home Tools What is a poem? Definition and concept. Poem as a poetic genre. The history of the development of the poem, its features. Poems from different eras What is the poem about?

What is a poem? Definition and concept. Poem as a poetic genre. The history of the development of the poem, its features. Poems from different eras What is the poem about?

POEM (Greek poiema, from Greek poieo - I create), a large form of a poetic work in the epic, lyric or lyric-epic genre. Poems from different eras and from 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 an individual person. Unlike poems, in a poem directly (in the heroic and satirical types) or indirectly
(in the lyrical type) social ideals are proclaimed or evaluated; they are almost always plot-based, 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 original “encyclopedias”, when accessing which one can learn about gods, rulers and heroes, get acquainted with the initial stage of the history of the nation, as well as its mythological prehistory, and comprehend the way of philosophizing characteristic of a given people. These are the early examples of epic poems in many national literatures: in India - the folk epics "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 transform a lyric-epic poem into a purely lyrical poem. Already in A. A. Blok’s poem “The Twelve,” both lyrical-epic and lyrical motifs clearly appear. The early poems of V. V. Mayakovsky (“Cloud in Pants”) also hide the epic plot behind the alternation of different types of lyrical statements. This tendency will manifest itself especially clearly later, in A. A. Akhmatova’s poem “Requiem”.

VARIETIES OF POEM GENRE

EPIC POEM is one of the oldest types of epic works. Since antiquity, this type of poem has focused on the depiction of heroic events, taken, most often, from the distant past. These events were usually significant, epoch-making, influencing the course of national and general history. Examples of the genre include: “The Iliad” and “Odyssey” by Homer, “The Song of Roland”, “The Song of the Nibelungs”, “The Furious Roland” by Ariosto, “Jerusalem Liberated” by Tasso, etc. The epic genre has almost always been a heroic genre. For his sublimity and citizenship, many writers and poets recognized him as the crown of poetry.
The main character in an epic poem is always a historical figure. As a rule, he is an example of decency, an example of a person with high moral qualities.
According to unwritten rules, the events in which the hero of the epic poem is involved must have national, universal significance. But the artistic depiction of events and characters in an epic poem should only in the most general form be correlated with historical facts and persons.
Classicism, which dominated fiction for many centuries, did not set as its task the reflection of the true history and characters of real, historical persons. Turning 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 new life.
Russian classicism has always adhered to this view of the features of the heroic poem, although it has somewhat transformed it. In Russian literature of the 18th and 19th centuries, two views emerged on the question of the relationship between the historical and the artistic in a poem. Their exponents were the authors of the first epic poems Trediakovsky (“Tilemakhida”) and Lomonosov (“Peter the Great”). These poems confronted Russian poets with the need to choose one of two paths when 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 sought 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 “fabulous or ironic times” in the poem, focusing on Homer’s epics, which, according to Trediakovsky, were not and could not be created in hot pursuit of events.
Russian poets of the 19th century followed the path of Lomonosov, not Trediakovsky. (“Dimitriada” by Sumarokov and “Liberated Moscow” by Maykov, as well as Kheraskov’s poems “Chesma 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 poem is mainly pictures of nature.
The descriptive poem has a rich tradition in Western European literature of all eras and becomes one of the leading genres of sentimentalism. It made it possible to capture a variety of feelings and experiences, the ability of the individual to respond to the smallest changes in nature, which has always been an indicator of the spiritual value of the individual.
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 sketches (“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 identifying 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. What comes to the fore is “the feeling evoked by the landscape, not nature itself, but the reaction of a person capable of perceiving it in his own way.” The ability to capture the subtlest reactions of the individual to the outside world attracted sentimentalists to the genre of descriptive poem.
Descriptive poems that survived until the beginning of the 19th century were the predecessors of the “romantic” poems of Byron, Pushkin, Lermontov and other great poets.

A DIDACTIC POEM is adjacent to descriptive poems and most often is a treatise poem (for example, “The Poetic Art” of Boileau, 17th century).
Already in the early stages 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 initially dactylic hexameter, later elegiac distich. Due to the 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; such philosophers as Xenophanes, Parmenides, Empedocles presented their teachings in poetic form. In the 5th century, not poetry, but prose took a leading place in didactic literature. A new rise in didactic poetry began during the Hellenistic period, when it seemed tempting to use the artistic 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 rather by his desire to tell in as much detail as possible about little-studied problems: Arat (the didactic poem “Phenomena”, containing information about astronomy), Nikandr
(2 small didactic poems about remedies against poisons). Examples of didactic poetry are poems about the structure of the earth by Dionysius Periegetes, on fishing by Oppian, and on 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 (Ennius, Cicero) appeared. The largest original works are the philosophical poem “On the Nature of Things” by Lucretius Cara, which is a presentation of the materialistic teachings of Epicurus, and Virgil’s epic poem “Georgics”, in which he, taking into account the disastrous state of Italian agriculture due to the civil war, poeticizes the peasant way of life and praises farmer's labor. Based on the model of Hellenistic poetry, Ovid’s poem “Fasti” was written - a poetic story about ancient rituals 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 Christian doctrine: Commodianus (“Instructions to Pagans and Christians”). The genre of didactic poetry existed until modern times. In Byzantium, for better memorization, many textbooks were written in poetic form.
(Dictionary of Antiquity)

ROMANTIC POEM

Romantic writers in their works poeticized such states of the soul as love and friendship, the melancholy 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 man, finding corresponding art forms.
The sphere of romanticism is “the entire inner, soulful life of a person, that mysterious soil of the soul and heart, from where all vague aspirations for the best and sublime rise, trying to find satisfaction in the ideals created by fantasy,” wrote Belinsky.
Authors, carried away by the emerging trend, 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 narrative, in the mystery of images that intrigued readers.
Russian romanticism was influenced by various movements 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 amazed his contemporaries with its novelty and unusualness (poems “Svetlana”, “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 quests. 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 intensified 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 the famous prologue “By the Lukomorye there is a green oak tree”, written in 1828, giving a poetic summary of Russian fairy tale motifs. “Ruslan and Lyudmila” is a new step in the development of the poem genre, notable for its new, romantic depiction of a person.
Traveling to the Caucasus and Crimea left a deep mark on Pushkin’s work. At this time, he became acquainted with the poetry of Byron and the “eastern stories” of the famous Englishman served as a model for Pushkin’s “southern poems” (“Prisoner of the Caucasus”, “The Robber Brothers”, “The Bakhchisarai Fountain”, “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, and 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 original poets of Pushkin’s time find their genre moves: I. I. Kozlov (“Chernets”, 1824) chooses a lyrical-confessional version with a symbolic sound, K. F. Ryleev (“Voinarovsky”, 1824) politicizes the Byronic canon, etc.
Against this background, Lermontov’s late poems “The Demon” and “Mtsyri” look miraculously, which are rich in Caucasian folklore, and which can be put on a par with “The Bronze Horseman”. But Lermontov began with simple-minded imitations of Byron and Pushkin. His “Song about Tsar Ivan Vasilyevich...” (1838) closes the Byronic plot into the forms of Russian folklore (epic, historical song, lamentations, skomoroshina).
One can also include Konstantin Nikolaevich Batyushkov (1787 – 1855) as a Russian romantic poet. His main work is considered to be the romantic poem “The Dying Tass”. This poem can be called an elegy, but the topic 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”.

A ballad is one of the types of 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 gained particular popularity thanks to V. A. Zhukovsky. “The Balladeer” (according to Batyushkov’s playful nickname) made the best ballads of Goethe, Schiller, Walter Scott and other authors available to the Russian reader. The “ballad” tradition did not die out throughout the 19th century. Ballads were written by Pushkin ("Song of the Prophetic Oleg", "The Drowned Man", "Demons"), Lermontov ("Airship", "Mermaid"), A. Tolstoy.
After realism became the main trend in Russian literature, the ballad as a poetic form fell into decline. This genre continued to be used only by fans of “pure art” (A. Tolstoy) and symbolists (Bryusov). In modern Russian literature, one can note the revival of the ballad genre by updating its themes (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

A 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.
A. Pope's philosophical poems “Essays on Morals” and “Essay on Man” were very popular in the 18th century.
In the 19th century, philosophical poems were written by the Austrian romantic poet Nikolaus Lenau and the French philosopher and political economist Pierre Leroux. The philosophical poem “Queen Mab” (1813), the first significant poetic work of P.B., received well-deserved fame. Shelley. Philosophical poems also include poems written by Erasmus Darwin (1731-1802), the 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 persons. The historical specificity of the content is an important basis for distinguishing 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 founder 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’s “Poltava”, B. I. Bessonov’s poem “Khazars”, T. G. Shevchenko’s poem “Gamalia”.
Among the poets of the Soviet period working in the genre of historical poems, we 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 Russia.

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

Structure and plot construction of a work of art

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

1. PROLOGUE
The beginning is more than half of everything.
Aristotle
Prologue is the introductory (initial) part of a literary-artistic, literary-critical, journalistic work, which anticipates the general meaning or main motives of the work. The prologue can briefly summarize the events that precede the main content.
In narrative genres (novel, story, poem, short story, etc.), the prologue is always a kind of background to the plot, 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 the events that prepare the main action.

A prolog 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 for a leisurely, sequential narrative with a detailed presentation of exposition.
In this case, a maximum time gap is allowed between the prologue and the main narrative, a gap that functions as a pause, and the exposition becomes minimal and serves only those events that give impetus to the action, and not the entire work.

You need to remember that:

The prologue should not be the first episode of the story, forcibly cut off from it.
- the events of the prologue should not duplicate the events of the initial episode. These events should generate intrigue precisely in combination with it.
- a mistake is to create an intriguing prologue that is not connected with the beginning either by time, place, characters, or idea. The connection between the prologue and the beginning of the story may be obvious, it may be hidden, but it must be there.

2. EXPOSITION

Exposition is a depiction of the arrangement of characters and circumstances before the main action that is to take place in a poem or other epic work. Accuracy in defining characters and circumstances is the main advantage of exposition.

Exposure functions:

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

Exposition volume

According to the classical scheme, about 20% of the total volume of the work is allocated to exposition and plotting. But in fact, the volume of the exhibition 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 drawn 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 begin with a dynamic and exciting scene involving the main character.

Types of exposure

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

In the case of direct exposition, the reader is introduced to the course of the matter, as they say, head-on and with complete frankness.

A striking example of direct exposition is the monologue of the main character with which the work begins.

Indirect exposure is formed gradually, consisting of a multitude of accumulating information. The viewer receives them in a veiled form; they are given as if by accident, unintentionally.

One of the tasks of the exposition is to prepare the appearance of the main character (or characters).
In the vast 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 appearance of the main character, the tension of the narrative intensifies, it becomes more intense and rapid. The possibilities for any detailed explanation, if not disappearing, are at least sharply decreasing. This is what forces the author to delay introducing the main character. The hero must immediately attract the reader's attention. 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 get to know him better.
Thus, the exposition outlines the main character, 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 conflicting possibilities inherent and noticeably developed in the exhibition.

3. TIE

Who buttoned the first button incorrectly
It won't fasten properly anymore.
Goethe.
The plot is an image of the emerging contradictions that begin the development of events in the work. This is the moment from which the plot begins to move. In other words, the plot is an important event where the hero is given a certain task that he must or is forced to complete. What kind of event this will be depends on the genre of the work. This could 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 beginning, the author presents the key idea and begins to develop intrigue.
Most often, the premise is banal. It is very, very difficult to come up with something original - all the stories have already been invented before us. Each genre has its own cliches and hackneyed techniques. The author's task is to make an original intrigue out of a standard situation.
There can be several plots - as many as the author has set up plot lines. These ties can be scattered throughout the text, but they all must have development, not hang in the air and end with a denouement.

4. First paragraph (first verse)

You should grab the reader by the throat in the first paragraph,
in the second - squeeze harder and hold it against the wall
until the last line.

Paul O'Neill. American writer.

5. Plot development

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 traits of human characters are revealed, and the history of the formation and growth of the characters is conveyed.
Usually in the middle of the work are placed the events that occur in the work of art from the beginning to the climax. Exactly what the author wants to say with his poem, story, story. Here the storylines develop, the conflict gradually increases, 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.

Techniques for increasing tension:

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

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

Along with the main storyline, almost every work also contains secondary lines, the so-called “subplots”. In novels there are more of them, but in a poem or short story there may not be any subplots. Subplots are used to more fully develop the theme and character of the main character.

The construction of subplots also obeys certain laws, namely:

Every subplot should have a beginning, middle and end.

Subplot lines should be fused with plot lines. The subplot should move the main plot forward, and if this does not happen, 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 peak, highest point. In any work, the climax is the episode in which the highest tension is achieved, that is, the most emotionally affecting moment, to which the logic of constructing a story, poem, or novel leads. There may be several climaxes throughout a large composition. Then one of them is the main one (it is sometimes called central or general), and the rest are “local”.

7. Denouement. The final. Epilogue

The denouement resolves the depicted conflict or leads to an understanding of certain possibilities for its resolution. This is that point at the end of the sentence, that 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 writing it. There is no need to unnecessarily delay the ending, but it is also not a good idea to rush it. If some questions in the work are left unanswered, the reader will feel deceived. On the other hand, if there are too many minor details in the work, and it is too drawn out, then, most likely, the reader will soon get bored with following the author's rantings, 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 ending may be “open”: yes, the hero learned an important lesson, went through a difficult life situation, changed some things, but this is not the end, life goes on, and it is not clear how it will all end in the end.
It's good if the reader has something to think about after he reads the last sentence.
The ending must have a meaningful meaning. The villains must get what they deserve, the sufferers must receive retribution. Those who have erred must pay for their mistakes and see the light, or continue to be ignorant. 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, in such cases, a moral is usually deduced, 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 hero’s life. For example, the story should end with a wedding, recovery, and the 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 reconsidered their views on love and friendship, on the world around them.
The author resorts to an epilogue when he believes that the denouement of the work has not yet fully explained the direction of further development of the people depicted and their destinies. In the epilogue, the author strives to make the author’s judgment on what is depicted especially tangible.

Literature:

1. Veselovsky A.N. Historical poetics, L., 1940;
2. Sokolov A.N., Essays on the history of Russian poetry, M., 1956
3. G. L. Abramovich. Introduction to literary criticism.
4. Prose page materials. RU. Copyright Competition - K2
5. Prosims forum (“Modest”).

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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

(by), poems, w. (Greek poiema - creation).

Narrative work of art in verse (lit.). An epic poem (depicting some major events in the life of humanity, a people or a large social group). Lyric poem (alternating the narrative with lyrical digressions). Meanwhile, I lost myself in reading excerpts from northern poems. Pushkin.

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

trans. About something. extraordinary, striking with its beauty, grandeur, merits (colloquial, humorous, outdated). The view of the Caucasus Range at sunrise is a whole poem!

The name of certain musical works (music). "Poem of Ecstasy" by Scriabin. Symphonic poems by 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. Homer's epic poems, etc. Pushkin "Gypsies".

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

adj. poetic, -aya, -oe (to 1 meaning).

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

poem

A musical work for an orchestra (or orchestra and choir) or a separate instrument, having a poetic and figurative content.

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

Encyclopedic Dictionary, 1998

poem

POEM (Greek poiema)

a poetic genre of large volume, mainly lyric epic. In ancient times and the Middle Ages, a monumental heroic epic (epic) - “Iliad”, “Odyssey”, “Song of Roland” - is called a poem, which genetically indicates the epic nature of the poem genre and explains a number of its “hereditary” features (historicity and heroic content, legendary, pathetic). Since the time of romanticism, a specifically “poem” event is the very collision of the lyrical and epic principles as the fate and position of the individual with impersonal (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 inspired commentator of the event (V.V. Mayakovsky, A.T. Tvardovsky). In the 20th century a plotless lyrical poem is also approved ("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 poetic work with a narrative or lyrical plot. P. is also called ancient and medieval epic (see also Epic), nameless and authored, which was composed either through the cyclization of lyric-epic songs and tales (the point of view of A. N. Veselovsky), or through “swelling” (A. Heusler) one or more folk legends, or with the help of complex modifications of 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 (Iliad, Mahabharata, Song of Roland, etc.). There are many genre varieties of theater known: heroic, didactic, satirical, burlesque, including heroic-comic, poetry with a romantic plot, and lyric-dramatic. For a long time, the leading branch of the genre was considered to be literature on a national historical or world-historical (religious) theme (“The Aeneid” by Virgil, “The Divine Comedy” by Dante, “The Lusiads” by L. di Camoens, “Jerusalem Liberated” by T. Tasso, “Lost” paradise" by J. Milton, "Henriad" by Voltaire, "Messiad" by F. G. Klopstock, "Rossiyad" by M. N. Kheraskov, etc.). At the same time, a very influential branch in the history of the genre was literature with romantic plot features (“The Knight in the Leopard’s Skin” by Shota Rustaveli, “Shahname” by Ferdowsi, to a certain extent “Roland the Furious” by L. Ariosto), connected to one degree or another with tradition medieval, mainly knightly, novel. Gradually, personal, moral and philosophical issues come to the fore in P., lyrical and dramatic elements are strengthened, and a folklore tradition is discovered and mastered - features already characteristic of pre-romantic P. (Faust by J. W. Goethe, poems by J. Macpherson, V. Scott). The heyday of the genre occurs in the era of romanticism, when the greatest poets of various countries turned to the creation of P.

The “peak” works 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, “Dziady” by A. Mickiewicz, “The Demon” by M. Yu. Lermontov, “Germany, a winter's 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 (“Frost the Red Nose”, “Who Lives Well in Rus'”), genre tendencies characteristic of the development of poetry in realistic literature (synthesis of moral descriptive 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 within (“Cloud in Pants” by V. V. Mayakovsky, “The Twelve” by A. A. Blok, “First Date” by A. Bely).

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

P., as a synthetic, lyric-epic, and monumental genre that allows one to combine the epic of the heart and “music,” the “element” of world upheavals, intimate feelings, and historical concepts, remains a productive genre of world poetry: “Breaking the Wall” and “Into the Storm” by R. Frost, “Landmarks” by Saint-John Perse, “The Hollow Men” by T. Eliot, “The Universal Song” by P. Neruda, “Niobe” by K. I. Galczynski, “Continuous Poetry” by P. Eluard, “Zoe” by Nazim Hikmet.

Lit.: Hegel, Aesthetics, vol. 3, M., 1971: Veselovsky A. N., Historical poetics, Leningrad, 1940; Zhirmunsky V.M., Byron and Pushkin, L., 1924; Golenishchev-Kutuzov I. N., Dante’s creativity and world culture, M., 1971; Sokolov A.N., Essays on the history of Russian poems of the 18th and 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 poetic work with a narrative or lyrical plot.
The poem is an instrumental piece of lyrical-dramatic nature.

Poem

Poem- literary genre.

A large or medium-sized multi-part poetic work of a lyric-epic nature, belonging to a specific 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. Thus, Homer’s “Iliad” is an epic work, and Akhmatova’s “Poem without a Hero” is exclusively lyrical. There is also no minimum volume (for example, Pushkin’s poem “The Robber Brothers” is 5 pages long).

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

It is also customary to call large one-movement orchestral program works a poem. The poem in this definition has been used by some composers to replace the symphonic poem. An example of such a work is the poems of Richard Strauss. In the 20th century, some vocal works began to be called a poem, for example, “10 Poems for Choir” (1951) by Dmitry Shostakovich, “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 stuff poem into the 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 Aquitaine, by his own admission, cannot even write two lines, let alone epic ones. poems.

This akyn gave oak in his yurt with too much drink, that is, he died, died, but while the bitter news reached Moscow, my acquaintance translator for another five years wrote more and more new legends for the deceased and poems, and the newspapers praised the akyn, not knowing that the shaitan had taken him away.

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

Alcuin also talks about his time, then the last part poems from a historical perspective, it is especially valuable: from here we learn a lot of interesting things about Alcuin’s teachers, 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, which is why the allusion that determines the meaning disappears poems.

Numerous allusions show that the author of this additional epilogue poem describes the Rutland castle of Belvoir and is sad about the absence of its owner, Elizabeth Sidney-Rutland, who wrote earlier addresses to the queen and the noble ladies - her friends, and herself poem about the passion of Christ, which gave the book its title.

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

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

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

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

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

A poem (Greek, poiema - creation) is a large multi-part poetic work with a plot-narrative organization, a lyric-epic genre. The main genre properties of the poem: breadth of narration, the presence of a detailed plot and deep development of the image of the lyrical hero.

The origins of this genre are in ancient and medieval epics. Characteristic properties of ancient epic poems: breadth of coverage of reality, the focus of the author's attention on the most important socio-historical event, orientation towards the people's worldview, the presence of a large number of characters, the depiction of bright, versatile characters, the presence of a unity of action connecting all compositional elements, slowness of narration and a multifaceted display of life, motivation of ongoing events by objective reasons and circumstances (regardless of the will of the character), the author’s self-detachment, high style, smoothness and solemnity of the narrative.

During the Middle Ages, religious poems appeared. The most famous monument of this period is Dante's Divine Comedy. The starting point in the poems of this period are the postulates of Christian morality. The characteristic features of Dante's poem are didacticism and allegorical character.

In addition to religious ones, chivalric poems are also created (“The Furious Roland” by Ariosto). Their theme is knightly and love adventures. In the XVII-XVIII centuries. heroic poems appear (“Paradise Lost”, “Paradise Regained” by Milton, “Henriad” by Voltaire).

The heyday of the genre is associated with the era of romanticism (“Childe Harold’s Pilgrimage” by J. Byron, southern poems by A.S. Pushkin, “The Demon” by M.Yu. Lermontov). Characteristic properties of a romantic poem: in the center of the image is an individual person, with his moral principles and philosophical views on the world, the author’s assertion of personal freedom, the theme is the events of private life (love), the increasing role of the lyrical-dramatic element.

The realistic poem already combines morally descriptive and heroic moments (N.A. Nekrasov “Frost, Red Nose”, “Who Lives Well in Russia”). Thus, we can distinguish the following types of poem: religious, knightly, heroic, didactic, philosophical, historical, psychological, satirical, burlesque, poem with a romantic plot. In addition, there are lyrical-dramatic poems where the epic principle predominates, and the lyrical principle emerges through a system of images (“Pugachev” by S.A. Yesenin, “Rembrandt” by D. Kedrin).

In the 20th century historical poems were created (“The Tobolsk Chronicler” by L. Martynov), heroic (“Good!” by V.V. Mayakovsky, “Vasily Terkin” by A.T. Tvardovsky), lyrical and psychological (“Anna Snegina” by S.A. Yesenin) , philosophical (N. Zabolotsky “Mad Wolf”, “Trees”, “Triumph of Agriculture”).

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what is a poem
what is a poem in literature definition
poem

Poem!

Poem ( Old Greek Ποίημα) is a poetic genre. A large epic poetic work belonging to a specific 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, and epic stories. The classic type of poem is considered to be an epic. Translated from Greek, a poem is a creation.

Having emerged in a primitive tribal society in the form of songs, the poem firmly took shape 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 the image in them 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 a worldview (in lyric poetry).

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

The poems are the earliest surviving monuments of ancient writing. They were and are original “encyclopedias” of the past.

Early examples of epic poems: in India - the folk epic "Mahabharata" (no earlier than the 4th century BC), in Greece - Homer's "Iliad" and "Odyssey" (no later than the 8th century BC), in Rome - “Aeneid” by Virgil (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 their coverage of reality made it possible to dwell on the little things and create a complex system of characters. The epic poems affirmed a broad national 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, the poems in their original form could not reappear - the poem degrades, receiving a number of differences.

In ancient Europe, parody-satirical (anonymous “Batrachomyomachy”, no earlier than the 5th century BC) and didactic (“Works and Days” of Hesiod, 8-7 centuries BC) poems appeared. They developed in the Middle Ages, the Renaissance and later. The heroic epic poem turned into a heroic “song” with a minimum number of characters and plot lines (“Beowulf”, “The Song of Roland”, “The 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 lighter plot of the knight's poem (its influence is noticeable in L. Ariosto's Orlando Furioso and Spenser's The Fairy Queen). The traditions of the didactic epic were preserved in allegorical poems (in Dante’s “Divine Comedy”, in F. Petrarch’s “Triumphs”). In modern times, the classicist poets were guided by the parody-satirical epic, creating ironic poems (“Naloy” by N. Boileau).

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

The heyday of the poem genre occurs in the era of romanticism, when the greatest poets of various countries turned to creating poems. 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’s Tale” by G. Heine).

In Russian literature of the early 20th century, a tendency arose to transform a lyric-epic poem into a lyrical one. The most intimate experiences are correlated with historical shocks (“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 poems: reviving the heroic principle (“Good!” by Mayakovsky, “Vasily Terkin” by A.T. Tvardovsky), lyrical-psychological poems (“About this” by V.V. Mayakovsky, “Anna Snegina” by S. A. Yesenin), philosophical, historical, etc.

The poem as a lyric-epic and monumental genre, which allows one to combine the epic of the heart and “music”, the “element” of world upheavals, intimate feelings and historical events, remains a productive genre of world poetry, although there are few authors of this genre in the modern world.

We are building a wooden house. Informational portal

What is a poem? Definition and concept. Poem as a poetic genre. The history of the development of the poem, its features. Poems from different eras What is the poem about?

The meaning of the word poem

poem in the crossword dictionary

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

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

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

Encyclopedic Dictionary, 1998

Wikipedia

Examples of the use of the word poem in literature.

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