Russian folk ballad short. Folk and romantic ballads

PLAN

Introduction

Chapter 1. Ballad as a genre of folk poetry

Chapter 2. British and Scottish Ballads

Conclusion

List of used literature

Introduction

Interest in folk ballads, this peculiar genre of the Folklore of the Middle Ages, "open" for the first time romantics and used to create a literary genre of romantic ballads, in lately It increases markedly. Collections of ballads and research on them appear in a number of countries. Interest in the folk ballad is capturing not only scientific circles, but also a wide reading public. It is indicative of the success of our reader of an ancient English-Scottish ballad in talented translations S. Ya. Marshak.

The revival of interest in the ballad goes in line with growing attention to the culture of past periods of human life.

The ballad genre was very popular throughout the Middle Ages, so the question of the ballad amounted to a large extent that the national self-consciousness was represented over the long centuries of European feudalism, which was the role of the people in creating the culture of the past.

Interest in the ballad shows that this genre requires urgent scientific attention. Unfortunately, in the study and promotion of Russian folk ballads, we have almost nothing. Ballads are scattered on various collections, mostly epic, and in these collections-on different sections. Only in the semitomic edition of "Velikorussian folk songs" A. I. Sobolevsky ballads were allocated and grouped into a special section, which was the first volume of the specified publication called the "lower epic songs". There is only one collection dedicated to ballads, the principles of the compilation of which cause, however, a number of serious objections.

Meanwhile, old folk ballads deserve close attention and in their content, and in their artistic perfection.

Chapter 1. Ballada as a genre of folk poetry.

The term "ballad" has long been an international, denoting, the pan-European genre, whose features are now clarified by folklorinists of different countries in relation to the folklore of their nations. In Russian folklorism, the term "ballad" also strengthened, although the most different phenomena belonging to various epochs and to different genres, and a single look at the essence of ballads were supplied. As for reference publications, from " Literary encyclopedia"To" BSE "inclusive, the history of the concept of" ballad "they start, from the West, and in relation to the folk ballads of the West and ends, so we might think that our folk ballads were not at all. At the same time, under the name "Ballad", several genres, folk and professional, sometimes unlawfully deriving them from each other. This Provencal Ballad of the XI-XVI centuries, Anglo-Scottish folk ballad, Romantic Ballad (Professional Poetry Genre) and Music Romantic Ballad (Professional Music Genre).

Provencal ballad (from the Italian "Ballere" -Hexate) - the genre of medieval knightly lyrics - originated in the XI-XII centuries based on folk spring (ritual) dance songs with choral chorus. Stroll professional genre And acquiring a strict canonical form, this ballad developed in France in the XIV-XVI centuries (in the genre of ballads wrote, in particular, the largest poet of the French Middle Ages Francois Wiyon) and died at the end of the XVI century. Touch with this genre the origin of other genres with the name "Ballad" would be mistaken.

The name "Ballad" ("Ballad") was known in England and Scotland where they were indicated by the genre of folk narrative songs of a special kind. The origin of this term is unclear, but it, apparently, can not be reduced to the Italian "Ballare".

In the era of romanticism due to the enhanced interest of romantics to folk song British ballads have become world famous. The latter occurred not only as a result of the artistic perfection of the Anglo-Scottish ballad, but also due to the fact that the first collections of ballads that caused the pan-European interest in this genre were English. This, firstly, the famous collection of the ancient ballad and songs of Thomas Perse (1765-1794) and, secondly, the collection of Scottish ballads Walter Scott (1802-1803), followed by a number of other publications.

The development of romanticism caused interest in folk ballads in all countries. Editions of the ballads collected by romantic poets, for example, weanom appear in Germany. The collection of Arima and Brentano "Magic Horn of the Boy" is especially famous. Ballads like Anglo-Scottish. Found in all Scandinavian countries, it turns out that the influence of the Scandinavian ballads in England was once very strong. Ballads are also detected by the European peoples of the Mediterranean.

In most publications, ballads were combined with other songs, which led to the loss of a solid idea of \u200b\u200bthe essence of the Baladenge genre.

What is a folk ballad? The studies have established the fundamental similarity of the British ballads and Spanish romances, as well as the fact that a number of peoples for ballad have their own names. Ballades were found in Slavs, balladshell was found in many Serbian epic songs. In recent years, it has been specially successful to collecting and studying ballads in Slavic countries. Slovak, Czech, Polish ballads become world famous. In Bulgaria, the ballad is currently considered one of the leading genres of the old Bulgarian folklore. Only by the power of the tradition, the Anglo-Scottish name of the "Ballad" remains dominant for the name of the genre.

By the time of the appearance at the end of the 19th century, the classical, unsurpassed by the scientific coverage and thoroughness of the preparation of the publication of the English ballad, F. D. Child, the presence of the genre of ballads was established almost for all nations of Europe, and editions of the ballads of several dozen nations were included in the extensive biblography of Childhood.

In the publication F. D. Childe, extensive instructions on the parallels to the Anglo-Scottish ballads in the folklore of other nations are given. However, these parallels from the West are east more often, the coincidences of the plots are made all remotely, the connection is problematic and Russia turns out to be essentially aside from the circle of these ties. The search for Russian scientists N. F. Schatsov, A. R. Peltzer and other missing parallels between Russian songs and ballads from the Child meeting, did not lead to successful results.

In Russian pre-revolutionary folkloristic, the term "ballad" was already used by P. V. Kireevsky, however, the exact limitation of the circle of songs, and their historical facts are the names of the heroes. We add that, the names of Mikhail and the novel are found in a number of various songs.

So, in the development of the theory of Russian folk ballads before the revolution, it was not done, in fact, nothing. It was not given a definition of the genre, neither the form nor the origin of the ballad was not studied, and the circle of songs that can be called ballads were not clear.

Several more was made by collectors and publishers. Together with other song genres, ballads were collected and published in epic collections, then among lyrical, "family", "congess" and other songs. However, there was no clear idea of \u200b\u200bthe genre here. So, P. N. Rybnikov and A. F. Hilferding ballads paid relatively little attention. The first large number of vintage ballad gathered A. D. Grigoriev, and then thanks to the solid recording of epic songs adopted by it. He himself did not consider these songs by ballads. In the semitomous arch of Sobolevsky ballad songs, as already mentioned, occupy the first volume. N. P. Andreev rightly criticized the difference in the definition of the genres of Sobolevsky: here and the thematic principle, and the allocation of art features, and on the tone of the narrative, thanks to which the Balad plots could be in different departments. However, a large artistic taste and a sense of style gave the opportunity to Sobolevsky to allocate in the first volume exactly the ballad material, although with some splashes of the songs of others

So it was the study with the study and publication of Russian folk ballads until 1917.

In the first years after the Great October Revolution, the study of ballads has ceased and resumed a lot later, already in the thirties, when the only one, dedicated to ballads, the collection of V. I. Chernyshev, with the introductory article N. P. Andreeva, Russian Ballad, appeared.

In the theory of literature by then there was only the definition of literary ballads as a "fabular poem", given B. V. Tomashevsky. This definition is extremely blurry, as Tomashevsky tried to find the term suitable for all genres of ballads, folk and literary. Fabularity, narration, is really characteristic of ballads, but it is also characteristic of all genres of epic songs without exception and cannot be so called the main sign of ballads. Moreover. Tomashevsky gave its definition in relation to literature and on. Material of literature.

Theoretical prerequisites of compilers: and practical "filling" of the collection "Russian Ballad", it is necessary to disassemble specifically, since so far it is the only special and therefore an authoritative edition.

We'll have to run forward and give the constructive characteristic of the genre of Russian ballads and its differences from the epic, genetically preceding the Baladen genre, and from the lyrics next after the ballad. It is difficult to define before the detailed analysis of the material, but to substantiate the subsequent polemical part of the article it is necessary.

Ballad-narrative, epic song, and its narration, "storystone," is underlined by the lack of a description of the appearance and experiences of the heroes, the prehistory of the conflict, the author's attitude towards what is the explanation, moralization. The story is strictly objective. The action of ballad focuses on one episode, one conflict. Ballad, at the same time, always dramatic. Conflicts are allowed in sharp collisions, the most dynamic sites of events are transmitted, a dialogue is developed, the dynamics of the action is enhanced by a composite reception of repetition with increasing. In ballads used: medieval symbolism, allegory, folk beliefsAlso reinforcing drama action.

At the wedding of Alexander Sergeevich Pushkin and Natalia, Goncharova sang the favorite song of the poet, bitter, long.

The eternal plot of the folk song - the girl is forcibly married - interpreted in this masterpiece of the Russian folklore with psychological subtlety, is unlikely and dynamically.

"Mother Mother, what in the field goes?" - not foreshadowing anything terrible, sounds calm voice Girls, and only the gloomy system of melodies, anxious repetition: "You are mine, what in the field goes?" - With a sorrowful pressure on each syllable in the word "Roda", forcing the listener to suspect the beginning of the events of important and neglected. A soft, soothing answer of the mother: "My dyatko, then the horses were played out", Repeat: "You are my mother-in-law, then the horses were played" - with the same pressure on each syllable in the word "Ramoram" for a moment stops the movement of alarming feeling. And then the frightened voice of a girl who looks out the window and has already understood a lot, and in response to him - a reassuring voice again, a gentle voice of the mother: everything was clear at the beginning, but the mother, sorry "Dyatyatko", drove out dark thoughts , faced from premature fear ...

Amazing this song, which now invariably touches the hearts in any performance - sincerely home or professionally sophisticated, - connects three, it would seem that the difficult-to-see features: a solid sequence in the story about the event, i.e. epic, subtlety and power In the expression of the feeling, i.e., lyricism, and tensions in the exploration of the plot, the "twisted" of the action, i.e. drama, more precisely - dramaturgicity.

"I have to confess your own wildness: every time I hear an old song about Percy and Douglas, my heart begins to beat stronger than with the sound of a combat horn, and after all, it comes in some common person, the voice of which is as rude as and The syllable of the song, "wrote in the XVI century an English poet, the Adept of poetry scientist, sophisticated and virtuoso, Sir Philip Sidney about one popular English ballad.

"... feelings expressed in this ballad are extremely natural, and poetic, and full of the majestic simplicity, what we admire the greatest poets of antiquity ... Only nature can make such an impression and give pleasure to all tastes, both the most immediate and sophisticated ... It has such places where not only the thought, but also a language of majestic, and the poems of the poet and critic, "the legislator of tastes" of that time, the defender of the classic strictness of Joseph Addison on the same ballad, wrote in the XVIII century.

Interrupting the conversation about the Russian song by quotes dedicated to the English ballad, you can link the "Mother", close to us and live, with the distant and left world, which is behind the texts of this book. Such a connection is not subjective, not chosen for the red sense. The English folk ballad, as well as any Western European folk ballad, is a kind of folk song. The definition that is taken to date by most folklorists of many countries, states that the folk ballad is a narrative song of a predominantly lyric-dramatic nature with a stubbic construction. We add that for most people's ballads are characterized by the chorus (refrain), often not directly related to the content of the song; Refrenal functions, apparently, were originally related to the rhythmic structures of the work, since the ballad sometimes (in any case, in Denmark), not only sang, but also danced.

Listening to the "mother", reading the ballads of this book, we will have to follow the Sydney to "confess our own wildness" and after the Adisson will submit "majestic simplicity", because, without any comments, listening to the English "Ballad of two sisters", Or German "Lilofie", or the Danish "power of the harp", we will again and again we will experience the direct emotional impact of these Masterpieces of Folklore.

What are their roots, who and when these works were created?

Ballads arose in the era of a mature medieval (in many respects as a continuation of an earlier epic tradition) in the form of works of oral supported in the memory of the people only thanks to the performers. Like any oral monument, ballads "Neither the author know in the usual understanding of the word, no canonical text, nor a certain date of creation or separated by impermeable barriers of the editorial." That is why there is no development history of ballads as such: only records that are starting to be done in different countries in different timeBut everywhere not earlier than the XVI century, they fix them and translate them, so to speak, from the world of infant to the world of material. No one can speak with confidence about the age or place of the emergence of one or another ballad; Only for certain features it is possible to divide the ballads to some groups and thereby identify the support points in the systematization of the complex world of folk ballads.

In particular, in English folkloristic, there has been a steady idea of \u200b\u200btwo main layers in the Anglo-Scottish Baladnaya Foundation: this is, on the one hand, the so-called "traditional ballads" (actually folk) and, on the other hand, "Mestrel ballads" (i.e. . Created by professional writer musicians, not " folk singers"). The works of the first type, as noted, impersonal, in them, as a rule, the place of action is not specified, the plot core is interpreted to a certain extent dry and dynamically; In the ballads of the second type, the singer often gives out a distinctly allocated "I", shows the taste for topographic parties, to a detailed, leisurely telling. And nevertheless, the ballads of the second type still enter the entire assemblies of the folk ballad, since MENESTELL must be perceived rather not as a sophisticated carrier of the entire amount of medieval culture, but as a wandering semi-educated singer (something like a wanderer of a later time), entertaining low people on Fates and inline courtyards.

Even concrete historical eventswho are at the heart of those or other ballads, do not talk about the time of creation: the cycles of the Scandinavian and German ballads about the emperor theodorich (remember the verses of A. A. Block's element in folklore, The final form at the very time, in any case, was formed for several centuries.

Many ballads exist in different, sometimes very numerous versions. Various versions are strictly followed in the scheme of presentation of the plot, the sequence of events accurately transmit, but their stylistics can differ quite significantly. This once again emphasizes the existence of folk ballads as an oral monument. Folklore features of the poetics of folk ballads are simple rhymes, sustainable epithets, magical numbers - developed into the system is also largely as a result of "remember requirements".

The word "ballad" itself for a folk narrative song has become relatively late. In French lyrics of the XIV-XV centuries, along with the "big song" and Rondel, a steady form called the "Ballad", interpreted as a purely lyrical poem and consisting of three stations, eight lines in each, with a strictly defined rhyme system (three Rhymes pass through all stanza). Penetrating B. english literature, French ballad, retaining his lyrical nature for a while, has undergone some structural changes due to the fact that english Popper rhymes: Each stanza began to be rhymed separately, regardless of the other two. The requirement of tricraft was gradually lost: already in the XV century in England, ballads of various lengths were created in England, and the story element began to penetrate little in them. Therefore, when in the XVI century began to be printed in the form of "volatile leaflets" People's songs of a narrative nature and a bought construction, arising from about this time, with might and mainly popular in the people, and are unusually popular in the people, they began to call them ballads. Over time, the same word began to consume both old, growing roots in the depths of centuries, "traditional" songs. In all of Scandinavia and in Germany any works this genre Until the XIX century called folk songs; The term "folk ballad" entered the source only relatively recently.

Adhesive songs
Very precisely about the role of ballad in Russian national culture, their connoisseur, brilliant historical novelist D. M. Balashov: "How many amazing humanism and genuine humanity in these externally" cruel ", often with a bloody outcome of the dram! How many poetic discoveries, precious plot findings, sometimes waiting for one and the touch of the poet, writer or playwright to be deployed into a whole novel, play, poem! " [Russian folk ballads / entries Article, Text Preparation and Notes D. M. Balashova. - M., 1983, p. 6.]
Ballads in Russia, on the assumption of scientists, arose at the turn of the HSh - XIV centuries, when the genre of epic was gradually began to fade - epic songs about the exploits mighty Bogatyrey, Defenders of the Motherland. The invasion of hordes, fires villages, the siege of cities, the tragic fates of the desecrated slaves, crossbars of princes, the estate inequality contributed to the creation of new narrative songs reflecting these phenomena.
The term "ballad" has several values. So called Provencal dance songs of the XI - XVII centuries (from Ballere - dance); Anglo-Scottish folk ballads (Ballad) - narrative songs on the themes of medieval history, as well as literary romantic ballads. In the folk medium, the word "ballad" is not used. The works of this genre singers in the Russian north are distinguished from the epic, calling "verses" or "songs". To separate folklore genre From the literature, it is necessary to clarify by adding the definition - "People's Ballad" or "Balad Song". For brevity, we will use the term "ballad", under which the Russian folk ballad is understood. Other cases will be specifically negotiated: the literary ballad and others.
Northern execution manner Ballades is different in that they sing them, like epics, alone or together, and in the south, ballads are performed by a chorus, like broaching lyrical songs.
The focus of the ballads is the individual fates of people, by virtue of historical or social conditions that fell into hopeless situations. Ballads are epic songs with family-household topics, which are based on tragic conflicts.
In historical ballads, personality or family members fall into the tragic situation in special historical conditions (the invasion of the enemy, war), in love and family - conflict arises between the young and a girl or family members on the basis of love or family relationships, the cause of the tragic conflict - in social ballads - in social inequality.
In historical ballads, scientists allocate two cycles: about the Tatar or Turkish line and about tragic meetings of relatives. The cycle of Polon includes ballads built on the relationship of the enemy - a girl where the latter suffers or dies, not wanting to become a wife or concubine of the enemy ("The girl is captured by Tatars," "Russian girl in Tatar captivity"). Most often in this situation, she cums with him ("Red Girl from Polon runs"). Very rarely captive manages to be saved ("Salvation of the flight", some versions of Ballads "Prince Roman and Marya Yurievna"). This cycle includes a group of ballads, in which the shoot of captivity ("Two slaves", "Flight of slave from captivity") and later recycling ballads about Polon ("Young Hanech", "Pan brings his wife a Russian flight").
The cycle of meetings of relatives includes the ballads "Kozarin", "Mother's mother-in-law in the son-in-law". It is possible to attribute the Ballad "Husband Soldier Visiting Wife", which researchers are associated with the war of 1812. By type, this song is close to ballads about the meetings of the relatives, separated by the war and not recognized each other. They have common motives of the initial unrecognizing, and then identification (in the mole, perverse, towel) and, finally, the tragic need for new separation.
Plots of love ballads are built on the relationship of well done - the girl, and only one ballad "Vasily and Sophia" tells about the mutual love of the heroes, the Mother of Vasily. In most love ballads, the girl dies from the hand of a well done for whom she does not want to marry ("Dmitry and Domna", "Well done, servant and a girl", "Ustinya", "Paran"), is deceived and dying or suffering (" Cossack and Schinkarka, "" Abduction of the Girl "," Girl and Adjutant "). And in one of the ballads, the girl kills rapists ("The girl protects his honor"). Sometimes she cums suicide so as not to become the wife of the unloved (some versions of the ballads "Dmitry and Domn"), being deceived, to the "deceived girl") or kills the child ("Monastery Topit Child").
If we compare lovely ballads with historical ballads about half-colored, we will see their similarity: the girl is dying, defending his honor. The difference is that in the cycle of historic ballad, the girl is guided not only by personal, but also by patriotic feelings (rejects the enemy and does not want to live in someone else's land), and here she defends their right to freedom of choosing the groom, for a personal feeling.
The largest and most popular group of family ballads - about tragic conflicts between husband and wife. Usually, the wife dies from the hands of her husband ("Prince Roman's wife lost", "Husband wife Rubil", "Fyodor and Martha", "Panya", "Sleepy wife"); The husband gets rid of his wife in other ways ("Husband will hang his wife") or leaves the house, throwing it ("Well done and thin wife"). My husband's wife is destroyed only in one ballad - "My husband's wife stabbed." The tragic death of one of the spouses and grief on him is dedicated to several ballads: "The king's wife (Cossack) dies from childbirth", "The wife of Prince Mikhaili sinks", "Pan's death". The mother-in-law in the role of a daughter-in-law is in the ballads "Prince Mikhailo" and "Ryabinka".
Pretty large group ballad dedicated to the relationship between brother and sisters. In a number of ballads, the brothers fence down to her sister and severely punish her for a violation of morality ("King and Girl", Fedor Kolyzkta, "Alyosha and Sister of two brothers", "Ivan Dudorovich and Sophia Volkhovich"). Brother's poisoning sister's poisoning is dedicated to a number of ballads, in which the sister sometimes kills his brother by mistake ("the girl erupted his brother") or so that he would not interfere with her to meet with her lover ("Brother, sister and lover"). About the failed attempt of the sister to poison brothers tell ballads on the topic "Sister-Evolator". In the ballad "Sister Sword removed the brother's head buyne" ("Sura-River") sister kills his brother with a sword.
The topic of incest (healing) of brother and sisters is very popular in Russian folklore. The ballads about the bleeding "Hunter and his sister" are tragically end, "King Davyd and Olena," "Brother married her sister." The topic of the bloodstream is found in the group of relationships about relationships parents - children ("Children of Widow"). This group also includes the ballads "violent break", ballads on the topic "Parents are overwhelmed by their children" - about the tragic fate of children to whom their parents were ordered.
In social ballads, as a rule, the social conflict is intertwined with family. The important place among them is the ballads about tragic conflicts as a result of social inequality ("Well done and the Kingdom", "Prince Volkonsky and Vanya-Kleaknik," "loved by Princess Camera Lacey," "Girl and Voivodsky Son"), as well as robber ( "Rogue husband", "Rogue and Sister Brothers", "Well done kills the clerk", "The robbers kill wellholds") and about the mountain, poverty ("Mount", "Well done and Mount", "Well done and the Smorodina River", " Crusade "," Salled Son ").
The ballads are peculiar to the motives, which, by the nature of the events depicted in them, can be defined as realistic (that is, poetically reproducing events that had or could take place in reality) and fantastic (that is, depicting incredible, supernatural events).
The central motive is usually the motive of atrocities. Its main elements: the acting person is a detrimental, action - murder, poisoning, violence; The object - the victim (the husband kills his wife; the king gives the order to hang a well done; mother-in-law originates with a snow). He is sometimes preceded by the motives of a denunciation or slander (mother-in-law slander, old men or friends of her husband are slandering his wife; on a well done, who sprinkled with a journal with the Royal, comes "Evil Lahi His Brothers", on Vanya-Kleaknika - a hay girl); The motives of the injury of drunk, thinking, how to do with the victim (argue, how to kill the prisoner: a sword, a spear, or "begged" a horse); The motive of the preparation of the murder (the poison holder mines the poison; the brothers are preparing a saber and a fear for violence with her sister or a bunch of saber in the forge). In addition to the motive murder, the central may be the motive of suicide. Sometimes he is preceded by the motive of suicide preparation (Domnu Kuket in the forge of "Two bouquet bouquets", the Kingana takes out knives from a silver casket).
Everything central motifs In ballads, as a rule, realistic. Fantastic motifs, although they are much smaller, still occupy a significant place in Balladny plots, but they are not central, but side. They can be divided into several groups: 1) Animistic and antiistic (well done, hiding from grief, turns into a clear falcon, pike, wolf, ermine; sisters, going to search for a brother, become a pike, sokol, star; mother-in-law turns a snow into rowan; The place of the death of the girl get up of forests, her spit draws into the forest, blood in the sea); 2) anthropomorphic (the pigeon speaks of a dove about the innocence of buried; raven, in order to save his life, tells the young man about the captive of three Tatars; the horse predicts the misfortune; Eagle (or Wolf) brings the hand of Princess and tells children that their mother is killed; Snake Sleeping on a woman; Characters Ballades turn to the mountains, rivers, seas with a request to miss them, and request is performed; Well done insults the river, and she trample him, explaining why; 3) magic (prince revives wife dead and living water; Marya Yurevna blinds the protection with the help of a scattered pearl).
In ballads, the ideological and aesthetic function of fantastic motifs that go out in deep antiquity is to approve the justice and exposure of the crime. Wonderful motivates the development of the plot or completes it. The specificity of fantastic motifs in ballads (in contrast to fairy tales, epic) is that they are usually associated with tragic.
So, the well done turns to the pike to escape from grief, but grief catches him with a nucleus, pursues an eagle, raven and drives into the grave. Sisters are looking for a missing brother everywhere - in water (pike), in the air (falc), in the sky (star) and find out that he is killed. Folded woman dies. The bustling plants on the graves of ruined lovers testify to the strength of their love and their innocence (in some embodiments, the mother of Vasily is not capable of repenting them with roots). Having hitting the stone, the girl turns to the church, but in the fairy tale she would again reincarnate in the girl as soon as the chase retired, and in the ballad she no longer comes to life. The horse predicts a misfortune, and the prediction in the ballad comes true, unlike fairy tales, where the hero can be saved.
The tragic manifests itself in ballads. There are tragic elements in other genres, for example, in fairy tales and epics. In the eponymists, who chant the greatness and power of the hero, his invincibility, tragic occupies a slight place, and in fairy tales, the tragic elements are introduced for a more contrasting representation of the struggle of good and evil, always the end of the victory of good and the triumph of the hero who overcomed numerous obstacles. In the ballads, evil usually wins, but the dying positive characters won a moral victory.
In ballads, several aspects of tragic are distinguished: nationwide, family, personal. So, in the ballad about meeting the mother and daughter in Tatar captivity there are all these aspects.
First, the possibility of a meeting in captivity not recognizing each other mother and daughter speaks of the tragic fate of the people suffering from Tatar raids. Secondly, tragic fate of a young woman who has forgotten his homeland and having learned his mother; Thirdly, in the tragic situation there is an old captive who has become a slave of his native daughter. The position of her hopelessly: Returning home, to his homeland, she will lose her daughter again, and remaining with her daughter, will not see other children and native land. In the ballad "husband-soldier visiting his wife", much later in time of occurrence, the same aspects, although the socio-historical situation has long changed. The tragic here is manifested in the disclosure of the severe fate of the people: a twenty-year-old soldier, separating husband and wife; The fate of a woman who considered himself a widow, who has again gained her husband to leave him again; Gorky soldier's goet, who accidentally hit his house, but can not be with the children and his wife and leaves his regiment, maybe forever. In the cycle, ballads about a girl-halonyaznak, ballads about a girl who runs away from the Tatars and cums with him when she overtakes his chase. Girl dies, but moral victory on her side; The ballad sounded as a call to the resistance to the enemy.
In social ballads, tragic contradictions between those who own the power (King, Prince, the Voivodsky Son), and the disadvantaged (servant, the keysticker, ordinary girl). The criminal craft of people who went robbed, turns against them themselves.
The basis of tragic in family ballads - on the one hand, in the despotism of parents, her husband, brother, mother-in-law, and on the other - in the municipality and humility of children, wives, sisters, daughter-in-law.
In the group of love ballads, the victim usually becomes a girl.
In a number of ballads, the tragic does not have an exalted nature, since it is not connected with high goals, patriotic or moral exploits, but with low narrow personal aspirations, has a domestic basis. Husband kills his wife, having learned that she had a bad farm in his absence), the prince ruined the girl who did not meet him reciprocity so that she would not get to anyone "(" Ustinya "" Paran "). Incomparable contradictions causes sharp clashes and applying negative characteristics of decisive, cruel funds. The tragic manifests usually in a crime (murder, poisoning) directed against the innocent victim. A statement of Aristotle on the hero of the tragedy may well be attributed to the ballad: "Let the hero be presented in such what no one would have wished to be." Unlike the ancient tragedies, where the deeds of negative characters are often explained by the will of the gods, fate, the rock of heroes of ballads to the atrocity leads such features of character, as vitality suspiciousness, the inability to curb their bright temper. Tragism in ballads depends not only on the character of the characters, but also from the circumstances caused by the unconnect of the surrounding world. The deceived girl is forced to drown a barefoot pe6eneka to escape from the shame. The Balad conflict is the result of not a small quarrel, a random resentment, but is generated by deep contradictions, peculiar to the Epoch, in which the ballad originated and formed the behavior of people in ballads is regarded from the positions of the right, ideal family - this manifests the moral aspect of the tragic. The tragic occurs when there are sharp contradictions between the strict moral principles and the behavior of people. On this basis are born, on the one hand, the desire for happiness and freedom of personality in her feelings, and on the other - tragic clashesdepending on life circumstances. The ballad, like the "exemplary tragedy" (according to Aristotle), represents the transition from happiness to unfortunate immoral, negative hero, and this also reveals its moral aspect.
Tragedy in ballads often manifests itself in the fact that the killer too late learns about the innocence of the destroyed and bitterly repent. This has become the norm of Baladna poetics, so, for example, the poem of S. T. Aksakov "Ural Cossack", written in 1821 on the popular story "Husband Rubies his wife", in the process of existence, was changed in accordance with the popular understanding of the tragic. In Aksakova, her husband cuts his head with his head with his head and is given to the authorities, demanding an execution. In the people reworked by the people, the ballad "rushed in the central and southern regions of Russia," the soldiers, returning home, killed the wrong wife ") ends with a monsologist-repentance of the killer. And in the north, where traditional epic poetry remained longer, the motive of the innocence of his wife is introduced, aggravating the tragic guilt of her husband.
The suffering and death of a positive character and repentance of killers cause a peculiar emotional reaction at the listeners, similar to Aristotelian "Qatarsis": sympathy, compassion, moral cleansing, awareness of the inhumanity of evil, reflections and evaluation of actions acting persons.
The ballads do not always have "tragic wines" of the hero, and is also not always due to the innocent victim brought the hate of the antagonist. This is due to the specifics of the folklore, aspiring to the limiting typing of phenomena.
And yet in many ballads we can detect the "tragic guilt" of the heroes. In the ballad "slander wife" enraged slanderous husband in anger cuts his head head. It comes consciously, but unintentionally, acts unfairly, not being unfair at all. Its tragic wines is an affect resulting from erroneous knowledge. Vasily's mother ("Vasily and Sophia") wishes to get rid of unworthy, from her point of view, chosen sown. Trying to destroy her, she does not assume that the Son will divide with the beloved poisoned drink. Here manifests itself new aspect Tragic: "Unjust should not be happy," said Aristotle. This thought is peculiar to in many ballads: the villain, killing his face hated by him, unwittingly robs and a loved one.
The art of tragic in ballads is the ability of their creators to see the tragic in life and transfer it in a poetic generalized form with a large emotional tension. A peculiar combination of epic and drama enhances the emotional and aesthetic effects of tragic, which in a large extent contributes to the limiting compression of dramatic moments. Ballad to a certain extent is characteristic that the Great Pushkin considered it necessary for a dramatic writer. This impassivity is created by a combination of epic and drama: the events are narrowed by a severe, objective tone, and in the most intense places the narrative is interrupted by a dialogue or a monologue. Important for the disclosure of tragic has the art of the development of a plot action, which is concentrated on one most significant conflictThe plot is released from slowing the details. The location of the motifs in the plot depends on the art of tragic. Three types of ballads that differ in the development of the plot can be distinguished.
1. Open actions in those ballades in which its development begins with the central episode - the description of the atrocity ("Prince Roman's wife lost", "Prince Mikhailo", "Ryabinka", "My husband's wife", "Vasily and Sophia", " A slander wife "," Monastery is a child's mother).
The strong emotional impact in these ballads has not so much an episode of murder, how much the behavior of the suffering character who does not know about the misfortune and trying to find the disappeared mother (wife or brother), followed by a listener who already knows what happened, follows with sympathy and compassion, and in The culmination moment is secondary - and more acute - she is experiencing with him. The ballads of this type quite apply to the statement of the lescing about the aesthetic functions of the open action of the tragedy from Euripid: "... he reported to the viewer much earlier about all the disasters, which should break over the head of his acting persons, seeking to inspire compassion to them even when They themselves were far from considering themselves deserving compassion "[Lessing E. Selected Works. - M., 1953, p. 555].
2. Predicted fatal outcome. In this group, the ballad to the hero, and together with him and the listener it becomes aware of the upcoming misfortune from the motives of the dream of a dream, an unkind omen, ominous signs (Dmitry and Domna, "Prince Roman and Marya Yurievna," "Husband killed his wife," "Wife Prince Mikhaili sinks ") or from the motive preparation for a crime. In this case, the tragic emotions of the listeners strengthens the fact that during the development of the plot, along with the heroes of ballads are in anxious waiting: it will come true or the prediction will come true, as happens, and worry about the fate of the characters.
3. Tragic recognition. Such plots are built at an unexpected meeting of relatives, by signs or from the questions of recognizing each other. Tragedy here arises as a result or late recognition after the fatal events or the need for a new separation of randomly found each other relatives. This method is more widely used in ballads about the heating and tragic meetings of relatives. In the Ballade "Brother married her sister" Brother and sister after the wedding learns about their kinship. They are covered by horror, the brother goes to the forest on the worsening of the beasts, and the sister is to the monastery. In the ballad "Hunter and sister", well done, seducing the girl, suddenly learns that he was sister in front of him. From despair, he cums with him. In the Ballad "Mother's mother-in-law in the son-in-law" mother in a mole or other signs in his wife captured her Tatarin finds out her daughter and suffer hard, fearing to admit to her. Ballads "Husband Soldier visiting Wife", "Kozarin", "Children of the Widow", "Brothers-Robbers and Sister", "Well done and the Smorodina River", are also built on the tragic recognition. The husband killed his wife ")," Zaozerier, yes aside ... ".
Ballads with the effect of the surprise of tragic recognition can lose it in some options and develop an action on the principle of an open plot, and, on the contrary, the ballads with an open plot in the options can be built on the effect of surprises, which disappears when a motive is introduced into the ballad, explaining the happening .
In the ballad, seeking not only surprise and weigh, but also shake the listener, extremely important role Play the prophetic dreams, unfinished signs and predictions. In this genre, you can meet the tragic motifs of great poetic strength. The motive of the surprise of the tragic consequences includes the motive of the surprise of the tragic consequences (the mother-in-law ruffles the daughter-in-law, without suspecting that her death will cause the suicide of the son; the king executes his daughter's lover, which kills himself with grief) and the conversion of the transformation, metamorphosis (blood is poured on the grave Trees grow and intertwined).
The art of tragic is extremely brightly revealed in the image of attitudes towards terrible as ordinary (cool and confidently poisoner prepares poison; thoroughly described the methodical torture of the mother-in-law in the bath). It is such an attitude of the villain to the murder shakes the listeners.
The art of tragic manifests itself in the psychological image of the heroes of ballads, when the depth of the sense of a person, which has become misfortune, is revealed. If the heroes of lyrical songs embrace such feelings like sadness, longing, insult, the heroes of ballads are horrified, despair, suffer serious suffering.
Big emotional effects ballad on listeners are undoubtedly. This is evidenced by many collectors. D. M. Balashov writes about the deep impression, which made the performance of ballads "Prince and Staritsy": "One of the older Pesor said:" We as listened to this beautiful verse, so wept "[Balashov D. M. Russian People's ballad. In KN. Folk ballads. - m.; L., 1963, p. fifteen].
The power of the emotional and aesthetic effects of the ballad is in the art of the tragic opposition of life and death, which gives the opportunity to deeply realize the joy of being and survive the cleansing soul compassion for a dying. Very subnamed the essence of the sublime in the tragic German philosopher N. Gartman: "It is not the death of good as such is an exalted, and the very good in his death is illuminated elevated. And the more clearly the death in suffering and in defeating the struggling, the greater the charm of the tragic "[Gartman N. Aesthetics increase. - M., 1958, p. 559].
The entire artistic system of ballads is determined by its tragidity and drama. This need is subordinate to the composition, ways of image a person and the typing of life phenomena. Features of the composition of ballads - single-ring, dynamics, abundance of dialogs and monologues. Often the text of the ballad is built as the text of the drama:
Evil potion
More angry yes Luta Svetra!
Luta Svetra - Young Snow:
"You look, my daughter-in-law,
In a purely field,
You become, my daughter-in-law,
Between three roads,
Four sides
You roseabiny kudrya
Curly, Kuchetiavoy. "
Here as a remark in the play: "Luta Svetra is a young snowy." Sometimes the ballad consists almost entirely of dialogues (for example, questions of children on the disappeared mother and evasive responses of the father; the dialogue of the devices who ask where their brother, and false answers of the daughter-in-law who killed her husband). Zaschenin in the ballad, as a rule, no. Ballads usually start directly from:
And the prince Roman's wife lost,
His wife was losing, he was torpeda,
The body tormented, threw in the river.
Lyrical stained is peculiar to the destructive ballads that contaminating lyrical songs. There are no special endings in the ballads. Most often, ballads end with a monologue - a repentance of the killer:
His Mama Rodiga
Along the babe walked
Bearing went
The bits said:
"True, hard sinned,
Three souls I ruined:
First soul flanny,
To a friend soul unreasoned,
The third donor heart! "
Pictures of nature in ballads are rare. They are usually playing a fine-expressive role:
You demolish me on the Bolotnik
Put me under the king.
The main feature of ballads is the rapidness of the development of the plot, dynamism - necessitates the need for extremely miser use of those poetic agents that slow down the action. Ballades are inherent in their own system of symbolic tools and allegory. So, about the love relationships of the characters says:
You do not praise, two brothers, I know your sister:
I have two sisters dinner dinner,
Two dinners dinner, the third breakfast breakfast.
The prince knows about the infidelity of his wife, the prince will learn from allegorical hints of slanders: "In your spoolroom, all the coverings are shrinkled, / all settles of the Spring ..."
On the instications of brother and sisters are referred to as follows:
Nothing guy talked
Began joke joke.
or:
I do not ask my mind-mind of my
He became a joke with a girl joke.
The droplet that fell into the fishermen network is described as a "catch":
Caught yes fresh funk
With hands and legs ...
The grave is allegorically referred to as the "new hill":
Our Mother in the Yellow Sand,
In the new hubby she is buried.
And "Strike Gornka" - it turns out to be a prison:
Picked up a deal
Planted in a strong journal -
In a stone progress.
Sometimes allegory in ballads are imbued with irony. So, for example, the prince Volkonsky promises to "please" the keysticker with the chambers (or sorry), and it turns out that this is the gallows:
I am for that, deleted, please
I would have grown youth all the stalls,
Here are such yes chambers - on two pillars,
I will build you relyushki accusable,
I'll hang you a silk loop.
Most often in ballads, it is raised over the victim. So, in the ballad "one there was a song ..." Fedor with Ironia offers a marvel wishing to change clothes before going to the bathhouse in which she was destined to die:
You forth in all outfit!
And where do you want to devati? -
Does oak dress up!
As you can see, the poetic use of irony is one of the ways to disclose the image of the destroyer: he not only manifests cruelty, killing an innocent sacrifice, but still mocking her, which aggravates his guilt. The victim is extremely rare, for example, the keyland is mocked at the prince during torture:
And where to me, the holope
Make a princess?
The hyperbole occurs in ballads rarely and has a purely expressive function. It is created using a metaphor or comparison:
She cried like the river flowed,
Tears roll like streams flow,
Egate the weather beate
The feeling of anger hyperbolizes otherwise. For example, hearing about the treason of his wife, Prince:
Heat Gate Right Scale -
Those gates of the city of the yard flew
With the help of hyperboles reveal the suffering of the victim:
In the first Snoha, excheried -
Mother cheese land groa
Exchering to a furniture -
All the dark forests to the ground were baptized,
In the third Snoha, exchering -
Under it, good horse stumbled
The main role in the system of poetic funds ballads performs epithet. With the help of epithets, the opposition and victim are characterized by the conflict. On the one hand, nonstormy, formidable (executioners), hated (anger), damned (villain), dashing (mother-in-law, stepmother), snake Ludea Podkodnaya (stepmother), on the other hand - unfortunate (daughter), spanst (beloved), pregright (orphan), sinless (soul), intricameral (soul, blood, darling), larger (death), righteous (soul), virtuous (sister), etc. Epteat plays an important role in creating a person's image. With the help of epithets, the social characteristics of the characters is given, their appearance and characters are described, their personal relationships are evaluated.
If we compare the principles of building an image in a ballad and other genres, along with similarities, we note a number of significant differences. So, the basic principle of creating an image in the epic and historical song, as in the ballad, is the disclosure of the nature in actions and actions. But if in the epons of the main character - the warrior feats, in historical songs - participation in political events State importance, then in ballads - criminal actions aimed, as a rule, against a member of their family.
Miscellaneous genres draw means to create an image from a physical core system of funds, and therefore a number of traditional formulas (anger, crowns, sadness) transmitting certain feelings are used both in ballads and in the eponym and historical songs. But the reasons that cause these feelings and their consequences are different in each genre. If the bogatyr is angry at the enemy who attacked his native land, and wins him in the struggle, and the Grozny - on the son who did not support his politics, and hardly he caznite, the Balad husband comes to anger because his wife did not save him The farm or changed him, and kills her.
The degree of individualization of heroes is different. In ballads, we cannot talk about individualization of characters, for most of the actors do not even have a name, not to mention characters. They differ only on family relationships (husband, brother, mother-in-law). But unlike fairy tales and epic, where the negative character is usually depicted one-way, the ballads are revealed more complex, contradictory inner world debris. Brutal mother-in-law, in one episode damaged daughter-in-law, in the other appears before us as a loving mother, and in the third - vinit himself and suffers. The king, sent to the execution of a well done, repents in the deed and regrets that it is impossible to fix the error. All this makes images of characters more vital and convincing.
There are signs of individualization of images. True, the characters of the characters are static, there is no difficult spiritual development of the characters in this genre, but the difference between them is not only in the name and certain expressions inherent in each bogatyr. In the same situation, they behave differently (offended by Vladimir, the warriors go from Kiev, Sukhman cums suicide, and Ilya protects the city). The characters of the heroes are different, and their appearance.
In historical songs, individualization of the image begins to develop, as the task of the characteristics of the spiritual appearance of certain historical persons arises.
The fixed assets used to create characters in different genres differ. In the eponym, the hyperbole is more often used, in lyrical songs - psychological parallelism and symbolism, allowing to transmit mental experiences by comparing the world of nature, in ballads - sharp antitricality, which gives you the opportunity to more brightly disclose the images of the characters faced in the tragic conflict.
The melodic organization of ballads connected some properties of solemn chants coming from epics and historical songs, with a musical tonality of ballast origin, carrying the intonation of sorrow, misfortune. Sometimes the ballad acquires the rhythmic system of crying.
All marked features ballad make it possible to judge their ideological and artistic value, providing them with a long poetic life. This value is in the humanistic role of the suffering character, in condemning negative heroes as carriers of evil, in moral ideas (marital loyalty, love for children, respect for the selection of a spouse), in the art of building tragic situations.
The flourishing of the genre of ballads falls on the XV - XVI century, when the songs "Vasily and Sophia", "Dmitry and Domn", "Prince Roman's wife lost", "Prince Mikhail", "Ryabinka" appear and become popular. From the beginning of the XVII century, ballads that exit along with the episons, historical songs and spiritual verses are experiencing an increasing impact of the impaired lyrics, there is mitigating the tragic junctions of traditional ballad. IN late XVII - early XVIII century The gradual destruction of the genre specificity of the old epic ballad begins, which is most brightly manifested in saturation ballade elements of lyrics, the destruction of the plots. On the other hand, folk ballads that influenced the emergence of literary ballads, in turn, in the late XVIII - early XIX century begin to experience influence literary formsWhat causes the "new" ballad to life - the author's romantic ballad, a conspicuous and mastered folk medium.
What is the same modern condition Ballads?
For more than a quarter of a century, D. M. Balashov noted that the ballads are almost forgotten, although there were more stable epic. The recent expeditions suggest that the extinction of the genre continues: the number of plots recorded by folklorinists is reduced, the ballads are not active, but are stored in the memory of the elderly. But the extinction occurs unevenly: in some districts it is possible to record 5 - 10 plots, and in others - not one. For example, the author of the article in 1970 in the Cargopoul district of the Arkhangelsk region and on Kenozer (the most "ballad" earlier places) was lucky to find 74 ballads (including "Vasily and Sofya", "violent break", "Husband wife ruined", "Occulent wife", "evil rays", "husband-robber" and others). During folklore expedition The Philological Faculty of Moscow State University in 1982 Ballads "Brothers Rogue and Sister" were found in the Chistopolsky District of the Tatar ASSR, "Music Soldier Visiting Wife", "Sleepy Wife", "Money-Robber", "Husband to the wife", " The Cossacks burn the girl ", as well as the superbly preserved version of the ballads" Threats of the Girl of Girl "(on the suggestion of scientists, this plot arose no later than the 18th century), in which the girl threatens to take revenge on the offender:" From the body of pirogs, I am writing, "" from the hands ... I will do a bed "," From the ribs ... detachable self-"," From the blood - drunk beer ". A number of expeditions in subsequent years gives much more modest results, despite the careful searches (one or two plots of the most common old ballads and several plots of late, which performers consider old).
The most popular ballad on the topic "Husband killed his wife" in some villages forgotten, children know and sing it. Analysis of the ballads "Prince Roman's wife lost" and "husband's wife Rubil" recorded in Novgorod, Saratov, Vologda, Perm, Tula, Arkhangelsk, Kaluga regions, as well as in the North Caucasus, Don, in Bashkiria, Tatars and Moscow, showed That in the process of its long-term existence (temporary range - over two hundred years, up to this day, and this ballad arose even earlier, in the XIV - XV centuries) themes, problems, ideological essence, as well as the character system, imagery, plot occurred. The study of the processes of the scene's evolution revealed a tendency to compress it by losing the side motives in both the first and second ballads. The more ancient plot "Prince Roman's wife was lost" turned out to be impenetrable for lyricization and gradually collapsed due to the oblivion and loss of a number of motives, and the "wife's husband went ruined", contamining the lyrical pricing, lost in some cases the plot-forming motives and leaning, in some options, turning into lyrical song. You can also note the tendency to narrow the number of characters, schematizing images. The timing process manifests itself in the fact that "high" ballad characters are replaced by traditional characters lyrics (Don Cossack, kind well done, husband). In the second ballad, later in time of occurrence, a large typification was manifested, characteristic of the lyrics, the rejection of the personal names of the heroes, large emotionality.
In addition to the processes of narrowing the circle of extensive plots, destruction, oblivion, the old ballads are displaced new. This process has intensified in the second half of the XIX century, when professional literary creativity began to have a strong influence on folklore. New ballads have rhymes, strokes, in their metric system they are closer to Western European ballads than to the old Russians. But their topics are largely traditional, although there have been big changes here. If family themes prevailed in old ballads, then in the new - love. In addition, new ballads have acquired lyrical signs (assessment statements, moralization, the appeal of the story-narrator to listeners, etc.), became lyrol-epic. It is often difficult to deliver the romance from the new ballad (especially where we are talking About imaginary suicide passing into the).
In the old ballads, the conflict arose due to the despotism of parents (or brother), and the heroes of the new ballad, freed from the Patriarchal family, are free in their desires and actions, in choosing a beloved. Even if parents do not approve of their behaviors, they come in their own way. Life is severely punishable. Killing the seducer, the girl tweems for transferred spiritual flour, for shame, for the extramarital child. But she is waiting for prison, loneliness, suicide. Unlike balladic heroes, which suffer from tragic guilt, the heroes of the new ballad suffer from personal offensive caused by their time fear and outcome. The heroine of the old ballad cums suicide so as not to be disgraced, and the heroine of the new - being disgraced. The people sympathize with her, although it does not approve of her behavior.
The new ballad is a complex and ambiguous phenomenon. Scientists (D. M. Balashov, E. V. Pomerantseva, N. P. Copaneva, N. P. Zudova) showed a number of ways to form this genre. Traditional plots receive exotic design, the features of Western and Russian literary ballads (kings, queens, castles, knights, jesters, romantic beauties, etc.); distant countries (Mexico, Japan, Spain, England), sea elements, fatal passions; Exquisite ingenic names of characters (Malvina, Marianna, Arthur, Jack, Colombin, etc.). The folk existence included the plots of Western ballads: "sisters-rival", "When I served in the mail", "Bagryan's month turned", "on Don walks", Russian poets (A. S. Pushkin, M. Yu. Lermontov, N. A. Nekrasova, S. T. Aksakova, V. V. Krestovsky, etc.). There were many independent folk essays of various artistic quality (sometimes naturalistically describing cruel murders, random or deliberate atrocities). The most popular in the modern repertoire should include plots reflecting the universal dramatic situations ("soldiers drove", "Vanka-Kleiskika", "as in our village", "I lost the ring") and relying on the traditional folk basis.
The productive creative life of the new ballad, according to the observations of scientists, is already at their end. In the minds of the performers, they are perceived as ancient; But more popular in the environment of the elderly.
So, old and new ballads are faded, and the study of them just begins. Gradually, step by step scholars reveal the secrets of ballads. One of its first researchers, N. P. Andreev, pointed out some features of these songs, noting "a clearly pronounced narrative nature that achieves often the degree of dramatic tension" [Russian ballad. Preface, editors and application V. I. Chernyshev. Introductory article N. P. Andreeva. B-ka poet. Big series. - m.; L., 1966, p. eighteen]. V. Ya. Prippet and B. N. Pontilov allocated other important signs Ballads: its family-household topics and frequent tragic conflict resolutions [see.-epics, t. 1. Text preparation, introductory article and comment by V. Ya. Prippa and B. N. Putylova. - M., 1958, p. 17]. D. M. Balashov, having studied the character of the genre of ballads on a number of major plots in all versions and options, found out the time of the genre, the features of its development, ideological orientation and artistic signs. Results of research D. M. Balashov were published in a number of articles on the most popular plots, as well as in the book "The history of the development of the genre of Russian ballads" (Petrozavodsk, 1966). Maintenance genre signs Ballads D. M. Balashov considers in the article "Russian People's Ballad" (in the book "People's Ballets". - M.; L., 1963), where he summarizes his observations. More clearly compared with the previous researchers, determining the circle of the linders of works included in the genre, the scientist still went along the path of the wide interpretation of the genre: "Ballad is the epic narrative song of a dramatic nature" (p. 7). By contacting the genre of ballads in the works of Slavic peoples, N. I. Kravtsov in the article "Slavic People's Ballad" [see: From the history of class struggle and national liberation movement in Slavic countries. Scientists of the Names of the Slavovyology of the USSR Academy of Sciences, vol. 28, 1964, p. 222 - 246] thoroughly considered the thematic groups of the Slavic ballad, their genre specifics, the features of the plot, focusing on the problem of the informality of ballads - their epic character.
The study of the genre of ballads continued B.N. Putilov in the book "Slavic Historic Ballad" [Putilov B. N. Slavic historical ballad. - m.; L, 1966]. After examining only one thematic group, ballads - historical, but on a large material, and most importantly - on a wide public background, the scientist successfully solved issues related to the specifics of this genre: the features of the historic ballad, their honors from epic and historical songs.
Interesting observations over wonderful motifs in the ballad are contained in the book O. F. Tumilevich about the ballad and fairy tale [see: Tumilevich O. F. People's Ballad and Tale. - Saratov, 1972]. Important in the study of ballads and forms close to them has a pointer compiled by Yu. I. Smirnov [see: Smirnov Yu. I. East Slavic ballads and form close to them. - M., 1988] (So far, the author published 250 of the plot forms allocated to them: I. Mother and son (daughter); Ii. Mythical creature (ethnic enemy, alien) Need a girl; III. The ethnic hero is producing a girl).
Footage ballads are scattered over a variety of publications. They can be found in the collections of the epics of Rybnikov, Hilferding, Markova, Onchukov, Grigoriev, collections of historical songs Putututov and Dobrovolsky, collections of lyrical songs of Kireevsky and Sobolevsky. On the other hand, the colleges are included with the works of other genres. So, in the collection of Chernyshev a lot of lyrical and dance songs, and in the collection of Balashov - historical songs, spiritual poems, burglar, lyrical songs, new ballads.
This is due to the fact that ballads have a number of features bringing them closer to other genres, and the circle of ballad plots is clearly disapplied. The genre specificity of ballads defines a number of features of its content and form. The content of ballads is peculiar to the totality of signs: family-household topics, tragedy, ideological focus associated with national humanistic morality (conviction of evil, protection of freedom of feelings). These signs individually can be inherent in other genres, but in such a totality there are only in the ballad.
For its shape, it is characteristic: less compared to epic and greater compared to lyrical song volume, the presence of a complete plot, single-mounted action and tension, epic narrativeness, the objectivity of the story, tonic, without a pick-up and the storage rhyme rhyme; Hanging without a cigarette and disintegration.
The ballad is close to spiritual poems and some historical songs that are also characteristic of the presence of a plot, single-mountedness and action tension, narration.
A number of general features of both meaningful and formal, such as substantive and formal, for example, family and tragic, "Danube and Nastachin", "Danube", "Danube", "Danube", "Danube", "Danube", "Danube", "Danube", "Danube", "Danube and Nastasya") are relative to individual episodes.
The identification of ballads with lyrical songs contributes to their family and household topics and narration characteristic of part of lyrical songs.
Ballad and adjacent genres in the process of existence provide mutual influence. In addition, the same theme can be developed by the poetic means of epics and ballads, historical songs and ballads, lyrical songs and ballads, which sometimes leads to the assimilation of these genres.
If we compare the texts of the epics "Mikhail Kazarinov" from the collection of Kirshi Danilov and Kozarin's ballads from the collection D. M. Balashov, then we will be convinced how much they differ much, despite the similarities that are expressed in the topics of the topic (Kozarin saves the captive of three Tatars, Crawing with them, and hardly comes with her in a bleeding connection, but from the dyeing learns that in front of him the sister), the presence of the plot, in the people's humanistic morality. As we can see, these two works are elements of their content, and the form, despite some general signs (epic, narration, character of verse), is excellent. The volume of "Mikhail Kaza-Rinov" - 266 lines, and "Kozarin" - 51, that is, the first text is more than five times longer. In Mikhail Kazarinov, a multi-converter action. The hero arrives in Kiev to Prince Vladimir; He is singing; performs his order; Meets on the way back the WORON, from which he learns about the captive; sees the Tatar and watches how they want to deal with the Russian girl; Then kills them and, almost having tried incest, he learns that he was sister before him; He leads it to the prince Vladimir, where he receives a reward: Chara wine in a half bucket, Touri hog honey to half ateremium buckets and gratitude for the fact that good well done serves him faith and true. In Kozarin, the action is aloconflickly: the Tatars want to deal with the girl, and good well done saves it and finds out that in front of him sister. If we compare the composition of the characters, we will see that in Kozarin, this is brother, sister and enemies, and in Mikhail Kazarinov, their series is widely wider: In addition to those named, Prince Vladimir, Princess, Approxevna and prophetic raven. The action "Mikhail Kazarinov" develops slowly, with retardations and thorough descriptions, and in Kozarin - rapidly and tense. Time in Mikhail Kazarinov, the epic, dedicated to the rule of Prince Vladimir, and in "Kozarin" - an undefined, correlated with the time of capturing by Tatars in Moscow. The location of Mikhail Kazarinov is localized in Kiev, where the hero gets a task and where it comes back by performing it. And in "Kozarin", a well done appears "from the scope of the Chista of Field," and returns "to the Holy Rus, to Slavna Moscow." In Mikhail Kazarinov, the hero is a bogatyr, the image of which is created in different ways: epithets (mighty, removal, kind, "Good luck of good well done"), a description of its heroic armor, weapons, a boysk horse, the heroic power. There is no similar description in Kozarin. True, he is also painted with the enemy, but as an ordinary warrior.
So, comparing these texts, we see that Mikhail Kazarinov is distinguished by the epic development of the plot, and "Kozarin" - Balladny.
If you compare the three options for developing the topic about the murder of Skopina Shuisky, who, according to rumors, was poisoned by the wife of Dmitry Shuisky, who envied his glory, then it is possible to monitor the processes of the ballading of the historical song.
The song "Io that we have a teacheriality in Moscow" was recorded in 1619 - 1620. She is withstanding in the form of due to the death of the governor. There are no events here. Therefore, there is no plot. This is a bright sample of historical songs, the plot of which will open, "and this opening allows you to perceive the content of works as a link in a really flowing historical process" [Selivanov F. M. On the specifics of the historical song. In Sat "The specifics of the genres of Russian folklore." - M., 1973, p. 54]. The text "Mikhail Skopin" from the collection of Kirsi Danilov - in the epic deployed (193 lines), a multi-convertible plot: enemies surround Moscow; Prince Skopin appeals to the Svitsky King Carlos, with its help the enemy's troops split the enemy; In Moscow, serve a dinner with prayers, then a feast is arranged, where Skopina glorify; After some time, Skopina is invited to Kum to christening to the princess Vorotnsky; On the feast, he boasts his victories; Envious boyars, which "for trouble became", pour into a glass with honey sweets with a sweet city, and Kuma, the daughter of Maluts Skuratov, brings him to Skopin; Feeling that he was poisoned, Skopin accuses a destruction and rides home where he dies.
Despite the influence of certain elements of the epic forms (volume, nnegoconflict, character of verse, some stylistic means), these are not there, and the historic song, as the characters here are real politicians: Skopin, Vorotynsky, as well as the daughter of the executioner Malyuts Skuratov, whose name has become nominative in historical songs. There are no warriors and Prince Vladimir. The place of action is not localized in the epic center - Kiev. Time is not an epic, dedicated to the rule of Vladimir, but concrete, although conditional: "One hundred and twenty-seventh year eighth thousand." The hero is not a bogatyr, but a commander, winning not by his personal power, but strategy: having weighed its capabilities, he resorts to the help of the allies and, heading the army, wins. The motivation of his murder, unlike Balladny, is not a family, but a political one: His rivals lie. Text from the collection D. M. Balashova is a typical poisoning ballad. Only the name of Skopina remained from historical realities. This is a single-ring work, the volume of 38 lines, the action is developing intensively and rapidly: the mother asks the son to do not sink with his daughter Malyuts, but he neglects the warning, and Cuma poisoned him. The end is also traditionally ballad: the kingdom in the ruined son and reproach the killer.
The topic "Husband Soldier Visiting Wife" is developed as a ballad, lyrical song and a new ballad; The topic "Prince executes the keyboard, his wife's lover" like a ballad and a new ballad. Another number of examples of using the same topic in ballads and contaminated genres can be brought. Therefore, if the reader meets in the collection of a collection of the plot, included in the collections of historical songs, spiritual poems or lyrical songs, he must keep in mind the above considerations about the possibility of developing the same topic with different genres.
The collection prepared by the famous scholars-slave B. P. Kirdan is different from previously published meetings of Russian ballads.
So, V. I. Chernyshev, the compiler of the "Russian Ballad" collection (1936), adhered to the thematic principle of classification of ballad, which, however, was not resistant in all sections of his book. Part of the sections was built by genre, the other - in chronological, third - according to ideological and emotional principles. In addition to the ballad, the compiler included the songs of other genres - game, dance, comic, dance, narrative lyrical (recruit, soldiers', family-household), as well as scrocers, satirical and humorous songs, new ballads.
Composing its collection "Folk ballads" (1963), D. M. Balashov tried to take into account the shortcomings of the previous one, clarify the circle of plotes ballad, give a clearer definition of the genre. As the basis of the classification of the material, he took the thematic principle, but also could not stand it to the end. In addition to the sections "Ballads of family-household" and "Ballads of historical and socio-household", the compiler included "ballads satirical and comic" (ideological-emotional principle) and "new ballads" (chronological principle).
The compiler of the anthology "Historical Songs. Ballads "(1986) in the folklore series of publishing house" Contempor "S. N. Azbel, dividing the principle of a wide interpretation of the genre of ballads, located ballading songs ahead with historical in chronological order (although it is difficult to install it for a number of ballads), having allocated three groups: "Songs of the ancient Russia", "Transient era songs" and "New Time Songs".
In the proposed reader, B. P. Kiddan, as opposed to its predecessors, it is completely fair, in our opinion, does not include bodies, satirical and humorous songs, emphasizing such important genre-forming signs as tragic and drama. But, on the other hand, if for D. M. Balashova, the primary value is (he believes that "all the plots must be attributed to the ballading genre, the stylistic assessment of which allows them to be considered by their ballads" [Russian folk ballads. Entrance article, text preparation and notes D. M. Balashova. - M., 1983, p. 8]), then B. P. Kiddan as the basis takes the content and expands the "formal" borders of the genre, including in its collection, individual works containing motives, plots or Situations of ballad type (narrative lyrical songs, new ballads [Note that D. M. Balashov in his compilation allocated them in a special section, and western Slavs (Poles, Czechs, Slovaks) did not do this in their publications], as well as some historical songs).
This approach has its own positive side: In each section, the reader will be able to follow the processes of the evolution of the genre (from epic and historical songs to lyrical songs and new ballads with their system borrowed from the literature and rhyme) and get acquainted with a number close to the ballads with "ballading" (under which you can understand The presence of episodes with ballad conflicts in the episoda, historical song or ballading situation in the lyrical song).
In the collection, five thematic sections ("historical ballads", "military household ballads", "ballads about robberry", "love and trigger relations" and "family-household ballads"), covering different parties to the life of Russia over the six hundred years.
The reader will appear the fate of different people who lived in distant times, their thoughts, feelings, experiences, searching for them of good and justice. With sympathy and excitement, he will follow the tragic choice, which should make a father, deciding which of the three sons to give in a twenty-year-old soldier; For the sacrifice of the mother, pleading to his tormentors to destroy her so that children did not hear and did not be afraid, for the repentance of the villain and the torment of sinful or in anything not a mantle soul ...
And if the reader, compassion the heroes of ballad, will experience catharsis, cleansing and enlightening the soul, which means that ideological and aesthetic tasks of ballads are also implemented and the work of their creators, collectors and publicants are not in vain
A. Kulagaga

Historical ballads

PA H brings his wife a Russian flight

1.
Panushko walks around the courtyard,
Good horse chooses
Panyushka's strokes stood
Panushka Slap served;
Panya Pan herself said:
"Do not drive, Panushko, to the service,
On that Sovereign Tsareva
Not to be to you, Panushka, Living, -
To be to you, Pana, killed! " -
"Not tillage, hear my panya!
I will go to good health,
I will bring you, Panyushka, hotels -

Thin, break, high,


In a wide ribbon in Nizan

In white stockings in paper. "
I will go, I will come out in the new sense,
From new hay on the porch,
From a porch in a pure field;
I will see on the blue sea,
How was the blue at sea
Suddenly, sails were thrown,
Suddenly they burned three chips.
As it was in the first chips -
Ranovo dress is brought
Panov dress German.
As it was in another chips -
Went a pan not live;
Pan killed, yes not to death.
As it was in the third chips -
Panyushka guests are brought:
With Russia, Russian girl is full
Thin, battle, high, |
In white shirt of mitkalina,
In Alom, in Tafta Sarafan,
In a broad tape in Nizan
In scarlet shoes in Safian
In white stockings in paper.

THREE Tatarin Polonili Girl

2.
That the prince yes the boyar
Guest yes at the shopping
Born yes two daughters,
And was born the same son
Named Kozarin Petrovich.
On the genus Kozarin spoiled,
From the father from the mother they took away,
Father with Matenka Yes, did not alway
Called him thief and robber,
All day, and the plantain.
Kozarin grew seventeen years,
Kozarin rushed in purely flight,
In a purely field, yes in Razdazyitsa.
In the pure field, yes in Razdazita
On the oak sits yes bird things,
Bird things yes raven black.
Tied Kozarin his natage bow,
Natage onion yes Calen Arrow.
How will the poultry meaning
Bird things yes raven black:
- Do not shoot me, yes good well done,
I will tell you yes about purely field,
About purely half yes about Razdazita.
In pure poly, yes in Razdazita,
In Razdazzka stands yes Bel Tater,
In the shutter, the girl was afraid,
Named Marfa Petrovna.
She sits herself and cries tear,
It cries, yes, sits:
- And who would have bought it yes,
And bought me yes helped

From three dogs, different?

- You're sitting, maiden, at the good horse,
You will go, the girl, in purely flight,
In a purely lie, yes in Razdazita.
Sadded the girl on the good horse,
Game granted a good one:
- You will go-Co., yes good well done,
To God's Church, may be peculiar
Greacham, let's change.
How will it be sprinkled and good well done:
- We have no in Russia,
Brother-from the sister does not marry.
Slable girl with a good horse.
Bow gave yes to white breasts,
The other gave to the silk belt,
Third gave yes to raw land:
- Thank you, Brotherko, my mother-in-law,
Bought me, helped me
From three tatars yes unresolved,
From the three dogs unfavorable.

3.
Because of the glorious uterus of Kuban River
Raised the power of Tatar,
what tatar power, Buceurman,
What to the glorious uterus holy rus.
Polled the Makeup Kamenna Moscow.
Yes got a maiden to three tatar
Three tatar for the girl, Bursurmann.
As the first one said this word:
- I'm soul Red to the girl with a sword.
The second one said this word:
- I am soul Red to the girl with a spear.
The third-of-Tatar said this word:
- I'm soul Red to the girl Konie Stack.
How from Dalite, Dalite from Clea Field
What is not clear falcon in the flight flies,
What is not gray-from the garde, pleases -
Lucky good well done leaves.
He killed the first Tatarin to the sword
He is a second tatar park Skolol,
He is the third Tatarin Konie Stoptal,
And the soul of Krasnu the girl with him took.
"We will become, the girl, to share the night on an arbitrariness.
On the third night, the night is divided and there is a sin to create.
How to avoid the soul of Krasno Girl:

When you were the father better than my mother,
And at the time it became worse than three Tatars,
Worse than three Tatars Bucormmaninov.
- Oh, oh, the soul of Krasno Girl!
Who are you kingdoms-Fatherland?
- You are oh echo, delete good well done!
I am Krasno Girl with Saint Rus,
With Holy Rus yes from the glorious Moscow,
I'm not a big kind, not less
That the same was the genus of the prince.
As my father had nine sons,

Four brothers King serve
And four of God brother pray,
And the ninth, from Brother - Bogatyr in Poly,
And the tenth-so I, Gorgetaya.
How did the remote good one progured:
- You forgive me, TKO, Maiden, in the first guilt,
In the first guilt of the Great:
You, by the family I sister my birthplace
We will go, the girl, at the Holy Rus.
On the Holy Rus, in Slavna Moscow.

4.
Peter was Karamyshova,
He had a one daughter,
One daughter yes the same
United yes Elisafia,
And the ochal walk was in a green garden.
The thieves and robbers arrived here
Al Takia Poganya Tatar
Took the girl from the clean field,
Tied the maiden to Belo Tent.
In Bela Shattra, the girl is killed,
In Bela Shatra, the girl is killed.
She is blond braids yes due:
"You're braid my yes Svetlorial,
You spit is my daft!
You were evening, braid, combed,
Wellochonko was braid.

38 Artistic peculiarity of ballad genres.

Folk ballads - These are lyrol-epic songs about tragic events in family-household life. In the center of Ballades - always a person with his moral problems, feelings, experiences. The hero of ballads is different from the heroes-heroes who make a feat, from fabulous characters. This is a nameless person who is experiencing, suffering and sometimes dying in heavy life circumstances. If there are heroic starts in the eponymies, optimistic fairy tales, then tragic pathos are expressed in ballads.

"The ballad puts individual human fate to the center of attention. Events of common importance, ethical, social, philosophical problems are reflected in the ballads in the form of concrete fates of individuals and private-living human relations." Russian ballads depict the Middle Ages , the heyday of the genre falls on the XIV-XVII century. Ploshops ballads are diverse, but more spread received ballads for family-household topics. In these ballads, the main characters, as in fairy tales, are "good well done" and "Krasno Girl". Often they are told about unfortunate love and tragic events.

Exist two points of view on the origin of the ballad songs. Some researchers (A.N. Veselovsky, N.P. Andreev) believed that ballads arose in "Prehistoric" times. As evidence, they referred to the fact that in ballads, the ancient mobs of blood plants, cannibalism, a river concern about the river as the Sivmoliki transition from one life state to another, the appeal of a person to a plant and an animal, etc. Others (for example, V.M. Zhirmununsky) claimed that ballads arose in the Middle Ages. The second point of view in relation to Russian ballad songs is more acceptable. The content of ballad songs speaks for itself. As for the most ancient motives, they indicate the connection of medieval song folklore with preceding ideological and historical traditions.

Poetics. Ballads belong to the epic genus of poetry. The story in them is conducted from a third party, as if from the side, from the narrator. The main sign of the epicness of ballads - the presence of a plot in them, but the plot appears not to such as in other genres: only climax and junction are presented within the image of the figurative image; The rest says only in general. In the ballad, we are always talking about an event that in itself is a continuation of the previous ones, but you can only guess about them. This makes a ballad story mysterious and at the same time contributes to the fact that it is allocated the most necessary for the implementation of the plan. Ballad avoids multi-episodes. The ballads have long been seen story dynamism. They include the reception of unexpected action.

Verse. The poems of ballads are closely connected to the melodic system of singing, and the melodies include the properties of the solemn chanting inherent in the Epos, and the piercing tonality. The intonation of misfortune and grief from such a combination of magnificent sadness. The verse of ballads is more movable than the epics, it is closer to the verse of historical songs and differs from it only with strong emotional impulses as a consequence of a sharp emotional-intonation movement. Especially expressive becomes verse in the most dramatic moments of singing. In these cases, he takes properties from bitter crying. In the genre, which arose at the stage of the transition from the "classic" epic epic to the new, noticeable transition of archaic song forms to new, in which there are already lyric qualities.

Between the world recreated in the ballad, and his Creator (and, therefore, the reader) arises spatio-temporal distance. The balladspace is emphasized by the "outstanding", fundamentally different from everyday reality, not just removed from the perceive individual. It is qualitatively designated as belonging to another aesthetic and ethical system associated with folklore representations, which I wrote by V.G. Belinsky, pointing to the "fantastic and folk legend" underlying the ballast plot . Closed space(!)

Balad Lorism is the result of the impact on the subject of a certain epic event, the reaction of the soul, which is worried about the opening of the Balad world.

Unmotivation of evil(Ignoring the need for motivation). Above the life of ballads heroes, their feelings "Tragic fate" (V.M. Zhirmunsky). That is why the hero of ballads often seem to even voluntarily goes to death, takes death.

Conflict specificity:it is characterized by ballowing situations of family-household drama, social inequality, non-free captivity, etc. Really conditioned concrete circumstances of the Middle Age, the highest and eternal plan appears to which the folk ballad, seeking to reduce various conflicts and conflicts to the most common, generic, unchanged confrontations: love-hatred, good-evil, life-death. The main conflict in the balladMan and rock, fate, man in front of the court of higher strength. The conflict is always tragic and inexplicable.

Ballad function: The need to master the tragic sphere of being. The ballad genre answered the needs of the personality to experience the feelings and conditions of which it was deprived of everyday reality.

As the genre of the old formation ballad remained a unique phenomenon in the history of folklore, and many properties of the genre influenced the addition of song genres closer to us.

Addition

Russian folk ballads - works of rich life content, high artistic perfection, wonderful art words. This manifests itself primarily in the skill of the plot: on the one hand, in the selection of situations of a large emotional force, and on the other hand, it is an exact characteristic of the characters in their actions. In the ballads in a brief statement of an episode, limited in time and place of action, the tragedy of the situation of an innocently dying person is skillfully revealed, usually women. Tragic in the ballad - as a rule, terrible. This is often a crime, the atrocity committed in relation to the face is close or native, which creates a particularly acute tension. With terrible cruelty, the prince of Roman is painted with his wife; The sister recognizes the bloody shirts of her brother destroyed by her "husband-robber. A significant role in the course of action performs an unexpected, for example, recognition of the sister of brother's shirts, unwitting poisoning of the son of the Son. The episode serving the story center of ballads does not have an exposure, but sometimes gets a brief motivation. In a dense or slander, which is then driven by the actions of the characters. The mysteriousness is sometimes connected with the motivation, which arises as a result of the prediction (prophetic sleep, sign) or prediction of events. The tragic ballads appears not only in the actions of the characters (murder, torture), but also In the peculiarities of their mental states. The tragic fate of a person in the conditions of feudal society, suffering and death of despotism victims, as well as a tragic mistake, deception, slander, which "lead to the death of people. The tragic consists in the late repentance of a mother or husband, destroyed, innocent son or wife, in late recognizing the brother of the appointed sister. The ballad differs from other folk genres of the depth of psychological image, the ability to reveal complex and intense experiences, including the spiritual state of the killer, its repentance and remorse. Characters ballads are characterized by strong passions and desires. Avdota Ryazanochka goes to the mill to enemies to free the prisoners; Girl runs from captivity: freedom is more expensive to life; without having the opportunity to get away from the pursuers, it rushes into the river; defending the right to love, the girl prefers to die, but not be forcibly issued married. In a reckless anger, the husband can destroy his beloved wife. Characters own feelings like horror, despair, grave suffering, intolerable mountain. Their experiences are most often expressed in action, in actions. In the Ballade "Well done and the Kingdom" expressively handed over the anger of the king on a well done, for servants, and the change in the spiritual state of the king is peculiarly motivated. Feelings are transmitted in their external expression. In the Ballade "Prince Roman's wife lost" a daughter will find out about the death of the mother: how the princess about cheese of the earth was broken, she cried with a loud voice. And further: she beat his hands about the oak table. Experiences are expressed in the speech of characters, in monologues and dialogues. This often has a peculiar form. Loving Vasily Sophia stands on a pollosy in the church. I wanted to say: "Lord forgive me," meanwhile she said: "Vasilyushko, Vasily-Friendly, tore to me, drown, move, we will go and kiss." The works of ballad type are more realistic than other poems genres, since in the latter there is neither so thorough psychological design of images or so many opportunities to show household details. Realistic ballad is in the vitality of conflicts, in the domestic typing of characters, in the plausibility of events and their motivation, in domestic details, in the objectivity of the narration, in the absence of fantastic fiction. The latter is only present sometimes in the union of events and is used for the moral condemnation of villains. This is the motive of intertwined trees on the grave of empty, which serves as a symbol of loyal love. The motive of the transformation of a girl in a tree is also usually in the event of events. The uniqueness of ballads is manifested primarily in its difference from other genres. Ballad - a poems genre, but her verse, although sometimes being close to the epic, is characterized by the fact that it is shorter, usually two, while the epic verse is usually a trial. The similarity with the epic verse is manifested in the presence of a pause in about the middle of the line. I went // Mitrine Vasilyevich in a clean field, // on a good horse, sat // Doma Aleksandrovna in Novaya Gorenka, // under the outer grade, under crystal // under a stagger. She thought, // thought, hoolila his, // okhulivala. In the eponyms, and often in historical songs a positive hero triumphs, in ballads he dies, and the villain does not receive direct punishment, although sometimes it grows and repents. Heroes in ballads -not heroes, not historical figures, but usually ordinary people; If it is princes, they are bred in their personal, family relations, and not in state activities. Epic, narration, storyliness of ballads is close to the epics and historical songs, but the plots are less unfolded and are usually reduced to one episode. They more thoroughly reveal the attitudes of the characters than the plot situation in lyrical songs. Ballads differ from them the absence of lyrism, which is manifested only in late works and indicates the destruction of the genre. At the same time, ballads interact with other genres. They have epitles, epithets: they are written in writing, the bow leads a scientist in the early ballads of epithets: good horse, honors feast, oak tables, a bouquet sword. But the block of ballads is different than the system of epics. There are fabulous motifs in ballads: predictions, transformations. In the Ballade "Prince and Staritsy", the princess revives living water; In the version of the ballads "Oklevive wife" of a snake that a well done wanted to bruit, in gratitude for salvation promises to help him, but her words are slander. Unlike the epic and historical songs, the meaning of which is in patriotic and historical ideas, the meaning of ballads is in the expression of moral assessments of the behavior of characters, in deep humanism, in protecting the free manifestation of the feelings and aspirations of the person.

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, disintegrating in a hostile or indifferent environment" 21. 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 the ballads there are "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 negative character. Unlike fairy tales in the ballads, it wins not good, but 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 they wanted to destroy , people are dying and loved by them "23. 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 the ballads: one-contact and compression, intermittentness of the presentation, the abundance of dialogues, repetition with rapidness of drama ... The action of ballads is reduced to one conflict, to one central episode, and all events that anticipate 94 conflict, or set out extremely shortly .. or at all There are no ... "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 attitude of the characters among themselves, transferred, epically copying the world of blood-study and family relationships. " 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 moments, there is nothing in it that would not be treated for action." "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 ... The whole ballad often represents a preparation for the junction "

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." 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." The presence of listed features suggests that "ballads possess such a specific nature that we can talk about them as 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. Propp, Yu. Smirnov. "Ballad is an epic (narrative) song of a dramatic nature." 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 lyric start is understood as a direct expression of the author's attitude to reality, the author's 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 goes so easily into an elegge and, on the contrary, an elegy in the ballad that it is impossible to strictly delimit them" 33. 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 the section of lyrical poetry35. 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 ... then for ballads, the main route of transformation is a transition to lyrics, in the form of, perhaps, the wider set of lyrico -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 is an epics-lyrical song with pronounced elements of dramatic" 37. 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. Goethe 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 ...". 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 ratio to the events depicted, then the dramatic start is the attitude of the heroes to the events taking place, and the ballad genre is formed in accordance with this approach39. 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 the scientific work "Slavic folklore", the scientist noted the evolutionary nature of the data of the GUPP43. 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, and practical questions about the paths and the causes of the modification of the genre elements of ballads are solved, connections between the scattered plots 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 the historical and typological school V. Ya. Prippa and B.N. 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. 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 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. IN best case, From genuine ballads there is an external form, a kind of ballad style of presentation or ballading story (type of the Meshchansky 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.

Folk ballads are limier songs about tragic event. Ballades are peculiar to personal, family-household topics.

The ideological orientation of ballads is associated with the people's humanistic morality. In the center of ballads are located moral problems: Love and hatred, loyalty and treason, implanting the soul of Qatarsis (from Greek. Katharsis - "cleansing"): wins evil, innocently persecuted heroes are dying, but death they won a moral victory.

The execution of ballad songs - both solo, and choral, and cleatative, and spinning, - depending on the local tradition. The classic ballad has a tonic verse, without a pick-up and a stubbic rhyme. In shape it is close to historical songs and spiritual poems.

The term "ballad" is multi-valued. It is sometimes elevated to the Italian "Ballere" - "dance". The term "ballad" was proposed in the middle of the XIX century. P.V. Kireevsky, but only in the XX century. rooted in folkloristic. Mythological ballad is a classic ballad - a new ballad, the material itself leads to this conclusion.

Plots of mythological ballads were built on an archaic ideological basis.

XVII and XVIII century - the period of the most intensive addition and design ballad; The second half of the XIX century (especially the end of the century) already translates ballads in the romance "

Mythological ballads - the subject goes back to deep antiquity. One of the most popular Slavs is the plot about the spell of the hero in the tree. Plots had plots with the theme of incest (from the lat. Incestum - the healing) - see in Krestomatia: "The widow and her sons -cakers." Traces of mythological ballads are found in different genres of Russian folklore: fairy tales, epic, spiritual verses.

The content of folk classical ballad is always addressed to the family. Ballada worries the moral side of the relationship between fathers and children, husband and wife, brother and sisters, daughter-in-law and mother-in-law, stepmothers and stepdaughter. Mutual love guy and girls should also have a moral base: the desire to create a family. Enjoying the honor of the girl, abuse of her feelings - immoral.

In the plot of ballads triumphes evil, however, the topic of repentance that woke up conscience is important. The ballad always condemns the atrocity, with sympathy depicts innocently persecuted, crushes about the dead.

The plots of many love ballads are built on the relationship between the girl with a great man. Ballad "Dmitry and Domn" in the ballad "Vasily and Sophia" (see in the Krestomatology) Evil comes from the subsoil of the patriarchal family. It uses an international story about the death of lovers, trees grow and intertwined the graves of whose graves: love is stronger than death. Paphos Ballades - Protection of Love, criticism of family despotism. A group of ballads is known, in which the maiden poisoned with a potion, evil roots. In these ballads, much amazes: there is no motivation of the crime; Well done persogently goes to meet the inevitable death; Sometimes the girl tells him in detail how she prepared the potion, and he gives her a detailed instruction, how to bury him.

In the ballads of family content, the topic of slandered and innocently persecuted by a young woman is dominated. In a number of ballads, it ruins male despotism. One of the most expressive songs - "Prince Roman's wife lost"

IN family conflicts The moral essence of what is happening is exposed to clean, sinless voices of children. Another tragic opposition is the evil mother-in-law and an unrequited daughter-in-law. . In the ballads, unreasoning the essence of the mother-in-law, her hostility towards the daughter-in-law is not motivated - it appears as a life norm ("Prince Mikhailo")

Other aspects are illuminated in ballads family Drum.. Several ballad dedicated tragic death One of the spouses and grief on him of another ("The Cossack's wife dies from childbirth," the heroes form a "love triangle": Prince, Princess and Major, then Princess Pulleynichki. The image of the princess appears only at the end, in the last line, which is clear that the princess is clear Dies. Her death is necessary for the full expression of the idea.

In the XIX century There was a new ballad - a genre of a late-traditional folklore. IN song repertoire The people entered many literary poems of ballads.

There is a shard interest in cruel dramas on the basis of love and jealousy (the top of the jealousy, the old ballad almost did not know). The plot is made melodramatic, the lyricism is replaced with cheap pasture, poor naturalism is allowed ("As in the cemetery, Mitrofanievsky father, his daughter stabbed his ...").

Ballades are peculiar to the intermittentness of the presentation. Often the ballad uses repetition with increasing, which aggravates tensions, brings the dramatic junction. Sometimes the ballad consists almost entirely of the dialogue (for example, questions of children on the disappeared mother and evasive responses of the Father). The hero of ballads is inseparable from the plot collision: its name changes, age, social affiliation, but the story role is stored. In the image of heroes, the typical prevails significantly over individual; The nature of typing is determined by the family status of the characters. Ballades use epithets, symbols, allegory, hyperboles and other stylistic agents.