Lyrics as a literary genre. Literary theory

Sonnet (Italian sonetto, from Provence sonet - song) - solid poetry. form: a poem of 14 lines, divided into two 4-verses (quatrain) and two 3-verses (terzetto); in quatrains only 2 rhymes are repeated, in terzettos - 2 or 3. The arrangement of rhymes allows many variations; the most stable are two types: 1) “Italian” – quatrains according to the scheme abab abab or abba abba, tercets according to the scheme cdc dcd or cde cde; 2) “French” - quatrains according to the abba abba scheme, tercets according to the ccd eed or ccd ede scheme. Of the many There are two most generally accepted conventional rules developed by S. theorists: a) the “closed” rhyme of quatrains abba is considered more perfect than the “open” abab; b) “closed” quatrains must correspond to “open” tercets (cdc dcd or ccd ede), “open” quatrains must correspond to “closed” terzets (ccd eed). The sonnet verse is an eleven-syllable verse in Italian. and Spanish poetry; Alexandrian verse - in French; Iambic 5-foot - in English, iambic 5-foot and 6-foot - in German and Russian.
From this classic. schemes in practice, deviations within the widest limits are possible: changing the order of rhymes (abab baab y A. S. Pushkin, abba baab by K. D. Balmont), introducing extra rhymes (abba cddc by C. Baudelaire, etc.), introducing extra lines (“double sonnets”, “sonnets with a coda” - supplemented with verse, terzetto or even several terzettos in Burchiello, F. Berni, etc.), free order of quatrains and terzets (especially among the French symbolists), the use of non-traditional ones. sizes (accent verse by J.M. Hopkins, “monosyllabic lines” by a number of experimenters), up to “sonnets” in blank verse by Merrill Moore, where only 14 lines of S. remain. Of these “free forms”, only the “English sonnet” of the Shakespearean type abab cdcd efef gg has been canonized to some degree.
Classicism and the Enlightenment are accompanied by a decline in fashion in S. Romanticism revives it again, and this time the center of S. culture is Germany (A. Schlegel, F. Rückert, N. Lenau, A. Platen), England (W. Wordsworth, S. T. Coleridge) and partly slav. countries (J. Kollar, A. Mitskevich, in Russia - A. A. Delvig, A. A. Grigoriev); a continuation or departure from romanticism was the work of the masters of the 19th century. (E.B. Browning, D.G. Rossetti, C. Baudelaire, J. Heredia, A. Kental). Symbolism and modernism cultivated the form of sculpture and produced many prominent masters (P. Verlaine, P. Valery, G. D'Annunzio, S. George, R. M. Rilke, V. Ya. Bryusov, Vyach. Ivanov, etc.; of the poets who overcame modernism is I. Becher). In Sov. poetry with the S form (including the wreath of sonnets) was experimented by I. Selvinsky and S. Kirsanov, but it did not gain much popularity (see “Star Sonnets” by L. Vysheslavsky, sonnets by N. Matveeva, etc.).
Gasparov M. L. Sonnet // Brief literary encyclopedia / Ch. ed. A. A. Surkov. – M.: Sov. Encycl., 1962–1978. T. 7: “Soviet Ukraine” – Fliaki. – 1972. – Stb. 67–68.

LYRICS- a type of literature in which the world is mastered aesthetically as a realm of subjectivity. The object is the inner world of a person. Content – experience (thoughts, feelings). The objective world in lyrics is a reason for experience or its external imprint. The main values are spiritual: nobility and strength of thought, culture of feelings, richness of emotions.

Carriers of lyrical experiences:

2) The hero of role-playing lyrics - the hero acts differently in relation to the author (a special speech manner different from literary norms)

3) Poetic world. Hood. reality is the visually visible embodiment of experience.

The subject of the image in the lyrics is the inner world of man. Content dominant: experiences (of some feeling, thought, mood). The form of verbal expression is monologue. Functions of a word - expresses the state of the speaker. The emotional sphere of human emotions, the inner world, the path of influence - suggestibility (suggestion). In epic and drama they try to identify general patterns, in lyric poetry - individual states of human consciousness.

Irrational feelings and aspirations. Uniqueness, although there is an element of generalization for conveying one’s thoughts to contemporaries. Consonance with the era, age, emotional experiences. As a form of literature, lyrics are always important.

Experiences are at the core. Lyrical plot– this is the development and shades of the author’s emotions. It is often said that lyrics have no plot, but this is not true.

The poet defends the right to write in a light, small genre. Small genres have been elevated to absolute status. Imitating other genres, playing with rhythms. Sometimes cycles of poems appear due to the background of life.

Lyrical hero - this concept is introduced by Yu. Tynyanov and L.Ya. Ginzburg "On Lyrics". There are synonyms “lyrical consciousness”, “lyrical subject” and “lyrical self”. Most often, this definition is the image of a poet in lyric poetry, the artistic double of the poet, growing out of the text of lyrical compositions. This is a carrier of experience, expression in lyrics. The term arose due to the fact that it is impossible to equate the poet with the bearer of consciousness. This gap appears at the beginning of the 20th century in Batyushkov’s lyrics.

There may be different media, so two types of lyrics : autopsychological and role-playing. Example: Blok “I am Hamlet...” and Pasternak “The hum has died down...”. The image is the same, but the lyrics are different. Blok plays in the play, this is the experience of interpersonal relationships - autopsychological lyrics. Pasternak has a role-playing one, even included in the Yuri Zhivago cycle. Most of it is in poetic form

Lyric genres arose in ancient times. Here are some examples of genre lyrical works: hymn (song of praise), ode (glorification of a person or event), epitaph (gravestone inscription, sometimes comic), epithalamus (poems for a wedding), epigram (satire on a person), dithyramb (sympathy for one person ), message (address to a person in the form of a letter). This division persisted for a long time, but around the middle of the 19th century and later, lyrical genres of large form began to appear, for example, the lyric poem (Whitman “Leaves of Grass”, Block “The Nightingale Garden”). They replaced it with a short lyrical song - an elegy (Zhukovsky, Lermontov, Beranger). Such genres are related to the ballad genre (“Lyudmila” and “Svetlana” by V. Zhukovsky, “Knight for an Hour” by N. Nekrasov). Some lyrical genres, due to their musical design, are called romances.

TYPES (GENRES) OF LYRIC WORKS:

(ode, hymn, song, elegy, sonnet, epigram, message)

ODA (from Greek “song”) is a choral, solemn song.

HYMN (from Greek “praise”) is a solemn song based on programmatic verses.

EPIGRAM (from Greek “inscription”) is a short satirical poem of a mocking nature that arose in the 3rd century BC. e.

ELEGY is a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness.

MESSAGE - a poetic letter, an appeal to a specific person, a request, a wish, a confession.

SONNET (from the Provencal sonette - “song”) is a poem of 14 lines, which has a certain rhyme system and strict stylistic laws.

Drama as a literary genre. Genres of dramatic works.

Drama - (ancient Greek action, action) is one of the literary movements. Drama as a type of literature, in contrast to lyrics and like epic, drama reproduces, first of all, the world external to the author - actions, relationships between people, conflicts. Unlike the epic, it has not a narrative, but a dialogic form. As a rule, there are no internal monologues, author's characteristics of characters and direct author's comments of the person depicted. In Aristotle's Poetics, drama is described as the imitation of action through action and not through telling. This provision is still not outdated. Dramatic works are characterized by acute conflict situations that prompt characters to verbal and physical actions. The author's speech can sometimes be in the drama, but it is of an auxiliary nature. Sometimes the author briefly comments on the remarks of his characters, points out their gestures and intonation.

Drama is closely related to theatrical art and must meet the needs of the theater.

Drama is seen as the crown of literary creativity. Examples of drama are the play “The Thunderstorm” by Ostrovsky and “At the Bottom” by Gorkov.

We need to talk about dramatic genres, not forgetting that drama itself is a genre that arose at the intersection of literature and theater. It is impossible to analyze them separately from each other. We have already talked about drama enough, however, we have not yet given the meaning of drama as a theatrical performance.

In order for any work to be called a drama, it must at least contain a conflict or a conflict situation. Conflict has the right to be both comical and tragic. Often drama contains a lot of both. This is probably why it is often interpreted in specialized literature as an intermediate genre.

Drama can be psychological (both on stage and in literature), social, philosophical, based on everyday or historical conflict, and a combination of the above types is also often found, this will be especially typical for literary drama. Drama can also be national, for example, Spanish drama can be distinguished - it is sometimes also called the “drama of honor” or “the comedy of the cloak and sword”, here everything entirely depends on what kind of conflict is developed in the drama. Drama genres can only appear in literature. There really aren't too many of them:

Play (a narrative in prose or poetic form, in which the characters, the author, and stage directions appear)

Comedy

Sideshow

Tragedy

Burlesque

Chronicle (historical, psychological, retrospective)

Scenario

Dramatic prose differs from ordinary prose primarily in that it contains many constantly changing events, with a large number of characters, much larger than, say, in an ordinary story, although the volume of the narrative may be the same. It is believed that the reader is able to remember no more than 5-7 active characters; drama often violates this law; the reader of a dramatic work always has the opportunity to look at the flyleaf and see who exactly the hero is that he completely forgot about.

Lyric epic works.

Lyric-epic genre of literature is a work of art in poetic form that combines epic and lyrical images of life.

In works of the lyric-epic kind, life is reflected, on the one hand, in a poetic narration about the actions and experiences of a person or people, about the events in which they take part; on the other hand, in the experiences of the poet-narrator caused by pictures of life, the behavior of the characters in his poetic story. These experiences of the poet-narrator are usually expressed in works of the lyric-epic kind in so-called lyrical digressions, sometimes not directly related to the course of events in the work; lyrical digressions are one of the types of author’s speech.

Such, for example, are the famous lyrical digressions in A. S. Pushkin’s poetic novel “Eugene Onegin”, in his poems; These are the chapters “From the author”, “About myself” and lyrical digressions in other chapters of the poem in A. T. Tvardovsky’s poem “Vasily Terkin”.

LYROEPIC TYPES (GENRES): poem, ballad.

POEM (from Greek poieio - “I do, I create”) is a large poetic work with a narrative or lyrical plot, usually on a historical or legendary theme.

BALLAD - a plot song with dramatic content, a story in verse.

TYPES (GENRES) OF DRAMATIC WORKS:

tragedy, comedy, drama (in the narrow sense).

TRAGEDY (from Greek tragos ode - “goat song”) is a dramatic work depicting an intense struggle of strong characters and passions, which usually ends with the death of the hero.

COMEDY (from Greek komos ode - “funny song”) is a dramatic work with a cheerful, funny plot, usually ridiculing social or everyday vices.

DRAMA (“action”) is a literary work in the form of dialogue with a serious plot, depicting an individual in his dramatic relationship with society. Varieties of drama can be tragicomedy or melodrama.

VAUDEVILLE is a genre type of comedy; it is a light comedy with singing verses and dancing.

Ode- the leading genre of high style, characteristic primarily of the poetry of classicism. The ode is distinguished by canonical themes (glorification of God, fatherland, life wisdom, etc.), techniques (“quiet” or “swift” attack, the presence of digressions, permitted “lyrical disorder”) and types (spiritual odes, solemn odes - “pindaric”, moralizing – “Horatian”, love – “Anacreontic”).

Hymn- a solemn song based on programmatic verses.

Elegy- a genre of lyricism, a poem of medium length, meditative or emotional content (usually sad), most often in the first person, without a distinct composition.”

Idyll- a genre of lyricism, a small work that depicts an eternally beautiful nature, sometimes in contrast with a restless and vicious person, a peaceful, virtuous life in the lap of nature, etc.

Sonnet- a poem of 14 lines forming 2 quatrains and 2 tercets or 3 quatrains and 1 couplet. The following types of sonnets are known:

“French” sonnet – abba abba ccd eed (or ccd ede);

“Italian” sonnet – abab abab cdc dcd (or cde cde);

“English sonnet” – abab cdcd efef gg.

Wreath of Sonnets- a cycle of 14 sonnets, in which the first verse of each repeats the last verse of the previous one (forming a “garland”), and together these first verses form the 15th, “main” sonnet (forming a glossa).

Romance- a short poem written for solo singing with instrumental accompaniment, the text of which is characterized by melodious melody, syntactic simplicity and harmony, completeness of the sentence within the boundaries of the stanza.

Dithyramb- a genre of ancient lyric poetry that arose as a choral song, a hymn in honor of the god Dionysus, or Bacchus, and later in honor of other gods and heroes.

Madrigal- a short poem of predominantly loving and complimentary (less often abstract and meditative) content, usually with a paradoxical sharpening at the end.

Thought- a lyric-epic song, the style of which is characterized by symbolic pictures, negative parallelisms, retardation, tautological phrases, unity of beginning.

Message- a genre of lyricism, a poetic letter, the formal sign of which is the presence of an appeal to a specific addressee and, accordingly, such motives as requests, wishes, exhortation, etc. The content of the message according to tradition (from Horace) is mainly moral, philosophical and didactic, but there were numerous messages narrative, panegyric, satirical, love, etc.

Epigram- a short satirical poem, usually with a sharp point at the end.

Ballad- a poem with a dramatic development of the plot, which is based on an extraordinary story that reflects the essential moments of interactions between a person and society or interpersonal relationships. The characteristic features of a ballad are a small volume, an intense plot, usually full of tragedy and mystery, a abrupt narration, dramatic dialogue, melodiousness and musicality.

Synthesis lyrics with other types of literature

Lyric-epic genres (types)– literary and artistic works that combine the features of epic and lyric poetry; the plot narration of events is combined in them with emotional and meditative statements of the narrator, creating an image of the lyrical “I”. The connection between the two principles can act as the unity of the theme, as the narrator’s self-reflection, as the psychological and everyday motivation of the story, as the author’s direct participation in the unfolding plot, as the author’s exposure of his own techniques, becoming an element of the artistic concept. Compositionally, this connection is often formalized in the form of lyrical digressions.

Prose poem- a lyrical work in prose form, which has such characteristics of a lyric poem as a small volume, increased emotionality, usually a plotless composition, and a general focus on expressing a subjective impression or experience.

Lyrical hero– the image of a poet in lyric poetry, one of the ways to reveal the author’s consciousness. A lyrical hero is an artistic “double” of the author-poet, growing out of the text of lyrical compositions (a cycle, a book of poems, a lyric poem, the entire body of lyrics) as a clearly defined figure or life role, as a person endowed with the certainty of individual destiny, the psychological clarity of the inner world, and sometimes also features of a plastic appearance.

Forms of lyrical expression:

monologue in the first person (A.S. Pushkin - “I loved you...”);

role-playing lyrics - a monologue on behalf of the character introduced into the text (A.A. Blok - “I am Hamlet, / The blood runs cold...”);

addressing an unidentified person (F.I. Tyutchev - “Silentium”);

plot (M.Yu. Lermontov - “Three Palms”).

1. Ode- a genre that usually glorifies some important historical event, person or phenomenon (for example, A. S. Pushkin’s ode “Liberty”, M. V. Lomonosov’s ode “On the Day of the Ascension...”). The origins of the genre go back to antiquity (for example, the odes of Horace). It received special development in classicism. 2. Song- can act as both an epic and a lyrical genre. An epic song has a plot (see the definition of epic genres) and, as a rule, it is larger in volume than a lyrical song (for example, “Song of the Prophetic Oleg” by A. S. Pushkin), but a lyrical song is based on the experiences of the main character or author (for example, Mary’s song from “A Feast during the Plague” by A. S. Pushkin). 3. Elegy- a genre of romantic poetry, the poet’s sad reflection on life, fate, his place in this world (for example, “The Sun of Day Has Gone Out” by A. S. Pushkin). 4. Message- a genre not associated with a specific tradition (romantic, classic, etc.). The main characteristic feature is the appeal to any person (for example, “Pushchin”, “To Chaadaev” by A.S. Pushkin). 5. Sonnet- a special type of lyric poem, characterized by strict requirements for form: a sonnet must have 14 lines (for example, “The stern Dante did not despise the sonnet...” by A. S. Pushkin). There are two types of sonnet: 1. English sonnet, consisting of three quatrains and one couplet at the end (for example, sonnets by W. Shakespeare). 2. French sonnet, consisting of two quatrains and two tercets. This variety, as the name implies, was widely used by French poets (for example, the Pleiades poets - P. Ronsard, J. Du Bellay, etc., later by French symbolists - P. Verdun, C. Baudelaire, etc.) . In Russia, this variety was especially popular during the era of symbolism; almost all Russian symbolists used it in their work (for example, K. D. Balmont, V. Ya. Bryusov, A. A. Blok and others). 6. Epigram, satire. An epigram is a short poem, usually no more than a quatrain, ridiculing or presenting a specific person in a humorous way - (for example, “On Vorontsov” by A. S. Pushkin). Satire is a more detailed poem, both in volume and in the scale of what is depicted. Usually in satire it is not the shortcomings of any particular person that are ridiculed, but social vices. Satire is characterized by civil pathos (for example, the satires of A. D. Kantemir, “My ruddy critic, fat-bellied scoffer...” by A. S. Pushkin). The origins of epigrams and satire go back to antiquity, especially to ancient Roman literature (for example, the works of Martiallus, Catullus, etc.). This division into genres is arbitrary, since the listed genres are quite rare in their pure form. Usually a poem combines features of several genres. For example, “To the Sea” by A. S. Pushkin combines the signs of elegy and message, while Pushkin’s “Village” is an elegy, but at the same time raises civil issues.

Genres of drama

Dramaturgy originated in ancient times. Even then, two most important dramatic genres arose - tragedy and comedy. The main conflict in the tragedy was the conflict in the soul of the protagonist between duty and conscience. However, ancient drama had its own distinctive features, the most important of which was the idea of fate, predetermination, fate. The choir played an important role in ancient drama - it formulated the audience’s attitude to what was happening on stage, pushing them toward empathy (i.e., the audience seemed to themselves be participants in the action). It is assumed that the enactment of tragedies was initially an integral part of the so-called “Dionysia” or, in the Roman version, “Bacchanalia”, celebrations associated with the veneration of the god of winemaking and viticulture, Dionysus (Bacchus); the presentation of scenes from the life of this god was an important link in the so-called “orgaistic” (i.e. erotic) rituals, the ultimate goal of which was: by releasing pent-up instinctual desires, to experience purification, the so-called “catharsis”, which is defined in Aristotle’s “Poetics” as “purification through fear and compassion.” The comedy was based mainly on everyday stories, which were based on funny misunderstandings, mistakes, comic incidents, etc. In the Middle Ages, the Christian Church contributed to the emergence of new dramatic genres - liturgical drama, mystery, miracle, morality, school drama. In the 18th century, drama emerged as a genre (see below), and melodramas, farces, and vaudevilles also became widespread. After ancient times, drama reached a special flowering in the era of classicism. It was the era of classicism that special rules of drama were formulated, the main of which was the so-called “unity of place, time and action” (see section “Classicism”). In modern drama, a genre such as tragicomedy is becoming increasingly important. The drama of the last century also includes a lyrical element - the so-called “lyrical dramas” (M. Maeterlinck, A. A. Blok).

In lyric poetry, two types of genres are particularly clearly distinguished: one represents a rigid unity of genre content and genre form, the other is a rather free combination of artistic content and form.

Genres of the first type developed in the early eras of artistic development. These are lyrical genres such as elegy, iambic, epinikia in ancient Greek lyrics; canzone, pastoral, Alba - in the Middle Ages; Sonnet in Renaissance lyrics.

The lyric poetry of centuries is dominated by genres with a free unity of form and content. Most often, just lyrical poems or lyrical songs with very different artistic content. The general essence of the lyrical content is the artistic and creative exploration of the inner world of a person, from the most complex thoughts to the subtlest overflows of feelings. Therefore, in terms of their content, lyrical genres absorb, in their own lyrical refraction, the most diverse types of artistic content with all the diversity of their internal varieties.

- Epic as a type of literature.

“Epic” translated from Greek means “word, speech, story.” Epic is one of the most ancient genres, associated with the formation of national identity. There were many hoaxes in the 17th and 18th centuries. Successful - songs of Ossian, Scotland, an attempt to raise national consciousness. They influenced the development of European literature.

Epic - the original form is a heroic poem. Occurs when patriarchal society breaks down. In Russian literature there are epics that form cycles.

The epic reproduces life not as personal, but as an objective reality - from the outside. The purpose of any epic is to tell about an event. The dominant content is the event. Earlier - wars, later - private events, facts of inner life. The cognitive orientation of the epic is an objective beginning. A story about events without evaluation. “The Tale of Bygone Years” - all the bloody events are told dispassionately and matter-of-factly. Epic distance.

The subject of the image in the epic is the world as an objective reality. Human life in its organic connection with the world, fate is also the subject of the image. Bunin's story. Sholokhov "The Fate of Man". Understanding fate through the prism of culture is important.

Forms of verbal expression in the epic (type of speech organization) - narrative. Functions of the word - the word depicts the objective world. Narration is a way/type of speaking. Description in the epic. Speech of heroes, characters. Narration is the speech of the author’s image. The speech of the characters is polylogues, monologues, dialogues. In romantic works, the confession of the main character is required. Internal monologues are a direct inclusion of the characters’ words. Indirect forms - indirect speech, improper direct speech. It is not isolated from the author’s speech.

The important role of the system of reflections in the novel. The hero may be endowed with a quality that the author does not like. Example: Silvio. Pushkin's favorite heroes are verbose. Very often it is unclear to us how the author relates to the hero.

A) Narrator

1) The character has his own destiny. "The Captain's Daughter", "Belkin's Tales".

2) Conventional narrator, faceless in speech terms. Very often – us. Speech mask.

3) Tale. Speech color - says society.

1) Objective. “History of the Russian State” Karamzin, “War and Peace”.

2) Subjective - orientation towards the reader, appeal.

A tale is a special speech manner that reproduces a person’s speech, as if not literary processed. Leskov "Lefty".

Descriptions and lists. Important for the epic. Epic is perhaps the most popular genus.

- Drama as a type of literature.

Merging of subjective and objective. The event is shown as being formed, not ready. In the epic the author gives a lot of comments and details, but in the drama this is not the case. Subjective – what is happening is given through the perception of the actors. Many eras in the development of theater tried to destroy the barrier between the audience and the actors. The idea of “theater within a theater” - romanticism, developed rapidly at the beginning of the 20th century. “Princess Turandot” - the actors ask the audience. Gogol has the same principle in The Inspector General. The desire to destroy convention. Drama comes out of rituals. The dramatic text is largely devoid of authorial presence. The speech activity of the characters is shown, the monologue and dialogue are relevant. Author's presence: title (Ostrovsky loved proverbs), epigraph (Gogol's "The Inspector General" - the theme of the mirror), genre (Chekhov's comedies - a peculiarity of perception), list of characters (often determined by traditions), speaking names, comments, stage directions - description of the scene. Characteristics of the characters’ speech, actions, internal action in the drama. “Boris Godunov” by Pushkin, “Masquerade” by Lermontov. Chekhov is different. Early theater - exercises in monologues. Dialogue was more often an auxiliary means of communication between monologues. This changes Griboyedov - a dialogue of the deaf, a comic dialogue. Chekhov too. Gorky: “But the threads are rotten.”

Thomas Mann: “Drama is the art of silhouette.” Herzen: “The stage is always contemporary with the viewer. She always reflects the side of life that the partner wants to see.” Echoes of modernity are always visible.

- Lyrics as a type of literature.

Cognitive orientation of the lyrics. The subject of the image in the lyrics is the inner world of man. Content dominant: experiences (of some feeling, thought, mood). The form of verbal expression (type of speech organization) is a monologue. Functions of a word - expresses the state of the speaker. The emotional sphere of human emotions, the inner world, the path of influence - suggestibility (suggestion). In epic and drama they try to identify general patterns, in lyric poetry - individual states of human consciousness.

Emotionally colored thinking - sometimes external emotionlessness. This is a lyrical meditation. Lermontov “Both boring and sad...” Strong-willed impulses, oratorical intonations in the lyrics of the Decembrists. Impressions can also be the subject of a lyrical text.

The end of the 18th - beginning of the 19th century is very important - the period of destruction of the idea of lyricism, the destruction of genre thinking in lyrics, new thinking - stylistic. Associated with Goethe. In the 70s of the 18th century, Goethe created a new feature of lyrical work, which broke with tradition. There was a strict hierarchy of genres: it was clearly distributed which forms of lyrics were used when. The poetic forms are very branched.

Ode is an idealization of a superior person, therefore a certain form. Decimal, ceremonial introduction, descriptive part, part about the prosperity of the country.

Goethe destroys the connection between theme and form. His poems begin as a cast of a momentary experience—an image. Natural phenomena could also be included, but not conditional ones. The process of style individualization. In the 19th century it is often impossible to define a genre.

Each poet is associated with a certain range of emotions, a special attitude towards the world. Zhukovsky, Mayakovsky, Gumilev.

Experiences are at the core. The lyrical plot is the development and shades of the author's emotions. It is often said that lyrics have no plot, but this is not true.

Lyrical hero - this concept is introduced by Yu. Tynyanov and L.Ya. Ginzburg "On Lyrics". There are synonyms “lyrical consciousness”, “lyrical subject” and “lyrical self”. Most often, this definition is the image of a poet in lyric poetry, the artistic double of the poet, growing out of the text of lyrical compositions. This is a carrier of experience, expression in lyrics. The term arose due to the fact that it is impossible to equate the poet with the bearer of consciousness. This gap appears at the beginning of the 20th century in Batyushkov’s lyrics.

There can be different media, so there are two types of lyrics: autopsychological and role-playing. Example: Blok “I am Hamlet...” and Pasternak “The hum has died down...”. The image is the same, but the lyrics are different. Blok plays in the play, this is the experience of interpersonal relationships - autopsychological lyrics. Pasternak has a role-playing one, even included in the Yuri Zhivago cycle. Most of it is in poetic form. Setting for an awkward verse - Nekrasov.

- Division of literature into genera and types. The concept of literary genre.

Epic, lyric and drama. Socrates (as presented by Plato): the poet can speak on his own behalf, mainly dithyramb. A poet can construct a work in the form of an exchange of remarks, which may include the words of the author. The poet can combine his words with the words of others, which belong to other characters. "Poetics" of Aristotle. Art is an imitation of nature. “You can imitate the same thing in different ways.” 1) Talking about an event as something separate from oneself, as Homer does. 2) Tell the story in such a way that the imitator remains himself, but changes his face - lyricism. 3) The writer presents all characters as acting and active.

Science ontology. In different eras a person needs different literary genres. Freedom and necessity. Psychology is important. Expressiveness, appeal.

Drama is something that develops before our eyes. Lyrics are an amazing fusion of time. At one time they wanted to declare the novel a separate genus. Many transitional phenomena.

Intergeneric and extrageneric works. Intergeneric – characteristics of different genera. "Eugene Onegin", "Dead Souls", "Faust". Extrageneric: Essays, Essays, and Stream-of-Consciousness Literature. Dialectics of the soul. "Anna Karenina". Joyce "Ulysses". Types are not exactly genres. A species is a specific historical embodiment of a genus. A genre is a group of works that have a complex of stable characteristics. Important: subject matter, theme is a genre object. Artistic time is definite. Special composition. Speaker of speech. Elegy – different understandings. Tale.

Some genres are universal: comedy, tragedy, ode. And some are local - petitions, circulation. There are dead genres - the sonnet. Canonical and non-canonical – established and unformed.