enre sources
The European ballad, having arisen as a literary genre on an outcome of the first millennium of our era, I passed a difficult way of development. Its origin can t be reduced to any one source, sources and genesis of this surprising genre can be found both in folklore, and in mythology, and in the medieval heroic epos, and in history., Medieval Provencal, Italian and Old French ballads find communication with spring rounds of the love contents. The Provencal word balada the dance tune means a song (from balar - to dance ), the Italian ballata - the lyrical dancing song (from ballare - to dance ), the French ballade or ballette (literally - a dance tune the song ) - all go back to late Latin ballgre - to dance (developed from Greek ???????? s - dance ). In the Scandinavian ballads communication with dance r emained also in the XX century, but this communication already and in the Middle Ages had no traces of primitive ceremonial action. Music, singing and dance from the very beginning acted in the ballad as independent arts, giving to this type of the ballad special art completeness. At the same time at many people of Europe the ballad already at early stages lost communications with dance or had even no them initially.surprising, almost universal pantophagy in the sources, the folk song kept this pantophagy on all extent of the centuries-old development, having transferred then its literary point. NI Kravtsov who was attentively investigating genesis and features of a Slavic folk song emphasized importance of the historical principle in approach to a genre: The main point consists that variety of plots: forms and types (versions) of ballads - it developed not at once, and is result of long development of a genre which consisted in its enrichment in connection with the course of life of the people. The ballad existed not separately from other genres, and in incessant interaction with them that also formed a basis of emergence of its versions [9, 197]. The most ancient layer of the European ballads has plot in many respects something in common with episodes of the mythological, animal or heroic epos. As the epos (for example, Celtic, Scandinavian, ancient German or South Slavic) informed to us line of archaic, prefeudal eras (military tribal community and even matriarchy), naturally, the same lines are reflected and in many ballads. Though in some regional researches superiority of the epos in relation to ballads is convincingly proved (on the example of the Spanish romances, the Norwegian ballads etc.), in a number of known cases of the ballad gave impulses to emergence of the epos.song , actively developing within many centuries, constantly I incorporated and I recycled the most diverse material, scooping it from oral legends and written sources or directly from life. The academician MP Alekseev trying to understand the huge sea of ??English and Scottish ballads came to the following conclusion: Origin of plots of ballads very variously: others have the sources the book legend, Christian legends, works of medieval writing, tales of chivalry , even in separate and exceptional cases of work of antique authors, acquired through any medieval processing and retellings; others go back to the oral legend, represent variations of the vagrant plots using the international distribution. The third reproduce any historical event, altering, stylistic it according to the general conditions of song tradition raquo ;. So motley picture is represented by plots of the German folk ballads.the point of view of a variety of plots and nature of their processing of the ballad it is possible to define as narrative songs (or poems) with drama development of a plot.to the present classification by the plots grouped in the thematic principle continues to remain the most widespread principle of classification of ballads (both national, and literary). So, NI Kravtsov subdivided Slavic ballads on mythical, historical, social and family and household. DM Balashov, distinguishing from the Russian ballads family and household, historical and social, I proceeded from prevalence of this or that nature of the conflict raquo ;. In one of the newest editions of Slavic folklore it is about four theme groups of ballads: historical, love, family and social raquo ;, allocated depending on nature of the tragic conflict raquo ;. Approximately business and with classification of ballads in the West European literatures also is. Famous researcher of the English-language folk and literary song of GM Louz, based on the thematic principle, divides all ballads into eight classes: ballads about supernatural, about tragic situations, about love, about crimes and criminals, about the Scottish border, about war and adventures, ballads of the mixed character, comic ballads and parodies. Other large expert on English-speaking folk songs AB Friedman allocates f...
