a lyric poem consisting of stanzas (from 4 to 12 verses each), compositionally complete and isolated from each other. The requirement for compositional independence of the stanzas that make up the stanza is expressed in the prohibition of semantic transfers from one stanza to another (strophic “enjambement”) and in the obligatory nature of independent rhymes that are not repeated in other stanzas. These conditions for the construction of S. are reflected in the term itself, which comes from the Italian word “stanza”, which means “stop”, “rest”. It should be noted that initially, in the Middle Ages and the Renaissance, the concept of S. was compositionally more defined than in our time, including a number of requirements regarding the number of syllables in a verse, the arrangement of rhymes, etc. In the lyrics of the troubadours under S. , as opposed to large lyrical forms, meant a small song with a verse structure. Subsequently, the loss of the verse-song basis in S. led to the ambiguity and uncertainty of the term, for example. in German poetry it began to be applied to the octave (q.v.), and in France it is often used as a synonym for the term “strophe” (q.v.). In Russian poetry, the S form was most often used in the genre of meditative lyrics. Wed. Pushkin’s stanzas “Do I wander along the noisy streets,” in which the modern form of S. found its complete expression. See “Stanza”, “Versification”. M. Sh.
What are "Stanzas"? How to spell this word correctly. Concept and interpretation.
Stanzas STANZA is a term derived from the Italian word stanza, which means stop. Sometimes this term is applied to any stanza in general. Sometimes applied to the octave (see this word). In another sense, stanzas are a poem built from individual stanzas that are completely complete in themselves. An example of stanzas, in this meaning of them, is Pushkin’s elegy: “Am I wandering along the noisy streets.” In this lyrical play, Pushkin reaches the very limit of those artistic possibilities that are contained in the poetic form of stanzas. Each stanza of the eight stanzas of the play is a rhythmically complete whole. Here there is no continuity of rhythm and rhyme that we see in a sonnet or rondo (see these words). The arrangement of rhymes is completely symmetrical in all stanzas (abab type). Accordingly, the emotional, figurative and logical meaning of each stanza is completely complete: in the first - the persistence of the elegiac mood that accompanies every step of the poet; in the second - the mood of doom for all living things; in the third - the opposition of eternal nature and human mortal existence; in the fourth - resignation of old age, readiness to give way to a new life that has replaced the outdated one; in the fifth - waiting for your hour of death, - and the hour of death can be anyone; in the sixth - reflection on the image in which death will appear - and it can appear in any image; in the seventh - turning with a dream to the “sweet limit”, closer to which one would like to rest after death; in the eighth - reconciliation with death in love for the living: for the young life that will play at the grave entrance, and for the eternal beauty of indifferent nature. But despite the completeness of each stanza, the artistic meaning of the whole poem is determined only by their combination. This can be said about the rhythmic side, and about any other. The rhythmically completed stanzas of Pushkin's stanzas, when combined, form a completely distinct rhythmic pattern that connects these independent stanzas into one. The nature of the rhythmic pattern affects, along with other areas (for example, the location of large and small caesuras), also in the combination of accelerations. Pushkin's stanzas are written in iambic tetrameter. The fourth foot coincides with rhyming line endings. Accelerations therefore can only occur in the first three feet (hypostases in rhyming feet are an extremely rare thing, and a few examples of it are found only in new poetry). All types of accelerations are used here by Pushkin: he gives acceleration on the first, second, and third foot. Their arrangement within the stanzas no longer seems symmetrical. It forms one pattern that runs through the entire play: the first three stanzas give scattered accelerations, with frequent breaks, the next two - the middle of the poem - give, with only one break (and then at the end of the stanza), a continuous thread of accelerations, all at 3 th foot. The last 2 final stanzas again lead to the initial dispersion, and only the last two lines, almost repeating, rhythmically, one another, in this monotony of repetition complete the entire rhythmic plan. The same general artistic concept - and in combinations of figuratively - the semantic basis of individual stanzas. As you read, it may seem at first glance that each stanza could be the final stanza of the play. And only the last stanza fully reveals the whole meaning of the poem. “And let Young life play at the grave entrance, And let indifferent nature shine with eternal beauty”: here is a return to the three main images of the first part (“We will all descend under the eternal vaults” - from the second stanza; “I look at the solitary oak... .” - from the third; “I caress my dear baby” - from the fourth). Pushkin's stanzas in their construction are the most characteristic example for this poetic form in general: despite the monotony and metrical equivalence of the constituent stanzas, the artistic meaning of the stanzas is determined by the internal diversity of rhythm and the internal cohesion of individual poetic images. Valentina Dynnik.
Stanzas- (French stance, from Italian stanza, literally - room, room, stop) 1) in literature...
Stanzas are a genre of medieval poetry that remained popular in the poetry of later eras. Various writers created stanzas, and Russian poets often turned to this poetic form.
How did stanzas appear?
Italy is considered the birthplace of stanzas. The word “stanza” itself is translated from Italian as “room” or “stop”. A Stanza in Italian Renaissance architecture is a room in which papers were signed or important meetings were held, such as the Stanza della Segnatura. The famous Rafael Santi took part in the creation and decoration of this room.
In literature, stanzas are stanzas, each of which has its own special meaning, that is, each new stanza does not continue the previous one, but is a complete whole. One stanza expresses any one idea, but in the whole poem the stanzas are organically connected with each other and together they create an artistic whole.
Stanzas in medieval literature
So, Italy was the birthplace of stanzas, and there they were most often used to glorify members of the nobility. The stanzas were first written by Angelo Poliziano, an Italian poet who lived in the 15th century, and they were dedicated to Giuliano de' Medici. A stanza is a poem consisting of eight stanzas that rhyme.
Byron's Stanzas
George Gordon Byron is a great British poet who was a contemporary of Pushkin. Byron's poetry was dedicated to the pride of the human spirit, the beauty of love. Byron took part in the revolt of the Carbonari and the Greeks, and wrote his Stanzas in 1820.
There are also Byron's stanzas dedicated to Greece and the beautiful corners of Greek nature. The main theme of his stanzas is his love for a beautiful Greek woman and Greece’s struggle for freedom and independence. Byron's poetry had a great influence on Pushkin's work.
Stanzas in Russian poetry
Stanzas are a genre that began to actively develop in Russian poetry in the eighteenth century. In Russian literature, this is a small poem that consists of quatrains, and most often its size is Stanzas in Russian literature, most often dedicated to the love of the lyrical hero for a young girl, but sometimes they were associated with socio-cultural breakthroughs in the life of the country, such as, Pushkin's stanzas.
Stanzas of Pushkin
Alexander Sergeevich Pushkin wrote his famous “Stanzas” in the fall of 1827. In this work, which has been discussed many times, the image of Peter the Great, the famous Russian emperor, appears.
The appearance of this poem is associated with the beginning of the reign of Nicholas the First. Pushkin, whose Stanzas became a praise of imperial power, hoped that this monarch would change the lives of ordinary people for the better. For his part, Nicholas the First hoped that Pushkin would help him calm the mood of young people. He offered to help Pushkin change the system of upbringing and education.
"Stanzas" compare two monarchs: Peter the Great and his great-grandson Nicholas the First. The ideal for Pushkin is Peter the Great. This king was a real worker who did not shy away from any occupation. He was a navigator, an academician, and a carpenter. The days in which Peter the Great ruled, according to Pushkin, made Russia a great power. Although this tsar darkened the beginning of his existence with the executions of undesirables, later with his help Russia was able to become great. Peter the Great constantly studied and forced others to study, he worked hard for the glory of his country.
Alexander Sergeevich Pushkin, whose “Stanzas” have become a famous work in Russian literature, calls on Emperor Nicholas the First to repeat the feat of Peter the Great and raise Russia to a new level of development.
In addition to “Stanzas,” at about the same time, the poet also wrote the poems “To Friends” and “Prophet.” It was assumed that all three of these poems would form a single cycle and would be published in 1828 in the Moskovsky Vestnik magazine. But Pushkin’s hopes were not justified: the emperor banned the publication of his poems, which was reported to Pushkin by the head of the Russian police, Benckendorf.
Stanzas of Lermontov
Mikhail Yuryevich Lermontov is one of the most outstanding creators in Russian poetry. Lermontov learned what stanzas were after becoming acquainted with English poetry, in particular with the work of Byron.
Lermontov's stanzas appear as short poems in which genre characteristics are not defined. In 1830-1831, Lermontov wrote six poems, which in form can be defined as stanzas. Their main theme is romantic love, in the poems a young man addresses his beloved. Lermontov, whose stanzas were influenced by John Byron's work “Stanzas to Augusta,” influenced the literary tradition of writing similar works after him.
Lermontov's poems are filled with the sadness of the main character, who sees the vanity and misfortunes of his earthly life and dreams of a different life. The poet writes about his loneliness in this world, compares himself to a cliff that can withstand the onslaught of wind and storm, but cannot protect the flowers growing on the rock from them. Mikhail Lermontov, whose stanzas fully express the poet’s worldview, became a model for many other creators of Russian literature.
Annensky Stanzas
Innokenty Fedorovich Annensky is considered the “swan of Russian literature.” Having discovered his poetic talent at the age of 48, Innokenty Annensky became an outstanding literary creator. His poem “Stances of the Night” became a notable phenomenon in the literature of that time. Its content is the expectation of a meeting with the beloved, who should come in the darkness of the night. Many researchers believe that his poetry has common features with the poetry of the Impressionists, in particular with paintings
Yesenin's Stanzas
Sergei Aleksandrovich Yesenin became a representative of the new Russian literature, which took the side of Soviet power. He fully supported the October Revolution, and all his works were aimed at supporting the Soviet system that had emerged at that time, at supporting the actions of the Communist Party. But at the same time, they also have their own characteristics.
While in Baku, Azerbaijan, the poet began writing Stanzas. Yesenin himself mentions this in the poem: he chose to leave Moscow due to misunderstandings with the police. But, admitting his shortcomings (“even if sometimes I am drunk”), Yesenin also writes that his mission is not to glorify girls, stars and the moon, but the name of Lenin and Marx. He denies the influence of heavenly forces on human society. People must build everything on the earth themselves, the poet believes, and for this they need to apply all their industrial power.
It was not by chance that Yesenin gave his work the name “Stanzas”; this poem clearly echoes Pushkin’s “Stanzas”. Yesenin was a fan of Pushkin’s work and laid flowers at his monument. But Yesenin believed that stanzas are not a form of love poetry, but a way to express one’s civic position.
Yesenin’s “stanzas” did not arouse the approval of party leaders, who wanted to see in Yesenin a completely party poet, dedicated to the ideals of the revolution. But this poem marks the poet’s turn from “Moscow Tavern” to the new Soviet reality. Many critics thought so. This work was enthusiastically received by the employees of the magazine “Krasnaya Nov”, who believed that Yesenin was finally becoming truly his own. The correct direction of the poet’s work was considered a consequence of the beneficial influence of the climate of the city of Baku, where he then lived, and friendship with Pyotr Ivanovich Chagin.
Brodsky's Stanzas
Joseph Alexandrovich Brodsky was an outstanding Russian poet who was equally fluent in Russian and English. He became at a relatively young age - at 47 years old.
A native of St. Petersburg, he lived first in Russia, then in the United States of America. Petersburg appears in all his poems; this city is mentioned especially often in the famous work “Stances to the City.”
Numerous studies of the book “New Stanzas for Augusta” show that in this work such lexical units as the names Marie and Telemachus, as well as the words “madam”, “dear”, “friend” are often used. The main addressee of “New Stanzas for Augusta” is who is waiting for her friend. All the poet’s tender calls are addressed to her. From Brodsky's poems one can judge what stanzas are in literature. Brodsky's central character is the lyrical hero; the motif of exile is also important for his poetry.
The collection “New Stanzas for Augusta” was dedicated to Maria Basmanova. It features not only images of lyrical heroes, but also objects. They have symbolic meaning. The lyrical hero gives his girlfriend a ring with turquoise. Turquoise is a stone made from human bones. The hero asks his beloved to wear this stone on her ring finger.
In the poem “Honeymoon Slice,” the author explores maritime vocabulary. His beloved name is Marina, so he pays special attention to the marine theme.
The poem “Night Flight” is dedicated to traveling in the belly of an airplane, and the poet admits that he always wanted to go to Central Asia. Traveling on an airplane has a double meaning for him - it is both a flight to another life and a journey to resurrection. The poet strives for another reality, where there will be no misfortune and torment.
Pushkin, 1826:
In the hope of glory and goodness
I look forward without fear:
The beginning of the glorious days of Peter
There were riots and executions.
But with the truth he attracted hearts,
But morals were tamed by science,
And was from a violent archer
Compared to him, Dolgoruky is distinguished.
By autocratic hand
He boldly sowed enlightenment,
He did not despise his native country:
He knew its purpose.
Now an academician, now a hero,
Either a sailor or a carpenter,
He is an all-encompassing soul
The eternal worker was on the throne.
Be proud of your family resemblance;
Be like your ancestor in everything:
How tireless and firm he is,
And with a memory, like him, he is not evil.
“Stanzas” is one of Pushkin’s most famous lyrical works; the text, or rather individual lines or stanzas, are very often quoted. This is not surprising; in the genre nature of stanzas there is a tendency towards clear, polished formulas, each stanza contains a deep, complete thought, expressed aphoristically.
But here are other “Stanzas” written on October 24-25, 1918 by Vladislav Khodasevich:
The hair is already gray at the temples
I cover it with a black strand,
And the heart freezes, as if in a vice,
From an extra glass of tea.
Long labors are too hard for me,
And there is no charm
No knowledge of too spicy fruits,
No women's sultry kisses.
Now I look with coldness
To the boredom of the upcoming glory...
But the words: flower, child, beast -
They come to people's lips more and more often.
Sometimes I listen absentmindedly
Poets' idle rattling,
But the soul is filled with sweet fullness
Grains silent germination.
The stanzas vary in mood. Pushkin is much more optimistic: the new reign should revive Peter’s traditions; the thought of change for the better, of course, does not leave the lyrical hero of Pushkin’s “Stanzas”.
V. Khodasevich has a different mood, the poet is focused on his own losses, the first stanza is distinctly elegiac. The beginning of the third stanza sounds somewhat polemical in relation to the first lines of Pushkin's Stanzas. In the first post-revolutionary year, V. Khodasevich counts losses and experiences a change in values. The beginning of the fifth stanza goes back to Pushkin’s lines from the poem “The Poet and the Crowd” (1828):
Poet of inspired lyre
He rattles his absent-minded hand...
“Stanzas” by V. Khodasevich were included in his poetry collection “The Way of the Grain”; it seems that this particular poem deciphers the meaning of the title of the entire collection and reveals its genetic connection with the biblical parable about the dying and resurrecting grain. The meaning of the “Stanzas” is probably detachment from the transient and momentary and an introduction to eternal values.
Each stanza of stanzas (in both cases it is a quatrain with cross rhyme) is a complete semantic and syntactic whole. All stanzas end with a period at the end. There is a gap between stanzas that requires a brief stop, a short pause. The word stanza itself in Italian means room, room, stop. Stanza and station are close not only in sound, but also in meaning. Raphael Santi, commissioned by Pope Julius II, painted stanzas in the Vatican Palace, that is, rooms, for example, the hall called Stanza della Segnatura - the room where all kinds of official papers were signed.
The term Raphael's stanzas is widely used in art history literature and makes one think of poetic stanzas. In poetic terminology, stanza is a synonym for the word stanza. For example, B. Tomashevsky in his monograph “Verse and Language” (1959), in relation to Pushkin’s poetry, constantly talks about various types of stanzas, meaning stanzas. But there is a formal difference between them: a stanza is a closed stanza, a stanza is a container for a holistic thought that requires some thought. Roughly speaking, the stanza does not continue into the next stanza; a new stanza is a new thought that challenges or develops the previous one, which gradually, through several stanzas that clarify the author’s thought, leads to the final idea. In this regard, the stanzas are structurally close to the sonnet with its steady increase in thought. A separate stanza is equal to one idea, but in a poem their totality is important; the completeness of the author’s worldview is expressed in the interaction of all stanzas.
Stanzas originated in Italy. Often this form was used to glorify the powers that be. Thus, Angelo Poliziano (1454-1494), translator of Homer’s Iliad, dedicated “Stanzas for the Tournament” to the victories in the knightly tournaments of Giuliano Medici, which were not completed due to the death of the powerful Lorenzo Medici, the brother of the knight glorified by the poet. Italian stanzas did not carry any specific genre load, but simply meant a complete eight-line stanza with rhyming:
abababcc.
Stanzas in France appeared under the influence of Italian lyrics; the poets of the Pleiades turned to this genre. Thus, P. Ronsard dedicated “Ode to My Beloved” to Casandra, which he then renamed “Stanzas”. This once again proves that at first the stanzas were not assigned specific genre characteristics.
Probably, interest in the genre of stanzas arose from A.S. Pushkin was not without the influence of Byron, who repeatedly used their form, especially while he lived in Italy. The English romantic dedicated stanzas to women who played a significant role in his life: Mary Chaworth, Mrs. Smith, whom he calls Florence in the stanzas dedicated to her. He dedicated stanzas to his half-sister Augusta Lee twice. Byron's best creation in this genre is “Stanzas to Augusta” (1816). The dedication to the Beautiful Lady, characteristic of Byron in each case, again reveals the closeness of the genre of stanzas to the sonnet. But the differences are significant: in stanzas the thought is more extended, in stanzas the poet more actively comprehends himself, and not the addressee of the stanzas. The biographies are not so much connected as they are repelled. In Byron's stanzas, the rhetoric characteristic of the genre is revealed already in the first stanza:
When my time has passed,
And my star has set
And he is not the judge of my mistakes.
Troubles don't scare you,
And love, whose features
So many times I trusted paper,
The only thing left in my life is you.
(Translation by B. Pasternak).
Byron, in Stanzas to Augusta, repeats what he always said frankly, especially in connection with the divorce proceedings: the only woman who understood him and sympathized with him was his sister. The stanzas dedicated to her are built on the antithesis of another woman, who has become not just a stranger to him, but hostile. The poem ends with a stanza that sums up the first life outcome. The idea is quite obvious: defeat will become triumph, but the formula gains expressiveness in the final stanza thanks to transparent symbolism:
The death of the past, everything is destroyed,
It brought triumph in some ways:
What was most dear to me,
Desert is more valuable than anything else.
There is a spring in the desert to drink from,
There is a tree on a bald hump,
Alone songbird
Sings to me all day about you.
Another great poet of England, P.B., also turned to the genre of stanzas. Shelley. His “Stanzas written near Naples in hours of solitude” reflected the impressions of sailing to the shores of Italy, which at a difficult moment gives the poet peace. It is noticeable that in the stanzas of the English romantics the genre acquires some signs of the epic of the highways. Shelley, like Byron, uses stanzas as a kind of travel diary.
But the German poets of the era of romanticism ignored stanzas, and despite the fact that Italy was very attractive to them, its image was imprinted in elegies, epigrams and prose genres.
But in Russian lyrics of the nineteenth century, and the twentieth too, there are many remarkable stanzas.
In our domestic poetry, the appearance of stanzas is changing. Russian poets call stans a relatively short poem, written, as a rule, in iambic tetrameter with cross rhyme. Completeness of each stanza is an indispensable attribute of stanzas. The flow of the author's thoughts is calm and smooth. Sad reflections in the final stanza usually receive an optimistic conclusion:
The heavy shackles will fall,
The dungeons will collapse and there will be freedom
You will be greeted joyfully at the entrance,
And the brothers will give you the sword.
If we turn to one of the darkest poems by A.S. Pushkin’s “Am I wandering along the noisy streets...”, whose genre affiliation with stanzas is undeniable, one can trace the evolution of poetic thought. The first stanza encourages reflection, the second reminds us of the frailty of human existence, which is contrasted in the third stanza with eternal nature. In the fourth stanza, the idea of an inevitable change of generations is expressed extremely nakedly. The three subsequent stanzas are a kind of chronotope of death: where and when are you destined to die? In the last stanza there is reconciliation with the inevitable, a feeling of one’s own existence as a particle of universal existence. Accordingly, each stanza is not only valuable in itself, but its significance increases from the combination of all stanzas into a single whole - into stanzas.
With stanzas, as with other genres of lyric poetry, a natural evolution occurred in Russian poetry. Stanzas were written before Pushkin (Sumarokov), stanzas were written simultaneously with Pushkin (Baratynsky, Vyazemsky, Lermontov), but it was Pushkin’s stanzas that became the standard of the genre, and all subsequent stanzas are marked by their influence.
But let's dwell on the stanzas (pun intended!) of M.Yu. Lermontov, who turned to this genre six times at the very beginning of his creative career (1830-1831):
- “Stanzas” (“Look how calm my gaze is...”)
- “Stanzas” (“I love it when, struggling with the soul...”)
- "Stanzas" ("Instantly, running through the mind...")
- “Stanzas” (“I am destined to love until the grave by the creator!”)
- “Stanzas” (“I can’t languish in my homeland...”)
- "Stanzas to D***" ("I can't say anything...")
All “Stanzas” are elegiac in mood, they are characterized by Lermontov’s characteristic disappointment and melancholy caused by love illness. In “Stanzas” (“I am destined to love until the grave by the creator!”) the destructive power of love, which the poet endows himself or, more precisely, the lyrical hero, is most eloquently expressed:
I am destined to love until the grave by the creator!
But by the will of the same creator
Everything that loves me must perish
Or, how can I suffer to the end.
My will is contrary to my hopes,
I love and am afraid to be mutually loved.
Fatal love is a favorite motif of Lermontov's lyrics, but in comparison, for example, with the ballad "Tamara", the perspective in "Stanzas" is different: the one who loves destroys, while in the ballad the lover himself is a victim of the mysterious spells of a demonic beauty. In "Stanzas" the lyrical hero is the future Arbenin from "Masquerade",
In most cases, the author's attribution of the genre is based on a formal criterion - the completeness of the stanzas, when the thought lacks smoothness and consistency, the monologue is hastily broken off. More than others, they correspond to the established idea of the genre “Stanzas” (“I can’t even say...”). The integrity of the stanzas is emphasized by numbering. The poem consists of nine six-line rhyming stanzas:
abbacc.
Researchers have not definitively established who the “Stanzas” are dedicated to, but most likely they were addressed to E.P. Sushkova, whose home name Dodo is indicated in the dedication. It is noted that in these stanzas not only love longing is expressed, but also admiration, and hence a wider range of ideas:
If only the worlds were at our feet
Blessed our will,
I am this royal share
I couldn't call it happiness
He is afraid of the rumors of judgment,
It is a flower of solitude.
In the “Stanzas,” thoughts prevail over experiences, which make us think about the secrets of the heart, about freedom, about pride and humiliation, about a moment of happiness, which is more valuable than eternity, and the whole complex of ideas makes the “Stanzas” (“I can’t say a thing. ..") stanzas. In comparison with other Lermontov poems with the same name, this is distinguished by greater restraint of feelings and concentration of thoughts.
In the Silver Age of Russian poetry, stanzas were written much less frequently than, for example, sonnets.
Stanzas are included in the title of I. Severyanin’s poem:
The happiness of life is in scarlet sparks,
In fleeting enlightenments,
In dreams that are bright but ethereal,
In your tired eyes.
Woe is in the eternity of vices,
In constant dispute with them,
In ridicule of the prophets
And in the search for happiness - grief.
Brief, but still formulaic and vulgar, but to rhyme “vices are prophets”? - There seems to be something sinful in this. What kind of stanzas are these? So, half-stances. Just two pretentious stanzas and the appearance of thoughts.
There are “Stanzas” (“Above this island what heights...”) by N. Gumilyov, ending with a pseudo-romantic stanza and varied in verses classified as other genres:
I am free, again believing in luck,
The whole world is my home,
Kissing a girl with a hot face
And with a greedy mouth.
Narcissism is not in the tradition of stanzas; stanzas are akin to hard-won thought. Gumilyov’s poems are quite passable, attracting attention only by the title.
“Stanzas to Poland” by Fyodor Sologub was written on August 12, 1914, the day of the invasion of German troops into Poland. The genre is justified by the tragedy of the moment, by the compassion of the author, in whom, although common expressions break through, it is palpable how pain turns into thought.
In Russian poetry of our century, the most significant poem in the stanza genre belongs to O. Mandelstam. "Stanzas" (1935) is the last - futile - attempt to write such poetry so that the system recognizes him as one of its own. The choice of a relatively rare genre in Russian poetry is not accidental. The genre designation itself, instead of the title, was associated with Pushkin's Stanzas. However, in contrast to Pushkin’s goal - to teach a lesson to the kings (“In everything, be like your ancestor...”), Mandelstam tried to convince himself:
I have to live, breathe and grow...
The poet repeated this not very successful line twice, like a spell. They still didn’t let me live and breathe. He saturates the stanzas with attributes of the achievements of Stalin’s five-year plans, trying to convince himself and new readers that he, too, has a place in the ranks of enthusiasts:
Work speech without listening, yourself-friend,
I hear Soviet cars knocking in the Arctic...
The knock was much closer. But the mention of Siberia turned out to be prophetic.
In contrast to the victories of the USSR at the construction site, Mandelstam speaks of Germany under Nazi rule:
I remember everything - the German neck brothers,
And that purple comb of Lorelei
The gardener and executioner filled his leisure time.
The last line is about Hitler, who in our press of that time was characterized by feuilletonists as an amateur gardener.
In the thirties, the intelligentsia of our country and friends abroad were forced to make a choice: leader or Fuhrer, not noticing the synonymy of these concepts. Mandelstam in Stanzas declares his choice in favor of his native fatherland. This was a natural act of a citizen, and not just a person concerned about his fate. But assurances of one’s own loyalty, as we know, did not help. "Stanzas" expressed the most poignant moment in the poet's biography in the context of history. An attempt at compromise, unlike Pushkin's, did not take place.
Transcarpathian lieutenant,
there are shoulder straps on your shoulders,
precise cuts
by slope
freshly cut.
The meaning of the “Stanzas” is encrypted out of caution; one can only guess about the reasons why the officer was demoted and about his national-army duality.
The poem is called "Stanzas" as a sign of continuity and poetic tradition.
Stanzas are found in many varieties among all poets, but not everyone puts the definition of genre into the title of a lyric poem. This is explained by the fact that the stanzas never fully acquired genre definition. The completeness of the stanzas and completeness of thought were not enough for the genre to take on a solid form. As for the content, it can be almost anything. Eventually, the stanzas returned to their original meaning - stanzas. This, in particular, was demonstrated by I. Brodsky, who called his poem “Strophes,” although by all indications these are stanzas. The eight-line stanzas are numbered, each stanza is aphoristic and complete, and the last one with a reference to T.S. Eliot (“sob”) announces that there is nothing more to say. Then there is silence:
Leaning on your elbow,
I listen to the rustling of linden trees.
It's worse than a rumble
and the famous sob.
It's worse than for children
made "bo-bo".
Because behind this
nothing follows.
Let's stop here and wait, perhaps stanzas written in the best Renaissance or romantic traditions will appear.
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Meaning of the word stanza
stanzas in the crossword dictionary
Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.
New explanatory dictionary of the Russian language, T. F. Efremova.
stanzas
pl. A lyric poem consisting of stanzas, each of which represents a complete whole.
Encyclopedic Dictionary, 1998
stanzas
STANCES (French stance - stanza) in poetry of the 18th-19th centuries. a small elegiac poem (usually meditative, less often love) with a simple strophic structure (usually 4 lines of iambic tetrameter), for example. “In the hope of glory and goodness...” A. S. Pushkin.
Stanzas
(French stance, from Italian stanza, literally ≈ room, room, stop),
in Renaissance literature (especially Italian) the same as stanzas.
In the 18th-19th centuries. the term "S." in European poetry (Byron) denoted a small lyrical poem of a predominantly meditative nature, consisting of stanzas that were meaningfully and compositionally closed: each stanza contained a complete thought, contained a syntactic period, ending with a period, rhymes were not repeated. In Russian poetry the form "S." ≈ a poem written in isolated quatrains, usually in iambic tetrameter with avav rhyme, ≈ was more common in the 1st half of the 19th century. (A.S. Pushkin “In the hope of glory and goodness”). From the 2nd half of the 19th century. the term "S." went out of use.
V. A. Sapogov.
Wikipedia
Stanzas
Stanzas(from - premises, room, stop) is a poetic genre form that genetically dates back to the Provençal lyrical song poetry of the Middle Ages. Stanzas are characterized by the relative formal and semantic independence of stanzas from each other. Stanzas are a classic form of epic poetry (Ariosto, Tasso, Camões), and Byron gave refinement to this genre. In Russian poetry, “Aul Bastundzhi” by Lermontov and “Little House in Kolomna” by Pushkin are written in stanzas. In addition, in Russian poetry there are many, usually small in volume, elegiac-meditative poems entitled “Stanzas”.
Examples of the use of the word stanza in literature.
Voltaire's niece, Madame Denis, beloved of him and many others, who received a remarkable literary and musical education, and for her wedding with the Minister of War Denis, received 30,000 livres from her uncle, lived with Voltaire from 1749 until his death in 1780 and allowed him to die like a dog , after deceiving him all his life with servants and secretaries, Madame Denis asked if these belonged to stanzas to Ariosto's best.
There are, however, places where I have completely failed in my attempt, one place I ask the reader to consider as a simple mistake, for in the middle stanzas I, imprudently, left the Alexandrian verse.