The main themes and plots of the folk epic. Myth and heroic epic of different peoples

Epos is literally from the Greek "narrative". Its main task is to describe events from the outside. For a long time, the epic did not touch upon events related to the inner experiences of a person. And even when the situation changed, the description of feelings and inner life continued to be detached, reasonable.

The tasks of the epic in literature

The epic is a mutual reflection on the events of both the author and his readers. And they, in turn, require a sober assessment of things. This allows you to better see the relationship between causes and effects that accompany human life. It allows you to look behind the curtain of everyday rush and combine what at first glance seems to be an accident, but in reality is a pattern.

Epos as a genre of literature

The volume of a work written in the epic genre is both small stories and big novels, epics. The main role in such works is assigned to the narrator himself. Narrating about characters and events, he steps aside, as if he does not participate in this, thanks to which the unique atmosphere of the work is created. In addition, such stories not only leave a trace of the events described, but also preserve the memory of the narrator himself, his way of thinking and manner of speaking. It is worth noting that the epic work contains all sorts of literary means. Thanks to the use of the narrative form in epic works, readers have the opportunity to penetrate deep into the inner, hidden from prying eyes, human world.

Development of epic literature in the history of culture

Considering epic literature before the 18th century, we can safely say that the poem was the most common genre in this industry. The main source of its plot was folk legends. All images were generalized and idealized, information was provided in a poetic form.

But the main genre, in the interval from the 18th to the 19th century, which is an epic, is a novel. Modernity is described in prosaic form, individualization of images takes place, speech becomes a reflection of social consciousness. But the full display of life concerned more stories, novellas and short stories.

The original essence of the epic was the retelling of exploits. Thus, the leading characters were positive, courageous, courageous heroes and their opponents, representing evil. The heroes of the epic were mostly idealized, mystical properties were attributed to them, but at the same time they continued to be people who take care of their loved ones and compatriots. The heroic epic mainly combines war and love. The protagonist enters the warpath with the forces of evil, shows valor, honor, dignity and kindness. And in the end, having overcome all obstacles and overcoming all evil, he receives pure and bright love.

Mystification and attribution of supernatural abilities to the heroes makes the story more interesting for readers, introduces them to a different world, in which there is no gray routine. It is filled with events, exploits and emotions of the heroes shown from the side. Thus, the epic is one of the oldest genres of literature and narrative. He is able to show the reader not only events long gone, but also the soul of the narrator. And taking into account the fact that the epic is still one of the most common genres among modern writers and poets, we can conclude that this is one of the most significant forms of literature. And thanks to its versatility, each reader will be able to find an epic work that meets his inner cultural and spiritual needs.

folk heroic epic arose in the era of the decomposition of the primitive communal system and developed in ancient and feudal society, under conditions of partial preservation of patriarchal relations and ideas, in which the typical heroic depiction of social relations as blood, tribal could not yet represent a conscious artistic device.

In classical form epic bogatyr-leaders and warriors represent a historical nation, and their opponents are often identical to historical "invaders", foreign and infidel oppressors (for example, Turks and Tatars in glory. epic). The "epic time" here is no longer a mythical era of first creation, but a glorious historical past at the dawn of national history. The most ancient state political formations (for example, Mycenae - "Iliad", the Kiev state of Prince Vladimir - epics, the state of four Oirots - "Dzhangar") act as a national and social utopia turned into the past. In classical form epic historical (or pseudo-historical) persons and events are glorified, although the very depiction of historical realities is subject to traditional plot schemes; sometimes ritual-mythological models are used. The epic background usually consists of the struggle of two epic tribes or nationalities (to a greater or lesser extent correlated with real history). In the center there is often a military event - a historical one (the Trojan War in the Iliad, the battle on Kurukshetra in the Mahabharata, on the Kosovo Field - in Serbian youthful songs), less often - a mythical one (the fight for Sampo in Kalevala). Power is usually concentrated in the hands of an epic prince (Vladimir - in epics, Charlemagne - in the "Song of Roland"), but the bearers of active action are heroes, whose heroic characters, as a rule, are marked not only by courage, but also by independence, obstinacy, even fury (Achilles - in the Iliad, Ilya Muromets - in epics). Their obstinacy sometimes leads them to conflict with the authorities (in the archaic epic - to the fight against God), but the directly social nature of the heroic deed and the commonality of patriotic goals for the most part provide a harmonious resolution of the conflict. IN epic mostly the actions (deeds) of the characters are drawn, and not their emotional experiences, but their own plot story is supplemented by numerous static descriptions and ceremonial dialogues. A stable and relatively homogeneous world epic corresponds to a constant epic background and often measured verse; the integrity of the epic narrative is preserved when focusing on individual episodes.

The main features of the ancient epic

1) in the center of the narrative is a person, his fate and participation in the fate of the state (city, etc.);

2) the form of narration - a journey with adventures and accomplishment of feats;

3) the image of a hero - the image of a warrior: a winner, a heroic person;

4) the obligatory presence of heroes of a special plan - superpowers (in Greece and Rome, this force is the gods);

5) language and style are very heavy, cumbersome; slow development of plots, many author's digressions;

6) the author in the course of the narrative takes different positions: either an observer, or a participant in events, or a historian writer (but in the medieval epic the author's principle is weakened due to the existence of most works in oral form).

4. The origin and formation of the ancient Greek historical epic. Homer and the "Homeric Question"

The monuments of the heroic epic are the most valuable part of the cultural heritage and the subject of national pride of peoples. The history of national literature begins with the epic,
and book heroic epics usually go back to oral-poetic examples of this genre. Folklore is the cradle of verbal art. If the elucidation of the genesis
of this or that epic monument is extremely important for understanding the ways of formation
national literature, the study of the origin
and early forms of the heroic epic as a whole - the most important
aspect in the study of the "prehistory" of world literature.
It is in this regard that in this work
the most ancient heroes and plots of archaic
epic monuments.
In the history of literature, one can single out a whole "epic
» an era worthy of special study
in folklore and theoretical-literary terms.
Analysis of archaic epic monuments in comparison
with the folklore of culturally backward peoples makes it possible
in turn highlight in this "epic"
epoch the most ancient step on which the "Promethean"
the pathos of protecting the first conquests of human civilization
(naively identified with his tribe) in
the fight against the elemental forces of nature has not yet retreated
in front of military heroic heroics in their own
sense of the word. This stage is characterized by a certain limitation
worldview and primitiveness of poetic
means, but at the same time, as always in art, it is inherent in
a unique beauty.
Let's move on to a brief overview of the main concepts
the origin of the epic in modern science.
In the spirit of the historical school, they interpret the origin
heroic epic by K. and M. Chadwicky, authors of the multi-volume
work on the epic "The Formation of Literature" 1 . Central
the thesis of the Chadwicks - historical accuracy, chro-
uniqueness of the epic. As an example, they point to
that "Beowulf" more accurately defines Hygelac
as the king of the Geats (and not the Danes) than the Frankish chronicle.
The Chadwicks have no doubt that the Irish epic,
The Iliad or the Bible can be a reliable source
to establish the identity of Conchobar, Agamemnon or
David. Literally all epic heroes are compared by the authors
with persons mentioned in the chronicles and annals,
and, in particular, accept without a shadow of a doubt all hypotheses
Sun. Miller about Russian heroes. Even for Mi-
kula Selyaninovich they find a historical prototype
in the face of a certain Mikula from Pskov.
The non-historical elements of the epic, according to the Chadwicks,
serve artistic purposes and do not question
its historical accuracy. The Chadwicks find
that many elements are losing their historicism due to the gradual
forgetting one or another event, which leads
to chronological confusion (Ermanarich, Theodoric,
Attila is depicted in the German epic as contemporaries);
similar historical names and events are mixed
(Vladimir Svyatoslavich and Vladimir Monomakh; murder
son John IV and Peter I), the exploits of the lesser known
a historical person is attributed to a more famous one,
wonderful birth stories finally appear
hero.
Deviation from the original historical fact and development
poetic fiction signify, according to the views
Chadwicks, the transition to myth, i.e. myth turns out to be not
the first, and the last stage in the formation of the epic.
Rectilinear comparison of epic with messages
chronicles about events and persons, consideration of the myth as
stages of decomposition of the epic and the approval of the aristocratic
the origin of the epic - this whole complex of ideas
completely coincides with the attitudes of the Russian historical
schools.

The Homeric question is a set of problems related to the authorship of the ancient Greek epic poems "Iliad" and "Odyssey" and the personality of Homer. A sharp statement of these problems was made by the book of Friedrich August Wolf, Prolegomena to Homer, published in 1795.

Many scholars, called “pluralists”, argued that the Iliad and the Odyssey in their present form are not the works of Homer (many even believed that Homer did not exist at all), but were created in the 6th century BC. BC e., probably in Athens, when the songs of different authors transmitted from generation to generation were collected and recorded. The so-called "Unitarians" defended the compositional unity of the poem, and thus the uniqueness of its author.

New information about the ancient world, comparative studies of South Slavic folk epics and a detailed analysis of metrics and style provided enough arguments against the original version of the pluralists, but also complicated the view of the Unitarians. Historical-geographical and linguistic analysis of the Iliad and the Odyssey made it possible to date them around the 8th century BC. BC e., although there are attempts to attribute them to the 9th or 7th century. BC e. They, apparently, were built on the Asia Minor coast of Greece, inhabited by Ionian tribes, or on one of the adjacent islands.

Different scholars assess in different ways how great the role of the creative individual was in the final design of these poems, but the prevailing opinion is that Homer is by no means just an empty (or collective) name. The question remains unresolved whether the Iliad and the Odyssey were created by the same poet or are the works of two different authors, although modern computer analysis of the text of both poems has shown that they have one author.

This poet (or poets) was probably one of the Aedi who, at least from the Mycenaean era (XV-XII centuries BC), passed on from generation to generation the memory of a mythical and heroic past. There was, however, not the primordial Iliad or the primordial Odyssey, but a certain set of established plots and a technique for composing and performing songs. It was these songs that became the material for the author (or authors) of both epics. What was new in Homer's work was the free processing of many epic traditions and the formation of a single whole from them with a carefully thought-out composition. Many modern scholars are of the opinion that this whole could only be created in writing.

5. Iliad and its heroes. Features of the epic in the poem.

The Iliad is an epic poem of 15,700 hexameters attributed to Homer, the oldest surviving monument of ancient Greek literature. The poem describes the events of the Trojan War. In addition, the poem is probably based on folklore stories about the exploits of ancient heroes.

The Iliad begins with a conflict in the camp of the Achaeans (also called Danaans) besieging Troy. King Agamemnon abducted the daughter of the priest of Apollo, for which a pestilence begins in the Achaean army. Achilles criticizes Agamemnon. But he agrees to replace one captive with Briseis, who belongs to Achilles. The 9-year siege (I, 259) is on the verge of collapse, but Odysseus corrects the situation.

In the second song, Homer describes the forces of the opposing sides. Under the leadership of Agamemnon, 1186 ships sailed to the walls of Troy, and the army itself numbered over 130 thousand soldiers. Various regions of Hellas sent their troops: Argos (under the command of Diomedes), Arcadia (under the command of Agapenor), Athens and Locris (led by Ajax the Great), Ithaca and Epirus (under the command of Odysseus), Crete (under the command of Idomeneus), Lacedaemon (Spartans Menelaus), Mycenae, Rhodes (under the command of Tlepolemus), Thessaly (myrmidons of Achilles), Phocis, Euboea, Elis, Aetolia, etc. , Paphlagonians (under the command of Pilemen), Pelasgians, Thracians and Phrygians.

Since the Trojan War began with the abduction of Helen, in the third song, her legal husband Menelaus enters into single combat with the actual one - Paris. Menelaus wins the duel, but the goddess Aphrodite saves Paris and carries the wounded man away from the battlefield. Due to the fact that the duel did not end with the death of one of the opponents, it is considered invalid. The war continues. However, neither the Achaeans nor the Trojans can prevail. The immortal gods help the mortals. The Achaeans are patronized by Pallas Athena, the Trojans by Apollo, Ares and Aphrodite. However, the fifth canto narrates how, in a cruel slaughter, even the immortal Ares and Aphrodite are injured at the hands of the Achaean Diomedes. Seeing the power of Pallas Athena, the leader of the Trojans, Hector, returns to Troy and demands rich sacrifices to be made to the goddess. At the same time, Hector shames Paris, who has hidden in the rear, and reassures his wife Andromache.

Returning to the battlefield, Hector challenges the strongest of the Achaeans to a duel, and Ajax the Great accepts his challenge in the seventh song. The heroes fight until late at night, but none of them can prevail. Then they fraternize, exchange gifts and disperse. Meanwhile, the will of Zeus leans towards the Trojans and only Poseidon remains faithful to them. The Achaean embassy goes to Achilles, whose army is inactive because of a quarrel between their leader and Agamemnon. However, the story of the disasters of the Achaeans, pressed by the Trojans to the sea, touches only Patroclus, a friend of Achilles. Counterattacking, the Trojans almost burn the Achaean fleet, but the goddess Hera, who is favorable to the Achaeans, seduces and lulls her husband, the god Zeus, to save her favorites. Seeing the Achaean ship set on fire by the Trojans, Achilles sends his soldiers (2500 people) under the control of Patroclus into battle, but he himself evades the battle, holding anger at Agamemnon. However, Patroclus dies in battle. First, Euphorbus strikes him in the back with a spear, and then Hector strikes him with a mortal blow in the groin with a pike. The desire to avenge a friend brings Achilles back into play, who, in turn, kills Hector by hitting him with a spear in the neck. At the end of the Iliad, a lawsuit unfolds over the body of Hector, which Achilles initially refused to give to the father of the deceased for burial.

Gods of the Iliad

Mount Olympus has a sacred meaning in the Iliad, on which the supreme god Zeus, the son of Kronos, sits. He is revered by both the Achaeans and the Trojans. He towers over the opposing sides. Zeus mentions a dark-haired brother Poseidon, who unambiguously supports the Achaeans (XIII, 351). Zeus has a wife, Hera (also the daughter of Kronos, who also considers the Ocean to be her father - XIV, 201) and divine children: Apollo (whose abode is called Pergamum), Ares, bright-eyed Athena Pallas, Aphrodite, Hephaestus. Hera and Athena are on the side of the Achaeans, and Apollo and Aphrodite are on the side of the Trojans.

EPIC STYLE. The poems are epic in style. Its defining features are: a strictly sustained narrative tone; unhurried thoroughness in the development of the plot; objectivity in depicting events and persons. Such an objective manner, impartiality, almost excluding subjectivism, is so consistently sustained that it seems that the author does not betray himself anywhere, does not show his emotions.

In the Iliad, we often see how Zeus is unable to decide the fate of the hero himself, takes the scales in his hands and throws on them the lot of heroes - Hector (XXII, 209-213) and Achilles and two troops - Trojan and Achaean (VIII, 69 -72, compare XVI, 658); the fate of Sarpedon and Patroclus is also decided (XVI, 435-449; 786-800). Often the gods take a direct part in the battles: in order to

the Achaeans could have acted more successfully against the Trojans, Hera puts Zeus to sleep (XIV). And in the last battle, Zeus himself allows the gods to take part (XX). In the Odyssey, the participation of the gods is more formal: Athena finds and equips a ship for Telemachus (II, 382-387), illuminates the hall in front of him with a lamp (XIX, 33 ff.), etc. The promise of Zeus to punish Agamemnon, given in beginning of the Iliad (I), is carried out only a long time later. Even the anger of the gods - Zeus and Apollo in the Iliad, Poseidon in the Odyssey - has no organic significance in the course of the poems. In his narration, the poet retains a majestic calmness, and such places as the scene with Thersites in the second song of the Iliad are very rare, where the author clearly pursues his tendency. In general, his exposition is distinguished by objectivity; he nowhere reveals his face and does not speak about himself.

6. The Odyssey is a heroic poem of wanderings.

The Odyssey is the later of the two great poems of the ancient Greek heroic epic. Like the Iliad, with which the Odyssey is connected both thematically and ideologically, the Odyssey arose no earlier than the 8th century. BC e., her homeland is the Ionian cities of the coast of Asia Minor, the author, if we conditionally apply this word to a folk storyteller, is, according to legend, the blind singer Homer.

The heroes and heroics of Homer's poems are united and integral, many-sided and complex, just as integral and many-sided life is, seen through the eyes of a narrator, wise by the experience of the entire previous tradition of epic knowledge of the world.

The capture of Troy by the Achaeans with the help of cunning was described in one of the songs of the Odyssey. The blind singer Demodocus, singing the cunning king Odysseus, recounted the whole history of the construction of a huge wooden horse, inside which the bravest of the Achaeans hid. At night, after the Trojans dragged the monstrous horse inside the fortress walls, the Achaean warriors came out of the horse's belly, captured and destroyed the "sacred" Troy. It is known that the ancient Greeks had apocryphal poems that described in detail the further events of the Trojan War.

It spoke about the death of the valiant Achilles, who died from the arrow of Paris, the culprit of the Trojan war, and about the construction of a wooden horse fatal to the Trojans. The names of these poems are known - "Small Iliad", "Destruction of Ilion", but they have not reached our time.

First, Odysseus and his companions enter the country of wild people - kikons, then to peaceful lotophages, then to the island of the Cyclopes, where the Cyclops Poliphenes, a savage and cannibal, ate several of Odysseus's companions and nearly destroyed him.

Then Odysseus gets to the god of the winds Eol, then he gets to the robbers of the lestrigons and to the sorceress Kirk, who kept him for a whole year, and then sent him to the underworld to find out his future fate.

By a special cunning trick, Odysseus passes by the island of the Sirens, half-women, half-birds, who lured all travelers to him with their voluptuous singing and then devoured them. On the island of Trinacria, Odysseus's companions devour the bulls of Helios, for which the god of the sea Poseidon destroys all the ships of Odysseus; and only one Odysseus escapes, nailed by waves to the island of the nymph Calypso. He lives with Calypso for 3 years, and the gods decide that it is time for him to return home to Ithaca. Over the course of several songs, all the adventures of Odysseus are described on the way home, where at this time the local kings are courting Penelope, Odysseus's faithful wife, who has been waiting for him for 20 years.

As a result, Odysseus nevertheless gets to the house, together with his son Telemachus, kills all the suitors, and, having suppressed the rebellion of the suitors' supporters, reigns in his own house and begins a happy peaceful life after a 20-year break.

Despite the fact that Odysseus' journey home lasted 10 years, the Odyssey covers even less time than the Iliad and the action takes place over 40 days.

"Odyssey" can also be set out on separate days, during which the events depicted in it take place.

It is quite obvious that the compiler or compilers of the poem divided the image of what is happening by day, although in Homer this division is not quite exactly expressed in some places.

If we sum up the distribution of action by day in the Odyssey, it should be noted that out of 40 days, at least 25 days do not find a detailed presentation for themselves. Those. of the 10 years of Odysseus' wandering, the poem depicts only the last days before Ithaca and a few days in Ithaca. About the rest of the time, i.e. in essence, about 10 years, either is told by Odysseus himself at a feast at Alcinous, or they are only mentioned.

Undoubtedly, the Odyssey is a much more complex work of ancient literature than the Iliad.

Studies of the "Odyssey" from a literary point of view and from the point of view of possible authorship are ongoing to this day.

As a result of a review of criticism of the Odyssey, one can come to the following conclusions:

1. In the "Odyssey" a combination of elements of two independent poems is found. Of these, one can be called the "Odyssey" proper, and the other "Telemechia".

2. "Odyssey" represented the return of Odysseus from Calypso through Scheria to his homeland and his revenge on suitors in a conspiracy with his son, as it is depicted in the XVI song. Penelope recognized her husband here after the suitors were killed by him.

3. The author of this ancient "Odyssey" himself already used more ancient songs: he combines a separate song "Calypso", a free fantasy on the theme "Kirk", with "Theakis", his processing of the story in the third person into the story of Odysseus himself is noticeable.

4. In "Telemachia", which tells about the journey of Telemachus to Pylos and Sparta, there is a decline in the art of composition in comparison with the "Odyssey". The combination of "Calypso" with "Theakia" is done so skillfully that the coherence and sequence of the story is completely irreproachable. On the contrary, in Telemachia, Telemachus' journey itself and the stories of Nestor and Menelaus to him are very weakly connected with the rest of the action of the poem, and even direct contradictions open up here for the attentive reader.

5. The epilogue of the Odyssey is a contamination of separate parts of the two above-mentioned poems and of an older origin than the final edition of the Odyssey.

6. The activity of the last editor of the Odyssey was to combine parts of the ancient Odyssey, Telemachia and that processing of the epilogue, which was mentioned. The editor's inserts are characterized by some features of the language, the borrowing of many verses from ancient poems, and the ambiguity and inconsistency of the presentation. In some cases, the inserts are based on extracts from ancient sources. The editor also introduces the content of cyclic poems into the Odyssey.

7. Didactic epic of Hesiod.

The tribal community quickly decomposed, and if Homer was the eve of class society, then Hesiod already reflects the orientation of a person within class society. Hesiod-writer of 8-7 centuries BC The didacticism of his writings is caused by the needs of the time, the end of the epic era, when heroic ideals dried up in their bright immediacy and turned into teaching, instruction, morality. In a class society, people were united by this or that attitude towards work. People thought about their ideals, but because while purely commercial and industrial relations have not yet matured and the old domestic relations have not died, the consciousness of people has turned the latter into morality, a system of teachings, instructions. Class society divided people into haves and have-nots. Hesiod is the singer of the ruined population, not profiting from the collapse of the ancient community. Hence the abundance of gloomy colors. “Works and Days” was written as an admonition to brother Pers, who, through unjust judges, took away from Hesiod the land that belonged to him, but later went bankrupt. The poem is an example of a didactic epic that develops several themes. The first theme is built around preaching the truth, with interjections about Prometheus and the myth of the five ages. The second is devoted to field work, agricultural implements, livestock, clothing, food, and other attributes of everyday life. The poem is interspersed with various instructions that depict the image of a peasant who knows how and when to arrange his affairs profitably, sharp-witted, far-sighted and prudent. Hesiod also wants to be rich, because. "The eyes of the rich are bold." The morality of Hesiod always comes down to divine authorities and does not go beyond the arrangement of economic affairs. Hesiod is very conservative and very narrow in his mental horizon. Hesiod's style is the opposite of luxury, verbosity and breadth of the Homeric epic. It impresses with its dryness and brevity. In general, the style is epic with all its distinctive features (hexameter, standard expressions, Ionian dialect). But the epic is not heroic, but didactic, an even epic narrative is interrupted by the drama of mythological episodes unknown to Homer, and the language is full of common expressions, traditional formulas of oracles and quite prosaic morality. The morality is so strong and intense that it gives a very boring and monotonous impression. But Hesiod is observant and sometimes draws very vivid pictures of ancient life. He also has features of some poetry, but poetry is full of moral and economic instructions. On the example of his work, one can observe social shifts and contradictions. Hesiod's poems amaze with an abundance of various kinds of contradictions, which, however, do not prevent us from perceiving his epic as a kind of organic whole. Hesiod, after the onset of the slave system, on the one hand, is a poor man, on the other hand, his ideals are connected with enrichment, either in the old or in the new sense. His assessment of life is full of pessimism, but at the same time, labor optimism, hopes that thanks to constant activity, a happy life will come. Nature for him is primarily a source of benefits, but Hesiod is a great lover of her beauties. In general, Hesiod was the first historically real poet of ancient Greece, reflected the turbulent era of the collapse of the tribal community

8. Ancient lyrics, its main forms, images and means of expression .

Ancient lyrics arose with the advent of the individual poet, i.e. when a person realized his independence, separating himself from nature and the collective. The term "lyrics" replaced the earlier one - "melika" (from "melos" - melody). According to Plato, melos consists of three elements - words, harmony and rhythm. The ancients understood melos as a combination of music, poetry and orchestika (dance art). The word "lyric" means accompaniment with a musical instrument - lyre, cithara or flute. The lyrics of the classical period have come down to us in the form of fragments or quotations given by ancient authors. The first work of ancient lyrics dates back to the 7th century: in April 648 there was an eclipse of the sun, mentioned by Archilochus. The heyday of ancient lyrics dates back to the 6th century BC.

Greek lyrics are divided into declamatory and song (melos), which, in turn, is divided into monodic and choral.

Declamatory lyrics include elegy and iambic.

An elegy is a lament, a lament, performed with the accompaniment of a flute. Subsequently, the mournful character is replaced by an instructive, motivating one. It was performed at feasts and folk gatherings. Traces of a mournful character are preserved in tombstone inscriptions - epigrams.

The most common was the civil, military-patriotic elegy. Its famous representative was Callinus of Ephesus:

There is a legend about how, during the Second Messenian War (671 BC), the Spartans asked the Athenians for a commander. The Athenians, in mockery, sent the one-eyed and lame Tyrtaeus, a school teacher and poet, but he so inspired the Spartans with his warlike elegies that they won. There is also a legend about how the Athenian legislator Solon, from a noble family, went bankrupt, traveled a lot and returned to Athens, when the Megarians conquered the island of Salamis from the Athenians. Under the guise of a madman, Solon stood in the square and began to appeal to the honor and patriotism of the Athenians, after which, according to Plutarch, the Athenians returned Salamis. Solon's elegies are gnomic, i.e. moralistic and aphoristic character.

The representative of the love elegy was Mimnerm (c. 600 BC), who preferred the death of old age and the absence of pleasure, called love "golden Aphrodite" and sang love for the flutist Nanno. He dreamed that a person would live only 60 years, but without illness and worries. To which Solon objected that if without worries and illnesses, then why not 80? Mimnerm is also considered the first representative of the erotic elegy. The combination of public and private themes is noted in the lyrics of Theognis from Megara. Of his 1400 poems, only 150 are love elegies. Theognis is an ardent and vicious enemy of democracy, he divides people into "good" - aristocrats, and "vile" - demos. A separate collection of poems by Theognis is made up of instructions in piety to the boy Kirk.

At the agricultural festivals of fertility, characterized by revelry and foul language, mocking songs were sung against individuals - iambs, as a means of expressing personal feelings. Iambics were metrically compiled by iambic proper (~ -) and trochai, i.e. trochee (-~).

Simonides of Amorgos sang of courage in the face of the calamities of life. He distinguishes 10 types of women descended from 10 animals, and considers only those who descended from a bee to be good. Hipponact is considered the father of parody, creates in the language of the streets and dens, portrays himself as a beggar, he ridicules the gods, painters, women.

The poet Archilochus was compared with Homer. The son of an aristocrat and a slave, i.e. “declassed”, he participated in the battle with the Thracians as a hired soldier, later he died in battle. His unsuccessful affair with Neobula, the daughter of Lycambus, whom Archilochus brought to suicide with his iambs, is known. In addition to iambs, he wrote elegies (cheerful, courageous, cheerful), epigrams, epitaphs, musical compositions for the flute. He is a warrior, a womanizer, an “idle reveler” and a philosopher, witty and merciless towards enemies.

Monodic lyrics are represented by three great poets. These are Alcaeus, Sappho and Anacreon.

Alcaeus is a poet of the era of the struggle of the demos against the aristocracy, who fled from mainland Greece to the islands, in particular to the island of Lesbos. He tells about the vicissitudes of his fate. The state is depicted as a ship in raging waves (this image was subsequently borrowed by Horace). His mood is aggressive, his sense of life is tragic, while his favorite topics are nature, love, women and wine. Wine is a remedy for all sorrows, a “mirror for people”, in it is the only consolation. His quatrain is known, dedicated to the "violet-haired" Sappho.

On Lesbos, men and women formed closed communities and spent time outside the family. At the head of the women's community - "the house of the servants of the Muses" - was the poetess Sappho (or Sappho). The circle of interests of the commonwealth was also the theme of her poetry - women's cults, love, jealousy. According to one legend, she threw herself off a cliff out of love for the young Phaon. According to another, she lived to old age, was married, had a daughter, Cleida. Despite the existing speculation about Sappho's morality, Alkey called her “pure.” Sappho wrote hymns to Aphrodite, laments for Adonis. , then him.

Anacreon adjoins Alcaeus and Sappho in the lesbian lyrics (second half of the 6th century). His poetry is full of merry, graceful and playful eroticism. He describes the games of Eros, love madness. Anacreon fixes one moment, without philosophical reasoning. The characteristic features of his poetry - liveliness, clarity, simplicity, elegance have served as an example for imitation in all ages.

Choral lyrics arose from hymns to the gods - this is nome, paean, prosody (During the processions), parthenium (maiden song), hyperhema (in honor of Apollo), pyrrichia (in honor of Ares).

At the end of the 6th - beginning of the 5th century, in the era of the heyday of choral lyrics, the most common genres were dithyrambs (impulsive, exalted songs in honor of Dionysus, performed by a choir of 50 people dressed in goatskins and masks), epiniky (song in honor of the winner at the annual sports competitions) and enkomy (song in honor of a certain person).

The most famous representatives of choral lyrics were Stesichorus, Ivik, Simonides, Pindar and Bacchilid.

Stesichorus wrote hymns, paeans, bucolic and erotic poems. There is a legend that he portrayed Elena the Beautiful in a bad light and went blind, then wrote that it was the ghost of Elena - and regained his sight.

Ivik, a wandering poet, was killed by robbers. He wrote encomia dedicated to various personalities, hymns of love content.

Simonides of Ceos sang the heroic events of the Greco-Persian war. It is known that he defeated Aeschylus in a competition of epigrams in honor of those who died at Marathon. He wrote epinicia, frenes (funeral laments), dithyrambs, epigrams. His expressions in the form of aphorisms were quoted by Xenophon, Plato, Aristophanes: “Everything is a game, and nothing should be taken too seriously”, “I am not looking for something that cannot be.”

Pindar is the most celebrated of all the classical lyricists. 4 books of his epinicia have come down to us, in each of which the winner of different games is sung: Olympic, Pythian, Nemean and Isthmean. Pindar's style is solemn, majestic, especially in patriotic lyrics.

Bacchilid, the nephew of Simonides of Ceos, wrote odes and dithyrambs (his “Theseus” is the only dithyramb that has come down to us in its entirety). Bacchilidus is alien to the inflexible aristocracy of Pindar, he praises the valor of man in general.

9. Melic poetry. Alcaeus, Sappho, Anacreon.

The place of origin of literary melika, i.e., individual song poetry, is the large island of Lesbos off the western coast of Asia Minor, where a cultural upsurge began earlier than in other parts of Greece. Here already in the 7th century. a number of prominent poets appeared. Terpander was known for his "nomes" (see ch. VI, o. 135), Arion from Mephimne on Lesbos was considered the ancestor of "dithyrambs", chants in honor of Dionysus, which later served as the basis of the tragedy (see ch. VIII). Arion lived in Corinth under the tyrant Periander. The introduction by this tyrant of the cult of Dionysus in Corinth (Herodotus, I, 23) was a democratic event, and therefore one can think that Arion was a conductor of the same direction. Both of these poets used the Dorian dialect.
The simplest forms of meli poetry are given by monodic, that is, monophonic, lyrics. The Aeolian (Lesbosian) poets Alcaeus and Sappho and the Ionian Anacreon were engaged in it.
The richness and variety of the melodies of song poetry corresponded to the richness of the poetic design. Melika differs from simple forms of elegiac and iambic poetry in that it allows combinations of feet of different numbers of mora. The so-called "logaedes" are especially common, representing the connection of trocheal feet with dactylic ones. The simplest types of Logaeds are the “glycon” verse (named after a poet unknown to us), having the form: - U - UU - U - (-), and the “ferekrates” verse often adjoining it (after the poet of the end of the 5th century BC). BC), the scheme of which is U - UU - U. Sometimes verses are combined into whole stanzas. The stanzas invented by the Lesbos poets Alcaeus and Sappho were widely used not only in Greek, but also in Roman literature. The Sapphic stanza has the following scheme:

The first three verses of the stanza each consist of one dactyl in the middle with two trochees in front and behind, while the fourth verse consists of one dactyl and one trochee. In the "Alcaean" stanza, the first two lines have the same structure: they begin with an indifferent syllable, followed by two trochees, a dactyl, and two more trochees with the last syllable truncated; the third verse consists of four iambs, and the fourth is a combination of two dactyls with two trochees. Its scheme is as follows.

The heroes of the epics personify entire nations (Achilles, Odysseus), and their fate is the fate of the entire people and state. A hero is always strong by the strength of his people, personifies both the best and the worst in his people. An epic hero is a link between an individual and all of humanity. The hero of Homer's poems lives in a special world where the concepts "all" and "everyone" mean the same thing.

Artistic epics are based on majestic heroics. The heroes of the epic are a special hero, "replacing a whole army", his fate is the fate of society and the state (a monumental picture of the world). The hero in the epic is the clan and the person, but he carries in himself, as it were, the whole epic humanity.

In the Homeric epic between man and humanity there is a connecting link - an epic hero. A person turns out to be a hero because he is devoid of small egoistic traits, but he is always both internally and externally connected with the life of the people and the cause of the people. He is courageous in terms of fortitude (as scientists say "morally unproblematic"). He is stoic about everything, he understands perfectly well that he is mortal, that everything depends on fate. But at the same time he enjoys life, accepts his death calmly. He can be victorious or defeated, strong or powerless, he can love and hate - in a word, he can have various properties of the human personality, but all this on one condition: he must be one with the life of the whole people and the whole tribe.

The epic hero is by no means the one who is deprived of his personal psychology, but this psychology, in its essence, should be in him of the whole people. This makes him the hero of the monumental epic.

Also, all heroes are created according to a certain principle: they have the same number of qualities - epic valor, but they are developed in different ways. These "valours" are given to the hero from birth and can be developed throughout his life.

Hector - the bravest leader of the Trojan army, the son of Priam and Hecuba.

Homer's Hector: selflessly to his people his leader, a fiery patriot and a fearless soldier, a naive, indecisive and not always successful commander, an overly arrogant, boastful person, a gentle family man, a hero who knows his fatal destiny and, nevertheless, openly goes into battle .

Hector is a special hero. Sometimes it seems that he fights alone, because when describing battle scenes, he seems to replace the whole army (as well as Achilles).

“That sometimes from the courts, between the ditch and the wall, the space

Everything was filled with both horses and howling crowd́ mi

The terribly oppressed Danae: he pressed them, like Ares,

Hector mighty when he gave him the glory of Kronion.

He would destroy with fierce fire even their ships by the sea ... "

Odysseus- "a cunning husband"; a hero known for his intelligence, cunning, diplomacy, oratory.

Homer's Odysseus: a man who can get out of any difficult situation. First of all, Odysseus is very devoted to the interests of his homeland and cannot forget it for 20 years. The second feature, without which Odysseus is unthinkable, is his incredible and inhuman cruelty. Adding to this his constant bravery, courage in both small and big things, fearlessness before death, inexhaustible tolerance and eternal suffering, it must be recognized that this Homeric character is far from any boring monotony and is full of the deepest contradictions. In adventures, he is helped not so much by military prowess as by dexterity, resourcefulness and resourcefulness.

Heinrich Schliemann was born in 1822 in Germany in the family of a poor pastor. On his seventh birthday, he received a colorful encyclopedia of myths and after that he declared that he would find Troy. He doesn't get an education. The history of his youth is very turbulent: he is hired on a schooner as a cabin boy, the schooner is shipwrecked, Schliemann ends up on a desert island. At the age of 19, he gets to Amsterdam and gets a job there as a petty clerk. Turns out. That he is very receptive to languages, so he soon goes to St. Petersburg, opens his own business - the supply of bread to Europe. In 1864, he closes his business, and uses all the money to open Troy. He travels to places where she could be. The entire scientific world carried out excavations in Bunarbashi in Turkey. But Schliemann was guided by the Homeric texts, where it was said that the Trojans could go to the sea several times a day. Bunarbashi was too far from the sea. Schliemann found Cape Hisarlik and found out that the real reason for the Trojan War was the economy - the Trojans charged too much to pass through the strait. Schliemann conducted excavations in his own way - he did not excavate layer by layer, but excavated all the layers at once. At the very bottom (layer 3A) he found gold. But he was afraid that his unprofessional workers would plunder him, so he ordered them to go to celebrate, and he and his wife dragged the gold into the tent. Most of all, Schliemann wanted to return Greece to its former greatness, respectively, and this gold, which he considered the treasure of King Priam. But according to the laws, the treasure belonged to Turkey. Therefore, his wife, the Greek Sophia, hid the gold in cabbage and transported it across the border.

Having proved to the whole world that Troy really existed, Schliemann actually destroyed it. Later, scientists proved that the required time layer was 7A, Schliemann destroyed this layer, taking out gold. Then Schliemann led excavations in Tiryns and dug up the birthplace of Hercules. Then excavations in Mycenae, where he found the golden gate, three tombs, which he considered the burial places of Agamemnon (the golden mask of Agamemnon), Cassandra and Clytemnestra. He was wrong again - these burials belonged to an earlier time. But he proved the existence of an ancient civilization, as he discovered clay tablets with writings. He also wanted to excavate in Crete, but he did not have enough money to buy the hill. Schliemann's death is absolutely absurd. He was driving home for Christmas, caught a cold, fell in the street, was taken to a poorhouse where he froze to death. They buried him magnificently, the Greek king himself walked behind the coffin.

Similar clay tablets have been found in Crete. This proves that a very long time ago (12th century BC) there was writing in Crete and Mycenae. Scientists call it "linear pre-Greek pre-alphabetic syllabary", and there are two varieties: a and b. A cannot be deciphered, B has been deciphered. The tablets were found in 1900, and deciphered after the Second World War. Franz Sittini deciphered 12 syllables. The breakthrough was made by Michael Ventris, an Englishman, who suggested that the basis should be taken not from the Cretan, but from the Greek dialect. So he deciphered almost all the signs. A problem arose before the scientific world: why was Greek written in Crete at the time of its heyday? Schliemann first tried to accurately determine the date of the destruction of Troy - 1200 BC. He was only ten years wrong. Modern scholars have established that it was destroyed between 1195 and 1185 BC.

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1 12 Nov lesson. Lesson topic. Type, form of lesson. Lesson content. Types and forms. control. Heroes and themes of the folk epic. Front Dec Presentation on the MHK on the topic: The Karelian-Finnish epic Kalevala. Given to the poem by Lönnrot, this is the epic name of the country in which Finnish folk heroes live and act. Suffix. methodological developments, presentations and abstracts. Presentation for a geometry lesson in grade 8 English lesson on the topic Selivanov Vasily Andreevich Kolesova Ya.N. This. The development of a lesson and an electronic application introduces folk. This paper presents a plan-outline of a lesson in painting, where the World Artistic Culture is Social Science. I offer a synopsis of a literature lesson in grade 6, where the collective is used. read the Bashkir folk epic "Ural-Batyr" and the Kyrgyz epic "Manas" .. the epic, what are the features of its poetics, how the people represented their heroes. (Record A summary of an art lesson on the topic Performing a graphic image of the heroes of the olonkho. A lesson in fine arts in the 3rd grade Mamin Methodological development on the MCC (grade 9) on the topic: Abstracts of the lessons of the MCC. Middle Ages. Published: 59 - Trenkunova Svetlana Oct Subject of the MHC systematizes knowledge about culture and art obtained in the lessons of music, literature, history, fine arts Methodological development (world art culture, grade 9) on the topic: Lesson notes on the Moscow Art Theater Culture of the East Presentation Geser Published: 28 - Ayurova Larisa Dorzhievna Presentation to a lesson on the topic Buryat heroic epic Geser Teaching MHK and fine arts, Lesson of literature on the work of A. N. Ostrovsky on the topic of A. N. Ostrovsky.Methods and techniques of the lesson contribute to the ability to analyze the nature of the actions of the characters, ... The outline of the literary lesson is given readings on the topic of the Bashkir folk epic Fine art lesson on the topic: Multi-colored colors Sergeeva T.V. ... and the nature of national buildings, costumes, folk holidays .. to eternal themes, work on the comparative characteristics of heroes .. A summary of the lesson of world art culture at dec Presentation on the Moscow Art Theater on the topic: "The hero of the folk epos Ilya Muromets." bogatyr embodying the folk ideal of a hero-warrior, a folk protector.. methodological developments, presentations and notes. At the lesson of literary reading, we got acquainted with the epics and read the Outline of the lesson on the MCC (Grade 10) on the topic: Integrated lesson on the MCC and the English language. Published: 34 - Saturday Raisa Oct Outline of a lesson in literature (grade 8) on the topic: Final. The final lesson in the form of KVN in the 8th grade on the topic Folk songs September This presentation lesson will be a discovery for students in grades 6-7: the guys will learn the history of the word, genre; remember those epic heroes that they met before. FOLKLORE (ORAL FOLK CREATIVITY) ... methodological developments, presentations and lesson notes summary of the lesson MHK heroes and themes of the folk epic p / n, Theme. lessons. didactic model. learning. Pedagogical. cue. Presentation "Objectives of the MHC subject and basic concepts" .. "Country of heroes and gods" ... Heroes and themes of the folk epos .. Drawing up a summary Lesson notes for grade 11 PPTX MP3 DOCX DOC JPG JPEG ... their images of Gilgamesh and Enkidu of the ancient epic heroes of Mesopotamia... Topic: Artistic monuments of Russia as a reflection of its history and traditions... Among the objects of folk art are: chests, spinning wheels, sledges, Methodological development of a lesson on the topic Postage stamp (virtual tour. introducing folk art, based on gaming techniques, UNESCO Yakut heroic epic-olonkho 2005. a masterpiece of oral.It presents a lesson plan, as well as photographs and drawings. :. Presentation on the MHK on the topic: "Hero of the folk epic Ilya Muromets" Sep MHK program for grade 8. World art culture Grades 5-11 compiler Danilova G.I. Methods and forms, teaching technologies: The main form of organization of educational process is a lesson.. Heroes and themes of the folk epic. Lesson notes Plan-summary of the lesson of fine arts on illustrating the legends of the Adyghe epos. Among such unique values ​​of folk art is the most ancient. art education of the Republic of Adygea. And drawing on the themes of legends about August The most acceptable form of work on the program "World Artistic Culture" is a lesson

2 using Mar Type: Lesson; Size: Kb.; The purpose of the lesson: To introduce the epic genre of folk art, its elements. The working program of the training course “World Artistic Culture. Grade 10 ... Heroes and themes of the Russian folk epos Form of conduct; concert lesson.. Synopsis This is the third lesson in the general theme of the 3rd quarter Painting of the region .. spatial perception, interest in folk traditions and different cultures .. Outline of the fine arts lesson on illustrating the legends of the Adyghe epic Narta about the exploits of its main character Sausoruko is aimed primarily for Sep Literature lesson in 7th grade. Theme of the lesson: "The Tale of Peter and Fevronia of Murom." Moral ideals and precepts of Ancient Rus' The subject "World Artistic Culture" is focused on the education of the spiritual world, ... The final lesson of the year. 1. Heroes and themes of the folk epic

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Presentation - Heroes and themes of the folk epic

The text of this presentation

Theme: Heroes and themes of the folk epic
Municipal budgetary educational institution Sadovskaya secondary school
MHC. Grade 8 Compiled by the teacher of Russian language and literature Efimova Nina Vasilievna

Checking homework. What is a heroic epic? How did the heroic epic manifest itself among the Russian people? What is "olonkho"? Name the literary works of the Russian epic. In what genres of art, besides literature, did the heroic epic manifest itself? What musical works do you know created on an epic theme? Which artists turned to the heroic epic?

The dictionary work of the Rune is the writing of the ancient Germans, ancient Slavs and ancient Turks. Kantele is a Karelian and Finnish plucked string instrument, related to the gusli. The kantele is played solo, accompanied by the runes of the folk epic "Kalevala".
Page from a runic manuscript of the Codex Runicus
Karelian-Finnish musicians playing the kantele. 1949

The heroic epic among different peoples was composed at different times and in different historical settings, but it has many common features and similar features: the repetition of themes and plots, the common characteristics of the main characters.

Plots of heroic epics: the creation of the world, the miraculous birth of a hero, the first exploits of heroes in their youth, the hero’s matchmaking and his trials, description of battles, defense and liberation of the homeland, glorification of loyalty and friendship.
Buryat heroic epic

The heroic epic often includes the story of the creation of the world. It tells how the gods create the harmony of the world from the original abyss of chaos.

The Icelandic epic "Elder Edda" tells about the creation of the world and the World Tree - the ash Yggdrassil. Having conquered space from the abyss of the world, the gods begin to create a cosmos, an ordered world of harmony.
Yggdrasil

The Slavs and some Finno-Ugric peoples have a legend that a bird takes the earth from the bottom of the ocean to create land.
Legend of Gamayun

The legend of the creation of the world in the Indian epic is expressive and poetic. It says that the waters first appeared and gave birth to fire. The Golden Egg was born in them by fire. From the embryo of the egg, the Progenitor Brahma arose, splitting the shell in two. The upper part is the sky, and the lower part is the earth. The space between them is air.
Brahma

The favorite plot of the epic is the miraculous birth of the hero and his first exploits in his youth. the hero Manas was born from eating an apple by his mother, the hero of the Ossetian Nart epic was born from a stone, Väinämöinen, the hero of Kalevala, was born from the mother of water.
Väinämöinen
Manas

A common plot of the folk epic is the matchmaking of the hero, during which difficult conditions are set before him (making fire, making tools, etc.).

A significant part of the epic is the description of the battle, in which the hero shows true miracles of courage, resourcefulness and courage.
Kalmyk folk epic Dzhangar

Often heroes die in an unequal battle with the enemy. Achilles and Hector are the heroes of the Homeric epic. valiant knight Roland, defending France. Siegfried and the Knights of the Nibelungen are the heroes of the German epic. killed after the victorious campaign of Manas.
Death of Achilles. P.P. Rubens
Roland's death

Tragic is the fate of the Pandava brothers from the Indian epic Mahabharata. Only the eldest of the brothers manages to achieve the desired goal. He passed all the tests with honor, and therefore the gods left him next to them in heaven.
The Pandava brothers from the epic Mahabharata

The heroes of the folk epic defend the Motherland, but their own freedom and independence are no less significant for them. One on one, they are ready to fight the enemy in an open field. For the Russian hero, death in battle is not terrible and “not written”, in the end, the hero wins.
Ilya Muromets. V.Vasnetsov
Ilya Muromets and the filthy Idolishche. George Yudin.

The heroic epic glorifies fidelity to friendship, generosity and honor. The epic about Gilgamesh tells about true and devoted friendship that can ennoble a person. Gilgamesh travels to the underworld to bring his friend Enkidu back to life. Gilgamesh's Lament for Enkidu is one of the epic's most poetic passages.
Illustrations for the epic "Gilgamesh"

Karelian-Finnish epic "Kalevala"
Many centuries ago, in the land of forest lakes and rivers, rustling firs and pines, under the harsh sky of the northern lands of Karelia and Finland, the people composed legends of amazing beauty. Runes about distant times of the world and about the first heroes sound simply and solemnly.

The protagonist of Kalevala, Weinämöinen, is an old singer and a wise soothsayer, a plowman, a hunter and a skilled artisan. Above all in life, he appreciates military prowess, labor exploits and acquired knowledge. Weinämöinen is the first creator of the world who comprehended the wisdom of life and gained fame among his people.

The plot of Kalevala is based on the struggle of Weinämöinen and his comrades for Sampo - a small magic mill - a source of abundance. Together with two of his friends, Veinämöinen sets off by sea in a boat to Pohjola in the hope of getting the Sampo.

The heroes arrive in Pohjola, but the mistress does not agree to give Sampo. Then Weinämöinen picks up a kantele and begins to play, plunging everyone into a dream. Together with his comrades, he searches for Sampo, takes him out of the stone mountain, puts him in a boat and sets off. On the third day, the hostess woke up and discovered the loss

But the mistress of Pohjola does not let up: she sends terrible diseases to Kalevala. And again Weinämöinen comes to the aid of people.

Karelian-Finnish epos "Kalevala" 1 rune
The folk epic "Kalevala" was collected and written down in the middle of the 19th century by E. Lenrot

Fixing the material. What do you know about the heroic epic of the peoples of the world? What are the main themes and plots of folk epic works? Who are the main characters of the heroic epic? Who are they? What features of the heroic epic are inherent in the Karelian-Finnish epic "Kalevala"?

Literature. Textbook "World Artistic Culture". Grades 7-9: Basic level. G.I. Danilova. Moscow. Bustard. 2010 The world of artistic culture (lesson planning), Grade 8. Yu.E. Galushkina. Volgograd. Teacher. 2007 The world of artistic culture (lesson planning), Grade 8. N.N.Kutsman. Volgograd. Corypheus. year 2009. https://ru.wikipedia.org/wiki/%D0%9A%D0%B0%D0%BB%D0%B5%D0%B2%D0%B0%D0%BB%D0%B0 http://briefly. en/_/kalevala/

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