AD), recorded mythological, heroic and military songs at continental Germans. In the XIX century. Julien Tierso in basic research History of a national song in France (1889) brings numerous data on an existing into the Middle Ages (since VII century) on the French earth three childbirth of narrative songs: the epic songs which were based mainly on legends of the German conquerors; the religious chants composed by priests in imitation the first, and, at last, songs legends, created by directly national talents raquo ;. Executed, and quite often and composed these songs jugglers - vagrant singers-poets (at continental Germans friendly singers were called as skopa, vagrant singers - poets - shpilmana). Speaking about development of a genre of the French ballad from narrative songs, Zh. Tyerso does very remarkable supervision: In the majority of our provinces legendary or romantic legends of the past times - small poems, touching and naive, passed by word of mouth in centuries and sometimes exciting listeners even during our satiated era meet. For this new group of narrative songs the name - the complaint (complainte) seems to us the only thing suitable, despite of Latin etymology and specific value in which this name was used. We reject the name ballad which came to France through Provence, belonging to a sort of a dancing song (the Italian ballata). Later it served for designation of a poetic form, very remarkable, but having nothing in common with national ... The name ballad laquo ;, in its today s value, became known in France only at the beginning of the XIX century, brought into fashion by Walter Scott s novels. It was impossible to call differently the group of songs existing at us since the most remote times .. Tyerso raises an important question of a ratio of two types of ballads here: the type corresponding to the etymological word meaning ballad anyway connected with dance with a spring ceremonial round and other its type, it is much bigger corresponding to modern definition of the ballad. But absolutely to divide these two types of the ballad (as it does to Zh. Tyerso), in our opinion, illegally because in Scandinavia, as we know, both of them quite organically united: the drama narrative song was sung in round dance. Distinctions of the called types of ballads carry, therefore, not general, but private, regional character, and further searches of the mediating links are probably necessary.restoration of a picture of development of lyrical kinds of the ballad it must be kept in mind all richest context of medieval national and court poetry. K.A. Ivanov who drew in the book Troubadours, Trouveres and Minnezinger (1901) wide panoramas of development and interaction of lyric and epic genres of medieval literatures of Western Europe tracked an execution art transfer continuity (and then and compositions) poetic works from antique mimes and gistrion to jugglers and minstrels, and from them - to trouveres (whom he calls jugglers writers ) and to troubadours. In Provencal and Old French poetry of the ballad consisted of three or four stanzas including till eight, ten or twelve lines with a short refrain. In the XIII-XV centuries. in France poems from three (or four) rhymed stanzas (3 stanzas on identical rhymes - ababbcbc for 8-syllabic, ababbccdcd for a 10-syllabic verse) with a refrain and the final semi-stanza - parcel turned to the addressee were called as ballads. The French version of the medieval ballad gained the world fame thanks to Francois Villon (apprx. Тисячі чотиреста тридцять одна - after 1463); considerably later the type of the literary ballad was developed special, viyonovsky raquo ;. Italian balata also developed in the Middle Ages mainly as a lyric genre. The Viyonovsky type of the literary ballad not only revived subsequently in skillful stylizations and imitations (V. Ya. Bryusov, MA Kuzmin, etc.), but also gained development as an independent form of the modern literary ballad (B. Brecht, V. Vysotsky).
3. Influence of the Spanish romance on development of a genre of the ballad
impact on the European poetry of modern times, including and the genre of the literary ballad formed then, rendered the Spanish romance since the end of the XVIII century. Already the bishop Percy in the preface to the well-known meeting Relic of ancient English poetry (1 765) compared ballads to romances and itself translated two romances as a sample; after it in England romances were translated by Walter Scott, Byron and other poets. In Russia the first transfer of the Spanish romance Count Gvarinos was made by N. M. Karamzin in 1789; in the XIX century addressed to Romances about Cyd P. A. Katenin and VA. Zhukovsky. But, apparently, experience of development of the Spanish romances in the German poetry was especially fruitful. IG Herder who translated on the Spanish and French s...
