Epos. - (G.R.Rsczaz, narration) - one of the three birth of literature, narrative genus. Genre varieties eposa: Fairy Tale, Novel, Tale, Story, Essay, Roman, etc. Epos. Reproduces external to the author, objective reality in its objective entity. Epos uses a variety of ways of presentation - narration, description, dialogue, monologue, author's retreats. Epic genres are enriched and improved. The techniques of composition are developing, the means of image of a person, the circumstances of his life, life, the multilateral image of the picture of the world, society is achieved.

Artistic text similar to a certain alloy narrative speech And the statements of the characters.

Everything told is given only through the story. Epos. Very freely masters the reality in time and space. He does not know the restrictions on the volume of text. Epic also belongs to the epic novels.

The epic works can be attributed to the Roman Onormemp de Balzaka "Father Gorio", Roman Standal "Red and Black", Roman-Epopea Lion Tolstoy "War and Peace".

Lyrics- (gr. Lira, a musical instrument, which was performed by the accompaniment of the poetic works) - one of the birth of literature. Lyrical works are characterized by a special type of artistic image - an image of experience. Unlike the epic and drama, where the basis of the image is a multilateral image of a person, its character in complex relationships with people, in a lyrical product in front of us a holistic and specific state of a human character. The perception of the person does not require any kind of events or the prehistory of the character. The lyrical image reveals the individual spiritual world of the poet, but at the same time it should be and socially significant, to carry an universal government. It is important for us as the fact that this experience was felt by this poet in certain circumstances and the fact that this experience could generally be tested in these circumstances. That is why the lyric product always contains fiction. Circumstances can be widely deployed in a lyrical work (Lermontov "when yellowing Niva is worried ...") or reproduced in the twisted form (block "Night, Street, Lantern, Pharmacy ..."), but they always have a subordinate importance, play the role of "lyrical situation" necessary for the occurrence of an experience and experience. The lyric poem in principle is the moment of human inner life, her picture, so the lyrics are preferably written in the present time, unlike the epic, where the last time dominates. The main means of creating an image of experience in lyrics is the word, emotional coloring of speech, in which the experience becomes vital for us. Lexica, syntax, intonation, rhythm, sound - this is what characterizes a poetic speech. Lyrical emotion - thickening of man's mental experience. For Lyrikharacter, the conversation about the beautiful, proclamation of the ideals of human life. In the lyrics there may be satire, grotesque, but the bulk of lyrical poems still belongs to another area. Principle lyrical rhodation: As soon as possible and as much as possible.

Drama - (Dr.-HR. Action, action) is one of the birth of literature. Unlike lyrics and like an epos drama reproduces first of all the external world for the author - actions, relationships of people, conflicts. Unlike the epic, it has no narrative, but a dialogic form. In it, as a rule, there are no internal monologues, copyright characteristics of characters and direct author's comments depicted. In the "poetics" Aristotle about dramait is said as imitation of action by action, not a story. This provision is not outdated so far. For dramatic works are characteristic of the priestly conflict situations that encourage characters to verbally - physical actions. The author's speech may sometimes be in dramaBut is auxiliary. Sometimes the author briefly comments on the replicas of his heroes, makes instructions on their gestures, intonation.

Dramait is closely connected with theatrical art and must meet the demands of the theater.

Dramait is considered as a crown of literary creativity. Examples dramais a "Thunderstorm" play, "at the bottom" Gorkykov.

Novel - Big epic shape, the most typical genre of bourgeois society.

Name "novel" It originated in the Epoch of the Middle Ages and originally applied only to the language on which the work is written. The most common language of medieval Western European writing was, as is well known, the literary language of the ancient Romans is Latin. In the XII-XIII centuries. Our era, along with the play, stories, stories written in Latin and extensive mainly among the privileged classes of society, the nobility of the 774nd of the clergy, began to be a story and stories written in Romanesque languages \u200b\u200band existed mainly in the environment of the democratic layers of society who do not know Latin Among the trading bourgeoisie, artisans, villas. These works, in contrast to Latin, and began to call: Conte Roman - romanesque story, Tale. And then the adjective has acquired an independent value. So there was a special name for narrative works. In the future, it entered the language and over time lost its initial meaning. Romanbegan to call a work in any language, but not all, but only large in size, which differs in some peculiarities of the themes, comprehensive construction, deployment of the plot, etc. In a new time, especially in the XVIII-XIX centuries, this type of works has become the leading genre of fiction of the new time.

Despite the exceptional prevalence of this genre, its borders are still not clear and certain. Along with the works wearing this name, we meet in the literature of the last centuries, major narrative works, which are called titles. Some writers give their big epic essays the name of the poem (enough to remind Gogol, his "dead souls").

The most famous novels of Russian literature are the "war and peace" of Tolstoy, "Quiet Don" Sholokhov.

Tale - Wide, blurred genome term, not dedicated. In historical development as the term " tale", So the material embracing them passed long historic Path; It is absolutely impossible to talk about a story as a single genre in ancient and new lit-re. The uncertainty of this term is complicated by two more specific circumstances. First, for our term there are no exactly relevant terms in Western European languages: German "Erzählung", French "Conte", in part "Nouvelle", English "TALE", "Story", etc. Reply from us as taleAnd "Story", part of the "fairy tale". The term of the story in his certain opposition to the terms "Story" and "Roman" is specifically Russian.

Secondly, tale- One of the oldest literary terms, which in various historical moments changed its meaning. It is necessary to distinguish the change in the term of the term talefrom changing the relevant phenomena themselves. Historical development The term reflects, of course 19 (with some only delay), the movement of the genre forms themselves. It is not by chance that we have the terms "story" and "novel" appear later than the story, as it is not by chance that at a certain stage this latter applies to such works that are essentially stories.

Story - narrative epic genre with installation on a small volume and on the unity of the art event.

Storyas a rule, it is devoted to a specific fate, speaks of a separate event in a person's life, grouped around a certain episode. In this, its difference from the story, as a more unfolded form, which describes usually several episodes, a segment of the hero's life. In the story, Chekhov "I want to sleep" says a girl who has been brought to a crime with sleepless nights: she stifles his breath hindering her. About what was with this girl before, the reader only learns from her sleep, about what will be with her after the crime is committed, in general is unknown. All characters except the girl varnishes, outlined very much. All described events prepare the central - killing the baby. Storynecklik in volume.

But the point is not in the number of pages (there are small stories and relatively long story), and not even in the number of fabulous events, but in installing the author on the marginal shortness. Thus, the story of Chekhov "Ionch" on the content of close even to the story, but to the novel (almost all the life of the hero is traced). But all episodes are set out extremely briefly, the author's goal is one - to show the spiritual degradation of Dr. Startsev. According to Jack London, "The story is ... the unity of mood, situation, actions."

A small amount of story determines its stylistic unity. The narration is usually conducted from one person. It may be the author, the narrator, and the hero. But in the story much more often than in the "major" genres, the pen, as it were, is transmitted to the hero, which himself tells his story. Often, before us - the tale: the story of a certain fictional person possessing his own, pronounced speech manner (Leskov stories, in the 20th century - Remizova, Zoshchenko, Bazhova, etc.).

Feature article -approximate to the documentary narration about a real event or person; The role of fiction in the sketch is minimal (see for example, physiological essays of "genuine school").

Parable -a small story of moral character, childbirth; It contains a teaching in an allegorical, allegorical form. It differs from the bass depth and significance of the meaning, the latitude of the generalization. Illustrates an important thought that has a relationship not only to the private life of a person, but also to the universal laws of being.

Poem -a large poetic work of a plot-narrative organization; story or novel in verse; Another product in which the epic and lyrical principle merge.

Ballad -narrative song (or poem) with the dramatic development of the plot, the basis of which is an extraordinary case, one of the types of lyri-epic poetry.

Poem- A small work created under the laws of poetic speech. FROM. there is a lyrical, journalistic, etc. "In the lyrical poem, a direct feeling is expressed, initiated in the poet the well-known phenomenon of nature or life, and the main thing here is not in the felt feelings, not in passive perception, but in the inner reaction the impression that is obtained from the outside "( ON THE. Dobrolyubov).

Elegy - Lyrical work with a sad mood. This may be a complaint, sorrowful poem about unrequited love, reflection on death, about the flow of life, and there may be sad memories of the past. Most often, Elegy is written from the first person.
Elegia (Lat. Elegia from Greek. Elegos Flute Melting Overall) - Lyric Genre, describing the sad, thoughtful or dreamy mood, is sad meditation, thinking of a poet about quickly current life, about losses, parting with native places, with loved ones, about that joy and sadness intersect in the human heart ... In Russia, the flourishing of this lyrical genre refers to the beginning of the XIX century: elegywrote to K. Batyushkov, Vzhukovsky, A. Pushkin, M.Lermontov, N.Nekrasov, A.Fet; In the twentieth century - V. Brisov, and Annensky, A.Blok, etc.

Originated in antique poetry; Originally called crying over the dead. Elegybashed on the life ideal of the ancient Greeks, which was based on the harmony of the world, proportionality and balance of being, incomplete without sadness and contemplation, these categories and moved to modern elegy.. Elegyit can embody both the life-affirming ideas and disappointment. The poetry of the XIX century still continued to develop an elegy in the "pure" form, in the lyrics of the twentieth century Elegy occurs, rather, as a genre tradition, as a special mood. In modern poetry, Elegy is a unmavable poem of a contemplative, philosophical and landscape nature.

Epigram – brief poem, ridicule any person.

Message- 1) Prosaic genre of the ancient Russian literature didactic or political content in the form of a letter to a real or fictitious person. "The sense of authorship" was different in the genre of sermons and in the genre of the chronicle, in the genre of the message and in the genre of the story. The first suggest an individual author and often signed by the names of their authors ... "(D.S. Likhachev). 2) Poetic work in the form of a letter, a letter in verse to a real, fictitious person or group of persons. The content is diverse - from philosophical pondays to satirical paintings. A.S. Pushkin "Message to Siberia". V.V. Mayakovsky "Message to proletarian poets." Subsequent story - This is a message about how the fate of the characters has developed after the completion of the work.

Song - a small lyrical product intended for singing; Usually a bought (stubbic). one) P. The main form of folk lyrics. In deep antiquity is associated with a dac of and failing. Types of lyrics: household, lyrical, burlack, urban, revolutionary peasant, soldier, polyphony, dance, solo, author, folk. "In the traditional folklore, the lyrics and her melody are created simultaneously. The literary song served only the basis for subsequent, often different musical treatments "( S. Lazutin

Oh yeah - Solemn poem. Initially, in ancient Greek poetry - a lyrical poem on different topicswho performed the choir. IN odach The ancient Greek Puntara poet (approx. 518-442 BC. er) chanting kings and aristocrats, awarded, according to the poet, the location of the gods. Special development of the genre oDD I received in poetry of European classicism. Solemn Oda is the main genre of creativity of the founder of French classicism F. Malherba (1555-1628). The theme of his OD is the glorification of the absolutist power in France. The stage in the development of the genre of ODD is Creativity J. Zh. Rousseau.

In Russia oh yeahwhich "high, noble, sometimes and gentle matter comes" (V. K. Treyakovsky) was the main genre of classicism poetry. Exemplary works of this genre belong to M. V. Lomonosov, famous authors One had his poetic heir to V. P. Petrov and the opponent A. P. Sumarokov, the best works of this genre belong to G. R. Derzhavin. In addition to solemn (pindaric) oDD, in rus. Poets told the ODA moral (Goragian), love (anacreontic) and spiritual (transformation of psalms).

Sonnet (Italy. Sonetto, from Provence. Sonet - Song) - View (genre) lyrics, the main sign of which is the volume of text. Sonnet always consists of fourteen lines. Other sampling rules (each stanza ends with a point, no word repeats) not always complied with. Fourteen side tracks are located doubly. It can be two cores and two tercets or three miles and distorts. It was assumed that in the moc of just two rhymes, and in tercets there can be either two rhymes or three.

The idea of \u200b\u200bcomic goes back to ancient rites, game, festive and fun folk laughter. This is "fantasizing the mind, which is provided with complete freedom." The vital changes are also called comic, which contains a non-compliance with the generally accepted norm, alogure.

The constant subject of the comedy serves a unreasonable claim to imagine himself with a beautiful, petty - sublime, oblique, dead - alive. All elements of the comic image are taken from life, in a real object, face. They are not transformed by creative fantasy. Types of comic - irony, humor, satire. The value differ high species comedy (the greatest sample in the literature - Don Quixote M. De

Cervantes, laughter over the highest in man) and funny, joking species (Kalabura, friendly cartoons). The comedy is connected not only with the denial of the suspended, but also with the spirit of approval, expressing the joy of being and the eternal update of life.

Tragedy - Dramatic work depicting deep, most often unsolvable life contradictions. Their consequences are completed by the death of the hero. Reality conflicts are transferred to tragedyin extremely intense form. This, affecting the audience, awakens the strength of their feelings and gives rise to the mental lift (catharsis - cleansing). Tragedythere was an ancient Greece from the religious and cult rite to worship the God of viticulture and winemaking Dionis. In honor of Dionisa, festivities were arranged, solemn processions with singing of diffirabs. The actions were played out, the participants of which were dressed in goat skins of Dionysus fans and sainted the choir (Korife). These games, these "Kozlov songs" marked the beginning tragedy As one of the varieties of drama.

The word " tragedy"Means the" Song of Kozlov ". " Tragedythere is imitation of the action of an important and complete, which has a certain amount produced by the speech, delivered differently in different parts, produced in action and making it through compassion and fear of cleansing such passions. As for characters, there are four points that should keep in mind: the first and most important to be noble. The second point is that the characters are suitable ...

The third point is that the characters are plausible ... The fourth point is that the nature is consistent. The advantage of verbal expression is clear and not to be low. The very clear expression, of course, consists of common words, but it is low. The noble and free from triviality is an expression that uses unusual words. And I will call the gloss, the metaphor, the elongation, and everything that evades the commonly consumed "(Aristotle" Poetics ").

One of the main genres (species) dramaas a kind of literature, along with the tragedy and comedy. Like the comedy, the drama reproduces mostly the privacy of people, however, its main goal is not ridicule of morals, but an image of a person in its dramatic relations with society.

At the same time, like the tragedy, dramathe recreation of sharp contradictions, but at the same time, these contradictions are not so tense and allow for prosperous permission.

As an independent genre dramaforest in the second half of the 18th century. In the enlighteners. Drama19-20 V.V. is predominantly psychological. Separate varieties dramaclose with adjacent genres, using their means of expressiveness, such as tragicomedy, farce, theater, masks.

Literary Rod is a lot of artistic works combined with a common output style characteristic of plot lines. The literary work is a lyrics, an epos or drama. About the most famous examples of each of them is told in this article.

Drama

Translated from this word means "action". In modern Russian, the term has acquired a different meaning. But this will be said below. Drama - literary genus, originated in antiquity. It was the ancient Greek authors of Eschil, Sofokla and Euripid belong to the first dramatic works. This literary nature of works unites the writings of two types: comedy, tragedy.

The drama reached its perfection in the sixteenth century. French authors strictly kept certain provisions set by the ancient Greeks. Namely: the unity of time and place, the duration of events is no more than twenty-four hours.

Examples of dramatic works

In the drama Sofokla "King Edip" we are talking About a person who has once killed his father for a perfect accident, and then, ironically married his mother. The spectators of the first stage of the plot knew. But even if they were unfamiliar the story of Edip, they would have learned his brief biography. Nevertheless, the drama is designed in such a way that its effect covers the entire day. All events occur in the palace of the king.

Moliere, Rasin and Cornell adopted the traditions of antique playwrights. The above principles are also observed in their creations. And finally, it is worth bringing the example of which everyone is familiar with every studio, "grief from the mind." Chatsky comes to the house of Famusov. He learns that Sophia is in love with the person's mercenary and unhappy. Hero Griboedov is talking with other characters comedy. He expresses extraordinary thoughts. As a result, the environment of Famusov decides that Chatsky is a little bit in itself. He, in turn, leaves the relative's house with the words "Careet me, carriage!". All this happens during the day.

Not any of the heroes outside the mansion of Famusov. Because the drama is a literary genus of artistic works, in which everything that happens is accomplished during the day. It is worth saying another feature of such writings. Namely - there are no words of the author. Only dialogues. No matter what comedy is or tragedy.

Epos.

This term can be found as a noun male genus in the literary dictionary. And in this encyclopedic edition it will be said that Epos is nothing more than a work in which the events occurred in the past.

Examples of eposa

A bright example is the famous "Odyssey". In his work, Homer is extensively and describes in detail the events that have happened. He talks about the journey of his hero, not forgetting to mention other characters and describe in detail their life, life. What is the epic different from the drama? First of all, the fact that the narrative is conducted on the author's face. The following difference is impartiality.

Works of Homer are created in the form of poetry. In the eighteenth century, new trends began in the literature: a type of prose appeared with signs of epic. As an example, it is worth leading the novel of Tolstoy "War and Peace". Events cover a rather impressive time segment. In the novel great amount Characters.

Another sample of epic prose - Roman Golsuorussi "Saga about Forsytes". In this book, it is told about representatives of several generations of a large family.

Lyrics

Which literary family includes any of the poems of Annensky, Feta, Tyutchev? Of course, to lyrics. The works of this literary genus are inherent sensuality, emotionality. Unlike the epic, here the feelings of the hero are transferred extremely brightly, and even a few subjectively.

Examples of lyrical works

In ancient Greece, not only dramatic art originated. Antiquity - the time of flourishing and other directions in the literature. The first lyrical authors are Terpandr. This ancient Greek poet His creations read the sounds of a string guitar. For accompaniment, I read poems and alkey - the author who prefers political topics. The poetry of Safo also reached this day.

In the Middle Ages, which is called "gloomy", an indispensable number of romantic ballads was created, the authors of which were troubadras from France. Their plots were subsequently used by later authors. Lyrics, as we got a special development in the Renaissance. In the thirteenth century, a new type of troubadurov appeared. No longer French, but Italian. After all, it was in Italy a flourishing of lyric poetry.

In the nineteenth century, Lurism penetrated into all his features are present in the works of Shelly, Byrona, Korping. The lyricity of inspired and Russian poets - Pushkin, Zhukovsky, Ryleev, etc. Then, interest in lyrics for some time UGAS: her place was taken by an epic prose. And finally, the beginning of the twentieth century in Russia was marked by the emergence of the whole Pleiads of talented lyrics. Among them are Pasternak, Block, Akhmatova, Tsvetaeva, Yesenin.

In everyday speech

Literary Rod, as we found out, is a combination of artistic works that have characteristic features. It may be a lyrics, an epos or drama. In modern speech, each of these terms has a slightly different meaning.

The drama in the cinema is a genre for which tragedy is characteristic. Under the lyrics, it is customary to understand love poetry. In literary terminology, these concepts have a different meaning. What literary genus is characteristic of tragedy, sentimentality? Drama or lyrics. But at the same time, the dramatic work can be a comedy. And the composition of the author-lyrics is not necessarily a story about his unrequited love or longing in the homeland.

Features of the epic kind; Prosecutic and poetic epic texts; the presence of a plot; The role of external circumstances; specificity of lyrical kind; Technique of renovation; division lyrics on species; dramaturgical genus; Drama elements; Conflict in drama

Speaking about the structure of the artwork, about interaction within the artistic whole, it is necessary to remember that any literary fact Represents a sample of a certain kind and, accordingly, within its framework, literary species.

About the concepts and terms. Literary critic is faced with terms that should not be noted to present, it is not always applied with approaching semantic accuracy. Most often, this scientific material includes such nominations like genus, view, genre, genre form, genre content. As a wide concept, the nomination "Rod" and "Genre" are used here.

Teaching L.I. Timofeev about childbirth and species pushes the following sequence: inside the genus "Easy to notice additional division", such a division is called literary species. Inside the type there may be additional memberships called genres. " The complexity of the Timofeev concept is that the scientist in the concept of the form includes the "story, story, novel", and then the concept of genre grows out of the genre species. The gene itself is characterized by "three types of a composite organization", which are considered as three literary clauses. L.I. Timofeev determines the category of "kind" as a generalizing and historically stable concept, but it cannot function independently, it always manifests itself through the form. The concept of "species" is less broad than the genus. Species are much more. Within each kind of different historical periods, the process of development of species was observed. In the epic, plot deeds are manifested, in lyrics - the movement of the feelings of the soul, in drama - actions.

G.N. Pospelov adopts the theory of literary species created by Aristotle and Hegel. As for the Aristotelian teaching, G.N. Pospelov especially designated the category "Mimesisa": Homer sulfilled his life and his narrator epic, remaining himself, does not change his face on the mask. In the time of Aristotle, they did not know about the term "lyrics", he, according to G.N. Pospelova, appeared after Aristotle. About the lyrics argued still philosopher Plato. Aristotle included the following topics in the project "poetics": a) poetry as imitation; b) tragedy and epos as imitative species of art. Aristotle does not comply with the historical sequence in the study of literary delivery. At first, he paid the attention of poetry, then the tragedy and only then - Epos ("Iliad" and "Odyssey"). In reality, the chronicle of literary delivery is: 1) Epos, 2) Lyrics, 3) drama.

In the theory of Hegel prof. G.N. Pospelov estimated the historicism of the nucleation of literary delivery: Epos in ancient Greek art reached the climax of its development (VIII - VII century BC), then poetry approached his art level (VI century BC), later - dramaturgy ( V c. BC). At the same time, Hegel installed in the system of the generic triad dialectical principles: 1) Epos - thesis, 2) Lyrics - Antithesis Eposu, 3) Drama was the synthesis of epic and lyrics.

Generic Triad (Epos - Lyrics - Drama) The most generalizing, historically sustainable category. The division of literature on childbirth is caused by the need to image the main forms of manifestation of the human personality: a) objective interaction with other characters, events, complex social processes (EPOS); b) subjective - experiencing and inflatable (lyrics); c) in action and conflict (drama) (S. Kalacheva, P. Roshchin).

Epos like literary race

Forms of narration; Scene; chronotopic volume of events; Branched system form

Epos (gr. - Word, story, song) refers to one of the three genera of fiction, it is distinguished by an objectively - narrative form: the impartial picture of the world here is moving by himself, according to its predetermined laws.

Epic works on formal features are divided into prose and poetic (epic, novel, story, story, poem, ballad, fable, romance). The main indicators of the epicness are as follows: the presence of a plot, events; External circumstances determine the behavior of those acting in their present and future. Rock and fate reign in antique heroic poems; They are omnipotent, although they are outside the event situations. Most often rock to think as a symbol, hostile to man. The new era has other relations of the hero and society. True lives in an epic work climbs with the truth artistic, the author acts as a researcher of reality.

Epos is a writer's story, there are a variety of descriptions of the description, for example, the event line is given to the chronicle. In some cases, the person does not determine the development of events, in others, actively affects them. And his volition will change the storyline. Molds of transmission of stories are used, for example, using the author and hero. So, in the novel of the city of Böll "House without a host" the narratives as many characters. In this case, it should be remembered that the combined models of the recovery are not just optional techniques in the epic. The method of presenting the material is an important means of analyzing and evaluating the nature. All this dictates selection of image manners. When we talk about the objectivity of the life, I remember that it absorbs elements of direct outfit. If the epic did not enter into anything without intermediaries, then the imaging thought would be excluded. In the author's story on the position of quotation, disputes, the conversations of the heroes, rumors affect the organic communication or dominance of one reception of the description above others. If you take and separate from the epic narrative polyphony, then we get a completely different idea about this.

There are things that are essentially not amenable to filmization. From here we see how close is direct and mediated: the stories of A.P. Chekhov is easily shielded, and the works of A. Kurin - no. It turns out wildness when the author's image is pulled out on the screen. And the screen does not act on the screen, but the image. The mediated element in the epic dominates. Directly direct is also impossible. You can create only a new product, which is close, although not identically screening option. Epos is a storyline, in contrast to the dissustary lyrics. The drama is a plot (action) genus, but here the similarity is not complete, visible. Because in one case, the plot told, in another - the plot becomes the action shown, recreated in his immediate forms.

The artist - an epic has two mighty tools for recreation, analysis and valuation of reality. This is a description and dialogues, which in their unity serve as a means of deploying the plot. In other words, in the hands of the epic, compared with the lyrics, is the plot, compared with the playwright, the epic in his hands is a description. Hence the most capacious, multilateral, deeply conscious and estimated in various cuts, manifestations of the image of the world. When they talk about literature as an encyclopedia of life, then they mean first of all the epic. However, winning in certain relationships, it loses in another, for example, it differs in incomparably smaller power of emotional impact on the reader than lyrics or drama. Thus, the shielded "Hamlet" stands out by a significant advantage of its availability and influence on broad masses, although compared to the original it loses the philosophy of Renaissance humanism.

Comparing lyrics and epos, you can draw a difference between prose and music. Epos takes slowly captured, it requires absence. Lyrics immediately fascinates. Epos encompasses what compensates for emotional impact. If you deep into the epic deep, then such universalism does not give a drama nor lyrics.

Lyrics as a literary race

Term; Biography of the hero's soul; confidence, mystery; emotionality; chronotope

Lyrics (gr. - Lira - musical instrument; literally: the singing under the accomposition of the lyre) is different emotional description The stories of spiritual experiences and pondays. This genus is inherent in the subjectivity of tone (meditation and their species), the inner world of the hero is characterized not only by the objective and logical meaning of speech, but also its own structure (expressiveness and emotionality of speech).

The subject and content of lyrics are spiritual experiences of the poet as a person. In the so-called "clean" lyrics, one tone prevails, one feeling, one mood that brings it closer to music. Music of verse create elements such as rhyme, rhythm, allyteration, refrain, anaphor. The lyrics are developing not only the poetic forms, but turns to the rhythmic prose (poem in prose).

Themed it is divided into love, landscape, philosophical, civil.

Poems, like megaters of individual authors, you can simply immediately read, you need to configure yourself. The lyric genus is fundamentally different from the epic that in it the object of mastering the world turns out to be reality refracted in the soul, in the complex of feelings and experiences of the poet, however, this does not mean that the external reality does not find here its reflection. Then she would be one-sided, one-sided. All and all available poetry. And everything that the poet drawn, refraart through the prism of his feelings, acquires live soul. In the poem, the actual event appears through personal.

The domain of lyrical genus should be considered a subjective factor, however, it must be objectified and objective, impartial in the sense that the entity turns into the property for many. Poetry can have a multimillion audience. Objective in the lyrics suggests that it is necessary for the personal with the concepts of the unity of the poet and the reader's "I". Here it is meant that in verses is detected best friend. In this regard, in poetry it is necessary to distinguish the specifics of the ratio of rational and emotional principles. Poetry, forgiveness Allah, must be "a little foolish." This does not mean that lyrics are alien to the mind, it is unavigated by pure rationalism. The expression of feelings and experiences cannot do without thought, otherwise, poems will not be "sensual", while the thought should pass through the mysterious laboratory of the soul, which has become an universal laboratory. In other words, the rational in the lyrics should be an emotional factor.

There is another feature of poetry, which should be called in the disclosed connection. The lyrics usually distinguish the elements of the immediacy, the ease, freshness, which is characteristic of drama. Epos is always the past time, in drama, as in verses, functions as if absolutely present. In the lyrics, an element of the narrative may be in the lyrics, however, the ratio between the hero and his immediate ideal is deployed the image of the experienced. Such contact involves a deep inner difference. In the drama, the action proceeds in the eyes, in the lyrics the plot is replaced by a complex of anxiety, feelings and thinking of the hero caused by something or anyone.

In poetry there are scene forms. For example, characterized by the eventual development of its own content of the ballad, a song, a romance. We can talk about what indicators the concept of "lyrical plot" is determined, but this is not a pure lyrics, but an epiko - a lyrical genre in small poetic forms. There is an epic plot, dramaturgical action, there is a lyrical plot.

What is understood by the "lyrical plot"? This means that by no means all events may form the basis of the plot, to love it in it, cause a certain reaction. Hence the absence in the lyric text of all known elements of intrigue, we will not find strings, junctions, the climax applied to the traditions of the epic kind. From the rigging the poet immediately proceeds to the climax. For all the essence is not in the event, but in empathy. Poetry is the most laconic and at the same time the most loaded in the aesthetic sense of the literature. Each element in this insignificant space raises an impressive aesthetic severity. From here and wide popularity and at the same time the maximum impressibility. The verse is important where every word stands, what is the context before the end of the incident, the movement of feelings should indicate on the spirit of the era.

Drama as literary race

Act; Scenic; remarks, monologues, dialogues; convention; conflict

Drama (gr. - action) is the third literary native After epic and lyrics. In Drama, the relationship between people and conflicts arising between them are depicted. The following categories are performed in this literary genus.

• § The presentation of the acting persons is indicated by their age, inclinations, portrait signs.
• § Event system in drama is not called a plot, but by action, although most philologists use the term "plot". The concept of "hero" is most often and rightly replaced by the phrase "actual face". The event line should differ in high voltage, error and insight energy.
• § The composition of the drama consists of paintings, scenes, episodes. The antique drama in obligatory began with the "Prolog", in which the sense of the work was almost completely exposed.
• § The dialogic form becomes the main sign of dramaturgy.

This system includes monologues, single or mass scenes.

• § Remarks (FR. - Comment, Notes) Prepare and accompany the course of action in the play. The remark is mainly addressed to the director. She clarifies the place of action, the robes of characters, their independent state, behavior, gestures (replicas aside), voice intonations (voice timbre varies depending on the mental condition: joy, depression, fear, anger, lie, truth) are measured by the artistic "lie detector of lies or truth".
• § conflict in drama. It keeps on a tragedy, comedy, dramatic basis.
• § Genre varieties (tragedy, comedy, drama, medieval forms: from farce to Mystery; Music drama; drama absurd).
• § The time of action of the play should coincide with the time stage, since the European Theater preferences drama, the events of which are developing no more than three to four hours.

Stage conventions in drama. The actors in the drama show themselves and their character in actions and behavior. And here the speech professionalism of the actor becomes an important indicator, its diction and modulation of the voice, the writing process itself. The form of drama is characterized by a rich arsenal of "multiforms". The words of the heroes are focused not only on the scene, but also on the space of the auditorium.

The behavior of the acting persons should be different by theatricality, designed for the mass effect. For this purpose, the forms of dramatic conventions are used. Emil Zola called Drama and the theater "Citadelu of all conditional" (Zola E. "Naturalism in the theater"). So, in the ancient drama introduced additional characterswho themselves narrated that it was not shown on stage, which is happening behind the scene (Bulletin), or became interlocutors of the main characters, prompted to talk about an unknown event.

The next form of convention is monologues, pronounced by heroes alone. Such confessions do not belong to the psychological deep methods of self-expression of the hero, they are associated with a relative stage reception. In the 20th century, the drama began to get closer to Shakespeare accuracy, refusing the deliberate theatricality, masks and soufflery techniques.

Theses need to designate such moments as the "Action Composition", "Speech Features", "Drama while reading and playing on the stage."

In the history of the evolution of the drama as a literary race, the epochs were observed when dramatic genres dominated by sweating epos and lyrics (antiquity, western European classicism) to the background.

Drama is not a literary genre actually, it lives in the theater and obeys the laws of the scene, its ability to form the logic indestructible, the internal structure of the dramaturgical work. It's not just that it is almost impossible to read the drama, it should be seen on the stage. The impression of the reading of the drama and from immediate contact with it in the theater is characterized by the most radical way. There are plays that are specifically designed to read. These are the so-called "leselmas" (Germ. - "Wheel" - reading), however, such dialogical texts with unfolded remarks are not widely popular (there are exceptions in this series, for example, B. Show plays). The connection between the theater and the stage work is determined not only by the fact that the drama must be submitted, this connection extends quite deeply. The real birth of drama is often associated with the embodiment of it on the stage. Like the reader, the playwright does not see it until it is shown to the viewer. Drama is a specific tonality theater, this is a specific representation. Theater is a living creativity and creativity, this is a actor, and artist, composer, decorator, illuminator. All the greatest essays reached heights when a magical connection was established between the hall and the scene.

Sometimes the play is created for a completely defined actor. The theater goes to "Favorite" (recognizable) actors, and in the cinema "Purchased" artist causes an irony attitude if he could not reincarnate and become unrecognizable. The theater laws have for the drama the most posing role, which is characterized by the immediacy, strict objectivity and does not allow any intervention on the scene. This literary genus is much more conditional than epic and lyrics.

The plot (action) in the drama is visual, shown, it requires increased characteristic. The hero of the epic - the incident, the hero of the play - a man. Here are the closest, living, direct transitions in the nature of action and, on the contrary, the actions are unpaid, as if dictated by the logical itself and the situation in which they are due. The viewer sees what should be so, and not otherwise. "Each hero has its own curtain" (A.N. Watermelov). If the character (or actor) is infused in the sense that its actions resemble a mannequin, then it can remain on the stage, but the effect will be negative. At the same time, it is impossible to absolute the differences between the hero, actor and the author. We repeat once again: the hero of the drama is a man, the hero of the epic - the incident. In order to reveal a certain topic, you have to make this topic with a hero.

The drama as a literary race intersects not only with the epic, but also with the lyrics, the power of direct action, the intensity of passions in the drama is high and acts on the viewer "Now" with his pathos and keeps him in tension to the "curtain".

Literary childbirth in the historical perspective was formed in the following sequence: the Epos originally appears, then the antithesis of him becomes a lyrics, and, finally, the drama seeks to synthesize the first two kinds. Meanwhile, this triad row cannot be considered complete and perfect, since the generic ragged pranal was ignored. These skips can be restored in next scheme, when taking into account that the myth in the artistic sphere is a particularly historical truth, for the real information is missing for the knowledge of peace and man:

Claude Levi - Strauss believes that the "myth explains" equally both the past and the present and the future "(" structural anthropology ", p. 186). And when the sequence in the motion of the world order is disturbed, then a catastrophe occurs in society (for example, the history of the first French revolution). In this regard, J. Mishle wrote: "On that day (when the revolution occurred) everything was possible ... The future was real. In other words, there was no more time, there was an outbreak of eternity. "

Scheme of literary delivery

Literary criticism in the lesson of literature - one of more complex problems teaching. How to talk to schoolchildren about terms and concepts not to scare away screenshots? How to turn to them the theory of your natural, organic side? Our methodological finds shared with us Moscow teacher Oksana Smirnov. We publish a fragment from educational readstatology, which is being developed in the traditional gymnasium under the leadership of the author of the article. It is facing directly to the disciples and can be used as an alternative (or sweatshop) materials of the textbook.

Epos, Lyrics, Drama

L iterature works are taken to divide into three main types (or, otherwise, the species): epos, lyricsand drama. This division dates back to the times of ancient Greece and first was scheduled for the philosopher Aristotle in his treatise "On the Art of Poetry" (IV century BC).

There are some idea of \u200b\u200bthe three main types of literature from each of you, but those who have never thought about the meaning of this separation often have a simplified, not quite the right concept. Many it seems that lyrics are necessarily poems, with rhythm and rhyme, drama is what they play on stage, and Epos is any artistic prose text. However, a slightly more sophisticated reader knows that both dramas are in verses, and the ancient poems - for example, "Iliad" and "Odyssey" are called "epic". But there are sometimes in prose small storiesin which there are almost no events, and main role Plays mood. The cycle of its stories written in such a way, Russian writer I.S. Turgenev called "poems in prose."

A task eposa (Greek "Epos" means a story) - to describe events. In the epic work, the copyright look is a side view. For a very long time, the epic did not know how to describe the events of the internal life of a person, but even when such descriptions appear, the author, in order to tell about his experiences, should make a step toward and take a look at his inner state with strangers, eyes detached.

Epos is contrast The narrator and his listeners (and later readers) about the meaning of the events of events. Reflecting requires a calm, sober look at things. Often they say: "Teld with epic calm." In fact, Homer, for example, with the same circumstance, "not lowering eyes", tells about how Cyclops will get his herd, and how he kills and eats satellites Odyssey. Rather, he tells about this in the poem himself Odyssey, but he does not bring his feelings in the story: fear, pity, despair. It separates it from these events traveled path and lived years - the epic distance, which gives the look to the removal.

But with such an impartial, objective story becomes clearent by the connection of the causes and consequences, of which the events of human life are. The chaos of everyday randoms opens the laws that are subject to the movement of life.

Lyrics, on the contrary, most busy with the image of a person's feelings, its internal state. Even if the lyric work describes some items and events, the description is always painted with a personal, subjective attitude. This attitude is the main object of the image. When we read in verses Pushkin:

All Amber Brilliant Room
Ozaren. Cheerful crash
Flooded oven, -

we are interested in not so much description of the room and the stove (which, in general, here is not here), how much the impression of comfort, joy, warmth and light that rises from these lines.

Lyrics are empathy reader to the author of the poem. Lyrics require no removal, but on the contrary, diving reader (listener) in feelings and mood - and copyright, and in their own, because if we are not guessing in the author's words, something already familiar to us by inner experience, verses will remain for us As if a letter in incomprehensible language. When we do not understand the poems, we just do not notice, do not hear that in them the main thing about what is speech.

Lyrics demand from the reader of the ability to enter the emotional world of another person. It turns out that it is much easier for us if the lyrical text is connected to the music. The word "lyrics" in Greaterly means "pronounced under the sounds of the Lyra" - a string musical instrument, which, as the ancient Greeks considered, once invented God hermes and handed over Apollon - the patron of art. The very name of the lyrics shows that it is the deep essence of the music - the art that can express human feelings, without calling them.

This relationship explains to us why the lyrics are characteristic of rhythm and measure. Rhythm, observance, musicality helps lyrical works to express the fact that they do not always hold words. Or you can say differently: Music verse makes words to express more than they can express in normal speech. Rhythm verse enters us in the right mood. Compare, for example, two descriptions of the lunar winter night in Pushkin verses:

Thugs through wavy fog
Moon pursues ...
(« Winter road") - calm, bright, sad;

Rush clouds, clouds are clogged,
Invisible moon
Lights the snow of flying ...
("Demons") - stressful, disturbing, like strong heart blows.

Children of poems, like singing songs - if we talk about the fakes, but about the present art, it is at the same time pleasure, and the work of the soul.

Due to the fact that the shape of the verses is quite complex, and their perception requires a certain culture, may face the impression that the poems are some later and artificial invention in the literature. This is not true. Poems ancient and in a sense naturally prose. Rhythm is amazingly inherent in human speech. Russian poet N.S. Gumilyov once said that he knows about it "who carefully honing a piece of prose, consumed efforts to keep the born rhythm." Therefore, ancient epic legends are folded in verses, like lyrical songs. And those and others, according to scientists, arose from ancient choral poetry.

Drama Greatly means "action". It does not tell about the events committed, but events are shown, as if taking place before our eyes. The famous definition that Drama Aristotle begins with the words: "The drama is imitating the action ..."

The author of the drama does not have the opportunity to speak "from Himself": everything that he wants to say should be understandable to the viewer from the events taking place on the stage and conversations of the actors. At the same time, the audience delves into the events of someone else's life and begins to experience them as if they closely concern him. In the theater (especially in kindergarten) it often happens that the audience is forgotten that the play written by the playwright in front of them. It happens that they are worried, shout, try to change the course of the action: to warn someone, to prevent someone ...

If the epos is a consequence, and the lyrics - empathy, then the drama makes the viewer with a literally "accomplice" of events.

For a long time, the drama did not think and did not exist outside the theater, and this explains many of her features. The action in drama is limited to strict frames. It should have a logical beginning ( breaking), development and end ( junction). The expectation of the junction holds the viewer in the voltage, which at some points of action increases, becomes excitingly sharp. Such moments are called culmination - Points highest voltage actions.

The viewer's interest in action does not necessarily hold on the desire to find out, "the thing is over." Moreover, in ancient Greece, where the European drama was born, the myths that everyone were well known were usually placed. Stretter attention was held on the other. The basis of dramatic action lies conflict - Collision of the life position of heroes. Drama is always a dialogue, dispute dispute of two sides, two "truth", and viewers are waiting for solutions (or, or rather, they make a decision): As in fact, in a particular situation is "true", who is right to win the dispute . Ancient plots comprehended again, sharp conflicts were highlighted in them, one way or another, hiding each viewer, and the main thing was to find the right decision, and not learn the end of some long ago history.

For example, in the tragedy of Eshil - the first of the great tragic poets of ancient Greece (approx. 525-456 BC), which is called "begging", argue two sides: Virgin Danaida, Daughter of the king, Running from Huge Pursuing their army, and the Little Greek city of Argos, whose Danaides are asking for protection.

The city was in front of a difficult choice: on the one hand, he is not at all obliged to defend Danaid, especially since the army of persecutors is great and mighty and the city is unlikely to give him a fight. On the other hand, issuing Danaid to the persecutors, the city will renounced from its principles: from the law, rights, respect for freedom - and silently agree that the rude strength can create any arbitrariness in the world.

There are almost no events on the stage, only conversations: Danaids beg, the Vestnik of enemy troops threatens, the representatives of the city decide how to be. And gradually everyone becomes clear that a free person, subdued by rough strength, will cease to be free. Protecting Danaid, Argos will not protect the walls, not wealth, but the essence of his city is his freedom and independence. And before Danaida open the gate. The tragedy is completed with the words of the Bulletin that the enemy army approached the walls of the city.

Spectators will not see what the battle end. For the drama itself it does not matter: the decision is found, the conflict is allowed, the junction was made. Though, however, everything that Eschil wrote and put his tragedy, knew perfectly well that the city would die in Blight. On this choice of the truth of the price of life, the amazing effect of any tragedy, which Aristotle called " catharsis"- cleansing through suffering, or cleansing the suffering itself; Light rise in spirit that felt all the participants and witnesses of the tragic, but righteous junction. There is a story about how at an hour of danger of the Athenians put the tragedy to raise his spirit, after her went into battle and won.

In the old century, the drama was considered the highest of the birth of literature connecting the advantages of the epic and lyrics. With the epic drama relates interest in the event, the plot, with lyrics - emotional heat, fullness of immersion of the viewer into the world of the artwork. But the origin of his drama differs significantly from the epic and lyrics. It dates back to the ancient rituals, which in fact affected all members of the genus, equal to the audience, and participants.

The following genres include the epic: a fairy tale, bass, epic, ancient epic poems, a novel, story and story.

In antiquity and in the Middle Ages, many lyrical genres were highlighted: anthem, message, soda, elegy, sonnet, Rondo, song, romance, etc. But in the XIX-XX centuries, the lyrical works are most often called the "poem", without dividing the genres.

Drama includes tragedy, comedy and medium genre - just a serious play, not so deep and elevated, like a tragedy; Such "medium" plays, like the whole genus, is called drama.

There are works in which the features of two births are combined. In particular, there is a rather large circle of lyri-epic works, in which the lyrics (transmission of feelings) are combined with the epic (description of events). For example, Borodino M.Yu. Lermontova is a lyrol-epic work.

Epos. - (from Greek. Epos - Word, story, story) - one of the three main births of literature, unlike lyrics and drama nominating an objective image of reality, author's description of events that are deployed in space and in time, narration of different phenomena Life, people, their destinies, characters, actions, etc. Special role In the works of epic genres playing a narrative carrier (author-narrator or narrator), reporting events, their development, about characters, about their lives, while separating itself from the depicted. Depending on the temporary coverage of events, large genres of epic - epic, novel, epic poem, or an epic poem; Middle - Tale and Small - Story, Novel, Essay. TO epic Rope. We also include some genres of oral folk art: fairy tale, epics, fasteners.

Epos genres:

Novel - (from Franz. Roman - Initially: a work written on one of the Romanesque (i.e. modern, living) languages, as opposed to written in Latin) - the epic genre: a big epic work, in which the life of people in a certain period is comprehensively depicted time or for a whole human life. The characteristic properties of the novel: the multine-core plot covering the fate of a number of actors; the presence of a system of equivalent characters; coverage of a large circle of life phenomena, statement of socially significant problems; Significant temporal length of action.

Story - Small epic genre: prosaic product of a small volume, in which, as a rule, one or more events of the hero's life are depicted. The circle of actors in the story is limited, the described action is short-time in time. Sometimes the narrator may be present in the work of this genre. Masters of the story were A.P. Chekhov, V.V. Nabokov, A.P. Platonov, K.G. Powesty, O.P. Kazakov, V.M. Shukshin.

Tale - Medium (between a story and novel) Epic genre, in which a number of episodes are presented from the Hero's life (heroes). In terms of volume, the story more stories and wider shows reality, drawing a chain of episodes that make up a certain period of life of the main character, there are more events and actors in it, however, in contrast to the novel, as a rule, one storyline.

Epic- the largest genre shape of the epic. For epic characteristic:

1. Wide coverage of reality phenomena, image of the life of the people in the historically significant, turning point

2. Raise global problems, universal significance

3. People's content

4. Several storylines

5. Very often - support for history and folklore

Journey- Literary genre, based on the character description of the hero. This may be information about the countries seen by the traveler, nations in the form of travel diaries, notes, essays, and so on.

Epistolary genre - This is a genre of a literary work, which is characterized by the form of personal letters.

Confession - Literary genre, which can be the character of epic or lyrical. One of the seven Christian sacraments, which also includes baptism, communion, world-formation, marriage, etc. Confession required full sincerity, the desire to get rid of sins, repentance. Penetrating into the arts. Lit-ru, confession acquired a didactic shade, becoming a kind of act of public repentance (eg, J. Zh. Rousseau, N. V. Gogol, L. N. Tolstoy). But at the same time, the confession was also a means of moral self-affirmation of the individual. Like the genre of lyrics I. was developed by romantics. Confession is akin to a diary, but unlike him is not attached to K.L. Places and time.

Lyrics- One of the three main births of literature that puts forward a subjective image of reality: individual states, thoughts, feelings, the impressions of the author caused by those or other circumstances, impressions. In lyrics, life is reflected in the experiences of the poet (or lyrical hero): It is not narrowed about it, but an image experience is created. The most important property of lyrics is the ability to transmit a single (feeling, condition) as universal. Characteristics Lyrics: poetic shape, rhythm, lack of plot, small size.

Lyric genres:

Elegy - the genre of lyrics: meditative poem (from lat. Meditatio - in-depth reflection) or emotional content, transmitting deeply personal, intimate experiences of a person, as a rule, imbued with sweepers of sadness, light sorrow. Most often written on the first person. The most common topics of Elegy - contemplation of nature, accompanied by philosophical thought, love, as a rule, undivided, life and death, etc. The greatest popularity of this antique epoch The genre enjoyed in poetry sentimentalism and romanticism, Elegia V.A. received special fame Zhukovsky, K.N. Batyushkova, A.A. Pushkin, E.A. Baratynsky, N.M. Language.

Message is a poetic genre: a poetic letter, a work written in the form of appeal to someone and containing calls, requests, wishes, etc. ("To Chaadaev", "Message of Czensor" A.S. Pushkin; "Message to Proletarian poets "V.V. Mayakovsky). Distinguish lyrical, friendly, satirical, journalistic, etc.

There are lyri-epic genres that are at the junction of lyrics and epic. From lyrics they have a subjective beginning, pronounced author's emotion, from the epic - the presence of a plot, a teller about events. Laroepic genres to poetic form. Large-eagle genre - poem, smaller - ballad

The poem is a lyrol-epic genre: a large or secondary poetic work (poetic story, a novel in verse), the main features of which are the presence of a plot (both in the epic) and the image of a lyrical hero (as in lyrics)

Ballad - genre of lyrol-epic poetry: narrative song or poem relatively small volume, with the dynamic development of the plot, the basis of which is an extraordinary case. Often there is an element of a mysterious, fantastic, inexplicable, unnecessary, even tragically insoluble in the ballad. By origin, ballads are associated with legends, folk legends, connect the traits of the story and songs. Ballads are one of the main genres in poetry sentimentalism and romanticism. For example: Ballades V.A. Zhukovsky, M.Yu. Lermontov.

Drama - One of the three main births of literature, reflecting life in the actions performed in the present. These are works designed for scene. The dramatic genus includes tragedies, comedies, actually drama, melodrama and water.

Drama genres:

Tragedy- (from Greek. TRagodia - Goat Song< греч. tragos - козел и ode - песнь) - один из основных жанров драмы: пьеса, в которой изображаются крайне острые, зачастую неразрешимые жизненные противоречия. В основе сюжета трагедии - непримиримый конфликт Героя, сильной личности, с надличными силами (судьбой, государством, стихией и др.) или с самим собой. В этой борьбе герой, как правило, погибает, но одерживает нравственную победу. Цель трагедии - вызвать в зрителе потрясение увиденным, что, в свою очередь, рождает в их сердцах скорбь и сострадание: такое душевное состояние ведет к катарсису – очищение благодаря потряснию.

Comedy - (from the Greek. From Komos - a cheerful crowd, a procession in Dionysian festivities and odie - song) - one of the leading genres of drama: the work, which is based on a ridicule of public and human imperfection.

Drama - (in a narrow sense) one of the leading genres of drama; Literary work written in the form of dialogue of acting persons. It is intended for execution on the scene. Focusing on entertainment expressiveness. The relationships of people who arise between conflicts between them are revealed through the actions of heroes and get an embodiment in a monologue-dialogic form. Unlike the tragedy, the drama is not completed by catharsis.

About poetic size

In working on any essay related to the analysis poetic textIt is required to analyze the poetic size. Why is it so important? Because in the poetic product, it is not only content, but also a form - that is, the rhythm, sound, the music of the poem, which, in fact, the poem itself and forms.

The most important thing is not to just determine the size, but to say in your composition that this size contributes to the poem.

Jamb is an energetic, often solemn sound of a verse, Vehore is fought and gentle (all the lullabies are written and, by the way, after Lermontov - all poems that have a night landscape). Three-dimensional sizes are intonational more flexible, close to spoken Speech (Probably, therefore, necracis preferred them).

Well, to business. To easily determine the size, you must first remember what a stop is. Stop - this is a group of syllables, one of which falls accent. Only and everything.

Everyone knows, of course, that poetic sizes in Russian resentment five: two double and three three-sided. Doubles - this is when two syllables are in the foot - when, respectively, three:

Korea is a double size with an emphasis on the first syllable.

Yamb - double-sized size with an emphasis on the second syllable.

We introduce the following notation: `- shock syllable, _ - unstressed syllable.

Then the choir will look like this: | `_ |, and Jamb - like this: | _ `|.

Dactyl - like this: | `_ _ |. Remember Easy: Dactyl - Translated from Greek - "Finger". True, it seems: three phalanxes, on the first nail, - like three syllables, the first is marked by emphasis.

Anapest ("Inverted, reflected" - even sounds in Russian as "wand (pestle) on the contrary") looks like this: | _ _ `|.

Amphibehius ("Surrounded") - | _ `_ |.

Now, when we all know, the very simple and, oddly enough, the most for the guys is difficult - each syllable of the poetic string is labeled. It is more convenient when all the dashes are the same, regardless of the syllable length. (Just in case: the number of syllables is equal to the number of vowels). Service words, as a rule, are not marked by emphasis, if they do not fall a logical emphasis when reading the poem.

Well, for example, take the first two lines of the poem of Akhmatova "Native Earth".

In the cherished lands, we do not wear a chest,

About it poems Navid do not compose ...

It turns out like this:

_ ` _ ` _ _ _ ` _ _ _ `

_ ` _ ` _ ` _ _ _ ` _

Now it is necessary to divide it into groups of syllables (foot) so that inside each there was a shock syllable ... "Something is wrong here," you say. Indeed, for the doubled Russian verse characterized by pyrical - skipping. And it is very natural: we are not all words consist of two syllables! If there were no such passes, the poems would be similar to the same drum fight.

By the way, I will offer the Issirm for your work: if you note that the sound of some word in verse (verse is a poetic line) emphasizes, stand out at the expense of pyrroy, it will be great. Provided, of course, that your teacher knows what pyrrhea is.

Let's go back to our (i.e. Akhmatovsky) poem:

| _ ` | _ ` | _ _ | _ ` | _ _ | _ ` |

| _ ` | _ ` | _ ` | _ _ | _ ` | _

Note that the "tail" (what remains outside the foot) is not taken into account when determining the size.

So, for the first stanza of his poem, Akhmatova appeals to the solemn sound of a five-axis yamba, "such or close to this conclusion you would have to do when analyzing the size of this poem.

But here the second stanza will bring us surprises. It is so different that even the size changes:

Yes, for us it is dirt on the calicists,

Yes, for us it is a crunch on the teeth ...

How the size has changed - you will define it yourself. It is also important why he changed so much, which reflects this change. I would like to draw your attention to what: the first word ("yes") of the poetess emphasizes in a veneerlike stress (i.e. except in verse). It is called sponds and is quite rare. For example, in Pushkin "Poltava", Sponda transmits a rommer, the fighting of the battle:

Fight drum, clicks, crosses,

Thunder, Topot, Rzhanye, moan ...

Poetic rhythm

Double and three-sided verse sizes

In the textbook of literature for grade 6, there are topics "double sizes of verse", "three-sized verse dimensions" placed in different sections of the book. How do we work with them? First, the themes are uniting. Secondly, we use the following types of work for a full assimilation of the topic.

I. Linguistic experiment.

Compare two versions of stanza from the poem M.Yu. Lermontov

"Three palm trees."

First reading:

But just that dusk fell to the ground,

On the roots elastic ax stagger

And fell without life pet centuries.

Clothes of them crushed small children,

They were carved their bodies later,

And slowly burned them to the morning.

What words sound unusual, so we usually do not pronounce them?

Second reading: (the student reads this storm, observing the regulatory

emphasis: "On the roots", "broke", "until the morning").

What changed? The poem is sprawling, its energy is lost, rhythm. So, rhythm is the most important attribute of the poem. (We do not speak here about the free verse, deprived of the rhythm).

II. Comparison of rhythms of the surrounding life and poetic rhythm

The surrounding life, the life of nature, people are built on rhythms. The day alternates with the night, spring comes to the change of winter ... Where else do we meet rhythmic alternations?

Guys Answers: "At school, the lessons alternate with changes, tick the clock, knocks the heart, alternate breathing. Rhythm is in music, in dancing. "

Poems are also built on the rhythm. As, for example, the day alternates with the night, forming a day, so the shock syllable alternates with unknown, forming a foot. Stop repeats, forming a string. Rows alternate with each other, forming a poem.

III. Algorithm for determining the poetic size.

Pooh, we try to read expressively to bring his meaning to the listeners. But the little children, having learned their first in the life of the rhymes, read their infrections, chant (i.e., read wrong, "protruding" shock syllables), but at the same time they call the listener a clear rhythm of the verse:

1. Our / Tanya / loud / crying /

2. URO / NIL / in the river / ball /

3. Cache / Tanya / CHKA Understand

4. Not y / sink / in the river / ball.

In the 4 foot line. Each stop (except for two incomplete 3,4 lines) is an ordered alternation of two syllables (budding); The first shock - the second unstressed | - - |. Rhythmic drawing line such:

1. TA-TA / TA-TA / TA-TA /

Two poems size with an emphasis on the first syllable - kernel. Remember easy. If a keyword is laid in the line several times - any doubled word with an emphasis on the first syllable) for example, cold) is a hoore:

2. Cold / cold / cold / ho /

hush / Tanya / ChKa Understand /

Two-dimensional sizes two three. All other poetic dimensions also define on this algorithm:

Read the poetic stuff expressively.

Sanate it.

Give her rhythmic pattern.

Fill out the system with keywords.

Specify the size of the verse.

IV. Support scheme

Keywords for each of the five poetic sizes are contained in such a table:

Support scheme

Cold, strong, kernel

January sweat, yamb

Dasha Dactil

In a pharmacy amphibehius

Pineapple takes Anapest

Immediately alleged that pineapples are not sold in the pharmacy, but it is not important for the support scheme, and the ease of memorization is important.

On literary courses of listeners are taught:

Anna Akhmatova - Dactyl

Marina Tsvetaeva - Amphibery

Nikolai Gumilev - Anapest

Such a support can also be adopted.

For students, the reference scheme proposed by me is convenient because the keywords are already prompting the name of the poetic size. It is easier than to express the strokes, divide the line at the foot, especially since quite often the stagnation in the foot is not explicit, and the hidden, additional | --- --- |, for example,

I do not regret, do not call, do not cry/

All about / yat like / with Be-Lich / Yab-Lov / Smoke /

U-V / Dan-I / Zo-Lo / Tom O / Hwa-Chen / Noi /

I am not / bu-du / smoke / smoke /

Traditionally, the phenomenon of circuit strokes is called pyrroine (literary encyclopedic dictionary M, 1987, p. 278). Gradually, the term "pyrical" comes out of their use.

According to a given situation with the specified rhymes, comprehension, using all the poetic dimensions (group work).

Situation: Sanya's boy brought a horror school to make girls.

Girls were frightened, and then, uniting, they died a joker's ears.

Rhymes: Sanya - in your pocket

Once he remained

Possible options:

Korea: managed to school Sanya

Bring horns in your pocket.

A terrible cry suddenly heard -

A little living hero stayed.

Yamb (Return): Sanya decided today

To carry through the pocket

Uzhomka of this,

Beautiful, shiny,

Such a cry came here -

Already alive stayed!

Dactyl: A strange such person this Sanya:

He managed to junk in his pocket

To the class to bring. Creek has survived.

Almost our hero was not left without ears.

Amphibery: Yesterday I rush to tears this Sanya:

Hrue dragged he quietly in his pocket.

A frantic scream across the whole school was heard,

Sanya, our sane did not stay without hair.

Anapest: came once in school Sanya,

He brought Uzhonic in his pocket.

Here such a cry of the witness rang out

Slightly by Sannek did not stay.

Conclusion: the same content can be conveyed in different

poetic sizes.

Scope of the application of the algorithm determining the poetic size

According to the above algorithm, the size of the strings written in the Syllab-tonic (syllable) system of the storm, including the size of the so-called "white verse" (unimposed), for example, "Sokol" - Yamba, "Song of Sokol" Petrel "- Korea.

Naturally, not to determine the metric size (for incurability of it) in the poem A. Bloka "she came with frost" written by Verlibro (free verse without rhythm), in some verses A. Feta, E. Vinokurova, V. Solowhina, etc.

It is interesting to trace the rhythmic pattern in verses written by Dolpnik:

Girl / sang / in church / Dasha's church / cold / pharmacy / cold

About everyone / Tired / In someone else's / edge January / Pharmacy / January / January

About all / ships / gone / Sea January / Pineapple / Pharmacy / Cold

About all / forgotten / joy / His January / Pharmacy / Cold / January

We see here indiscriminate alternation of three-sided and double-strokes with the same amount of strokes in each row. Strictly speaking, it is not foot, but strong places (shock syllables). The alternation of strong places (ICTOs) and weaknesses (internationalist intervals) gives a share (tact, transfers) and provides a poem with tangible internal rhythm. (Literary encyclopedic dictionary, page 87). The volume of internationalized intervals is not permanent, as in silhlor-tonic sizes, but ranges in the range of 1-2 syllables (see the first line):

 -- -- -- -- -- -- -- -- --

But the rhythmic drawing of another block poem. Do you learn his first line?

TA / TA-TA / TA / TA-TA

Ho / Dasha / January / Pharmacy /

Yes, it's all the famous "night. Clever. Lamp. Pharmacy". Here we are also dealing with Dolnik. Recall both O. great meaning Pause in such verses (another name Dolnik - Pause).

Dolnica (previously used the term Pausenik) is the type of tonic verse, where only the number of shock syllables coincides in the rows, and the number of unstressed syllables between them ranges from 2 to 0.

"Days (0) Bull (0) Peg,

Slow (2) years (1) Arba,

Our (0) God (0) Running,

Heart (1) Our (2) drum.

Vladimir Mayakovsky

The general formula X ú x ú x ú, etc. (ú - shock syllables, X - unstressed; the value of X is a variable; x \u003d 0, 1, 2). Depending on the number of strokes in the line, the two-string dolnica is distinguished, a three-string, four-stone, etc. This kind of verse is characteristic of languages \u200b\u200bwith tonic stations and is very often found in English, Russian, German poetry. You can distinguish a number of dolnica modifications, depending on the number of strokes in the line (some modifications of the dollar do not preserve an equal number of accents, for example, many Mayakovsky verses), on the degree of varying the number of unstressed syllables between shock and so on.

In the event that lines with a cross interval 3 are allowed, talking about clocks, if 4 or more - about the accent verse.

In Russian poetry, Dolnik is a very old verse form. By its structure, he undoubtedly dates back to a folk verse, which, minus his musical side, is mainly suitable under the Tactic formula, and many lines fit into the rhythm of the dolnik (it was from a folk poem argued and theoretically ("Experience about Russian poems", 1812) And practically ("rivers", trans. from Confucius, etc.) of the East, who defended the introduction to Russian Poets of Dolnik). In a certain sense, the size of Syllabo-tonic poems, in which the circuit number of unknown between shocks in some cases was not respected, due to which they were an education close to the dolly (for example, a Russian hexameter).

In Russian poetry, Dolnik cultivated symbols, then futurists. He used special distribution in the poetry of the beginning of the 20th century (see the chapters about the dolnica in the "Introduction to the metric" V. M. Zhirmunsky, p. XXX, 184 and the following).

The term "dolnik" was introduced in the early 1920s V. Ya. Bryusov and G. A. Shengheli, but in relation to what is known now as an accent verse. Initially, the dolnik was called in Russian St. Pause Pause (the term first noted at S. P. Bobrov), but starting from the works of V. M. Zhirmunsky term "dolnik" and "Pausenik" are used as equivalent.

Rhyme

Rhyme (from Greek. Rhythmós is a slightness, proportionality), consonance of poetic lines having a fondic, metric and composite value. R. emphasizes the border between verses and connects poems in stains. In poetry of most peoples R. is at the ends of the verses, but there are regular initial consonances (for example, initial associations in Mongolian poetry). At different times and of different nations To R. various requirements were presented, therefore, a single universal definition of R. on sound composition can not be: it depends on how literary traditionand from the phonetic structure of the language. For example, in Russian poetry, the basis of R. - consonance of shock vowels; In the Czech language in which the emphasis always falls on the initial syllable, the consonance of the last syllables may not depend on the place of emphasis.

At the place of stress R. are divided into men's - with an emphasis on the last syllable (shores - rays), women - with an emphasis on the penultimate syllable (Ruslan - Roman), dactilic - with an emphasis on the third to the end of the syllable (shaken - fascinated) and very rare hyperdactic (poking - jumps) with a large number of postply syllables (see clause). The mutual arrangement of the rhyme rows can be different. Main rhyme methods: adjacent- According to the scheme of AA BB ... (Raven to the Crown flies, / Raven Vorona screams ... - Pushkin ); Cross - Ababa (ruddy zage / woven east, / in the village behind the river / ground light ... - Pushkin); coverage, or Walking, - Abba (Jack dries on the tune. / For farms, on Bacchah, / in non-jarous solar rays / Bronze melons blush ... - Bunin). These rhyme methods can alternate and gossip. Poem on one R. - mONORIMS.- Rare in European poetry, but widespread in the poetry of the Middle and Middle East (see Gazelle, Casida, Rubai). A certain, repeated location R. is one of the signs of stanza.

In Russian poetry, R. leads origin from the syntactic parallelism common in the folklore, thanks to which at the ends of the verses turn out to be the same parts of speech in the same grammatical form, which is generated by consonance: "Humped in the hay in stack, and the birody in the coffin." In ancient Russian. Poets prevailed the so-called grammatical (suffixing-flexive) R .: Beasha - Knowing, knocks off - distinguishes. From the 18th century The R. is beginning to be valued, formed by different parts of speech (night - away, etc.). Then (as previously in French poetry, etc.), the requirement of the exact R. is gradually established, that is, the one in which the final shockmark is coincided and all the sounds behind it (toy - hand). If the so-called support consonants are also coincided, R. is then called rich (Haushes - Zeus), if the consonance captures the estate syllable, is deep (not a closet). From the middle of 19 century. In Russian verse, the so-called approximate R. are increasingly found, in which the impressive vowels do not coincide (the air is distributed). From the beginning of the 20th century Poets more often consume inaccurate R. different types: Assonance - consonance of vowels when incurred (usually partial) consonants (cloud - about); truncated R., with a truncle of the final consonant in one of the words (forest - cross, flame - memory); Composite R. (up to one hundred ages); Consonances in which drums are different (NOROV - Communards); Non-aloves with R., in which men's or dactilic endings are rhymes with female or hyperdactic (dads - falling).

R. Has a semantic meaning: it "... Returns you to the previous line ... Causes all the lines, make out one thought, hold together" (Mayakovsky V. V., full. Coll. Op., Vol. 12, 1959 , p. 235). Aesthetic estimate R. (its accuracy or inaccuracies, novelty or traditionalness, etc.) is impossible outside the context of the poem, excluding its composition and style.

Sonnet (Ital. Sonetto, from Provence. Sonet - Song), Firm poetic form: Poem from 14 string, divided by 2 Quarters (Katro) I. 2 tri-wing (tercet); Only 2 rhymes are repeated in the kathers, in Tereceth - 2 or 3. The most common 2 types of the location of the rhymes are: 1) "Italian" - rockers according to the ABAB ABAB or ABBA ABBA scheme, tercets according to the CDC DCD or CDC CDE scheme; 2) "French" - ABBA ABBA and CCD EED or CCD EDE. Verse S. - 11-Complex in Italian and Spanish poetry, 12-Combix - in French, 5-stop jamb in English, 5- and 6-stop jamb - in German and Russian poetry. A variety of deviations are possible from the classic scheme: a change in the order of rhymes (abab baab, "poet" A. S. Pushkin), introducing unnecessary rhymes (ABBA CDDC, etc.), introducing unnecessary strings (C. with code, etc. ), free order of katrens and tercets, the use of unconventional sizes, etc. From such "free forms" canonized to some extent "English S." Shakespeare type (Abab CDCD EFEF GG). A clear inner part of S. allows to emphasize the dialectical development of the topic: already early theorists provided for "Rules" not only for the form, but also for the content of S. (pauses, points on the borders of the stanz; meaningful word not repeated; The last word is the semantic key of the entire poem, etc.); In a new time, the deployment of the topic of 4 strangers S. More than once was reflected as the sequence "thesis - the development of the thesis - antithesis - synthesis", "Zaguka - Development - Culmination - the omission", etc.

Of all the solid poems of European poetry, only S. received wide and free use in the lyrics. C. originated in Italy in the 1st half of the 13th century. The classic form was received in Florence at the end of the 13th century. (Dante), the broadest popularity conquers than thanks to F. Petrarke (317 sonnets about the laure), dominates the lyrics of Italian Renaissance and Baroque, from 16 V. Returns to Spain, Portugal, France, England (L. De Vega, L. Kamense, P. Ronsar, Du Belly, W. Shakespeare, J. Donn, etc.), at 17th century. Reaching Germany, in 18 V. - Russia (V. K. Tredyakovsky, A. P. Sumarokov). Romanticism revives interest in S., who fell in the era of classicism and enlightenment; Current Center S. are Germany (A. Schlegel, N. Lenaau, A. Platen), England (Wordsworth, E. B. Browning, D. G. Rossetti), partly Slav. Countries (J. Collar, A. Mitskevich, in Russia - A. A. Delvig, A. A. Grigoriev) and France (S. Bajler, J. Eredia). S. cultivated poetry symbolism and modernism - P. Vellen, P. Valerie, G. D "Annunzio, S. George, R. M. Rilke, V. I. Ivanov, V. Ya. Bryusov, etc.; From poets, overcoming modernism - I. Becher, but for one of them this form did not

the main thing in his work. In owls. Poets with the form of S. experimented by I. Selvinsky, S. Kirsanov, etc.

Haiku

Haiku (otherwise - haiku), genre and form of Japanese poetry; Three-sided, consisting of two walking fifteen poems and one seventeenth in the middle. Genetically dates back to the first half-built tank (Hockey literally - the initial poems), which differs from the simplicity of the poetic language, the refusal to the former canonical rules, an increase in the role of associative, inexpensive, hint. In its formation X. several stages passed. Poets Arakid Morieta (1465-1549) and Yamadzaki Socan (1465-1553) were seen in X. Purely comic genre. Merit of the conversion of X. The leading lyrical genre belongs to Matsuo Bass (1644-94); The main content of X. became landscape lyrics. With the name Tanyiguti Buson (1716-83), the expansion of the subject of X is connected. In parallel in 18 V. Comic X is developing., allocated to an independent satirco-humorous genre Senry. In late 18 - early 19th centuries. Kobayashi Issa introduces civil motifs in X. In the late 19th - early 20th centuries. Masaok Siki put to X. Borrowed from the painting method "sketches from nature" (Syasay), who contributed to the development of realism in the X genre.

What is hockey

HAIKU(Otherwise - Haiku, Khakai) - Trirashny (three-strict) lyrical, as a rule, a poem, which is the national Japanese form of "Dantossi" ("Poetic Tradition"). Hockey usually depicts nature and man in their eternal continuity. In each hockey, a certain measure of poems is observed - in the first and third verses of five syllables, in the second verse - seven, and there are 17 syllables in the hockey. Of course, it concerns hockey in Japanese, but also in Russian, it is customary when writing hockes to adhere to a certain rhythmic pattern.

Matsuo Bas - a recognized master of Japanese poetry. Hockey Bass is truly masterpieces among the hockey of other Japanese poets. Bass is a pseudonym the great poet. At birth, Bass was called Kindzak, upon reaching the age of majority - Munefus; Another name Bas - Dzinsitiro. Matsuo Basa is a great Japanese poet, a poet theorist. Barbed Bass in 1644 in the small castle city of Weno, the province of Iga (Hons Island

"Autumn has already come!" -

Whispered to me in the ear's ear

By putting my pillow.

The stock edge is that

Who will not say with lightning brilliance:

"Here it is our life!"

All unrest, all sorrow

Of his torment heart

Flexible I will give.

Tank - Japanese poems five-poles

And with envy look like a white wave

Runs back to the edge left.

Oh if used in the world

Forever didn't happen

Flowering cherries!

Probably then in spring

My heart comforted.

Rubai(Quarters), form of lyrical poetry of the peoples of the Blesn and Middle East. Borrowed from the widespread oral folk creativity of Persians and Tajiks (another name R. in Folklore - Dubai or Taran). In written literature, in which, in contrast to Sillabic People's Meter, R. is built in the meter of Arza, it appears already in 9-10 centuries. (Rudaki et al.) And since then, invariably serves to express a lyrical topic with the predominance of philosophical reflections. From perrsoy-speaking literature R. goes to Arabic, many Turkic literature and literature Urdu. As the genre form R. reaches a heyday in the middle of the 11th century, but from the 2nd half of the 12th century. Noticeably inferior to the place of the Gazelle. R. consists of 4 semi-edible (or two beans), rhymes in the type of AAC, less often by the AAAA type.

Omar Khayam

Where did we come from? Where is your way right?

What is the meaning of our life? He is incomprehensible to us.

How much clean souls under the wheel of azure

Burns in ash, in dust, and where, tell me, smoke?

Gazelle

Abu Ali Ibn Sina.

Gazelb (Gazal) is a lyrical poem in which two semi-edge of the first beite rhymes are rhymed, and then the same rhyme is maintained in all the second semi-cakes of each subsequent Bates by the type "AA, BA, CA, DA", etc. In the last Bate Gazelles often called the poetic name (Takhallus) author.

Perfectly clean wine, they are elevated and rich in the Spirit

Fragrance it eclipsed roses fragrance

As in the teaching of the Father, there is a blessation in the negative

Khunzha in wine finds a lie, and wise is the truth of a generous treasure.

Wine is not harmful, it is a destruction for ignoramus,

In it, poison and honey, good and evil, satellite shadow and light condition.

Imposed on the wine prohibition because of ignorance ignorance,

Unableless split peace on the bright paradise and gloomy hell.

What is the fault of wine for drinking his fool

Having got drunk pleasedly and, that will not say, the nefple.

Pey Mudro, like Abu Ali, I truth I swear:

Wine will indicate the right way to country, the truth of the windograd.

Ten signs have a noble soul,

Six her humiliate. Being free

She from the meanness, lies and the envy is low,

Cared to close, unfortunate and peopling pain.

Kohl is rich, then to friends show their generosity,

Be support to them and the star traveling.

And in place in poverty - be and strong and proud,

Let his face yellowed in longing hopeless.

Age brief, every sigh of our may be the last,

Do not torment about the world careless care

Death plays without tired in his backgammon: we are checkers