Features of the genre of ballads and its development in European literature of the XVIII-XIX centuries. Genre Ballad

The term "ballad" comes from Provencal word and means "dance song". There were ballads in the Middle Ages. By origin, ballads are associated with legends, folk legends, connect the traits of the story and songs. Many ballads about the National Hero named Robin Hood existed in England XIV-XV centuries.

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

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

In the center of the literary ballad, there is always a person, but the poets of the XIX century, who chose this genre, knew that human forces were not always allowed to answer all the questions, to become the most frequent owner of her destiny. Therefore, often literary ballads are a storylive poem about the fatal fate, for example, the Ballade "Forest King" of the German poet Johanna Wolfgang Goethe.

The Russian Balad tradition was created by Vasily Andreevich Zhukovsky, writing as original ballads ("Svetlana", "Ealar Harp", "Achille" and others), and translated by the Burger, Schiller, Goethe, Ulanda, South, Walter Scott. All Zhukovsky written more than 40 ballads.

Alexander Sergeevich Pushkin created such ballads as "a song about Oleg's meaning", "Bridegroom", "Drill", "Raven to Raven flies", "the Knight of the poor knight ...". Also to the genre of ballads include its cycle "Western Slavs" songs.

Separate ballads have Mikhail Yurevich Lermontov. This is a "aircraft" from Zeidlitz, "Sea Tsarevna".

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

Whole departments of their poems were called ballads, applying this term already more freely, A.A.Fet, K.K. Sreaty, V.Ya. Bruisov. In their "experiments" of Bryusov, speaking of the ballad, indicates only two of their ballads of the traditional lyrol-epic type: "Berth's abduction" and "pruney".

A number of comic ballads parodies left Vl.Solviev ("Mysterious Ponoloire", "Autumn Walk of the Ralph Knight" and others)

The events of the stormy XX century again caused a genre of literary ballads. The Ballad of E. Bagritsky "Watermelon" although it does not tell about the turbulent events of the revolution, but he was born by the revolution, the romance of that time.

Features ballads as genre:

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

the combination of real with fantastic

romantic (unusual) landscape

motion motive

the plot can be replaced by a dialogue.

laconicity

the combination of lyrical and epic began

Objectives (for teacher):

1. Create conditions for identifying through the analytical reading of ballads as a LarEpic genre;

2. Teach children when analyzing the text to use the metalanas;

3. Continue working on expressive reading technician;

Objectives (for children):

1. Through analytical reading, it is understood that such a ballad is like a lyrical genre;

2. Master features, types of ballads;

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

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Literature lesson in grade 6 on the topic "Ballada as a limier genre and its features."

Objectives (for teacher):

Create conditions for identifying through the analytical reading of ballads as a LarEpic genre;
Teach children when analyzing text use the metalayase;
Continue working on expressive reading technician;
Develop learning independence, active reader position;

Objectives (for children):

Through analytical reading, it is understood that such a ballad is like a lyrical genre;
Master features, types of ballads;
Repeat theoretical literary concepts: Epos, lyrics, epigraph, score and others;

During the classes.

Goal.

Teacher's word:

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

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

So let's see what purposes will we have to achieve today?

II. Precommunicative.

Work with the epigraph.

Pay attention to the board, here I have prepared such epigraphs today to the lesson.

(Reads a student) dark antiquity cherished loans ...

M.Yu. Lermontov.

And everywhere passion out the fatal ...

A.S. Pushkin.

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

What can we say about this genre, relying only on the epigraph, nothing else about the ballad?

(Ancient genre; emotional.)

The word teacher

The term "ballad" itself is very ancient, and it arose together with the first lyrical works in the harsh times of the Middle Ages. Translated this term meant "Dance Song". Ballads were created by folk respondents both on the basis of legends and myths, works of ancient authors and genuine events.

What epigraph reflects what you have now heard? (First)

And second? (Riddle)

Well, today you yourself have to solve this mystery.

III. Communicative.

Conversation

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

Are all the terms understandable? Find those words (word) that can be at least somehow understand you, familiar? (LarEpic)

What kind of familiar words is the whole term?

laro epic

What do you remind you?

(two literary sodes)

lyrics Epos.

(emotions, feelings) (plot, hero)

Is it possible now, knowing about the meaning of two words, to say what is the limier? Work in pairs for the purpose of independent formulation of the concept.

Who is ready to conclude? (Answers of some students with additions and fixes of other children)

The result is the first.

So: Laroepic genres are such works that combine signs of lyrics (emotionality) and epos (story).

I will open the notebook, write down the topic, dictionary: LarEpic genres.

The students independently write down the definition, 2 people again voiced again, then check themselves according to the teacher's records that appears on the board or on the computer.

Moving on. Now I will read you the folk lyrical ballad "Raven to the crow flies ..." After reading, we will discuss the work together, lay out the features, but now (during my reading) you task: to place the score of ballads.

Recall what needs to be done for this, what to remember?

b) logical strokes;

c) pauses, no pauses;

d) punctuation marks.

Detection of perception.

Liked?

What emotions caused a poem? What feelings, Associations have? What one word would you characterize this work? (Sadness, pity.)

Is all the words understand?

Wordwork on the slide. Children read.

Rakita - Wood or shrub of the family of IVV, growing usually along the banks of the rivers.

Spend

1. Announce that with whom I have not seen it for a long time, anything is not known for a long time. For example: Consider relatives.

2. Learn on rumors.

For example: Consider a friend's arrival?

What value is the word "spell" used here?

Pay attention to what style is this word (acceleration)

Let's remember it, then back to it.

As for this ballad, they saw from the epic and from lyrics (emotions in perception)

And the plot (event) is? What?

What is the ballad? (Killed Bogatyr.)

How do we know about it?

(Raven Roron in dialogue.)

What is a dialogue?

What place is the dialogue in the ballad?

How much quit in the work?

And under dialogue how many of them are allotted?

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

The conclusion is made by students:

In the dialog, learn about the event, it is the basis of the plot, from it

we learn about what happened to the heroes.

We conclude (the dialogue is the basis of ballads, the plot develops in it)

Really guys, dialogue in the ballad - the basis of the plot! The plot, essentially, as if replaced by a dialogue, which develops it. It is on this characteristic sign that we learn the ballad.

6) - So, the main event is known.

And who knows about this event? (Fallet, Falcon, Mistress)

Nothing confuses?

A strange number of witnesses, it seems to me?

Why do I have a feeling?

Reread the last quit! (The mistress knows.)

Where? Who then wait?

Discussion. Who does not agree, who thinks differently?

Who sympathizes? Someone condemns?

How does he give us his emotions?

What are the means of artistic expressiveness he

Uses? What purpose? (Anaphor, syntactic parallelism, inversion, dialogue (and here the word of spoken style)).

What is the idea of \u200b\u200bwork?

Discussion. Output.

Idea:

The idea is guys that in the life of the tragedy at every step.

What is the tragedy of heroes?

BUT). Murder was committed, a man was killed. People have laid the law of God "not kill."

B). The hostess, probably, is to blame, but her tragedy is also that she, yielding to passions, is forced to do so, otherwise she will not be able to be with her beloved!

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

But let's return to our features.

Can you call another ballad feature?

Remember that forced you so hard to discuss this such a small work (incomprehensibility, mystery)

Can we say that we fully understood everything with you? Have dealt with events?

What is it connected with? (with mystery)

so , Indeed, in the ballad there is always a certain mystery, so the plot is built as a disclosure, the recognition of some mystery, which even if it remains outside the work, but always intrigues the reader, keeps it in tension, makes it worry, worry, think.

And this is another feature of ballads.

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

Where and when were you talking about a variety of genre? (Tale, Story, Grade 5)

Remember what genre varieties are you known? (Love, humorous, fantastic, adventure, historical, social, household, etc.)

And now let's find out which kinds of genres have ballads.

Speech by trained children.

After reading the work proposed by the teacher, analyzing the name, plot, actions of heroes, we came to the conclusion that the ballad happens the following types:

Heroic

Historical

Love

Magic

Comic

And this is 4 features of ballads. I did not make a reservation, what 1, 2nd and 3rd.

Who remembers? Let's summarizecheck your attention.

Word all the features of ballads!

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

So, write down all 4 features in the notebook.

BUT). Combined signs of epic and lyrics.

B). The dialogue is the basis of ballads, it develops the plot.

IN). Mystery is the basis of the plot.

D). There are different species.

Write everything in the notebook, check the slide.

III.Postomunicon

Completing our conversation, let's return to epigraphs. As it seems to you, which one most accurately reflects your idea of \u200b\u200bthe ballad. (Second; both)

Now we read expressively, remember the score, our whole conversation.

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

How much do readers need? (Three.)

What passage is the most difficult? What should be remembered by reading it.

Are there anyone?

Reading on roles.

Happened? Who managed to put the drama of the situation in his reading? What would you advise the readers?

Reflection.

Well, let's sum up the lesson. What did you say? What did you know new? Have we achieved the goals of our lesson? All - all found out? Or maybe you have questions to me? Maybe something is incomprehensible?

(What is the ballad?)

Homework.

Of course, I did it specifically, precisely because I am confident after today. The lesson you can give the definition of the term ballad.

This will be your homework.

a) Open diaries, write down!

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

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

Separate ballads have Mikhail Yurevich Lermontov. This is a "aircraft" from Zeidlitz, "Sea Tsarevna".

A number of comic ballads parodies left Vl. Solvie ("Mysterious Ponoloire", "Autumn Walk of the Ralph Knight" and others).

Features ballads as genre:

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

the combination of real with fantastic

romantic (unusual) landscape

motion motive

the plot can be replaced by a dialogue.

laconicity

the combination of lyrical and epic began

Ballad: History and Features of the genre

Ballad - Laro-epic poems with a pronounced story of a historical or domestic nature, in which themes and heroes of myths are often used.
The term "ballad" comes from Provencal word and means "dance song". There were ballads in the Middle Ages. By origin, ballads are associated with legends, folk legends, connect the traits of the story and songs. Many ballads about the National Hero named Robin Hood existed in England XIV-XV centuries.

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

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

Separate ballads have Mikhail Yurevich Lermontov. This is a "aircraft" from Zeidlitz, "Sea Tsarevna".

A number of comic ballads parodies left Vl.Solviev ("Mysterious Ponoloire", "Autumn Walk of the Ralph Knight" and others)

Features ballads as genre:

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

the combination of real with fantastic

romantic (unusual) landscape

motion motive

the plot can be replaced by a dialogue.

laconicity

the combination of lyrical and epic began

The genre of ballads, which played an important role in the formation of a romantic aesthetics, repeatedly attracted the attention of researchers. "However, the understanding of the genre specificity of ballads, fully implemented its genre potential in the era of romanticism, is not yet exhaustive," says S.I. Ermolenko and indicates that the "phenomenon of ballading" cannot be understood without returning to the origins of the genre, His genesis is a folk ballad, known to all European peoples.

Otherwise, the research and pathos of folk ballads in Russia determine the researchers. Putilov B.N.V. The Slavic Historic Ballad work suggests that the folk ballad is the art of tragic, which reflected the sides of the Middle Ages worldview of the Middle Ages, who were associated with the awareness of the "tragic volatility, a brokenness, disgraceing life" 2.

This thought continues to S.I.ERMOLENKO, saying that the People's Ballad puts the Individual human destiny in the center of attention, taken at the time of her unexpected, sharp, with the tragic consequences of a breakfast caused by those or other events (socio-public, historical or family -Bead), but certainly missed through the prism of personal relationships.

At the same time, all genre researchers converge on the fact that before becoming the property fictionThe ballad passes a kind of evolution as a genre of folklore, widely represented from various European peoples.

Swimming in written literature, it continues to remain a flexible and expressive genre for a long time. The number of stanza increases, the composition becomes more complicated, the verse is stretched (such is ballays of Charles Orleans, Willon, Deshan, Masha). In the 17-18 centuries, they forgot about it, the ballad almost ceased to exist as a literary genre, since classic aesthetics that dominates at this time did not need such genre form.

The development of romanticism caused interest in folk ballads in all European countries due to an awakening interest in the educated public interest in history, to the folk past. Romance poets collect and publish collections of folk ballad (the collection of Arima and Brentano "Magic Horn of the Boy", a collection of Ulanda in Germany) is especially famous. In most publications, ballads were combined with other songs, which led to the loss of a solid idea of \u200b\u200bthe essence of the Baladenge genre.

The revival of literary ballad begins as a few decades before the early 19th century. New principles of pictures, special plot collisions and unusual heroes (carriers of strong passions) - consisted in their works and foreshadowed the artistic opening of romanticism. On this way, the Russian poetry of Kona 18 - early 19th century was prepared for the perception of a more developed and early tradition of German and English literary ballads.

"Connecting romanticism throughout its development, the ballad as the genre of the" newest "Russian poetry is finally formed in the framework of this direction on the basis of a folding romantic aesthetics, becoming together with the Elegy, and then a lyrical poem of one of the most characteristic of romanticism genre forms." And the process of comprehending the genre specifics of ballads was simultaneously the process of creative mastering this genre form and its transformation, the implementation of these tasks is connected in our consciousness primarily with the name V.A. Zhukovsky, who performed at the beginning of the 19th century by the reformer of the genre of ballads.

Let us turn to the main features of the ballad genre. S.I. Ermolenko in the work "Lyric Lermontov: genre processes" determines the genre of ballads due to the presence of such in the work of Lermontov. She appeals to the history of folk ballad, reveals its main features:

The focus is in the center of attention - individual human destiny (they were told above), which is considered in the tragic moment, the moment of unexpected, sharp changes caused by any reason, events (most often social and public, historical or family-household), "But certainly missed through the prism of personal relationships ";

The hero faces insoluble life contradictions. It is shown as a substantial, not capable of active struggle "and decisive resistance, but attractive in its moral durability and some kind of childhood insecurity";

The predetermination of the tragic junction reveals in the ballowstock collisions and contradictions, in addition to their will, inhibit some truly fatal power, are drawn by heroes, some fatal meaning;

Because of the Balladic Situations of the family - household drama, social inequality, captivity - non-free, etc., the highest and eternal plan appears, to which the people's ballad, seeking to reduce diverse life conflicts and conflicts to the most common, generic, unchanged confrontation: love - Hate, good - evil, life - death;

One more important feature The genre of folk ballad is the unmotivation of evil. As S.I.ERMOLENKO writes: "Evil in the folk ballad is no reason, has no reason, and nevertheless it is committed with some kind of dark inevitability."

Thus, a person is in the mercy of the mysterious forces governing his fate - in the power of rock;

Hence the Baladnaya Dvoemirie: the world is real, real and surreal, otherworldly, the relationship with which is felt in particularly intense moments.

The organizing center of the ballad world, its epic base is an event in which the action of mystical, fatal forces is detected.

The disclosure of ballad characters is carried out without the direct author's intervention, evaluations on its part, in the process of action itself.

There is a ballad lyricism, therefore, the result of the impact on the subject of a certain epic event, the reaction of the soul, experiencing its opening of the ballad world. The elimination of the ballad event from the perceive subject generates a lyrical experience, not identical with - experience, CO - participation. In the ballad, other Lorism: a person would seem to be stopped in front of his unexpectedly discovered the picture of the ballad world and froze, struck by seen, in touching with mystical secret being.

In the article "The genre of romantic ballads in the aesthetics of the first third of the 19th century" S.I. Ermolenko, on the example of ballads of literary, distinguishes the ballads of the epic and lyrical, and also refers to the category of wonderful in ballads and comes to the following conclusions: Ballad - The epic genre, but the epic (event) is not determining in the structure of the genre, although there is no ballad without it, but what refers to its lyrical characteristics: "comprehension", "perception" of the ballad event, attitude to it; The category of wonderful in the ballad is important. Wonderful reveals itself not only in the epic, like a wonderful event or an incident, and the phenomenon of the emotional impact of ballads on the reader is connected with wonderfully connected. Wonderful there is not only a fantastic, supernatural, but in general, all the exceptional, extraordinary, not fitting in the framework of everyday ideas.

The foundation of the concept of "wonderful" in the ballad draws L.N. Dushina in the article "The role of" wonderful "in the poetics of the first Russian ballads", "Wonderful" turned out to be one of those started in which the Russian ballad of the turn of the XVIII - XIX centuries found his new one Romantic content, features of a new, romantic poetics. This mysterious, wonderful, widely incoming in Balack plots, helped delimit the romance and the ballad, until this time perceived as one whole, undifferentially. This is also confirmed by the authors of theoretical studies of the beginning of the XIX century (N. Grech, N.ostolopov, A.Merzlyakov), determining the wonderful as a kind of force, leading the ballad from the familiar, traditional song poetics to the new, "romantic", the type of narration.

T.I.Silman, analyzing 4 ballads Goethe: "Forest Tsar", "Wild Rose", "Nakhodka", "May Song," - considers "movement from one poetry pole to another" - from ballads to the lyrical poem. It is also important here to define the Silman of the Baladnaya shape, the main features of ballads. As a result, the comparison of these works, the author comes to the following conclusions relatively ballads:

Ballad depicts events and relations between people objectively and in their natural consistent development (a lyrical poem replaces this natural sequence of the logic of their internal experiences);

The moment of emotional assessment of the material of the narrative in the ballad is extremely neutralized, since it manifests itself only indirectly, mainly through emotional reactions acting persons, while in a lyrical poem, the entire presentation is permeated with emotionally - estimated elements emanating from the poet, lyrical hero;

In connection with the illusion of objectivity of presentation in the ballad, another illusion is also created - directly the unsubstantiated presence of the author (and reader) under the events depicted, since the author should be overwhelmed with them from beginning to end, without summarizing and not evaluating them from his own behalf, as if " Not soying "to do this (meanwhile in a lyrical poem, due to the constant emotional assessment of the facts depicted, phenomena, relations, the effect of the distance of the lyrical hero from the reality material is created);

From here there is a different temporal perspective in both genres: the ballad, due to the illusion of simultaneousness of what is happening and the narration of it, it seems to be completely sustained in the present time (in fact, the epic battles of ballads are most often set forth in the pan, in the present time only dramatic scenes are given. ). In a lyrical poem, all times seem to be "moved" from the moment of image;

Thus, Sylman says that in his narrative part of the ballad, like any genuinely an epic work, reports people and events as existing and developing objectively, without interference and even without direct assessment of the author. In addition, Silman draws our attention to the fact that when it is not too large, the ballad must accommodate in itself and a brief exposition, and a report on the development of action, and show the development of characters at the time of their fatal collision, and finally report The junction, mostly tragic (nevertheless, the ballad should remain a poem, not dismider into the poem).

"Exotic romanticism, commitment to the" Museum of Far Fountation ", the aesthetization of battle, danger, risk and theatrical-courageous taire, tragically paid for the fate of the first aqmeist, was taken to rent more or less gifted carriers of internally supplied totalitarian romance: from N. Tichonov and V. Ulugovsky To K. Simonova and A.Surkov "- this is the opinion of this recognized literary critic, however, it is categorically to judge the accuracy or inaccuracies, we are not right, since it reflects an important idea: nothing in the literature arises on the" scratch "and not anywhere disappears. But completely attribute the appearance of the ballads of Soviet poets only by the influence of N.Gumilev would not be true. The new era, the new time brings his sound to the usual romantic genre.

In the era of strong shocks for our country - a civil war, the genre of ballads is reborn again. The main merit in this belongs to Tikhonov, which creates a genre of heroic ballads. This is a dismantive story about the feet for the sake of a common cause. His creativity is directly connected with the general theme of civil war, heroes, plots, fashionable Stroy Eagerly equal to the historic orientation "1918-1921". Here is a conscious orientation on the ideas about the brave, valiant and fair hero, about his fatal match with the enemy, which has long been imprinted in the national consciousness, drawn from numerous romantic works of the past. In his ballads - approval of the harsh valiant of the revolutionary feat, self-sacrifice, approval of the cult of loyalty of debt.

It is important here to note that the Blides of the ODI period are in many ways the beginning of the Ballad of the time of the Soviet state. We now turn directly to the Body Ballands. Kuzmichiv IK It turns our attention to the fact that the ballads of the military years differ from the usual reader of romantic or folk ballad.

First, the Russian Ballad of Wentings is not just a narrative poem, but the heroic narrative of the exploits of ordinary Soviet people.

Secondly, the main content of the heroic ballad of this time is not the legends of the antiquity, not the legends of the past, but the real struggle of the Soviet people. Heroes Ballades are contemporaries of authors. Status Fabulu is a reflection real life in its immediate forms. Consequently, the Ballad of War years from this side represents a new phenomenon. The ballad of an old type is generally epic in particular, it was always turned into the past and fed on six-grade or fantastic plots.

Thirdly, a folk hero comes to replace the hero of the old romantic ballads of the 19th century. Poets strongly emphasize that the feat of the people is associated with the nationwide struggle and performed in the name of the people.

In addition, the author speaks no longer so significant, but still important differences Pallery of wartime, such as: Simplicity of composition, realistic character (Kuzmichyev notes that poets in their ballads deliberately evade actual reliability and seek to reproduce generalizing characters in the most dramatic, but not fantastic and exceptional circumstances), the number of actors is small - one -Fall, the number of plot lines is reduced to a minimum; most often the ballad is built on one scene lineassociated with one episode. Finally, a characteristic feature is that due to the specifics of the genre, the people are depicted in the ballad generally and unilaterally, mainly from the point of view of manifestation of his heroic actions.

Nowhere is the topic of the great domestic and creativity of the poets of the 50s.

"The whole" in the literature is made up of individual biographies, and these "personal deposits" are valuable in their own way. But at the same time it turns out that personal unique discoveries relate to each other, form a multicolor, but still a single picture of the literary process. We see clearly, as the time itself enters the books, the fate of artists, as they, in turn, enrich the lives of the created images under the influence of infinitely diverse personal creative experience. The paths of the front-generation poets is an example.

It is impossible not to notice the special conditions in which the poets of the generation are provided, which develops already in peacetime, but remembers the last Great Patriotic. "There are also patience, and concentration, and psychological dorms, so that, punching the outer layer of everyday facts, to know their deep tension," writes I. Grinberg. Hence the need to rob, turn to the past, to your memories. "The confidence is born in the fact that the memory is not only" mixing, a shift of previously visible countries and people ", but also" Return and compensation of irrevocably lost days "." Poets begin to reflect on the question: And whether she taught something war, she gave it Something like a person. Therefore, they are not afraid to pay a look into the future. In Tomorrow, "the motives of the updated past will be clearly performed, which has received the right to become a particle of future works and accomplishments."

So talks about the time and about the generation of poets of the 50s I.Grinberg in his study: "These are such values \u200b\u200bseeking to think, feel, our young poetry. The poeming word needs the search tension of knowledge; It is not a superficial description of the facts, but a wide achievement of needs and achieve our time. And the poems of young poets really continue the movement started by their predecessors, bringing its new, new, novelty to him, the event, event, human affairs and motivations. " As well as memories of the past - I want to add.

Therefore, poets are treated to the genre of ballads. In the 50s - early 60s, the very concept of ballads is more often associated with "with a special convention of semantics and babullion than with a sharp plot. This is due to the activation of lyrical, not an epic narrative principle. " The influence of the genres of lyrical poems, ODD and Elegia, dominant at this time, is affected (examples of such ballads can be considered the book of the Ulugovsky "Blue Spring"). Tension, dynamism of ballads a lot was given to our poetry. "Uniquely worries verse, closely, pumped, inseparably rapping the spiritual state of the poet with the fate of other people, with historical accomplishments, - verse in which the feeling invades the plot and the plot is in feeling."

It is no secret to anyone that in the period of "thaws" in our country an opinion was established about the importance and indispensability of the role of literature, and especially poetry, in society. Of course, the ballad does not attract such attention to critics as a lyrical poem, Ode and Elegy (corresponding to "social order"), but in individual articles you can find encouragement of the appeal of poets to this genre. Modern researchers associate it with Laro-Epism and the babullion of ballads, which contributed to life vessels (the main requirement of literature), and therefore, advocated the guarantee of the success of the "poetic development of reality. "First of all, ballads focused on the tradition of the 1920s (then the ballad experienced an update and stormy flourishing), and it is not by chance that in the consciousness of poets, the 20s are associated with this genre (Ballads Tikhonov). On the other hand, at the same time in the direction of the orientation of the magazine " New world"Developed a development trend of denial of convention in the ballad, but the refusal of it leads to the abandonment of ballads in general, it is transformed into a poetic story, essay, report. This example serve poems by B. Slutsky, who Greenberg in their scientific work "Three faces lyrics: the existence of ODY, ballads, elegances in modern world"Considers and treats like ballads.

From the mid-60s - 70s, a shift occurs in the literary consciousness. Poetry begins to be understood not as a "oratory call to action", but "as a form of confession, as a means to remind people about higher spiritual, moral values" (S. Chuprin). The question of continuity, on the traditions of national morality to the origins of national morality. "... In this regard, the requirement of" national "ballads, which may apply to the evaluation of ballads in terms of the success of the implementation of national subjects and issues or in the suggestion of the authors Ballades to contact Russian folklore traditions" Responding to the first request relating to national subjects and issues, poets strengthen the philosophical start in the ballad, continuing to bring it closer with Elegia. The trend of combining these genres was noted by many researchers. The reasons for that can be called first that both the ballad, and the elegance in Russian poetry gained flourishing at the beginning of the XIX century, during romanticism, in the work of Zhukovsky. Secondly, they detect similarity at the semantic level (everything for the same reason for the appearance of the appearance) - most often the preferred time for the event - the evening, the moon as a participant in events and experiences, etc. Elegy, rapprochement with her opened the ballad to deepen and expand the ideological and aesthetic sphere. An example of this type of ballads can serve as the "Novoarbat Ballad" V.Sokolov.

Oddly enough, but also to appeal to the traditions of Russian folk ballads there are responses. Chumachenko V.K. Exploring the lyrics of the 70s and 1980s, it comes to the conclusion that in the poetry of Y. Kuznetsov a vivid example of the inheritance of the People's Balladian tradition is the "Ballade of the Ushash" and "Atomic Tale". These ballads approach the parable, the plots of them mainly on family and household topics.

Thus, the ballad in the 60s-70s exists as characterized by special signs a genre that does not occupy the central position in the literary process, but does not cease to participate in it, reacts to changes in its course and as a result evolves.

A variety of topics, ballads does not produce the Great Patriotic War from the field of his vision, poets continue to contact her in their works. N.L. Leiderman says that literature about the Great Patriotic War "... Born literally on June 22, 1941 and still brings his voice to us. It is now quite obvious that it is the literature about the Patriotic War that is the most powerful, most talented layer of the history of Russian literature over the past seventy years. " The memory of war feeds the work of writers and poets for all past years.

Poets of generation of the sixties are introduced into their poems in order to thus understand the real, to highlight the causes and circumstances of its occurrence and at the same time strengthen the traditions, the most valuable and viable.

As the Ballad's Ballad is transformed at the poets of the 40s, 50s, the 60s and 1970s, which combines these works than they are close and what they differ - we turn to these issues in the following chapters of this work.

His "Ballada about the Black Suskend" V.Lifshits wrote in 1942.

War in full swing, its outcome is far from obvious. therefore main feature Artistic literature of the period of the Second World War - Patriotic Paphos and Universal Accessibility - confirmed here in full (it is no secret that this ballad has been very popular during the war years).

"Ballade on the dark of a piece" - a lyrol-epic work. It is based on the plot, it is extremely expressed, finished, is clear. The history of Lieutenant, who accidentally falls into the hometown - Leningrad, sees his home, decides to go, there he meets his son. Lieutenant's son stretches his laces - a worn piece of bread - the only thing he can give a boy. The hero sees his wife ... But he needs to go further, waiting at the front. The soldier says goodbye to his family. And already on the road finds a piece of stalking bread in his pocket, who recently gave a son. It turns out that the Son, seeing that the mother is bad, imperceptibly brings a piece of bread to her, and his wife in turn returns her husband.

The whole ballad sounds sincerely, pathetic, courageously, distinctly, just - as it should sound all the literature aimed at maintaining the people in a difficult military period.

Many will say: what is actually from poetry? All listed above is appropriate in another text. But this is exactly the Lyrics: Each image of ballads is deeply psychologically, even if it is not individual, but it deserves attention because of his ordinary (it is like all people, but this is important). In addition, the size of the ballads is drawn to the size of the fourthopic anapest, which disintegrates often on a two-axis (such a size can be seen from Balmont). That is, in terms of melodicity, this ballad sounds like a fellow, clause is mostly female - which is even more intensifying the title of ballads.

The motive of all-seeing, all-knowing fortunes are traced in this work. Hence the conflict - a collision of a person and the pre-balanced fate, the image of human rock.

The first two stains as it were "introduce" us to the main story. The first stanza is the image of a moving machine - three-shoes, lucky "wonderful" cargo (epithet) - products on the front of soldiers. This image of the machine as it were from the otherworldly world, something unusual, intense: "deserted" avenues, tensely quiet, three-shock loses "deafeningly", breaking this oppressive silence. The car flies on the "Devil's mixture". This metaphor makes you think: it would seem that there would be a household fact, but the fate of hundreds of people depends on this, the author - the author affects the universal problem - can the car be able to take such a "devilish mixture"?

A trailer arises the image of the driver who has about the steering wheel - "Baranka" and silent, like all the streets, prospect. But it does not talk about his "dead". He "curses the weather" - cold, snow, wind, stepmaking, because it understands how important it is to bring products to soldiers in spite of everything. That is, first of all, in the curse of the weather - concern for other people, the ability to feel - another universal problem affected by Lifshitz.

The main hero of ballads appears in the third stanza - young lieutenant. We do not find his portrait, but it draws attention to his only its external trait - thin. "It was similar to a hungry bird" - a metaphor that characterizes the main character (we will see a similar metaphor further in the seventh stanza, at the first appearance of the son of Lieutenant).

The soldier does not notice the next truck's sitting driver - again the motive of the otherworldness: "Updated a truck on another planet" - so does not want to connect in his mind that the car, full of products, full of important for the life of goods, goes in absolutely deserted, extinct and extinct street .

In the fourth stanza "Otherworfish" dissipates, goes to the background. A global image of the war appears - a house fed by fire. The house here is "alive", personified, he felt the horror of the war (fire) and therefore "walking" towards only "tremble" - alive looking for the Farm of the car. Thus, towards the "peaceful" truck, who undertakes to people, is another world - a house, a hearth, warmth. The world can open, not afraid of peace.

And through the warm, "stray" light of the headlights. The snow is not so strong, the frost is not so terrible at the sight of a house in which life requiring peace on Earth. The snow is compared with flour, food - allituration is important, the feeling of satiety is achieved by repeating "L", "H" ("smoothly, slow"). The word "slowly" speaks for himself - does not risk anywhere, without fear, not afraid, that is, the feeling of slowness, the satiety is achieved on the syntactic level.

But the pause author breaks this thought. The next line sounds exactly the explosion (fifth stanza): "Stop!" "The lutentant enters this exclamation with fate - he goes to his home, family. The soldier "runs" along the steps, feeling of considerableness, waiting for a meeting.

The inner pause in the sixth stanza makes us think about what the author wanted to convey: the pain of his father, who sees that the war did with his child. Comparison with a bird - "Sparrow Ribs", the metaphor "Old Seven-year-old" metaphor - and before us there was another image of the Second World War - a gray-haired child, a man, in his 7 years I experienced all the horrors of war along with adults, and already the language does not turn to call him a child ... It is the "old man" - affectionately, in childish, but not as small, but as equal.

In the seventh stanza, hearing the appeal of his father to his son. For him, he, not as for the author, is not an "old man", but a native man, "Malgan", his father demands an honesty: "Answer without deception ...". The tie comes in the same stubborn - the father pulls out a stall piece of bread out of his pocket and gives his son - the only thing he can do at this moment.

In the eighth stanza, the next image of the war, blockade Leningrad - "over the blankets swollen hands" - hunger and death nearby, and the swollen body is a sign of the ambulance. And the hero understands this: "Fearing to burst out" from the fact that nothing can change, "comes to his wife." But death is opposed to life, "swollen hands" and at the same time "eyes shimmering as candles" (metaphor). Thus, the conflict of man and rock is visible and in the image of the wife of Lieutenant. Death is near, but the woman lives lively eyes and does not dare to let her, especially now, when the husband is near.

And in the ninth stanza, an adult - the son of seven years old, hesitates his fate - gives a piece of sick mother's bread, opposed death. Patusly sounds this stanza, but otherwise it is impossible: the father should be proud of his child, that's what Lifshitz wants to say.

The soldier leaves, but this is "Come!" From the mouth of the Son says that he is always waiting for, waiting for any family of the time of their relatives from the front. Repeat in the 10 stroke of the final rows of the fourth is omitted - a certain ring is formed, inside which is a short return home, the fight with the perishable destiny of Lieutenant. And then - continue the path of the car.

But Rhyme is changing, this suggests that the event is nearing. If the tenth stanza was written by a steam room, now it is already a cross rhyme, the pace changes, the tension increases. And in the eleventh stanza, the expected junction: "The same piece in the same pocket splashed." But there is no longer possible to go back, a piece of bread - as a symbol of fate that did everything as it pleases, no matter how much the lieutenant himself. And some hopelessness sounds in these rows ...

And Lifshitz explains the degree of his wife Lieutenant, she "could not be in kind of" - so rationally, otherwise it is impossible. The last lines of ballad sounds courageously, heroic, pathetic. But this pathoscope is justified - the poet was next to the people, wrote for the people, and the country needed in such a literature then.

In the "Ballad of Friendship" Seeds GoodZenko The plot is very simple: two soldiers in war connects strong friendship, but one of them is to be able to die at the near future. And the main event of ballads becomes the death of a friend of the main character.

The ballad begins with the characteristics of friendship in the war: a strong, who hears the hope, is sometimes naive, but at the same time it is a combat.

The story itself about the history of two soldiers originates with dots:

I had a good friend

It seems that this is only part of the story, a long story about the soldier's military weekdays. And the next line characterizes the ratio of the hero to a friend: "And the friendship is silent, I'm shore" - silently cares and do not talk about the most intimate only the holy one, exactly what they do not want and cannot. Subsequent lines only complement this picture strong, tender friendship:

We are our friendship

Shrew

As infantry trays

Bloody land,

When it takes him in the battles.

Note that the action takes place in wartime, and such a comparison of saved friendship with bloodied land is only even more confirming the fortress and sincerity of the feeling. But the question arises before the friends: Which of them stay to live?

That is, we are again characteristic of the human conflict and his fate. Only he is solved peculiar.

It immediately draws attention to the fact that "look from the side" for this situation is not here. History, his experiences reveals the lyrical hero himself. Most likely, it is even a generalized, so to speak the typical lyrical hero of that time - with each such happened or could have happened, maybe that's why there are no other persons in the ballad; Rather, they are, these lines confirm this fact:

In dugout

Tell me ...

That is, others are present in the ballad only as a source of information for the main character (as well as the captain, giving an order), choose life or death two. And such a choice happened in the war with each, it seems to me, so I want to call the type of this hero generalized, collective. The choice makes every soldier himself. One of the options is shown to us by S. Goodzenko in the ballad. Doubts about the lyrical hero, even some egocentrism, instinct of self-preservation, instinct stay alive:

Let even apart

Let not be friends.

It is important that he remains honest in front of himself, before the conscience, which "torture": Hero wants to live. Is it right? And he still decides to die, and rather not even a heroic in this choice, but despair: all the arguments of the mind indicate that his friend is more worthy to stay alive:

And he again reminded me

What awaits him in Tyumen Son.

Every fighter is alone in this situation, friendship seems to disappear, everyone thinks only about himself ...

And yet the lyrical hero goes to the predicted death, but fate decides everything otherwise: the elder friend dies, also decided to take death to leave a friend. Patus sounds these lines:

So it is O.

Of all the awards

Chose one -

Soldier's love!

Perhaps even too pathetic, but how else to explain this act Hero?

Fate decided that it was not to die a lyrical hero, but his friend. This otherworldly power leaves a person in an even more terrible and hopeless situation than, let's say, in the ballad in Drunina. There girls save memory, they understand that now only they are in the right to live life for the dead, they did not make a choice between friendship and "cheering", who survived together, they are not alone.

Gudazenko, the hero remains alone, he loses the most valuable: and this is not a loss of life, as it seems to him at the beginning of the story, but a loss of a friend:

He did not return.

Listed by lists.

But with whom I will be for two

Divide fate

With army risk?

This question remains open ... The hero has lost the most valuable, you will not return a friend. Maybe this is a kind of punishment higher Forces For the fact that the hero was thinking about so for the betrayal of a friend before the final choice:

I wanted to live devilish -

Let even apart

Let not be friends.

A kind of car, evil smile above the egoism of the hero? So they became "apart" ... Yes, only the words "I live to reckon with the lists" talk about many things: the hero is only formally considered alive, in the shower, with the death of a friend, he also dies, he does not need life without friendship. This lesson gives him fate, in this tragedy of the main character. Death eventually wins, only for one is physical, and for another spiritual, associated with the loss of the meaning of life.

Yulia Drunina, Poets, who passed the whole of the Great Patriotic War, wrote a large number of works about the experience for these terrible for our people. And no matter what, the poetry of her light, directed to the future, she seems to be permeated with life as such and in all its manifestations. It is impossible not to believe its front-style verses - attracts their accuracy. Duma about people in the war, the dead fellow soldiers constantly sound in the works of Drunina. "The Ballad of the Desante" is one of the author's such revelations.

At the heart of the plot - a story about girls - paratroopers, about death three of them and the experience of this loss of survivors. The entire ballad can be divided, thus, on 2 parts: to the death of three girls, and after their death.

I want as calmer and land

My story about the peers was ...

So the first lines of ballads sound. The author, starting the story, is precisely trying to keep emotions that surpassed memories. But not to tell at all she also can't: wants this story to sound, he is heard and understood by everyone. I sounded, just not loud, not violently and defiantly, namely, "calm and land." So we hear the ballad: calmly, measured, often with long pauses, stopping at the most severe moments (which is indicated by frequent dots at the end of the rows and storage). Promotes a calm narrative size of ballads, four-stranded amphibrachia, alternating with double-legged with an incomplete foot. But here "land" - no. This work is not just a fact, the story that for that time is not uncommon, it is something that has felt, what has been hurting so far. That is why, whatever installation on "dryness", the author in the initial lines of ballads, it ultimately violates it, and very soon, in the next line: heroines - girls for her are not just schoolgirls, they are "svuny, bantas" - genuine Tenderness in these words. But this gently - nursing the string varies Grozny in his sound:

In the deep cast rear

(The injection of sounds "b", "o") - an image of pain, inevitability arises in orchestration.

In the second stanza, the feeling of the threat is still stronger. The jump from the aircraft performed by girls - schoolgirls - like an evil, but honest indication of the wrongness of what is happening, his senselessness, because these are girls, and they, along with men, are forced to jump with parachute:

In the January Zrutrog

And among this coldness and alienation, the exclamation is heard: "Oh, mommy!", In it, everything: fear, the last breath and exhalation, the desire to live. And this is "Oh, mommy!" Drunk is not a cry, namely "thin exhalation", but how much pain in this "exhale": it sounds like crying, crying all women. Thus, the word-state accurately transmits a human feeling through this item - Schwik (phrase "Oh, Mommy!" It will be possible to see in the future in the R. Ogabensky in his "Ballad of Zenititsy". Therefore, it seems to me, it makes sense to talk here about some traditional).

But this voice closes, takes the "empty whistling darkness." Girls are in the center of the gray, lifeless ring: their life, voice overlaps on the one hand in the earlyness of the surrounding world ("Lodgery Crimea"), on the other - "whistling darkness". That is, it can be noted here very peculiar, but still - Balladny Dwellemirie, which will continue to develop. On the one hand, live, feeling, with the other - non-fat nature, infinitely scary sky, emptiness.

The image of the pilot of the aircraft is omitted. The pilot feels the guilt. We guilt for the fact that he is a man, fulfilling his work, his duty, thereby sends the girls to death. It turns out that among all this non-living world, still the life of not only girls, but also the pilot, who knows how to feel, worry (the epithet "The Whispering" tells us about it), who can't overcome the mind of the guilt, rather, and not, and those Who sends girls to the enemy's rear. It is important here to Druninskaya Detail - "For some reason", confirming the living soul, the heart of the pilot. Indeed, he does not push the girls from the plane, he understands this, but to overcome this ultra-sufficient force, this rock of fate and the pilot turns out to be not able to fix anything (the unresolved of this confrontation, the question is emphasized by the author and at the syntax level - a dot, Telling thought speaks of this).

And the next 2 lines are the center, the culmination of the plot:

And three parachutes, and three parachutes

Not at all revealed to the night ...

It is here that the image of rock of human destiny is revealed. Girls die. So decided fate. Double repetition "And three parachutes" - a detail of the irreparation of what happened, strengthens the drama of the whole sound of ballads. It seems that death took his own - the life won, but Drunina does not end the story - another thing is important for her; what? "She tells us about this in the second part of the ballads."

The fourth stanza is the beginning of the second part of ballads telling about the fate of the surviving paratroopers. They again find themselves in a hostile, non-living world - the "alarming desert of the forest" (metaphor) - a forest with hundreds and thousands of trees turns out to be desert for them. Moreover, the forest is "hostile", there is nothing alive, feeling. Again, the line is felt between the living and the dead world, and it is interesting that nature acts as non-fat, soulless and hostile reality.

It happened later with the guerries in any:

Pord in the blood and dust

Crawled on swollen knees in the attack -

From hunger, you could not stand.

The swollen knees, hunger - through images and symbols of the entire period of the Second World War, appear in 5 stanza, intertwining with another, heroic mannerwise, attacks. Swollen knees symbolize pain, human flour, which overtakes girls. But the heroine overcomes pain, dirt, dust, they continue to fight and go to attacks in spite of everything. Life and death continue to confront each other here, but there is hope that all the same life in this struggle will win.

What drives them? What makes fight? The author clearly speaks about it in 6 stanza:

Could guerrillas help

Only the memory of girls whose parachutes

Not at all revealed to that night

Memory is help in difficult, cruel, and just a nejuno struggle. This memory as a stimulus is not omitting your hands, to do everything to save the life to all the people to fulfill your duty to the homeland.

The seventh stanza sounds like a conclusion, some indisputable truth:

There is no meaningless death in the world ...

The girls - paratroopers died, so happened by the will of fate. But they became "stars" that help their friends in a difficult moment. They became a kind of alive alive. It is familiar to fulfill your duty, overcome fear, mischievous, I am familiar to know the memory of people ... Light, calm, a little sad beginning opens to Drunina readers: the memory of those killed as the highest measure of humanity in an inhuman war.

"Three quietly burned stars ..." - Drulyna metaphor, which in the final ballads returns to the beginning of the second part of the ballads: "Three parachutes" - "three quietly burned stars." The ring is formed in which - the meaning of the life of the girls, and those that died and those that remained to live. The death of girls is not a tragedy, the confrontation between life and death is permitted in the end not the victory of death, as it could seem at first glance, but the victory of life and quiet, the bright memory of the left.

Thus, each author solves the main conflict of ballads in different ways - the confrontation of man and rock: in the ballad, V.Lifshitsa hero is trying to prevent otherworldly forces, wants to help his wife and son in a blocked Leningrad, but a piece of stale bread becomes a symbol Lieutenant soldier, and a symbol of fate, - a ring is formed, the bread returns to the hero's pocket, it is no longer able to fix anything, so the rock strength is embodied here in a piece of piece. Maybe this is not felt after the first reading, because the final sounds pathetic: "The wife could not be like that, and the piece of this again fell to him, because I was a real wife, because I waited, because I loved," but it was necessary, people I needed such a heroic. And in fact, the fate of the main characters is very tragic, a kind of opposition to fate, the fight ends with her nothing: defeats the presenter of higher strength.

At first view of the Balland of Drunina, with the interchange of its basic event, it seems from all the most terrible in meaningful plan. But this is an illusion: here girls are fighting the evil Rock strength and most importantly - win. Three parachutes are not revealed, three paratroopers die, but they become "stars" who remained in live girls, the memory of them, and not the accommodation of life for the dead, works wonders: paratroopers win the victory over the forces of fate. It is this ballad that becomes a symbol of the victory of human faith and memory over all life blows.

"Ballad of friendship" S.Gudzenko is even more tragic than Ballada V.Lifshitsa. Higher forces accurately check the ability to be friends in the war of the main character. Before choosing to die, but leave to live a friend or stay alive, but without friendship, the soldiers doubts: what does he need it? A peculiar punishment of the highest strength for thinking about, so let's say, betraying a friend before the final choice, is the death of a senior comrade. S.Gudzenko, the hero remains alone, loses its most valuable: a friend, life for him is deprived of all sense, he dies to the soul. That is why the resolution of a person's conflict and fate seems to us in this ballade most tragic. In addition, it is from this ballad, in our opinion, the philosophical understanding of the conflict (in this case, the choice of a person), which will be developed a little later, in the ballads of the poets-sixties.

However, the common feature of the ballads of wartime is their heroic orientation - can be traced in each of these works.

Konstantin Yakovlevich Vanshkin, hardly time to complete the tenth grade of high school, "stepped" in 1942 a military year. He stepped out of his adulthood, like most born boys. During the war, Vanshkin poems did not write, but already at the end of the Great Patriotic, in Hungary, these hobbies flashed. Thread through the works of his first book takes place war, it does not leave the poems and prose Vanshkin military theme and military motives in the future. Researchers note the proximity of his poems lyrics of the "military" poets of his generation (Vinokurova, Goodzenko, Drunina and others). This proximity is in simplicity and simpleness, clarity of thought.

Konstantin Vanchkin is known in the whole country first of all with his songs (such as "Alyosha", "I love you, life", "Zhenka", etc.), but, of course, his creativity is not limited to this genre. We find the poet and an elegge, and the lullaby, does not bypass Vanshkin and the genre of ballads. Let us dwell on the "ballad of spilled blood", let's see how the main ballad conflict is solved in it, which is the similarity of this ballad with military time ballads, as well as their difference.

The composition "Ballengths about blood shed" is three-part. We highlight the three components of the ballads, the analysis of each of which will allow us to conclude on the decision of the main conflict of ballads - the confrontation of a person and his fate.

In the center of the first part of the ballad (the first five quatrain), the ordinary, which became familiar to the military everyday life, the event: the soldier was wounded, lost a lot of blood, the doctors are ready for all the blood transfusion. The transfusion was done, the soldier went on amendment.

Already in the first part of the Blood Blood Ballengths, the world is divided into two parts: the world is terrible, accurately irreal - the world of military battle, military boss; And the world is real, feeling, thinking - the world of people who are ready to fight for the life of another person, doctors who

"... knew what to happen

Everything was ready. "

The world of the soldier himself; Here we can include the world of another person who shared their blood.

The conflict of man and his fate in the first part of the ballads is solved in favor of a person. Balladny "Wonderful" is the blood here, which is transfused by a soldier of doctors. We find a completely fabulous motive - live water - able to heal the patient, revive dead man. Alien Blood really saves the dying soldier, merging with his blood. Vanshkin uses graduation reception, in order to show what a strong influence has this "miracle blood" to the life of a soldier, it depends on it now, it will live or not.

The blood is characterized by almost the spontaneous: "This blood was mixed," "And the blood flowed faster, the jokes went on the cores," "and the blood already rushed in a unthinkable stream." And thanks to this force, the gusts "life captured power", death is defeated.

The confrontation between life and death, and the victory of life is transmitted and through the image of the appearance of the soldier. In the first stanza, he "with a face like chalk" - the face on which the shadow of death is lying, her print. But the miracle is committed, doctors - ordinary people - and someone else's blood, overclocking these doctors, defeat death: "He retreated the blades," the eyebrow moved, yes, he moved eyebrows "," porozovili cheeks. " The death of the soldier presented in the first stanza is replaced by the life of returning health, which is indicated by these "Porozoving Cheeks".

The second part of the ballad is the shortest, only three quatrains. It tells how the soldier returns to the forefront, and in battle dies. And if in the first part in the conflict of life and death wins life, then the celebration of death is already happening:

"... on the far bounce

Flowers at the pedestal "

The soldier dies, shed his blood for the future victory, but together with this blood, the blood of an unknown person, who saved a soldier once. Moreover, this blood is not called someone else's, she "already it became, the soldiers'", in these rows already in this, the second, part of the idea that every person invested his strength to victory, everyone sacrificed for the sake of a common good.

But back to the conflict of man and his fate. Fatal rock forces won their life, after all, do not leave the chance to the soldier to live, despite the fact that in the first part of the ballads we saw the triumph of human life over death. This conflict, opposition, traceable, as we see, and at the level of the composition, the author is important to show that life and death always beside the war, you will not leave destiny if you are destined to die.

But is it all definitely? Turn to the third part of the ballad. It differs from the first two already its tonality - more lyrical, penetrated. Before us is a picture of a woman's life in a small Siberian settlement. And a description of this village, his landscape cannot leave indifferent:

"Winter snow to the roofs,

Raughty trees.

Sunrise burning in the morning

Frosty band "- the nature of Majestiny, is abypical: if the snow is" to the roofs ", if ate is" jam ".

This life is already post-war, peaceful, with a measured course: "... a little light rises,

Looks on the Christmas tree spiers.

Sowing, taking accommodation,

Goes to work "

Vanshkin It was important to show this post-war life, show what the soldiers' dies, all the beauty and majesty of nature, simplicity and order of life. And the most important will be the final idea of \u200b\u200bballads:

"Spilled blood her

For happiness and freedom "

Despite the fact that the soldier in the second part of the work died, still wins the conflict of the person and the fate of the person - and the person here is the concept of extensive, you can even say "humanity": everyone has invested a part of himself in the common cause of victory, and therefore everyone It may be called the hero - and those who gave their lives in battle, and those who, being in the rear, helped bring up peaceful time. That is why Vanshkin paints us in a third part of a woman who does not know the war:

"She did not hear

Whistling metal.

Aerial wave

She did not stun.

And there are no relatives

Such that in battles were ... "

But the blood of this woman flowed on the veins of the soldier, became his, soldier, blood, and therefore gave life to other people, peaceful life. That is, we can say that in the Balad conflict, a person and fate wins the man who shed his and someone else's blood for "happiness and freedom" of other people, of the whole people.

Sergey Sergeevich Orlov - the poet, who passed the Great Patriotic War.

"Sixteen years ago," a work that is included in the book of poems "Third Speed". Orlov, like many poets of the military and post-war pore, appeals to the genre of ballads. Follow the transformation of the genre in its work.

Ballad - a genre lyry-epic, an event is always in the center of her, if it is a ballad of war, the event is usually heroic. Indeed, "sixteen years ago" Sergey Orlova tells about the events of sixteen years ago: about the occurrence of the German tank on Leningrad, about the courage of the only one who remained in the living ordinary soldier who can resist the iron car. Moreover, it is interesting that the eagles shows this event (confrontation of a person and a soulless car), an event that is perceived by us as heroic, like something common, you can even say everyday. Yes, and the soldier himself - the hero of ballads, appears before the reader ordinary person: "Neither God nor the king and is not a hero" ("not a hero" - once again it is emphasized by the everyday of his act, there is nothing heroic in it). His "commonplace" is confirmed by the author also in the line: "But the most brave there are no nearby: they still easily easily ...", that is, it is directly said that our soldiers are not the most brave, he is only a "soldier" as most of those who defended Leningrad. To the question of the extravaluation of the hero, we will return a little later, when we turn ballads to the final stanza, but as long as we turn to Balladny Duloyemic.

The ballad world is divided into two parts: the world of people-soldiers capable of heroic actions capable of victim for the sake of the common cause of victory:

"Under the bullet, bomb and shell

Stood at the Ligova Soldier ";

And the world is insensitive, iron, the world of the car, tank, crashing everything in its path:

"With a cross on the tower, with a gun in the soul

Went as if on the parade,

To the sea shaking land,

German tank on Leningrad »

This second world is the world of evil, inhumanity, inhumanity, cruelty, impunity and self-confidence ("as if on the parade"), it is shown as an existing on its own laws, not subject to person, his thinking, logic. This world of the enemy is well coordinated, on the automatic machine of the acting car, where there can be no lining - "calculations are indisputable."

And the lonely soldier will be withstanding this car, which for the calculations of the enemy "was killed three times on that day" (the fabulous repeat "Three": three times killed, and all the shooting range remains). "One of the company, ordinary" - he is decided to resist the car capable of destroying it at any time:

"He got up on the brush of the trench,

Pressing a grenade in the fist "

And he does not care about this minute its own life, most importantly - to defend the city, do not give the German tank to break through to Leningrad, the soldier does not think about himself:

"I do not regret my youth,

In the broken country town "

A person manages to break the soulless car "from Leningrad in three steps", the tank "choked on the stones." And this situation of Orlov reiterates as a completely ordinary, as if saying "But could it be otherwise? Nothing supernatural happened. ":

"Private Iron Gul tools ...

Pilot sweat of a soldier ... "

Everything is so natural and simple, "And the world considered: a miracle happened sixteen years ago." Here we find another component of any ballad - Balladny wonderful. Only a miracle here created by the hands of a person, this is a miracle of not the higher forces, but a miracle of physical ones, but it is not less, but maybe more, meaningful: this is the choice of man himself, it is happening or not.

Thus, in the main conflict, ballads - the conflict of a person and fate among Orlov defeats a person who can confront the forces of rock capable of making a miracle with his own hands, to defend the whole city alone, not to give the enemy to break through the blockade, destroy Leningrad.

And here we return to the beginning of our reflection: Eaglov is high (in this case - the feat), appears as everyday, of course; And at the same time, in the usual (hero of ballads, a simple soldier) we discover the heroic. The author represents us his hero and at the beginning of the work, and in the final everything is the same ordinary person, what a million:

"And who he was - no one knows

He said he himself about

Let him not know him in the face, not called the hero, are not awarded the Order or Medal, the most important thing is that the feat is not forgotten, and indeed, it becomes completely no matter who this soldier is actually - he is just a soldier, there are a lot of such soldiers, capable of victory and sake of the future life On Earth make a miracle.

"But only forty-fifth in May

The victory thunder thundered about him.

And Glory walks by the Union,

And this feat is not forgotten. "-

As not forgotten thousands of such fets of a simple people, in the grains of gathered victory in the Great Patriotic War.

And the soldier "he is alive, he is with us next, so he!", Such like everyone else, no different and therefore, so understandable and close to everyone:

"He is probably

In the tram rides work,

Drinks on a holiday beer at stall "

The unified image of the victory of the human spirit is made up of these "Crupits", "personal contributions" of each. Thus, Sergey Orlov associates ordinary and invisible with the movement of history as a whole, with the fate of the whole people. He persistently opens a large and important meaning of the most uncomplicated, it would seem that things and actions. A person is able to confront fate while he acts in the name of the Motherland, in the name of the people, and not his own glory.

"The poetic generation, to which I belong, was born by the Great Patriotic War and did not choose, and took his firing position, as its soldier's company occupied, exposed to an unexpected attack. It happens not until the selection of the terrain and the convenience of its review: stick in the block of land in front of yourself and answer fire on fire. But it turned out that this block of the Earth, with the grass blackened from mine gary, was all the immense Russia "- so in poetically defines its fate and the fate of the entire poetic generation of the 50s Sergey Vecov.

These poets understood their vocation well and even anticipate the tragic events that have fallen into their share.

Sergey Virkatov himself was born in 1919, under the sounds of the civil war. In 1939, there is a volunteer to the front (war with Finns). Shocked by what he seen and experienced, the observations returned from there with the consciousness of the inevitability of new tests. That's what he said at one of the classes in a poetic circle a few months before the beginning of the Second World War: "It is quite clear that our generation is a military generation, which will fight until the end of his life." So it came out: in June 1941, Sergey Vorovkatov, together with D. Samulov, B. Slutsky, N. Maizhov, left the volunteer to the Great Patriotic War.

Obviously, the military topics, the motive of war is inextricably "connected" with the name of the poet - the war does not leave him before last day, worries, reminds of everything that was experienced: the death of comrades, injured, helping friends-colleagues.

Researchers celebrate how the mood of the poet is changing during the understanding of the Great Patriotic War: the first poems about the war are shocked by the seen, the tragedy of people, nature, of life as such; The breakthrough of Leningrad's blockade was played by a breakthrough, where in 1942 she turned out to be a century (and the poet draws attention primarily not to the fact of a breakthrough, but to the victory inner, to win the Spirit); In the post-war years, the mood of moral self-education is present in his works, thinking.

From the very beginning, Sergey Vorovatov was formed as a romantic, continuing the case of his predecessors and teachers - N.Aseyev, I. Selvinsky, N. Tikhonov. This was also expressed in genre attitude - a historical and modern ballad, a poem, and in the very essence of works - his romanticism turned to real reality, aims to master and transformation. And this romanticism stood in trials with a tough reality, did not break.

Let us turn to the work of the "Meeting", I will identify the genre features of this poem.

The heroic of the war years is resurrected in the "meeting." The poem tells about how somewhere on the Vasilyevsky island the blockade winter soldiers, who came on vacation with the advanced, met with a girl dying from hunger, but a waiting "miracle." And the soldier stops for a moment to give the loaf of rye bread that, most likely, will never see anyone else and who is the way to him as his own sister.

That is, the poem is built on narration, a story, some story, and we can talk about the epic start of this work. The presence of a narrative start gives impetus to the consideration of the "meeting" according to the laws of the Balladic world order.

Indeed, Balladny Dvoemirie We find here: Cold, hungry blockage Leningrad, with its intentions, "sharp wind", "Frosty night without lights", "Winter blizzard" - a world, hostile to man, the girl, which is not bad, and Lucky, but worse, perhaps, you can not "and a soldier released for the night of the city. That is, a blockade Leningrad appears in the work of the world an irreal, hostile human nature, he has an invisible force, which is ready to absorb a person.

But feeling this hostility, facing her face to face, the girl who is "worseless", still hopes, believes in salvation. We find another feature of ballads - Balladny wonderful. The role of this "miracle" takes on a soldier, in his hands to save the girl, and he gives her his bread. Bread as a "roast miracle", especially against the background of the "chopping" eyes (opposition) emphasizes lyrical and even dramatic experience: the reader is accurately present with the events occurring, it turns out to be on the place of the girl. "Eastern mercy" - this metaphor confirms the "wondery" of bread again, but at the same time, this is "a miracle in case living": so ordinary in the hands of a person, per minute of help and salvation becomes magical, wonderful.

It is impossible not to notice the "roll call" Ballads of Narovchatov with "Balladic about the dim a piece of pieces" V.Lifshitsa, but through for these ballads - the image of bread - in the "meeting" acquires a completely different meaning than in the "ballad about a piece of pieces." There is a piece of bread, transmitted to his son and wondered again in the pocket of Lieutenant, acquires fatal meaning - they do not hide the fate, do not overheet. At the Narovchatova bread - salvation, the unity of the two perfectly unfamiliar people, ordinary miracle.

In a collision with the forces of fate, in the conflict of humans and rock - the main conflict of ballads - the people are defeated with his openness, sympathy, love for neighbor even in the most difficult circumstances. And immediately evil power Receive, everything becomes bitterly and simple: the soldier hugs the girl and together they do not seem more terrible war, nor a blockade city:

"And together they were in growth

Blocade, war, Leningrad "

The main features of ballads we found. Let us allocate on what is distinguished by this work from the usual ballad. In the classical definition of the genre, ballads is indicated that the author does not interfere in the story, leads it "removed", and even more so does not speak about his feelings straight. In the "meeting", the copyright is present to what is happening, and the character of the image of reality is emotional:

"So long ringing moments,

So loose glances merged,

That eternity is Dunzeny

Touched the weathered persons "

It was the author that catches the "Eternity of the Dunzeny" - thereby emphasizing his spiritual relationship with heroes. It is noteworthy and a peculiar "ring", framing the story: before us the memories of the author, he speaks directly in the first lines of the poem:

"Drawing look glance,

On the eve of forty-third look ... "

And this memory comes to life, it is not closed in the past, but continues in the present and (it seems) will continue in the future, because the author does not pay attention to the fact that the heroes

"... Three years old,

Going through the pages of the notebook,

From the above, it follows that the genre of ballads from Narovchatov, Orlova, Vanchikina undergoes changes, we discover in them the strengthening of a sensual, lyrical start (in comparison with the ballads of the Great Patriotic period).

Bulat Ocudzhava Readers and critics from the very beginning of his work belong to the group of poets-sixties (due to the fact that he entered the literature simultaneously with Christmas, Voznesensky, Evtushenko, Akhmadulina), as well as to the group of poets, "singing out their poems" ( Galich, Vysotsky, Kim, etc.).

In one of the interviews, the poet recognized: "I always sought to write about the war through the eyes of a man of peacetime." It may be that that is why his poems are so often unlocked in our presentation with verses of the Great Patriotic War, those who are accustomed to: Clear, clear, heroic. In the works of Okudzhava, this "Side view of a peacetime" causes their romantic eloquentness, the ability to put and solve questions about which they often did not think in wartime simply because it was not necessary. Of course, the poem from this did not become "weak" and "unnecessary", on the contrary: the author, remembering the war, all that he himself passed and learned, reflectures and makes it possible to remember those who are not It was - to survive her, at the same time forcing readers to think over more difficult, often socially - philosophical issues.

"In his work, simplicity and naturalness inherent in realistic art are organically combined, with an exalted romance, a subtle irony and self-irony" - notes Zaitsev V.A., revealing the style of the peculiarity of the ocudzhava poetry.

In addition, Okudzhava, as a philologist by education, in his work appeals to different genre forms, which successfully uses, adding and introducing something in them, new. We can meet the genre of the song, and the Romance ("Another Romance", "Road Song", "Ancient Soldier Song", "Song about infantry"). We are most interested in the ballad and the use of Her Canon Okudzhava (we note that the appeal to this genre is one).

"The Ballade about the Penche" was written in 1967. However, the idea concluded in it will not leave indifferent and a person far from history in general, and from the BOB in particular.

From the very first rows, we plunge into the atmosphere of the retreat of troops - it goes, lowering his banner - the symbol of cohesion, courage and strength, leaves, leaving the enemy part of his land.

Here, we begin to notice the doubt, the uncertainty of the lyrical hero in their actions. He is definitely in a stupor, he does not understand what is happening, only some individual fragments snatching him, small pictures of reality: "The road shaking", "the banner wet" is omitted, the front kitchen, following the retreating army (on a peculiar "cinematicity" works of the poet paid attention to the researcher Levina L.A. In the work "Three Etudes on the topic of Bulat Okudzhava"). The space is narrowed: the banner is omitted - there is no flight, nor at least look like; The shaking road - transmits the feeling of doom, stiffness, you will not go fast on it quickly. In addition, the odors and sounds that fill the tiny and miserable space immediately appear. Skyrplay cuisine - something annoying, goded by its inevitability, the smell of "poured", he becomes something alive, he is everywhere, not to escape from him, not escape.

And immediately - return to the feelings of a living person:

And the West, and the West

Lights behind his back. -

Reminder and sign: Does they do? Do you come correctly, retreating? Another impetus to doubts and thoughts of the lyrical hero.

Following - another frame: scoop, spilling porridge for soldiers. And behind him, the breakthrough of human emotions and feelings, the consciousness of the lyrical hero accurately comes out of the framework, from the shackles of the unknown and terrible, holding back all the present in personality:

Let me comrade a foreman ...

We are hungering your breath,

We congery the remnants of the millet,

Do you leave my homeland?

And the world of terrible strength appears again, the world of the kitchen - he lives some of his life "as if nothing has happened," requires submission to his laws. It is no coincidence that everything is associated with the kitchen - and she herself "cooks and cooks", and the scoop "distinguishes porridge", and the smell of it " solid wall" All together is like the otherworldly peace, a terrible force subordinating to himself, paralyzing man.

Lyrical hero Trying again to figure out what is happening, assesses the situation, he loves his homeland, his people, seeks to defend them. The derogation does not fit in his head.

And the rain we have sacred water kropyt

However, the lyrical hero understands the entire sarcasm and the absurdity of this miracle: Rain Kroptite them with holy water, people, present and future generation, believe and will consider them saints, although in fact the soldiers are not. The awareness of the retreat and the "Holy Rain" is contrasted, incompatible. The hero is accurately grinning over himself:

For the platoon of the holy covers

And on the background of this - creaking kitchen. "Sound, audio images of Okudzhava are always distinguished by expressiveness." Three-time repeat and exclamation intonation "And the kitchen creaks!" - Let us talk about the huge tension, incredible gravity of the soldiers of the retreat on the shoulders on the shoulders. The kitchen (and hence the rock, the strength of fate) does not leave them. And it is impossible to say who wins in the eternal fight of man and rock. Okudzhava turns out that no one. Because the final lines in which the basic idea of \u200b\u200bthe poem says say:

That without homeland is hard

And without a millet can not.

Of course, the courage is important for the soldier, the ability to give his life for the sake of victory, but the weak soldier - is he capable of a feat, heroism? Perhaps this is this awareness and is the hardest in war. No matter how much the soldier had forces and persistence, the inner rod and the desire to defend their homeland, it does not implement it without satisfying his biological need for food. On the other hand, without a sense of love for the Motherland and its people, but with food - a person can not be a soldier either. It turns out that one without another can not.

Here it is - a view from the man of peacetime at Okudzhava: no one has raised such complex, often insoluble and complex problemslying inside the concept of "war".

His look at the war was embarrassing, because he was dramatically disappeared with the stated in our propaganda and in our art. He himself noticed once: "All my poems and songs are not so much about war as against it."

The variety of raised questions, often the impossibility and inability (and sometimes impossibility) of their permission, the show of such parties to the life of the Second World War, which were simply not raised - this is characteristic of "Ballery" B. Okudzhava. Thoughts supported by all the experience of life and the author's fate sounds in this ballad.

As soon as in 1955, they published the youth poem of Robert Christmas "My love", his voice was heard. "The young poet is distinctly and just spoke about things close to many. Bruiting trusting, the open intonation of this voice, the natural democracy and civilian fullness of the lyrical statement, when the personal invariably sought to merge with the fate of the time, the country, the people. "

"The Christmas - the poet is fervent, emotional, hot. Whatever the theme he was touching in his work, he certainly speaks straight, sharply, pathetic, entering into a lively dialogue with the reader, demanding from us anyone, passionate response, accepting his beliefs or turbulent controversy. " Sincerity, genuine feelings, feelings are all kind of childhood, from military childhood. No wonder the poet writes:

For the time of writing this product, the penetration of journalism is characterized, and at the same time its explosion in the works of Christmas. Indeed, the events described in the ballad were seen by the boy Robert when the mother took him to the front. They are told for sure, allot. But at the same time, the Christmas adheres to spoken intonation, he just talk with the reader, trying to call an emotional response, confidence and participation of everyone. It enters spiritual contact with the reader, as they say, with the go. The ballad opens with a rhetorical question, forcing us to listen, stop with the lyrical hero, for which those events, memories are important.

How to see the next day the trail is fuzzy?

I want to bring this trail to the heart ...

And then - the chronicle, the story about the Battery of Zenitchitsa Girls. Moreover, the story can be divided into two parts, one of which characterizes the event of a teenager seen by the event, the other is the look of an adult trying to give an assessment somewhere, somewhere to clarify or comment on children's memories. Here is the boy's voice: "In the morning, the tanks went straight to Khimki," and then follows the clarification of an adult hero: "those the most. With crosses on armor ... ". This trend is traced throughout the ballads. Kovalenkov A.Odnajda accurately noticed that Christmas possesses "rare ability to write poems for adults, but as if he tells his readers about their childhood," he really sends our consciousness for the childhood period, when we all are better understood more freely, Simple and noble. Fully said applies to the "Ballad of Zenittsy". The lyrical hero recalls the battery commander - the older girl (which "... was eighteen years old," this focus was outstanding, then this item will be of great importance), we are shown specific traits Its cut into the memory forever:

Lyhaya Chelka over the squirrel cunning,

Bravure contempt for war ...

It is emphasized by her ability on a par with men to fight, this maiden "Velichness", "trick", and also "contempt for the war" - the quality that the lyrical hero values, which is now.

Already in the following lines, there is a terrible image of cars, tanks that have enjoyed the battle with young girls. The world was divided into two parts: Zenitchitsy-Girls and tanks, soulless cars carrying an imprint of death: "With crosses on armor" - so the Nazi mark also acquires here and symbolic meaning death as such. Thus, Balladny Dvoemirie is already found in the first part of the work.

Faced with the world hostile, terrible in nature, soulless, mechanical, the commander "is really old" (reference to the first mention of the heroine, that it is only eighteen years old) is the inconsistency of age and "aging" - a cross-cutting motif of works of the world ( It is enough to remember the "ballad about the dim a piece of pieces" V.Lifshitsa and the boy - a small old man). The "older" is trying to burn out from the upcoming horror ("like a nightmare shielded with his hand"), she is scary, it disappears shortly of her "violence", but the girl does not give up, she exactly takes himself in hand:

Combined thin:

Battery-ah!

And it doesn't matter that she commands "subtle", the author just emphasizes: the inconsistency of the concepts of a woman and war that a woman herself wants to overcome. And in brackets, the poet gives a cry of a girl who no one should hear - it's "oh, mommy! .. oh, native! .." We met even earlier, in the "Ballad of the Desantte" Y.Drunina. Here he symbolizes the same: the desire to live, the horror of the impending death. And overlaps his volley gun, fire. Creek sounds like stains to the upcoming universal female crying:

Girls,

Matched to move.

And "as if all the Babi's pain of Russia responds to this cry: pain of the dead sons, brothers, fathers, pain about her destiny, destroyed by the war (we note here alliteration of sound" B "- carrying a pain of pain). A comparison of it with the "epic cry", forcing the terrible force of the enemy to retreat. Crying hyperbolized, he dries the explosions of the shells (considering that in the battery 30 people, drowning the blast impossible):

Hung over the battlefield

He was heard gaps - this cry!

It was the unimaginable force and the pain of female crying-crying help to stand the battery of Zenitchits. It is impossible to leave without attention, he is heard everywhere:

Stretch -

The earth was listening

Stopping on the death racing.

Three-time reassembly refers us to a fairy tale, with its magic of numbers three. He helps girls stand out. Already in the next stanza, the victory of the living above the non-residential is a man over the power of his fate. Crying Zenitchitsa as a miracle that helps survive, gather (just crying the function of Balladny "Wonderful"). Tanks are burning, defeated by the force and courage of the Girls Zenitchitz. The image given in these lines is global, everywhere, therefore, and the Budgorm "Unnamed", and the battle itself - "in the midst of the globe" is the limiting generalization, the bonding of all living things. And again the use of hyperbolas, the tanks are burning "implausible hot", these are no longer iron cars, but "tank fires", in the fire of which evil is destroyed ("Four black": the sounds "h", "e" set nearby, create an image of the trait - The other world and the strength of rock is associated with it).

And the feeling of complete silence ...

It came to them after.

Forty-fifth.

Of course, to those who came from the war.

War and peaceful life are opposed to the ballad, as opposed to good and evil in a fairy tale, from here and hyperbolicity and even some fantastic image of the images created. Therefore, nature is contrasted on the battlefield and the nature of Moscow. Above the battle of the scary sky "Snow, ripple", the wind "burning hot." A peaceful life is "Spring spring branches", "rain over Arbat", "Feeling full of silence" (against crying and explosions of the war).

"Christmas knows how to talk to verses, writing for people with good hearing, he knows that other times more important, it is correct to emphasize the person showing the character of the human character, rather than amazing the many poetic inventions," says A. Kovyang. Indeed. Christmas fundamentally avoids formal poems experiments. He puts the word forward and emphasizes it. These words are approved by ordinary truths - good, patriotism, loyalty to debt.

Thus, the Ballad of Christmas in its content is close to the ballad of wartime. And, of course, it is largely echoing with "Baladowa about the Desantte" Y.Drunina, not only using the intensity of "oh, mommy", but also by the way of girls opposing the strength of rock. But Paphos is not only heroic, he is philosophical and heroic (and admiration for the Genitchian girls, and the worship of the war in which the girls are involved, and thinking about the life of a woman, the absolute incompatibility of the concepts of war and a woman), i.e. the philosophical start period also traced And in the Ballad of Christmas.

Andrei Voznesensky - Poet gifted, peculiar. "He is inherent in a sharp sense of modernity, strained lyrism, inherent in the lots of the images, to compressed, like steel spring, associations, to unexpected, often grotesque, metaphors. The Poetry of the Voznesensky embodies the original synthesis of lyrics and philosophical principles, musicality and anxiety beating in a Nabat. The unusual rhythm of the verse, bold metaphors, themed "gusts" broke the established canons of "prosperous" Soviet poetry ". About such as his poetry, like naturalism, has been said, every work is philosophical and naturalistic, the lyrical hero of the poems of Voznesensky never knows harmony.

The Great Patriotic War is one of the important topics in the poetry of Andrei Voznesensky. This is the "Ballad of the 41st year", "Goya", "ditch", "Dr. Autumn" and others. Childhood of the poet passed during the Great Test for the country - that is why there is no wage of Voznesensky. Let us turn to the "Ballad of the 41st Year".

At the heart of this ballad, the story about how in 41 in the Kerch quarry brimnia is brought to use it as a firewood. But music is heard - this is a soldier, a former musician playing the piano.

The composition is simple: the ballad is divided into 3 parts: the tie is the first two quatrains; Culmination - three central quatrains; An isolation is the last two quatrasions. This division is very clearly traced in this ballad.

In the string we find the personification of the piano. This is no longer an object, but a living being. He "crashes", "lies on the belly and buzzing", "heavily breathing like a lizard."

We see the division of the world of people and this personified subject. People - soldiers as if captured by the unprecedented monster. His "drains" to kill - "on firewood", to warm up. A quarry is nothing more than the "cave lair." It turns out that there are 2 worlds: the world of people - soldiers, thirsty of heat, tired, exacerbated war, stopped feeling. The world is mechanical. And the world of living, but terrible musical instrument - taken captive ("Lizard"). And this piano understands everything, he "waiting for a strike of the ax," is waiting for his death. War she is war - not to do without sacrifices. And, along with the people, soldiers, the innocent tool dies. And people seem to forget that in front of them the music is art, they are animals.

But in the second part of ballads, the unity of the world of petrified, frozen people and tools occurs in the climax. Here, that folk hero appears here - an ordinary soldier, by the will of fate became the partisan. Voznesensky does not paint his portrait, there is no characteristic. All attention is to the hands of this person. His fingers become a hero of ballads.

Having lost three fingers, worried, the hands of this soldier remain the hands of a musician, despite the war, all of her horror.

Seven fingers of the former harbor!

And, frost-dry,

With them, like from a straded tuber,

Flying, slipped her husk.

All this quatrains are one large metaphor (which distinguishes the poetry of Voznesensky - hyperbolic metaphors, in this the "Rosesensky Mayakovsky's relationship" - will say N.Aseyev; "His oversaturated metaphoricity, his" depot of metaphor ", syncopes and breakdowns in a cry - a consequence, and Not the reason for the phenomenon that should be called inborn talent "). It seems that nothing ugly and terrible can be, because these are the hands of the musician. They look completely different in our mind: well-kept thin fingers, long and flexible, beautiful hands - This is a musician, pianist. But in no way "swollen fingers", from which the skin slips like a husk.

However, the next quatrains tell us about the opposite, and these fingers remember the instrument, in what state they were not. And the lyrical hero ceases to notice their flaws, urgentness. These ugly fingers in the war begin to seem something unearthly, beautiful, not inherent in the setting, just perfect:

Missed with a flame of solid

Their beauty, their deity ...

Big, terrible piano and lively, real hands, their souls are connected and Voznesensky makes the main conclusion:

And it was the greatest lie

Everything that was played to him!

Now the lyrical hero begins to understand the power of real art, imperishable beauty, only under such inhuman conditions, during the war, surviving terrible moments. Everything that was before - it doesn't matter, it is unreal ("all the reflection of the chandelier, columns ..." - as something unnatural, the former once, but now no longer perceived seriously). And the truth is what he hears and feels now ("I reflect the shtol Sport. Figures. Hunger. Glitter of the fire."). Now, momentaryness, real interests the ballad of the Second World War, and not the past and fantastic. Only feeling, touched in Koine. To her horror, you can understand real values.

In the third part of the ballads we hear the most lyrical hero, it is "re-living" of this moment, and with it the experience of the entire people. Clash with piano, the music of the war itself, heroism and genuineness, non-unity of the moment. It turns out that the world did not lose the ability to feel. And the harder the hero to endure the flour of music, sounding from under the "scary - beautiful" hands. The motive of an inexhaustible creative spirit sounds in the ballad.

In me, roars the piano steel.

And I'm lying in a quarry.

And I am huge as a piano.

Two worlds merge into one life. In one understanding of the war, the whole. Reflection of the fate who happens through a collision with the strength of the piano to the quarry. And the inability to make this collision more more, the inability to further listen -

And, like a crown passage,

I'm waiting for an ax!

"He" (from the first part) goes to "I". This refrain in the final is of great importance, in my opinion. The lyrical hero merges with music, with piano. He is waiting along with a terrible blow tool - a blow of an ax, as a sign that kills life, art. Do not fix anything, people need warmth fire. But still the music continues to exist, exist, while there are the hands of the wicker, while there are people who are able to keep the great thing in memory, imperious - art. The tragedy of the junction is ballads, but at the same time heroism in the last line.

We will not see classic balladholder in this work, too much exclamations, often men's clauses - an incredible pressure.

Thus, we can observe the hardening of the philosophical principle in the Body Ballands, noticed in the Ballad of S.Gudzenko. Not just a narrative of tragic, turning situations, but also an assessment, solving universal problems. War is insane: she carries the death of everything clean, elevated, beautiful - art.