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Write a story about the distinctive features of a literary ballad. Modern scientific understanding of ballads

The Literary Encyclopedia of Terms and Concepts gives us the following interpretation of the ballad: Ballad (French ballade, from Provence balada - dance song)

1. Solid form of French poetry of the 14th-15th centuries: 3 stanzas with the same rhymes (ababbcbc for 8-syllable, ababbccdcd for 10-syllable verse with a refrain and a final half-stanza - a “premise” addressing the addressee). It developed from the crossing of the Northern French dance “ballets” and the Provençal-Italian semi-canzone.

2. Lyric-epic genre of English-Scottish folk poetry of the 14th-16th centuries. on historical (later also fairy-tale and everyday) themes - about border wars, about the legendary folk hero Robin Hood - usually with tragedy, mystery, abrupt narration, dramatic dialogue Literary encyclopedia of terms and concepts / Ed. A.N.Nikolyukina. Inst. scientific information in Social Sciences of the Russian Academy of Sciences. M., 2003. P.69..

V.E. Khalizev in “Theory of Literature” also talks about the ballad belonging to the lyric epic Khalizev V.E. Theory of literature. M., 1999. P. 316..

This definition of the concept of a ballad is given by scientific literature. To this we can add the characteristic of this genre given by T.I. Vorontsova in the article “Compositional and semantic structure of visual-narrative ballads of a lyrical nature”: “The ballad is small in size, describes events that have a beginning, a climax and an ending. This shows the epic nature of the ballad. Its plot is unreal, symbolic, and unclearly defined in space and time.” Vorontsova T.I. Compositional and semantic structure of visual and narrative ballads of a lyrical nature.//Text and its components as an object comprehensive analysis. L., 1986. P. 12. . R.V. Jesuitova in her article “The Ballad in the Age of Romanticism” says that “the ballad also gravitates towards a philosophical interpretation of its plots, is characterized by the duality of its construction, when behind the plot there are hints of the mysterious forces gravitating over a person.” According to this researcher, “the main structural trends of the ballad genre in the era of romanticism are expressed in the strengthening of the dramatic principle, in the choice of an acute conflict situation, in the use of contrasting character construction, in the concentration of ballad action on a relatively small space-time period. At the same time, the ballad intensively forms new principles of lyricism, abandoning didactics and moralizing.” Jesuitova R.V. Ballad in the era of romanticism//Russian romanticism. L., 1978. P. 160..

Formation of poetics features of the ballad genre

The wide variety of intra-genre trends, undifferentiated elements of ballad poetics, mixing of ballads with others genre forms- all this taken together explains the reasons for the fact that it is quite intense and has given considerable aesthetic results the process of formation of the ballad genre in Russian literature of the late 18th century. remained unfinished in a number of significant aspects.

The genre structure of a work is a certain artistic system of organizing a work, which is an organic fusion of general, typological principles of the genre and individual, unique forms of their manifestation in a given writer. Literary text ballads are a specific and direct implementation of the genre structure of the ballad. Mikeshin A.M. On the question of the genre structure of the Russian romantic ballad.//From the history of Russian and foreign literature 19-20 centuries Kemerovo, 1973. P.5

V.V. Znamenshchikov, one of the scholars studying ballads, cites the main features of this genre in his article “On the question of the genre features of the Russian ballad.” In his opinion: “In the study of poetics literary ballad You can use some provisions of folklore. For a literary ballad, certain genre features of a folk ballad are indisputable, others are modified (for example, “single-conflict and conciseness”); a literary ballad has only its own characteristics. The commonality is already revealed in aesthetic categories. It is based on the image of the “tragic” and “wonderful”.

The folk ballad, which is part of the system of epic genres of folklore, is subject to the laws of constructing an epic work. Its epic setting complicates the ways of directly expressing the characters' feelings. A dialogical form of action development appears, in which the story of the event and its depiction are combined. In the dialogue, the leading role of one of the characters is felt. In the structure of a folk ballad, this is manifested in the variability of the statements of the second character while maintaining a single theme (“hidden” questioning; with the consistent implementation of this trend, direct questions appear).

The literary ballad also highlights central character, whose efforts determine the development of the conflict. The second character may not appear. The motivation for the actions of the central character arises as a result of the use of new means: a dialogized monologue appears, hence the self-characterization of the characters. Widespread genre in the mid-20s. The 19th century created a “conventional motivation”: the reader knew the direction of development of the conflict, its participants, etc. At this time, Zhukovsky reduces the author's characteristics of the heroes.

In both literary and folk ballads, the conflict is often determined by the clash of “high” and “low” heroes. As a rule, the “low” character is especially mobile in the structure of the work. He is given the opportunity to enter into “familiar contact” with characters from another world. With the advent of science fiction, his mobility becomes even more obvious: only he experiences the influence of “higher” forces. The movements of the central character determine ballad space and time.

One can also notice the general compositional features characteristic of folklore and literary ballads. The work is clearly divided into two unequal segments: the development of the action and the finale (culmination and denouement). They are opposed in temporal and spatial terms. Final makes you rethink the previous flow of the plot. Events that are initially perceived as insignificant acquire semantic and emotional richness. This construction of the ballad apparently reflects the manifestation of the tragic orientation of ballad aesthetics. A folk ballad, devoid of an author, makes tragedy irreversible (as happens in dramatic works, where author intervention is excluded). In a literary ballad, the author, through his participation, can relieve the tension of the action - sometimes Zhukovsky does this (“Svetlana”, “Alina and Alsim”).

The ballad often assigns corresponding spatial localizations to plot situations. The denouement in folk ballads usually occurs “in public.” If the denouement is due to the intervention of fantasy, “otherworldly forces,” the action is transferred to where they are possible - in the field, in the forest.

At the same time, the plot is easily divided into separate segments - scenes. This division is reinforced by time shifts. The passage of time within each scene also changes. For example, in the denouement, time is compressed.

Ballad time is always unidirectional. In literary ballads there are parallel descriptions, but there is no return to the past. However, characters can talk about past events - as happens in the drama of classicism. This explains the state of the heroes and motivates them. further actions: the ballad appears as the last link in the series of events remaining “behind the text”” Znamenshchikov V.V. On the question of the genre features of the Russian ballad // Questions of plot and composition. Interuniversity collection. Gorky, 1980. P.118-119..

The ballad genre is characterized by the presence of a specific and poetic (so-called ballad) world, which has its own artistic laws, its own emotional atmosphere, and its own vision of the surrounding reality. It is based on history, heroics, fantasy, everyday life, refracted through the prism of legend, tradition, and belief.

The author looks at the surroundings through the eyes of his heroes, sharing their “naive and simple-minded” belief in the reality of the wonderful, fairy-tale, and fantastic. This creates a specific atmosphere of mystery, understatement, premonitions and prophecies, which evoke in the reader the idea of something fatal, predetermined, with which the heroes of ballads sometimes try to fight.

The epic beginning is associated with the presence of a pronounced event-narrative plot and an objective hero. The plot is usually one-conflict and one-event, in in this sense the ballad becomes closer to the story. At the same time, the originality of the ballad plot lies not only in its greater generalization compared to the plot in a prose work, but also in the special cult of the Event with a capital “E”. The fact is that the plot and compositional basis of the ballad is not an ordinary event, but exceptional case, an outstanding incident that takes the ballad action beyond the boundaries of the everyday world of reality - into the world of legend and fantasy. This event forms the core of the ballad action. In this sense, the plot is closer in nature to a mythological than to a novelistic narrative. Therefore, the ballad gravitates towards historical tales, folk legends and beliefs.

The ballad action is characterized by a special conciseness, swiftness, dynamic development of the event, fragmentation, manifested in the emphasis of the author's and reader's attention on individual, most often the most intense moments.

There is no lyrical hero in the ballad, the story goes from an outside observer. The lyrical beginning of the genre structure of the ballad is associated with the emotional mood of the narrative, reflecting the author's feeling of the depicted era and expressing the poet's lyrical self-awareness. The artist’s active attitude to the event is manifested in the entire emotional atmosphere of the ballad, but it usually appears most strongly in the beginning or in final ballads, as if framing its event plot and thereby supporting one or another emotional mood of the work.

The dramatic beginning of the genre structure of the ballad is associated with the intensity of the action, usually emphasized by a special, rapid, poetic rhythm. In fact, every ballad is a little drama. The underlying conflict is always acutely dramatic. Denouement however, being the plot conclusion of the conflict of the ballad, it is not just unexpectedly effective, but often tragic in nature. To a certain extent, the dramatic nature of ballads is also associated with that atmosphere of fear and horror, without which it is generally impossible to imagine the artistic nature of a traditional romantic ballad. Sometimes this is of a purely religious nature, but it also represents a unique form of philosophical recognition of the existence of some incomprehensible force beyond the control of man. In most ballads, this is simply the awareness that external, objective circumstances often turn out to be stronger than the internal, subjective motivations of an individual human personality. Hence the gloomy coloring so characteristic of ballads.

Of the entire spectrum of problems, perhaps the most main problem is a confrontation between personality and fate. In the Russian romantic ballad, the idea of justice appears: if the hero does not follow the dictates of fate, he is punished. The ballad hero often consciously challenges fate and resists it despite all predictions and premonitions.

Sometimes dramatic beginning turns out to be so strongly expressed that because of this, the author’s story is pushed aside or completely replaced by a monological or even dialogic form of narration (“Lyudmila”, “The Forest King”, “Smalgolm Castle”).

The historicism in the ballad is conditional, close to the historicism of legends, legends, epics, that is, it is somewhat mythologized in nature. In Zhukovsky’s historical ballads, a conventional Middle Ages is created creative imagination the author, is almost freed from everyday and historical plausibility.

The final situations are typical for ballads. One of the main plots taken from folk ballads and folklore is the plot of the appearance of a dead lover to his bride. Eat folk beliefs, rooted in pagan faith, which is based on the legend of the existence the afterlife. There are some Russian fairy tales that describe how a dead man walks through the village or raises his voice and takes revenge on those who wronged him.

I. Andronnikov. “Why am I so hurt and so sad...” And gloomily You hid your thoughts, And came out to us with a grin on your lips. A poet immortal and always young." The poet's childhood. Arakcheev. Loneliness is socially conditioned, generated by a dark and suffocating era, early orphanhood. “No, it’s not you that I love so passionately.” “Leave your unnecessary worries.” “When the yellowing field is agitated.” About nature. About the homeland. Goal: to understand the origins of Lermontov’s creativity. “Don’t trust yourself...” Philosophical poems. “I love my fatherland, but with a strange love...”

“V.A. Zhukovsky ballad Svetlana” - Vasily Andreevich Zhukovsky. V.A. Zhukovsky ballad “Svetlana”. Characteristic signs ballad genre. The presence of a plot basis, a plot. Moralistic conclusion. Intense dramatic, mysterious or fantastic plot. The symbolic nature of space and time. Exposition Commencement Development of action Climax Resolution. Literature lesson in 9th grade Author: teacher of Russian language and literature Kirpitneva L.B. A.S. Pushkin. Often (but not necessarily) the presence of folklore origins.

“Gogol Dead Souls Lesson” - Story. A.P. Chekhov. Tale. Let's test your knowledge. Svetly, 2009. Chapter? Literature lesson for 9th grade. A.S. Pushkin. Lesson plan. Working with a table. Novel. Travel notes.

“Dante Alighieri” - Love... Life and creativity. Recent years. Dante Alighieri. Target. Birth. @ OU secondary school No. 23, Rybinsk city, Yaroslavl region, 2007. What was the name of the love of Alighieri's life? Years of the life of Dante Alighieri... Creativity. Studies. In what year was Dante sentenced to exile from the country and death penalty? Born in May or June 1265 in Florence. A harsh sentence. World fame.

“S.P. Sysoy” - I remember everything that my mother said, And I simply cannot live otherwise. S. Sysoy. “The dearest of all are the native lands.” With firm faith in the victory of their beloved country, the soldiers marched forward against the enemy. "My prayers and my love." You are a gift from fate to me, the fragrance of tender roses. “About love, fate and eternity, “The Fatherland remembers by name.” Study the principles of analysis and interpretation of a poetic text.

“Tyutchev and Fet” - What other feelings are expressed in the poem? What kind of personality does each poet appear to be? “What a night!” 9th grade. What are the features of the poetic language of each poem? Consider the theme, idea, composition, movement of poetic thought in the works. Before us are two landscape sketches. Let's note the time of writing. Reading poems. What feelings arise after reading the poem? Benchmarking poems “Summer Evening” by F.I. Tyutchev and “What a Night” by A.A. Fet.

"Ballad" is a word that came into the Russian lexicon from Italian language. It is translated as “dance”, from the word “ballare”. Thus, a ballad is a dance song. Such works were written in poetic form, and there were many couplets. It is worth noting that they were performed only to some kind of musical accompaniment. But over time they stopped dancing to ballads. Then they completely transformed. Ballad poems began to have an epic and very serious meaning.

Foundation of the genre

In literature? Firstly, this is one of the most important poetic genres of romanticism and sentimentalism. The world that poets painted in their ballads is mysterious and mysterious. It operates extraordinary heroes with definite and clearly expressed characters.

It is impossible not to mention such a person as Robert Burns, who became the founder of this genre. At the center of these works there was always a person, but the poets who worked in the 19th century, who chose this genre, knew that human forces cannot always provide the opportunity to answer every question and become the rightful master of their own destiny. That is why a ballad is often a narrative poem that talks about rock. Similar works include “The Forest King”. It was written by the poet Johann Wolfgang Goethe.

Centuries-old traditions

It is worth noting that the ballad is a genre that has undergone changes and continues to endure them. In the Middle Ages, these works became songs with everyday themes. They talked about the raids of robbers, the courageous exploits of knights, historical warriors, as well as any other events that affected people's lives. It should be noted that conflict has always been at the heart of any ballad. It could have unfolded between anyone - children and parents, a young man and a girl, due to the invasion of enemies or But the fact remains - there was a conflict. And there was one more moment. Then the emotional impact of the data was based on the fact that the dramatic conflict between death and life helped to begin to appreciate the meaning of essence and being.

Disappearance of a literary genre

How does the ballad develop further? This interesting story, since in the XVII and XVIII centuries she ceases to exist as B this period plays of a mythological nature or those that told about heroes were staged on theater stages ancient history. And all this was very far from the life of the people. And a little earlier it was said that the center of the ballad is the people.

But in the next century, in the 19th century, the ballad again appeared in literary as well as musical art. Now she has turned into poetic genre, having received a completely different sound in the works of such authors as Lermontov, Pushkin, Heine, Goethe and Mickiewicz. It appeared in Russian literature at the very beginning of the 19th century, when in Europe it returned to its existence again. In Russia at that time, the traditions of pseudo-classicism were quickly falling due to romantic German poetry. The first Russian ballad was a work called “Gromval” (author - G.P. Kamenev). But the main representative of this literary genre is V.A. Zhukovsky. He was even given the appropriate nickname - “balladeer”.

Ballad in England and Germany

It should be noted that the German and English ballads were extremely gloomy. Previously, people assumed that these poems were brought by Norman conquerors. English nature inspired a mood that was reflected in the depiction of terrible storms and bloody battles. And bards sang in ballads about Odin’s feasts and battles.

It is worth mentioning that in Germany such a word as ballad is used as a term denoting poems that are written in the character of Scottish and English old songs. The action in them, as a rule, develops very episodicly. In this country the ballad was especially popular in late XVIII century and the beginning of the next, when romanticism flourished and works of such great authors as Goethe, Heine, Burger, Uhland appeared.

Ballad as a literary genre

The characteristics of the ballad genre are very different from those inherent in works written in another form. So, there must be a plot with a plot, climax and denouement. Much attention is paid to the feelings of the characters and the emotions of the author himself. The works combine the fantastic with the real. There is an unusual The whole ballad is necessarily filled with mystery and intrigue - this is one of key features. Sometimes the plot was replaced by dialogue. And, of course, the works of this genre combined the epic and lyrical principles. In addition, the authors who wrote ballads knew how to compose the work as succinctly as possible, which did not in the least affect the meaning.

Ballad: history and features of the genre

Ballad- a lyric-epic poetic work with a pronounced plot of a historical or everyday nature, in which themes and characters from myths are often used.
The term “ballad” comes from a Provençal word and means “dance song.” Ballads arose in the Middle Ages. By origin, ballads are associated with traditions, folk legends, and combine the features of a story and a song. Many ballads about a folk hero named Robin Hood existed in England in the 14th and 15th centuries.

The ballad is one of the main genres in the poetry of sentimentalism and romanticism. The world in ballads appears mysterious and enigmatic. They operate bright heroes with clearly defined characters.

The creator of the literary ballad genre was Robert Burns (1759-1796). The basis of his poetry was oral folk art.

There is always a person at the center of literary ballads, but poets of the 19th century centuries who chose this genre knew that human strength does not always provide the opportunity to answer all questions, to become the absolute master of one’s destiny. Therefore, literary ballads are often a plot poem about fatal fate, for example, the ballad “The Forest King” by the German poet Johann Wolfgang Goethe.

The Russian ballad tradition was created by Vasily Andreevich Zhukovsky, who wrote both original ballads ("Svetlana", "Aeolian Harp", "Achilles" and others), and translated Burger, Schiller, Goethe, Uhland, Southey, Walter Scott. In total, Zhukovsky wrote more than 40 ballads.

Alexander Sergeevich Pushkin created such ballads as "Song of prophetic Oleg", "Groom", "Drowned Man", "Raven flies to raven", "Once upon a time there lived a poor knight..." His cycle of "Songs of the Western Slavs" can also be classified as a ballad genre.

Mikhail Yuryevich Lermontov has some ballads. This is the "Airship" from Seydlitz, "The Sea Princess".

Alexey Konstantinovich Tolstoy also used the ballad genre in his work. He calls his ballads on themes from his native antiquity epics ("Alyosha Popovich", "Ilya Muromets", "Sadko" and others).

Entire sections of their poems were called ballads, using this term more freely by A.A. Fet, K.K. Sluchevsky, V.Ya. Bryusov. In his “Experiments,” Bryusov, speaking about the ballad, points to only two of his ballads of the traditional lyric-epic type: “The Abduction of Bertha” and “Divination.”

A number of comic ballad parodies were left by Vl. Soloviev (“The Mysterious Sexton”, “The Autumn Walk of Knight Ralph” and others)

The events of the turbulent 20th century once again brought to life the genre of literary ballads. E. Bagritsky's ballad "Watermelon", although it does not tell about the turbulent events of the revolution, was born precisely of the revolution, the romance of that time.

Features of the ballad as a genre:

presence of a plot (there is a climax, beginning and denouement)

combination of the real and the fantastic

romantic (unusual) landscape

mystery motive

the plot can be replaced by dialogue

brevity

combination of lyrical and epic principles

The term “ballad” comes from a Provençal word and means “dance song.” Ballads arose in the Middle Ages. By origin, ballads are associated with traditions, folk legends, and combine the features of a story and a song. Many ballads about a folk hero named Robin Hood existed in England in the 14th and 15th centuries.

The ballad is one of the main genres in the poetry of sentimentalism and romanticism. The world in ballads appears mysterious and enigmatic. They feature bright heroes with clearly defined characters.

The creator of the literary ballad genre was Robert Burns (1759-1796). The basis of his poetry was oral folk art.

A person is always at the center of literary ballads, but the poets of the 19th century who chose this genre knew that human powers do not always provide the opportunity to answer all questions and become the absolute master of one’s destiny. Therefore, often literary ballads are a plot poem about fate, for example, the ballad “The Forest King” by the German poet Johann Wolfgang Goethe.

The Russian ballad tradition was created by Vasily Andreevich Zhukovsky, who wrote both original ballads ("Svetlana", "Aeolian Harp", "Achilles" and others), and translated Burger, Schiller, Goethe, Uland, Southey, Walter Scott. In total, Zhukovsky wrote more than 40 ballads.

Alexander Sergeevich Pushkin created such ballads as “The Song of the Prophetic Oleg”, “The Groom”, “The Drowned Man”, “The Raven Flies to the Raven”, “Once upon a time there lived a poor knight...”. His cycle of “Songs of the Western Slavs” can also be classified as a ballad genre.

Mikhail Yuryevich Lermontov has some ballads. This is the "Airship" from Seydlitz, "The Sea Princess".

Alexey Konstantinovich Tolstoy also used the ballad genre in his work. He calls his ballads on themes from his native antiquity epics ("Alyosha Popovich", "Ilya Muromets", "Sadko" and others).

A number of comic ballad parodies were left by Vl. Soloviev (“The Mysterious Sexton”, “The Autumn Walk of Knight Ralph” and others)

Features of the ballad as a genre:

presence of a plot (there is a climax, beginning and denouement)

combination of the real and the fantastic

romantic (unusual) landscape

mystery motive

the plot can be replaced by dialogue

brevity

combination of lyrical and epic principles