Cries and lamentations were performed by people who were called mourners. These were predominantly women, although among the Kurds and Serbs the cries were performed exclusively by men. They were specially invited to mourn a deceased relative or express grief over the outbreak of war, natural disaster(droughts, floods, etc.). Crying and lamentation have existed since ancient times: they are mentioned in the Bible and took place in Ancient Greece.
How did the ritual of crying originate?
Mourning is a whole ritual. The mourning tradition was especially developed in the North of Rus'. There are funeral lamentations, recruitment lamentations, and wedding lamentations. Funeral and memorial laments and recruitment laments are close to each other in content. They mourn someone who has died or is passing away. military service relative. At the same time, leaving for military service was analogous to the death of a person during his lifetime, because they were taken into service for almost their entire life. Funeral lamentations expressed the grief of relatives who had lost a deceased person.
In wedding lamentations, the bride mourns her maiden will, which she is deprived of when she gets married. These are conditional laments. It was believed that the bride must cry before the wedding: she was burying her former unmarried life. The ceremony required the tears of the bride.
There are also everyday laments and lamentations, in which one laments, for example, a crop failure, the consequences of a fire, flood, etc.
Examples of crying in literature
An example of crying is Yaroslavna’s crying on the walls of Putivl, described in “The Tale of Igor’s Campaign,” where the princess mourns the dead soldiers who did not return from a military campaign. Lamentations are a pagan tradition in which ideas about death do not correspond to similar ideas in Christianity. After death, the soul of a person turns into a “little bird”, the person rests in a coffin, soars in the clouds, etc. Dying is conveyed in the images of a freezing tree or a sunset. That's why the church for a long time struggled with crying, trying to eradicate among the people the habit of greatly mourning the dead. However, it was not possible to eradicate the crying at all.
Plachi first began to study V.A. Dashkov. A well-known collection of laments is the collection of Rybnikov “Songs” (part III), Metlinsky “South Russian Songs”, 1854. However, the most full meeting the meeting of E.V. was recognized as laments. Barsova “Lamentations of the Northern Region”, 1872; “Funeral, funerary and gravestone laments”, 1882 and many others. E.V. Barsov recorded cries and lamentations from the dictation of one of the most skilled “prisoners” of the Russian North, Irina Fedosova.
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Cry- one of the ancient literary genres, characterized by lyrical-dramatic improvisation on the themes of misfortune, death, etc. It can be written in both poetry and prose. The genre is known in the literature of the ancient Near East (Sumerian “Lament for Uruinimgin” and “Lament for Ur”). The style of lamentation is used, in particular, in some texts of the Bible - one of the books of the Old Testament is entirely an example of the genre (“Lamentations of Jeremiah”), as well as in Homer’s poems. Lamentation (kommos) - mandatory part ancient tragedy.
Russian literature
Lamentation has become widespread in traditional Russian ritual and everyday folk poetry. Examples of crying in ancient Russian literature are the famous cry of Yaroslavna in “The Lay of Igor’s Campaign”, the cry of the Moscow princess Evdokia over the body of Dmitry Donskoy. In “The Life of the Zyryan Enlightener Stefan of Perm”, written by Epiphanius the Wise, there are a number of texts that fall into this category by genre: “The Lament of the Perm People”, “The Lament of the Perm Church” and “The Lament and Praise of the Monk Copying”. Laments written by Russian authors of the 17th century are known, in particular the anonymous “Lament for the Captivity and the Final Ruin of the Moscow State” () and “Lament and Consolation” regarding the death of Tsar Fyodor Alekseevich, written by the poet Sylvester Medvedev.
Poetry of the Troubadours
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| – Oh, don’t think about it now! They just met!.. – Stella read my thoughts. - And then we will definitely come up with something... They stood huddled close to each other, as if afraid to be separated... Afraid that this wonderful vision would suddenly disappear and everything would become the same again... - How empty I am without you, my Ice!.. How dark it is without you... And only then did I notice that Isolde looked different!.. Apparently, that bright “sunny” dress was intended only for her, just like the field strewn with flowers... And now she was meeting her Tristan... And I must say, in her white dress embroidered with a red pattern, she looked amazing!.. And she looked like a young bride... “They didn’t give us round dances, my falcon, they didn’t say health resorts... They gave me to a stranger, they married me over the water... But I have always been your wife.” I was always betrothed... Even when I lost you. Now we will always be together, my joy, now we will never part... - Isolde whispered tenderly. My eyes stung treacherously and, in order not to show that I was crying, I began to collect some pebbles on the shore. But Stella was not so easy to deceive, and her eyes were also “wet” now...
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The genre of crying in the poetry of Anna Akhmatova
© E. V. KIRPICHEVA
This genre of traditional Russian folk art became like crying important source inspiration for Anna Akhmatova and found its refraction in her poetry.
Lamentation (crying) is an archaic genre of folklore associated with funeral rites. V.G. Bazanov notes characteristic features crying: “In form, crying is a hard-won and deeply sincere confession. Lamentations can be considered as a special kind lyric poetry However, their lyricism is “hard,” knowing no calm, full of sorrow, excited and tearful pathos.”
Akhmatova, whose lyrics are characterized by high tragic pathos, repeatedly turned to folk lamentations, each time finding new points of contact with this genre of oral poetic creativity. Even the titles of the poems “And now I am left alone...” (1916), “Lamentation” (1922), “Lamentation” (1944) speak of this closeness.
The type of intonation of folk lamentation, which brings some poems closer to recitative folklore, is found in Akhmatova in different forms. This intonation sounds especially clear in the poem on the death of A. Blok, “And Smolenskaya is now a birthday girl.”:
We brought to the Smolensk intercessor, We brought to the Most Holy Theotokos In our arms in a silver coffin, Our sun, extinguished in agony, Alexander, a pure swan.
Emotional tension determines linguistic poetics: unity of beginning, expressive word formation, the use of allegory (Our sun, extinguished in agony) and poetic comparison (Alexander, the pure swan).
Anna Akhmatova's visit to the Optina Hermitage in 1922 (shortly after the death of N. Gumilyov) became a significant event in the poet's spiritual self-determination. In the poem "Lamentation" she refers to this important event his biography, recalling the revolutionary devastation of the country, including Optina Pustyn.
Worship the Lord in His holy court. The holy fool is sleeping on the porch, a star is looking at him. And touched by an angelic wing, the Bell spoke, not in an alarming, menacing voice, but saying goodbye forever. And they leave the monastery, having given away the ancient vestments, the miracle workers and saints, leaning on their sticks. Seraphim - to graze the rural herd in the forests of Sarov, Anna - to Kashin, no longer a prince, to tug at the thorny flax. The Mother of God sees off, wraps her Son in a scarf, dropped by an old beggar woman at the Lord's porch.
By using in the first line of the poem such a form of intertextuality as a quotation from the Psalter (“...worship the Lord in His holy court” (Psalm XXVIII, 2 and KhSU, 9), the author consciously emphasizes the commonality of “his” and “alien” texts, creating impression of lamentation style.
Ability to project biography dates and life situations Akhmatova’s reference to other cultural and historical events through the use of proper names takes the “Lamentation” beyond the framework of a specific time space. Let us remember that Seraphim, a monk of the Sarov Hermitage, was canonized in 1903; Anna, wife of the Grand Duke Tver Mikhail Yaroslavich, after the execution of her husband in 1318, she became a nun and moved to Kashin to live with her son, and was canonized in 1909. Thus, the correlation between the beginning of XX and beginning of the XIV centuries represents "one of the rings of return" of the symbolist idea of "eternal return".
People Silver Age lived with a sense of the co-presence of other centuries and cultures in their lives.
Traces of two terrible wars XX century - on almost every page of poetry, accustomed to losses, courageously ready for trials, Anna Akhmatova.
The tragedies that befell the people were always perceived by the poetess as personal. This was her position during the period imperialist war, when she creates a series of poems ("July 1914", "Consolation", "Prayer"), imbued with sincere pain and compassion, taking the form of laments and prayers. Pictures of the people's grief experienced by her ("July 1914") are written with soul-touching lyricism:
The sweet smell of juniper flies from the burning forests. Soldiers are moaning over the guys, A widow's cry is ringing through the village.
During the Great Patriotic War this genre again turns out to be emotionally and aesthetically significant for the poet. Cry - specifically women's poetry, therefore they are constructed as a monologue on behalf of a simple Russian woman, into whose life the war has invaded. The biographical basis of Akhmatova’s “cries” makes the lamentation dramatically rich, filled with heartfelt feeling. Voplenitsa usually acts as an “interpreter of other people’s grief,” and in this sense, Akhmatova was close in spirit to the poetics of precisely this folklore genre. The process of revival of crying (lamentation) during the war years occurred because it turned out to be the form that could express and accommodate emotions understandable to all people. Filled with high pathos, “Lamentation” (1944) appeared to Akhmatova poetic monument to the dead Leningraders:
I won’t wash away the Leningrad misfortune with my hands, I won’t wash it away with tears, I won’t bury it in the ground.<...>Not with a glance, not with a hint, Not with a word, not with a reproach, I will remember with a bow to the ground In a green field.
The poem is built on the traditional image of inescapable grief, “grief”, traditional for folk poetics.
Of particular importance in lamentations are the motives of fate, grief, death, and separation. But at the same time, lamentation as a genre contains a certain
division, concreteness, this is a lyrical monologue about the present. In such stylistic key Akhmatova’s “Lamentation” was also written. The “timeless” motif of misfortune acquires a local and temporal correlation: “I will not separate the Leningrad misfortune with my hands.” Starting from imagery folk proverb“I’ll sweep away someone else’s misfortune, but I won’t put my mind to mine,” Akhmatova creates an image of the people’s grief at the same time as her own.
A poem dedicated to Leningrad children sounds like a folk cry.
Lamentation is a genre of folklore and literature. Its theme is death loved one(funeral lament), any sad event (including a national one), a dramatic change in life circumstances (wedding laments in folklore, soldiers’ laments, soldiers’ lamentations). Crying is a memory. The poetic genre of elegy is closely related to this genre. Crying is less common in religious poetry, including in Russian spiritual poems. There is no specific poetic form assigned to this genre.
Crying is present in all cultures without exception from ancient times to the present day. In a number of cases in literature, it is based on repetition of the same words by analogy with folklore lament, in the Russian tradition also called “lamentation” (lamentation). There are also warning signs.
There is a point of view according to which “The Tale of Igor’s Campaign” (XII century) is a “male lament” for Igor’s army: this is a syncretic genre of “lament-glory”, which was transformed into a folklore “heroic song” and a literary “ heroic poem" In this sense, the funeral song is a specifically “female” type of lament. “Women mourn every dead person or woman. Men - only men who died in battle or under particularly tragic circumstances. The lamentations of the male cycle are characterized by the presence of heroic-epic elements in them; they talk about the masculine valor of the deceased, about decisive battles and battles..." (Rudenko M. B. Kurdish ritual poetry. Funeral lamentations. M., 1982. P. 12).
In a number national cultures The genre we are interested in occupies one of the fixed places in the genre hierarchy. Yes, in French courtly poetry lament coexists with canzona (song), alba (morning song), tenzona (argument), pastorela (the same as the later pastoral), ballad (within the framework of this culture - a dance song), sirventes (strophic song dedicated to political and public issues). Apparently, literary sirventes is closely connected with folklore “male laments” and is one of the first attempts to combine the folklore basis with the requirements of a literary work.
Interesting cases of crying are found in the poetry of A. A. Akhmatova. The contamination of the elements of “male” and “female” crying lies at the genre basis of the poem “Requiem”, and the dialogue of both principles is present in adjacent stanzas, forming the architectonics of the poem.
Crying ( literary genre)
Cry- one of the ancient literary genres, characterized by lyrical-dramatic improvisation on the themes of misfortune, death, etc. It can be written in both poetry and prose. The style of lamentation is used, in particular, in some texts of the Bible - one of the books of the Old Testament is entirely an example of the genre (“Lamentations of Jeremiah”), as well as in Homer’s poems.
Lamentation has become widespread in traditional Russian ritual and everyday folk poetry. Examples of lamentations in ancient Russian literature are the famous lamentation of Yaroslavna in “The Lay of Igor’s Campaign”, the lamentation of the Moscow princess Evdokia over the body of Dmitry Donskoy. In “The Life of the Zyryan Enlightener Stefan of Perm”, written by Epiphanius the Wise, there are a number of texts that fall into this category by genre: “The Lament of the Perm People”, “The Lament of the Perm Church” and “The Lament and Praise of the Monk Copying”. Laments written by Russian authors of the 17th century are known, in particular the anonymous “Lament for the Captivity and ultimate ruin Moscow State" () and "Crying and Consolation" on the occasion of the death of Tsar Fyodor Alekseevich, written by the poet Sylvester Medvedev.
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