evolution, and at the last stage - with the nature of the existence of the ballading genre. This will allow with a sufficient degree of confidence with an accuracy of half a century to dawn ballad text and clarify its place in the ballading cycle.

With all the mobility and variability of the genre system, both in kind and species and species, the ballad develops certain sustainable genre signs, the presence of which allows you to clear the definition of the genre.

The main, leading line of the genre is, as we have already noted above, a dramatic beginning, which manifests itself at all levels of the genre system. The dramatic start forms the composition, the nature of the action of ballads, features of the actions and statements of the characters, the special role of the narrative, drama of the presentation of the material and the impact on the listeners. The epic and lyrical start of the folk ballad are also exposed to the dramatic component and acquire a dramatic sound. Even with stagnation of the genre for ballads, plot songs with a dramatic junction of genuine drama in the conflict will be taken, in the relationship of heroes can be replaced by the story, but it always remains.

If the dramatic start is reduced noticeable, it is leveled, it is necessary to speak either about the transformation of ballads in lyrical samples, or on the impact of adjacent genres: Novelistic epic, historical songs, spiritual poems.

The next stable feature of the genre is a single-mounted folk ballad. Songs always have one conflict and strive to reveal it as much as possible in accordance with the dramatic principle: through speech and the actions of heroes. The actions of the ballad characters are reduced to the speedy achievement of the conflict, in this regard, we can talk about the unity of the action of folk ballads aimed at achieving a conflict situation. The change in the conflict system does not imply its disappearance, it becomes formal, goes into the case category. The extraordinary event of the later folk meshchansky ballads, spectacular decoupling reflects the essence of the plot conflict and typishes the genuine conflict of ballads. In the absence of a conflict, the song cannot be recognized by Bladlae, the same can be said when unfolding the ballading plot under the influence of the novelist epic and turning it into a multiconflial work, a kind of ballad poem.

The type of balladic heroes is one of the distinctive features of the genre. This is one of the most difficult moments of analysis, since it is in the figurative system that all genre modifications of ballads throughout the history of its development are catalyzed. The emergence of the poorer genre itself primarily implies the change of the value of the epic-generated system. The change in the type of heroes in the ballad goes continuously, more deeply and visibly illuminating the conflicts of historical eras. At a certain stage, the image of the ballad hero can become formula and creating certain cycles ballad (cycles of poisoning, a rampant young man, partly about evil wife). Such continuous, continuous development does not only strengthen the principal mobility and flexibility of the genre system, but also reflects the evolution of the lyrical component of ballads. It is through a figurative system in the occurrence of a ballading genre (cycle about half-colored girls) Lyrics as a generic feature of ballads enters its structure and subjures it subsequently a certain processing, composite correspondence with the appearance of a lyrical song. Strictly speaking, you can observe the instability and mobility of all generic components of the genre, even the dramatic start changes its role under the influence of the transformation of lyric and epic elements.

The ballad hero is typed, it is a private person who is decisive by private conflicts, which transmits specific historical events through its private destiny. The classic ballad character is disclosed on a dramatic principle: through a dialogic speech and actions. It does not have a copyright expression plan, he determines the plot and cannot be considered outside it. The actions of it are exceptional in order to maximize the dramatic exacerbation of the conflict, the speech determines the vital position of the hero, its essence. In the ballad, we will not find narrative points of action that slow down the movement of a dramatically unfolding plot. This is possible due to the functioning of the type of balladic heroes.

Gradual lyricization of the figurative system of ballad does not cancel the dramatic role of characters. Heroes may have a certain specified value, then develop the term character and more individually, psychologically motivate their actions. The dialogic speech is replaced by a monologue statement, the narrator - copyright, popular evaluation - the author's, but the Baladen hero is a dramatic character, since the work is focused on the realization of the conflict. The romantic literary ballad borrows such a type of hero and uses it as a type of literary hero. When the copyright began, the ballad character should be defined as lyric, then it is not possible to consider the work with such a type of hero as ballad.

Also for the distinctive feature of the genre should be recognized by its variability. Ballad seeks to maximally fully reveal the established conflict situation and creates plots options representing all possible ways to resolve the conflict. As a result, the Baladen genre gets the opportunity to create song cycles associated with a reflection of a certain conflict. With a change in the type of ballad conflict, it produces appropriate types of cyclications associated with each other by intraphanage tradition. Even the versioning cyclization is based on the use of ballading heritage.

Refusal of communication with tradition means a refusal of variability in the ballading genre. Specific plot songs are created, describing certain cases, events and not involving the presence of options for such plots. This process is characteristic of ballads of the XVIII - XIX centuries. and is called the stagnation of the genre. The ballad loses creative productivity and is preserved, either proceeds to the adjacent forms of folk poetry or in literary analogues. The folk ballad loses the prospect of subsequent development, it goes to the path of the author's poetry. It was the author that describes the events striking his events and transmits him from the face of the ballad hero or narrator. Such songs are short-lived and soon forgotten, since they do not reflect genuine conflicts of historical time and are trying to deny communication with the intraharan tradition. The old ballads associated with the general achievements of the genre, make the very question of copyright art. Any balladic work passes through a century-old tradition, experienced on authenticity, varies, varies and becomes truly a popular work that reflects that the people's perception of the era.

A feature of the ballad genre can be considered the very mobility of the genre system. The ballad is not only rebuilding in the course of its development, it can attract any poetic genre for a deeper display of conflicts of alternating eras. Ballad can process any type of thinking for its own purposes: mythological, epic, historical, personal - and organically use certain motives and genre features from a similar kind of works in balobowa form. It can be concluded about the principal longevity of the genre, the People's Ballada loses its importance with the extrusion of folklore poetry (with the exception of lyrical and historical forms and their similar new genre formations) and the change of its author's or literary. Here it should be noted the role of distribution of book literacy in the XIX - XX centuries. and written fixation of folk songs.

This paper presents an attempt to find internal connections of scattered ballad plots. For the convenience of presenting the history of the development of the genre, the ballads were elected the path from elders to later songs, although in other cases the peculiarities of the development of certain genre elements required immediate disclosure of their subsequent fate in the time of the occurrence of ballads.

Thus, it can be concluded that the folk ballad occurs as an epiko-lyrol dramatic genre, where the dramatic start is the main and leading. When becoming the genre, the lyrical element acts as a tradition, moving into a secondary plan, since the personal artistic consciousness at the time has not yet been formed. From the second half of the XVI century, Lyrics enters the ballad as a genre-forming element and gradually becomes one of the main criteria for the principles of creating a new type ballad. There is a type of so-called lyrol-dramatic ballad, and gradually this species in the XIX - XX centuries. turns into lyric, that is, nonsense.

The genre goes along the way to create separate, scene songs of an epics-lyrol-dramatic nature, but in the absence of intrahare tradition and the leading genre-forming principle (the dramatic beginning here is equally expressed with lyrical and epic). Such songs lose the ability to longevity and quickly disappear from the memory, replaced by others, also not capable of reflection of genuine conflicts of the new era (cf. development of historical or lyrical poetry until the XVI century). Such ballads do not have a clear genre structure and development prospects. They serve material for the formation of a new genre aesthetics of romantic literary ballads and repeat the last stage of their development in the genre of folk literary binding ballads. In the 20th century, the ballad is understood as a tense, dramatic story, leading to exacerbate and often tragic events. Perhaps only in the tragic time of wars (the second world, war in Afghanistan, Chechnya) the genre of folk ballad will again be in demand. However, with attentive consideration, we discover the lack of sustainable genre signs of ballads, the pseudomination of existence related to the popularity of author's poetry and existing literary heroes.

Requires a special study, the question of the transition of the genre of folk ballads in the literary analogue. In previous studies, we have noted an artificial nature of such a transformation, caused by the possibility of the development of the genre structure, and the requirement of the ideal compliance of the author's theory of imagination and aesthetics of German romanticism. The Russian literary romantic ballad does not have such a direct connection with the folk samples, it arises as a transferable and forms a genre of literary binding ballad, which finds a correspondence with a domestic folkal analogue.

Also, a special study requires the topic of the relationship of ballads and historical, ballads and lyrical poetry. This paper presents only general provisions requiring detailed consideration and clarification. Of particular interest is the not yet studied type of southern ballad, having roots in Russian ballading work, but also possessing autonomous sustainable genre education.

This paper reflects the principle of studying the genre of folk ballads in a separate Baladen region, namely in Russia. Most likely, it is such a principle of particular to general that the most fruitful in establishing genre appearance of the people's European ballads and accounting for national development features. The next step in this direction should be a deep study of the peculiarities of the development of the German, English, Scandinavian, Spanish, Balkan, Ukrainian, Polish ballad regions and minimize the general provisions of the genre of folk ballads. Only after such a generalizing work it is possible to trace the legitimacy and the validity of the transition of genres of German and English folk ballads in the literary romantic type. Then it will be possible to finally clarify the question of the principles and paths of the transition of the genre of folk ballad in its literary analogue.

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Literature Grade 5. Textbook - Reader for schools with in-depth study of literature. Part 1 Collective of authors

Folk ballad

Folk ballad

Among the many species of the people's song, a special prevalence in all European countries enjoys ballad. This is a poetry genre, in which, as in a fairy tale, there is a description of any events, but they are painted by a strong sense of the narrator, so the events themselves listener (reader) ballads assesses the assessment of the narrator.

The fact is that the poems as a form of artistic literature arose before prose. It may seem strange, but this is exactly the case. At first glance it seems that the poems are much more complicated, but in fact the prose requires special skill, because it also has a special rhythm That is, in order to create an artistic impression, a change is used. {!LANG-aab451b020150feb03a8dad4aa837b8b!}{!LANG-780caadd6b5890e6fdc9a4b47d7d678b!} {!LANG-8bb2ab427368603dae0f041cff12d5eb!}

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