What is poetry in literature. Poetry

Explanatory dictionary of the Russian language (Alabugin)

Poetry

AND, g.

1. Artistic verbal creativity (mainly poetic), as well as works written in poetry.

* Poetry and Prose. Russian poetry. *

2. transfer Beauty, deep impact on the senses and imagination.

* Poetry of the Russian landscape. *

Philosophical Dictionary (Comte-Sponville)

Poetry

Poetry

♦ Poésie

An indissoluble and almost always mysterious union of music, meaning and truth in the same text, as a result of which feeling is born. Poetry is the truth in a song that touches hearts. One should not confuse poetry with versification and even with a poem. It is not so often that a poem is imbued with the spirit of poetry from beginning to end, but prose is quite often poetic.

Aesthetics. encyclopedic Dictionary

Poetry

the art of word with a characteristic rhythmic organization of artistic speech. Taking a variety of poetic forms, the poet's speech falls out of the context of ordinary phrasing, acquires additional communicative and suggestive properties, turns into an object of increased attention. If a poetic work meets the highest artistic and aesthetic criteria of beauty and perfection, then it is elevated to the status of a masterpiece and takes a place in the system of universal values \u200b\u200bof world culture.

Culturology. Dictionary-reference

Poetry

1) all fiction as opposed to non-fiction;

2) poetic works in their comparison with fictional prose (for example, lyric poetry, drama or novel in verse, poem, folk epic). Poetry and prose are two main types of word art, differing in the ways of organizing artistic speech, and, above all, in rhythm construction. The rhythm of poetic speech is created by a distinct division into verses, commensurate segments that, in principle, do not coincide with the syntactic division. Poetry is predominantly monologue. The borderline between poetry and prose is relative.

Ozhegov Dictionary

BY EZiya, and, g.

1. Verbal art, advantage. poetic.

2. Poems, works written in poetry. P. and prose. Classic Russian p. Modern p.

3. transfer., what. The beauty and charm of chegon., Exciting a sense of charm. P. summer morning.

| adj. poetic, oh, oh. Poetic creativity. P. landscape.

Efremova's Dictionary

Poetry

g.
1. :
  1. The art of figurative expression of thoughts in words; verbal artistic creativity.
  2. Creative artistic genius, creative talent.
  3. Artistry, poetry.
2. :
  1. Poems, poetic, rhythmic speech (opposed: prose).
  2. The body of poetry by some. people, era, social group, etc.
  3. Artistic work of smb. a poet, a group of poets in terms of its features, distinctive features.
3. :
  1. transfer Grace, charm of smth. Deeply affecting the senses and the imagination.
  2. Smth. sublime, full of meaning.
4. :
  1. outdated. The realm of the imaginary, the world of fantasy.
  2. That which affects the imagination.

Gasparov. Records and extracts

Poetry

♦ "The newest poetry is divided into two types: poetry that is impossible to read, and poetry that can not be read" (Alm. "The first notebook of the Infernal Mostovaya circle", it seems, 1923, the GPU printing house. The verses there were: "In the evenings at small coffee shop Dull lights are shining. Turning the pages of Heine's volume, Turn a thin page ") And Veidle," On Poets ", 124, quoted Lunts:" There are good poems, bad poems and poems like poetry; the latter are the worst of all. "

♦ according to Shchedrin: "Anyone who is capable of unjustly expressing the vagueness of the feelings filling him can be a free foam remover."

♦ Yesenin with a cabman: which of the poets do you know? "Pushkin". - And from the living? - "We are only cast iron" (Mariengof).

♦ Poetry is "the confession of an aquatic animal that lives on land, but would like to be in the air." - K. Sandberg, op. in Roger's dictionary.

Terminological dictionary-thesaurus on literary criticism

Poetry

(greek poiesis, from poieo - I do, I create) - works in verse, as opposed to works in prose. Sometimes all fiction is called poetry, as opposed to non-fiction. Poetry and prose are two main types of word art, differing in the ways of organizing artistic speech; what distinguishes poetry from prose is primarily a correctly organized rhythm, which is created by a distinct division of speech into proportionate segments that often do not coincide with syntactic division.

RB: genres and genres of literature

Correspondent: prose

Ass: rhythm, verse

* "Poetry has the same special language as music and painting" (AN Veselovsky).

"True poetry is not a body, into which a soul was breathed, but a soul, which has accepted the evidence of a body" (IV Kireevsky). *

encyclopedic Dictionary

Poetry

(Greek poiesis),

to mid. 19th century all fiction as opposed to non-fiction.
Works of poetry, in contrast to fictional prose (for example, lyrics, drama or a novel in verse, a poem, folk epic of antiquity and the Middle Ages). Poetry and prose are two main types of word art, differing in the ways of organizing artistic speech and, above all, in rhythm construction. The rhythm of poetic speech is created by a distinct division into verses. In poetry, the interaction of a verse form with words (juxtaposition of words in terms of rhythm and rhymes, a clear identification of the sound side of speech, the relationship of rhythmic and syntactic structures) creates the subtlest nuances and shifts in artistic meaning that cannot be embodied in any other way. Poetry is predominantly monologic: the character's word is of the same type as the author's. The borderline between poetry and prose is relative; there are intermediate forms: rhythmic prose and free verse.

Ushakov's Dictionary

Poetry

poetry [by], poetry, pl. no, wives (greek poiesis).

1. The art of figurative expression of thought in words, verbal artistic creativity. "Pushkin was called to be the first poet-artist of Russia, to give her poetry as art, as a beautiful language of feelings." Belinsky. "Any poetry should be an expression of life, in the broad sense of this word, embracing the whole physical and moral world." Belinsky.

| Creative artistic genius, the element of artistic creativity ( poet.). "And poetry awakens in me." Pushkin.

2. Poems, poetic, rhythmically organized speech; ant. ... Poetry and Prose. Love poetry. Department of poetry (in the magazine).

3. A set of poetic works of some social group, people, era etc. (lit.). Proletarian poetry. Poetry French Revolution... Romantic poetry. History of Russian poetry.

| The artistic work of a poet, a group of poets in terms of its features, distinctive features ( lit.). Study the poetry of Mayakovsky. Characteristic features of Pushkin's poetry.

4. transfer Grace, charm, amazing imagination and a sense of beauty ( books.). Poetry of an early summer morning. "It is fun for me to remember this poetry in hops, grace of mind and heart." Pushkin.

5. transfer The area of \u200b\u200bimaginary being, the world of fantasy ( outdated., often iron.). “(Dolinsky) seems to be limping to poetry! she suspected him ... Meaning by the word "poetry" exactly what they mean by this word practical people.» Leskov.

Encyclopedia of Brockhaus and Efron

Poetry

Among other arts, P. occupies a very special place, depending on the element that is usually called its material - words. The word is an instrument of human communication, a means for expressing thoughts; the poet uses it in order to embody his formless abstract thought into an image. This is an erroneous idea, still held in everyday life, but already destroyed in science, thanks to the successes of philosophical linguistics created by the school of W. Humboldt. "P. and prose are the essence of the phenomenon of language" - says Humboldt's dictum, which should become the starting point of P.'s theory. The general course of human thought is an explanation of the new, unknown through the already known, known, named. The creation of language is a continuing non-stop and in our time (not έργον, but ενέργεια) there is a constant systematization of the external world through the introduction of new phenomena to the impressions already named. The child sees an unknown object - a ball on a lamp - and, adding it to the cognized impression, calls the ball a "watermelon". The poet sees a special movement of the treetops and, finding in the store of impressions one that is most suitable for this movement, says: “The treetops fall asleep. " The people seeing new way movement, creates a name for it on the basis of its most prominent feature: "chugunka". This is how each new word is created; every word is a "figurative expression"; there are no "own" expressions and words; all words - in terms of their origin - essence of the path (Gerber), that is, poetic works. "The ability to systematically designate objects and phenomena (articulate sounds - words) poses a problem to cognition that can only be solved on the basis of poetic abilities" (Borinsky). Accordingly, P. is recognized as a special kind of thinking, opposed to prose, science; P. is thinking in verbal images , while prose is thinking through abstractions, schemes, formulas. "Science and art equally strive to cognize the truth," notes Career, "but the former moves from fact to concept and to idea and expresses the thought of being in its universality, strictly distinguishing between the individual case and general rule - law, while the second embodies the idea in a separate phenomenon and merges the idea and its visual manifestation (image) in the ideal. P. does not speak abstractly: the place of this new phenomenon in the system is such and such; it, as it were, identifies it with another phenomenon, which is the image of the first, and thus marks its place in the system - crudely and clearly, but sometimes surprisingly deeply. What is an image? This is a reproduction of a single, concrete, individual case, which has the property of being a sign, a substitute for a whole series of various phenomena. For human thought, burdened by the fragmentation of the world and looking for generalizing forms in order to satisfy its eternal "thirst for causality" (Causalit ätsbedü rfniss), the poetic image is just such a generalizing principle, the basis for which the ununited phenomena of life are grouped in organized masses. P. can be called the knowledge of the world with the help of images, symbols, and this figurative way of thinking is characteristic of everyone - children, adults, primitive savages, and educated people. Therefore, P. is not only where great works (like electricity, not only where there is a thunderstorm), but, as can be seen from its embryonic form - words - everywhere, hourly and every minute, where people speak and think. "P. - wherever there is a variety of meanings behind a few features of a certain closed image" (Potebnya). In terms of its content, a poetic image may not differ in any way from prosaic thought itself, from an indication of the simplest everyday fact, such as that "the sun is reflected in a puddle." If for the listener this indication is only a communication about a physical fact, then we have not gone beyond the limits of prose; but once the opportunity is given to use the fact how allegory , we are in the field of P. In the prosaic understanding, a particular case would remain private; "raised to the pearl of creation", poeticized, it becomes a generalization. The message about an insignificant perception - "The sun is reflected in a puddle" - gets the ability to talk about something completely different, for example, about the spark of God in the soul of a spoiled person. A separate case in the hands of the poet is done suggestive says modern aesthetics; it suggests , Alexander Veselovsky successfully translates this term; he gets the ability to be allegorical, fits the countless applications - says Potebnya. What place poetic thinking occupies in the development of human thought in general and what properties of the mind determine the origin of this method of explaining phenomena, this is best seen from its comparison with a kindred mentality - the so-called mythological thinking. Therefore, the chapter on myth (more precisely, on its psychic foundations) is a necessary component of modern poetics (Carrière, III, 39 - 58; Borinsky, II, 2). The basis of the mythical mindset is, as in poetic thinking, the analogy of the phenomenon being explained with an invented image; but poetic thinking clearly sees fiction in this image, mythical thinking takes it for reality. Saying: "There is cholera," poetic thinking has no claim to the anthropomorphic reality of this image; the mythical, on the contrary, is so imbued with its real character that it finds it possible to fight it by means of plowing, drawing a border through which the personified cholera cannot cross. Noticing a common feature between an epidemic and a living being, primitive thought, in which one symptom of a phenomenon occupies the entire breadth of consciousness, hastened to transfer into the phenomenon (epidemic) being explained, the entire complex of attributes of the explanatory image (man, woman); he can not be allowed into the house by locking the doors; he can be propitiated by giving him a sheep. Primitive animism and anthropomorphism are only a special case of this complete identification of the knowable with the known. Therefore, such cases of a mythical view of an object where there is no anthropomorphism are possible. "A hot, flammable, hot-tempered heart" for us is a poetic image, a metaphor, infinitely far from the idea of \u200b\u200ba real, physical height of temperature: the mythical view transfers to a hot-tempered heart all the properties of a flammable object and therefore freely reaches the conclusion that such a heart is good for arson. So it was in Moscow under John IV, when the Glinskys were accused of sprinkling houses with infusion from human hearts and thus setting fire to them. This view is similar in origin and in the form of a concrete representation to a poetic one; but there is no allegory in it, there is no main element of poetic thinking - it is completely prosaic. To explain the origin of the black-and-white color of the pelican, the Australians tell how the black pelican was painted white for fighting, just as the savages themselves are painted - but did not have time, etc. "This story," notes Grosse ("Die Aufаnge der Kunst" ), - of course, is very fantastic, but, despite this, it is not at all poetic, but scientific in nature. .. This is simply a primitive zoological theory. "From this point of view, it is necessary to introduce some reservations into the generally accepted position that poetry is older than prose: in the complex course of the development of human thought, prosaic and poetic elements are inextricably linked, and only theory separates them. using the image as a poetic work requires some power of analysis and presupposes a higher stage of development in comparison with that at which “ideal representations had in the eyes of adult men and women the reality that they still have in the eyes of children” (Taylor). and prosaic elements are inextricably intertwined in myth: the myth lives for a long time along with poetry and influences it. There are, however, facts that indisputably testify to the movement of thought in the direction from myth to poetry. Such facts we have in the history of poetic language. The phenomenon of parallelism, which characterizes earlier stages, bears a strong imprint of mythical thinking: two images I - nature and human life - are placed side by side, as equal and unambiguous.

"Oh, the white cobweb is hanging on the mud;

The young girl got into the Cossack. "

There is no longer a direct identification of man with nature, but thought has just emerged from him. She goes further - and begins to insist on the absence of such an identity: simple parallelism turns into negative ("negative comparison"):

"What are not swallows, not tangles around the warmth of the nest twine

My dear mother is curling around here. "

It is already directly indicated here that the explaining image should not be identified with the explained one. Even further follows the usual poetic comparison, where there is not even a hint of mixing the compared objects. This transition from the mythical to the poetic method of thinking occurs so slowly that for a long time the two structures of thought are not mutually exclusive. A poetic expression, being a simple metaphor by its origin (spring has come), can, due to the so-called "language disease" (see M. Müller), turn into a myth and force a person to attribute the properties of a material image to spring. On the other hand, the affinity of myth makes the ancient poet. language is extremely vivid and expressive. "The comparisons of the ancient bards and orators were meaningful, because they apparently saw, and heard, and felt them; what we call poetry was real life for them." Over time, this property of a young language - its imagery, poetry - is violated; words, so to speak, are erased from use; forgotten their visual meaning, their "figurative" character. The research adds new, more significant ones to the feature of the phenomenon, which served as the starting point of its name. By saying: daughter , no one thinks that it actually means "milking", bull - "roaring", mouse - "thief", month - "gauge", etc., because the phenomenon has received a different place in thought. The word from the concrete becomes abstract, from a living image - an abstract sign of an idea, from a poetic one - prosaic. However, the former need of thought for concrete ideas does not die. She tries to re-fill the abstraction with content, sometimes with the old; it replaces the "old words" with new ones, sometimes identical with the old ones in essence, but still not losing the strength to give birth to living images: for example, the word "generous" turns pale, and a new expression, "man with a big heart", tautological with the first, more the unwieldy and inconvenient, however, seems to be more vivid and excites in us mental movements, which the first, which has lost its clarity, cannot excite. On this path, more complex, in comparison with the word, P. forms are born - the so-called paths (see). To look at the tropes as at the external embellishment of poetic speech - as the old rhetoric looked at them and school theory still looks at them, putting them on a par with "figures" - is obviously impossible: this is not an aesthetic addition - it is a consequence of the ineradicable need of thought "to restore the side of words that stimulates the activity of fantasy "; trope is not P.'s material, but P. itself. In this sense, the poetic techniques inherent in folk P. are extremely curious, and above all the so-called "epic formulas" - permanent epithets, etc. An epic formula - for example, in its widespread form (epitheton ornans) - only refreshes, refreshes the meaning of words, "restores its internal form in consciousness", then repeating it ("do business", "think to think"), then designating it with a word of a different root, but of the same meaning (" clear dawn "), Sometimes the epithet has nothing to do with the" proper "meaning of the word, but joins it in order to revive it, to make it more concrete (" burning tears "). In the subsequent existence, the epithet merges with the word so much that its meaning is forgotten - and hence the contradictory combinations (in the Serbian folk P., the head is certainly light brown, and therefore the hero, having killed the arapin, cut off his “fair head”). Concretization (Versinlichung - y Career) can also be achieved by more complex means: first of all, by comparison (see), where the poet tries to make the image visual by means of another, better known to the listener, brighter and more expressive. Sometimes the poet's thirst for concreteness of thought is so great that he dwells on the explanatory image longer than is necessary for the purposes of explanation: the tertium comparationis has already been exhausted, and the new picture is growing; such are the comparisons of Homer (Odyssey) and Gogol. Thus, the activity of elementary poetic forms is broader than a simple revival of the visualization of a word: by restoring its meaning, thought introduces a new content into it; the allegorical element complicates it, and it becomes not only a reflection, but also an instrument for the movement of thought. This meaning is completely devoid of the "figures" of speech, the whole role of which is that they give expressiveness to speech. "The image," Gottshall defines, "follows from the intuition of the poet, the figure — from his pathos; this is a diagram into which a ready-made thought fits." Therefore, the place of the theory of figures - if you can call their classification theory - is not in poetics, but in rhetoric (for other details about the basic data concerning the origin and role of elementary poetic forms - see Language).

We pass to the history of those three genera into which the theory has long divided P. Thanks to the historical-comparative method and the general premises of the theory of evolution, the question of the origin and development of those complex literary forms, which we now call poetic, is largely clarified; there are still many dark and difficult points, but there is no more room for those arbitrary statements that the metaphysical theory of literature has so boldly lavished on. Already the simplest form of P. - the word - is inextricably linked with the musical element. Not only at the so-called pathognomic stage of speech formation, when the word almost merges with the interjection, but also in further stages "the first words were probably shouted out or chanted." Gesture is also necessarily associated with the sound expressions of primitive man. These three elements are combined in that primordial art, from which its individual types are subsequently distinguished. In this aesthetic aggregate, articulate speech sometimes takes a secondary place, being replaced by modulated exclamations; samples of songs without words, P. interjections are found in various primitive peoples. Thus, the first form of P., in which it is already possible to cover up the rudiments of its three main genera is choral action, accompanied by dancing. The content of this "action" - facts from everyday life community, which is both the author and the performer of this work, dramatic in form, epic in content and sometimes lyrical in mood. Here there are already elements for the further separation of poetic genders, originally united - as Spencer first pointed out - in one work. IN last years (Grosse, "Anfange der Kunst", 1893) remarks are made against this theory of initial "syncretism", which boil down to the fact that in a primitive poetic work one or another element may outweigh, and in P. of the cultural structure, elements of three main poetic genera are mixed. These objections do not eliminate the theory, especially since it asserts "not confusion, but the absence of distinction between certain poetic genres, P. and other arts" (Veselovsky). Grosse disagrees with most literary historians and aesthetics, who consider drama the later form of P., while in fact it is the oldest. In fact, primitive "dramatic action without drama" is drama only from the formal point of view; it acquires the character of a drama only later, with the development of the personality. Primitive man, one might say, is subject not so much to individual psychology as to "group psychology" (Vö lkerpsychologie). The personality feels itself an indefinite part of an amorphous, monotonous whole; she lives, acts and thinks only in an inviolable connection with the community, the world, the earth; her entire spiritual life, her entire creative power, her entire P. are imprinted by this "indifference of collectivism." With such a personality, there is no place for individual literature; in collective shows, choral dances, general dances, and operas-ballets, all members of the clan "alternately play the roles of actors and spectators" (Letourneau). The plots of these choral dances are mythical, military, funeral, marriage, etc. scenes. Roles are distributed among the groups of the choir; choral groups have lead singers, chores; the action sometimes focuses on them, on their dialogue, and here the seeds of the future development of personal creativity are already enclosed. From this purely epic material about the bright events of the day that excite society, poetic works are distinguished, imbued with a general pathos, and not with the personal lyricism of an isolated singer; this is the so-called lyroepic song (Homeric hymns, medieval cantilena, Serbian and Little Russian historical songs). There are songs among them (for example, French chansons d "histoire) with content not from public, but also from personal history; the lyrical mood in them is expressed very strongly, but not on behalf of the singer himself. Little by little, however, active sympathy for events, depicted in the song, fades away in society; it loses its exciting, topical character and is transmitted like an ancient memory.From the lips of the singer, crying with his listeners, the story passes into the mouth of the epic narrator; from the lyrical epic song, an epic is made, over which they no longer cry ... From the formless environment of performers, professional carriers and performers of poetic tales stand out - singers, at first community singers, singing only in the circle of their relatives, then wandering ones, spreading their song treasures to strangers. These are mimi, histriones, joculatores in Rome, bards, Druids, Philae among the Celts, Tulirs, then Skalds in Scandinavia, Truvers in Provence, etc. rises to written literature, not only performing old songs, but also composing new ones; so, in medieval Germany on the street - spielmans (Gaukler), at the courts - scribes (Schriber) replace the old singers. These guardians of the epic tradition sometimes knew several songs about the same heroes, about the same events; it is natural to try to connect various legends about one and the same - first mechanically, with the help of commonplaces. The uncertain material of folk songs is consolidated, grouping around a popular hero - for example. Sid, Ilya-Muromets. Sometimes epic creativity, like ours, does not go beyond these cycles, vaults; sometimes its development ends in an epic. The epic stands on the border between group and personal creativity; like other works of art, during this period of personality enlightenment, she is still anonymous or bears a fictitious name of the author, is not individual in style, but already "reveals the integrity of personal design and composition." A. N. Veselovsky considers three facts of historical life to be the conditions for the appearance of great folk epics: "a personal poetic act, without the consciousness of personal creativity; raising the national political consciousness, which required expression in P; the continuity of the previous song tradition, with types that can change meaningfully, according to the demands of social growth ". Consciousness of a personal initiative would lead to an individual assessment of events and to discord between the poet and the people, therefore, to the impossibility of an epic. It is difficult to define, in general terms, how the consciousness of personal creativity arises; in different cases this issue is resolved differently. The question of the emergence of a poet is immeasurably more difficult than the question of the origin of P .; as long as group psychology is in its infancy, it can hardly be finally resolved. It is possible and important only to note that, no matter how great the difference between the impersonal creativity of a primitive community and the most individual creation of personal art, it can be reduced to a difference in the degrees of one phenomenon - dependence any poet from a number of conditions, which will be indicated below. With the decay of the primitive communal order, a new system of world outlook coincides; a person begins to feel not like a “toe” of some large organism, but as a self-sufficient whole, a person. He has his own, not shared by anyone sorrows and joys, obstacles, to overcome which no one helps him; social order no longer fully embraces his life and thoughts, and sometimes he comes into conflict with him. We have already seen lyrical elements in the epic; now these expressions of personal life stand out as an independent whole, in a poetic form prepared by the previous development. The lyric song is sung with the accompaniment of a musical instrument; this is indicated by the term itself (lyrics, from Λίρα). The complication of social forms, which led to the opposition in the consciousness of the individual and society, evokes a new look at tradition. The center of gravity of interest in the old legend shifts from the event to the person, to his inner life, to his struggle with others, to those tragic situations in which the contradiction of personal motives and social demands puts him. This prepares the conditions for the emergence of drama. Its external structure is ready - this is an old form of the choral rite; little by little, only a few changes are made - the characters are sharply differentiated from the chorus, the dialogue becomes more passionate, the action is livelier. At first, material is drawn only from tradition, from myth; then creativity finds poetic content outside the life of gods and heroes, in the life of ordinary people. To what extent it is seldom at the beginning to turn to fiction, is evident from the fact that there is only one drama known in Greek dramatic literature that is not based on epic material. But a transitional moment comes necessarily with the further decay of everyday life, the fall of national self-consciousness, a break with the historical past, in its poeticized forms. The poet withdraws into himself and responds to the changed spiritual demands of the surrounding masses with new images, sometimes directly opposite to tradition. A typical example of this new form is the Greek novella of the decline. There is no longer any talk about social content here: the subject of the story is the vicissitudes of personal destinies, due mainly to love. Form too has departed from tradition; here everything is personal - both the individual creator and the plot. So, we have before us the forms of epic, lyric, drama that stand out with sufficient clarity; at the same time, we have before us a different author - an individual poet of the new era, who, according to the old poetics, obeys only the impulses of his free inspiration, creates from nothing, is infinitely free in choosing the subject for his chants. This theory, which separates the former passive exponent of the communal soul from the new, personal poet, is largely rejected by modern poetics. She points to a number of conditions that the greatest poet, the most unbridled science fiction writer, is bound by in his work. The very fact that he uses a ready-made language, having only an insignificant, comparatively, opportunity to modify it, indicates the role of obligatory categories in poetic thinking. Just as “to speak means to adhere with your individual thinking to the general” (Humboldt), so to create means to reckon with its obligatory forms in creativity. The impersonality of the epic poet turns out to be exaggerated, but the freedom of the personal creator is even more exaggerated. It proceeds from the finished material and clothe it in the form for which the demand has appeared; he is a product of the conditions of time. This is especially clearly expressed in the fate of poetic plots, which seem to live their own lives, renewing themselves with new content put into them by a new creator; The embryos of some of the favorite subjects of quite modern poetic works are being sought - thanks to that new branch of knowledge, which is called folklore - in the distant past. "A talented poet can attack this or that motive by accident, draw you to imitation, create a school that will follow his rut. But if you look at these phenomena from a distance, from a historical perspective, all the little touches, fashion and school, and personal trends, are obscured by a wide alternation of social and poetic demands and offers "(Veselovsky). The difference between a poet and a reader is not in type, but in degree: the process of poetic thinking continues in perception - and the reader processes the finished scheme in the same way as the poet. This scheme (plot, type, image, trope) lives as long as it lends itself to poetic renewal, as long as it can serve as a "constant predicate with a variable subject" - and is forgotten when it ceases to be an instrument of apperception, when it loses the power to generalize, to explain something from the stock of impressions ... - In this direction, the development of poetic families has taken place so far. There is, of course, no reason to see it as a historical law; it is not an obligatory formula of continuity, but an empirical generalization. Classical P. passed this history separately, separately and anew, under the dual influence of its primordial principles and the Greco-Roman tradition, the European West made it, separately - the Slavic world. The scheme was always approximately the same, but the exact and general folk psychological prerequisites for it were not defined; under the new conditions of the public, other poetic forms may develop, which, with your current knowledge, cannot be predicted. Therefore, it is hardly possible to justify from a scientific point of view those deductive foundations of the division of poetic genera, which the theory has long offered in such a variety. Epos, lyrics and drama replaced each other in the history of P .; these three forms, without much exaggeration, exhaust the poetic material we have and therefore are suitable, as a didactic device, for educational purposes - but in no way one should see in them the given forms of poetic creativity. One can see in the epic the predominance of objective elements, in the lyrics - the predominance of subjective ones; but it is no longer possible to define drama as a synthesis of the one and the other, if only because there is another form of combining these elements, in lyroepic song. Neither the growing preponderance of prosaic elements in the language, nor the powerful flourishing of science, nor the possible transformations of the social order threaten the existence of P., although they can decisively influence its forms. Its role is still enormous; its task is analogous to the task of science — to reduce the infinite variety of reality to the smallest possible number of generalizations — but its means are sometimes broader. Her emotional element (see Aesthetics) gives her the ability to influence where the dry formulas of science are powerless. Moreover, not needing precise constructions, generalizing in an unsubstantiated but convincing way the endless variety of nuances that elude the Procrustean bed of logical analysis, P. anticipates the conclusions of science. Generating general feelings, giving the most subtle and at the same time generally understandable expression of mental life, it brings people together, complicates their thought and simplifies their relationship. This is its primary significance, this is the reason for its gift, among other arts, position. Literature - see Poetics.

I had never asked this question before, until I saw a question in the "essays and articles" section of one of the authors of poetry.ru "Poetry - what is this?", Which he asked other authors, readers on poetry.ru and asked not to confuse the definition of poetry and its purpose in your answer, it was suggested to write your opinions in reviews. I wrote a review, the author of the article was not satisfied with my answer, however, as well as myself. An even more acute question arose before me: what is poetry after all? Many wrote that poetry is life, it is a state of mind, a way to express one's thoughts and feelings. After reading several answers from other authors (and there were many interesting things), the question still remained open. The author who asked the question about poetry asked to answer it in prose, and not in verse, so there were many answers in prose, but still there was a large number of answers in verse, since it is impossible not to say about poetry if the lines themselves are born in the depths souls. At first glance, such a simple question turned out to be difficult.
The definition I read in Dahl's dictionary did not bring me closer to answering the question: "Poetry is grace in writing; everything artistic, spiritually and morally beautiful, expressed in words, and moreover in a more measured speech. Poetry, abstractedly, is called grace, beauty, as a property, quality, not expressed in words, and the very creativity, the ability, the gift to abandon the vital, to ascend with a dream, imagination to the highest limits, creating prototypes of beauty; finally, they call poetry the very works, writings of this kind and rules invented for this: poems, poems and science Some considered poetry a slavish imitation of nature, others - visions from the spiritual World, others see in it a combination of good (love) and truth Poet husband piita, a man gifted by nature with the ability to feel, recognize poetry and convey it in words, create graceful; poetic poetic, poetic, related to poetry, containing it; graceful. Poem of women. poetic narration, poetic story s holistic content. "
Dahl's Explanatory Dictionary - (V.I.Dal Explanatory Dictionary of the Living great Russian language... SPb., 1863-1909.)
Other sources did not provide a satisfying explanation either.

In my opinion, a very good explanation of what poetry is is given in Nadezhda Trubnikova's poem "Poetry", written on March 20, 2002:
The nakedness of the soul
Frankness - almost to the point of shamelessness ...
Nerves are strings
on them
leads memory with an invisible bow.
Letter-notes, chord-words and running stanzas
recorded on white paper
cantatas of poems.

I was lucky enough to get acquainted with the work of Nadezhda Trubnikova quite recently. (Nadezhda Trubnikova was born in Moscow in 1933. Graduated from the Moscow Architectural Institute in 1957. Candidate of Sciences, a member of the Union of Architects of Russia since 1960. The first collection of her selected lyrics "Life in Verses" was published in 1999, the second collection "Destiny" - in 2001).
One friend gave to read a collection of her poems, which she gave him back on November 23, 2009 with her autograph. Currently, the author is no longer with us. It is in this collection, which is called "The Nudity of the Soul," published in 2004, that the above poem is found, which helped me clarify the question of what poetry is. People, readers, as far as I know, love sincerity, therefore, for me now poetry is, first of all, sincerity of the soul.

17.09.2017

Reviews

How your thoughts resonate with mine, and mine with yours!

Marina, I sincerely congratulate you on the new 2019 Slavic year of ORLA! May this year bring prosperity and success to you and your family, give new strength to achieve the most fabulous goals, justify all your hopes. And Your purposefulness will help you realize your most daring dreams! Always and everywhere remain yourself!
With deep respect, Vladimir.

Poetry and prose are two main types of organization of artistic speech, which outwardly differ primarily in the structure of the rhythm. The rhythm of poetic speech is created by a distinct division into commensurate segments, which, in principle, do not coincide with syntactic division (see,).

Prose literary speech is divided into paragraphs, periods, sentences and columns, inherent in ordinary speech, but having a certain order; the rhythm of prose, however, is a complex and elusive phenomenon that has not been sufficiently studied. Initially, poetry was the name for the art of the word in general, since up to the New Age, poetic and similar rhythmic-intonational forms sharply prevailed in it.

All non-fiction literary works were called prose: philosophical, scientific, journalistic, informational, oratory (in Russia such word usage prevailed in the 18th - early 19th centuries).

Poetry

The art of the word in the proper sense (that is, it is already delimited from folklore) appears at first as poetry, in poetic form. Verse is an integral form of the main genres of antiquity, the Middle Ages and even the Renaissance and classicism - epic poems, tragedies, comedies and different types of lyrics. The poetic form, right up to the creation of literary prose proper in the New Time, was a unique, irreplaceable tool for transforming words into art. The unusual organization of speech inherent in verse revealed and confirmed the special significance and specific nature of the utterance. She seemed to testify that a poetic statement is not just a message or a theoretical judgment, but a certain original verbal "act."

Poetry, in comparison with prose, has an increased capacity of all its constituent elements. (cm. ). The poetic form of poetic speech itself, which arose as a separation from the language of reality, kind of signals the "removal" of the artistic world from the framework of everyday reliability, from the framework of prose (in the original meaning of the word), although, of course, reference to verse in itself is not a guarantee "Artistry".

The verse comprehensively organizes the sounding matter of speech, gives it a rhythmic roundness, completeness, which in the aesthetics of the past were inseparably associated with perfection and beauty. In the literature of past eras, the verse acts as such a "predetermined limitation" that creates the sublimity and beauty of the word.

The need for verse at the early stages of the development of the art of the word was dictated, in particular, by the fact that it originally existed as a sounding, pronounced, performing one. Even G.V.F. Hegel is still convinced that all artistic literary works should be pronounced, sung, recited. In prose, although one can hear the living voices of the author and the characters, they are heard by the reader's “inner” ear.

The realization and final approval of prose as a legitimate form of the art of the word occurs only in the 18th and early 19th centuries. In the era of the dominance of prose, the reasons that gave birth to poetry lose their exclusive meaning: the art of the word now, even without verse, is capable of creating a truly artistic world, and the "aesthetics of completeness" ceases to be an unshakable canon for the literature of modern times.

Poetry in the era of prose

Poetry does not die out in the era of prose (and in Russia in the 1910s it even moves back to the forefront); however, it is undergoing profound changes. The traits of completeness are weakening in it; especially strict stanza constructions fade into the background: sonnet, rondo, gazelle, tanka, freer forms of rhythm develop - dolnik, tactician, accent verse, colloquial intonations are introduced. In the latest poetry, new content qualities and possibilities of poetic form have been revealed. In the Poetry of the 20th century, A.A. Blok, V.V. Mayakovsky, R.M. Rilke, P.Valeri and others showed that complication of artistic meaning, the possibility of which has always been inherent in the nature of poetic speech.

The very movement of words in verse, their interaction and comparison under the conditions of rhythm and rhymes, a clear identification of the sound side of speech given by the poetic form, the relationship of rhythmic and syntactic structure - all this conceals inexhaustible semantic possibilities, which prose, in essence, is devoid of.

Many beautiful poems, if they are transposed into prose, will turn out to be almost meaningless, for their meaning is created mainly by the very interaction of the poetic form with words. The elusiveness - in the immediate verbal content - of the special poetic world created by the artist, its perception and vision, remains a general law for both ancient and modern poetry: “I wish I could live for many years in my dear homeland, Love its bright waters And love dark waters "(Vl. N. Sokolov).

The specific, often inexplicable influence of poetry on the reader, which makes it possible to talk about its secret, is largely determined by this elusiveness of artistic meaning. Poetry is able to recreate a living poetic voice in this way and the author's personal intonation that they are “objectified” in the very construction of the verse - in the rhythmic movement and its “bends”, the drawing of phrasal stresses, word sections, pauses, etc. It is quite natural that the poetry of the New Age is primarily lyrical.

In modern lyric poetry, verse performs a twofold task. In accordance with his eternal role, he elevates a certain message about the author's real life experience into the sphere of art, that is, he turns an empirical fact into an artistic fact; and at the same time, it is the verse that makes it possible to recreate in the lyrical intonation the direct truth of personal experience, the true and unique human voice of the poet.

Prose

Until the New Age, prose develops on the periphery of the art of words, making out mixed, semi-artistic phenomena of writing (historical chronicles, philosophical dialogues, memoirs, sermons, religious writings, etc.) or "low" genres (farces, mimes and other types of satire) ...

Prose in the proper sense, emerging since the Renaissance, is fundamentally different from all those previous phenomena of the word, which in one way or another fall out of the system of poetry. Contemporary prose, at the origins of which is the Italian Renaissance short story, the work of M. Cervantes, D. Defoe, A. Prevo, is deliberately delimited, repelled from verse as a full-fledged, sovereign form of word art. It is significant that modern prose is a written (more precisely, printed) phenomenon, in contrast to the early forms of poetry and prose itself, which proceeded from the oral existence of speech.

At its inception, prosaic speech, like poetic speech, aspired to emphasized isolation from ordinary colloquial speech, to stylistic decoration. And only with the approval of realistic art, which gravitates towards the "forms of life itself", such properties of prose as "naturalness", "simplicity" become aesthetic criteria, which are no less difficult to follow than when creating the most complex forms of poetic speech (Guy de Maupassant, N.V. Gogol, A.P. Chekhov). The simplicity of prose, therefore, not only genetically, but also from the point of view of the typological hierarchy, does not precede, as it was commonly thought, poetic complexity, but is a later conscious reaction to it.

In general, the formation and development of prose takes place in constant correlation with prose (in particular, in the convergence of some genres and repulsion of other genres and forms). Thus, the authenticity of life, the "ordinariness" of the language and style of prose, up to the introduction of vernaculars, proseisms and dialectisms, are still perceived as artistically significant precisely against the background of a high poetic word.

Exploring the Nature of Fiction

The study of the nature of fiction began only in the 19th and expanded in the 20th century. In general terms, some essential principles are identified that distinguish the prosaic word from the poetic. The word in prose has — in comparison with the poetic — a fundamentally pictorial character; it focuses less attention on itself, while in it, especially lyrical, one cannot be distracted from words. The word in prose directly unfolds the plot in front of us (the entire sequence of individual actions, movements, from which the characters and the artistic world of the novel or the story as a whole are created). In prose, the word becomes the subject of the image, as "alien", which in principle does not coincide with the author's. It is characterized by a single author's word and a character's word, of the same type as the author's;

Poetry is monologue. Meanwhile, prose is predominantly dialogical, it absorbs diverse, incompatible "voices" (see: MM Bakhtin Problems of Dostoevsky's poetics). In fictional prose, the complex interaction of the "voices" of the author, the narrator, and the characters often endows the word with "multidirectional", polysemy, which by its nature differs from the multiple meanings of the poetic word. Prose, like poetry, transforms real objects and creates its own artistic world, but it does this primarily through a special mutual arrangement of objects and actions, striving for the individualized concreteness of the designated meaning.

Forms between poetry and prose

There are intermediate forms between poetry and prose: a poem in prose is a form close to lyric poetry in terms of stylistic, thematic and compositional (but not metric) features; on the other hand - rhythmic prose, close to verse precisely in terms of metric features. Sometimes poetry and prose interpenetrate each other (see) or include pieces of "foreign" text, respectively, prosaic or poetic, on behalf of the author or hero. The history of the formation and change of prose styles, the rhythm of prose, its specific pictorial nature and the release of artistic energy as a result of the collision of various speech plans are the cardinal moments in the creation scientific theory prose.

The word poetry comes from Greek poiesis, from poieo, which in translation means - I do, I create;

The word prose comes from Latin prosa (oratio), which means direct, simple speech.

g. grace in writing; everything artistic, spiritually and morally beautiful, expressed in words, and, moreover, in a more measured speech. Poetry, abstractedly, is called grace, beauty, as a property, a quality not expressed in words, and creativity itself, the ability, the gift to abandon the essentials, to ascend by dream, imagination to the highest limits, creating prototypes of beauty; finally, they call poetry the very works, writings of this kind and the rules invented for this: poems, poems and the science of poetry. Some considered poetry to be a slavish imitation of nature; others - by visions from the spiritual World; still others see it as a combination of good (love) and truth. Poet M. pita, a person gifted by nature with the ability to feel, be aware of poetry and convey it in words, create graceful; poet. Poetic, -ic, relational to poetry that contains it; elegant. Poem by J. poetic narration, poetic narration of an integral content.

The section is very easy to use. It is enough to enter the desired word in the proposed field, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, derivational dictionaries. Also here you can get acquainted with examples of the use of the word you entered.

Poetry

poetry in the crossword dictionary

Explanatory Dictionary of the Living Great Russian Language, Dal Vladimir

poetry

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

poetry

(by), poetry, pl. no, well. (Greek poiesis).

the art of figurative expression of thought in words, verbal artistic creativity. Pushkin was called to be the first poet-artist of Russia, to give her poetry as art, as a beautiful language of feelings. Belinsky. Any poetry should be an expression of life, in the broad sense of this word, embracing the whole physical and moral world. Belinsky.

Creative artistic genius, the element of artistic creativity (poet.). And poetry awakens in Me. Pushkin.

Poems, poetic, rhythmically organized speech; against. prose. Poetry and Prose. Love poetry. Department of poetry (in the magazine).

A set of poetic works of some kind. social group, people, era, etc. (lit.). Proletarian poetry. Poetry of the French Revolution. Romantic poetry. History of Russian poetry.

Artistic creativity of some n. a poet, a group of poets in terms of its characteristics, distinctive features (lit.). Study the poetry of Mayakovsky. Characteristic features of Pushkin's poetry.

transfer Grace, charm, striking the imagination and a sense of beauty (book). Poetry of an early summer morning. It is fun for me to remember this poetry in hops, grace of mind and heart. Pushkin.

transfer The area of \u200b\u200bimaginary being, the world of fantasy (outdated, often ironic). (Dolinsky) seems to be limping to poetry! she suspected him ... meaning by the word "poetry" exactly what practical people mean by this word. Leskov.

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

poetry

Verbal art, advantage. poetic.

Poems, works written in verse. P. and prose. Classic Russian p. Modern p.

transfer; what. The beauty and charm of something, exciting a sense of charm. P. summer morning.

adj. poetic, th, th. Poetic creativity. P. landscape.

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

poetry

Encyclopedic Dictionary, 1998

poetry

POETRY (Greek poiesis)

to mid. 19th century all fiction as opposed to non-fiction.

Works of poetry, in contrast to fictional prose (for example, lyrics, drama or a novel in verse, a poem, folk epic of antiquity and the Middle Ages). Poetry and prose are two main types of word art, differing in the ways of organizing artistic speech and, above all, in rhythm construction. The rhythm of poetic speech is created by a distinct division into verses. In poetry, the interaction of a verse form with words (juxtaposition of words in terms of rhythm and rhymes, a clear identification of the sound side of speech, the relationship of rhythmic and syntactic structures) creates the subtlest nuances and shifts in artistic meaning that cannot be embodied in any other way. Poetry is predominantly monologic: the character's word is of the same type as the author's. The borderline between poetry and prose is relative; there are intermediate forms: rhythmic prose and free verse.

Poetry

(Greek póiesis), in a broad sense, all fiction (in the 20th century the term is rarely used); in the narrow, poetic works (see. Verse) in their correlation with fiction. See Poetry and Prose.

Wikipedia

Poetry (album)

Poetry - the debut album of the Russian group Polyus, recorded in St. Petersburg at the Dobrolet studio in 2003. The presentation of the album took place in the "Red" club on October 30, 2003 at a joint concert with the friendly collective of the Baobaba.

The album featured the song Poetry, which drew media attention to the group.

Poetry

Poetry (club)

Poetry Club - a literary and artistic association that arose in Moscow in 1985 and brought together a wide circle of uncensored Moscow poets of the generation of 30 years old. The first head of the Club was the writer Leonid Zhukov, who managed to register it and achieve the opportunity to conduct paid performances of the participants. Subsequently, the management of the Club passed to Igor Irteniev and Gennady Katsov. In 1988, the Poetziya club lost its legal status, but continued to hold various actions until the mid-1990s, ceasing to exist with the death of Nina Iskrenko, who became its informal leader: according to Yevgeny Bunimovich, “Nina left - and the holiday was gone”.

Poetry (film)

"Poetry" (; Si) is a Korean drama directed by Lee Chandong. The world premiere took place on May 13, 2010. At the 63rd Cannes Film Festival, Poetry won the Best Screenplay award.

Poetry (disambiguation)

Poetry is an ambiguous term, in addition to main meaning may refer to:

An asteroid discovered in 1921.

Poetry is the debut album of the Russian group Polyusa.
Poetry is a 2010 South Korean film directed by Lee Chandong.
Poetry is a literary almanac.

Examples of the use of the word poetry in literature.

Generally autobiographical prose, critical articles and poetry Grigoriev makes three cornerstones of his work, being in a kind of relationship with each other.

IN poetryas in any other form of speech, the addressee is no less important than the speaker.

Nizami's unknown poem caused a sensation among experts and just amateurs poetry, since she opened up new facets of the talent of the great Azerbaijani poet to humanity.

That winter our program was extensive: first Goethe and Schiller, then Chekhov, Gorky, and poetry - from acmeists to Mayakovsky and Yesenin, Soviet literature.

Ubaldo Capadosio said goodbye to all three, or rather, said goodbye, because they say goodbye forever only to the dead, and set off to conquer the glorious state of Alagoas, where human life is valued low, but poetry - high, and good poet can get recognition there, make money and, if he is not timid, warm the bed of some pretty dark-skinned woman.

Adopting a militant, revolutionary orientation poetry Shelley, they also learned some of the specific features of his romantic artistic method: abstraction, allegorism, the direct personification of abstract ideas and human feelings.

To do this, he used the baggage of metaphors, comparisons, antitheses and other adornments of classical rhetoric, and his native poetry borrowed the tool of alliteration to give his prose a bright sonic color.

We know that in Greek and Latin poetryrich in alliterations, and there was no rhyme at all.

Obviously, Smirnov was not aware of John Florio's allusion to the literary work of Ratland in dedication of the Italian-English dictionary to him, Johnson's words in a message to Elizabeth Ratland that her husband loved art poetry, not to mention many other facts.

The work of Mayakavsky and especially Bagritsky, conversations with these major poets had a significant impact on Jack Althausen, contributing to the formation of his character poetry and his first poetic successes.

Long anapestic verses begin, expressing majesty poetry Aeschylus.

If we talk about this at all, then in the minds of the Russian reader of such a phenomenon as the English-speaking poetry, does not exist.

Long ago, when I was still living in hometown, someone gave me typescript: Andrey Sergeev's translations from English poetry.

Here is another significant difference between the English language poetry: a poem in English is a poem with predominantly male endings.

Folding Spanish knives folded into the verses of the Andalusian Sigiriya, but poetry Garcia Lorca is the ultimate expression of flamenco poetics.