Presentation for a literature lesson on the topic "ballad as a literary genre." Features of the ballad genre and its development in European literature of the 18th–19th centuries

The term "ballad" comes from the Provencal word and means "dance song". Ballads originated in the Middle Ages. By origin, ballads are associated with legends, folk legends, they combine the features of a story and a song. Many ballads about a folk hero named Robin Hood existed in England in the 14th-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 are bright characters with clearly defined characters.

The literary ballad genre was created by 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 the strength of a person does not always make it possible to answer all questions, to become the sovereign master of one's own destiny. Therefore, often literary ballads are a plot poem about a fatal fate, for example, the ballad "Forest King" by the German poet Johann Wolfgang Goethe.

The Russian ballad tradition was created by Vasily Andreyevich 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 "The Song of the Prophetic Oleg", "The Bridegroom", "The Drowned Man", "The Raven Flies to the Raven", "There Lived a Poor Knight...". Also, his cycle of "Songs of the Western Slavs" can be attributed to the ballad genre.

Mikhail Yuryevich Lermontov has separate ballads. This is the Airship from Seydlitz, the Sea Princess.

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

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

A number of comic ballads-parodies were left by Vl. Solovyov ("The Mysterious Sexton", "Knight Ralph's Autumn Walk" and others).

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

Features of the ballad as a genre:

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

combination of real and fantastic

romantic (unusual) landscape

mystery motif

plot can be replaced by dialogue

conciseness

combination of lyrical and epic beginnings

If you like stories about mysterious events, about the fate of fearless heroes, the sacred world of spirits, if you are able to appreciate noble chivalrous feelings, female devotion, then, of course, you will love literary ballads.

In the literature lessons this academic year, we got acquainted with several ballads. This genre blew me away.

These poems, which combine elements of lyricism, epic and drama, are a kind of "universal" poetry, according to the famous 19th century poet Wordsworth.

The poet “selecting events and situations from the most everyday life of people, tries to describe them, if possible, in the language that these people actually speak; but at the same time, with the help of the imagination, give it a coloring, thanks to which ordinary things appear in an unusual light. ".

The topic "Features of the literary ballad genre" seemed interesting to me, I continue to work on it for the second year.

The topic is undoubtedly relevant, as it allows you to show independence and develop the abilities of a critic.

2. Literary ballad: the emergence of the genre and its features.

The term "ballad" itself comes from the Provencal word meaning "mysterious song", ballads originated in the harsh times of the Middle Ages. They were created by folk storytellers, transmitted orally, and in the process of oral transmission they were greatly modified, becoming the fruit of collective creativity. The plot of the ballads was Christian legends, chivalric romances, ancient myths, works of ancient authors in medieval retelling, the so-called "eternal" or "wandering" stories.

The plot of the ballad is often built as a disclosure, recognition of a certain secret that keeps the listener in suspense, makes him worry, worry about the hero. Sometimes the plot breaks off and is essentially replaced by dialogue. It is the plot that becomes the sign that distinguishes the ballad from other lyrical genres and begins its rapprochement with the epic. It is in this sense that it is customary to speak of the ballad as a lyrical genre of poetry.

In ballads there is no border between the world of people and nature. A person can turn into a bird, a tree, a flower. Nature enters into a dialogue with the characters. This reflects the ancient idea of the unity of man with nature, of the ability of people to turn into animals and plants and vice versa.

The literary ballad owes its birth to the German poet Gottfried August Burger. The literary ballad was very similar to the folklore ballad, since the first literary ballads were created as an imitation of the folk ones. Thus, at the turn of the 18th and 19th centuries, the folk ballad was replaced by a literary ballad, that is, an author's ballad.

The first literary ballads arose on the basis of pastiche, and therefore it is very often difficult to distinguish them from genuine folk ballads. Let's turn to table number 1.

A literary ballad is a lyrical epic genre based on a narrative narrative with dialogue included in it. Like the folklore ballad, its literary sister often opens with a landscape opening and closes with a landscape ending. But the main thing in a literary ballad is the voice of the author, his emotional lyrical assessment of the events described.

And now we can note the features of the difference between a literary ballad and a folklore one. Already in the first literary ballads the lyrical position of the author is manifested more clearly than in folk works.

The reason for this is understandable - folklore is guided by the national ideal, and the literary ballad contains the author's personal attitude to the very popular ideal.

At first, the creators of literary ballads tried not to go beyond the themes and motives of folk sources, but then they more and more often began to turn to their favorite genre, filling the traditional form with new content. Fairy-tale ballads, satirical, philosophical, fantastic, historical, heroic ballads began to appear along with family, “terrible”, etc. Broader themes distinguished the literary ballad from the folk one.

There were also changes in the form of a literary ballad. First of all, it concerned the use of dialogue. A literary ballad much more often resorts to a hidden dialogue, when one of the interlocutors is either silent or takes part in the conversation with short remarks.

3. Literary ballads by V. A. Zhukovsky and M. Yu. Lermontov.

The wide poetic possibilities of the Russian ballad opened up to the Russian reader thanks to the literary activity of V. A. Zhukovsky, who worked at the beginning of the 19th century. It was the ballad that became the main genre in his poetry, and it was she who brought him literary fame.

Zhukovsky's ballads were usually based on Western European sources. But the ballads of V. A. Zhukovsky are also a major phenomenon of Russian national poetry. The fact is that when translating English and German literary ballads, he used artistic techniques and images of Russian folklore and Russian poetry. Sometimes the poet went very far from the original source, creating an independent literary work.

For example, a wonderful translation of the literary ballad of the great German poet Johann Wolfgang Goethe "King of the Elves", written on the basis of German folklore, conveys the inner tension of the fantastic ballad and the lyrical attitude of the author (J. W. Goethe) to the events described. At the same time, Zhukovsky, in his ballad The Tsar of the Forest, describes a forest that is surprisingly similar to Russian, and if you don’t know that we have a translation, you can easily take this work as created in the Russian tradition. "The Forest King" is a ballad about a fatal fate, in which an age-old dispute between life and death, hope and despair, hidden by an ominous plot, takes place. The author uses various artistic techniques.

Let's turn to table number 2.

1. In the center is not an event, not an episode, but a human person acting against one or another background - this is a colorful landscape of the forest kingdom and an oppressive reality.

2. Division into two worlds: earthly and fantastic.

3. The author uses the image of the narrator to convey the atmosphere of what is happening, the tone of the depicted: a lyrically scary tone at the beginning with an increase in a sense of anxiety and a hopelessly tragic one at the end.

4. Images of the real world and an alien from the "other" world.

5. The characteristic rhythm of the ballad is the stomp of a horse associated with the chase.

6. Use of epithets.

There are many bright colors and expressive details in Zhukovsky's ballads. The words of A. S. Pushkin about Zhukovsky are applicable to them: “No one had and will not have a style equal in its power and diversity to his style.”

“The Judgment of God on the Bishop” is a translation of the work of the English romantic poet Robert Southey, a contemporary of V. A. Zhukovsky. "God's Judgment on the Bishop" - written in March 1831. First published in the edition of "Ballads and Tales" in 1831. in two parts. Translation of the ballad of the same name by R. Southey, based on medieval legends about the stingy Bishop Gatton of Metz. According to legend, during the famine of 914, Gatton treacherously invited the starving to a "feast" and burned them in the barn; for this he was eaten by mice.

This time, the Russian poet very closely follows the original "terrible" ballad, describing the cruelty of a foreign bishop and his punishment.

1. You won’t find such a beginning in a folklore ballad: not only a certain lyrical mood is created here, but through a description natural disaster briefly and vividly creates a picture of people's grief.

2. There is no dialogue in R. Southey's ballad. The poet introduces only replicas into the narrative, but the characters do not address each other. The people are surprised at Gatton's generosity, but the bishop does not hear people's exclamations. Gatton talks to himself about his atrocities, but only God can know his thoughts.

3. This is a ballad of retribution and redemption. In it, the Middle Ages appears as a world of opposition between earthly and heavenly forces.

The tragic tone remains unchanged in this ballad, only the images and the narrator's assessment of their position change.

4. The ballad is built on the antithesis:

“There was a famine, people were dying.

But the bishop, by the grace of heaven

Huge barns are full of bread"

The general misfortune does not touch the bishop, but at the end the bishop “calls God in a wild frenzy”, “the criminal howls”.

5. In order to evoke sympathy from the reader, the author uses unity of command.

“There were both summer and autumn rainy;

Pastures and fields were sunk"

Zhukovsky always chose works for translation that were internally consonant with him. Good and evil in a sharp confrontation appear in all ballads. Their source is always the human heart and otherworldly mysterious forces that control it.

"Castle Smalholm, or Midsummer's Evening" - a translation of Walter Scott's ballad "St. John's Eve". The castle was in the south of Scotland. Belongs to one of Walter Scott's relatives. The poem was written in July 1822. This ballad has a long censored history. Zhukovsky was charged with “blasphemous combination of the love theme with the theme of Ivanov’s evening. Midsummer evening - the eve of the national holiday of Kupala, rethought by the church, as a celebration of the birth of John the Baptist. Censorship demanded a radical reworking of the finale. Zhukovsky appealed to the censorship committee to the Chief Prosecutor of the Synod and the Ministry of Public Education, Prince A.N. Golitsyn. The ballad was printed by changing "Midsummer's Day" to "Duncan's Day".

Of the ballads I have read, I would like to highlight the ballads of M. Yu. Lermontov.

The ballad "The Glove" is a translation of the knightly ballad by the German writer Friedrich Schiller. Lermontov - the translator relies on the experience of Zhukovsky, so he seeks to convey not so much the form of the work as his emotional attitude towards the treacherous woman who, for fun, subjects her knight to a death test.

1. The landscape beginning depicts a crowd in a circus, gathered in anticipation of a spectacle, a dangerous game - a fight between a tiger and a lion.

2. There is a dialogue in the ballad: there is an appeal by Kunigunde to the knight, there is also his answer to the lady. But the dialogue is broken: the most important event takes place between the two remarks.

3. The tragic tone replaces the general fun.

4. An important element of the composition is its brevity: it looks like a spring compressed between the tie and the denouement.

5. In the area artistic speech the generosity of metaphors is noted: “The choir of beautiful ladies shone”, “but the slave in front of his master grumbles and gets angry in vain”, “the annoyance of the cruel blazing in the fire”

The heroic ballad, glorifying the feat and intransigence towards enemies, was widespread in Russia.

One of the best patriotic poems created by Russian poets is M. Yu. Lermontov's ballad "Borodino".

1. 1. The whole ballad is built on an extended dialogue. Here, the element of the landscape beginning ("Moscow burned by fire") is included in the question of a young soldier, with whom the ballad begins. Then follows the answer - the story of a participant in the Battle of Borodino, in which the replicas of the participants in the battle are heard. It is these remarks, as well as the speech of the narrator himself, that allow the poet to convey a truly popular attitude towards the Motherland and towards its enemies.

2. This ballad is characterized by polyphony - many voices sound. For the first time in Russian poetry, true images of Russian soldiers, heroes of the famous battle, appeared. The story of the day of the Battle of Borodino begins with a call from the soldier, with flashing eyes, the commander-colonel. This is the speech of an officer, a nobleman. He easily calls the old honored soldiers "guys", but is ready to go into battle together and die like their "brother".

3. The battle is beautifully depicted in the ballad. Lermontov did everything so that the reader could, as it were, see the battle with his own eyes.

The poet gave a great picture of the Battle of Borodino, using sound writing:

"Damask steel sounded, buckshot screeched"

“I prevented the nuclei from flying

Mountain of bloody bodies»

Belinsky highly appreciated the language and style of this poem. He wrote: "In every word one hears the language of a soldier who, without ceasing to be crudely ingenuous, is strong and full of poetry!"

In the 20th century, the ballad genre was in demand by many poets. Their childhood and youth passed in a difficult time of great historical upheavals: revolution, civil war, the Great Patriotic War brought with them blood, death, suffering, devastation. Overcoming hardships, people reshaped their lives anew, dreaming of a happy, just future. This time, swift as the wind, was difficult and cruel, but it promised to make the most daring dreams come true. Among the poets of this time, you will not find fantastic, family or "terrible" ballads; in their time, heroic, philosophical, historical, satirical, social ballads are in demand.

Even if the work tells about an event from ancient times, it is experienced as today's in D. Kedrin's ballad "The Architects".

Tragic is K. Simonov's ballad "An old song of a soldier" ("How a soldier served").

A newspaper excerpt, which gives the work a publicity, is preceded by the "Ballad of Poaching" by E. Yevtushenko. Its text includes a salmon monologue that appeals to the human mind.

Noble solemnity and rigor distinguishes V. Vysotsky's "Ballad of the Struggle", lines appear in memory:

If, cutting through the path with his father's sword,

You wound salty tears on your mustache,

If in a hot battle I experienced what how much, -

So, you read the necessary books as a child!

The ballad "Architects" by D. Kedrin is the pride of Russian poetry in the first half of the 20th century, written in 1938.

In The Architects, Kedrinsky's understanding of Russian history, admiration for the talent of the Russian people, faith in the all-conquering power of beauty and art were manifested.

In the center of the poem is the story of the creation of the Temple of the Intercession Holy Mother of God on Red Square in Moscow, known as St. Basil's Cathedral.

The temple was built in 1555-1561 in honor of the victory over the Kazan Khanate. Skillful architects Postnik and Barma conceived and implemented an unprecedented deed: they united eight temples into one whole - according to the number of victories won near Kazan. They are grouped around the central ninth tent camp.

There is a legend about the blinding of the builders of St. Basil's Cathedral. The atrocity was allegedly committed at the behest of Tsar Ivan IV, who did not want a cathedral like this to appear anywhere. Documentary evidence of the legend does not exist. But what is important is that the legend arose, that it was passed down from generation to generation, already testifying by the fact of its existence that such cruelty of the autocrat was possible in the popular mind. Kedrin gave the topic a generalizing meaning.

1. This poem tells about an important historical event. There is a plot, and we see here a typical ballad technique - “repetition with growth”. The king twice addresses the architects: "And the benefactor asked." This technique enhances the swiftness of the action, thickens the tension.

2. Dialogue is used, which drives the plot in ballads. The characters of the characters are outlined convexly, in relief.

3. The composition is based on antithesis. The poem is clearly divided into 2 parts, which are opposed to each other.

4. The story is told as if on behalf of the chronicler. And the chronicle style requires dispassion, objectivity in the depiction of events.

5. There are very few epithets at the beginning of the text. Kedrin is stingy with paints, he is more concerned about the tragic nature of the fate of the masters. Speaking about the giftedness of the Russian people, the poet emphasizes their moral health and independence with epithets:

And two came to him

Unknown Vladimir architects,

Two Russian builders

When the "chronicler" comes to the description of the "terrible royal favor", his voice suddenly trembles:

falcon eyes

If they use an iron awl

To white light

They couldn't see.

They were branded

They were flogged with batogs, sick,

And threw them

On the cold bosom of the earth.

The form of folk lamentation is emphasized here by folklore "permanent" epithets.

There are several comparisons in the poem that emphasize the beauty and purity of the Church of the Intercession of the Most Holy Theotokos:

and, wondering, as if in a fairy tale,

I looked at that beauty.

That church was

Like a bride!

What a dream!

There is only one metaphor here (they are out of place in the annals):

And at the feet of the building

The market place was buzzing

6. The rhythm is suggested by the phrase "the chronicler's tale speaks": the measured, impressive voice of history itself. But the rhythm in the poem changes: the stanzas associated with the presence of the sovereign sound solemn and majestic. When it comes to the unfortunate blinded architects, emotional tension dictates a sharp change in intonation, rhythm: instead of solemnity - the sound of one piercingly sharp note in the whole line:

And in the gluttonous row,

Where the blockage of the tavern sang,

Where the fuselage reeked

Where it was dark from a couple

Where the deacons shouted:

"The state's word and deed!"

Masters for Christ's sake

They asked for bread and wine.

The tension of the rhythm is also created by the anaphora (where, where, where), forcing tension.

7. Archaisms and historicisms enter the work organically, they are always understandable in the context.

Tat - a thief, circled - a tavern, torovo - generously, right - punishment, blasphemy - beauty, green - very, velmi - very, smerd - peasant, zane - because

Kedrin ends with the expression “popular opinion”:

And a forbidden song

About the terrible royal mercy

Sang in secret places

Across wide Rus', guslars.

August 29, 1926 "Komsomolskaya Pravda" published "Grenada" - and Svetlov suddenly became the most popular Soviet poet. V. Mayakovsky, having read "Grenada", learned it by heart and recited it at his creative evenings. For some reason, it seems to everyone that this ballad is about civil war in Spain. In fact, the war began a few years after the poem appeared. Lyrical hero just wants to fan the world fire.

From one word "grew" the poem "Grenada". What fascinated this word of the poet? Why did it become the song of a Ukrainian lad, a cavalry soldier who died in the civil war? Of course, Mikhail Svetlov first of all liked the sound of the word Grenada. There is so much energy in it, and there is absolutely no aggression, rudeness; in its sound at the same time, and strength, and tenderness, and the distinctness of reality, and the unsteadiness of a dream, and the swiftness of an impulse, and the calmness of the end of the path. In the mouth of a young fighter, this beautiful name becomes the sound symbol of his dream of a new life for all.

1. The landscape beginning draws a wide expanse of the Ukrainian steppes. The ballad tells about the fate and heroic death of a young soldier.

3. M. Svetlov sharpens the rhythm of the ballad, breaking the quatrains into eight lines. In this rhythm, the rhythm of the movement of the cavalry detachment is clearly heard:

He sang while looking

Native lands:

"Grenada, Grenada,

Grenada is mine!

The word Grenada itself reproduces the size of the ballad: it has three syllables and the stress falls on the second syllable.

4. The tragic tone is replaced by the ringing melody of the resurrection of a dream.

Here's over the corpse

The moon bowed

Only the sky is quiet

Slipped later

On the velvet of sunset

teardrop of rain

Personification and metaphor indicate that no matter how grandiose the event, its meaning cannot alleviate the pain of loss.

Vysotsky wrote 6 ballads - "The Ballad of Time" ("The Castle is Hidden by Time"), "The Ballad of Hatred", "The Ballad of Free Arrows", "The Ballad of Love" ("When the Water of the Flood"), "The Ballad of Two Dead swans", "Ballad of the struggle" ("Among the swollen candles and evening prayers") for the film by Sergei Tarasov "Arrows of Robin Hood".

“I wanted to write a few songs for the youth who will watch this picture. And he wrote ballads about struggle, about love, about hatred - six rather serious ballads in total, not at all like what I did before, ”the author writes.

Finally, he spoke out in direct speech - as they say, without a pose and a mask. Only the "Song of the free shooters" - conditional, role-playing, or something. And the rest - without a game bifurcation, without hints and subtexts. There is some kind of anti-irony here: courageous directness, like a blow of a sword, crushes ironic smirks, cuts off the head of any cynicism

But the ballads were banned and Vysotsky’s recordings were later used by Tarasov in the film “The Ballad of the Valiant Knight Ivanhoe”.

1. The beginning in the “Ballad of Time” is interesting: not only a certain lyrical mood is created here, but through the description of an ancient castle, “hidden by time and wrapped in a delicate blanket of green shoots”, a picture of the past is created with campaigns, battles and victories.

2. In V. Vysotsky's ballad, the dialogue is hidden. The form of a dramatic monologue is used. The poet introduces only his own lines into the narrative - appeals to descendants, the characters do not address each other, tournaments, sieges, battles take place in front of us, as on the screen.

3. This ballad of eternal values. In it, the Middle Ages appears as a world built on antithesis:

Enemies fell into the mud, screaming for mercy

But not everyone, staying alive,

Keeping hearts in kindness

Protecting your good name

From the deliberate lies of a scoundrel

4. The solemn tone remains unchanged in this ballad. The author uses unity of command:

And the price is the price, and the wine is the wine,

And it's always good if the honor is saved

“In these six ballads the life position of the poet is stated. It's deeper than at first glance. This is like his inspiration, testament, ”wrote one of V. Vysotsky’s friends.

Goals (for the teacher):

1. Create conditions for identifying through analytical reading the features of the ballad as a lyrical epic genre;

2. To teach children to use metalanguage when analyzing a text;

3. Continue working on the technique of expressive reading;

Goals (for children):

1. Through analytical reading, understand what a ballad is as a lyrical genre;

2. Master the features, types of ballads;

3. Repeat theoretical and literary concepts: epic, lyrics, epigraph, score and others;

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Literature lesson in grade 6 on the topic "Ballad as a lyrical epic genre and its features."

Goals (for the teacher):

Create conditions for identifying through analytical reading the features of the ballad as a lyrical epic genre;
To teach children to use metalanguage when analyzing text;
Continue to work on the technique of expressive reading;
Develop learning independence, an active reading position;

Goals (for children):

Through analytical reading, understand what a ballad is as a lyrical genre;
To master the features, types of ballads;
Repeat theoretical and literary concepts: epic, lyrics, epigraph, score and others;

During the classes.

Goal setting.

Teacher's word:

Dear guys! Today in the lesson we will get acquainted with an amazing, peculiar and very interesting genre in literature, which is called a ballad.

What is known? (Nothing). The more interesting the conversation will be.

So, let's see what goals we have to achieve today?

II. pre-communicative.

Epigraph work.

Pay attention to the board, these are the epigraphs I have prepared today for the lesson.

(Student reads) Dark antiquity cherished legends ...

M.Yu. Lermontov.

And everywhere fatal passions ...

A.S. Pushkin.

What is an epigraph? What is it for? How do these epigraphs help us understand the ballad?

What can we say about this genre, relying only on the epigraph, without knowing anything about the ballad yet?

(Ancient genre; emotional.)

teacher's word

The term "ballad" itself is very ancient, and it arose along with the first lyrical works in the harsh times of the Middle Ages. In translation, this term meant "dance song". Ballads were created by folk narrators both on the basis of legends and myths, works of ancient authors, and true events.

Which epigraph reflects what you have just heard? (First)

And second? (Mystery)

Well, today you yourself have to solve this riddle.

III. Communicative.

Conversation

Read the topic carefully. Do you think it will be easy for us to start a conversation?

Are all terms clear? Find those words (word) that can be at least somehow understandable to you, familiar? (Lyroepic)

What familiar words does the whole term consist of?

lyro epic

What does this remind you of?

(two literary genres)

epic lyrics

(emotions, feelings) (plot, hero)

Is it possible now, knowing the meaning of two words, to say what lyroepic means? Work in pairs to independently formulate a concept.

Who is ready to draw a conclusion? (Answers of some students with additions and corrections of other children)

Outcome first.

So: Lyric epic genres are such works that combine the features of lyrics (emotionality) and epic (plot).

Let's open notebooks, write down the topic, dictionary: lyrical epic genres.

Students write down the definition on their own, 2 people voice it again for control, then check themselves according to the teacher’s record that appears on the board or on the computer.

We move on. Now I will read you a folk lyrical ballad “A raven flies to a raven ...” After reading, we will discuss the work together, highlight the features, but now (during my reading) your task is to arrange the score of the ballad.

Let's remember what needs to be done for this, what to remember?

b) logical stresses;

c) pauses, no pauses;

d) punctuation marks.

Revealing perception.

Liked?

What emotions did the poem evoke? What feelings, associations do you have? What one word would you use to describe this work? (Sadness, pity.)

Are all words understood?

Vocabulary work on the slide. Children read.

Rakita - a tree or shrub of the willow family, usually growing along the banks of rivers.

visit

1. Visit someone whom you have not seen for a long time, about whom nothing is known for a long time. For example: visit relatives.

2. Learn from rumors.

For example: Check on the arrival of a friend?

What is the meaning of the word "visit" here?

Pay attention to which style this word belongs to (colloquial)

Let's remember this, then we will return to this.

What did they see in this ballad from the epic and from the lyrics (emotions in perception)

Is there a plot (event)? Which?

What is the ballad about? (The hero is killed.)

How do we know about it?

(Raven to crow in dialogue.)

What is a dialogue?

What is the role of dialogue in a ballad?

How many quatrains are in the piece?

And how many of them are reserved for dialogue?

So what do you think the meaning of the dialogue is?

Students conclude:

In the dialogue we learn about the event, It is the basis of the plot, from it

find out what happened to the characters.

Let's draw a conclusion (Dialogue is the basis of the ballad, the plot develops in it)

Really guys, the dialogue in the ballad is the basis of the plot! The plot, in essence, seems to be replaced by dialogue, which develops it. That is why characteristic feature we recognize the ballad.

6) - So, the main event is known.

Who knows about this event? (Fire, falcon, hostess)

Doesn't bother you?

A strange series of witnesses, it seems to me?

Why do I have this feeling?

Reread the last verse! (The hostess knows.)

Where? Who are we waiting for then?

Discussion. Who disagrees, who thinks differently?

Whom do you sympathize with? Does anyone condemn?

How does he convey his emotions to us?

What means artistic expressiveness He

Uses? For what purpose? (Anaphora, syntactic parallelism, inversion, dialogue (and here the word of colloquial style)).

What is the idea of the piece?

Discussion. Conclusion.

Idea:

The idea is, folks, there's tragedy at every turn in life.

What is the tragedy of heroes?

A). A murder has been committed, a man has been killed. People have transgressed the law of God "Thou shalt not kill".

B). The hostess is probably to blame, but her tragedy is also in the fact that she, succumbing to passions, is forced to do this, otherwise she will not be able to be with her beloved!

IN). The tragedy is that both sides are right (and the hostess has the right to happiness, and the one who married her has the right to life, and sometimes there is no way out).

But back to our features.

Can you name another feature of the ballad?

Remember what made you talk about it so violently small work(obscurity, mystery)

Can we say that we have fully understood everything with you? Did you understand the events?

What is it connected with? (with secret)

So , indeed, there is always a certain secret in a ballad, therefore the plot is built as a disclosure, recognition of a certain secret, which, even if it remains outside the work, always intrigues the reader, keeps him in suspense, makes him worry, worry, think.

And this is another feature of the ballad.

Do you guys know that the ballad as a genre has several varieties.

Where and when did we already talk about the variety of the genre? (story, short story, grade 5)

Remember what genre varieties you know? (Love, humorous, fantasy, adventure, historical, social, everyday, etc.)

Now let's find out what kinds of genres a ballad has.

Performance of prepared children.

After reading the work proposed by the teacher, analyzing the title, plot, actions of the characters, we came to the conclusion that the ballad can be of the following types:

Heroic

historical

love

magical

comic

And this is the 4th feature of the ballad. I did not make a reservation, what is the 1st, 2nd and 3rd.

Who remembers? Let's summarizeLet's check your attention.

Formulate all the features of the ballad!

Who is more attentive? And who will add, argue, clarify?

So, write down all 4 features in a notebook.

A). The signs of epic and lyric are combined.

B). Dialogue is the basis of the ballad, it develops the plot.

IN). Mystery is the core of the story.

G). There are different types.

Write everything in a notebook, check on the slide.

III. Post-communicative

Concluding our conversation, let's return to the epigraphs. What do you think now, which of them most accurately reflects your idea of a ballad. (Second; both)

And now let's read expressively, remember the score, our whole conversation.

What kind of reading is better? (According to roles.)

How many readers will be needed? (Three.)

Which passage is the most difficult? Something to keep in mind while reading.

Is there anyone who wants to?

Role Reading.

Happened? Who better conveyed the drama of the situation in their reading? What would you advise readers?

Reflection.

Well, let's sum up the lesson. What were they talking about? What did you learn new? Have we reached the objectives of our lesson? Is everything figured out? Or maybe you have questions for me? Maybe something is not clear?

(What is a ballad?)

Homework.

Of course, I did it on purpose, precisely because I'm sure, after today. Lesson, you can define the term ballad yourself.

This will be your homework.

a) Open your diaries, write them down!

The literary encyclopedia of terms and concepts gives us the following interpretation of the ballad: Ballad (French ballade, from Prov. balada - dance song)

1. A solid form of French poetry of the 14th-15th centuries: 3 stanzas with identical rhymes (ababbcbc for an 8-syllable verse, ababbccdcd for a 10-syllable verse with a refrain and a final semi-stanza - a “parcel” addressing the addressee). Developed from the crossing of the northern French dance "balleta" and the Provencal-Italian semi-canzone.

2. Lyric-epic genre of Anglo-Scottish folk poetry of the 14th-16th centuries. on historical (later also fabulous and everyday) topics - about border wars, about the folk legendary hero Robin Hood - usually with tragedy, mystery, jerky narration, dramatic dialogue Literary Encyclopedia of Terms and Concepts / Ed. A.N. Nikolyukin. Institute of Scientific Information on the Social Sciences of the Russian Academy of Sciences. M., 2003. S.69..

V.E. Khalizev in "Theory of Literature" also speaks of the belonging of the ballad to the lyric-epic Khalizev V.E. Theory of Literature. M., 1999. S. 316.

Such a definition of the concept of a ballad is given by scientific literature. To this we can add a description of this genre given by T.I. Vorontsova in the article “Compositional and semantic structure of pictorial and narrative ballads of a lyrical nature”: “The ballad is small in size, it describes events that have a plot, a climax and an end. This shows the epic nature of the ballad. Its plot is unreal, symbolic, not clearly defined in space and time” Vorontsova T.I. Compositional-semantic structure of figurative-narrative ballads of a lyrical nature.//Text and its components as an object of complex analysis. L., 1986. S. 12. . R.V. Iezuitova in the 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 two-dimensional nature of its construction, when behind the plot there are hints of mysterious forces that gravitate over a person.” According to this researcher, “the main structural tendencies of the ballad genre in the era of romanticism are expressed in the strengthening of the dramatizing beginning, in the choice of an acute conflict situation, in the use of contrasting character building, in the concentration of ballad action on a relatively small spatio-temporal interval. At the same time, the ballad intensively forms new principles of lyricism, refusing didactics and moralization” Iezuitova R.V. Ballad in the era of romanticism//Russian romanticism. L., 1978. S. 160.

Formation of poetic features of the ballad genre

The very diversity of intra-genre tendencies, the non-differentiation of the elements of ballad poetics, the mixing of the ballad with other genre forms - all this taken together explains the reasons why the formation of the ballad genre in Russian literature of the late 18 remained unfinished in a number of significant points.

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

V.V. Znamenshchikov, one of the scientists involved in 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 the poetics of a literary ballad, you can use some of the provisions of folklore. For a literary ballad, certain genre signs of a folk ballad are indisputable, while others are modified (for example, “one-conflict and conciseness”); the literary ballad has only its inherent features. Commonality is already found in aesthetic categories. It is based on the image of "tragic" and "wonderful".

The folk ballad, which is included in the system of epic genres of folklore, obeys the laws of building an epic work. Her epic setting complicates the ways of direct expression of the feelings of the characters. A dialogic form of development of the action appears, in which the story of the event and its depiction merge. In the dialogue, the leading role of one of the characters is felt. In the structure of the 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 the central character, whose efforts determine the development of the conflict. The second character may not appear. The motivation of 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. The widespread use of the genre in the mid-20s. The 19th century created a "conventional motivation": the reader knew the direction of the conflict, its participants, etc. At this time, Zhukovsky reduces the author's characteristics of the characters.

In both literary and folk ballads, the conflict is often defined 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 to enter into "familiar contact" with the characters of another world. With the advent of fantasy, his mobility becomes even more obvious: only he experiences the influence of "higher" forces. The movements of the central character determine the ballad space and time.

One can also notice the general compositional features inherent in the folklore and literary ballad. The work is clearly divided into two unequal segments: the development of the action and the finale (climax and denouement). They are opposed in time and space. The final makes you rethink the storyline. Events, initially perceived as insignificant, acquire semantic and emotional richness. In this construction of the ballad, apparently, the manifestation of the tragic orientation of the ballad aesthetics is reflected. A folk ballad, devoid of an author, makes the tragedy irreversible (as happens in dramatic works, where the intervention of the author is excluded). In a literary ballad, the author, by his participation, can relieve the tension of the action - sometimes Zhukovsky does this (“Svetlana”, “Alina and Alsim”).

The ballad often assigns appropriate spatial localizations to plot situations. The denouement in folk ballads usually takes place "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 temporal shifts. The flow of time within each scene also changes. For example, in the denouement, time is compressed.

Ballad time is always unidirectional. There are parallel descriptions in literary ballads, but there is no return to the past. However, the characters can talk about past events - as happens in the dramaturgy of classicism. This explains the state of the heroes and motivates further actions: the ballad appears as the last link in the series of events that remained "behind the text"" Znamenshchikov V.V. To the question of the genre features of the Russian ballad//Questions of plot and composition. Interuniversity collection. Gorky, 1980. S.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, its own vision of the surrounding reality. It is based on history, heroism, fantasy, life, refracted through the prism of legend, tradition, belief.

The author looks at the surroundings through the eyes of his heroes, sharing their "naive-innocent" faith in the reality of the wonderful, fabulous, fantastic. This is how a specific atmosphere of mystery, understatement, forebodings and prophecies arises, which cause the reader to think about 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 this sense the ballad approaches the story. At the same time, the originality of the ballad plot lies not only in greater generalization compared to the plot in a prose work, but also in a special cult of the Event with a capital letter. The fact is that the plot and compositional basis of the ballad is not an ordinary event, but an exceptional case, an outstanding incident that takes the ballad action beyond the boundaries of the everyday world of reality - into the world of legendary fantasy. This event is the core of the ballad action. In this sense, the plot is closer in character to the mythological than to the novelistic narrative. Therefore, the ballad tends to historical tales, folk legends and beliefs.

Ballad action is characterized by a special conciseness, swiftness, dynamism of the development of the event, fragmentation, which manifests itself in the focus 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 comes from the perspective of an outside observer. The lyrical beginning of the genre structure of the ballad is associated with the emotional mood of the narration, reflecting the author's feeling of the depicted era and expressing the poet's lyrical self-awareness. The active attitude of the artist to the event is manifested in the entire emotional atmosphere of the ballad, but most of all it usually comes out in the beginning or in final ballads, as if framing its eventful 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, impetuous, poetic rhythm. In fact, each ballad is a small drama. The underlying conflict is always acutely dramatic. denouement on the other hand, being the plot conclusion of the conflict of the ballad, it is not only unexpectedly spectacular, but often tragic. To a certain extent, the drama of the ballads is also associated with that atmosphere of fear and horror, without which it is generally impossible to imagine the artistic nature of the traditional romantic ballad. Sometimes this is purely religious in nature, but it also represents a kind of philosophical recognition of the existence of some incomprehensible and beyond human power. In most ballads, this is simply the realization that external, objective circumstances often turn out to be stronger than the internal, subjective motives of an individual. human personality. Hence the gloomy coloring so characteristic of ballads.

Of the whole range of problems, perhaps the most important problem is the confrontation between personality and fate. In a 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, resists it despite all predictions and forebodings.

Sometimes the dramatic beginning is so strongly expressed that because of this the author's story is pushed aside or completely replaced by a monologue or even dialogic form of narration (“Lyudmila”, “Forest King”, “Smalholm Castle”).

Historicism in the ballad is conditional, close to the historicism of legends, legends, epics, that is, it has a somewhat mythologized character. In Zhukovsky's historical ballads, the conditional Middle Ages are created by the author's creative imagination, almost liberated from everyday and historical plausibility.

The closing situations are typical of ballads. One of the main plots taken from folk ballads and folklore is the plot about 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 of the afterlife. Some Russian fairy tales are known, which describe how a dead man walks around the village or gives a voice and takes revenge on the offenders.

The ballad genre in Russia gained popularity thanks to V. A. Zhukovsky. It was he who was able to give the works of this genre a special poetic elegance and introduce elements of Russian romanticism.

A ballad is a short story in poetic form with a historical or fantastic plot, supplemented by folklore.

During his creative career, V. A. Zhukovsky wrote about 40 ballads, both original and transcribed from foreign works. His first ballad "Lyudmila" is an adaptation of the work "Lenora" by the German poet Bruger. If the original used a lot of old German legends, then in the version of V. A. Zhukovsky eloquently described Ancient Rus' with its customs and traditions. The poet supplemented his work with many Russian sayings.

V. A. Zhukovsky’s first own ballad is Svetlana, which is in many ways similar to Lyudmila, but has a completely different ending.

V. A. Zhukovsky felt anguish all his life because of social inequality in the country and acutely felt the social problems in society. This not only prompted him to maintain friendly relations with many Decembrists, but also reflected on his work.

The main theme of the ballads of V. A. Zhukovsky is the struggle between good and evil, but the author also wrote works on love themes, which are distinguished by their special beauty. The main characters of his works are strong, morally pure personalities.

According to V. A. Zhukovsky, a person tends to evil because of jealousy, greed and selfishness. Unable to control his temper, the character commits a crime, for which he is later punished. In most cases, the antagonist is punished not by people, but by fate itself. This shows deep morality: a person who has transgressed moral norms and committed evil dooms himself to torment.

A special place in the ballads of V. A. Zhukovsky is given to nature. In his works, she is a full participant in the plot, punishing criminals and helping the protagonists. According to the poet, nature opposes any manifestation of evil and seeks to get rid of the person who committed it.

In love ballads, V. A. Zhukovskikh also calls to curb the egoistic desires and passions that arise in people in love.

Subsequently, many images and motifs of ballads by V. A. Zhukovsky were adopted by other famous poets, in particular, A. S. Pushkin.

Genre of the ballad in the work of V. A. Zhukovsky

For Russian literature, the ballad genre has always been alien and least in demand. Despite the fact that the ballad has existed for quite a long time, it was thanks to Zhukovsky that it acquired poetic beauty and became popular among readers. Among other things, he managed to combine the poetics of the genre and the aesthetics of romanticism. As a result, given literary direction acquired one, incredibly peculiar to him sign - the genre of the ballad.

The ballad is a short story in verse, the main storyline which is a story of a heroic or fantastic nature, and the narrative itself is colored by lyrical content.

Zhukovsky created 39 ballads, but most of them are translations or transcriptions. Only five original works were written in this genre.

The main theme of Zhukovsky's ballads is the commission of a crime and the punishment that follows it, the constant confrontation between good and evil. The main character in all ballads is a strong personality who does not obey moral laws and acts for personal purposes.

According to the author, the cause of a crime is always the manifestation of selfish passions, whether it be: greed, jealousy, envy, ambition, etc. Often the moral chains are powerless to contain the onslaught of the unbridled ego.

And yet, the main thing in these works is not the act of committing a crime, but its consequence in the form of a severe punishment of the author of this act. And what is very characteristic, the executioners are not people at all. Man punishes himself. His conscience torments him to such an extent that the criminal cannot stand it and voluntarily agrees to retribution. Having committed a terrible deed, a person with his own hands deprives himself of happiness and the joy of being, until the end of the days allotted by fate, they are discouraged and do not find peace for their souls.

However, it also happens that the conscience of the criminal is stubbornly silent, but even in this case, punishment is inevitable. According to Zhukovsky, it comes from the depths of life itself, from surrounding nature. In the poet's ballads, she is fair and is also able to punish the perpetrators of atrocities. It mercilessly destroys evil, eradicates it from life itself.

In Zhukovsky's ballads, good always wins, because the author firmly believes in inevitable retribution for those who violate the moral law. Justice in these works always triumphs.

Among the most famous ballads of Zhukovsky, one should single out those that are devoted to the theme of love, such as: “Lyudmila”, “Eolof harp”, “Svetlana” and others. The main task of the author here is to reason with a man in love who has gone astray because of the grief he experienced in a love drama. Even in this seemingly unrelated topic to the opposition of good and evil, Zhukovsky defends all the same principles - a strict restriction of egoistic motives and passions.

Thus, after analyzing the work of V.A. Zhukovsky, we have identified the main features and main features of the ballad genre that were characteristic of the works of this author.

Presentation for a literature lesson on the topic "ballad as a literary genre." Features of the ballad genre and its development in European literature of the 18th–19th centuries

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Formation of poetic features of the ballad genre

Genre of the ballad in the work of V. A. Zhukovsky

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