Since 1821, a new genre for Russian literature began to take shape in Ryleev’s work - duma, a lyric epic work similar to a ballad, based on real historical events and legends, however, devoid of fantasy. Ryleev especially drew the attention of his readers to the fact that duma is an invention of Slavic poetry, and that it existed as a folklore genre for a long time in Ukraine and Poland. In the preface to his collection “Dumas,” he wrote: “The Duma is an ancient heritage from our southern brothers, our Russian, native invention. The Poles took it from us. Even to this day, Ukrainians sing thoughts about their heroes: Doroshenko, Nechai, Sagaidachny, Paleya, and Mazepa himself is credited with composing one of them.” At the beginning of the 19th century. This genre of folk poetry has become widespread in literature. It was introduced into literature by the Polish poet Nemtsevich, to whom Ryleev referred in the same preface. However, not only folklore became the only tradition that influenced literary genre Duma In the Duma one can distinguish the signs of meditative and historical (epic) elegy, ode, hymn, etc.

The poet published his first duma - “Kurbsky” (1821) with the subtitle “elegy”, and only starting with “Artemon Matveev” a new genre definition appeared - duma. Many of his contemporaries saw similarities with elegy in Ryleev’s works. Thus, Belinsky wrote that “a thought is a funeral service for a historical event or simply a song of historical content. The Duma is almost the same as an epic elegy.” Critic P.A. Pletnev determined new genre as “a lyrical story of some event.” Historical events comprehended in Ryleev’s thoughts in a lyrical vein: the poet is focused on the expression internal state a historical figure, as a rule, at some climax of life.

Compositionally, the thought is divided into two parts - a biography in moral lesson which follows from this biography. The Duma combines two principles - epic and lyrical, hagiographic and agitational. Of these, the main one is lyrical, propaganda, and biography (hagiography) plays a subordinate role.

Almost all thoughts, as Pushkin noted, are built according to the same plan: first, a landscape is given, local or historical, which prepares the appearance of the hero; then, with the help of a portrait, the hero is brought out and immediately makes a speech; from it the background of the hero and his present life becomes known state of mind; What follows is a summary lesson. Since the composition of almost all thoughts is the same, Pushkin called Ryleev a “planner,” meaning the rationality and weakness of artistic invention. According to Pushkin, all thoughts come from the German word dumm (stupid).

Ryleev’s task was to give a broad panorama of historical life and create monumental images of historical heroes, but the poet solved it in a subjective, psychological, lyrical way. Its goal is to arouse the patriotism and love of freedom of his contemporaries through a high heroic example. A reliable depiction of the history and life of the heroes faded into the background.

In order to talk about the hero’s life, Ryleev turned to the sublime language of civil poetry of the 18th - early XIX century, and to convey the hero’s feelings - to the poetic style of Zhukovsky (see, for example, in the thought “Natalya Dolgorukaya”: “Fate gave me joy In my sad exile ...”, “And into the soul, compressed by melancholy, Involuntarily shed sweetness” ).

The psychological state of the heroes, especially in a portrait, is almost always the same: the hero is depicted with nothing less than a thought on his forehead, he has the same poses and gestures. Ryleev's heroes most often sit, and even when they are brought to execution, they immediately sit down. The setting in which the hero is located is a dungeon or dungeon.

Since in his thoughts the poet depicted historical figures, then he was faced with the problem of embodying a national-historical character - one of the central ones both in romanticism and in the literature of that time in general. Subjectively, Ryleev had no intention of encroaching on accuracy historical facts and “tweak” the spirit of history. Moreover, he strove to respect historical truth and relied on Karamzin’s “History of the Russian State.” For historical credibility, he attracted the historian P.M. Stroev, who wrote most of the prefaces and comments to the thoughts. And yet this did not save Ryleev from a too free view of history, from a peculiar, albeit unintentional, romantic-Decembrist anti-historicism.

The Decembrists saw the purpose of their poetry “not in the pampering of feelings, but in the strengthening, nobility and elevation of our moral being.” They were deeply convinced that only those poems are worthy of recognition, the spirit and pathos of which directly enters life and participates in life-building.

For the same purpose, they turned to the historical past, trying to “excite the valor of their fellow citizens with the exploits of their ancestors.” In folklore, the Decembrists were not interested in lyrical folk songs or fairy tales, but in historical legends. IN ancient Russian literature they valued military stories, where, according to A. Bestuzhev, “the unyielding, glory-loving spirit of the people breathes in every line.” The most striking example of the historical poetry of the Decembrists was Ryleev’s “Dumas”. In the preface to them, the poet said: “To remind youth of the exploits of their ancestors, to acquaint them with the brightest eras folk history, to combine love for the fatherland with the first impressions of memory - this is a sure way to instill in the people a strong attachment to their homeland: nothing even then can erase these first impressions, these early concepts. They grow stronger with age and create warriors brave for battle, valiant men for council.”

Ryleev borrows the plots of his “thoughts” from folk legends and traditions, from N. M. Karamzin’s “History of the Russian State”. Heroes of thoughts are martyrs, sufferers, dying for a just cause, entering into a decisive struggle with the carriers social evil. In thoughts, unlike a classical ode or poem, the lyrical principle predominates; the key role in them is played by the monologues of the heroes, emotionally rich, sublime, fulfilled patriotic feelings. The heroes are surrounded romantic landscapes- night, storm, rocks, dark clouds through which the moon breaks through, the howl of the wind and the flash of lightning (“The Death of Ermak”, “Olga at Igor’s Grave”, “Martha the Posadnitsa”).

However, Pushkin also drew attention to the lack of historicism in Ryleev’s thoughts: history for him is an illustration, a collection of positive or negative examples that have a direct propaganda meaning. Therefore, the heroes of thoughts speak the same, sublimely declamatory language. Only in individual works does Ryleev approach historical authenticity in the conveyance of characters and circumstances, which was, for example, already available to Pushkin in his “Song of the Prophetic Oleg.” It is no coincidence that Pushkin highly appreciated Ryleev’s thought “Ivan Susanin” and saw glimpses of mature talent in the poem “Voinarovsky”.

During the preparation for the uprising, Ryleev also grew as a poet. In 1825, his collection “Dumas” and the poem “Voinarovsky” were published as separate books. Ryleev worked on “Dumas” from 1821 to the beginning of 1823, publishing them in various magazines. “Voinarovsky” was written in 1823, when work on “Dumas” had already been abandoned. Despite their simultaneous publication, “Dumas” and “Voinarovsky” belong to different stages of Ryleev’s ideological and artistic development. The political direction of the Duma, which had developed under the direct influence of the Union of Welfare program, was moderate. On the contrary, “Voinarovsky” is already saturated with rebellious pathos, turning into militant calls for an uprising against despotism.

Ryleev’s task in “Dumas” was the artistic resurrection of historical images to educate “fellow citizens through the exploits of their ancestors.” Ryleev’s appeal to national history was connected with the understanding of Russia’s past, characteristic of the Decembrists, and with the question of the nationality of art. Ryleev’s “Dumas” were given portrait characteristics a number of figures of Russian history, starting from legendary times (“Oleg the Prophet”, “Olga at Igor’s grave”, “Svyatoslav”, etc.) and ending with the 18th century (“Volynsky”, “Natalya Dolgorukova” and “Derzhavin”). The very selection of names was unusually indicative for the Decembrist poet. The heroes of Ryleev’s “Dumas” are brave denouncers of evil and injustice, people’s leaders who suffered for the love of their homeland. Here are the fighters for the liberation of the people from foreign invaders (“Dmitry Donskoy”, “Bogdan Khmelnitsky”), and the military leader (“Oleg the Prophet”, “Svyatoslav”, “Ermak”), and ardent patriots dying for their people (“Ivan Susanin ", "Mikhail Tverskoy"). All Dumas are imbued with a feeling of deep patriotism. Ryleev calls for a fight against tyrants and treats with hatred such figures who relied on foreign forces (“Dmitry the Pretender”).

Among the “Dumas” that remained unpublished during Ryleev’s lifetime, there are also “Dumas” associated with images of the Novgorod freemen. These are the thoughts about “Marfa the Posadnitsa” and about “Vadim,” the defender of the ancient rights of free Novgorod.

Ryleev took the very name of his “Dumas” from Ukrainian folk poetry - this was the name of folk songs of a historical nature. The thematic source for most of the thoughts was Karamzin’s “History of the Russian State” for Ryleev. It should be emphasized that there was no ideological dependence on Karamzin in the Dumas; the poet sharply disagreed with him politically, but he used Karamzin’s work as the only presentation of the history of Russia in the 20s.

Even before Ryleev’s “Dumas” were published as a separate book, an interesting discussion began in criticism dedicated to clarifying genre originality"Doom." In the article “A Look at Old and New Literature in Russia,” Ryleev’s friend and like-minded person A. Bestuzhev noted that “Ryleev, the writer of historical thoughts or hymns, broke a new path in Russian poetry, choosing the goal of inspiring the valor of his fellow citizens with the exploits of his ancestors.”

A critic of The Russian Invalid, objecting to Bestuzhev, expressed doubt about Ryleev’s originality and pointed out that the genre of the Duma was borrowed from Polish literature. The critic had in mind the “Historical Hymns” of the Polish poet Nemtsevich, whom Ryleev really appreciated very much and with whom he corresponded. However, in developing the national historical theme, Ryleev was not an imitator, but followed his own in my own way. It is characteristic, therefore, that in the publication of the collection “Dumas”, Ryleev himself pointedly singled out one duma (“Oleg the Prophet”) as imitative and placed it in the collection with reference to Nemtsevich, in order to ward off further doubts about the originality of his work. To the doubts of the critic of "Russian Disabled Man" in national character the doom genre itself was answered by A. Bestuzhev in a special article. He insisted that “thoughts are the common property of the Slavic tribes,” that they grew up on the basis of oral folk art and that the very genre of thought “should be placed in the category of pure romantic poetry.” The defining feature of the Duma, from Bestuzhev’s point of view, was the national-historical theme in the subjective-historical interpretation, which he especially emphasized: “... the Duma is not always the reflection of a historical person, but more the author’s recollection of some historical incident or person, and often a personified story about them.”

Indeed, in Ryleev's thoughts the most important principle of romantic art was implemented: the monologues of historical figures and the author were essentially the same. The image of the author in thoughts was an indispensable companion of historical heroes. The interest and significance of the thoughts lay mainly in the image of the author, poet and citizen who stands behind the poems, in the image that unites the entire cycle of thoughts into a single whole.
In the monologues of “Dmitry Donskoy,” speaking about the “former freedom of the forefathers,” or in the speeches of Volynsky, we hear the voice of the poet himself with his patriotic appeals, aspirations and hopes. All Ryleev historical heroes converge to one center, to one image of a person - the hero of the Decembrist era with all the features of his worldview, with the characteristic symbolism of his poetic language (“tyrant”, “citizen”, “public good”, “freedom”, etc.). But the worldview of the Decembrist poet, expressed in “Dumas,” sometimes came into conflict with the objective essence of the hero into whose mouth certain thoughts and monologues of freedom-loving content were put (as, for example, in the “Volynsky” Duma). There is no doubt that this contradiction caused Pushkin’s remark in a letter to Zhukovsky in April 1825: “Ryleev’s thoughts are aimed, but everything is not hitting the target.” In a letter to Ryleev himself, Pushkin sympathetically singled out only two things: “Peter the Great in Ostrogozhsk” - the Duma, the “final stanzas” of which he found extremely original, and “Ivan Susanin”, “the first Duma, according to which he began to suspect” in Ryleev “the true talent".

In general, Pushkin’s unfavorable attitude towards Ryleev’s thoughts will become completely understandable if we take into account that Pushkin sought to eliminate autobiography when creating images of historical heroes (especially specific images that actually existed in history).

Already in the first half of the 20s, Pushkin, in his work, managed to reach an understanding of the objective pattern in the artistic reproduction of the historical process; This understanding gave him the opportunity to create “Eugene Onegin” and “Boris Godunov” - works that opened new paths in literature. Ryleev was then just embarking on these paths in his work. But, nevertheless, the “Dumas” played a significant role: they helped to strengthen interest in historical subjects in literature, and the ideas expressed in them corresponded to the goals of Decembrist propaganda.
Of great importance was Ryleev’s affirmation of the revolutionary role of the patriotic poet. In his poems, Ryleev developed the idea of ​​a poet as a progressive citizen whose mission is to transform reality. Ryleev formulated his understanding of the poet’s tasks in the following verses:

Oh so! there is nothing higher
Purposes of the Poet:
Holy truth is his duty;
The subject is to be useful for the light.
He seethes with enmity towards untruth,
The yoke of citizens worries him;
Like a free Slav at heart.
He cannot be servile.
Hard everywhere, no matter where he is -
In defiance of fate and Fate;
Everywhere honor is his law,
Everywhere he is a clear enemy of vice.
To thunder against evil
He honors as his holy law
With calm importance
On the scaffold and before the throne.
He knows no low fear,
Looks at death with contempt
And valor in young hearts
Lights up with free verse.

The idea of ​​the poet as a chosen one - a citizen, teacher and fighter, also determined the specific principles of Ryleev’s work. He abandoned the genres of chamber and salon poetry, to which he paid tribute during the period of his apprenticeship. Like Griboedov and Kuchelbecker, Ryleev turned to a high pathetic ode, to satire, to a message, i.e. to those genres that were cultivated by poets of the 18th century. Thus, Ryleev’s famous satire “To the Temporary Worker” is close in its language, metrical scheme and rhetorical structure to the satires of the 18th century, and the ode “Vision” in its themes and composition is related to the traditions of Derzhavin’s classical odes. Characteristics the high classical style is also evident in such odes to Ryleev as “Civil Courage” and “On the Death of Byron.” However, Ryleev’s “classicism” was by no means a simple restoration of ancient poetic genres. Already Radishchev updated and enriched the old classical traditions. Radishchev's work was of great importance for the fate of Russian civil poetry. Following Radishchev, civil poetry was cultivated by a group of poets of the Free Society of Lovers of Literature, Science and the Arts (Pnin, Born, Popugaev, Ostolopov, etc.), N. I. Gnedich, V. F. Raevsky, F. N. Glinka, and finally young Pushkin . At the beginning of his poetic career, Pushkin turned to the high classical style both in the message “Licinius” and in the famous revolutionary ode “Liberty” - several years before the publication of Ryleev’s satire “To the Temporary Worker”.

The very genre of “doom,” associated with a peculiar rethinking of the historical past, also absorbed the norms of classical poetics. Not only in the features of language and composition, but also in the methods of approaching historical material- in elements of rhetoric and didactics - the Dumas largely continued the classical traditions.

Ryleev takes a new road in the poem “Voinarovsky”. Ryleev’s teacher in this poem was Pushkin: from him Ryleev, by his own admission, learned poetic language.

“Voinarovsky” is a poem from the historical past of Ukraine. The hero of the poem is Mazepa’s nephew and a close participant in his conspiracy against Peter I. After Mazepa’s death, Voinarovsky fled abroad, but was then handed over to the Russian government and exiled to the Yakut region. The poem is set in the 30s of the 18th century. The historian Miller, traveling through Siberia, meets the exiled Voinarovsky near Yakutsk, and he tells him about his life, about Mazepa and his participation in the conspiracy.

Ryleev himself called the traitor and traitor Mazepa “a great hypocrite, hiding his evil intentions under the desire for the good of his homeland.”2 The story of Voinarovsky as portrayed by Ryleev is the story of a noble and ardent young man, who sincerely believed Mazepa and was seduced by him onto the path of treason.

Ryleev endowed his hero with the same love of freedom that he himself possessed. The poet was primarily interested in the possibility of using the plot he had chosen to fight the autocracy. Just as in “Thoughts,” the image of the author merges in the poem with the image of Voinarovsky. In Voinarovsky’s speeches we hear the voice of a tribune and a citizen fighting for “human freedom”, for his “free rights” against the “heavy yoke of autocracy.” As a romantic, Ryleev was least interested in recreating the true historical meaning of Mazepa's conspiracy against Peter I. Ryleev idealized the image of Mazepa here and presented it in contradiction with historical truth. It was precisely this circumstance that Pushkin later noted, who found in Ryleev’s image of Mazepa a willful distortion of a historical figure. Pushkin made critical remarks about “Voinarovsky” in the preface to “Poltava,” the idea of ​​which was formed partly in connection with the impressions of Ryleev’s poem.

Pushkin criticized and assessed “Voinarovsky” from a deeply realistic position. The romantic subjectivity of “Voinarovsky” was unacceptable to Pushkin both in 1825, at the time of his correspondence with Ryleev, and later, when creating “Poltava”. In Poltava, Pushkin gave, in contrast to Ryleev, a historically true image of Mazepa as a traitor to the motherland, removing the heroic aura from him. Differences with Ryleev did not, however, prevent Pushkin from considering Voinarovsky a serious artistic achievement of the Decembrist poet. “Ryleev’s “Voinarovsky,” Pushkin wrote to A. Bestuzhev on January 12, 1824, “is incomparably better than all his “Dums,” its style has matured and is becoming truly narrative, which we almost don’t yet have.” “I make peace with Ryleev - Voinarovsky is full of life,” he wrote to his brother in 1824.

As a romantic, Ryleev placed the personality of a freedom-loving patriot at the center of national history. History, from his point of view, is the struggle of freedom lovers against tyrants. The conflict between supporters of freedom and despots (tyrants) is the engine of history. The forces involved in a conflict never disappear or change. Ryleev and the Decembrists do not agree with Karamzin, who argued that the past century, having left history, never returns in the same forms. If this were so, the Decembrists, including Ryleev, decided, then the connection of times would have disintegrated, and patriotism and love of freedom would never have arisen again, because they would have lost their parental soil. As a result, love of freedom and patriotism as feelings are not only characteristic, for example, of the 12th and 19th centuries, but also identical. Any historical person last century is equated with the Decembrist in his thoughts and feelings (Princess Olga thinks like a Decembrist, talking about the “injustice of power,” Dimitri Donskoy’s soldiers are eager to fight “for freedom, truth and law,” Volynsky is the embodiment of civil courage). From here it is clear that, wanting to be faithful to history and historically accurate, Ryleev, regardless of personal intentions, violated historical truth. His historical heroes thought in Decembrist concepts and categories: the patriotism and love of freedom of the heroes and the author were no different. This means that he tried to make his heroes both as they were in history and as his contemporaries, thereby setting himself contradictory and, therefore, impossible tasks.

Ryleev's anti-historicism caused a strong objection from Pushkin. Regarding the anachronism committed by the Decembrist poet (in the Duma “Oleg the Prophet”, Ryleev’s hero hung his shield with the coat of arms of Russia on the gates of Constantinople), Pushkin, pointing out a historical mistake, wrote: “... during Oleg’s time there was no Russian coat of arms - but the double-headed eagle is the coat of arms Byzantine and means the division of the empire into Western and Eastern...” Pushkin understood Ryleev well, who wanted to highlight Oleg’s patriotism, but did not forgive the violation of historical accuracy.

Thus, the national-historical character was not artistically recreated in the thoughts. However, Ryleev’s development as a poet went in this direction: in the thoughts “Ivan Susanin” and “Peter the Great in Ostrogozhsk” the epic moment was noticeably strengthened. The poet perfected the transmission national color, achieving greater accuracy in describing the situation (“the window is askew” and other details), his narrative style also became stronger. And Pushkin immediately responded to these shifts in Ryleev’s poetry, noting the thoughts “Ivan Susanin”, “Peter the Great in Ostrogozhsk” and the poem “Voinarovsky”, in which he, not accepting the general plan and character of historical figures, especially Mazepa, appreciated the efforts Ryleev in the field of poetic storytelling.



Thought

noun, and., ???

Morphology: (no) what? Duma, what? Duma, (see) what? Duma, how? Duma, about what? about the Duma; pl. What? Duma, (no) what? doom, what? thoughts, (see) what? Duma, how? thoughts, about what? about thoughts

1. Thought- this is a deep all-consuming thought.

The old man was tormented by some bitter thought. | Gloomy thoughts were reflected on his face.

2. Duma(or more often thoughts) is called deep thinking about something.

I was immersed in thoughts about the beautiful and eternal. | He indulged in thoughts about the fate of his fatherland.

3. In Russian poetry of the 19th century. Duma called a special poetic genre that is dedicated to civil and political topics.

Dumas of Kondraty Ryleev.

4. Thought- an elected institution that performs legislative, deliberative and administrative functions, as well as the building of such an institution.

The State Duma. | City Council. | Elections to the Duma. | Convene the Duma. | The Duma must adopt the laws necessary for the regions.

5. B Ancient Rus' Duma called the council of boyars, elected representatives, etc.

Zemstvo Duma. | Boyar Duma.

thought noun, and.

little thought noun, and.

Duma adj.

Duma faction.

Dictionary Russian language Dmitriev.

D. V. Dmitriev.:

2003.

Synonyms

See what “thought” is in other dictionaries:

THOUGHT. The individual uniqueness of the East Slavic languages ​​and, at the same time, their close interaction with the South Slavic and West Slavic languages ​​is even more pronounced in the history of the lexical nest associated with the word duma. In Russian: ... ... History of words Duma: Duma is an outdated name for thought: “think duma” Duma is a type of lyrical and epic works of Ukrainian oral literature. The Boyar Duma is the highest council under the prince (from 1547 under the tsar) in the Russian state of the 18th century... ... Wikipedia

Thought- “THOUGHT”, verse. mature L. (1838), revealing society. spiritual crisis of the post-December generation; it closes the previous moral, social and philosophical. the poet’s quest, sums up past mental experience, reflecting the aimlessness of personal and... Lermontov Encyclopedia(see Boyar Duma; Bulygin Duma; City ... Encyclopedia of Law

1) the name of representative elected legislative institutions (State Duma) or bodies of city self-government (City Duma) in Russia. 2) Assembly, council of boyars, zemstvo elected, etc. in Rus' (Boyar Duma, Zemskaya Duma) ... Big Encyclopedic Dictionary

See dream, thought, advice to think a thought, immerse yourself in a thought... Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. thought, dream, reflection, reflection, thought, meditation, reflection, advice;… … Synonym dictionary

DUMA, a legislative representative institution in Russia (see Boyar Duma, State Duma); city ​​government bodies (City Duma) ... Modern encyclopedia

DUMA, thoughts, women. 1. Reflection, thought (poetry, obsolete and regional). Heavy thoughts. 2. Ukrainian family folk song(lit., Ethnogr.). Cossack Dumas of the 17th century. || A type of lyric epic poem (lit.). Ryleev's Duma. 3. Representative assembly with legislative… … Ushakov's Explanatory Dictionary

- (1) 1. Reflection. ● Thinking about imagining, imagining: The wives of Russia burst into tears, muttering: “We can no longer comprehend our dear ones in our minds, nor in our thoughts, nor in our eyes, but we can even tatter gold and silver.” 20. ● Think about the Duma... Dictionary-reference book "The Tale of Igor's Campaign"

DUMA, 1) the name of representative elective institutions (State D.) or city government bodies (City D.). 2) Assembly, council of boyars, zemstvo elected in Rus' (Boyar Duma, Zemskaya Duma).

16-17 centuries, their main theme generated by the era of continuous national struggle against foreign invaders of Ukrainian lands. They tell about the exploits of the people or their individual representatives-heroes, who came out to defend their homeland from the invasion of foreign enslavers, and often glorify the heroic death of a warrior in this struggle.

Although dumas are defined as a lyric-epic genre, the epic element predominates in them. This is evidenced by the clear construction of the plot, the fable, and the narrative nature of the description of events, which, as a rule, is conducted in chronological order. However, the story is almost always presented in a lyrical light, which is revealed by the author’s broad digressions, landscape sketches, insight into inner world heroes, chanting their feelings and experiences. “In contrast to the smoothness and breadth of the stories of the Homeric epic,” notes G. Boredom, “there is a strong lyricism in the thoughts, which, together with the dramatic presentation, greatly touches the listener. In this respect, dumas are close to ballads and for some time European scientists called them Ukrainian ballads. However, peculiar, too original, only thoughts have a poetic form, a unique style, their poetics exclude such identification.”

Dumas are distinguished by their harmonious, unique poetic form, polished over centuries, different from all other verse forms of Ukrainian folklore. The dissimilarity of thoughts in other genres is determined primarily by the manner of execution. Thoughts were performed in recitative (long-drawn chanting pronunciations) - Italian. recitative, from lat. recitare - read aloud and pronounce. It was a unique form of recitation in a festive, upbeat style. The drama of the performance was enhanced by musical accompaniment - playing the harp (less often the bandura or lyre). Vershova and the musical form of the duma represent the highest stage of the recitative style, previously developed in lamentations. Long recitations of thoughts are available in a smooth, changeable form. Therefore, it is very difficult (or impossible) to learn them from memory verbatim. According to researchers, each kobzar adopted from his teacher a type of recitation (recitative performance) only in general outline, and then created his own version of the melody, to which he performed all the thoughts of his repertoire. That is, rather flexible and free in terms of verbal and musical expression, thought is always born anew, improvised. Not a single subsequent version of a duma, even if it is performed by the same performer, is identical to the previous one: during the playback, some elements are involuntarily omitted, others are added, therefore dumas are among the most improvisational types of folklore.

The vague, sad poetic form encourages this. Dumas do not have a stable stanza, which is usual for songs, ballads, koloma and other lyrical genres. The poem of the Duma is astrophic (without division into stanzas) through a change in the rhyme order, and also unequally complex, with intonation-semantic division into ledges. That is, lines in thoughts are distinguished by the end of a thought and are grouped into ledges, periods, tirades, which are original stanzas of thoughts. Lines do not have a certain stable number of lines (sometimes from 5-6 to 19-20 or more syllables per line), in turn, ledges do not have a constant number of lines (sometimes 2-3, and sometimes 9-12). The improvisation of thoughts is facilitated by free, unstable rhymes. Verbal rhyming predominates, which combines 2-3 lines, and sometimes more - up to 10 lines in a row with a consonant ending.

Despite the flexibility of the execution of thoughts, their composition is quite harmonious and stable, characterized by features inherent only to this genre. In the vast majority of texts, it retains the same constituent elements and genre structure.

Dumas begin with a poetic chorus, which kobzars often call “plachka.” This beginning is often built on the basis of artistic parallelism:

Not the gray eagles chirped,

And it was not the gray cuckoo that cuckooed;

Then the poor slaves, sitting in captivity, began to cry. ("Thought about Slaves")

It’s not a clear falcon moaning and nodding,

Like a son to his father, he sends Christian bows to his mother in the gardens. ("The Slave's Lament")

On Sunday I wounded the greyhound early, with the stars early Siva Zozulya flew, sat on the grave, pitifully crowed...

("The Cuckoo's Cry")

After the chorus comes the actual thought (the development of the plot with all the epic elements of the composition and lyrical digressions). Additional episodes may be introduced into the plot, but, as a rule, the story is not overly complicated: the plot unfolds linearly in chronological sequence, events are conveyed in nature without elements of fantasy and unexpected turns in the development of the action.

The thought ends with an ending called a doxology, because it praises the exploits, courage, and deeds of the hero who defeated the enemy or died for a just cause:

Save - » Dumas - Definition and poetics of the genre. The finished product appeared.

THOUGHT- 1) The poetic genre of Russian literature, which represents the poet’s reflections on philosophical, social, family and everyday topics. “Dumas” by K.F. became widely known. Ryleev, who composed a unique cycle of philosophical and patriotic poems and poems: “Dmitry Donskoy”, “The Death of Ermak”, “Bogdan Khmelnitsky”, “Volynsky”, “Derzhavin”, etc. “Dumas” by A. are usually classified as philosophical and lyrical. IN. Koltsov and “Duma” (“I look sadly at our generation...”) M.Yu. Lermontov. One of the sections of the collection of poems by A.A. Feta "Evening Lights" is called "Elegies and Thoughts". K.K. has a cycle of poems “Duma”. Sluchevsky. The “Duma about Opanas” by E.G. was widely known in the first half of the 20th century. Bagritsky. 2) Epic and lyrical-epic song genre of Ukrainian folklore, reminiscent of Russian epics. Ukrainian dumas were performed in recitative, usually accompanied by a bandura; They are divided into three cycles: about the fight against Turkish-Tatar raids in the 15th and early 17th centuries, about the people's liberation war of 1648-1654 and about the reunification of Ukraine with Russia, on social and everyday topics.