tic modulation, doesn t maintain process of this modulation - that how many pictures, what combination of pleasant paints it would comprise, it any more not the song laquo ;. Thus it is important to understand that Herder, speaking about harmony laquo ;, tonality and modulation laquo ;, speaks not only (and in this case, probably, and not so much) about a melody motive, but also about a melody as immanent property of poetic fabric of a song, internally to it the inherent melodiousness doing the text to melodious raquo ;. Herder aspiring and first of all to transfer tone, melodic intonation of foreign language in the translations of songs of the different people, in the concept of the ballad (which he called the ancient song ) I was guided, first of all, by the Scottish ballads from Percy s collection, I emphasized that the lyrical, mythological, drama and epic elements making national difference of English poetry arose from this ancient heritage of ancient singers and poets laquo ;. Including in ancient heritage of ancient singers and poets Chaucer, Spencer, Shakespeare, Milton and other English writers, Herder not only destroyed a barrier between the folk and literary song, but also raised very vital issue of a national originality as necessary and integral quality of originally national poetry: On language, on tone and the contents these ancient songs represent original thinking of the tribe, or as if the trunk, a nation core. Who a little or absolutely sees nothing in them, shows thereby that has with it nothing in common. Who neglects them and doesn t feel them that show that he so wallowed in empty imitation to all foreign, so got confused in weightless tinsel of a foreign masquerade that forgot to appreciate and feel everything that makes a nation body laquo ;. Herder s anger was directed, first of all, against dominating then in the German literature of the anakreontichesky poetry and poetry of rococo focused on the French samples and neglecting the appeal to national sources of own national poetry.angry word of Herder fell to a fertile field. It was heard by young Goethe, the whole group of poets of A storm and an impact laquo ;, among which in formation of a genre of the literary ballad the outstanding place belongs to Gottfried to Augustus Byurger (1747 - 1794) who created raquo ; Lenora (+1773) Worthy sample of the literary ballad, many threads of the folk song connected with century traditions with folklore motives and national beliefs, widespread not only in Germany, but also in all Europe. The widest, it is possible to tell, the pan-European resonance of Lenora of Byurger proceeding over 50 years speaks as high art advantages of this ballad, and by that its motive taken in a basis about return of the dead (or about the groom dead person) found compliances in songs, fairy tales, legends, beliefs practically of all European people (roots of these beliefs go to Ancient Greece and the Ancient East) and could be easily recreated on any national soil. In parallel with transfers of Lenora there were also, national versions of the ballad, as, for example, (1808 - 1812) VA Zhukovskogo Svetlana or some Polish processing of Lenora" .
5. Development of a genre of the literary ballad
of the literary ballad, having restored to life for some decades prior to the beginning of the XIX century, I reached the blossoming and the highest popularity during a romanticism era when it for some time took nearly the leading place in poetry. Popularity and timeliness of this genre during a romantic era are explained first of all by its multifunctionality, ability to serve most different (and at times and multidirectional) to the public and literary purposes. The popular ballad (knightly, heroic, historical) could satisfy the interest in the national past, in the Middle Ages which wakened at wide circles of readers, in general to old times. The mythological or wonderful element, natural to the ballad, quite corresponded to aspiration of romantics to all unusual, mysterious, mysterious, and often and to mystical or otherworldly. Inclination, primordial for the ballad, to synthesis of epic, lyrical and drama elements was well combined with attempts of romantics to create universal poetry raquo ;, to mix artificial poetry and natural poetry (F. Shlegel), to update it, to transfer experiences of the person, drama heat of feelings.ballad gave great opportunities for searches of new means of expression of poetic diction to what at least Lyrical ballads (Одна тисяча сімсот дев'яносто вісім) U. Wordsworth and ST Coleridge brightly testify. To the second edition of this joint poetic collection U. Wordsworth lists the main objectives which both authors sought to resolve in the course of work on Lyrical ballads in the preface. The most important creative installation of U. Wordsworth consisted in that...
