K.F. Ryleev “Dumas”: the specifics of the genre, the nature of historicism, themes. Duma is the Musical and stylistic features of doom

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, penetration into the inner world of the characters, and the glorification of 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 the type of recitation (recitative performance) only in general terms, 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:

Duma is a Cossack epic. They developed most intensively during the struggle against the Turks, Tatars, Poles, etc.

• 1 Characteristic signs of thoughts
• 2 Musical and stylistic features of doom
• 3 Main themes of doom
• 4 Literature
• 5 Audio
• 6 Notes
• 7 Links

Characteristic signs of doom

In terms of volume, doom has more historical ballad songs, which, as with the old druzhina epic (“The Tale of Igor’s Campaign,” ancient carols, epics), have a genetic connection. The structure of the duma consists of more or less pronounced three parts: the chorus (“patch”, as the kobzars called it), the main story, and the ending. The verse composition of the duma is unequally complex, astrophic (without division into stanzas-couplets due to the variability of the rhyme order), with intonation-semantic division into tirades, in singing it begins with shouts of “oh”, and ends with “gay-gay”.

With their poetic and musical form, the dumas represent the highest stage of the recitative style, previously developed in lamentations, from which the dumas adopted some motifs and poetic images. The nature of improvisation is also similar to the lamentations of the thought. Long recitations of thoughts transform into smooth, changing forms. Each kobzar adopted the general performance pattern from his teacher and created his own separate version of the melody, to which he performed all the dumas of his repertoire.

Singing dumas requires special talent and singing technique (therefore, dumas are preserved only among professional singers). The dominant element of duma is verbal, not musical, and it is formed to a certain extent improvisationally, so the rhymes are often rhetorical. Rhymes in thoughts are predominantly verbal. the poetics are characterized by extensive negative parallels (most often in the chorus), traditional epithets (Christian land, quiet waters, clear dawns, the world of baptisms, hard bondage), tautological statements (bread-sil, honey-wine, black-haired eagles, sriblyaniki-duks, wolves-Siromancians, Turks-Janichars, p"e-walks), rooted ones (walking-infantry, live-living, swearing-cursing, p"e-drinking, quelling-cursing), various figures of poetic syntax (rhetorical questions, appeals, repetitions, inversion, anaphora, etc.), traditional epic numbers (3, 7, 40, etc.). The style of the thoughts is solemn, sublime, which is facilitated by the use of archaisms, Old Slavonicisms and polonisms (golden domes, voice, ispadat, raznoshati, spies, finger, chapter). The epicness and solemnity of thoughts is enhanced by retardations - slowing down the story through the repetition of phrases and formulas.

Duma, unlike the ballads and epics of other peoples, has nothing fantastic. The oldest mention of the Duma is in the chronicle (“Annals”, 1587) of the Polish historian S. Sarnicki, the oldest text of the Duma was found in the Krakow archive by M. Wozniak in the 1920s in Kondratsky’s collection (1684) “Cossack Golota”. The scientific terminology for the name of the Duma was introduced by M. Maksimovich.

Musical and stylistic features of doom

Doom tunes consist of:

• recitative on one sound within a fourth;
• melodic recitative or semantically unambiguous recitative tunes;
• different durations of melodic cadences at the end of a tirade or its segments, the so-called. ending formulas;
• introductory melodic formula with the word “gay!”, the so-called. "patches".

Recitative melodies, initial and final melodic formulas are usually decorated with melismas. The modal basis of most dumas is the Dorian mode with a raised IV degree, with a lower introductory tone (VII) and a subquart (V). The raised IV degree is used as an introductory tone in the dominant, as a result of which the V stage serves as a temporary tonic. The extended second, which was formed between the III and IV steps, creates a specifically “oriental” flavor or conveys feelings of suffering (according to the kobzars, “gives pity”).

Main themes of doom

The main topics of the thoughts were:

• Turkish bondage (“Slaves”, “The Cry of a Slave”, “Marusya Boguslavka”, “Ivan Boguslavets”, “Falcon”, “The Flight of Three Brothers from Azov”)
• knightly death of a Cossack (“Ivan Konovchenko”, “Khvedir Bezrodny”, “Samara Brothers”, “Death of a Cossack in the Kodymsky Valley”, “The Widow of Sera Ivan”)
• liberation from captivity and a happy return to his native land (“Samoilo the Cat”, “Alexey Popovich”, “Ataman Matyash the Old”, “Conversation of the Dnieper with the Danube”)
• Cossack chivalry, family life and condemnation of the “rich men of silver” (“Cossack Golota”, “Cossack life”, “Ganzha Andybere”)
• liberation war of Khmelnitsky (“Khmelnitsky and Barabash”, “Battle of Korsun”, “March against Moldova”, “Uprising after the Peace of Belotserkov”, “The Death of Bogdan and the Choice of Yuri Khmelnitsky”)
• family life (“Widow and three sons”, “Sister and brother”, “Farewell of a Cossack to his family”).

Literature

• Dumas // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg, 1890-1907.
• Literary dictionary-dovidnik / R. T. Grom’yak, Yu.I. Kovaliv and in. - K.: VC "Academy", 1997. - p. 218-219
• Duma / V. L. Goshovsky // Gondoliera - Korsov. - M.: Soviet Encyclopedia: Soviet Composer, 1974. - Stb. 329-330. - (Musical encyclopedia: / chief editor Yu. V. Keldysh; 1973-1982, vol. 2).
• Kolessa F., Melodies of Ukrainian National Dumas, series 1-2, Lviv, 1910-13 (“Materials before the Ukrainian ethnology of NTS”, vol. 13-14), 2 Kiev, 1969;
• Kolessa F., Variations of melodies of Ukrainian folk thoughts, their characteristics and grouping, "Notes of the Shevchenko Scientific Partnership, vol. 116, Lviv, 1913;
• Kolessa F., About the genesis of Ukrainian national dumas, in the same place, vol. 130-132, Lviv, 1920-22 (vid. okremo, Lviv, 1922);
• Kolessa F., Formulas of completion in Ukrainian national thoughts, “Notes of the Scientific Partnership named after. Shevchenko”, t. 154, Lviv, 1935;
• Kolessa F., Recitative forms in Ukrainian folk poetry, ch. II. Dumi, in his book: Musical Practices, Kiev, 1970, p. 311-51;
• Ukrainian national thoughts, vol. 1-2, texts 1-33, intro. K. Grushevskaya, Kiev, 1927-31;
• Grinchenko M. O., Ukrainian national thoughts, in his book: Vibran, Kshv, 1959;
• Kirdan B.P., Ukrainian People's Dumas (XV - early XVII centuries), M., 1962;
• Ukrainian People's Dumas, M., 1972.

Audio

• Mykola Budnik: thoughts about Marusya Boguslavka, Branka, Popivna. on YouTube (Ukrainian)

Notes

Links

• Ukrainian Dumas and Slovo
• Ukrainian "Dumas"

Duma of Lermontov, Duma of Kovpak, Duma of the Cossack Golota, Duma of the epic Manas

epic and lyric-epic song genre of Ukrainian folklore, depicting the struggle of the Ukrainian people with foreign invaders, social conflicts, family and everyday relationships. Doom differs from other songs, including historical ones, in the method of transmission and form. Songs are sung, thoughts are performed in melodic recitative, and improvised. The verse of the thought is free, there is no division into stanzas; only the division into unequal periods (ledges) is noticeable, closing a certain image or a complete thought. Dumas were performed to the accompaniment of musical instruments: kobza, bandura or lyre. Folk musicians-performers also received their names from their names: kobza players, bandura players, lyre players (the most famous are A. Shut, O. Veresai, N. Rigorenko, M. Kravchenko). The first significant collection of thoughts and Ukrainian songs came from the beginning of the 19th century: the handwritten collection “Little Russian Tales numbering 16. Copied from the lips of blind Ivan, the best rhapsody I found in Little Russia at the beginning of the 19th century” (published in 1892-93 in the magazine “Kyiv” old man"). In 1819 N.A. Tsertelev published the collection “The Experience of a Collection of Ancient Little Russian Songs.” In 1825, K.F. Ryleev named the collection of his poems and poems “Dumas”. For the first time in science, the term “Duma” was used to designate the genre of Ukrainian folk poetry by M. Maksimovich, who published the collection “Little Russian Songs” in 1827. After this, the term came into use by scientists and writers, but some performers, even at the end of the 19th - beginning of the 20th century, continued to use the old names: “Cossack pisni”, “pisni about the old things”, “povazh pisni”, “psalms”. Interest in thoughts and their performers increased in the era of romanticism. Collectors of folk poetry paid increasing attention to the search for new epic works and studied the repertoire of their speakers and regional traditions.

Dumas 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 1648-54 and the reunification of Ukraine with Russia (adjacent to them are the Dumas on the death of Bohdan Khmelnytsky and the election of a new hetman); on social and family issues. The first two cycles, combining historical and heroic Dumas, represent two different stages in the development of the Ukrainian folk epic. The third cycle was probably created and existed simultaneously with the first two and later, including the 19th century. Ukrainian and Russian poets and prose writers quite often (especially in the 1840-50s) created images of bandura players, kobza players and lyre players, turning to the themes, artistic and visual means and techniques of Dumas. They were widely used by N.V. Gogol in “Taras Bulba” (1835), E.P. Grebenka in the historical novel “Tchaikovsky” (1843), T.G. Shevchenko, I.A. Bunin (“Lyrnik Rodion”, 1913) , E.G. Bagritsky (“Duma about Opanas”, 1926), Petro Punch (“Klokotala Ukraine”, 1954), Ivan Le (“Nalivaiko”, 1940; “Khmelnitsky”, 1959-65).

DUMA - 1) A 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.V. are usually classified as philosophical and lyrical. 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. In the first half of the 20th century, the “Duma about Opanas” by E.G. was widely known. 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.

What is the thought and message in drama? in literature and got the best answer

Answer from Anastasia Mereshko[active]
DUMA - 1) A poetic genre of Russian literature, which represents the poet’s reflections on philosophical, social, family and everyday topics. The “Dumas” of K. F. Ryleev, which formed a unique cycle of philosophical and patriotic poems and poems, became widely known: “Dmitry Donskoy”, “The Death of Ermak”, “Bogdan Khmelnitsky”, “Volynsky”, “Derzhavin”, etc. It is customary to consider “Dumas” by A.V. Koltsov and “Duma” (“Sadly I look at our generation...”) by M.Yu. Lermontov as philosophical and lyrical. One of the sections of the collection of poems by A. A. Fet “Evening Lights” is called “Elegies and Thoughts”. K. K. Sluchevsky has a cycle of poems “Duma”. E. G. Bagritsky’s “Duma about Opanas” was widely known in the first half of the 20th century. 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.

Answer from Alexander Panko[active]
Duma is a lyrical-epic work of Ukrainian oral literature about the life of the Cossacks of the 16th-17th centuries, which was performed by wandering music singers: kobzars, bandura players, lyre players in Central and Left Bank Ukraine

Answer from Yoazykina Yu.O.[newbie]
Thought
Duma: Duma (dumka) is an outdated name for a thought: “thinking a duma,” “I’m guessing a thought.” Duma is a type of lyrical-epic works of Ukrainian oral literature. Duma is the son of Ishmael (Gen. 25:14) and one of the tribes of the Ishmaelites.

Answer from 3 answers[guru]

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