Ballad: origin and development - Курсовая работа

Министерство общего образования РФ Курсовая работа БАЛЛАДА: ВОЗНИКНОВЕНИЕ И РАЗВИТИЕ 2004 Contents Introduction 1. CHAPTER Genre sources 2. CHAPTER Tradition of the ballad in the history of Europe 3. CHAPTER Influence of the Spanish romance on development of a genre of the ballad 4. CHAPTER The ballad in Renaissance and during Modern times 5. CHAPTER Development of a genre of the literary ballad 6. CHAPTER The ballad in the history of the Russian poetry 7. CHAPTER Ballad role in art development Conclusion Literature Introduction The term paper is devoted to research of tradition of ancient folk Anglo-Scottish songs in works of English poets of an era of Romanticism. As language material for research ballads of poets (Wordsworth, Coleridge, Sauti) and V. Scott, and also ancient ballads of England and Scotland served. Folk songs were created by anonymous storytellers, transferred orally and in the course of oral transfer strongly changed, became, thus, a fruit not of individual, but collective creativity. 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. The first editions of folk songs appeared in the XVIII century and were connected with revival of interest of writers, scientists-philologists and poets in the national past and national sources of literary creativity. 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. Substantially thanks to creativity of romantics the ballad turns from not initial, nonliterary genre into the high genre which gained recognition in fiction. Having changed in works of outstanding poets of the end of XVIII - the beginnings of the XIX centuries, plots of a folk song and its versions became the general property of English poetry. ballad romance literary art 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. In work the complex analysis and comparison of English folk songs and ballads of romantics was carried out. RESEARCH OBJECTIVE - to reveal and compare the main features of an art form of the Anglo-Scottish folk and literary songs of the beginning of the XIX century in creativity of English romantics. Thus to consider characteristic features of their metrics, language, style, figurative system. Due to the goal it was necessary to solve and some problems: 1. to address to history of emergence and evolution the ballad of genres 2. to consider basis cycles of the Anglo-Scottish ballads, and also their art features 3. to reveal what development the ballad genre in works of poets and V. Scott gains; and also to define art features of the literary ballad of the beginning of the XIX century. VOLUME AND STRUCTURE of WORK. The term paper volume … pages of the typewritten text consists of introduction, two main heads and the conclusion. The bibliography from 81 names is attached to work (including 13 books of foreign authors). 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.