Type of oriental poetry crossword puzzle. Basic genre forms and norms of the poetics of Eastern literature. Freethinking literature and its foundations

“The East is a delicate matter,” as the legendary Sukhov noted, but writing about Eastern poetry is not just a delicate matter, but the most subtle. Our entire European life, caressed and caressed by our thoughts, and perhaps our existence sometimes seems not worth a line of haiku.

When it comes to oriental poetry, the genres of Japanese or Chinese verse immediately come to mind, but for some reason it is forgotten that oriental poetry is not only classical Japanese “non-rhyme”, but also a whole host of classics from the Middle East. As Omar Khayyam rightly said, writing as if about our time:

In this world of fools, scoundrels, hucksters
Shut your ears, wise one, sew your mouth securely,
Close your eyelids tightly - think at least a little
About the safety of the eyes, tongue and ears.

Therefore, in order to preserve the tongue and ears, when analyzing the creativity of the East, it is necessary to talk about the unity of Eastern poetry, and we will have to unite not only the philosophically and ideologically complex Chinese and Japanese poetry, but also the cheerful young Muslim poetry of Saadi and Ferdowsi, Omar Khayyam and Hafez. It was this poetry that A.S. wrote about. Pushkin: “The eastern syllable was a model for me...” And the complexity of such analysis in this regard increases many times over.

But the basis that feeds the creative thread of Eastern poetry still remains wise and diverse classical Japanese poetry.

The birth of many poetic genres of Japanese poetry lasted for centuries, either fading, mainly due to disagreements among the founders' students, or flaring up again with the sparkling flame of new idols. It is customary to distinguish three main periods in the formation of Japanese poetry. Poetry of Ancient Japan (Sugawara no Michizane, Ariwara no Narihira and Ki no Tsurayuki VIII-IX centuries), poetry of the Middle Ages (Matsunaga Teitoku, Nishiyama Soina, Matsuo Basho XII - XVIII), poetry of the New Age (Ishikawa Takuboku, Esano Akiko, Kitahara Hakushi XX).

The two main genres of Japanese haiku (haiku) poetry, i.e. tercet, and tanka, i.e. pentaverse, modified, complicated and improved throughout these twelve centuries.

In the first steps of its development, Japanese poetics did not go beyond the framework of the folk song “uta”. The main content of such songs were naive poems and tunes about the world around a person, as they aptly say about songs today northern peoples, - I sing what I see. In those ancient times in Japan there was only one poetic form - "tanku", (short song), and the long verse - "nagauta" - was not used so widely.

Five verses "Tanku" consists of five syllables in the first line, seven in the second, five again in the third, and seven in the fourth and fifth. The first stanza consists of three metric units, the second - of two.

Haiku- this is a more rhythmically complex verse, consisting of seventeen additions, divided into three groups, differing from each other in the number of syllables. The first verse has five syllables, the second has seven, and the third has five again. Usually such a verse is called a tercet. The stress for haiku is not particularly important because the rhythm of the reading is provided by the alternation of syllables. “Haiku” is dominated by “non-rhyme” and a clear metrical scheme; without it, the tercets fade and fall apart. But still, some classics (Basho), for the sake of a nice word, sometimes violated the metric for the sake of the artistic image. As the famous expert and translator of Japanese poetry V. Markova said: “The art of writing haiku is, first of all, the ability to say a lot in a few words.”

The best school of haiku poetry in its time is considered to be the school of Basho, who encapsulated in his work the contemplative principle of Eastern philosophy: “The soul, having reached the heights of insight, must return to the low.”

I'll say the word -
Lips freeze.
Autumn whirlwind!

With his complex artistic methods, Basho created and developed the basic principles of haiku poetry. This is sabi and shiori - one in the other, that is, an indispensable premonition of presence (not presence itself), we say about such poems: not sad, but with a touch of sadness. Hosomi is a complex principle of interaction between the soul of the author of a poem and the subtlest meaning of designating a phenomenon or its spiritual essence, which, based on microscopic signs, asserts authenticity precisely by its microscopicity and forces the reader to experience the feelings of the author. Fuekiryuko's principle is about the ever-changing and the ever-constant, which is one in principle and changeable in form. The Kurumi principle was apparently discovered by Basho in last years life and creativity.

Lightness of down
Makes it difficult to find out
What's beyond the line?

Simplicity, lightness in unity with the world and nature, in unity with oneself and one’s physical nature, which today is a weak and fading form, but tomorrow it can become monumental and eternal.

On the thorny path, “haiku” was enriched by emerging genres and styles; here we can recall poetry "renga", which shone in the 14th century. Its essence was to determine the natural season and assign groups of words to a certain time of year. Thousands and thousands of words were attached to and defined this time. “Moon” was an autumn word, since it shines brighter in autumn, “summer” could be indicated by a cuckoo, and “winter” by a cherry blossom in the snow.

Haiku poets can only write what they have experienced, experienced, felt. The modern author of haiku poetry, Abe Kan-ichi, said: “Until I get there myself, until I see myself in this particular phenomenon, I cannot compose anything.”

In this world of fools, scoundrels, hucksters
Shut your ears, wise one, sew your mouth securely,
Close your eyelids tightly - think at least a little
About the safety of the eyes, tongue and ears.

Therefore, in order to preserve the tongue and ears, when analyzing the creativity of the East, it is necessary to talk about the unity of Eastern poetry, and we will have to unite not only the philosophically and ideologically complex Chinese and Japanese poetry, but also the cheerful young Muslim poetry of Saadi and Ferdowsi, Omar Khayyam and Hafiz. It was about this poetry that A.S. Pushkin wrote: “The eastern syllable was a model for me...”. And the complexity of such analysis in this regard increases many times over.

But the basis that feeds the creative thread of Eastern poetry still remains wise and diverse classical Japanese poetry.

The birth of many poetic genres of Japanese poetry lasted for centuries, either fading, mainly due to disagreements among the founders' students, or flaring up again with the sparkling flame of new idols. It is customary to distinguish three main periods in the formation of Japanese poetry. Poetry of Ancient Japan (Sugawara no Michizane, Ariwara no Narihira and Ki no Tsurayuki VIII-IX centuries), poetry of the Middle Ages (Matsunaga Teitoku, Nishiyama Soina, Matsuo Basho XII - XVIII centuries), poetry of the New Age (Ishikawa Takuboku , Esano Akiko, Kitahara Hakushi - XX century).

The two main genres of Japanese poetry, haiku (haiku), i.e. three-line, and tanka, i.e. five-line, have been modified, complicated and improved throughout these twelve centuries.

In the first steps of its development, Japanese poetics did not go beyond the framework of the folk song “uta”. The main content of such songs were naive poems and melodies about the world around a person, as today they aptly say about the songs of the northern peoples - what I see, I sing. In those ancient times in Japan there was only one poetic form - "tanku", (short song), and the long verse - "nagauta" - was not used so widely.

I'll say the word -
Lips freeze.
Autumn whirlwind!

With his complex artistic methods, Basho created and developed the basic principles of haiku poetry. This sabi And Shiori- one in the other, that is, an indispensable premonition of presence (not presence itself), we say about such poems: not sad, but with a touch of sadness. Hosomi is a complex principle of interaction between the soul of the author of a poem and the subtlest meaning of designating a phenomenon or its spiritual essence, which, based on microscopic signs, asserts authenticity precisely by its microscopicity and forces the reader to experience the feelings of the author. Fuekiryuko's principle is about the ever-changing and the ever-constant, which is one in principle and changeable in form. The Kurumi principle was apparently discovered by Basho in the last years of his life and work.

Lightness of down
Makes it difficult to find out
What's beyond the line?

Simplicity, lightness in unity with the world and nature, in unity with oneself and one’s physical nature, which today is a weak and fading form, but tomorrow it can become monumental and eternal.

On the thorny path, “haiku” was enriched by emerging genres and styles; here we can recall poetry "renga", which shone in the 14th century. Its essence was to determine the natural season and assign groups of words to a certain time of year. Thousands and thousands of words were attached to and defined this time. “Moon” was an autumn word, since in autumn it shines brighter, “summer” could be indicated by a cuckoo, and “winter” by a cherry blossom in the snow.

In addition to the rubai described above, there are several more specific oriental varieties of stanzas.

Gazelle(gazella) - a type of monorimic lyric poem in oriental poetry. It usually consists of 5-12 beits (couplets). Rhyme Scheme: aa ba ca da….Other traditional forms of Persian verse developed from the ghazal.

Intoxicated, intoxicated, illuminated by the moon,
In half-unbuttoned silks and with a cup of wine.

Dashing enthusiasm in her eyes, melancholy in the curve of her lips,
Laughing, noisy, she came to me.

She came and sat down, my dear, by my bed:
“Are you sleeping, oh my beloved? Look, I'm drunk!

May that age be rejected by love itself,
Who will not drain this foamy cup to the bottom?(Hafiz, trans. I. Selvinsky)

The front beat often mentions the poetic name (tahallus) of the author. The number of lines in a ghazal is always even. This form, like other forms of oriental lyric poetry, has not taken root on Russian soil and is only an experience of poetic stylization.

In another interpretation, the gazelle is presented as a tercet, where two equal segments have the same rhyme, then a twice as long segment has the same rhyme (interpretation by Valery Bryusov). In this form, the gazelle is very similar to the rubai.

My song is filled with jealous fear.

A gazelle got scared in the mountains.

Two jumps, a run-up, and then it’s like wings on light legs.

A type of gazelle is tarjiband, widespread in Eastern poetry. Rhyme schemes aa, wa, sa...xx. Tarjiband ends with a connecting beyt with a paired rhyme

Kasida(cassida) - also a type of ghazal, a long monorhymic poem in which the first two lines rhyme, and then every other line. According to the rhyme system, the qasida is similar to the ghazal, but the ghazal - short poem. In Valery Bryusov’s interpretation, the qasida has one rhyme throughout, but personally I don’t agree with this.

Moussadas - a poetic form in classical poetry of the Near and Middle East, consisting of 4-10 six-line stanzas and usually used in poems of a philosophical nature. The stanza is divided into two unequal parts of four and two verses; Each verse is divided by a caesura into hemistiches, and the first hemistiches have a common intrastrophic rhyme, while the second - end with a reef. In the first stanza - the same redif in all six verses; in subsequent stanzas it appears only in the final couplet, usually repeating the last couplet of the first stanza (literally or with some variations). The quatrains of the second and following stanzas have their own internal rhyme and their own rhyme.

Don't think about our suffering, everything will end.
Hold the sobs in your chest, the tears will end,
The time will come to wither, the flowers will end.
Don't keep expectations in your soul - your soul will end.
Give me the cup, cupbearer, everything will end.
We will be devoured by grave worms - everything will come to an end.

(Vidadi Molla, trans. K. Simonov)

Akin to mussadas is a type like musamman. In essence, this is the same mussadas, but consisting not of six lines, but of eight lines.

Muhammad- strophic form in the poetry of the Near and Middle East. Each stanza has 5 verses. The verses of the first stanza have a common rhyme or common rhyme. The second and subsequent stanzas have their own rhyme or refif for all lines except the final one, which necessarily ends with the rhyme or refif of the first stanza (and sometimes repeats the last verse of the first stanza in its entirety).

I had a dream: a young man was swimming along a river in a cramped cage.
An unknown fellow with the wonderful speech of a nightingale.
Oh, where is he from, that slender one, that charming fellow?
To burn me, a fine fellow appeared in heaven.
He captured my soul, that wonderful fellow!

I’ll tell you, as promised, about the types of stanzas that are found in the works of eastern authors. In addition to the rubai, which I talked about in the last part, there are several more specific oriental varieties of stanzas. 1) Gazelle (gazella) is a type of monorimic lyric poem in eastern poetry. A special poetic form in which the end of each even-numbered verse is a repetition of the end of the first verse, borrowed from Arabic poetry. Rhyme scheme: aa ba ca da…. Other traditional forms of Persian verse developed from the ghazal. The most the best poet, who wrote in this style, is called the poet Nizami (12th century), as well as Saadi and Hafiz: Intoxicated, intoxicated, illuminated by the moon, In half-unbuttoned silks and with a cup of wine. Dashing enthusiasm in her eyes, melancholy in the curve of her lips, Laughing, noisy, she came to me. She came and sat down, my dear, by my bed: “Are you sleeping, oh my beloved? Look, I'm drunk! Let the age rejected by love itself be the one who does not drain this foamy cup to the bottom. (Hafiz, translation by I. Selvinsky) The minimal strophic unit of Persian and Turkic poetry, verse, has the name beit, i.e. “house” (Arabic), and the hemistiches organizing the beit are called misra, that is, “roof slopes” or “door leaves” - the symmetrical structure of the beit is figuratively conveyed. The front beit often contains the poetic name (otherwise known as tahallus) of the author. A ghazal consists of a series of beits (a beit is a couplet consisting of two poetic lines connected by a single complete thought), of which there are usually no more than 12, with only one rhyme for the entire poem. The number of lines in a ghazal is always even. In another interpretation, the essence of this Persian stanza is that two equal segments have the same rhyme, then a twice as large segment has the same rhyme: |--| a |--| a |--|--| a Having folk origin, couplets (or songs) built on this principle, for a long time belonged to oral poetry, were folklore. When they began to record them and write new poems according to this scheme, they usually placed these segments as follows: In my song there is jealous fear. A gazelle got scared in the mountains. Two jumps, a run, and then it’s like wings on light legs. Hence another name: Persian "quatrain". 2) Qasida (kassida) is also a type of ghazal, a long monorhymic poem in which the first two lines rhyme, and then every other line. Genre poetic form in the literatures of the peoples of the Near and Middle East, Central and South Asia. A panegyric poem praising an influential person. The name comes from a verb root meaning “to guide toward a goal.” It is believed that this is due to the fact that the poet here sets a certain goal and must move towards it in an established way. The goal was to glorify or censure the tribe (one's own and someone else's), later to praise the patron and beg for a gift. According to Bryusov, the qasida has one rhyme throughout, however, this is not always the case. If only in the darkness it sparkled before him, If only this full vial flashed secretly. Even if a pilgrim is bitten by a snake on the way, he will reach the wine storage facility unharmed. And, drawing letters on the foreheads of the possessed, Heal their spirit with a libation of wine. (an excerpt from the work of Ibn al Farid. The rhyme here is a feature of the translation) 3) Mussadas is a poetic form in classical poetry of the Near and Middle East, consisting of 4-10 six-line stanzas and usually used in poems of a philosophical nature. The stanza is divided into two unequal parts of four and two verses; Each verse is divided by a caesura into hemistiches, and the first hemistiches have a common intrastrophic rhyme, while the second ones end with a rediph. Redif is a term of the poetics of the peoples of the East. A word (short redif) or group of words (extended redif) repeated in an unchanged form at the end of a poetic line. Don't think about our suffering, everything will end. Hold the sobs in your chest, the tears will come to an end, The time of withering will come, the flowers will come to an end. Don't keep expectations in your soul - your soul will end. Give me the cup, cupbearer, everything will end. We will be devoured by grave worms - everything will come to an end. (Vidadi Molla, trans. K. Simonov) 4) Akin to mussadas is a type called musamman. In eastern classical poetry, a poem consisting of eight-line stanzas with the same type of rhyme and repetition of the last two lines of the first stanza at the end of all subsequent stanzas. Musabba - seven lines. 5) Muhammad - strophic form in the poetry of the Near and Middle East. Each stanza has 5 verses. Muhammad - pentaverse - perhaps the most popular of all "extended" forms. Rhyme scheme: aaaaa – bbbba – cccca – dddda. I had a dream: a young man was swimming along a river in a cramped cage. An unknown fellow with the wonderful speech of a nightingale. Oh, where is he from, that slender one, that charming fellow? To burn me, a fine fellow appeared in heaven. He captured my soul, that wonderful fellow! The begress falls from his shoulders: who is he - a bek or a sultan? Is he a hermit or a madman, or overcome by passion? Is he a magician, is he Yusup, who left Canaan? All his words are like pearls - just begging to be included in the dastan. I would never have even dreamed of that wonderful fellow. (Molla Nepes, trans. N. Korovenko) In addition, the following stanza can be called: Murabba - four-line stanzas. Rhyme scheme: aaaa - bbba - ccca. 6) Tuyug - a Turkic form of lyrics, a quatrain (i.e., it consists of two beits). It is a variant of the rubaiyat. Its originality and peculiarity lies in the type of rhyme. The rhyme must be homonymous (this type of rhyme is called tajnis). There is a distinction between complete tajnis (“pure”) – tajnis-i tamm – and composite tajnis (“stitched”) – tajnis-i murakkab. In the example - full tajnis. The armies of spring returned and encamped in the foothills. And, in love with the face of the luminary, the birds began to sing sweetly. They are faithful to the spring order, the snow has been removed from the nomadic camp. Only the eyes are cold, shining more dangerously than steel. (D. Shatalova) Eastern poetry is very unique. This is expressed both in the construction of stanzas and in the use of means of expression. She is very sensual and imaginative. Difficult to translate. Therefore, it is less familiar to us than the European one.

1. GAZELLE is one of the most common poetic forms in Persian and Turkic lyrics.
This is a poem in which two hemistiches of the first beit (couple, two lines) rhyme, and then the same rhyme is maintained in all second hemistiches of each subsequent beit. (Hemistich - one line, beit - two lines). The volume of a gazelle is usually 6-9 baits.

2. RUBAI - consist of four lines (two beits), rhyming like aaba, less often - aaaa, that is, the first, second and fourth (sometimes all four) lines rhyme.

3. Kasida - a poem of predominantly panegyric content, that is, praising or condemning the addressee. The rhyme system is similar to a gazelle and differs in significant volume.

4. Mesnevi - a form of poetry, a line represents a special metrical meter, every two lines rhyme with each other.

5. Kyta is a special poetic form of Persian-Tajik poetry, characterized by the presence of two to seven, and sometimes more, couplets that rhyme according to the system - ab-vb-gb-db-, etc. As a rule, kyta has a philosophical and didactic meaning; in this chamber genre, petitions, requests were elegantly and witty, appointments were made, etc.