ources the whole set of romances about Cyd [7] was the first who paid to them attention. About the Spanish romances Goethe, F. Shlegel, A. Shlegel, Ya. Grimm, G. V. F wrote. Hegel; many romantics not only translated the Spanish romances, but also wrote ballads in the form of romances (L. Uland, K. Brentano, G. Heine). At a boundary of the XVIII-XIX centuries of the concept Ballade and Romanze of Germany practically did not differ and only in the second quarter of the XIX century Hegel makes an attempt to differentiate them theoretically, and Heine - is art.represented these Spanish romances which played so noticeable role in registration of one of important genre kinds of the European literary ballad? The outstanding Spanish philologist R. Menendes Pidal calling the homeland the country of romances sought to understand specifics of the Spanish romances in comparison with songs of ballad character at other European people; he came to the following conclusion: The romance - is the liro-epic song possessing the most heroic and knightly contents from all songs such; only the Danish and Swedish Wieser can be compared to him. But though Wieser too makes an exception of the general rule, romances not only more widely represent national life and history, but also by stronger roots are connected with heroic poetry, that poetry which was a source of development of new literatures and from which romances apprehended heroes, subjects, features of the poetic form and even the verses. The romances which spread by all seas and lands on which the Spanish empire was stretched - it is the liro-epic songs charming imagination of other people in the southern and northern hemispheres. It is the song which reached the greatest art heights and became a worthy source for important areas of literary creativity as in classical, and in present period ... At last, romances on the traditional character, on coverage of the historical events represented in them , on a set of the epic and moral strokes lighting certain moments of history represent quintessence of characteristics of the Spanish life raquo ;. R. Menendes Pidal showed communication of the Spanish romances with the ancient Spanish epos, with a Carlovingian cycle of epic legends, established various references of romances, first of all a novelistic of the Middle Ages and Renaissance. In his opinion, plots and forms of the Spanish romances are similar to plots and forms of national lyrical poetry. The scientist in detail considered process of absorption of lyrical forms the forms peculiar to the ancient epos raquo ;. If to consider that in other extensive work The Arab poetry and poetry European on the example of development Arab andaluzsk a genre Zadzhal R. Menendes Pidal convincingly proved that in the concept of courteous love Arab andaluzsk the poetry was the predecessor of lyrics of Provence and other Romance countries and served them as a sample concerning a specific form with what coincidence of all seven kinds of a stanza to a unison reprise in the Arab andaluzsk and Romance poetry is connected raquo ;, becomes clear that the Spanish romance played a role of a peculiar bridge on which I got into it not only the Spanish subject and the Spanish poetic originality, but also the exotic poetic world of the Arab East in the European ballad poetry.
4. The ballad in Renaissance and during Modern times
European folk song endured the highest blossoming in the XIII-XVI centuries though in the different countries and different regions the specified temporary borders could be displaced in this or that party or extend on extent. Of the XV-XVI centuries the extensive quantity hand-written (and then and printing) collections of songs (for example, in Germany, France, Spain) where also many texts of ballad character contained remained. During this era of the ballad occurred and were sung in the widest layers of urban and country people. In the brochure published in 1509 in Mainz Christian manual for just life raquo ;, for example, was told: When two or three will gather, they have to sing, and all of them sing in operating time, houses and in the field, during a prayer and just affairs, in pleasure and a grief, in grief and on a feast raquo ;. The largest researcher of the German national songs Ion Mayer emphasized: The knowledge of texts and melodies was widespread in all layers of the people to such an extent that we hardly in forces to imagine today it raquo ;. In a number of countries of Western Europe it was the era of decline of feudal knightly culture and raising of culture city, early bourgeois, burgher. It was Renaissance which in Germany, France, Spain, to Italy and England was expressed in wide interest of a people at large in richness of spiritual culture including to the song. In ballads of the South Slavic people very rich and various according to the contents, after ...
