what is thought and message in drama? in Literature and got the best answer
Answer from Anastasia Mereshko[active]
DUMA - 1) The poetic genre of Russian literature, which is the poet's reflections on philosophical, social and family topics. The “Dumas” of K. F. Ryleev, which made up a kind of cycle of philosophical and patriotic poems and poems, were widely known: “Dimitri Donskoy”, “The Death of Yermak”, “Bogdan Khmelnitsky”, “Volynsky”, “Derzhavin”, etc. K It is customary to attribute “Dumas” by A. V. Koltsov and “Duma” (“I look sadly at our generation ...”) by M. Yu. Lermontov as philosophical and lyrical. One of the sections of the collection of poems by A. A. Fet "Evening Lights" is called "Elegies and Thoughts". The cycle of poems "Duma" is in K. K. Sluchevsky. Widely known in the first half of the 20th century was the "Duma about Opanas" by E. G. Bagritsky. 2) Epic and lyrical-epic song genre of Ukrainian folklore, reminiscent of Russian epics. Ukrainian dumas were performed in recitative, usually accompanied by a bandura; they are divided into three cycles: about the fight against the Turkish-Tatar raids in the 15th-early 17th centuries, about the national liberation war of 1648-1654 and about the reunification of Ukraine with Russia, on social and everyday topics.
Answer from Alexander Panko[active]
Duma is a lyric-epic work of Ukrainian oral literature about the life of the Cossacks of the 16th-18th centuries, which was performed by wandering music singers: kobzars, bandurists, lyre players in Central and Left-bank Ukraine
Answer from Yozykina Yu.O.[newbie]
Thought
Duma: Duma (dumka) - an outdated name for thought: “thinking a thought”, “I guess a thought”. Duma is a kind of lyric-epic works of Ukrainian oral literature. Duma is the son of Ishmael (Gen. 25:14) and one of the tribes of the Ishmaelites.
Answer from 3 answers[guru]
Hello! Here is a selection of topics with answers to your question: what is a thought and a message in a drama? on literature
epic and lyrical song genre of Ukrainian folklore, depicting the struggle of the Ukrainian people against foreign invaders, social conflicts, family and domestic relations. Dumas differ from other songs, including historical ones, in the way they are conveyed and in their form. Songs are sung, thoughts are performed by melodic recitative, improvised. The verse of thought is free, there is no division into stanzas; only division into non-equilibrium periods (ledges) is noticed, closing a certain image or a complete thought. Dumas were performed to the accompaniment of musical instruments: kobza, bandura or lyre. Folk musicians-performers also received their names from their names: kobzari, bandura players, lyre players (the most famous are A. Shut, O. Veresai, N. Rigorenko, M. Kravchenko). The first significant collection of dumas and Ukrainian songs came from the beginning of the 19th century: the handwritten collection “Little Russian Tales numbering 16. Written off from the lips of the blind Ivan, the best rhapsody that I found in Little Russia at the beginning of the 19th century” (published in 1892-93 in the magazine Kyiv antiquity"). In 1819, N.A. Tsertelev published the collection “The Experience of the Collection of Old Little Russian Songs”. In 1825, K.F. Ryleev called a collection of his poems and poems “Dumas”. For the first time in science, the term "Duma" was used to designate the genre of Ukrainian folk poetry by M. Maksimovich, who published the collection "Little Russian Songs" in 1827. After that, the term came into use by scientists and writers, but some performers, even in the late 19th and early 20th centuries, continued to use the old names: “Cossack pisni”, “pisni about the old times”, “more important pisni”, “psalms”. Interest in thoughts, their performers increased in the era of romanticism. Collectors of folk poetry paid more and more attention to the search for new epic works, studied the repertoire of their carriers, and regional traditions.
Thoughts are divided into three cycles: about the fight against Turkish-Tatar raids in the 15th and early 17th centuries; about the national liberation war of 1648-54 and the reunification of Ukraine with Russia (the Duma on the death of Bohdan Khmelnitsky and the election of a new hetman adjoin them); on social and family topics. The first two cycles, uniting the historical and heroic Dumas, represent two different stages in the development of the Ukrainian folk epic. The third cycle was probably created and existed simultaneously with the first two and later, including the 19th century. Ukrainian and Russian poets and prose writers quite often (especially in the 1840-50s) created images of bandura players, kobza players and lyre players, referring to the themes, artistic and visual means and techniques of Doom. They were widely used by N.V. Gogol in "Taras Bulba" (1835), E.P. Grebenka in the historical novel "Tchaikovsky" (1843), T.G. Shevchenko, I.A. Bunin ("Lirnik Rodion, 1913) , E.G. Bagritsky (“Duma about Opanas”, 1926), Petro Panch (“The Ukraine was bubbling”, 1954), Ivan Le (“Nalivaiko”, 1940; “Khmelnitsky”, 1959-65).
Forms of the heroic epic, which was previously performed by wanderers: lyre players, bandura players, kobza players in the Left-Bank and Central Ukraine.
Duma in literature is a little more in volume than historical ballads, but it is closely connected with the heroic epic. In the structure of this type of work, three structural elements can be distinguished: the sing-along, the main part and the ending. The poetic form of the Duma is astrophic, that is, without dividing into couplets, phrases that begin with exclamations “oh” and end with “gay-gay”.
Duma as a genre of a literary work acts as the highest stage of recitative, which was previously developed in lamentations. Poetic images and motifs of thoughts are also partly borrowed from lamentations. Dumas most often had characteristic improvisations, that is, the singers had stories that they conveyed to the people with the help of dumas, but they never had a memorized text. Kobzars are blind elders who can masterfully play the kobza, they went from village to village, sang thoughts to the villagers and for this they received a roof for the night and some food in gratitude. Kobzars, as well as lyre players and bandura players, were loved and waited, just to listen to new stories about the Cossacks.
Duma in literature is that kind of folk art in which there is no absolute accuracy. Singers, namely kobzars, lyre players and bandura players, adopted motives and variants of singing and playing melody from their teacher. In order to perform this kind of creativity, it was necessary to have a special talent - both for music and for the word. The singing technique of the performers must also be on the level. It is for this reason that real thoughts could only be preserved by professional performers.
The verbal component dominates in the thoughts, while the melody comes as an addition. The text and rhymes are most often rhetorical, beautifully designed, saturated with epithets, tautologies, and cognate words. For example, such expressions as: “Christian land”, “clear dawns”, “heavy bondage”, “cursed busurmans”, “bread and salt”, “janissary Turks” were often used. Quite often, thoughts included rhetorical questions, anaphoras, repetitions, conversions, inversions and other speech embellishments. Thought in literature is indeed the most intense form of art, which has not yet been overshadowed by anything.
Dumas became famous for being epic and solemn. The main themes of the thoughts went around the era during which they appeared: the Cossacks. The singers told about the battles of the Cossacks with enemies, about the exploits of the hetmans and generals. Most of all, this type of creativity developed during the period of struggle with the Poles, Turks and Tatars. In scientific terminology, such a term as “duma” appeared thanks to M. Maksimovich, who, following P. Lukashevich, P. Kulish and several other writers, published the first thoughts. The most substantiated scientific publication of the dooms is still the publication "Ukrainian People's Dumas" under the leadership of Kateryna Grushevskaya, but the writer was repressed for this, and her book was withdrawn from all libraries.
THOUGHT- 1) The poetic genre of Russian literature, which is the poet's reflections on philosophical, social and family topics. The “Dumas” by K.F. Ryleev, who made up a kind of cycle of philosophical and patriotic poems and poems: “Dimitri Donskoy”, “Death of Yermak”, “Bogdan Khmelnitsky”, “Volynsky”, “Derzhavin”, etc. It is customary to refer to the philosophical and lyrical “Thoughts” by A. AT. Koltsov and “Duma” (“I look sadly at our generation ...”) M.Yu. Lermontov. One of the sections of the collection of poems by A.A. Feta "Evening Lights" is called "Elegies and Thoughts". The cycle of poems "Duma" is in K.K. Sluchevsky. Widely known in the first half of the 20th century was the “Duma about Opanas” by E.G. Bagritsky. 2) Epic and lyrical-epic song genre of Ukrainian folklore, reminiscent of Russian epics. Ukrainian dumas were performed in recitative, usually accompanied by a bandura; they are divided into three cycles: about the fight against the Turkish-Tatar raids in the 15th-early 17th centuries, about the national liberation war of 1648-1654 and about the reunification of Ukraine with Russia, on social and everyday topics.
K. F. Ryleev is considered to be the greatest poet and the head of the de-Cabrist romanticism. On the eve of December 14, 1825, and on the day of his speech, he played an active role, in fact replacing the intended dictator Trubetskoy, who betrayed the rebels at the last moment. Ryleev was especially blamed for an attempt to persuade "Kakhovsky early in the morning on December 14 ... to enter the Winter Palace and, as if committing an independent terrorist act, kill Nikolai." Ranked among those who plotted regicide, he was sentenced to death execution His name was removed from literature.
In 1823-1825. Ryleev worked on the completion of the "Du-we" cycle, begun earlier. These were works of a special genre structure. Written on historical material, they differed markedly from historical poems and ballads. Duma as a genre combines the features of an ode, elegy, poem, ballads and, perhaps, a historical story in verse.In Ryleev's creative attitude, when creating thoughts, an educational, instructive desire prevailed.
Feeling that Russia was on the eve of a revolutionary explosion and a decisive transition to the future, Ryleev turned to the past. This is not a departure from actual problems, but an attempt to solve them in a special way. Ryleev had a deeply thought-out plan: to create a series of works about heroes, whose example would contribute to the education of qualities useful for society - patriotism, civic responsibility, hatred of tyrants.
Thoughts is not a collection of disparate works, at least close in theme: it is, in the strict sense of the word, a cycle - a supra-genre (or super-genre) combination of a number of works to reveal the idea, to embody content that is not revealed and is not expressed in each a separate term, and in full appear only within the boundaries of the entire cycle. The picture of reality in the cycles is created according to the mosaic principle. Individual works complement each other. The connection between them is formed not by direct author's instructions, but due to neighboring These connections, which are not stated in the word, are meaningful, and as a result, additional content arises in addition to the sum of the content of individual terms, or, according to the definition of Academician V. V. Vinogradov, "increment of the poetic meaning."
Apparently, Ryleev himself was aware of the innovative nature of his cycle, unusual for the Russian reader of that time. Therefore, he considered it necessary to “help” the reader by explaining the essence of his intention in the general introduction, and then he gave an explanation for each work in the form of a brief preface or note. of national history, to unite love for the fatherland with the first impressions of memory - this is a sure way to instill in the people a strong attachment to the motherland: even then these first impressions, these early concepts are not able to erase. They grow stronger with age and create brave ones for battle warriors, valiant men for advice."
As you can see, this is a poetic interpretation of the political program of the "Union of Welfare": the long-term, over the course of two decades, education of a whole generation for the revolution planned for the mid-40s. "Dumas" in this sense are educational works. Literature turns into a tool with the help of which, in fact, non-literary goals should be achieved.
The complex, multi-layered structure created by Ryleev with many internal connections had to correspond to the richness and social significance of the content of the “Duma” cycle. The objective content of the history of Russia is not only presented and mastered at different poetic levels, but also repeatedly refracted from different angles of view. In principle, this was supposed to give a convex, three-dimensional expression to individual episodes and the whole picture of the country's historical development.
In the spirit of that time, Ryleev, in order to justify his innovation, decided to refer to the authorities, to the long-standing roots of the phenomenon, to the long-standing nature of the genre: “Duma, an ancient heritage from our southern brothers, our Russian, native invention. The Poles took it from us." In fact, by borrowing, he entered into competition with foreign tradition, created a really new genre and laid the foundation for his own tradition. As a result of creative searches and discoveries, the Ryleeva Duma took root in the genre system of Russian poetry. Pushkin and Lermontov.She then took on a special form with Nekrasov, Blok and Yesenin.
Particularly promising was the combination of thoughts in a cycle and depiction of reality.
In his thoughts, Ryleev sought to illuminate the history of Russia from other positions than Karamzin. In fact, borrowing a lot from him, Ryleev rethought what he had taken in the light of the Decembrist views. The revolutionary romantic poet entered into an ideological dispute with the court historiographer on the most important question for that time about the role of the autocracy in the unification and strengthening of Russia. And this anti-Karamzin attitude of his can be clearly seen in the depiction of events and heroes of the past. So, if Karamzin argued that the autocracy saved Russia from foreign invaders, if he believed that the great power and modern culture were created by the autocracy, then Ryleev has other ideas on this score. And they are revealed not in direct assessments (although there are such), but in figurative roll calls. Here, for example, Yermak is depicted: the conqueror of Siberia, the destroyer of the predatory kingdom on the borders of Russia, the hero who pushed apart and strengthened the boundaries of the fatherland. All this was accomplished by Yermak without the support of the central government, at the time of the misfortunes that befell Russia under the ill-fated Ivan the Terrible. On the one hand, a genuine heroic deed, a match for the exploits of the ancient heroes. And on the other - scorched Moscow during the raid of the Crimean Khan, the corpses of the killed, suffocated, trampled Muscovites - tens of thousands of dead. Defeated armies on the western, northwestern borders of Russia. Furious villainy of a crazed ruler on the throne.
Ryleev does the same in other cases. Officially glorified, sometimes ranked among the saints, the lords of Ryleev appear either as tyrants, or as fratricides, rapists, lechers on the throne, hypocrites and intriguers. The church called Vladimir of Kyiv a saint - for the adoption of Christianity. And Ryleev seems to be unaware of this fact and its significance in the history of Russia. But he remembers Vladimir's polygamy, recalls his vindictiveness and cruelty. At the moment of the plot action, he is ready to kill Rogneda, the mother of his son, in front of his eyes! The church, tortured in the Horde of Mikhail Tverskoy, is also a saint, but they tortured him at the instigation of the Moscow prince! Ryleev cautiously recalls this in a brief preface. And in the thought “Boris Godunov” the tsar on the throne is directly called a thief of power, who cut off the legitimate dynasty, a murderer, a man with a troubled conscience. Not a tyrant-fighter, but a new tyrant, a student of Ivan the Terrible!
Pushkin had objections to Ryleev's "Dums". In May 1825, he expressed his opinion in a letter to Ryleev: in one cut: made up of common areas... Description of the place of action, speech of the hero and - moralizing. There is nothing national, Russian in them except names (I exclude Ivan Susanin, the first thought, according to which I began to suspect a true talent in you).
Pushkin's objections were of two kinds. On the one hand, he believed that none - not even the highest! - the goal does not justify anti-historicism. So, he insistently demanded that Ryleev from the “Oleg Veshchy” duma remove the ill-fated “shield with the coat of arms of Russia”, allegedly nailed to the gates of Constantinople. What coat of arms of Russia could be discussed at the beginning of the 10th century?! Then there was Kievan Rus, and the coat of arms (if only the double-headed eagle was meant by the coat of arms) appeared almost six centuries later, under Ivan III, in Moscow, which did not yet exist during the raids of the Eastern Slavs on Constantinople. The romantic poet projected the recent events of 1812 onto this majestic past, onto ancient Russia: the expulsion of Napoleon, the march of the Russian armies to the West, the capture of Paris ... But the realist poet categorically rejected such allusions: history should be portrayed as she really was. He did not believe that such "little things" could be ignored. Moreover, he decisively disagreed with Ryleyev about his well-known statement: "I am not a poet, but a citizen." Pushkin considered it unacceptable to reduce poetry to a service level, did not accept Ryleev's objections that "the forms of poetry in general are given too much importance."
In response to this, Pushkin resolutely declared: "If someone writes poetry, then first of all he should be a poet, but if you just want to be a citizen, then write in prose."
Ryleev died long before the full flowering of his talent, without completing the dispute with Pushkin, without realizing almost most of his plans. For all that, his contribution to the development of Russian poetry is truly unique.
