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The meaning of the word poem

poem in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

poem

(based on), poems, f. (Greek poiema - creation).

Narrative fiction in verse (lit.). An epic poem (depicting some major events in the life of mankind, a people or a large social group). Lyric poem (alternating narration with lyrical digressions). I read, forgetting meanwhile, excerpts from northern poems. Pushkin.

The name of some literary works, large in size or ideological content, in verse or prose (lit.). Gogol's poem "Dead Souls". Petersburg poem by Dostoevsky "Double". The novel "War and Peace" is a heroic poem about the twelfth year.

trans. About something. extraordinary, striking in its beauty, grandeur, virtues (colloquial jest. obsolete). The view of the Caucasus Range at sunrise is a whole poem!

The name of some musical works (music). "The Poem of Ecstasy" by Scriabin. Symphonic Poems of Liszt.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

poem

A large poetic work on a historical heroic or sublime lyrical theme. The Epic Poems of Homer, and. Pushkin "Gypsies".

trans. About something. sublime, beautiful. P. love. P. spring.

adj. poetic, -th, -th (to 1 meaning).

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

poem

1. Narrative fiction in verse.

   The name of large works in verse or prose, distinguished by the depth of content and a wide coverage of events.

A piece of music for an orchestra (or an orchestra and a choir) or a separate instrument, which has a poetic-figurative content.

trans. Something that amazes with its beauty, grandeur, virtues.

Encyclopedic Dictionary, 1998

poem

POEM (Greek poiema)

poetic genre of large volume, mainly lyrical epic. In antiquity and the Middle Ages, a monumental heroic epic (epopee) - "Iliad", "Odyssey", "Song of Roland" is called a poem, which genetically indicates the epic nature of the genre of the poem and explains a number of its "hereditary" features (historical and heroic content, legendary, pathetic). Since the time of romanticism, a specifically "poetic" event has been the very collision of the lyrical and epic principles as the fate and position of the individual with extrapersonal (historical, social or cosmic) forces ("The Bronze Horseman" by A. S. Pushkin). In the modern poem, the epic demand for "visible" eventfulness is consistent with openly expressed lyrical pathos; the author is a participant or an inspired commentator of the event (V. V. Mayakovsky, A. T. Tvardovsky). In the 20th century a plotless-lyrical poem is also approved ("A Poem without a Hero" by A. A. Akhmatova).

In music - a small lyrical piece of free structure, a large one-movement symphonic work, usually a program (symphonic poem), sometimes a choral or vocal-instrumental composition.

Poem

(Greek póiema), a large piece of poetry with a narrative or lyrical plot. P. is also called the ancient and medieval epic (see also Epic), nameless and authorial, which was composed either through the cyclization of lyric-epic songs and legends (the point of view of A. N. Veselovsky), or by “swelling” (A. Heusler) one or more folk legends, or with the help of complex modifications of the most ancient plots in the process of the historical existence of folklore (A. Lord, M. Parry). P. developed from an epic depicting an event of national historical significance (the Iliad, the Mahabharata, the Song of Roland, and others). There are many genre varieties of P.: heroic, didactic, satirical, burlesque, including heroic-comic, P. with a romantic plot, lyrical-dramatic. For a long time the leading branch of the genre was P. on a national-historical or world-historical (religious) theme (Virgil's Aeneid, Dante's Divine Comedy, L. di Camões' Lusiades, T. Tasso's paradise” by J. Milton, “Henriad” by Voltaire, “Messiad” by F. G. Klopstock, “Rossiada” by M. N. Kheraskov, etc.). At the same time, a highly influential branch in the history of the genre was P. with romantic features of the plot (“The Knight in a Leopard’s Skin” by Shota Rustaveli, “Shahnameh” by Ferdowsi, to a certain extent, “Furious Roland” by L. Ariosto), connected to one degree or another with the tradition medieval, mostly chivalric, novel. Gradually, personal, moral and philosophical problems come to the fore in poetry, lyrical and dramatic elements are intensified, folklore tradition is discovered and mastered - features already characteristic of pre-romantic poetry (Faust by J. W. Goethe, poems by J. Macpherson, W. Scott). The heyday of the genre occurs in the era of romanticism, when the greatest poets of various countries turn to the creation of P.

The “peak” in the evolution of the genre of romantic poetry acquire a socio-philosophical or symbolic-philosophical character (“Childe Harold’s Pilgrimage” by J. Byron, “The Bronze Horseman” by A. S. Pushkin, “Dzyady” by A. Mickiewicz, “The Demon” by M (Yu. Lermontova, "Germany, a winter fairy tale" by G. Heine).

In the 2nd half of the 19th century. the decline of the genre is obvious, which does not exclude the appearance of individual outstanding works (“The Song of Hiawatha” by G. Longfellow). In the poems of N. A. Nekrasov (“Red Nose Frost,” “Who Lives Well in Russia”), genre tendencies characteristic of the development of P. in realistic literature (a synthesis of moralistic and heroic principles) are manifested.

In P. 20th century. the most intimate experiences are correlated with great historical upheavals, imbued with them as if from the inside (“Cloud in Pants” by V. V. Mayakovsky, “The Twelve” by A. A. Blok, “First Date” by A. Bely).

In the owls There are various genre varieties of poetry in poetry: those reviving the heroic principle (“Vladimir Ilyich Lenin” and “Good!” Mayakovsky, “The Nine Hundred and Fifth Year” by B. L. Pasternak, and “Vasily Terkin” by A. T. Tvardovsky); P. lyric-psychological (“About this” by Mayakovsky, “Anna Onegin” by S. A. Yesenin), philosophical (N. A. Zabolotsky, E. Mezhelaitis), historical (“Tobolsk chronicler” L. Martynov) or combining moral and socio-historical issues (“Middle of the Century” by V. Lugovsky).

P. as a synthetic, lyrical epic and monumental genre that allows you to combine the epic of the heart and "music", the "element" of world upheavals, innermost feelings and historical concept, remains a productive genre of world poetry: "The Repair of the Wall" and "Into the Storm" by R. Frost, "Landmarks" by Saint-John Perse, "Hollow People" by T. Eliot, "Universal Song" by P. Neruda, "Niobe" by K. I. Galchinsky, "Continuous Poetry" by P. Eluard, "Zoya" by Nazim Hikmet.

Lit .: Hegel, Aesthetics, vol. 3, M., 1971: Veselovsky A. N., Historical poetics, L., 1940; Zhirmunsky V. M., Byron and Pushkin, L., 1924; Golenishchev-Kutuzov I. N., Dante's work and world culture, M., 1971; Sokolov A.N., Essays on the history of the Russian poem 18 and the first half. 19th centuries, M., 1956; Theory of Literature..., [book. 2], M., 1964; Bowra S., Heroic poetry, L., 1952.

E. M. Pulkhritudova.

Wikipedia

Poem (disambiguation)

Poem:

• A poem is a large piece of poetry with a narrative or lyrical plot.
• The poem is an instrumental piece of a lyric-dramatic nature.

Poem

Poem- Literary genre.

A large or medium-sized multi-part poetic work of a lyrical-epic nature, belonging to a certain author, a large poetic narrative form. Can be heroic, romantic, critical, satirical, etc.

Throughout the history of literature, the genre of the poem has undergone various changes and therefore lacks stability. So, "Iliad" by Homer is an epic work, and Akhmatov's "Poem without a Hero" is exclusively lyrical. There is also no minimum volume (for example, Pushkin's poem "The Robber Brothers" with a volume of 5 pages).

Sometimes prose works can be called a poem (for example, "Dead Souls" by N.V. Gogol, "Moscow - Petushki" by V.V. Erofeev, "Pedagogical Poem" by A.S. Makarenko).

Poem (music)

Nikolaevich Skryabin The prototype of the poem was a symphonic poem, first written by Franz Liszt in 1848. Poems often have program titles and definitions. The most popular poems by Alexander Scriabin: "To the Flame", "Prometheus", "Satanic Poem", Poem of Ecstasy, etc.

A poem is also commonly referred to as large one-movement orchestral program works. The poem in this definition has been used by some composers in place of the symphonic poem. An example of such a work is the poems of Richard Strauss. In the 20th century, some vocal compositions began to be called a poem, for example, "10 poems for the choir" (1951) by Dmitry Shostakovich, "A poem in memory of Sergei Yesenin" (1956) by Georgy Sviridov, etc.

Examples of the use of the word poem in literature.

At the last moment, Abramov managed to shove poem into a bag, but they still discussed for a long time whether Beluga would be smart enough to decipher the acrostic and figure out Emelya.

Tao, Kundalini - concepts of Eastern mysticism Agramant - character poems L.

unknown poem Nizami caused a sensation among specialists and simply lovers of poetry, as she revealed to humanity new facets of the talent of the great Azerbaijani poet.

Cousin of Aquitaine, by his own admission, can’t really dazzle two lines, not to mention epic poems.

This akyn gave an oak tree in his yurt with a drink, that is, he died, died, but by the time the bitter news reached Moscow, my familiar translator had been scribbling more and more legends for the deceased for five years, and poems, and the newspapers praised the akyn, not knowing that his shaitan had taken him.

I give the correct meaning of the word here because many people believe that Alastor is the name of a hero. poems.

Alcuin also tells about his time, the last part poems in historical terms, is especially valuable: from here we learn a lot of interesting things about the teachers of Alcuin, about the state of the York school, about its library, about teaching methods, etc.

However, at the same time, they threw out a very important comma from the text, because of which the allusion that determines the meaning disappears. poems.

Numerous allusions show that the author of this additional epilogue poem describes the Rutland Belvoir castle and mourns the absence of its mistress, Elizabeth Sidney-Rutland, who wrote the addresses placed earlier to the Queen and the most noble ladies - her friends, and herself. poem about the Passion of Christ, which gave the title to the book.

In the courtyard, he saw Ansari himself, a bent old man busy writing poems.

According to this poem at the beginning of everything, Chaos reigned, a single abyss of water in which three cosmic monsters entwined: Apsu, Tiamat and their son Mummu.

Seryozha once visited him and brought about him poem, of which I remember only one verse: Since in different parts there is not one language, But it is changeable and diverse, - Having left the pharmacy store here, He opened a pharmacy store there.

Malory as the most complete example of the writings of the Arthurian circle, giving her preference over earlier Welsh poems and legends.

It is also authentically known that the archdeacon burned with a special passion for the symbolic portal of the Cathedral of Our Lady, for this page of black-book wisdom set forth in stone inscriptions and inscribed by the hand of Bishop Guillaume of Paris, who undoubtedly ruined his soul, daring to attach to this eternal building, to this divine poem blasphemous title.

What is a poem? This is a work that is located at the junction of two literary "worlds" - poetry and prose. Like prose, the poem has a narrative logic, a real story with a denouement and an epilogue. And as poetry, it conveys the depth of the subjective experiences of the hero. Many of the classics that everyone took in school were written in this genre.

Recall the poem "Dead Souls" by the Ukrainian classic - N.V. Gogol. Here, a wonderful large-scale idea echoes the ability to find depth in a person.

Let us recall the poetry of the genius A. Pushkin - "Ruslan and Lyudmila". But besides them, there are many more interesting works.

History of the development of the genre

The poem grew out of the very first folklore songs, through which each nation passed on historical events and myths to its children. This is the well-known "Iliad" and "Odyssey", and "The Song of Roland" - a French epic. In Russian culture, the progenitor of all poems was the historical song - "The Tale of Igor's Campaign".

Then the poem stood out from such syncretic art, people began to supplement these epics, introduce new heroes. Over time, new ideas and new stories appeared. New authors came up with their own stories. Then new types appeared: the burlesque poem, the heroic-comics; the life and affirmation of the people ceased to be the main theme of the works.

So the genre developed, became deeper and more complex. The elements of the composition gradually formed. And now this direction in art is already a whole science.

Structure of a work of art

What do we know about the poem? The key feature is that the work has a clear interconnected structure.

All parts are interconnected, the hero somehow develops, passes tests. His thoughts, as well as feelings, are the focus of the narrator. And all the events around the hero, his speech - everything is conveyed by a certain poetic meter and chosen rhythm.

The elements of any work, including a poem, include dedications, epigraphs, chapters, epilogues. Speech, as well as in a story or short story, is represented by dialogues, monologues and the author's speech.

Poem. Genre Features

This genre of literature has been around for a long time. What is a poem? In translation - "create", "create". By genre - a lyrical large-scale poetic work, which not only gives the reader a pleasant impression of beautiful lines, but also has a purpose and structure.

The creation of any work begins with a theme. So, the poem very well reveals both the theme and the character of the protagonist. And also the work has its own elements, a special author's style and the main idea.

The elements of the poem are:

• subject;
• the form;
• structure;
• and rhythm.

Indeed, since this is a poetic genre, there must be a rhythm here; but as in a story, the plot must be respected. By choosing a topic, the poet indicates what the work is about. We will consider the poem "To whom it is good in Russia" and Gogol's famous story about Chichikov and his adventures. They both share a common theme.

The poem "Who is living well in Russia?" N. Nekrasova

The writer began his work in 1863. Two years after the abolition of serfdom, and continued to work for 14 years. But he never finished his main work.

The focus is on the road, symbolizing the choice of direction in life that everyone chooses in their lives.

N. Nekrasov sought to convey authentically both the problems of the people and the best features of a simple peasant. According to the plot, the dispute that began between ordinary workers dragged on, and seven heroes went to look for at least one of those who really lived better at that time.

The poet vividly depicted both fairs and haymaking - all these mass paintings serve as a vivid confirmation of the main idea that he wanted to convey:

The people are liberated, but are the people happy?

Characters in the main work of N. Nekrasov

Here is the basis of the plot of the poem "Who Lives Well..." - representatives of the people, peasant peasants, go along the Russian roads, and explore the problems of the same ordinary people.

The poet created many interesting characters, each of which is valuable as a unique literary image, and speaks on behalf of the peasants of the 19th century. This is Grigory Dobrosklonov, and Matryona Timofeevna, whom Nekrasov described with obvious gratitude to Russian women, and

Dobrosklonov is the main character who wants to act as a folk teacher and educator. Yermila, on the other hand, is a different image, he protects the peasants in his own way, going completely to his side.

Nikolai Gogol, "Dead Souls"

The theme of this poem echoes Nekrasov's theme. The road is also important here. The hero in the story is looking not only for money, but also for his own path.

The protagonist of the work is Chichikov. He comes to a small town with his grand plans: to earn a whole million. The hero meets with the landowners, learns their life. And the author, who leads the story, ridicules the stupid thoughts and absurd vices of the elite of that time.

Nikolai Gogol managed to convey well the social reality, the failure of the landowners as a class. And he also perfectly describes the portraits of the heroes, reflecting their personal qualities.

Foreign classical works

The most famous poems written in the dark times of Medieval Europe are Alighieri's Divine Comedy and Chaucer's Canterbury Tales. Through the stories described by the talented poet Geoffrey Chaucer, we can learn about English history, how different sections of society lived in this country.

After all, what is a poem - it is an epic that tells about bygone times and includes a large number of characters. D. Chaucer did an excellent job with this task. But, of course, this is an epic that is not intended for schoolchildren.

Modern views on the poem

So, it is clear that initially these were only epic works. And now? What is a poem? These are modern plot constructions, interesting images and a non-trivial approach to reality. they can place the hero in a fictional world, convey his personal suffering; describe incredibly interesting adventurous adventures.

At the disposal of the modern author of poems is a great experience of previous generations and modern ideas, and a variety of techniques with which the plot is combined into a single whole. But in many cases the rhythm of the verse goes to the background, and even to the third plan, as an optional element.

Conclusion

Now let's clearly define what a poem is. This is almost always a lyrical-epic voluminous work in verse. But there is also an ironically constructed story, where the author ridicules the vices of a separate class, for example.

A poem (Greek póiēma, from poieo - I do, I create) is a large poetic work with a narrative or lyrical plot. The poem is also called the ancient and medieval epic ("Mahabharata", "Ramayana", "Iliad", "Odyssey"). Many of its genre varieties are known: heroic, didactic, satirical, burlesque, romantic, lyric-dramatic. The poem is also called works on a world-historical theme (Virgil's Aeneid, Dante's Divine Comedy, L. di Camões' Lusiades, T. Tasso's Jerusalem Liberated, J. Milton's Paradise Lost, Voltaire's Henriad). , “Messiad” by F. G. Klopshtok, “Rossiyada” by M. M. Kheraskov, etc.). In the past, poems with a romantic plot (The Knight in the Panther's Skin by S. Rustaveli, Shahnameh by Ferdowsi, and Furious Roland by L. Aristo) were widely used in the past.

In the era of romanticism, the poems acquire a socio-philosophical and symbolic-philosophical character ("Childe Harold's Pilgrimage" by J. Byron, "The Bronze Horseman" by A. S. Pushkin, "Dzyady" by A. Mickiewicz, "The Demon" by M. Yu. Lermontov, " Germany, winter fairy tale "G. Heine). A romantic poem is characterized by the image of a hero with an unusual fate, but certainly reflecting some facets of the author's spiritual world. In the second half of the 19th century, despite the decline of the genre, separate outstanding works appeared, for example, G. Longfellow's "Song of Hiawatha" translated by I. A. Bunin. The work is based on the legends of the Indian tribes about the semi-legendary leader, the wise and beloved Hiawatha. He lived in the 15th century, before the first settlers appeared on American lands.

The poem is about how

Hiawatha labored,
to make his people happy
so that he goes to goodness and truth ...
"Your strength is only in consent,
and impotence in discord.
Reconcile, O children!
Be brothers to one another."

The poem is a complex genre, often difficult to perceive. To be convinced of this, it is enough to read a few pages of Homer's Iliad, Dante's Divine Comedy or J. V. Goethe's Faust, try to answer the question about the essence of A. S. Pushkin's The Bronze Horseman or A. A. Blok.

The poem requires knowledge of the historical context, makes you think about the meaning of human life, about the meaning of history. Without this, it is impossible to comprehend in its entirety such well-known poems from the school bench as “Frost, Red Nose”, “Who Lives Well in Russia” by N. A. Nekrasov, “Vasily Terkin” by A. T. Tvardovsky and others.

What makes it possible to consider as poems many dissimilar works, sometimes having author's subtitles that do not correspond to this definition. So, “Faust” by I.V. Goethe is a tragedy, “The Bronze Horseman” by A.S. Pushkin is a Petersburg story, and “Vasily Terkin” by A.T. Tvardovsky is a book about a fighter. They are united by the breadth of coverage of the phenomena of reality, the significance of these phenomena and the magnitude of the problems. The developed narrative plan is combined in the poem with deep lyricism. A particularly complete interpenetration of the lyrical and epic principles is characteristic of the poem of the Soviet period (“Vladimir Ilyich Lenin” by V. V. Mayakovsky, “Vasily Terkin” by A. T. Tvardovsky, etc.).

Intimate experiences in the poem are correlated with great historical upheavals, private events are elevated to a cosmic scale. For example, in The Bronze Horseman, the space of a particular city - St. Petersburg is transformed into an endless, boundless space of the global flood, the "last cataclysm":

Siege! attack! evil waves,
Like thieves climbing through the windows. Chelny
With a running start, glass is smashed astern.
Trays under a wet veil,
Fragments of huts, logs, roofs,
Product of thrifty trade.
Relics of pale poverty,
Storm-blown bridges
A coffin from a blurry cemetery
Float through the streets!
People
Sees God's wrath and awaits execution.

The time and space of the poem are vast and boundless.

In the Divine Comedy, first through the circles of Hell, and then through Purgatory, the author of the poem is accompanied by the great Roman poet Virgil, who lived thirteen centuries earlier than Dante. And this does not prevent Dante and his guide from communicating in the same time and space of the Divine Comedy, from making contact with sinners and the righteous of all times and peoples. The concrete, real time of Dante himself coexists in the poem with a completely different type of time and space of the grandiose underworld.

The problems of the most general, eternal are touched upon in each poem: death and immortality, finite and eternal, their meeting and collision is the seed from which the poem arises.

The chapter "Death and the Warrior" is central in the poem "Vasily Terkin" by A. T. Tvardovsky. It is, as it were, a poem within a poem, just like the scene of the "collision" between Eugene and the monument to Peter I in Pushkin's The Bronze Horseman. The author of the poem looks at the world from a special point of view, which allows him, a person of a particular era, to look at the events of his time in such a way as to see in them something that can help highlight the essence of the era and artistically formulate this essence: Eugene and the galloping monument to Peter I, Vasily Terkin and Death.

Thus, unlike stories in verse, novels in verse, numerous imitation poems, and preliminary and laboratory poems (for example, Lermontov's early poems), a poem is always an artistic understanding of modernity in the context of ongoing time.

Multi-plot, often multi-heroic, compositional complexity, semantic richness of both the whole and individual episodes, symbolism, originality of language and rhythm, versatility - all this makes reading the poem as difficult as it is fascinating.

Poem!

poem ( other Greek Ποίημα) is a poetic genre. A large epic poetic work belonging to a particular author, a large poetic form. Can be heroic, romantic, critical, satirical, etc.

A poem is a work of narrative or lyrical content written in verse. Also called a poem are works created on the basis of folk tales, legends, epic stories. The epic is considered to be the classical form of the poem. In Greek, a poem is a creation.

Having arisen in a primitive tribal society in the form of songs, the poem was firmly established and developed widely in subsequent eras. But soon the poem lost its significance as a leading genre.

Poems from different eras have some common features: the subject of their depiction is a certain era, judgments about which are given to the reader in the form of a story about significant events in the life of an individual (in epic and lyric epic) or in the form of a description of the worldview (in lyrics).

Unlike poems, poems are characterized by a message, since they proclaim or evaluate social ideals. Poems almost always have a plot, and even in lyrical poems, individual fragments tend to turn into a single narrative.

Poems are the earliest surviving monuments of ancient writing. They were and are a kind of "encyclopedia" of the past.

Early examples of epic poems: in India - the folk epic "Mahabharata" (not earlier than the 4th century BC), in Greece - the "Iliad" and "Odyssey" by Homer (not later than the 8th century BC), in Rome - Virgil's "Aeneid" (1st century BC), etc.

The poem received its greatest completeness in Homer's Iliad and Odyssey, classic examples of this genre - epics. They reflected big events, and the integrity of the coverage of reality made it possible to dwell on trifles and create a complex system of characters. The epic poems affirmed a broad folk meaning, the struggle for the strength and significance of the people.

Since the conditions for the formation of ancient Greek poems could not be repeated, poems in their original form could not reappear - the poem degrades, receiving a number of differences.

In ancient Europe, parodic-satiric (anonymous "Batrachomyomachia", not earlier than the 5th century BC) and didactic ("Works and Days" by Hesiod, 8-7th centuries BC) poems appeared. They developed in the Middle Ages, during the Renaissance and later. The heroic epic poem turned into a heroic "song" with a minimum number of characters and storylines ("Beowulf", "Song of Roland", "Song of the Nibelungs").

Its composition was reflected in imitative historical poems (in Africa by F. Petrarch, in Jerusalem Liberated by T. Tasso). The plot of the mythological epic was replaced by a lightweight plot of a chivalric poem (its influence is felt in Furious Orlando by L. Ariosto and in Spencer's The Faerie Queene). The traditions of the didactic epic were preserved in allegorical poems (in the Divine Comedy by Dante, in the Triumphs by F. Petrarch). In modern times, the classicist poets were guided by the parodic-satirical epic, creating heroic and comic poems (“Naloy” by N. Boileau).

Poem! The poem is often called a novel in verse.

The heyday of the genre of the poem takes place in the era of romanticism, when the greatest poets of various countries turn to the creation of a poem. The poems acquire a socio-philosophical or symbolic-philosophical character ("Childe Harold's Pilgrimage" by J. Byron, "The Bronze Horseman" by A. S. Pushkin, "The Demon" by M. Yu. Lermontov, "Germany, a Winter Tale" by G. Heine).

In Russian literature of the early 20th century, a tendency arose to turn the lyric-epic poem into a lyrical one. The most intimate experiences are correlated with historical upheavals (“A Cloud in Pants” by V. V. Mayakovsky, “The Twelve” by A. A. Blok, “First Date” by A. Bely). In A. A. Akhmatova's poem "Requiem", the epic plot is hidden behind the alternation of lyrical statements.

In Soviet poetry, there were various genre varieties of the poem: reviving the heroic principle (“Good!” Mayakovsky, “Vasily Terkin” by A. T. Tvardovsky), lyric-psychological poems (“About this” by V. V. Mayakovsky, “Anna Snegina” A. Yesenina), philosophical, historical, etc.

The poem as a lyrical and monumental genre that allows you to combine the epic of the heart and "music", the "element" of world upheavals, innermost feelings and historical events, remains a productive genre of world poetry, although there are few authors of this genre in the modern world.

Other articles in this section:

• Language systems of communication! Languages ​​as the main factor in the system of knowledge development!
• Traditions. What is tradition? Tradition in the dialectical development of society.
• Space and time. Laws of space. Open space. Motion. The space of worlds.
• Evolution and co-evolution. Evolution and co-evolution in the system of modern knowledge. Principles of evolution and co-evolution. Biological evolution and co-evolution of living nature.
• Synergetics and laws of nature. Synergetics as a science. Synergetics as a scientific approach and method. Universal theory of evolution - synergetics.
• May or may not! A kaleidoscope of events and actions through the prism is impossible and possible!
• World of Religion! Religion as a form of human consciousness in the awareness of the surrounding world!
• Art - Art! Art is a skill that can cause admiration!
• Realism! Realism in art! Realistic art!
• Abstract art! Abstraction in art! Abstract painting! Abstractionism!
• Unofficial art! Unofficial art of the USSR!
• Thrash - Thrash! Trash in art! Thrash in creativity! Trash in Literature! Cinema trash! Cyberthrash! Thrash metal! Telethrash!
• Painting! Painting is art! Painting is the art of the artist! Canons of painting. Painting masters.
• Vernissage - "vernissage" - the grand opening of an art exhibition!
• Metaphorical realism in painting. The concept of "metaphorical realism" in painting.
• The cost of paintings by contemporary artists. How to buy a painting?

POEM (Greek poiema, from Greek poieo - I create), a large form of poetic work in epic, lyric or lyric-epic kind. Poems from different eras and among different peoples, in general, are not the same in their genre characteristics, however, they have some common features: the subject of the image in them is, as a rule, a certain era, certain events, certain experiences of a single person. Unlike poems, in a poem directly (in heroic and satirical types) or indirectly
(in a lyrical type) public ideals are proclaimed or evaluated; they almost always have a plot, and even in lyrical poems, thematically isolated fragments are combined into a single epic narrative.
Poems are the earliest surviving monuments of ancient writing. They were and are a kind of "encyclopedia", when referring to which you can learn about the gods, rulers and heroes, get acquainted with the initial stage of the history of the nation, as well as with its mythological background, comprehend the way of philosophizing characteristic of this people. These are the early examples of epic poems in many national literatures: in India - the folk epic "Mahabharata" and "Ramayana", in Greece - "Iliad" and "Odyssey" by Homer, in Rome - "Aeneid" by Virgil.
In Russian literature of the early 20th century, there was a tendency to turn the lyric-epic poem into a purely lyrical poem. Already in the poem by A. A. Blok "The Twelve" both lyrical-epic and lyrical motifs clearly appear. The early poems of V. V. Mayakovsky (“A Cloud in Pants”) also hide an epic plot behind an alternation of different types of lyrical statements. This trend will manifest itself especially clearly later, in A. A. Akhmatova's poem "Requiem".

VARIETIES OF THE POEM GENRE

EPIC POEM is one of the oldest types of epic works. Ever since antiquity, this type of poem has focused on depicting heroic events, most often taken from the distant past. These events were usually significant, epoch-making, influencing the course of national and general history. Examples of the genre include: Homer's Iliad and Odyssey, The Song of Roland, The Song of the Nibelungs, Ariosto's Furious Roland, Tasso's Jerusalem Delivered, and others. The epic genre has almost always been a heroic genre. For his loftiness and citizenship, many writers and poets recognized him as the crown of poetry.
The protagonist in an epic poem is always a historical person. As a rule, he is an example of decency, a model of a person with high moral qualities.
The events in which the hero of the epic poem is involved, according to unwritten rules, should have a national, universal significance. But the artistic depiction of events and characters in an epic poem, only in the most general form, should be correlated with historical facts and persons.
Classicism, which dominated fiction for many centuries, did not set itself the task of reflecting the true history and characters of real, historical persons. The appeal to the past was determined solely by the need to comprehend the present. Starting from a specific historical fact, event, person, the poet gave him a new life.
Russian classicism has always adhered to this view of the features of the heroic poem, although it has somewhat transformed it. In the domestic literature of the 18th-19th centuries, there were two views on the question of the relationship between the historical and the artistic in the poem. Their spokesmen were the authors of the first epic poems Trediakovsky ("Tilemakhida") and Lomonosov ("Peter the Great"). These poems put Russian poets in front of the need to choose one of two ways in working on a poem. The type of Lomonosov's poem, despite its incompleteness, was clear. It was a heroic poem about one of the most important events in Russian history, a poem in which the author strove to reproduce historical truth.
The type of Trediakovsky's poem, despite its completeness, was much less clear, except for the metrical form, where the poet proposed a Russified hexameter. Trediakovsky attached secondary importance to historical truth. He defended the idea of ​​reflecting in the poem "fabulous or ironic times", focusing on the epics of Homer, which, according to Trediakovsky, were not and could not be created in the hot pursuit of events.
Russian poets of the 19th century followed the path of Lomonosov, not Trediakovsky. ("Dimitriada" by Sumarokov and "Liberated Moscow" by Maikov, as well as Kheraskov's poems "Chesme Battle" and "Rossiada").

DESCRIPTIVE POEMS originate from the ancient poems of Hesiod and Virgil. These poems became widespread in the 18th century. The main theme of this type of poems is mainly pictures of nature.
The descriptive poem has a rich tradition in Western European literatures of all eras and is becoming one of the leading genres of sentimentalism. It made it possible to capture diverse variants of feelings and experiences, the ability of a person to respond to the smallest changes in nature, which has always been an indicator of the spiritual value of a person.
In Russian literature, however, the descriptive poem did not become the leading genre, since sentimentalism was most fully expressed in prose and landscape lyrics. The function of a descriptive poem was largely taken over by prose genres - landscape sketches and descriptive studies ("Walk", "Village" by Karamzin, landscape sketches in "Letters of a Russian Traveler").
Descriptive poetry includes a whole range of themes and motifs: society and solitude, urban and rural life, virtue, charity, friendship, love, feelings of nature. These motifs, varying in all works, become an identification mark of the psychological appearance of a modern sensitive person.
Nature is perceived not as a decorative background, but as a person's ability to feel part of the natural world of nature. “The feeling evoked by the landscape is not nature in itself, but the reaction of a person who is able to perceive it in his own way” comes to the fore. The ability to capture the subtlest reactions of a person to the outside world attracted sentimentalists to the genre of a descriptive poem.
Descriptive poems that survived until the beginning of the 19th century were the forerunners of the "romantic" poem by Byron, Pushkin, Lermontov and other great poets.

DIDACTIC POEM adjoins descriptive poems and most often it is a treatise poem (an example is the “Poetic Art” of Boileau, XVII century).
Already in the early stages of the era of antiquity, great importance was attached not only to the entertaining, but also to the didactic function of poetry. The artistic structure and style of didactic poetry go back to the heroic epic. The main meters were originally dactylic hexameter, later elegiac distich. Due to genre specificity, the range of topics of didactic poetry was unusually wide and covered various scientific disciplines, philosophy, and ethics. Other examples of didactic poetry include the works of Hesiod "Theogony" - an epic poem about the history of the origin of the world and the gods - and "Works and Days" - a poetic narrative about agriculture, containing a significant didactic element.
In the 6th century BC didactic poems by Phocylides and Theognis appeared; philosophers such as Xenophanes, Parmenides, Empedocles expounded their teachings in poetic form. In the 5th century, not poetry, but prose, took the leading place in didactic literature. A new rise in didactic poetry began during the Hellenistic period, when it seemed tempting to use the art form to present scientific ideas. The choice of material was determined not so much by the depth of the author's knowledge in a particular field of knowledge, but by his desire to tell in as much detail as possible about little-studied problems: Arat (the didactic poem "Phenomena", containing information about astronomy), Nicander
(2 small didactic poems about remedies for poisons). Examples of didactic poetry are poems about the structure of the earth by Dionysius Periegetes, about fishing - by Oppian, about astrology - by Dorotheus of Sidon.
Even before their acquaintance with Greek didactic poetry, the Romans had their own didactic works (for example, treatises on agriculture), but they were early influenced by the artistic means of Greek didactic poetry. Latin translations of Hellenistic authors appeared (Ennius, Cicero). The largest original works are the philosophical poem "On the Nature of Things" by Lucretius Cara, which is an exposition of the materialistic teachings of Epicurus, and the epic poem "Georgics" by Virgil, in which, given the disastrous state of Italian agriculture due to the civil war, he poetizes the peasant way of life and praises farmer's labor. Based on the model of Hellenistic poetry, Ovid's poem "Fasta" was written - a poetic story about ancient rites and legends included in the Roman calendar - and its variations on an erotic theme, containing an element of didactics. Didactic poetry was also used to spread the Christian creed: Commodian ("Instructions to pagans and Christians"). The genre of didactic poetry existed until modern times. In Byzantium, for better memorization, many textbooks were written in verse.
(Dictionary of antiquity)

ROMANTIC POEM

Romantic writers in their works poeticized such states of the soul as love and friendship, as the longing of unrequited love and disappointment in life, going into loneliness, etc. With all this, they expanded and enriched the poetic perception of the inner world of a person, finding for this and appropriate art forms.
The sphere of romanticism is “the whole inner, intimate life of a person, that mysterious soil of the soul and heart, from where all indefinite aspirations for the better and the sublime rise, trying to find satisfaction in the ideals created by fantasy,” Belinsky wrote.
The authors, carried away by the current that had arisen, created new literary genres that gave scope for the expression of personal moods (lyric-epic poem, ballad, etc.). The compositional originality of their works was expressed in a quick and unexpected change of pictures, in lyrical digressions, in reticence in the narration, in the mysteriousness of images that intrigue readers.
Russian romanticism was influenced by various currents of Western European romanticism. But its emergence in Russia is the fruit of national social development. V. A. Zhukovsky is rightly called the founder of Russian romanticism. His poetry struck contemporaries with its novelty and unusualness (the poems "Svetlana", "The Twelve Sleeping Virgins").
He continued the romantic direction in the poetry of A.S. Pushkin. In 1820, the poem "Ruslan and Lyudmila" was published, on which Pushkin worked for three years. The poem is a synthesis of the poet's early poetic searches. With his poem, Pushkin entered into creative competition with Zhukovsky as the author of magically romantic poems written in a mystical spirit.
Pushkin's interest in history increased in connection with the publication in 1818 of the first eight volumes of Karamzin's History of the Russian State. The collection "Ancient Russian Poems" by Kirsha Danilov and collections of fairy tales also served as material for Pushkin's poem. Later, he added to the poem, written in 1828, the famous prologue "At the seashore, a green oak", giving a poetic code of Russian fairy tale motifs. "Ruslan and Lyudmila" is a new step in the development of the genre of the poem, notable for the new, romantic image of a person.
Travel to the Caucasus and the Crimea left a deep mark on Pushkin's work. At this time, he got acquainted with the poetry of Byron and the "oriental stories" of the famous Englishman serve as a model for Pushkin's "southern poems" ("The Prisoner of the Caucasus", "The Robber Brothers", "The Fountain of Bakhchisaray", "Gypsies", 1820 - 1824). At the same time, Pushkin compresses and clarifies the narrative, enhances the concreteness of the landscape and everyday sketches, complicates the hero's psychology, makes him more purposeful.
V. A. Zhukovsky’s translation of the “Prisoner of Chillon” (1820) and Pushkin’s “southern poems” open the way for numerous followers: “prisoners”, “harem passions”, “robbers”, etc. are multiplying. However, the most peculiar poets of Pushkin’s time find their own genre moves: I. I. Kozlov (“Chernets”, 1824) chooses a lyric-confessional version with a symbolic sound, K. F. Ryleev (“Voinarovsky”, 1824) politicizes the Byronic canon, etc.
Against this background, Lermontov's later poems "The Demon" and "Mtsyri" miraculously look, which are saturated with Caucasian folklore, and which can be put on a par with The Bronze Horseman. But Lermontov began with simple-hearted imitations of Byron and Pushkin. His “Song about Tsar Ivan Vasilievich...” (1838) closes the Byronic plot in the forms of Russian folklore (epic, historical song, lamentations, buffoon).
The Russian poets - romantics can also be attributed - Konstantin Nikolayevich Batyushkov (1787 - 1855). His main work is considered the romantic poem "The Dying Tass". This poem can be called an elegy, but the theme raised in it is too global for an elegy, as it contains many historical details. This elegy was created in 1817. Torquato Tasso was Batyushkov's favorite poet. Batyushkov considered this elegy his best work, the epigraph to the elegy was taken from the last act of Tasso's tragedy "King Torisimondo".

The ballad is one of the varieties of the romantic poem. In Russian literature, the emergence of this genre is associated with the tradition of sentimentalism and romanticism of the late 18th - early 19th centuries. The first Russian ballad is considered to be "Gromval" by G.P. Kamenev, but the ballad gains special popularity thanks to V.A. Zhukovsky. "Balladnik" (jokingly nicknamed Batyushkov) made the best ballads of Goethe, Schiller, Walter-Scott and other authors available to the Russian reader. The "ballad" tradition does not fade throughout the entire 19th century. Ballads were written by Pushkin ("The Song of the Prophetic Oleg", "The Drowned Man", "Demons"), Lermontov ("Airship", "Mermaid"), A. Tolstoy.
After realism became the main current in Russian literature, the ballad as a poetic form fell into decline. Only fans of "pure art" (A. Tolstoy) and symbolists (Bryusov) continued to use this genre. In modern Russian literature, one can note the revival of the ballad genre by updating its subject matter (ballads by N. Tikhonov, S. Yesenin). These authors drew plots for their works from the events of the recent past - the civil war.

PHILOSOPHICAL POEM

Philosophical poem is a genre of philosophical literature. The earliest examples of this genre include the poems of Parmenides and Empedocles. Presumably, early Orphic poems can also be attributed to them.
In the 18th century, A. Pope's philosophical poems "Experiments on Morals" and "Experience on Man" were very popular.
In the 19th century, Austrian romantic poet Nikolaus Lenau and French philosopher and political economist Pierre Leroux wrote philosophical poems. The philosophical poem "Queen Mab" (1813), the first significant poetic work of P.B. Shelley. Philosophical poems also include poems written by Erasmus Darwin (1731-1802), grandfather of Charles Darwin. Among the philosophical poems created in the 19th century by Russian poets, M. Yu. Lermontov's poem "The Demon" stands out.

HISTORICAL POEM

Historical poem - lyric-epic folklore works about specific historical events, processes and historical figures. The historical specificity of the content is an important basis for separating historical poems into a separate group, which, according to structural features, is a combination of various genres associated with history.
Homer can be considered the ancestor of the historical poem. His panoramic works "Odyssey" and "Iliad" are among the most important and for a long time the only sources of information about the period that followed the Mycenaean era in Greek history.
In Russian literature, the most famous historical poems include the poem by A.S. Pushkin "Poltava", B. And Bessonov's poem "The Khazars", T. G. Shevchenko's poem "Gamalia".
Of the poets of the Soviet period, working in the genre of a historical poem, one can note Sergei Yesenin, Vladimir Mayakovsky, Nikolai Aseev, Boris Pasternak, Dmitry Kedrin and Konstantin Simonov. The search and success of the genre in the post-war decades are associated with the names of Nikolai Zabolotsky, Pavel Antokolsky, Vasily Fedorov, Sergei Narovchatov and other poets whose works are known far beyond the borders of Russia.

In addition to the above types of poems, one can also distinguish poems: lyrical - psychological ("Anna Snegina"), heroic ("Vasily Terkin"), moral and social, satirical, comic, playful and others.

Structure and plot construction of a work of art

In the classical version, in any work of art (including a poem), the following parts are distinguished:
- prologue
- exposition
- string
- development
- climax
- epilogue
Let's consider separately each of these structural parts.

1. PROLOGUE
The beginning is more than half of everything.
Aristotle
Prologue - the introductory (initial) part of a literary-artistic, literary-critical, journalistic work, which anticipates the general meaning or main motives of the work. In the prologue, the events that precede the main content can be summarized.
In narrative genres (novel, story, poem, story, etc.), the prologue is always a kind of background story, and in literary criticism, journalism and other documentary genres, it can be perceived as a preface. It must be remembered that the main function of the prologue is to convey events that prepare the main action.

A prologue is needed if:

1. The author wants to start the story in a calm tone, gradually, and then make a sharp transition to the dramatic events that will happen next. In this case, several phrases are inserted into the prologue, hinting at the climax, but, of course, not revealing it.

2. The author wants to give a complete panorama of previous events - what actions and when were committed by the main character before and what came of it. This type of prologue allows you to conduct a leisurely sequential narrative with a detailed presentation of the exposition.
In this case, a maximum time gap between the prologue and the main narrative is allowed, a gap that serves as a pause, and the exposition becomes minimal and serves only those events that give impetus to action, and not the entire work.

It must be remembered that:

The prologue should not be the first episode of the narrative, forcibly cut off from it.
- the events of the prologue should not duplicate the events of the opening episode. These events should generate intrigue precisely in combination with it.
- the mistake is to create an intriguing prologue that is not connected with the beginning, neither time, nor place, nor heroes, nor idea. The connection between the prologue and the beginning of the narrative may be explicit, it may be hidden, but it must be mandatory.

2. EXPOSURE

An exposition is an image of the arrangement of characters and circumstances before the main action that should take place in a poem or other epic work. Accuracy in determining characters and circumstances is what constitutes the main advantage of the exposition.

Exposure functions:

Determine the place and time of the described events,
- introduce the actors,
- show the circumstances that will be the prerequisites for the conflict.

Exposure volume

According to the classical scheme, about 20% of the total volume of the work is allocated for the exposition and the plot. But in fact, the volume of the exposition depends entirely on the author's intention. If the plot develops rapidly, sometimes a couple of lines are enough to introduce the reader to the essence of the matter, but if the plot of the work is dragged out, then the introduction takes up a much larger volume.
Recently, the requirements for exposure, unfortunately, have changed somewhat. Many modern editors require that the exposition begins with a dynamic and exciting scene that involves the main character.

Types of exposure

There are many ways to display. However, ultimately, all of them can be divided into two main, fundamentally different types - direct and indirect exposure.

In the case of direct exposure, the introduction of the reader into the course of the matter takes place, as they say, head-on and with complete frankness.

A striking example of direct exposure is the protagonist's monologue, from which the work begins.

Indirect exposition is formed gradually, consisting of a lot of accumulating information. The viewer receives them in a veiled form, they are given as if by chance, unintentionally.

One of the tasks of the exposition is to prepare the appearance of the main character (or characters).
In the overwhelming majority of cases, there is no main character in the first episode, and this is due to the following considerations.
The fact is that with the advent of the protagonist, the tension of the narration intensifies, it becomes more intense, impetuous. Opportunities for any detailed explanation, if not disappear, then, in any case, sharply decrease. This is what forces the author to postpone the introduction of the main character. The character should grab the reader's attention right away. And here the most reliable way is to introduce the hero when the reader has already become interested in him from the stories of other characters and is now eager to learn more.
Thus, the exposition outlines the main character in general terms, whether he is good or bad. But in no case should the author reveal his image to the end.
The exposition of the work prepares the plot, with which it is inextricably linked, because.
realizes the conflict possibilities inherent and tangibly developed in the exposition.

3. TIE

Who did not fasten the first button correctly,
won't close properly anymore.
Goethe.
The plot is an image of emerging contradictions that begin the development of events in the work. This is the point at which the story begins to move. In other words, the plot is an important event where a certain task is set before the hero, which he must or is forced to complete. What kind of event it will be depends on the genre of the work. This may be the discovery of a corpse, the kidnapping of a hero, a message that the Earth is about to fly into some celestial body, etc.
In the plot, the author presents the key idea and begins to develop intrigue.
Most often, the tie is banal. It is very, very difficult to come up with something original - all the plots have already been invented before us. Every genre has its own clichés and clichés. The task of the author is to make an original intrigue out of a standard situation.
There can be several ties - as many as the author has set up plot lines. These strings can be scattered throughout the text, but they must all develop, not hang in the air and end with a denouement.

4. First paragraph (first verse)

You have to grab the reader by the throat in the first paragraph,
in the second - squeeze it tighter and keep it against the wall
to the last line.

Paul O Neil. American writer.

5. Development of the plot

The beginning of the development of the plot is usually given by the plot. In the development of events, connections and contradictions between people reproduced by the author are revealed, various features of human characters are revealed, the history of the formation and growth of characters is transmitted.
Usually, events that take place in a work of art from the beginning to the climax are placed in the middle of the work. Exactly what the author wants to say with his poem, story, story. Here the development of storylines takes place, there is a gradual increase in the conflict and the technique of creating internal tension is used.
The easiest way to create internal tension is the so-called creation of anxiety. The hero finds himself in a dangerous situation, and then the author either brings the danger closer or delays it.

Voltage injection techniques:

1. Deceived expectation
The narrative is structured in such a way that the reader is quite sure that some event is about to happen, while the author unexpectedly (but justifiably) turns the action in a different direction, and instead of the expected event, another event occurs.

3. Recognition
The character seeks to learn something (which is usually already known to the reader). If the fate of the character essentially depends on recognition, then dramatic tension can arise due to this.

Along with the main storyline, in almost every work there are secondary lines, the so-called "subplots". There are more of them in novels, but in a poem or story there may be no subplots. Subplots are used to more fully reveal the theme and character of the protagonist.

The construction of subplots also obeys certain laws, namely:

Each subplot must have a beginning, middle and end.

Subplots should be merged with storylines. The subplot should move the main plot forward, and if it does not, then it is not needed.

There should not be many subplots (1-2 in a poem or story, no more than 4 in a novel).

6. Climax

The Latin word "culmen" means in translation the top, the highest point. In any work, the culmination is the episode in which the highest tension is reached, that is, the most emotionally affecting moment, to which the logic of constructing a story, poem, novel leads. There may be several climaxes throughout a large work. Then one of them is the main one (it is sometimes called central or general), and the rest are “local”.

7. Decoupling. The final. Epilogue

The denouement resolves the depicted conflict or leads to an understanding of certain possibilities for its resolution. This is the point at the end of the sentence, the event that should finally clarify everything and after which the work can be completed.
The denouement of any story must prove the main idea that the author sought to convey to the reader when he began to write it. There is no need to unnecessarily delay the ending, but rushing it is also not the point. If some questions remain unanswered in the work, the reader will feel deceived. On the other hand, if there are too many secondary details in the work, and it is too long, then most likely the reader will soon get tired of trailing after the author's ranting, and he will leave it at the first opportunity.

The ending is the end of the story, the final scene. It can be tragic or happy - it all depends on what the author wanted to say in his work. The finale can be "open": yes, the hero received an important lesson, went through a difficult life situation, changed in some ways, but this is not the end, life goes on, and it is not clear how it will all end in the end.
It is good if the reader will have something to think about after he reads the last sentence.
The finale must necessarily carry a semantic load. The villains should get what they deserve, the sufferers should be rewarded. Those who have erred must pay for their mistakes and see the light, or else remain in ignorance. Each of the characters has changed, made some important conclusions for themselves, which the author wants to present as the main idea of ​​his work. In fables, morality is usually derived in such cases, but in poems, stories or novels, the author's thought should be conveyed to the reader more subtly, unobtrusively.
For the final scene, it is best to choose some important moment in the life of the hero. For example, the story should end with a wedding, recovery, achievement of a certain goal.
The ending can be anything, depending on how the author resolves the conflict: happy, tragic, or ambiguous. In any case, it is worth emphasizing that after everything that happened, the heroes revised their views on love and friendship, on the world around them.
The author resorts to the epilogue when he believes that the denouement of the work has not yet fully explained the direction of the further development of the people depicted and their destinies. In the epilogue, the author strives to make the author's judgment over the depicted especially tangible.

Literature:

1. Veselovsky A.N. Historical poetics, L., 1940;
2. Sokolov A.N., Essays on the history of the Russian poem, M., 1956
3. G. L. Abramovich. Introduction to Literary Studies.
4. Prose page materials. RU. Copyright Contest - K2
5. Forum Prosims ("Shy").