Tradition of the ballad in the history of Europe. Influence of the Spanish romance on development of a genre of the ballad. The ballad in Renaissance. Development of a genre of the literary ballad. The ballad in the history of the Russian poetry.
Аннотация к работе
Christian legends, tales of chivalry, antique myths or works of the Greek and Roman authors in medieval retelling, so-called "eternal" or "vagrant" plots, and also the original historical events stylized on the basis of ready song schemes were sources of plots of ballads. It were: the collection of the Scottish songs and ballads "Conversations behind a Cup of Tea" (Tea-Table Miscellany, 1724-1732) Allan Ramzey (Allan Ramsay, 1686-1758), "Monuments to ancient English poetry" (Reliques of Ancient English Poetry, 1765) Tomasa Percy (Thomas Percy, 1729-1811), the two-volume collection of ballads and songs about Robin Goode (1795) Joseph Ritson (Joseph Ritson, 1752-1803), well-known "Songs of border" (Minstrely of the Scottish Border, 1802-1803) Walter Scott and many others. But now the term "ballad" possesses an extreme vagueness and uncertainty as throughout several centuries various literary and folklore genres were designated by the word "ballad": ancient folk song, French, street, sentimental, Gothic, romantic. Therefore some centuries if any work was called the ballad later, it meant that it the size or stylistic receptions, figurative system or subject, the social function or the general tonality causes in the author or public of association with any of those types of ballads about which there was a speech above. The poem could resemble in general a little the ballad, but existence of one-two signs any of its various types granted to the author the right to call the poem the ballad.The Provencal word balada the dance tune means "a song" (from balar - "to dance"), the Italian ballata - the lyrical dancing song (from ballare - "to dance"), the French ballade or ballette (literally - "a dance tune the song") - all go back to late Latin ballgre - "to dance" (developed from Greek ????????s - "dance"). Kravtsov who was attentively investigating genesis and features of a Slavic folk song emphasized importance of the historical principle in approach to a genre: "The main point consists that variety of plots: forms and types (versions) of ballads - it developed not at once, and is result of long development of a genre which consisted in its enrichment in connection with the course of life of the people. Though in some regional researches superiority of the epos in relation to ballads is convincingly proved (on the example of the Spanish romances, the Norwegian ballads etc.), in a number of known cases of the ballad gave impulses to emergence of the epos. Alekseev trying to understand the huge sea of English and Scottish ballads came to the following conclusion: "Origin of plots of ballads very variously: others have the sources the book legend, Christian legends, works of medieval writing, tales of chivalry, even in separate and exceptional cases of work of antique authors, acquired through any medieval processing and retellings; others go back to the oral legend, represent variations of the "vagrant plots" using the international distribution. In one of the major generalizing works according to the German national song certain heads are devoted to the heroic ballad, the family ballad, the ballad based on a legend or on the legend, and, at last, the ballad-shvanku, i.e. the ballad based on comical incident.One of early certificates of a continuity of national song tradition in the history of Europe are served by work of the Roman historian Cornelius Thucydides "About an origin of Germans and location of Germany" (98 AD), recorded mythological, heroic and military songs at continental Germans. Julien Tierso in basic research "History of a national song in France" (1889) brings numerous data on an existing into the Middle Ages (since VII century) on the French earth "three childbirth of narrative songs: the epic songs which were based mainly on legends of the German conquerors; the religious chants composed by priests in imitation the first, and, at last, songs legends, created by directly national talents". Tyerso does very remarkable supervision: "In the majority of our provinces legendary or romantic legends of the past times - small poems, touching and naive, passed by word of mouth in centuries and sometimes exciting listeners even during our satiated era meet. We reject the name "ballad" which came to France through Provence, belonging to a sort of a dancing song (the Italian ballata). Tyerso raises an important question of a ratio of two types of ballads here: the type corresponding to the etymological word meaning "ballad" anyway connected with dance with a spring ceremonial round and other its type, it is much bigger corresponding to modern definition of the ballad.Considerable impact on the European poetry of modern times, including and the genre of the literary ballad formed then, rendered the Spanish ro
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Contents
Introduction
1. Genre sources
2. Tradition of the ballad in the history of Europe
3. Influence of the Spanish romance on development of a genre of the ballad
4. The ballad in Renaissance and during Modern times
5. Development of a genre of the literary ballad
6. The ballad in the history of the Russian poetry