Elegiac poetry author. Genre elegy: features. Elegy in the work of Russian and foreign poets. Elegy in music

Initially, the concept of "elegy" was associated with the form of the poem, but over time, the content and mood of the work became the dominant feature. What works are now called elegy? What is an elegy? What is her motive?

What does the word "elegy" mean?

Vladimir Dal in the explanatory dictionary gives such a definition to this term: this is a sad, plaintive, slightly dull poem. In the explanatory dictionary of Ushakov D.N. also explains what an elegy is:

• V ancient literature- this is a poem that is written in couplets of various contents;
• c - this is a predominantly sad tone love lyrics;
• in new poetry Western Europe- this is a lyrical work that is imbued with sadness and sadness and is dedicated to some kind of reflection or love theme;
• in music, this is the name of musical works of a sad and sad nature.

Ozhegov S.I. and Shvedov N.Yu. in their explanatory dictionary they give the following explanation of what an elegy is:

• this is a lyrical poem that is imbued with sadness, they are also called romantic elegies;
• a piece of music of a mournful, melancholy, thoughtful nature.

Efremova T.F. in the explanatory dictionary explains that the term is used in several meanings:

• it is a lyrical genre of literature of the 18th and 19th centuries;
• this is a lyrical poem, saturated with sadness and sadness;
• poetry, which is written in couplets and contains the thoughts of the author;
• it is a synonym for the words "melancholy" or "sadness".

The encyclopedic dictionary contains the same explanations of the term as in the explanatory dictionary of Ushakov D.N.

On Wikipedia, "elegy" is:

• lyrical genre that contains poetic form complaint, sadness or emotional philosophical reflection on the questions of the universe;
• a musical work of a sad, thoughtful nature.

History of the elegy

So what is an elegy? Where did this term come from? When did it arise? What was the original meaning?

The word comes from the Greek "elegos", which is translated into Russian as "plaintive song".

So, the definition of what an elegy is: in literature it is a kind of genre or a poem of emotional content, more often written in the first person.

The concept itself originated in Ancient Greece in the 7th century BC (the founders of the genre are Mimnerm, Kallin, Theognid, Tyrtaeus), initially the elegy had a moral and political content or denoted the form of a verse. In a peculiar form, works were created on different topics, for example, Archilochus wrote accusatory and sad works, Solon - poems with philosophical content, Tirteus and Kallin - about the war, Mimnerm - about politics.

But during the period of the Roman development of poetry (Ovid, Propertius, Tibull, Catullus), this concept is identified with love lyrics.

The heyday of the elegy comes in the era of romanticism (Grey T., Jung E., Milvois C., Chenier A., ​​Lamartine A., Guys E., Goethe).

He writes an elegy in the middle of the 18th century, which Zhukovsky V.A. translates into Russian almost 50 years later. - Rural Cemetery. She laid the foundation for the development of sentimentalism. At this time, in literature, the understanding of what an elegy is is completely changing. Now this concept means a poem that is permeated with sadness and thoughtfulness. The works of this era are characterized by such themes as loneliness, intimacy of feelings, disappointment, unrequited love.

But over time, the elegy loses its genre distinctness, and the term gradually goes out of use, remaining only as a sign of tradition (Rilke R.M. “Duino Elegies”, Brecht B. “Bukovsky Elegies”).

Definition: what is an elegy in the literature of Western Europe

The heyday of this genre in European literature began with an elegy English poet Thomas Grey. In German literature, Goethe's "Roman Elegies", Schiller's "Ideals", "The Walk", many works by Mathisson, Heine, Herweg, Lenau, Freiligrath, Platen, Schlegel and other authors were written in this genre.

The French in this genre created Debord-Valmore, Chenier, Milvois, Musset, Lamartine, Delavigne, Hugo.

In Spain - Garcilaso de la Vega, Juan Boscan.

In Italy, the main representatives of this genre are Castaldi, Guarini, Alamanni.

In Poland - Balinsky.

The history of elegy in Russian poetry

In Russian lyrics, elegy appears only in the 18th century, this genre is found in Trediakovsky V. K. and Sumarokov A. P., in the work of Zhukovsky V. A., Batyushkov K. N., Pushkin A. S., Baratynsky E. A., Yazykova N. M.; starting from the 2nd half of the 19th century, the term is used only as the name of cycles by Fet A.A. and in the title of individual poems by Akhmatova A., Samoilov D.

History of elegy in music

What is an elegy in music? This is a genre of musical work of a sad or sad dreamy nature.

The elegy develops as a piece of music only at the end of the 19th - beginning of the 20th century, these are the works of Ferruccio Busoni, Edvard Grieg, Gabriel Fauré, Sergei Rachmaninov, Vasily Kalinnikov. Particularly popular was the "Ellegy", written by Massenet.

At the end of the 18th century, Russian vocal lyrics were significantly influenced by the drawling song. It is very close to an elegy in content and ways of expression. She was close to the themes of death, unhappy love, loneliness.

The lingering song is replaced by a solo lyrical one, which is inextricably linked with literature - G. Teplov, F. Mayer, F. Dubyansky, O. Kozlovsky.

In the first half of the 19th century, the main field for elegy was the romance. And in the second half of the century, elegy is present in the chamber-instrumental works of Rachmaninov, Tchaikovsky, Arensky.

In the 20th century, many pop songs are descendants of lyrical elegies. Cutugno T., Doga E., Krutoy I., Pauls R. worked a lot in this genre. Each of them gave the world talented and amazing melodies, from which the soul becomes more beautiful, like their music.

Greek elegeia) - 1) the genre of lyric poetry, a poem of sad content; 2) a vocal or instrumental piece of music of a thoughtful, sad nature.

Great Definition

Incomplete definition ↓

Elegy

(Greek elegos - mournful song; elegeion, elegeia - a poem in distichs). E., apparently, arose in Ionian M. Asia from mourning for the dead; Initially, E. sang, accompanied by playing the flute or recited, later they recited. Their metric the form is distich (hexameter followed by pentameter). Most other Greek. E. (7-6/5 centuries BC) were performed at feasts, they are characterized by thematic. diversity: calls to fight and a reminder of the aristocratic. class consciousness (Kallin, Theognid), reflections on the world and states, order (Solon), as well as on the human. life, myths, love (Mimnerm), worldly wisdom (Phokilid), philosophical doctrine (Xenophanes). In the 5th c. BC e. E. were used less frequently (Simonides, E. - dedications, Ion from Chios, poetry of feasts), but in Hellenism they again reached of great importance among small lit. forms. Art, the model was considered to be "Lida" by Antimachus (a combination of various myths about unhappy love). Hellenistic E. were created for selected circles of lit. connoisseurs; they are characterized by the search for something new in language and content; the theme is legends, fairy tales, love; references to politics and societies, life are missing; in the form, the desire for arts, perfection is noticeable (Callimachus, Philetus, Hermesianakt). characteristic feature Rome. E. are subjective love experiences as a central motive; sentimental images of the sorrows and joys of love are not uncommon; pseudonyms are often given to lovers. E. were collected in collections. After the first experiments under neoteriki (Catullus), the creator of Rome. E. was considered K. Gall. The themes of his E. were happiness, torment and the omnipotence of love. After him, Tibull sang morals. value perfect love and independent, dedicated only to love. life. In Propertius, along with the love theme, the nat also appears. material, legends about the founding of Rome (4 books), its development Propertius continues Hellenistic. traditions. This type of elegich. poetry develops in Ovid's Fasts. He covers the love theme in "Songs of Love", the language and form make them a masterpiece of world literature. The last works of antiquity in this genre were E. Maximian (c. 550); in the Middle Ages they were popular school reading. Later, E. began to understand sad poems. Of modern E., Goethe's Roman Elegies should be mentioned. It is often difficult to distinguish an epigram from a short E..

Great Definition

Incomplete definition ↓

The word έ̓λεγος meant among the Greeks a sad song to the accompaniment of a flute. The elegy was formed from the epic about the beginning of the Olympiads among the Ionian tribe in Asia Minor, in which the epic also arose and flourished.

Having general character lyrical reflection, the elegy of the ancient Greeks was very diverse in content, for example, sad and accusatory in Archilochus and Simonides, philosophical in Solon or Theognis, militant in Callinus and Tyrtheus, political in Mimnerm. One of the best Greek authors of the elegy is Callimachus.

Elegy in Western European Literature

Subsequently, there was only one period in the development of European literature, when the word "elegy" began to denote poems with a more or less stable form. This period began under the influence of the famous elegy of the English poet Thomas Gray, written in 1750 and caused numerous imitations and translations in almost all European languages. The revolution produced by this elegy is defined as the offensive in the literature of the period of sentimentalism, which replaced false classicism.

In German poetry, Goethe's Roman Elegies are famous. Schiller's poems are elegies: "Ideals" (translated by Zhukovsky "Dreams"), "Resignation", "Walk". Much belongs to elegies in Mathisson (Batyushkov translated it “On the ruins of castles in Sweden”), Heine, Lenau, Herweg, Platen, Freiligrath, Schlegel and many others. others. The French wrote elegies: Milvois, Debord-Valmore, Delavigne, A. Chenier (M. Chenier, his brother, translated Gray's elegy), Lamartine, A. Musset, Hugo and others. In English poetry, except for Gray, - Spencer , Young, Sydney, later Shelley and Byron. In Italy, the main exponents of elegiac poetry are Alamanni, Castaldi, Filican, Guarini, Pindemonte. In Spain: Juan Boscan, Garcilaso de la Vega. In Portugal - Camões, Ferreira, Rodrigue Lobo, de Miranda. In Poland - Balinsky.

Elegy in Russian literature

Before Zhukovsky, attempts to write elegies in Russia were made by such authors as Pavel Fonvizin, Bogdanovich, Ablesimov, Naryshkin, Nartov, Davydov and others.

Zhukovsky’s translation of Gray’s elegy (“Rural Cemetery”, 1802) laid the foundation for Russian poetry new era, which finally went beyond rhetoric and turned to sincerity, intimacy and depth. This inner change was also reflected in the new methods of versification introduced by Zhukovsky, who is thus the founder of the new Russian sentimental poetry and one of its great representatives. In the general spirit and form of Grey's elegy, that is, in the form of large poems filled with mournful reflection, Zhukovsky wrote such poems, which he himself called elegies, such as “Evening”, “Slavyanka”, “On the death of Kor. Wirtembergskaya". His "Theon and Aeschines" (elegy-ballad) are also considered elegies. Zhukovsky also called his poem "The Sea" an elegy.

In the first half of the 19th century, it was common to call their poems elegies, Batyushkov, Baratynsky, Yazykov, and others attributed their works to elegies; subsequently, however, it fell out of fashion. Nevertheless, many poems of Russian poets are imbued with an elegiac tone.

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Literature

• Gornfeld A.G.,.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.

Excerpt characterizing the elegy

At the end of January, Pierre arrived in Moscow and settled in the surviving wing. He went to Count Rostopchin, to some of his acquaintances who had returned to Moscow, and was going to go to Petersburg on the third day. Everyone celebrated the victory; everything was seething with life in the devastated and reviving capital. Everyone was glad to Pierre; everyone wanted to see him, and everyone asked him about what he had seen. Pierre felt especially friendly towards all the people he met; but involuntarily now he kept himself on guard with all people, so as not to bind himself in any way. He answered all the questions that were put to him, whether important or the most insignificant, with the same vagueness; Did they ask him where he would live? will it be built? when he is going to Petersburg and will he undertake to bring a box? - he answered: yes, maybe, I think, etc.
He heard about the Rostovs that they were in Kostroma, and the thought of Natasha rarely came to him. If she came, then only how pleasant memory long gone. He felt himself not only free from the conditions of life, but also from this feeling, which, as it seemed to him, he had deliberately put on himself.
On the third day of his arrival in Moscow, he learned from the Drubetskys that Princess Marya was in Moscow. death, suffering, last days Prince Andrei often occupied Pierre and now came to his mind with new vivacity. Having learned at dinner that Princess Marya was in Moscow and living in her unburned house on Vzdvizhenka, he went to her that same evening.
On his way to Princess Marya, Pierre kept thinking about Prince Andrei, about his friendship with him, about various meetings with him, and especially about the last one in Borodino.
“Did he really die in that evil mood in which he was then? Was not the explanation of life revealed to him before death? thought Pierre. He remembered Karataev, his death, and involuntarily began to compare these two people, so different and at the same time so similar in love, which he had for both, and because both lived and both died.
In the most serious mood, Pierre drove up to the house of the old prince. This house survived. Traces of destruction were visible in it, but the character of the house was the same. The old waiter who met Pierre with a stern face, as if wanting to make the guest feel that the absence of the prince did not violate the order of the house, said that the princess was deigned to go to her rooms and was received on Sundays.
- Report; maybe they will," said Pierre.
- I'm listening, - answered the waiter, - please go to the portrait room.
A few minutes later, a waiter and Dessalles came out to Pierre. Dessalles, on behalf of the princess, told Pierre that she was very glad to see him and asked, if he would excuse her for her impudence, to go upstairs to her rooms.
In a low room, lit by a single candle, sat the princess and someone else with her, in a black dress. Pierre remembered that the princess always had companions. Who and what they are, these companions, Pierre did not know and did not remember. “This is one of the companions,” he thought, glancing at the lady in the black dress.
The princess quickly stood up to meet him and held out her hand.
“Yes,” she said, peering into his changed face after he kissed her hand, “this is how we meet. They Lately I often talked about you,” she said, turning her eyes from Pierre to her companion with a shyness that struck Pierre for a moment.

Literary elegy, according to the "New encyclopedic dictionary”, - “genre of lyric poetry; in early ancient poetry - a poem written in elegiac distich, regardless of content, later (Callimach, Ovid) - a poem of sad content. In modern European poetry, it retains stable features: intimacy, motives of disappointment, unhappy love, loneliness, the frailty of earthly existence, a certain rhetoric in depicting emotions; classical genre of sentimentalism and romanticism.

The term "elegy" originally meant specific form verse. In this form, works of various subjects were created. Archilochus, for example, wrote denunciatory, but at the same time sad works, Solon - elegies with philosophical content, Callinus and Tirteus - elegies about the war, Mimnermus analyzed political topics with the help of an elegy. The genre of elegy originally denoted funeral mourning songs, accompanied by the loud sobs of mourners and the mournful sounds of the aulos (wind instrument, the prototype of the oboe). Then, when such rites became obsolete, the musical and text works of sad tonality began to be called that. Their content was made up of complaints about unrequited love, the loss of a friend, the longing of loneliness. Thus, a special lyrical genre, the elegy, gradually formed. This made it possible to classify its varieties and subspecies, to determine the characteristic features.

As you can see, a strict separation of music from text is not yet observed at the initial use of the term. It will arise a little later, when aesthetics - the science of beauty - will reveal the genus-species characteristics different areas art. It was then that it became generally accepted that elegy is a lyrical genre of a literary work. In ancient poetry, this was the name given to poems consisting of several stanzas. Each included 2 lines, not united by rhyme (blank verse). The first was written in hexameter, the second in pentameter. A similar method of design was entrenched in ancient poetic practice for a long time. Moreover, the distich was called nothing but elegiac. It was he who developed the tradition of expressing philosophical reflections, expressing everyday complaints. Thus, in the era of antiquity, it was believed that an elegy is a lyrical work, rooted in the epic and reflecting certain moods of the author.

Among the ancient Romans, this term acquires a slightly different interpretation. Their elegy has a free form, therefore it acquires a certain content - the number of works about love is growing. Famous Romans in this genre were Catullus, Tibull, Ovid.

The genre experienced a new rise already in the poetry of the late Renaissance and in subsequent centuries. And its heyday is associated with such trends in art as sentimentalism and romanticism. Increased emotionality, mental aggravation, some pessimism, melancholic thoughtfulness make up the meaning of the word "elegy". In Russian literature, Baratynsky, Zhukovsky, Batyushkov stand at its origins. The poem "Rural Cemetery" is a reflection on the frailty of the earthly human being, about the darkness of oblivion, written by V. A. Zhukovsky (a free translation of the poetic lines of T. Gray) marked a fascination with sentimentalism in Russian belles-lettres. And then general public another elegy was presented, which also became a classic model - "The Sea".

Later, Pushkin, Lermontov, Nekrasov, Tyutchev and Fet enriched world poetry with their deep, heartfelt lyrical poems (“Crazy years of extinct fun”, “October 19”, “I look sadly at our generation”, “What sadness! The end of the alley ...”) . it becomes clear how wide the possibilities of the genre are, what philosophical depth and dramatic intensity it acquired over time. The dynamic 20th century somewhat pressed the elegiac sophistication and unhurried regularity, but gradually they are returning to literature.

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State educational institution higher professional education

Peoples' Friendship University of Russia

Faculty of Philology

Elegy. The history of the genre, the lyrical content of the Russian elegy, the features of the composition and figurative-style system

Performed:

Angelica Korsagiya

Moscow 2015

elegy literary poem

1. Elegy. Definition

2. History of the genre

4. Features of the elegy of V.K. Tredianovsky, A.P. Sumarokova, G.R. Derzhavin

Conclusion

Literature

1. Elegy. Definition

Elegy - (Greek elegeia, from elegos - plaintive song) literary and musical genre; in poetry - a poem of medium length, meditative or emotional content (usually sad), most often in the first person, without a distinct composition. E. arose in Greece in the 7th century. BC e. (Kallin, Mim-nerm, Tyrtaeus, Theognidus), originally had a predominantly moral and political content; then, in Hellenistic and Roman poetry (Tibull, Propertius, Ovid), love themes become predominant.

Elegy - female mournful, sad, depressing poem. In the first quarter of this century there were many elegiac writers.

2. History of the genre

Elegy is the oldest and one of the most widespread genres of world lyric poetry. All authors of various encyclopedic articles consider the term "elegy", based on the Greek origin of this word: ʻelegeYab - "mournful song", also "the word Eleg meant among the Greeks a sad song to the accompaniment of a flute".

We have reviewed several encyclopedic articles on the concept of elegy. When comparing them, it is noted that an integral feature of the elegy is its sad (sad) character.

M.L. Gasparov gives the most complete definition of this term, describing the volume, content, subject organization and composition of the text of the elegy: "a lyrical genre, a poem of medium length, meditative or emotional content (usually sad), most often in the first person, without a distinct composition." In the dictionary entry "Elegy" of his "Poetic Dictionary" A.P. Kwiatkowski pays attention to the ancient origin of the elegy and more fully describes the options for the emotional content of the elegy: “the lyrical genre of ancient poetry, a poem imbued with a mixed feeling of joy and sadness, or only sadness, reflection, reflection, with a touch of poetic intimacy.

I.R. Eiges brings the most short definition elegy: "a poem with the character of thoughtful sadness." Further in his article, a detailed description of this genre is given from the point of view of its historical development, the names of famous elegiac poets are given different countries and centuries, as well as examples of common elegiac motifs. A similar structure is observed in the dictionary entry of L.G. Frizman: a brief definition of elegy is given, which does not characterize its features in any way, - “the genre of lyrical poetry” - and then follows a description of the history of the existence of the elegy genre in literature from ancient to modern times and the main motives corresponding to them.

The elegy originated in ancient Greece in the 7th century. BC e. - Kallin is considered its ancestor. Having the general character of lyrical reflection, the elegy of the ancient Greeks was very diverse in content.

Warlike elegy (Callinus, Tyrtaeus),

Accusatory elegy (Archilochus, Simonides),

Sad elegy (Archilochus, Simonides),

Political elegy (Mimnerm, Kallin),

Philosophical elegy (Solon, Theognides).

Among the Romans, the elegy became more definite in character, but also freer in form:

Autobiographical (Ovid),

Love, erotic (Ovid, Tibull, Propertius),

Political (Propertius),

Sorrowful (Ovid).

Interest in creating elegies as imitations of ancient samples arises in the Renaissance. In the era of pre-romanticism and romanticism, this genre flourishes:

Love elegies (Chenier),

Restoration of ancient elegies (Goethe),

Sad elegies (Gray, Jung).

The idea of ​​the genre has changed a lot over almost two thousand years: over time, the elegy genre has lost its rigor of form. In particular, the elegy in Russian poetry does not have any formal features. The genre of elegy can be attributed to almost every poem of a philosophical and meditative nature, which reflects the feelings and moods of melancholy, sadness, despair, disbelief, thoughts about the past, memories, regrets. The first experience of the elegiac genre on Russian soil was the cycle of elegies by V.K. Trediakovsky, attached by the author to the treatise "New and short way to the composition of Russian poetry" (1735): he created a version of a new elegy, based on the heritage of ancient poets.

As a genre, elegy developed at the end of the 18th and, especially at the beginning of the 19th centuries. Outstanding Russian elegiac poets are V.A. Zhukovsky, E.A. Boratynsky, A.S. Pushkin. Also, elegies were created by M.Yu. Lermontov, K.N. Batyushkov, N.M. Yazykov, N.A. Nekrasov, A.A. Fet, V.Ya. Bryusov, A.A. Block, I.F. Annensky, S.A. Yesenin and many other poets of the 19th and 20th centuries.

3. Lyrical content of the Russian elegy

For classical Russian elegies traditionally entrenched poetic size predominantly iambic with varying number of stops. Note that V.A. Pronin in his study guide on the theory of literary genres gave some general scheme for a stereotypical elegy, presenting a train of thought lyrical hero elegy: “I am alone in this world, but love helps me overcome the loneliness of my existence, but love turned out to be illusory, I am even more alone in this evening autumn moment of eternity, to which my life belongs” 6 . Thus, based on the established tradition, love content is assigned to the elegy: moreover, love becomes just another reason for discord with the world.

Also, the following established stable features of the elegy are traditionally distinguished:

intimacy,

motif of the frailty of earthly existence,

motive of unhappy love,

motive of loneliness

disappointment motive.

1) The genre of elegy in the work of V.A. Zhukovsky: main motives.

The birth of the genre of Russian elegy is usually dated to 1802 and is associated with the work of Zhukovsky, namely, with the fact that his translation of Gray's elegy "Rural Cemetery" (1802) was the first step towards the beginning of a new Russian poetry, which finally went beyond the limits of rhetoric and turned to sincerity , intimacy and depth. In the general spirit and form of Gray's elegy, that is, in the form of large poems filled with mournful reflection, other poems by Zhukovsky were written, which he himself called elegies: for example, "Evening" (1806), "Slavyanka" (1816), "Sea" ( 1822). The main elegiac motifs in Zhukovsky's work are:

motive of melancholy reflections,

motive of contemplation of nature,

motive of solitude, immersion in the inner world,

motive of passing youth,

motives of injustice, vanity, vanity and sunset of life,

dreamer image.

3) The genre of elegy in the work of A.S. Pushkin: main motives.

Pushkin began to write lyrical works in the genre of elegy from about 1815, when he was still studying at the Lyceum. Since 1816, the elegy has become a productive genre in his work (almost all elegies date from this year: “Window”, “Elegy” (“Happy is he who is in passion for himself”), “Month”, “To Morpheus”, “Word dear” , "Friends", "Pleasure"). In the early twenties, Pushkin's elegies appeared one after another, each of which is a masterpiece of the genre - these are: “The daylight went out” (1820), “The flying ridge of clouds is thinning ...” (1820), “I outlived my desires. ..” (1821), “Will you forgive me jealous dreams ...” (1823), “To the sea” (1824), “Andrei Chenier” (1825), “Desire for fame” (1825) and a number of others. In the elegies of 1928 and subsequent years (“When a noisy day falls silent for a mortal ...”, “A gift in vain, an accidental gift”, “Do I wander along the noisy streets”) there is a premonition of my own not so distant death.

Pushkin's innovation in the genre of elegy touched both the content (for example, the individualization of the theme and the concretization of the lyrical self) and the form (the choice of poetic meter).

The main motives of Pushkin's elegiac lyrics:

memories motif,

the motive of life as a gift sent down from above,

motive of exile, flight,

motive of unrequited love,

the motive of conquering fate,

motif of a prematurely withered soul,

motif of approaching death,

motive of disappointment in friendship,

motive of disappointment in love,

tears motif,

motif of the futility of impulses for freedom,

motif of fading youth,

sadness motive.

4. Features of the elegy by V.K. Tredianovsky, A.P. Sumarokova, G.R. Derzhavin

The first experiments of the Russian elegy appeared with V.K. Trediakovsky, fitting in quite organically with his experiments in creating Russian love lyrics. He also owns the first classification of the new genre: “There is one, which describes especially deplorable things and love complaints. The elegy is divided into trenic and erotic. Trenic describes sadness and unhappiness; and in Erotic love and all its consequences.

Later this idea will be developed by N.F. Ostolopov in his Dictionary of Ancient and New Poetry. While the 'erotic' elegy deals only with love, he writes, 'the training elegy is distinguished by a wide variety of motifs: it describes sadness, illness, and every unfortunate adventure'. If we "impose" this classification on Trediakovsky's poetry, it becomes obvious that he developed almost exclusively the second type - "erotic":

Who will lend a helping hand to the poor? Who u can ease, ah! heartache?

The soft-hearted son of the goddess is angry with me,

It becomes the most cruel of times to me:

Incurably hitting my heart with an arrow,

Unceasing love torments, ah! misfortune.

A heart equal to no one had passion,

No one fell into equal misfortunes:

Without hope, whose fierce heat would suffer?

Oh! my innocent fell into that ferocity.

A cruel disease eats up every now and then,

Incomparable sadness, like a fierce beast, torments ...

The elegy is experiencing a rebirth in the work of A.P. Sumarokov. And although it develops mainly in the same "erotic" direction, there is a significant enrichment of the system of lyrical motifs and a deepening, the development of the lyrical "I" itself:

My chest is pierced, and my whole mind is wasted.

O fierce clock! Cruel time of torment!

I am tormented by everything that I take into thought.

Will I endure the blow of the next separation,

When death is evil... And I, and then I will die.

I will fight with the same fate,

In unbearable pity, suffering and groaning.

I will die, my dear, I will die with you,

When you hide forever from me.

"You suffer in sickness..."

One of the most interesting types of elegy introduced by Sumarokov into Russian poetry was the "elegy of creativity" so brilliantly developed in the future by other Russian poets. It contains deeply personal thoughts of the poet about himself and his work, about his destiny:

Suffer, wretched spirit! Torment my chest!

I am unhappier than all the people in the world!

I did not flatter myself to find magnificent happiness

And from birth he did not fuss about him;

With peace of mind he caressed himself alone:

Not gold, not silver, but I was looking for some muses.

Without escort, I made my way to the muses

And through the dense forest to Parnassus broke through.

I overcame labor, I saw Helikon;

Like paradise, he imagined it to my eyes.

Eden I called him a bright garden,

And today I call you, Parnassus, I am a gloomy hell;

You are the flour of the furies to me, you are not a game for me.

Oh poor, nasty mountain,

Support of my merciless part,

Source and fault of all my misfortune,

A deplorable sight to my eyes and my heart,

He who caused countless sorrows to him!

That day was unhappy, the most unfortunate minute,

When, according to the severity and anger of fate, it is fierce,

Flattered by joy and glory to himself,

For the first time I touched you with my foot.

The nature of the post-Sumarok elegy gradually begins to change: it includes reflections and even teachings, pushing the actual lyrical beginning into the background. To this new, "philosophical and moralistic" elegy belong the elegies of M.M. Kheraskov.

If we turn to the classification of Trediakovsky-Ostolopov, then, apparently, we can talk about the gradual evolution of the Russian elegy from the “erotic” to the “training” type:

Mortal in life represents

Mirror of longing and troubles;

As soon as he is born, he cries,

Because sorrow foretells.

Tears of youth all the time

For no reason, the lad pours:

There is a teacher in vain.

The poor baby is beaten.

Fervent youth plunges

In forest troubles,

He chooses lovers

And he doesn't think.

How grown - another superfluity

A short century part will take:

Honor, wealth, fame, pomp

The spirit shakes and stirs.

Everyone despises the old man;

Having lost the fortress of life,

He suffers and suffers

Decrepit, pensive and not healthy.

We take thought to thought,

Looking for my own happiness

Finally we all die

Here we are born for chevo.

MM. Kheraskov "Stans Mr. Rousseau"

In the last quarter of the 18th century, the Russian elegy reaches new horizons - and this is connected, first of all, with the name of G.R. Derzhavin. Remaining committed to the genre of philosophical ode, Derzhavin writes elegies in the same spirit. Moreover, some of his works can almost equally be attributed to both the genre of ode and the genre of elegy. First of all, this refers to the famous ode “On the death of Prince A.I. Meshchersky”, which the researchers have already paid attention to. It is connected with the philosophical ode by the very problematic of the work, which goes to the level of universal and even cosmic abstractions and generalizations:

As the sea flows, the waters are fast,

So days and years pour into eternity;

Swallows the kingdom greedy death.

An elegiac sound is given to it by the author's direct mournful and pathetic appeal to the deceased addressee and a lyrical sketch at the end:

Like a dream, like a sweet dream

My youth is gone too;

Beauty is not very undead,

Not so much delights joy

Not so much a frivolous mind,

I'm not so lucky...

If we consider the fusion of these two principles, philosophical and lyrical, then, apparently, the most justified and justified would be the definition of this ode as a “philosophical elegy”: the lyrical line, of course, cannot be considered insignificant and secondary, but nevertheless it is precisely the philosophical principle that comes to the fore Moreover, through its prism, the beginning of the lyrical is perceived.

Conclusion

Thus we can see the evolution of the elegy as literary genre, which changed not only with the era, but also with brilliant writers.

Literature

1. Great Soviet encyclopedia.

2. Dictionary Dahl.

3. Literary encyclopedia: Dictionary of literary terms: In 2 vols. M.; L.: Publishing house L.D. Frenkel.

4. Literary encyclopedia of terms and concepts / Ed. A.N. Nikolyukin.

5. Literary encyclopedia: Dictionary of literary terms:

6. Trediakovsky V.K. A way to compose Russian poetry (1752).

7. Ostolopov N.F. Dictionary of ancient and new poetry.

8. Moskvicheva G.V. Genre and compositional features of the Russian elegy of the XVIII-first decades of the XIX century // Questions of plot and composition.

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