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What is love poetry in literature definition. Definition of "lyrics"

Lyrics, lyric poetry (from the Greek λυρικός - “performed to the sounds of the lyre, sensitive, lyric”) is a type of literature that reproduces a subjective personal feeling (attitude towards something) or the mood of the author (ESBE). According to Ozhegov’s dictionary, lyricism means sensitivity in experiences, in moods, softness and subtlety of the emotional beginning; Efremova’s dictionary notes emotionality, poetic emotion, and sincerity that characterize him. According to the dictionary of L.P. Krysin, lyric poetry is poetry that expresses the feelings and experiences of the poet.
“Lyrical manner of narration” presupposes a type of construction of an artistic image that is based on emotional experience. If in epic and drama the image is based on a multifaceted image of a person in his activities, in complex relationships with people in life process, a lyrical image is an image-experience. But the experience is socially significant, in which the individual spiritual world of the poet, without losing its autobiographical nature, receives a generalized expression, thereby going beyond the scope of his personality. A lyrical image is an aesthetically significant experience, the autobiographical principle is present in it as if in a filmed form, and for us it is important that the poet experienced this experience and that it could have been experienced at all in these circumstances. If we know that a lyrical experience is not autobiographical, it still retains its artistic significance because it could have been experienced. There is a tradition to consider lyrics as the poet’s concentration on his individual inner life. Thus, lyrics are interpreted as “confessional creativity”, as “self-expression” and “self-disclosure”.
Unlike epic and drama, lyrics are not related to plot, like constructive feature, although it does not exclude the simplest plot organization. As A. Potebnya noted, unlike the epic, where the past tense dominates, a lyrical work is written in the present tense. If about epic and dramatic works we have the right to ask “how did it end” or briefly outline its eventual basis, then in relation to lyrical works this question makes no sense.
A lyric poem in its most concentrated form is a moment of inner human life. We find ourselves, as it were, at the epicenter of an experience that embraces the poet and which is holistic. Unlike epic and drama, lyric poetry does not have the ability to broadly describe the phenomena of reality; the main means in a lyrical work is the word, which in its organization corresponds to the experience that finds its expression in it. In a lyrical work, a word is distinguished by its compactness, the significance of each sound, intonation, rhythmic element, the shade of emphasis and pause. Every element of speech, every nuance and shade is noticeable.
Lyrics include a poem, a romance, a message, an elegy.
The origins of lyrics lie in the ability of the singer (reader) to convey mood, emotion with vocals, intonation, words and rhyme.
The oldest works of artificial lyricism that have come down to us are the Psalms of King David and the Song of Songs. The psalms subsequently formed the basis of religious Christian lyrics and were translated into all European languages. The Song of Songs, attributed to King Solomon, can be called a lyric-dramatic poem; its content has given rise to many different interpretations.

LYRICS

LYRICAL POETRY OR LYRICS

one of the main types of poetry, in which the poet directly expresses his feelings and passions of the soul; its name comes from the lyre (see this word); its sublime form is a hymn, an ode and a dithyramb; ordinary - elegy, thought, song, sonnet, etc.

Dictionary of foreign words included in the Russian language. - Pavlenkov F., 1907 .

LYRICAL POETRY, LYRICS

A type of poem whose subject is the expression of the poet’s feelings; It got its name from the musical instrument lyre, to the accompaniment of which poems were recited in Greece.

, 1910 .

LYRICS

see lyric poetry.

Dictionary of foreign words included in the Russian language. - Chudinov A.N., 1910 .

LYRICS, or LYRICAL POETRY

a type of poetic work in which the poet expresses his thoughts, feelings and mood.

Complete dictionary foreign words that have come into use in the Russian language. - Popov M., 1907 .

Lyrics

(gr. lyrikos musical, melodious)

1) one of the three main types of verbal art (along with epic and drama), usually using poetic form; l. is a direct expression of individual feelings and experiences;

2) a set of works of this kind.

New dictionary foreign words.- by EdwART,, 2009 .

Lyrics

lyrics, plural no, w. [Greek lyrike]. 1. A type of poetry that primarily expresses the personal moods and experiences of the poet. || A type of music with a predominance of emotional and subjective elements. 2. The totality of works of this type of poetry. Lyrics of the 19th century. 3. transfer Emotions, the predominance of the emotional element over the rational (colloquial). Leave the lyrics, get to the point.

Big dictionary foreign words.- Publishing house "IDDK", 2007 .

Lyrics

And, pl. No, and. (German Lyric Greek lyrikos musical, melodious).
1. One of the three main types of verbal art (along with drama And epic): poetry that expresses the poet’s feelings and experiences. A work in the lyric genre.
2. A collection of works of this type of poetry. Antique l. L. Lermontov.
3. trans., decomposition Excessive sensitivity (to the detriment of the rational principle). Give up this lyricism!
|| Wed. sentiment.

Dictionary foreign words by L. P. Krysin. - M: Russian language, 1998 .

Synonyms:

See what "LYRICS" is in other dictionaries:

LYRICS. The division of poetry into three main types is traditional in literary theory. Epic, literature and drama seem to be the main forms of all poetic creativity. Moreover, by epic (see) we mean poetry that objectively tells about... ... Literary encyclopedia

Lyrics- LYRICS. This word means that type of poetic creativity that represents the revelation, expression of the soul (whereas the epic tells, consolidates external reality, events and facts in words, and drama does the same, not from ... ... Dictionary of literary terms

Active ingredient ›› Pregabalin* (Pregabalin*) Latin name Lyrica ATX: ›› N03AX16 Pregalabin Pharmacological group: Antiepileptic drugs Nosological classification (ICD 10) ›› G40 Epilepsy ›› G62.9 Polyneuropathy… … Dictionary of medicines

LYRICS, lyrics, many. no, female (Greek lyrike). 1. Type of poetry, preem. expressing the personal moods and experiences of the poet. || A type of music with a predominance of emotionally subjective elements. 2. The totality of works of this type of poetry. Russian… … Ushakov's Explanatory Dictionary

- (from the Greek lyrikos pronounced to the sounds of the lyre), a literary genre (along with epic, drama), the subject of which is the content of inner life, the poet’s own self, and the speech form is an internal monologue, mainly in verse. Covers many... Modern encyclopedia

- (from the Greek lyrikos pronounced to the sounds of the lyre) a literary genre (along with epic, drama), the subject of which is the content of inner life, the poet’s own self, and the speech form is an internal monologue, mainly in verse. Covers... ... Big Encyclopedic Dictionary

Lyrics- (from the Greek lyrikos pronounced to the sounds of the lyre), a literary genre (along with epic, drama), the subject of which is the content of inner life, the poet’s own “I”, and the speech form is an internal monologue, mainly in verse. Covers... ... Illustrated Encyclopedic Dictionary

LYRICS- (from the Greek lýra musical instrument, to the accompaniment of which poems, songs, etc. were performed), a type of literature (along with epic and drama), in which it is not the object that is primary, but the subject of the statement and his relationship to what is depicted. IN… … Literary encyclopedic dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

lyrics

lyrics, plural no, w. (Greek lyrike).

Type of poetry, mainly expressing the personal moods and experiences of the poet.

A collection of works of this type of poetry. Russian lyrics. Lyrics of the 19th century. Pushkin's lyrics.

trans. Emotions, the predominance of the emotional element over the rational (colloquial). Leave the lyrics, get to the point. My father became lyrical. Chekhov.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

lyrics

Kind of literary work, predominantly. poetic, expressing feelings and experiences. Russian classical l.

A collection of works of this type of poetry. L. Pushkin.

trans. The same as lyricism (in 2 meanings).

adj. lyrical, -aya, -oe. Lyric poetry. Lyrical digression (in an epic or lyric-epic work: a digression imbued with lyricism, colored by the author’s intimate address to the reader). Lyrical mood.

New explanatory dictionary of the Russian language, T. F. Efremova.

lyrics

A type of music with a predominance of emotional and subjective elements.

decomposition A state, a mood in which emotional elements prevail over rational ones; lyricism (2).

Encyclopedic Dictionary, 1998

lyrics

LYRICS (from the Greek lyrikos - pronounced to the sounds of a lyre) is a literary genre (along with epic, drama), the subject of which is the content of inner life, the poet’s own “I”, and the speech form is an internal monologue, mainly in verse. Covers many poetic genres, for example: elegy, romance, gazelle, sonnet, song, poem. Any phenomenon and event of life in the lyrics is reproduced in the form of subjective experience. However, the poet finds “self-expression” in the lyrics thanks to the scale and depth of the author’s personality universal significance; she has access to the fullness of expression of the most complex problems of existence. High examples of lyric poetry were created by Anacreon, Catullus, Arab poets of the 6th-8th centuries, Li Bo, Saadi, F. Petrarch, J. Byron; in Russia - A. S. Pushkin, A. A. Blok.

Lyrics

(from the Greek lýga ≈ a musical instrument, to the accompaniment of which poems, songs, etc. were performed), one of the three types of arts. literature (along with epic and drama), within which the attitude of the author (or character) is revealed as a direct expression, an outpouring of his feelings, thoughts, impressions, moods, desires, etc. In a lyrical image through a grain of living feelings (thoughts, experiences) of the poet all eternal existence expresses itself, deep socio-political and spiritual-historical conflicts, intense philosophical and civil quests. This, in particular, is reflected in the thematic highlighting of such types of literature as philosophical (“God” by G. R. Derzhavin, “The Inexpressible” by V. A. Zhukovsky, “A Vain Gift, an Accidental Gift” by A. S. Pushkin, “Truth” by E. A. Baratynsky, “Fountain” by F. I. Tyutchev), civil (“To Chaadaev” by Pushkin, “Farewell, Unwashed Russia” by M. Yu. Lermontov, “Testament” by T. G. Shevchenko, “Reflection” at the front entrance" by N. A. Nekrasov, "Newspaper Readers" by M. Tsvetaeva, "Midnight in Moscow" by O. Mandelstam, "Russia" by A. A. Blok, "Poems about the Soviet Passport" by V. V. Mayakovsky, "Fragmented torn base of the monument" by A. T. Tvardovsky), love, landscape, etc.

“The great poet,” wrote V. G. Belinsky, “speaking about himself, about his self, speaks about the general – about humanity, for in his nature lies everything that humanity lives by” (Poln. sobr. soch., vol. 4, 1954, p. 521). But in L. the objective world is revealed through the poet’s attitude towards it, and its artistic equivalent is the emotional perception of the world, transformed into the experience of the subject. Eventfulness, the effective result of experiences and aspirations, the sphere of the hero’s actions usually remain outside the boundaries of the lyrical work. And even when the author introduces signs of the external world into lyrical works - landscape, everyday life, portraiture, etc., they lose their independence from the subject, pictorial elements acquire, as a rule, expressive functions and become conductors of lyrical experience: or its “mirror” reflections (“September Rose” by A. A. Fet), or emotional “signals” (“I’m on right hand put on the glove with her left hand” by A. Akhmatova), or by its symbols (“Sail” by Lermontov), or, finally, as a contrasting counterbalance to the subjective state of mind (“Spring” by Tyutchev). The generic essence of L. is manifested with maximum clarity in works, the very subject of which is “the soul itself, subjectivity as such” (Hegel); here “... the feeling is self-sufficient, serves as its own object...” (Veselovsky A.N., Historical Poetics, 1940, p. 286).

Lyrical works that convey the overflows and shades of inner life, individual moments of mental movement, can reach extreme brevity, and then in L. the external structural difference from the epic, which tends to unfold in time and space, to monumentality, especially clearly appears. A lyrical work remains a complete, artistic and integral creation, even if it consists of only two lines:

I hate her and I love her. “Why?” - you ask.

I don’t know myself, but this is how I feel and I’m languishing (Catullus).

Making the unique spiritual state V artistic image, L. gives it a broadly generalized meaning; the lyrical work seems to offer readers experiencing a similar state ready-made forms of expression; hence the memorization and quoting of lyrical poems as a phenomenon of “everyday life” (the limiting case of such “anonymous” universality of lyrical feeling is a song, for example “Dugout” by A. A. Surkov, “Wait for me” by K. M. Simonov, “Migratory birds are flying” ..." M.V. Isakovsky). At the same time, any state of mind is formalized in L. as specifically belonging to the individual, as her internal monologue. In a lyrical composition, the contemplating, perceiving, thinking “I” usually predominates, although in certain types of poetry, for example, in landscape, philosophical, the “I” is sometimes only implied, not present compositionally.

If the prototype of the lyrical “I” is the author himself, that is, his true moods, “captured alive and instantly transformed into lyrical emotions” (Ovsyaniko-Kulikovsky D.N., Sobr. soch., vol. 4, St. Petersburg, 1912, p. 99), ≈ in such cases they usually talk about “subjective”, “personal” L. However, the subjectivity and personal authenticity of the lyrical feeling here do not mean a literal coincidence with the biographical experience of the author. The lyricist, typifying (or “objectifying”) his life experiences, “pushes them away from himself as an object” (Fet), creatively speculates and transforms them, thanks to which the fact personal biography develops into a work of art, and the poet’s “self-expression” into an expression of the thoughts and aspirations of his contemporaries. The naturalness with which “I” is replaced by “we” in Lermontov’s “Duma” is indicative.

In “objective” (or “role-playing”) literature, the author reproduces other people’s thoughts and feelings, so that the discrepancy between the “I” of the lyrical character and the biographical appearance of the author becomes obvious (for example, “Crazy” by A. N. Apukhtin, “I was killed by Rzhev" by A. T. Tvardovsky). However, the intended difference between the two types of poetry, which is important for the study of the psychology of creativity, is partly “erased” in the reader’s perception by the emotionality of the lyrical work, which is always expressed in it openly, as directly from the author.

The uniqueness of the problem of the image of the author in L. is emphasized by the concept of “lyrical hero” adopted in Soviet criticism. The term “lyrical hero” (first introduced by Yu. Tynyanov in relation to Blok’s lyrics) indicates precisely that between the real biographical personality of the lyric poet and its reflection in art, there can be a certain unity, closeness, but not identity. Moreover, in connection with the discussion of the boundaries of the content of the term, the question of the degree of this closeness arose in the 1950s–1960s. subject of controversy. In some cases, the “lyrical hero” meant an extremely generalized “I”, cleared of empirics, biographical facts and completely coinciding with the “we” of the generation, social group, people, in others - the term was understood as a bashful cover for the idea of subjective “self-expression” in L. Obviously, the concept of “lyrical hero” is filled with strictly defined content mainly when analyzing the work of such lyricists, in whose poetry the lyrical “I” is present not just as a sign unity of attitude to the world, as a prism of the author’s consciousness (for example, in Tyutchev), but is clothed with stable features - biographical, psychological, even plot, appears as a figure (for example, in Blok, partly in S. Yesenin), endowed with an integral characteristic. This special shape identification of the author's consciousness is born along with L. romanticism; The discovery of the lyrical hero in this specific sense in Russian poetry belongs to Lermontov. Apparently, the psychologically characteristic figure of the lyrical hero occupies intermediate position between the author’s “I” in a lyrical diary, letter, message and forms close to them (for example, “I loved you...” by Pushkin), on the one hand, and the character in the “role-playing” L., on the other; the lyrical hero is a kind of “role”, but has not lost touch with the ideological and psychological appearance of its prototype - the author of the work.

The classification of lyrical genres is historically changeable, and there is still no classification that is in any way adequate to the real complexity and diversity of lyrical genres. In folk art, for example, genres are classified according to practical purpose and conditions of performance (ritual, game, dance, family songs, etc.), in ancient literature - according to forms of performance (recitative-declamatory L.: elegy, iambic; solo, choir); in European literature of the Renaissance and classicism - by aesthetic tonality and social function (ode, elegy, epistle, song, etc.); in the 19th century ≈ mainly on a thematic basis (philosophical, civil, love, landscape, etc.). In the 19th-20th centuries. there is also a division into meditative L. (emotional reflection, excited thinking about “eternal themes”: “Both boring and sad” by Lermontov, “ Autumn evening“Tyutchev, “I don’t regret, I don’t call, I don’t cry” by Yesenin) and suggestive (“suggestive” by L., enchanting with “captivating obscurity” ≈ “Singer” by Fet, “ winter night"B. Pasternak). A different type of division is noticeably prominent (including a song, a lyric poem, a monumental poem, for example, “About This” by Mayakovsky).

L. discovers the figurative and expressive capabilities necessary for the creative implementation and typification of inner life in the very nature of words - in the phonetic appearance and sound compatibility of words, in internal form words, in the synonymy of language, in the syntactic and intonation organization of speech. Here the lyricist finds that “unexpected expressiveness of words” that replaces any way of describing events (N. Aseev). These possibilities are realized in L.: the word “densifies” - every sound, intonation, rhythmic element, shade of stress, pause, syllable acquires significance; speech is saturated with alliteration and assonance, comparisons, tropes, various kinds of parallelism, and syntactic figures. The rhythmic organization of speech greatly contributes to increased emotionality. Therefore L. gravitates towards poetic speech, and at certain stages of development (in the work of troubadours, minstrels, mastersingers) it merges with music.

The origins of L. are lost in ancient times. Already the earliest ritual and ritual folk songs are high examples of literature. The lyrical works of the greatest poets of antiquity remain eternally alive (Sappho, Anacreon ≈ Greece; Catullus ≈ Rome); Arab East 6th-7th centuries. (primarily Imru-ul-Qais); Provençal troubadours; medieval China (Li Bo, Du Fu), Iran (Hafiz) and other countries. At the turn of two grandiose eras - the Middle Ages and the Renaissance - Dante's lyrics were heard, and Petrarch's sonnets marked the beginning of a new time. In the 19th century In Europe, literature experienced a rise during the turning points of the beginning and end of the century: J. Byron, P. B. Shelley, W. Wordsworth (England), A. Musset, P. Verlaine (France), J. W. Goethe, F. Schiller, G. Heine (Germany), Leopardi (Italy), A. Mickiewicz (Poland), E. M. Rilke (Austria); upheavals of the 20th century. reflected in the lyrics of Paolo Neruda (Chile), Garcia Lorca (Spain), Nazim Hikmet (Turkey). In Russia, the entire wealth of lyrical genres is presented in the poetry of Zhukovsky, Pushkin, Lermontov, Tyutchev, Nekrasov, Fet, Blok, I. Annensky. High examples of literature were created by Soviet poets: Mayakovsky, Yesenin, E. Bagritsky, Pasternak, N. Zabolotsky, Tvardovsky. Soviet literature is characterized by the development of monumental and song genres, a desire for dramatized forms of poetic speech, and in thematically≈ the richness and diversity of types of civil literature, imbued with the pathos of the unity of the personality of the poet and the people and most typical of the poetry of socialist realism.

Lit.: Hegel G.V.F., Aesthetics, vol. 3, M., 1971; Belinsky V.G., Division of poetry into genera and types, Complete. collection soch., vol. 5, M., 1954; Ovsyaniko-Kulikovsky D. N., Lyrics as special kind creativity, in the book: Questions of theory and psychology of creativity, vol. 2, century. 2, St. Petersburg, 1910; Zhirmunsky V. M., Composition of lyric poems, P., 1921; Eikhenbaum B. M., Melodics of Russian lyric verse, P., 1922; Larin B., On lyrics as a type of artistic speech, in the book: Russian speech, collection of articles. 1, L., 1927; Ginzburg L. Ya., About the lyrics, M. ≈ Leningrad, 1964; Skvoznikov V.D., Lyrics, in the book: Theory of Literature, [book. 2], M., 1964; Gachev G. D., Content artistic forms, M., 1968; Timofeev L. I., Fundamentals of the Theory of Literature, 4th ed., M., 1971.

V. A. Bogdanov, I. B. Rodnyanskaya (about the lyrical hero).

Wikipedia

Lyrics

Lyrics, lyric poetry(from - “performed to the sounds of a lyre, sensitive, lyre”) - a type of literature that reproduces the subjective personal feeling or mood of the author (ESBE). According to Ozhegov's dictionary, lyricism means sensitivity in experiences, in moods, softness and subtlety of the emotional beginning; Efremova’s dictionary notes emotionality, poetic emotion, and sincerity that characterize him. According to the dictionary of L.P. Krysin, lyric poetry is poetry that expresses the feelings and experiences of the poet. Lyrics include poem, romance, message, elegy.

The origins of lyrics lie in the singer’s ability to convey mood, emotion with vocals, intonation, words and rhyme.

The oldest works of artificial lyricism that have come down to us are the Psalms of King David and the Song of Songs. The psalms subsequently formed the basis of religious Christian lyrics and were translated into all European languages. The Song of Songs, attributed to King Solomon, can be called a lyric-dramatic poem; its content has given rise to many different interpretations.

Lyrics (theater)

"Lyrics" or "Lyrical"- name of the theater in different cities of the world:

Lyrics (theater, Broadway)

"Lyrics" or "Lyrical" is a Broadway theater located on West 43rd Street in the theater district of Manhattan, New York, USA. It is managed by the theater company Ambassador Theater Group.

Lyrics (group)

"Lyrics"- a poetic association that arose in Russia in 1913. The organizer and ideological leader of the group was Sergei Bobrov, among the participants were Nikolai Aseev, Boris Pasternak, Yulian Anisimov, Vera Stanevich, Sergei Durylin, Semyon Rubanovich, Konstantin Loks. The group sought to forge a middle path between symbolism and futurism.

In the same year, the group's almanac of the same name was released; a second installment was planned but never materialized. The publishing house operated under the same name, which published Aseev’s first collections, as well as a collection of Anisimov’s translations from Rainer Maria Rilke. However, already at the beginning of 1914, Bobrov, Aseev and Pasternak considered that the remaining members of the group were not radical and artistic enough, and announced their withdrawal from it, forming the more radical association “Centrifuge”. After this, the activities of Lyrika virtually ceased.

Lyrics (album)

"Lyrics"- a magnetic album by the Moscow rock band "DK", recorded in 1983 and released as samizdat in 1985.

A collection of the best early things, compiled from the first two “numbered” albums - “I’ll Take You to the Tundra” (1983) and “Their Morals” (1983) with the overlay of A. Belonosov’s keys on some of the source material in the same year. The name was proposed by physicist Kirill Boyarchuk, who then worked together with S. Zharikov and G. Lyakhov (author of several texts for “DK”) at IOFAN. It was reissued in 1995 in the USA with a circulation of 900 copies.

The album "Lyrics" is mentioned in Alexander Kushnir's book "100 Magnetic Albums of Soviet Rock", where it is dated 1983.

Examples of the use of the word lyric in literature.

In the odes for Horace, the ancient Greeks were of fundamental importance lyrics Archilochus, Alcaeus, Sappho, Anacreon, Pindar.

Galynin's music is intense in thought; the obvious inclination towards epic, picturesque statements is shaded in it by rich humor and soft, restrained lyrics.

Guido Guinizelli, Cavalcanti, Cino da Pistoia and the entire circle of young Tuscan poets who, in refined words and refined forms of philosophical lyrics glorify the great charms of inspired love, attached to ideal spheres, and glorify the excitement of sublime and sweet feelings.

Lyrics lyrics, and director Govorukhin from the very beginning insisted that the actors undergo at least an abbreviated version of the mountaineering training course.

Phillips began writing for tabloid magazines, and, in addition, processed whole mountains of almost hopelessly graphomaniac prose and lyrics, sent to him by amateur writers who hoped that Phillips's magic pen would help them see their works in print - all this allowed him to conduct quite a independent image life.

Unique surreal lyrics Armen Grigoryan, brightened with black humor and flavored with a fair amount of irony, is popular and loved by several generations of listeners.

In Macedonia there once lived Melanipides, a dithyrambic poet from the island of Melos, the best lyricist of its time.

But corporate solidarity from the time of study still remained in force between the former midshipmen, and therefore Zhitetsky taught Panafidin a short lesson on how to behave more correctly with Reitzenstein: - Less lyrics.

Inborn lyricist, Kancheli rises through the objective balance of the epic to the tragedy, without losing the sincerity and spontaneity of the lyrical intonation.

Kublanovsky's merit, first of all, lies in his remarkable ability to combine lyrics and didactics, in the equal sign constantly affixed by his lines between these two principles.

If the legend is true, then the French lyricist Malherbe owes one of his best poems to a typo.

Breslavets Poetry Matsuo Basho M, Nauka, 1981, 129 The poet claims: the inner beauty of a vegetable can be as obvious and beautiful as those sung in Japanese lyrics chrysanthemum flowers.

This lyricist and the positivist passionately dreamed of happiness, of love, and suffered, thinking that he could not inspire love.

Outside of them remained non-classical trends, with which, however, Racine’s work had almost no contact or overlap, such as burlesque literature, everyday romance, lyrics.

We must also remember, we certainly must: The former French king Desvitsky, the Former Warsaw commandant Levitsky And Colonel Khvitsky, the American Monroe, Viscount Darlencourt and his Ipsiboe And all those who escaped the flood of Noah, the Musical Beethoven, And the customs Aries, Alexander Mikhailovich Gedeonov, All members of the senior and the youngest of the house of Burbonov, And the spouse of the unknown Beria, the Chamber cadet of Zagryazhsky, District Assessor of the city of Ryazhsky, And our fathers, who held on to the wine of Fryazhsky, Glorious lyrics Lomonosov, Moscow statistician Androsov And Pyotr Andreevich, Prince Vyazemsky snub-nosed, Olenin Stereotype And Vigel, Philip's son Philip, Former chamberlain Priklonsky, Mister Shafonsky, Pocket penny of Prince Grigory Volkonsky And Alexander the Great, You can't get around this, you can't go around, you need to Remember.

Lyrics is a rather difficult word to define. According to dictionaries, lyrics in the everyday sense are a person’s mood when emotional elements prevail over rational ones. Yours special meaning The term "lyrics" is also found in literature and music.

In this article we will tell you in more detail what lyrics are.

Lyrics in everyday life

As we said above, according to dictionaries, lyrics are the predominance of the emotional over the rational, a certain sensitivity, however this definition very sparingly describes the full depth of this term.

The word "lyrics" is multifaceted. So, a fairly common expression " lyrical mood“describes the state of a romantic, in love, emotional person, but in the phrase “leave the lyrics,” the word “lyrics” speaks of sublime, lengthy discussions, and these discussions are not necessarily about love and romance. For such reasoning, phrases like "if".

Lyrics in literature

Lyrics are one of the types of literature, along with epic and drama. Lyrical genres include ode, elegy, epigram, etc. Lyrics are also called a collection of works of this kind, for example, a collection of lyrics.

The meaning of lyrical literature is to reflect life through the feelings, impressions, experiences and thoughts of an individual character - the lyrical hero. The focus of artistic attention is on the image-experience, and all events that happen to the hero are described through the prism of this experience.

The greatest Russian poet A. S. Pushkin gave the world a lot of lyrical poems, among the most famous: “I loved you ...”, “Winter Evening”, “Pushchina”, etc. A. A. Akhmatova also delighted the audience with an abundance of lyrical works - “I learned to live simply, wisely...”, “Song of the last meeting”, “You know, I’m languishing in captivity.” S. A. Yesenin was also a famous lyricist - “Go away, my dear Rus',” “I don’t regret, I don’t call, I don’t cry...”, “Letter to my mother.” Any poet, therefore, is a lyricist.

Lyrics in music

Lyrical music is compositions with a predominance of emotional and subjective elements. One of the most common genres of musical lyrics is romance. The melody of a romance, as a rule, is very closely related to the text; many composers even combine romances into vocal cycles, for example, Schubert’s “Winterreise” or Beethoven’s “To a Distant Beloved”.

In addition, there are lyrical-epic symphonies in music, the founder of which is considered to be Schubert. Such symphonies are characterized by a narration of events combined with emotional experiences.

Greek lirikos - pronounced to the sound of a lyre) - a type of literature (along with epic and drama), a depiction of inner life, individual states a person, his experiences, feelings, thoughts caused by his surrounding life situation; covers many poetic genres that are capable of expressing in the form of subjective experiences the fullness of the most complex problems of existence.

Great definition

Incomplete definition ↓

LYRICS

I. Among the Greeks.

By the name of lyric poetry in a broad sense we understand any kind of poetic work that does not belong to either epic or drama, therefore including elegies, iambic poetry, etc.; in a narrower sense - and this is how the Greeks themselves understood it - it means only that kind of poetry that is closely connected with music and orchestration, the so-called melic and choric; the first was predominantly characteristic of the Aeolians, and the second was developed by the Dorians, as a result of which the first is also called Aeolian poetry, and the second Doric. While the Ionians, due to their special impressionability and receptivity to the phenomena of the external world, created epic and elegy, ahead of all other tribes in this, and took care of their development, the Aeolians, just as vividly and easily perceiving impressions from the outside, but distinguished by greater strength and depth of feeling, went further in developing the task of poetry and created a new kind work of art- melic poetry, in which the poet directly expressed his inner, individual thoughts and feelings caused by one or another circumstance, his anger and hatred, love and friendship, joy and grief. Expression this kind feelings no longer corresponded to the calmness and evenness that constitute distinctive feature elegies and rhapsodies; singing and a fast, less calm meter were necessary. Tension and excitement of feeling are naturally followed by relaxation and cessation, hence the melic stanza, consisting of several short repeated verses, followed by one or two final verses with a slightly different meter (sapphic, alcean stanza, etc.). The singing was accompanied by playing the string instrument. The beginning and subsequent development of this Aeolian poetry dates back to the end of the 7th and 1st half of the 6th century. BC, i.e. to the time of political struggle, when in each individual there is a greater consciousness of independence and when feeling and passion are expressed with greater force. The country where melic poetry appeared and mainly developed was the island of Lesbos. The Aeolians who lived on this island reached higher development spiritual life than those of them who lived in other places; music was of particular concern to them. Representatives of this kind of poetry were: Alcaeus of Mytilene (c. 612 BC), known for his passionate participation in the internal strife of the fatherland and a life full of continuous unrest; his contemporary and compatriot Sappho, together with her student Erinna. The poetry of the Ionian Anacreon should be looked at as a separate branch of Aeolian poetry. Choric or Doric lyric poetry, in which lyric poetry generally reached the highest stage of its development, had a different character compared to melic poetry. It no longer expressed the subjective feeling of an individual person - the poet, but the feeling and soul of an entire people. These songs were performed at festivals in honor of the gods by a dancing choir to the accompaniment of a musical instrument. Small, light aeolian stanzas were no longer suitable for this kind of representation; choric stanzas, an antistrophe corresponding to it in meter, followed by an epod different from both; during the antistrophe, the choir returned to its original place, performing in the opposite direction the same movements as in the stanza, and then, standing, sang the epode. The songs, according to their purpose and content, were various names. So, ????? was associated with the cult of Apollo. Already in Homer we find it in the form of a propitiatory song during a sacrifice to Apollo ( Nom. Il. 1, 472) or in the form of a victory song ( Il. 22, 331). From the paean of the first kind, especially in the cult of the Pythian Apollo, a song of praise and gratitude developed under Doric influence, or a song calling for help in trouble and relating not only to the savior gods - Apollo and Artemis, but also to other patron deities; paean performed during feasts, during????????? and?????????, had a special character. From the victory paean, especially under the influence of the Cretans, a battle song developed, performed when attacking enemies and after victory. Opposite to the paean was a song in honor of Apollo, called ?????????, of a cheerful and playful nature, and the singing of the choir was accompanied by gestures and dancing. ´????? there was a song of praise in honor of the gods, which the choir sang to the accompaniment of the cithara, standing in front of the altar; how the most ancient founders of these choric hymns should be looked at by the Apollonian singers Olenus, Philammon, etc.; Homer's hymns ( cm. Homerus, Homer, 9), as not intended for public honoring of the gods, like the later hymns of Callimachus, Mesomedes, and the Orphic poets, should be completely distinguished from the hymns dedicated to a famous cult. ABOUT?????????? cm. the word ?????????, Prosody (a modification of hymns, or paeans), were the names of the songs that the choir sang to the accompaniment of a flute while it was heading to the temple in a solemn procession; They had a slightly different character, so named because they were performed by a choir of young girls. ??????? there was a song of praise to glorify both individuals, kings and wonderful men, and any special events. Similar to the previous song, there was a song of praise in honor of the winner in a competition - ??????????, cm. Pindaros, Pindar. This also includes ?????????, drinking songs - of which the so-called ???o??? had a special character - and wedding songs, ????????? and ????????????, the latter were sung in front of the doors of the wedding room, and the former during the solemn procession of the bride by a choir of young men and maidens. The custom of escorting the newlyweds home, accompanied by a choir of young men and maidens with dances and songs and singing humorous songs at the wedding feast and in front of the newlyweds' bedroom, was very ancient. Nom. Il. 18, 492 sll. Hesiod. scut. Here. 274 sll. Cheerful wedding songs were the opposite of sad songs accompanied by a flute during funerals and wakes. Wed about these different periods melic poetry Bernhardy, Grundr. der griech. Litteratur II, 2, p. 624 sll., 3rd ed. Choric poetry had its beginnings in ancient times, even before Homeric times, and especially developed under the influence of the deeply religious tribe of the Dorians, mainly on the island of Crete and Sparta. But she received artistic development after great improvement in music, ca. 30 ol. (660 BC), thanks to poets who came partly from non-Doric states, such as Alcman from Lydia (c. 650 BC), Stesichorus from Himera (635-560) and Arion of Methymna (628-585). Although these poets generally adhered to the moral and religious character of the choric poetry of the Dorians, nevertheless, they treated their subject with greater freedom and independence of poetic creativity than was the case before them. Under the influence of the poets just named, choric poetry became the common property of all Greeks; It reached its highest prosperity at the end of the 6th and in the 1st half of the 5th century. BC, that is, shortly before the Persian War and during them thanks to the following poets: Ivicus of Rhegium (c. 530 BC), Simonides of Keos (556-469) and Pindar from Thebes (521-441); they are also joined by Bacchylides, nephew of Simonides (c. 473). For them, the choir serves only as a means of expressing the poet’s free inspiration. But, in addition, we should point out 3 women - Corinna from Tanagra, Telesilla from Argos (c. 500 BC) and Praxilla from Sikyon (c. 450), then Timocreon from the island of Rhodes ( who lived during the Persian Wars), remarkable for his ardor and caustic wit. Diagora from Melos (c. 470 BC), Kerkida from Megalopolis (c. 350 BC); Finally, the following poets are known for their praises: Philoxenus from the island of Cythera (c. 400 BC), Timothy from Miletus (died 357 BC), Polyides and Telestus from Selinunte (c. 350). BC). The more varied and majestic the melodic works of the Greeks were, the more one should regret that, with the exception of the encomia of Pindar, not a single one has reached us full poem. A collection of fragments of Greek lyric poetry (including elegiacs) is found in Th. Bergk: Poetae lyrici Graeci (4th ed., 1878-1882); elected in ed. Mehlhorn (1827), Schneidewin (1839), Stoll. (4th ed., 1862-1874), Buchholz (2nd ed., 1873-1875, 1st ed. 1880). Bergk (2nd ed., 1868).

II. Among the Romans, lyric poetry was adapted to their cult. Artistic development it achieved in the epigram, iambic and especially in elegy. Towards the end of the Republic, when familiarity with Greek literature became universal, Greek melos also found a place for itself. Catullus was the first lyricist of this kind; but the master of this poetry, and according to the verdict of the ancients, is considered to be Horace, who could really boast that princeps Aeolium carmen ad Italos deduxit modos (Od. 3, 30, 13 ff.). Many lyricists followed him in the first centuries of Christianity, even some of the Christians (Prudentius and others) made attempts in this way. Here we can name: Caesia Bassa, Salea Bassa, Vestrizia Spurinna, Statius, etc.

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