Post poetry of the galaxy. Beautiful galaxies

Third quarter of the 16th century. In France, literary scholars are often called not by the names of the kings who reigned (Henry II, Francis II, Charles IX), but the era of the Pleiades or else the hour of Ronsard.

At that time, everything that was new in literature was grouped around the Pleiades, identified by Pierre de Ronsard and Joachin Du Bellay. The group also included E. Model, J. A. le Baif, R. Belli and others.

The name Pleiades was first given to a group of poets in 1556. in one of Ronsard’s works, as if to answer the riddle about the “pleiad” of seven Hellenistic poets of the 3rd century. BC

Pleiades in ancient Greek mythology – this daughter of Atlas and Pleioni; after death it was placed by Zeus in the sky in the view of Susira.

The word galaxy has a broader meaning - a group of well-known people who have been associated with their activities with sordid tasks, sordid glances, etc.

The theoretical principles of the Pleiades were laid out in the treatise “The Desire and Glorification of the French” by Du Bellay. The treatise was the starting point of the national poetic school.

Reach of the Pleiades.

1. The Pleiades defines itself as a single national poetic
school. Vaughn opposed the remnants of the Middle Ages to the numerous provincial groupings and groups with their peculiarity to the old lyrical forms, the musicality of the theme, with the irresponsibility of reference to ancient evidence and the traditions of the Italian Renes ansu.

2. The activity of the Pleiades teases a turbot about the whole French
literature This manifests itself immediately in the hatred of French language as a full-blooded language literature.

In their efforts to refine the French language, the singers of the Pleiades focused no longer on the peculiarities of their native language, not on the national vocabulary fund, but on Greek and Latin lexicons.

Pushkin wrote from this account: “People endowed with talent, being enraged by worthlessness and, perhaps, under the influence of the French tradition, thought that the wretchedness of the language was the reason for this, and began to try to transform it into the image of the ancient Greek whom. A new school has been created, with the goal and effort to imagine the school of our words of the Yanorussians, among whom were also gifted people. Ale praci of Ronsard, Jodel and Du Bellay have lost their marnies. "Mova was convinced of the stranger's direction and went on her way again."

The members of the Pleiades did not manage to thoroughly master the French language, but they lost the respect of their companions to the need for the creation of a literary language.

The language was understood as mysticism. Du Bellay confirmed that people are created by people, and therefore, they are convinced that they are also guilty by people.

Poetry was recognized as the highest form of language, and therefore, the main thrust of the refinement of language was often poets.

Versh Ronsard “Tilki Kamena...” 2.

Shchoino Kamena meni dzherelo its vikrila

And I was jealous of the licorice for the feat,

Merry pride of my blood has warmed up

And a noble fire burned in me.

Poloneniya at twenty rocks with the beauty of a non-turbocharged,

I decided to pour out my heart’s heat at the top,

Ale z chuttyami mova Frenchman after a while,

Pobachiv, as he is rude, foolish, ugly.

This is for France, for our native land,

Pratsyuvati I began with great importance and severity:

I have multiplied, resurrected, and spoken words.

I glorified the creation a little.

I, having forged long ago, having opened my path,

Giving order to phrases, variety of style,

I am in accordance with the poetry of the knowers - and by the will of the muses,

Like a Roman and a Greek, he became a great Frenchman.

(Translated by W. W. Levik).

Stones 2 – tobto. muzi

3. As a result of the creative activity of the Pleiadian poets, a new genre system was created in lyricism. Such concepts appeared as sonnet, elegy, ode. No one had written in these genres before.

4. The theory of poetic tension was created. Seeing the singer rise
It's a steady job. However, neither prudence nor honor bear fruit,
who sings without being “led by the muses.”

This theory was directed against official poets, who were ready to write poems to suit the needs of the desired style.

Tim himself affirmed the idea about the great importance of the poet-creator.

5. The arrival of Pleiades appears a new type of writer. Writers become less stale not only because of the life and relish of other courts, but also because of the royal court, to which the stench of confusion was associated with their statement about national unity.

Having reached the fusion of national traditions with the humanistic culture of Italy, the singers of the Pleiades evolve to “poetic effectiveness”, creating miraculous images of the lyric of revival.

Pierre de Ronsard (1524 - 1585) was born into the family of a poor nobleman, whose ancestors were respected immigrants from the Ugric region. In his youth, the song has become much more expensive, having visited England, Scotland, Flanders, Germany. Ronsard, after the appearance of his first books, immediately becomes the head of a new one, literally the “prince of poets.” The church has decided on the main those lyrics Ronsard has a more specific solution.

Svitoglyad sings in the 40-50s. wholesome, lively, humanistic. The understanding of the nature of human mutuality and love is revealed by Ronsari people of Vidrozhennya the period of blossoming, when the development of humanistic ideals was close.

Great sonnet cycle “Kohannya to Kassandri”"(1552 – 1553) writings under the flow poetry of Petrarch and his followers. However, in the French poet’s interpretation of love, the sensitive side of the experience appears in the first place. Ronsard took the important literary advantage Petrarchism- raising interest to a sophisticated artistic form, dedicated to conveying the vicissitudes of a love experience.

From the cycle “Kohannya to Kassandra”.

If you, having risen from sleep like a sweet goddess,

Covered to the last hair with a golden tunic,

Either you write them down, then, having made the chignon thick,

Let loose the unfettered wimp to the knees -

Oh, how similar you are to this one, by birth.

What, curls, curled, braided, oblique

I let loose the glory, admiring its beauty,

The nayad flows through the troubled hair!

Yaka mortal I could have bothered you

I supply, I'm timid chi beauty chola,

Or with an important glare eye, why is it for nothing? movie?

Kotriy z nymphs forest and river dryads

Given and the strength of the lips, and the whole body look,

І gold got hairy, Are your shoulders burnt?

(Translated by W. W. Levik).

The most beautiful thing that was created by the young Ronsard is “Odie” (the first of which cost 1550 rubles). They have a larger world than the sonnet cycle “Kohanna to Kassandra”, which is typical for the era of a lively and buried setting to all manifestations of human trouble, as well as to nature, which has become extremely close and understandable to people. trembling.

For Ronsard nature It has aesthetic and philosophical significance, it is not only a matter of inspiration, but also a mentor in life, the world of beauty. The very creativity of the poets of the Pleiades in French literature is to blame extreme lyricism. Nature in Ronsard's odes is invisible to people, the lyrical hero reveals himself only in his interaction with nature, and it is given only to his friend.

My jet.

The midday heat of languor,

How I love you, oh my strumok.

Come to your cold frog,

Die away from your cold.

Poki Serpen' is merciful

Hurry up to collect give earth,

And bend under sickles nivi.

And the song is singing in the distance.

Incredibly fresh and young.

You will be a deity forever

To the one who drinks yours badory cold.

I wish you could tend the flock.

And last night on your galaviny,

Enthused by the gaiety of its calm,

Everything is just like that nymphs ta sylvani

They run away with the chewy yurba.

(Translated by W. W. Levik).

The transition to “poetic activity”, which was noted in the early collections, was consolidated in the two cycles dedicated to Mary. The new home is thirsty for the singer of a new style. Ronsard recognizes the style not of “supposed tops”, but of “a beautiful low style, accessible and accepting...”; know simple and varied forms of expressing your lyricism.

The image of a kohanoi, a simple girl, which is formed from the surrounding strokes, stems from the all-spitting sensation of spring purity and freshness; There will be a playful pose in front of pictures of joyful nature. Simplicity and naturalness are the axis that attracts the poet from his kohaniya. The painter sings without embellishment or artifice, in a way that feels like a grass wound.

Marie is a Lenivian!

It's time to get up from bed!

Your lark has fallen asleep with its joyful sleep,

I over the thorn, sprinkled with dew,

The cooing of nightingales emerges from the lower trill.

Alive! The jasmine was blooming, and the poppies were shining -

Don’t indulge in the rich mignonette!

So the water was sprinkled on the water.

Shvidshe give a drink They were wanted for the night!

Yak they conjured yesterday eyes their

Wake up early, then I’ll come for you,

And still rest in turbo-free forgetfulness, -

Dream of loving girls, but not getting along with one year old!

A hundred times the eyes and breasts of you,

As soon as we could, we rushed forward and stood up,

(Translated by W. W. Levik).

Ronsard portrays Mary in her daily routine, at her homestead, at the forest, at work. Now Kohana lives not among the nymphs of the wonderful fox, but rather walks among the beds of lettuce and cabbage, among the flowers planted by her hand.

The image of it is given in Russia, then, as before, dynamic love was not singing, its arms were kicking at the center of respect. The concept of love as the culmination point of life, as the spring of a person, organically enters into the poet’s life philosophy.

The subject matter of the book is becoming more varied. The wisdom of nature is fading. Ronsard brings nature closer to people, “domesticating” them.

The onset of a new period of Ronsard's creativity is marked by the beginning of religious wars. Ronsard can be regarded as one of the founders of the tradition of political poetry, imbued with the spirit of patriotism (the collection “Mirkuvannya”).

The most important works of the remaining period of Ronsard's creativity were creations of the 70s, poetic cycle “Sonneti to Oleni”. He also sings about the joys of the butt, but now his Horatian cry hasten to enjoy life to sound at times not only elegibly, but with a haunted tragedy.

Before the cycle “Sonnets to the Deer” there are a few verses created in the rest of life. The sadness of the experience reaches their supernatural strength. Ronsard suvoro, truthfully and firmly expresses his fear of the unknown:

I'm dry to the bones. It's dark and cold until the threshold

I am approaching, deaf, smooth, black, weak,

And death will no longer let me out of its clutches.

I am terrible to myself, as if I came from hell.

Poetry was lying! The soul would be glad.

Let neither Phoebus nor Esculapius lie to me.

Farewell, shining light of the day! Slave of the painful flesh,

I’m going to the greedy world of zagal disintegration.

(Translated by W. W. Levik).

The historical merit of the Pleiades zagalom:

Renewal of French poetry, a deep exploration of thoughts, it seems, the experience of his companion, a well-built, super-satisfied person, which completes the stage of the French Rebirth. Ronsard's special merit:

The richly-faceted, non-streaming Renaissance style has a naked butt of the human spirit;

The buried glorified all the beautiful things in life, great and small;

In an optimistic and, at the same time, deep and folding tank light;

For the one who has everything infused into the monsters behind the lyrical penetratingness, richness and barvist of the figurative system;

Rich French poetry has new forms and dimensions (Ronsardian stanza) in 6 verses: AABSSV, the protection of the Alexandrian verse and others.

LECTURE 9

Poetry of the Pleiades: wealth and beauty of human feelings. P. Ronsard. J. Du Belli. Literature during the period of huge wars. A. d"Obinne: the crisis of humanistic ideals.

In the 16th century A number of young poets-humanists from noble families, who were passionate about antiquity, the head rank of Hellenic literature, created a group, or “Brigade”, as they called themselves. Kolya in 1556 Their number grew to seven, and they began to call themselves the Pleiades (seven-year-old), having adopted this name from a group of ancient Greek poets, named after Theocritus. New sparkles began to shine in the sky of French poetry. Of course, not all singers of the Pleiades were gifted. The most talented of them were Ronsard and Du Bellay. Those were mirrors of the first size. Although they are not as brilliantly gifted as Baif, Bellot or Jodel, they still belong to the most valuable writers of the French Renaissance. In the creativity of the Pleiades, French humanistic poetry has reached great heights. We have the right to talk about another intense color of Renaissance literature in France. Prose came first (Depere, Margarita Navarreska, Rabelais). Everything was first and with this turbulence of color. Then came the time of poetry. The pinnacle palm spread to the Pleiades, which created a great influx into all modern French poetry and almost transferred literature to classicism.

Trace, remember, remember that the activity of the Pleiades flowed through the minds of the important. The Catholic reaction was advancing rapidly. The country was torn apart by deep tears. Humanism dried up with the Reformation. At 1562 r. The religious war began, which dragged on with minor interruptions for the rest of the century. All this has led to the point where humanistic free-thinking has significantly lost its enormous scope. The great Rabelais turned into ordinary people. The castle roars deafeningly. The spirit of Rabelaisianism emerged from French literature. The songs of the new school did not encroach on Catholicism and its dogma. Their religion was that of the king, in which the stench of national unity reeked. But the stench, after all, was not so incredibly far from Rabelais as one might think at first glance. Like Rabelais, they recoiled before the great decline of classical antiquity and dearly loved their venison.

The head turbo of the Pleiades poets was in motion to create poetry, the year of the new France. Joachin Du Bellay writes about what the new humanistic poetry is in his treatise “The Defense and Glorification of the French Language” (1549), which became the manifesto of the Pleiades. The young man sings and calls on the participants to decide to throw out all the old poetic forms: rondo, baladi, whirl, royal songs, “those other spices that exude the style of our language and serve our traditions.” ignorance" (II, 4). Directly attacking the courtiers, who were becoming gallant friends, Du Bellay declares that “having once respected our French poetry, it has a more lofty and beautiful style than the one with which the poets have been content for a long time (II, 1).

Court poetry seems to him old-fashioned, frivolous and trivial. This is about poetry, a “greater” style that would be indicative of its greater style and appreciation. Here, in essence, we are talking about the sublimity of poetry, and, as the author states, about the doctrine that would serve as a solid foundation for creation (II, 3). Without denying those who “need to be born”, Du Bellay does not reinforce the spirit of reason, but the mind of practice. “Whoever wants his creations to fly around the world,” the author declares, “is guilty of being deprived of his room for a long time; and whoever wants to live in the memory of posterity is guilty, having died to himself, to curse later and tremble more than once, and Just our courtiers she sings, eats and sleeps to her contentment, - so much so is she guilty of suffering hunger, sprains and long-lasting feelings.

Poetry is not guilty of being a purple jingle, a thoughtless worldly amusement. According to Du Bellay, she has no right to be in the middle (II, 2).

Even if you are “amusing” with the beauty of words, it is so easy to waste the “power of speeches” (I, 8), and without a great inner change, poetry ceases to be what it is. The right one sings and may want to read the reader, burning his heart. And for this reason, the truth of people’s feelings may be known. Behind the words of Du Bellay, “only that one will sing effectively... who will make me overwhelmed, calm down, happy, saddened, love, hate, be merciful, be amazed...” (II, 11). This is no longer the pathetic champion of the secular mob, aka priest, who is crowned by the gods. He controls the hearts of people, and he is responsible for remembering his noble mission.

How would you like to know the day's poetry? Du Bellay points to the hope of dzherelo. This is a classic oldie. He urges his scholars to “return to the inheritance of the best authors in Greek and Latin, directly updating their stock to their greatest achievements, as a matter of fact; for there is no doubt that the greatest Our part of mastery lies in inheritance" (II, 8). Despite the principle of inheritance hanging here, Du Bellay does not respect the blind copying of foreign words. Vinh severely condemns these inheritors, who, without penetrating “into the interiority and inner side of the author taken as a child,” squander the external rice (I, 8). Under his inheritance, Du Bellay becomes more creative.

“Father, first for everything,” declares Du Bellay, “read and reread, he sings about Mayday, burn out Greek and Latin characters night and day!” Having thrown out the old French forms, let him go wild and sing to such classical genres as epigram and elegy, and in this case he does not tamper with “old myths, which are the least embellishment of poetry.” “Hey,” he continues, “the still unknown French Museum: under the lute, tuned to the sound of the Greek and Roman lyre. And instead of serving you is the praise of gods and valiant people, the fatal density of worldly speeches, young ts'ki turboti - khannya, wine, what is developed' speak language, make the most of it, so that this series of achievements will be far from everyday language, wealth and exaltations with powerful names and inappropriate adjectives, embellishments, be it any kind of words, and varied in all kinds of farbs and poetic embellishments." Du Bellay went on to talk about the messenger, Horatian satires , rural eclogues in the relish of Theocritus. "Between comedies and tragedies, it was as if kings and powers wanted to renew them from ancient wisdom, stealing from them farces and moralities, I would like to think that It’s up to you to take care of them.”

This is also not the case, in Du Bellay’s opinion, with the continuing achievements of Italian Renaissance literature. With particular warmth we speak about the sonnets, “as eternal as any Italian wine”, glorified by Petrarch and several modern Italian poets (II, 4).

Du Bellay dedicates this section to the epic. Pointing to the example of Ariosto, who, in his opinion, compared with Homer and Virgil, it is important that epic poetry could bloom brightly in France. Even if Ariosto successfully devoured himself to the old French stories, then why should the French poets not go to such “beautiful old French novels” as “Lancelot” or “Tristan”, or else not be hastened by “the great redness collected from the old French chronicles, just as Titus Levi lived through the annals and other ancient Roman chronicles: “Such a task, undoubtedly, will serve to the immortal glory of its founders, to the honor of France and to the great glory of our language” (II, 5).

Nowadays, France has a lot of pedantry, which they don’t want with their native language, they respect it with their poor, barbaric language, which is not on par with the famous language of classical antiquity. These people “from the depth of their stands point out that everything is written in French,” respecting that the French folk language “is neither suitable for writing nor for history” (I, 1).

And Du Bellay is violently stealing the rights of the French language. It is said that the French “are in no way inferior to the Greeks and Romans” (I, 2). And since the French language is “not so rich in the Greek and Latin languages,” then the old language has never been rich. “It is as if the ancient Romans very much squandered their language, if only they began to blow steam, then, melodiously, they would not have become so great in such a short hour.” And Du Bellay already foresees the hour when the French language, “having yet taken root, emerges from the earth, will rise to such a height and reach such greatness that it can be compared with the language of the Greeks and Romans themselves, giving rise to and before them, Homeric, Demosthenian , Virgilians and Ciceronians, as France periodically produced its Pericles, Alcibiades, Themistocles, Caesars and Scipios” (I, 3).

At the same time, in Du Bellay’s opinion, the French language is not at all insignificant. The reign of Francis I achieved significant successes in connection with the decadent contributions of French culture (I, 4). And he will become even richer and more sophisticated, as French writers will tirelessly work on his refinement. For this purpose, it is necessary to acquire a wealth of vocabulary and become familiar with its form.

The writer has the right to “find, acquire and compose, inheriting Greek and other French words.” Even new manifestations of life, new understandings draw new words, and it is impossible to get along without them (I, 6). He is obliged, without limiting himself to a narrow court stake, to respectfully admire extreme life and draw from it the most interesting facts, so that his poetry is clear and wide-eyed (I, 11). There is also no shortage of archaisms and dialecticisms. We can all sing for the benefit of the master poet.

Albeit, something similar has already been discussed in Rabelais’s literary master. And even Du Bellay’s assertion, which seems to be true, “I want rhetoric and to separate them from each other,” but “various, like human nature and nature itself” (I, 9), do not hesitate to think again about Rabelais’s novel, especially the famous for its genre warehouse? It is clear that Du Bellay's poetics have yet become normative, that they are the poetics of the Renaissance era, and not classicism, although they show tendencies characteristic of classicism. Zokrema, which is referred to in Du Belle's heavy works as rhetorical redism, so beloved by classicists. For example, it is important for poets to “more often experience the figure of antonomasia, as is often the case with ancient poets, as it is little experienced and almost unknown among the French. There is a subtlety in what the name of an object signifies comes through his power, and himself: father, who smashes with sparkles, - the place of Jupiter, god, the two nations of the people, the place of Bacchus, the Mystical Virgin - the place of Diana”... (II, 9).

The reform, initiated by Du Bellay, quickly reached its fruition. Once on the ears of the 50s of Rocky La Bosy, write to his “Mirkavanni about the good slavery”: “... French, Nini, Ninі is not chimerna, Ale Nіbi Zovsim was kept by our Ronzar, our Bella, our du Bella. “We speak of the great successes of the French language, and I console myself with the hope that the Greeks and Romans will soon not have any other advantages before us, except for the rights of seniority.”

It should be noted, however, that the creative practice of the Pleiades, which at first was closely following the theoretical propositions of Du Bellay, went on in a big way. The poets of the new school did not rely on the inheritance of ancient authors and Petrarchists. With fate, her poetry became more and more original and national. Classic rices were angry with folk rices. Du Bellay wants to mark the pinnacle of the upcoming French poetry in the local epic. Ale Pleiades never showed another Virgil. The persistence of the sphere of lyrical poetry has achieved truly miraculous results.

Let us recognize with the head of the galaxy the Buv Pierre de Ronsard (1524–1585). He was born to the family of a poor nobleman in the province of Vandome. The father of the future poet was not far from literature. A participant in the Italian campaigns, from the land of Petrarch he brought a lot of books to his ancestral castle, eagerly writing verses. Closeness to Francis I made it possible to send his son to the court, and the young Ronsard became a page to the king’s children for many years. Having visited England, Scotland, Flanders, Denmark, Germany and Italy. Acquaintance with different countries and famous people was not in vain for the keen young woman. Ronsard's work begins to embrace humanism more and more. In front of the young, handsome, brilliant aristocrat, new prospects opened up, a new malaria (1542) fell upon him, which improved his hearing, and successfully interrupted the court’s career. Now Ronsard is ready to devote himself entirely to literary practices. True, he also had the opportunity to perform in the role of a court singer, creating scripts for ballets or madrigals for masquerades, and at times of fate, increasingly appearing at the court, giving the advantage of the great society methushnia, de panic "t “It’s only brilliance and nonsense,” rural doubt. At the same time, Ronsard will by no means be close to the share of his beloved viciousness. The struggle between religious parties, which threatened to destroy the political unity of France, was all the rage. They called upon the enemies until reconciliation, and if the huge war did swell, they decidedly opposed the Huguenots, and they blamed the Huguenots for them, which began. In this case, Ronsard was least interested in the religious side of the conflict. It’s not about God, we’re talking about France when we think about it, creating our own “Mirkuvannya” creations.

Following his light, Ronsard was more likely to be a pagan, we will bury the beauty of classical myths, the beauty of nature, the earth of agriculture and the ringing-voiced poetry. This chaos in life is poured out through all the assemblies that have been completed. Vaughn already appears in the first sonnet cycle “Kohannaya to Cassandra” (1552-1553), written under the great influx of Petrarch and his scholars.

And in these sonnets of Ronsard there are melancholy notes characteristic of Petrarchism, and anguish in an inaccessible way. There is no undivided khan to torment the poet’s heart. Vine is pale and locks in the presence of a proud beauty (“If there is one, there is noise on the other side”), only the daylight bear and the river’s wails listen to her scar and pena (“All the pain that I endure in the unease of the secret "). He sings as if all the winds from the hopeless protirich (“I love, I swear, I dare, but I don’t dare”). That same hour of sonnets in this cycle has a powerful, sensitive element. The wine here is richly brighter than the imaginative, and even more intellectual, and even cold poetry of the Petrarchists. Cassandra does not transform herself into a poetic fiction. This woman is alive, and she has been alive all the time. Ronsard dreams about their hot volumes (“Your volumes will bring death to the fruit!”), and drinks in the sight of beauty:

If you, having risen from sleep like a sweet goddess,

Covered to the last hair with a golden tunic,

Either you gently curl them, then, having beaten the chignon thick,

Let loose the wicked one to the knees...

And then, lying on the green moss in the middle of a centuries-old forest, Ronsard does not dare to marvel at the portrait of the beauty in which the artist Denizo Zumiv sings and photographed “The whole world is captured in a living image” (“Granite peak over the bare steepness”). The nature of the flower is fragrant; one can tell about the bouquet of flowers, and the wine rips into leaves and flowers, “Having wrapped your hand around a bouquet of fragrant herbs” (“When, like hops, you embrace a flower”).

From now on, Ronsard still appears to be affected by the Platonism of the Petrarchists and their precious mannerisms. The sonnet cycle “Loves to Mary” already has a healthy sensitivity and noble simplicity. Ronsard himself points out this in a sonnet dedicated to the participant of the Pleiades by the poet Pontus de Thiard:

When I started, Tiar, they told me,

That people are simpler to me and do not understand,

Why am I so dark? Now, off the top of my head:

I became too simple, having appeared in a new style...

Moreover, it was not for nothing that Ronsard visited the school of Petrarchism. Having become a prominent master of the sonnet. Petrarch helped me to take a closer look at the world of human feelings and understand that poetry is so sophisticated. But, having taken from Petrarchism everything that seemed valuable to him, Ronsard followed his own special path. You have stopped worrying about the everyday and the “low”. Yo Maria is not an honorable woman like Cassandra Salviati, who is also a young, lively villager. In order to inform readers about his business, he no longer needs the strings of Petrarchism. Let’s talk about the farm being divided, healthy and therefore more beautiful. And talk about her with joy, sometimes with a sly smile. There is so much truth in the famous sonnet “Mari-Linivitsa! The time has come to get up from bed!” And how he sings to love and talk alone with Maria about those and about that! When the guest appears, he is afraid of his understated behavior. Once the guest is gone, and once again Ronsard is hot, hot, laughing, easily needing words (“Khannya is a charmer. I could be a whole river”). I write about my happiness in Rome to Joachin Du Bellay (“Besides, how you live on the ancient Palatine”). From the antique door one hears from time to time about the sweetness that one senses in Mary’s circles. Either she is jealous of the doctor, who always wants to treat a young woman without a shirt (“Oh, the damn doctor! I’m coming here again!”), then he forgives her shvidkoplinna’s anger (“Having seen that she is close with others”). Ronsard is pleased that his girlfriend is not an empty social coquette, who is not afraid of timidity. Won

Spinning all day long, winding the ball, knitting,

With two sisters rising at the dawn, -

The lining is white, and the lining is on the underside.

We intend to give her a Vendôme spindle, knowing that this gift will bring immense joy to Mary: “And to give a small gift, the guarantee of imperishable love, the value, the bottom of everything and the scepter of all the world.” ("Spindle"). And if Mary died uncontrollably at the revelation of fate, Ronsard mourned her immediate death at the bottom of the penetrating leaders ("The Death of Mary" etc.).

Ancient literature played a great role in Ronsard’s creative development. Ronsard responded directly to Du Bellay, and at the top of “Tilki Kamena merelo dzherelo vykrila” proudly acknowledged his services to French Renaissance poetry:

This is for France, for our native land,

I began to practice with great importance and strength,

I have multiplied, resurrected, spoken words,

I glorified the creation a little.

I, having forged long ago, having opened my path,

Giving order to phrases, variety of style,

I am in accordance with the poetry of the knowers - and by the will of the muses,

Like a Roman and a Greek, a Frenchman became great.

Du Bellay, for the sake of the French poets, behind the butt of ancient “sing odes”, dedicated to the praise of gods and valiant people” and to “youthful amusements” - love, guilt and all sorts of banquets. Ronsard became the first French ode-writer. always like that attracted the classicists, did not enter the literary scene of Renaissance France, and Ronsard himself inevitably gave precedence to a more natural and simple manner.

I am much closer to Horace and the Greek anacreontics, discovered and published in 1554. Henri Etienne. These little intimate odes (odoletti) are permeated with Renaissance zest for life. The poetic world of Ronsard had much light and joy. Ronsard is loved by love affairs, fun parties, friendly friends, books, and nature. Together with friends I want to feast until dawn and the first toast is raised to Henri Etienne, who turned to Anacreon’s people (“We will not touch our hands”). Yogo is filled with the song of a cheerful lark ("Lark") or a dzyurchanny strumka, over which the shadowy willows lie ("Beller's Hand"). Write more eagerly about the nature of Ronsard. My dear Gastinsky forest, with which my young fate is connected ("Gastinsky forest"), and it widely scolds about my death. Does the stench drink in lumberjacks, is the stench going to destroy your forest? Why don't there be a stench that drains the blood of the young nymph who was hanging around under the bark of the tree? (Elegy to the Gastinsky Fox). For Ronsard, this is sacrilege. Aje nature is not dead. Vaughn is filled with life. The pagan gods have not died, they sing clearly and can be heard. Like the legendary clock of Orpheus, it speaks from nature, hears its voices, it is all inspired by ancient myths. The muses lead their round dance, Apollo descends from the gloomy heights, and nymphs inhabit the forests and river streams. And we are not at all surprised that we are not talking about Kazkov’s Arcadia, but about France of the 16th century, that the nymphs are going to the Bellery stream, and Phoebus is playing on the birch of the Loire (“To the cob of the Loire”).

Ronsard's poetry is both concrete and plastic. This is the eye of an accomplished sculptor. In one of the eclogues, he accurately describes the carbonated image on the bowl, and the tops of it reveal the gravity and relief, the mute stench emanates from the cut. Nowadays Ronsard's verses are completely melodic. Many of them have become popular songs, and in their spirit the stench is even close to folk songs, as the young Du Bellay looked like bestially.

Alas, the beautiful light of Ronsard's poetry is not so gloomy. Ronsard inexplicably relays the thought about the tediousness of life. Before the aroma of fruits, the smell of decay ("Stansy") is often added to the smell of leaves. But Ronsard doesn’t repeat everything about everything in order to evoke a path to life and joy. However, after Horace, he exhorts to “seize the day”, not to save anything from what can happen to a person’s life. Is the Trojan less beautiful because it may soon be gone? Returning to the poet Adamis Jamin, you write:

Oh dear, Jamin, seize, seize the day that has arrived!

Vin shvidko promayne, elusive, like shadow,

The cry of friends to the banquet, so that the cups sound!

Once, my friend, today is given to us,

This is how love is sung, wine is merry,

To overcome the war, the hour, and the turmoil.

And yet, everyone has more anxiety. Significant, perhaps, this is a very special moment. Aja Ronsard suffered from a persistent illness, and the fate of her reign was felt more strongly than before (“I’m dry to the bones...”). Until then, everything became alarming, no one knowing what tomorrow would bring.

Do not follow, prote, in the pursuit of Mitya, Ronsard’s rightful life. Ronsard loved poetry, wives, friends, and his greatest love was France. Even in one of his first other works, in the “Hymn of France” (1549), having reclaimed his beautiful ancestry. Radiating about the glory of France, I took up my pen. At 1564 r. He finally started writing the monumental epic “Franciade”, which was not enough for the French “Aeneid”, but he could not get away with these grandiose undertakings. According to the nature of his gift, he was an bishop; Until then, it was impossible not to understand all the devastation of France’s current state of affairs. He was worried about the religious warlock, who had passed into a huge war, and the growing power of gold (“Hymn to Gold”), and those who at the royal court were panicking about hypocrisy, denunciations, and great lies (“For the Slave of the Country”) iv, the power of the pharaohs").

To this world, Ronsard presented the Horatian preaching of quiet joy in the lap of nature. Only in the distance from the vicious bustle of the palaces can people sit on their chests. Only people there can feel at ease. In connection with this, Ronsard poetizes the working life of a simple orach:

Blessed is he who walks his way through the field,

Don’t bother the senators, weighed down with red blood,

Do not disrespect any kings, nor princes, nor nobles,

There’s nothing to write home about, it’s all bliss and nonsense.

("To Cardinal de Coligny")

This rural idyll, as painted by Ronsard, is not short of solid living ground, as is all the idyll literature of that time. In its soul there was a dream about the golden age, which took from Rabelais the outline of the Thelema monastery, and from Ronsard it appeared in the form of either an idyl, or tales about the blessed islands ("Blessed Islands"), or the mythical Elysium, in which Panu has a harmony unknown on earth ( “As grapes enter, trees embrace.”

Ronsard's poetry did not lose its artistic power in late life. This is clearly evidenced by the miracle “Sonnets to the Deer”, written by an old poet from the 70s. Among them we know the famous sonnet “If, as an old woman, you will spin alone,” which belongs to the most miraculous works of French Renaissance poetry

The poetry of the Pleiades was sometimes called aristocratic and courtly, without losing respect for those who went far beyond the high courtyards, becoming the most important manifestation of the national French culture of the 16th century. Ronsard wrote that “all the people sing their songs.” He dares the obvious shepherd to say over his gravestone:

Without trying to be foolish

With the vanity of the courtier

І noble praises

Not kidding.

Dav in the lyric song

Lots of new sounds,

The father's land is high,

("Choose your tomb")

Ronsard was not only a miraculous lyricist who ranks alongside Petrarch and Shakespeare. At his creative place, there are completed messages, hymns, in which he stands before us as a thinker and a master of the oratorical word, sometimes pathetic, sometimes eloquent, sometimes close to a speech.

Until the final words of this poetic family, it is time to remember the more complex “Hymn to Gold.” In the new way of life, the world is concerned about the share of people and the power of the share. Bachachi, like the light of the lust of the “spirit of living,” Ronsard is not averse to magnifying poverty. We do not intend to shout out stories that are driven by the power of gold. Behind the words of the singer, “God does not give gold in order for us / To protect them from the slaves, the corrupt girls of the dark”... “The treasures of the earth are for life and goodness.”

In the “Promo against Fortune”, dedicated to de Coligny, Cardinal of Chatillon, Ronsard, complaining about the approach of evil fortune, angrily brings out the vices of the world, having wasted the gentry’s straightforwardness and instead valued spravzhne obdaruvannya.

Ale, let’s get away from the world in our hour,

It is necessary to honor and throw away rubbish, otherwise a tractor.

Innocence is the idol axis, to whom it is ordered

Fix everything, everything down to the bottom...

(Translated by G. Kruzhkov)

And in his final message to Henry II, red-handedly condemning the warlike behavior of the kings, Ronsard dreams of the hour when the blessed light will come to France (“Light”).

Vrantsi, having got home, I walked along:
The sea is silent, the cicadas are chattering.
And before a week-long walk
At the crossroads I am relieved.

The Subaru roared along,
The hot air poured over me.
I forgot the number: sem, troika... Ladies?!
It’s a pity that the ace didn’t give me the chance.

Why did Vi, countess, fool you?
Siv at the card table, alas, it’s a pity...
I smoothed my hair with five fingers,
I sniffed my jacket and adjusted the eyepieces.

Raptom is unsatisfied in front of my gaze
The image of vines is six tiny stars.
The thought suggested itself: the promise of a crossover
Kenji Kita moved this sign?

Collect together at the black field
Mitsuraboshi was angry at FHI.
Without knowing the options of the year,
I gave the car a name myself...

Before the human race appeared
Decadal battles of cherga,
Titanomachy, which is Hesiod
The boula was sung to us at the theogony,

Completed. Zeus throwing off the Titans
At Tartarus, under the Hecatoncheires' gaze,
I'm your favorite, vitrially Atlas
The celestial sphere is ordained to be Trimati.

This daughter: Keleno, Asterope,
Maya, Taygeta, Electra, Merope,
І Alkyone – Poseidon’s farmhouse –
The way for sailors to shine from the sky.

Nymphs of heaven, train of Artemis,
Always running, driven by Orion,
They joke calmly. Turned around at the mirror
(Zeus the Thunderer of Vikon in їhnє prokhanya)

There is nothing to decorate with a fearful attitude,
Only Merope in the distant south,
Nemov is confused with a mortal man,
Shine weaker than sisters.

Raising your eyes, you will respect
At an inconspicuous glance, the merekhtinnya:
The clear eye of Stozhari can see
People celebrate the turn of spring.

So, marveling at the wondrous sight,
I took a quick look at the myths.
Life is not so simple, let’s face it...
It’s even simpler – just think about it.

=====
The founder and first president of Fuji Heavy Industries Ltd. (FHI), Kenji Kita, taking the special fate of the first prototype of the P-1 passenger car built in 1954.
Since the P-1 was created, Kita, who appreciated that a Japanese car could bear a Japanese name, announced a competition for the best name for the P-1. However, from the competition names, Kenji did not rule, and in the end, he guessed it himself - “Subaru”.
The word “Subaru” is the Japanese name for the dawning purchase of the Pleiades in the lord of Taurus. About a dozen stars can be seen in the night sky with an unbroken eye, and about 250 more with an additional telescope. Of course, the Japanese name for the purchase is similar to the words of Subaru (collected at the same time). The brand and its logo also resemble the old Japanese name for the Pleiades - Mitsuraboshi, which refers to the six companies that resulted in the creation of FHI.

A.S. Pushkin confirmed that the plot of his story “The Queen of Queens” is based on the real story of the life of Princess Golitsina, who revealed to her husband that she had lost the secret of the three true cards (“Three, The big one and the ace will win for you at once..." .

Titanomachy - in ancient Greek mythology, the battle of the Olympian Gods with the Titans, a series of battles spanning ten years long before the founding of the human race. The Titanomachy is also known as the Battle of the Titans and the Battle of the Gods.
From the Greek literature of the classical period we seem to sing a lot about war. The dominant one, which has been preserved to this day, is the “Theogony” written by Hesiod.
Having overcome the Titans, Zeus left their Tartarus. Atlas (Atlas), who was the leader of the Titans, placed the crypt of the heavens and ordered him to lift the sky on his shoulders in the future. Atlas is a symbol of vitriol and patience.
Hecatoncheiri - in ancient Greek mythology, there are fifty-headed velet, separate from the elements. At the hour of the Titanomachy responded to the call of the Olympian Gods and marched against the Titans. Later they will be sold to Tartara.

The Pleiades - in ancient Greek mythology, a group of seven nymphs, daughters of Atlas: Alcyone, Keleno, Maya, Merope, Asterope, Taygeta and Electra.
The Pleiades are Artemis’s companions and escort. Over the years, the stench was transformed by Zeus into stars - the narrower Pleiades and began to be seen as heavenly nymphs.
According to the myth, the wise Orion began to re-investigate the sisters of the Pleiades, who, protesting against his re-examination, returned with blessings about the protection of the gods. Zeus transformed the Pleiades into stars and placed them in the sky near the view of the same asterism in Taurus, and Orion was punished for his boastfulness by transforming them into a group of stars and placing them in the sky in the view of the Earth, nearby Pleiades. It turned out that now Orion of the sayings until the end of the century will unsuccessfully re-examine the Pleiades with the sky.
All the Pleiades are bound by disputed ties with the gods, and even if Merope alone married a mortal, he, in his turn, will shine weaker for others.

Pleiades (astronomical designation M45; sometimes also known as the name of the Seven Sisters, the old Russian name is Stozhari or Volosozhari) – the Russians of the dawn of the Taurus; one of the closest to the Earth and one of the most significant for the unbroken eye of the dawn.
A number of different versions of the movement are called “Pleiades”. For one of them, it is similar to the Greek “seafaring”, because the Pleiades asterism is observed at night in the Mediterranean Sea area from the middle of the grass to the beginning of leaf fall, then during the period of active trade prices during the hours of antiquity.
“The Odyssey was blowing happily and the wind was fair
Having believed, I poured. Sitting on the stern with a mighty hand
Kermo brutally, without sleeping; sleep without going down
Eyes, and without taking into account the Pleiades...”
Homer, "Odyssey".

Among the ancient Greeks and Romans, the convergence of the Pleiades before the sun set in meant the turning of spring.

I. Yu. Pidgaitska

Light of the Pleiades

Poetry of the Pleiades. Collection. Order. I. Yu. Pidgaetska.
M., Veselka., 1984.
OCR: www.niv.ru

The title of the editorial is primarily a metaphor, but a metaphor, as we intend to show that there is a completely real place. However, it was not invented by us, but takes place in a clear and inspired form from the rich German and French pre-successors of the 20th century, who believed that for several centuries they strengthened us with Ronsard, Du Bellay and their comrades in the poetic school, the poetry of the Pleiades became deprived of peace . warehouse" French literature. As the history of French literature has shown, the works of Ronsard, Du Bellay, Baif, Jodel and the “small” poets of the Pleiades had a lot to do with what had found its varied continuation at the onset of the era. La Fontaine's tales, Molière's comedies, Mathurin Regnier's satires, verses and epigmas of freethinking poets of the 17th century, Chénier's elegies, poetry of the romantics, the Weiskova and the post-war love affairs and the colossus. The history of France in the 20th century - these are the main ones, in the most outrageous way, that are clearly visible. poetic slaughter of the Pleiades 1. And this is natural, because the obvious pathos of the creative creations that were created in French literature by the genius of Ronsard and his associates, in search of new directions in the development of French poetry, in search of the creation of poetry in truth and national, which could be combined with the brightest images of ancient and modern Italian authors, poetry, which would become evidence of the greatness and originality of French literature.

This task, more grandiose in its scale, was revealed by the power of a group of poets who first banded together with their humanist teacher Jean Dore in the Parisian college of Cocrat for the study of Greek and Latin authors, and then graduated Throw yourself a shout out to all the current poetry and promote it. And her boastfulness, as her powerful poetic creativity showed us beforehand, is small in comparison with the names of Ronsard, Du Bellay, Baif, Belleau, Jodel and other poets of the Pleiad of bindings, as Yu. B. Vipper rightly means, “revolution , jealous According to the historical significance of that destruction, as later, already in the 17th century, Corneille was created in the sphere of tragedy, and later, in the genre of comedy, Molière” 2.

The first theoretical manifesto of the new school was Du Bellay’s “The Zachist and Glory of the French Language” ( La Defense el Illustration de la langue françoyse, 1549). First, let us turn to a short summary of the outstanding poetic principles expressed in the manifesto, focusing on the history of the name of the school, in the name of which Du Bellay spoke. 3 It is necessary that many historians of literature respect, and sometimes categorically affirm, that the term “Pleiad” is nothing more than a myth, and that it is hardly possible to talk about those who sing like before she was insured, became one school. These doubts are connected with the whole low furnishings. First of all, the skin falls into the extreme individuality of the skin from the poets of the new school. In other words, bent and these are by no means the ideal conclusions that have been developing between the participants over time. The theoretical program of any literary school, since it unites writers endowed with relevant talent, does not mean all possible individual phenomena. Affiliation with this school “in no world,” as L. Ya. Ginzburg writes, does not cover the activity of a writer, neither in its entirety nor in its entirety. It is worth noting that at this historical moment, signs appear in the work of the writer that are consistent with the theoretical positions of this and other groupings. These signs become inflamed during moments of struggle, which are severe to collective forms, and are neutralized during periods of peaceful work, when the skin is only responsible for itself. Acknowledged literary history is in turmoil over the years, which inevitably leads to the conclusion that it is impossible to determine the author’s group affiliation.” 4

The Pleiades was such a lively creative union of talented poets, united in their zealous pathos of reformation of Vedic poetry, due to the need for the beginning of a “new era” in history and words that encourage one another during the struggle and are also alien to the harsh normativity of the ordered rules and poetic regulation. Du Bellay and Ronsard, Jodelle and Tauro, Baif and Bello could allow themselves and others, if necessary, in the name of poetry and for its sake, to enter into open polemics not only with literary opponents, but with comrades-in-arms. literary struggle, And tell from ourselves.

In addition, one should place more trust in the poets of the Pleiades themselves and in their well-known leader - Ronsard, who gave his school its name and at the same time named after Joachin Du Bellay as their “ready warehouse”, and also directly poetic them reforms.

The name of the school was not immediately obvious. At 1549 r. in one verse (published in 1552), which describes the long road of the Dora to Arqueil, Ronsard calls them a Brigade. With this rank, from the beginning the Brigade is more than a brother-in-arms on the Kokre track. Ale is already 1553 rub. yog "Dithyrambah in honor of Dac Jodel, tragic poet" 5 (Dithyrambes à la pompe du bouc de Jodelle, poète tragique) and in the poem “Blessed Islands” (Il es Fortunees) The brigade is in full swing, because in it Ronsard includes not only the names of his former comrades - Du Bellay, Baif, Denizot, Ale and Jodel, Tauro, Bellot, Thiard, Desautel, La Peruse, but also more than a dozen others, and have long been forgotten Names that thereby reinforce the breadth of the number of people who echo his ideas. However, in the world, the self-importance of the poets in the middle of this cohesiveness, in the world, is revealed in the new active minds, and the head of the poets, who have already realized that they have become on the dark poetic path 6, the head of the new school here in his “Elegy of La Pérouse” he calls the Brigade, cream Du Bellay and himself, Thiard, Desautels, Baif, Jodel and La Perouse. Tim Ronsard himself, having demarcated the number of his Brigade with the number “sem”, has already come to the name “Pleiades”, as he does in the “Elegy of Cretoflu de Choiseul” ( Elégie à Christophle de Choiseul) in 1556, introducing the number of poets of the school of Remi Bello, who, as Ronsard writes, “came to the Brigade of glorious (poets), to complement the Pleiades with his own (mirror)” 7.

Tim himself coined the name “Pleiad” as a form of awareness of the reality of the founding of a new poetic school, and an extremely metaphorical aura (susir) and a historical parallel that fits into the new, with the poetic school of Alexandrian poets in III Art. to sound That is, (they also advocated for the height and “valency” of poetry) clearly demonstrated the grandiosity of the efforts of the poets of this school, with the intention of “overcoming the old ones.”

Self-awareness of the chosen stake of creators, bound by a strong poetic share, was revealed in their desire to achieve steady creative fusion, with mutual support and desire to affirm their unity. The inclusion of the verses of their colleagues in the school of power, individual collections, which was so often practiced by the poets of the Pleiades: Ronsard, for example, as a draft of the “First Few Books of Odes” ( Quatre premiers Livres des Odes, 1550) contains Baif's sonnet; Rémi Bellot, in his book of adaptations of Anacreon's odes, transfers Ronsard's “Elegy to Crétoflu de Choiseul,” which we have already read; Tayuro's poetic collection was supported by Baif's sonnet 8, etc. However, the greater evidence of this, more profound power, and the transmission of the works of the poets of the Pleiads is not only seemingly poetic brotherhood, not only the respect of mutual understanding, but also the seemingly naked need to bring powerful creative squabbles to court and check the poetic brothers-in-arms, and at the same time try to explain their authority, their special position, and reconfirm their legality and necessity. Thus, Ronsard, who began the modernization and “glorification of the French language” from the Horatian and oratorical presentations of odes in the style of the Greek poet Pindar, then grew to the simplicity and natural expression of earthly human emotions at the beginning of the “Other” and books of love stories" ( Le second Livre des Amours), complaining about the unreasonable reading public, frantic to Tiara and searching for new sleepers and support. And Du Bellay, to deprive himself of France and serve in Rome, in his most ingenious work - the sonnet cycle “It’s a pity” (Les Regrets, 1558) - he confirms his secrets and betrays Baif, Belleau, Jodel, Peletiet du Manu, and most of all Ronsard, with which he finally enters into a “sonnet dialogue”, explaining, concretizing, the reasons for his brutality to the fullest. in Latin language. 9

However, against what and in the name of what did the Pleiades unite to sing? In order to adequately understand the internal climate of this poetic reform, we would like to identify the main figures in the sociable and literary “climate” of France at the end of the 40s of the 16th century.

France, which became a single absolutist power in the first third of the 16th century (the remaining grand duchy - Brittany - was annexed to the crown lands in 1532), was one of the centralized and powerful powers of Europe. Vlada Daedali was more concentrated in the hands of the king, and the feudal aristocracy was replaced by the court aristocracy, the influx of which seemed not so much to be similar to women, but rather to be close to the person of the monarch. The principles of the Renaissance, which were established in the ancient culture of the first generation of French humanist scientists and writers (Rabelais, Marot, Depere et al.), the ideals of unfettered freedom of the spirit and “flesh”, the belief in the boundlessness of human capabilities awns, even though they are lost, so Bi moviti, with an ideal perspective, did not become so crazy at their real addition. The hours of religious-political free-thinking were lost lately: the re-examination of Protestants in France, which began with Francis I (1515 -1547), became harsh for Henry II (1547-1559) and became the heralds of religious wars n, that they conquered over thirty rocks and set France sovereign split. However, when the Pleiades began its activity, the unity of the region had not yet been stolen. The centralization of the married life of France, and the successes of modern politics led to the formation of an appreciation of national self-esteem both in the sphere of power and in the sphere of culture. During the reign of Henry II, the royal court was stronger than that of his father Francis I, and became significant for the literary situation. The pomp and majesty that the king felt for himself, in order to ritualize his authoritarianism, necessitated bringing to the court a large number of sculptors, artists, musicians, organizers of saints and, especially, poets, who were no longer allowed All those familiar and friendly hairpins and familiarity, Clément Marot ( 1496-1544) in relation to his monarch. The court songs of Henry II and the most talented of them, Bishop-Virche Medlen de Saint-Gelais (1491-1558), were composed in fine detail etrennes(“Gifts”), songs and panegyrics, epigras, rondos and other embellished trifles “at random” 10 The courtiers read the middle-class literary novels on the “Amadis” script. At the Toulouse and Rouen singing competitions, as before, they sent verses written in middle-century genres, as if Marot had not yet tried his hand at elegy and hymns, and the “Lyon school” and the leader Maurice Seve (bl. 150 0-1560) with your own words Many of the first, but already notable, expressions of the new and “serious” lyrical poetry have not yet reached their peak. It would be possible to multiply examples to indicate the trends of change in thematic, genre and stylistic orientation in French poetry in the mid-40s. Ale river is not limited to butts. The truth is that these trends have not yet been reinforced as necessary and dominate. Maro, his followers of “marotism” and Saint-Gelais, who for an hour composed songs in Greek or Latin, which one guessed, respected what could now be found within the bounds of the train. The expression of this “conciliatory” position is found in “Poetic Mysticism” ( Art poetique françoys, 1548) Tom Sibile (bl. 1512-1589). We have a lot to say about conveying the ideas of the Pleiades: we emphasize that poetry is not just entitled to a casual and feisty version, but sings - not only “who writes in Rome”, but also This is a natural gift and cultivation. Sibyle recognizes the richness of “inheritance to the ancients,” and the fact that with my French you can also create significant creations. However, in Sibyl’s treatise, all these ideas have a central, and most importantly, “peripheral” character, since the majority of his poetry according to the poets is attributed to the traditional rules of rhetorical ceremonies. Rome, size, spelling, etc. were chosen, but the poet’s mystique was not reinforced by him as a rhetorician's mystique. Moreover, the clearest reflections of the poetry on Sybil are deprived of Marot, his followers and the fortune-telling of Saint-Gelais. Tim Sibile himself did not install a new one at all system poetic principles, and even mentioning those that were already implemented in French poetry in one way or another.

Du Bellay's "Zachist" and his first cycles of masters, as well as Ronsard's "First Four Books of Odes" were based on the overwhelming adversity of us before the fact that a new program of poetic creativity was introduced in them. Therefore, the main object of theoretical polemic in “Zakhist” is Sybil.

In his manifesto, Du Belle seems to indicate a completely new “path along which the stinks (spiritualists - I.P.) may take in order to achieve the greatness of the old ones” 11. Du Bellay affirms that it is not just the natural gift that is lacking, but rather the direct result of simply refining and polishing the tops. Du Bellay wants to give a different directness to the creative voices of the poets. What emerges from them is the youthful “doctrine”, which is a whole complex of knowledge, which represents a truly gigantic program for the cultivation of a true poet, a program that, being a projection on the literary theory of the encyclical ideal of the Renaissance ideal opedically illuminated peculiarities, elevating the poet from the rank of simple to titanic all-knowing genius. “The true one sings only the one who has a miraculous natural gift, who knows all the beautiful mystics and sciences, mainly natural and mathematical, who is well acquainted with all genres, beautiful authors of Greek and Latin, who knows all sides of people What a life" 12 - words of Du Bella urges us to tell us about Rabelais's program for the humanistic education of people in the 2nd book of his epic “Gargantua and Pantagruel.” Du Bellay’s later colleague in the Pleiades, the humanist Peletie du Mans, in his “Poetry”, added as if it were self-evident: “There is no need to say that poets need knowledge of astrology, cosmography, geometry, physics...” 1 3. The program of the inspired singer, laid out in “Zakhista”, and then repeatedly repeated and developed from the findings of other active Pleiades 14, reflected the manifestations of the poets of the new school about the high mission of the mystery of its creators, distinguished by their talent and performance, they are respectable in all spheres of the human secret of nature Svetobudovy. That’s why Du Bellay calls the poetry of the “Marotists” “unprepared,” because he believes, “the foundations of good creation are knowledge.” In “Zakhista” the principle of the doctus poeta (venerable poet) is consistently affirmed, when spoken by the Greek poet Pindar, an important and ascetic path is depicted, to which the new singer is responsible, who is the poet’s “doctrine”: “Whoever wants to fly around the whole world in his works here, - write to Du Bellay, he is guilty of being deprived of his room for a long time; and whoever wants to live in the memory of posterity is guilty of death for himself.” I, presenting the doctus poeta to the courtiers, adds: “... and as our courtiers sing, sing, eat, and sleep in silence, so may they themselves sing to endure hunger, misery, and long agony.”

“Zakhista” theoretically reinforces and the cult of antiquity, which is hidden in all Revivalism: Du Bellay sees the principle inherited by the ancients as the main reason for the renewal of national poetry.

The principle of inheritance from ancient times has been extensively elaborated upon by Italian theorists Du Belle - P'ietro Bembo, Girolamo Vida, Bartolomeo Ricci, Tressino and many others. However, Du Bellay, who favored his Italian predecessors’ arguments for the “profitability” of mastering the ancient decadence, immediately clarifies the replacement and directness of the upcoming implementation of the “principle of inheritance” in the French land. It is important that the inheritance is for vicious poetry – the paths of confusion and time 15. The impressions, since the current state was not visible, in the eyes of Du Belle, the level with the largest vitvors was again opened, and more precisely, the other eyes in the era of the Revival of the developed verbal culture of Greece and Rome. “I would really like,” Du Bellay confidently tells us, “for our language to be rich in its powerful images, so that we don’t need to delve into the images of foreign ones” (Book I, Chapter VIII). Du Bellay christens the perspective of how to study for the daily poet, who has “learned” from the Old Ones:

Create, dare and do it, Ronsard,
So the Roman and the Greek fell in love with the Frenchman 16.

And Ronsard, feeling this difficult task on the shoulders of his good tractors, through several fates confirmed Du Belli:

Giving order to phrases, variety of style,
I am in accordance with the poetry of the knowers - and by the will of the muses,
Like a Roman and a Greek, a Frenchman became great.
Translation by V. Levik

And yet again, the “Renaissance” nature of Du Bellay’s respect is found in his “Defense”: “We need to make sure that the people (inherited - I.P.) are able to recognize their strengths and verify what I will give you strength; Let him diligently follow his domineering nature and succeed in inheriting the one whom he considers closest, otherwise his imitation will be similar to inheriting the mapi” 17. Du Bellay does not provide a single model for inheritance in the skin genre, except with the shady postulate of the active Rebirth, for which people became the world of all speeches, and in literary theory, it comes out of contractions. who follows the principle of “know thyself.” Otherwise, it seems that the very choice of a symbol for inheritance is simultaneously the revelation of powerful potentialities and the acknowledgment of a powerful individual relish. Moreover, the entire “Zakhist” and the first poetic traces of the Pleiades are animated by the idea of ​​​​the high importance of the poet, the “supper of the gods,” a person who may be “divine mischief” (fureur divine), “without anyone,” as Du Belle writes, “be- which doctrine will be insufficient and worthless” 18. Why, in our opinion, the inheritance of ancient times and the special originality of the song, in principle, were not at all appreciated by one another, as the actions of the descendants of the Pleiades poetry confirm. 19 In order to further seize the poet of the future, who became a young man “in honor”, ​​as a copy, Du Bellay included in his “Zakhist” a special section “... for those who require the translation of poets.” Clearly in opposition to Sibile’s position, which compares the process of singing and translation, Du Bellay categorically declares that with translation it is impossible to preserve the “inner soul” of its creator, “that energy... which the Latins call genius.” Such “distrust” before the translations did not at all mean the blocking of their value, so move on, again. Simply, the immediate goals of national poetry are the creation of such original poetic creations that would allow French literature to reach the heights reached by ancient and modern poets of Italy, - Du Bellay, at least hour (so as the inheritance of the ancients was characterized by its hourly and tempting setting ) to introduce French poets through the direct transfer of foreign text to the national level. Since our mother respects the very concept of the poet, which she puts forward in the manifesto, and Du Bellay’s affirmation of the divinity of the poetic gift, the originality and freedom of the poetic genius, then the internal pathos of “Zakhistu” becomes clearer. face to the singers reveal and reveal your “inner soul." And they themselves understood him in this way, not only those closest to him who were of the same mind - Ronsard, Baif and Jodel, and, for example, Tayuro, who, in his homage to Du Belly, so signified the place of his poetic activity: “on the occasion of folding / Vershy, "They wiggle freely."

The ancient theory, inherited from the ancient and modern translations, was an extreme form of antiquity as a living and living tradition that needed to be rooted out, rooted out from ancient poetry, so that it itself poetry has found something previously unknown, but there is power in it. The naturalness and profound significance of these theoretical ideas of Du Bellay will become especially obvious once we know the evidence of Russian poetry of the 18th century and, for the sake of Sumarokov, the need to “learn” from European authors in order to apply them “to oneself”, or “the genius of agility” of Pushkin , which, with its creative spirit, suffocates “alien” and accepts the call, becoming in the history of Russian literature as the infusion of “everything that is spiritual, special, that is deprived of our spiritual, special after all this.” not from strangers, from other worlds" 21 .

In essence, the principle of inheritance from the ancient past to a wider understanding of the national identity of literature is not as isolation, but rather as the identification of its own, special in the adjoining literature and dialogue with them. It is no coincidence that the principle of “inheritance from the ancient” has been preserved in French poets and poetry for at least three centuries.

The pathos of originality and originality sings, which inspired Du Bellay, who was so strong that the author of “Zakhistu” was ready to know that “better is naturalness without doctrine, lower doctrine without naturalness,” and about his powerful early works writing: “I’m in writing without pretending to be similar to anyone other than yourself.” 22 Such a relationship between “doctrine” and “naturalness” (that is, a natural gift) becomes one of the main features of the poetics of the Pleiades, both from the earlier “doctrinal-free” generation and from the rationalistic XVII century , if, for example, such, for example, is a poetry theorist , as P. Demier, asserted: “He sings, who has no more memory, creates valuable and acceptable works, than the one who has no more than those with whom nature has endowed him.” The poets of the Pleiades are alien to the insane rationalism of the 17th century, and the refined thoughtlessness of Maro’s epigones.

Already in the early collections of Du Bellay and Ronsard - “Olive” and “Sonnets to Cassandra” - we can clearly see how the principle of inheritance is evident here. Thus, the central sonnet of the cycle “Olive” - “Shorter than the day...” (div. p. 232 of this edition) - is popularly known as an inheritance of the sonnet by Bernardino Daniello, which is similar to Petrarch. Ale Du Bellay's sonnet also resembles the same symbol, as, for example, “You know the land” by V. Zhukovsky and Mignoni’s song ( Kennst du das Land...) Goethe, version of Verlaine Il pleure dans mon sour... and “The Blues” by B. Pasternak: Du Bellay’s other text stands in front of the real facts of national poetry, enriched with a new lyrical theme, and revealed in an individual way. And yet another respect for Du Bellay's sonnet.

Daniello write yours S'il viver nostre e breve oscuro giorno... on the Zabitiyskiy Vidrodzhennya, basically lies to lie for the sowing of the pori dumka about the marnish of the human zusil on the earth, the farewell - farewell of the earth Marnista Ludskiyeanovannya. These intonations will begin to sound in the poetry of the Pleiades much later, especially in the 50s and 60s, when their singers go through the hard trials of life and history. And in Du Belle’s “Olive” the interpretation is completely different: its straightness on the mountain is not an irrevocable rejection of the earthly, but an expansion of the horizon of earthly and spiritual beauty. And the remaining terzetto speak about this more clearly:

There, O soul, I soar under the great sky,
You know: the axis of the Idea
This beauty is what I adore here.
Translation by Yu. Verkhovsky

The adherence to the principle of inheritance from ancient and modern Italian poets as the main method of reorientation of French poetry was accompanied in “Zakhist” by the enumeration of the latest national traditions. The blame was even greater for Jean Lemaire de Belge (1473-after 1514), the humanist scholar Guillaume Budet (1468-1540) and François Rabelais (1494-1553). Therefore, all of them are valued by Du Bellay as the writers who revived ancient culture and were inherited by my fellow Greek and Latin authors. Eager to reinvent French poetry and respectful that everything can be started from a tabula rasa, Du Bellay and Ronsard initially dealt even harshly (though more in words, less in action) with, for example, such a miraculous successor of theirs as Clément Marot. Ale, as the history of literature has shown, similarities were experienced by the students of other literary schools: Bulo in his “Poetic Mysticism” ( L'Art poetique, 1674) the same as everything that existed before Malherbe, and asserted that “the French Muse of Ronsard spoke in Greek and Latin”; Romantics abandoned their paths from the fall of classicism, and the early stages of the formation of new Radian literature were richly sung and active cultures were chanted that for the creation of new poetry it was necessary to “throw from the ship of fate” Pushk ina. Such songs, theoretically, “extract” the mystique of the transitional eras of history. I will explain this by trying to figure out what is new, in order to make yourself aware of this, you can begin to self-identify, and then be able to calmly follow closely behind your predecessors. A calm and serious approach to the national tradition is to come (and if not to come, then poetry condemns itself to futility) not immediately, but only then, if the channel of power aspirations is clearly defined. So it was with the Pleiadian poets. This was particularly evident in the genre reform.

Du Bellay’s description of contemporary poets as “unconsecrated” was accompanied by discarding the genres they practiced, which had their roots in the Middle Ages. Genres of this - more with a fixed form (forme fixe) - were associated for the poets of the Pleiades, and for the entire public that reads, with simplicity and inflexibility, and at the same time - virtuosity and extreme yu subtlety of form (so, for example, versh " Prayer" - Oraison Jeanne Meshino, 1420/1422-1491, allowed the reading and interpretation of thirty-two different ways). That’s why the old genres were given to the leaders of the Pleiades as unpublished ones to accommodate those humanistic and even intellectual places that they broke the boundaries of national poetry. The stink began from the fact that old genres were thrown “from the ship of modernity,” which Du Bellay calls “the spices that add to the relish of our language and even the memories of our ignorance” 23.

In opposition to the old genres, coming from the doctrine of doctus poeta and the principle inherited from ancient times, “Zakhista” became the genres of ancient and Italian poetry - epic poem, ode, elegy, epistle, satire, eclogue and sonnet. At the same time, Du Belle did not try to accurately define their formal boundaries, but this made sense, because he transferred the emphasis from the formal to the sublime side of poetry. Moreover, “Zakhista” has no distinction between genres and topics. All genres have the same benefits - poetic erudition, seriousness, the understanding of “the good with the dark,” the highest level of language.

Du Bellay's Manifesto caused a scandal no less than three centuries later, in the 20th century of the 19th century, the first appearances of French romantics. “Marotisti”, court singers, a few adherents of the middle-class “great rhetoricians” and members of the “Lyon school” (those singers who also became on the paths of presenting a poetic place) were united among their own people. yyatti "Zakhistu". “The Crusade against Negligence” 24, voices from “Zakhista”, immediately gathering the strength of opponents for the confrontation: the Lyon compendium of rhetoric Barthelemy Ano, speaking with a pamphlet, fiercely attacked the program for the establishment of new genres , which was located in “Zakhisti”, and at the same time about Ronsard and his Brigade, as it seemed, beat the poets from the pantelica and oriented them towards the creation, as he wrote, of “wise poetry” 25. Sibile in “Sent to the Reader” ( Au Lecteur) talking about the ridiculousness of the claims of Du Bellay and his associates. Mellen de Saint-Gelais mocked the foolishness of Ronsard before the king, and Guillaume Desautels, who suddenly became a rogue and a follower of the Pleiades, raised doubts about the need for a radical change in poetry and in “Videpovid” and the baked zakhist...” ( Replique aux furieuses défenses...) embodying Maro’s “charming delicacy and exquisite sophistication.” In a word, the literary struggle between the “old” and the “new” was the first in the history of France. Du Bellay's critics first raised arguments against the new school, who then blamed those who declared their intention to introduce a new twist into the mysticism of the word and introduce the reader into a new poetic world. I would like to remember the battles of the “romantics” and the “classics” in French poetry of the 19th century, or the battles that flared up in France around “engagement”, devastated by Aragon, Eluard and their same-minded people with the necessary way of modernizing This poetry.

However, the victory of the Pleiades was amazingly widespread everywhere. After the publication of the “First Four Books of Odes”, de Ronsard went on to follow up with Pindar and Horace and enthralled the public with the hitherto unknown purity of his language, with new words, stanzas and dimensions, and especially with for “The First Book of Love Vershys” (Le Premier Livre des Amours, 1552). The first among those who “found the new faith” was the Lioness Desautels. Behind him, Jodel, La Pérouse, Magny, Tauro and Bello began to transform their peaks into a new way. A close friend of Maurice Seve, Pontus de Thiard, in one of his philosophical dialogues, published in 1552. (div. p. 688 present, view), openly affirming that “only ignorant and rude people may not understand these poets.” The courtiers were quickly awakened, especially after the king's sister Margaret of France, Chancellor L'Hopital and the humanist Jean de Morel took the protection of the poet-reformers. Mellin de Saint-Gelais, recognizing his defeat and launching attacks, Sibilet also recently lost himself in the camp of opponents of the Pleiades, and the courtiers, as Lopital wrote about them, “more often than not from fear, not from sympathy” recognized in Ronsard a new light on the poetic sky or France.

We focused on the internal sense of the first theoretical manifesto of the Pleiades to the fact that the entire creative journey of its poets seems to us to be a sign of continuation and development of the principles of “Zakhist”, although there are many successors to know no more, he has a young glow and a daring drunkenness, In place of this, clearness quickly comes, and the youthful rigorism is replaced by a place of calm prudence.

True, already “Love Vershy” ( Les Amours, 1552) Ronsard, “Kohannya do Melina” ( Amours de Meline, 1552) Baifa, 2nd book of “Love Omans” Tiara, “Love Vershy” ( Les Amours) Magny (1553), Jodel's sonnets never testified to the idea of ​​"Pindarization" and the expansion of more basic poetic themes. Obviously this is so, and the inspiration for the idealism of Ronsard’s “Sonnets to Cassandra” has become accepted by participants as a turn to the national tradition of the study of courtly love, familiar from the poetry of troubadours and labor believe The singing of the Pleiades began and entered into the relish of the court public, aka the courtly cult of the lady, the aestheticization of the undivided khan of creation was in the clear, sophisticated form of a sonnet, that sonnet, about which Du Bellay wrote in “Desire”: “Drinking the beautiful sonnets - It’s just like that kind Italian wine... For the sonnet in you there is Petrarch and a few modern Italians"26. And just as the French ode to its folded strophic drawings, its abstract exaltation and its fervently metaphorical nature suddenly knew collapse, then its light and sophisticated ode to its Horatian look has risen to the French style yes. As for the sonnet, then for him the “Pindarism” of the Pleiades was not in vain, because from the heights of Pindar it was easier to move into the same high-ideal world of Petrarch and open the French sonnet to the possibility of standing in the middle of all these centuries. In addition to the average fixed genres (rondo, baladi and virele), the sonnet, without being bound by the average canons, as a genre, is therefore open to the selection of high ideas of the Pleiades about the recognition of the poet, about poetry - about tribute to the great spirit of the nation and “mentors” » Suchasnikov. The singers of the Pleiades, first before Du Bellay and Ronsard, endlessly expanded the thematic framework of the sonnet: from the traditional love genre of lyricism it is transformed into a three-dimensional form that can accommodate philosophical and elegiac motives, civil and satirical ones. It is enough to open “The Sting” and “Ancient Rome” by Du Bellay, “Sonnets to the Deer” by Ronsard, “Sonnets against the Preachers of the New Faith” by Jodelle, “The Land of the New World” by Magni, in order to see how much one can understand the sonnets of the Pleiades. Their original model of the sonnets of Petrarch and Italian "Petracrists". I “with mercy” Pleiades from the other half of the 16th century, the sonnet truly became, as Aragon said, “a national way of speaking” (un parler national) 27. And this was the implementation of one of the main benefits of “Zakhist”.

However, “Zachist” and the first books from Ronsard were not the only “poetic element” that impressed the sectarians. The attack is no less, a strong shock screamed “The Book of Twists” ( Livret de Folastries, 1553), as well as “Guy” ( Bocage, 1554) and “Sumish” ( Meslange s, 1555) Ronsard, who replaced the high style with a style that Ronsard himself called “low” (style bas). “The Book of Twists” suddenly appeared without the name of the author. Her Ronsard has a lot in which he goes to the point of self-parody, exploring the cult of Homer and Petrarch, presenting platonic love and the pride of poetic self-satisfaction, and giving space to the lively “Galish” spirit and the “careless” freethinker stu, who were attached to Clement Marot and Rabelais. Although, regardless of those that “Fun” testified about the conversion of the Pleiades to the national tradition, the tradition itself becomes in them transformed and “equipped” with motifs from Catullus, neo-Latin poets (Pontano, John Secunda, etc.), remin. Scenes from Horace and Ovid.

“Guy” and “Sumish” introduced into the vein of French poetry that strong current of lively and epicurean anacreontic lyricism, which is then clearly visible in the works of the Boy J.-B. Rousseau, Goethe and Beranger, and Russia - from Derzhavin, Batyushkov, and Pushkin 28. Why, the reader of the anthology we have published will, of course, have the greatest respect for the “Pushkin notes” of the verses of Ronsard. And it is clear that in Pushkin’s lyrics, especially in the early days, the name of Anacreon often appears (the verses of “The Throne of Anacreon”, “The Phial of Anacreon”), but it clearly appears in the same way as it did in Ronsard, “appropriation of the Greek poet. Before the speech, tell us about Pushkin and the Horatian ones in the odes and sonnets of the Pleiades, either “By the Hand of Bellery” or “When in the Middle of the Noise ...” by Ronsard, a friendly message from Du Belli to his spivitchians from Rome, verses, and smallpox There is a village-like vileness rabble,” and a lot and a lot of other things. And this, of course, is because Ronsard, Du Bellay and their comrades in the new school introduced the ancient literature of “ever those” poetry, filled it with the depths of the underground human place, be it love and death, huge and patriotic and it seems like philosophical thoughts about the world and people . And, developing with these, they absorbed from their poetry that classical literary decadence that was cherished long ago, when before the literature of different eras and different lands there stood the ancient creation of a deeply significant national literature.

Turning back to the poetic collections of the Pleiads 1553-1555 rocks, we emphasize once again that the principle of ancient inheritance and the assertion of the right to sing can freely collect its own expressions for which inheritance has not been thrown out at all. The revival of ancient genres, or rather their integration with the traditions of other genres, gave the national tradition itself a new look. Why, although in “Fun” there is a clear influx of middle-class farces, pastourels, poetic “superchka”, folk songs and the poetry of Clément Marot, sarcasm, and sometimes even crude eroticism, a sharp anti-clericalism in the soul sings and in early Birthday, which does not sound in the collection They will add these books to “eternality”, only transfer them “to another register”. Ronsard's colleague in the Pleiades Olive de Magny even accurately called this work “a book of centuries-old twists” 29 .

Sing the Pleiades so monotonously, as during the hours of “pindarization” and “petrarchation”, they have degenerated to a “low style” 30 - Many in the collection “Fun” ( Gaytez, 1554), Tayuro - in “Sonnets, odes and receptions...”. And, for example, for Baif, even earlier than Ronsard, who went to the jokes of the “low style”, honoring the “Gallic spirit” and the ancient tradition of much greater importance.

This new stream of poetry of the Pleiades has already coolly absorbed the “mudiness”, which cannot be said about the jealous, Catholic and Huguenot poets, the wide range of moralizing intelligentsia that attacked Ronsard and calling him in disrespect for morality and religion. Jean Mace at the pamphlet “Philippe against French poems and the heroes of our time” ( Philippique contre les poëtastres et rimailleurs Françoys de postre temps) and the Christian singer Rivodo in the lead-up to his works not only called Ronsard “paganism”, but also sagaciously pointed out those who would not survive reprisals. 31 After a number of fates, after the appearance of “Vitiv”, the front line of the religious wars, the book was ordered by the Parisian Parliament, as Jacques Grevin was aware of, and was publicly burned 32 .

The evidence of “low style”, about which Ronsard speaks as about “popular reception” (populaire et plaisant), is of primary importance. He is not only aware of the democratization of the Music of the Pleiades, but also from the beginning of this path to this form of stylistic mastery of reality, as Ronsard in Elegie Cretaflu de Choiseul said: ni trop haut, ni trop bas (neither too high, nor too low) to style “middle”, harmonious, style that mocks the masterpieces of the poetry of the Pleiades - “It’s a pity”, “Ancient Rome” by Du Bellay, odelletti and “Sonnets to the Deer” by Ronsard, “Anacreontic odes” ( Odes d'Anacréon), “Khannya and new re-creation of the Precious Stone” (Amours et nouveaux échanges de Pierres précieuses) Bello, sonnets and especially the ode-epitaph “To the Ashes of Claude Colet” ( Aux cendres de Claude Colet) Jodel, the greatest peaks of Baif’s poetic cycles - “Pastimes” ( Les passe-temps) and "Mimi" ( Les Mimes) etc. Between the extremes of “Pindarism” and “Folastrism” the Pleiades singers (and before others - Du Bellay) found a “middle” path, a path of clarity, simplicity and harmony - those that all classical singers had previously destroyed. This very “middle style” allowed the poets of the Pleiades to write most naturally and freely about earthly joys and disappointments, to explore nature and Fatherlandism, to talk about their anxieties and turbots, to discredit the powerful of the world Why be glad if you have power? Happy times have come in the history of the region. And here we can read another testament to “Zakhist”: “Whoever sings in truth... who will make me sad, calm down, rejoice, be sad, love, hate, be kind, wonder...” 33 Sing to the Pleiades in a different way nomu i Due to its nature and scale, talent was prevented from adequately conveying the diversity of human emotions and thus, as a matter of fact, they also formed “votes”, giving themselves the beginning of a creative path.

Nowadays it would be unnatural to discount the evidence of the presented “Pindarization” and “Petrarchation”. They don’t care about those in Du Bellay’s satire “Against the Petracrists” ( Contre les petrarquistes) and the sonnets “It’s a pity”, and Ronsard at his richest verses, and perhaps all the singers of the Pleiades in the 50s said “the mystique has been given to write about one’s feelings”, even before this method of creative expression they gave in to the stinks of the beast were drawn to philosophical and ethical and civil problems such as those found in “Hymns” ( Les Hymnes, 1555-1556) and “Mirkuvannya” (Discourse) Ronsard 34 or in “Regulations of Rome” and “Sni” (Song) Du Bellay. However, the themes of these presented achievements will be not so much the praise of the deeds of kings and heroes (whose Pleiades would sing), but rather the understanding of the mysteries of nature and the world, human history and also mystical twa. To this scale of themes and greatness of style, which are similar and most powerfully present in Ronsard, are similar works of French romantics, such as “Rethink” ( Meditations poetiques, 1820) Lamartine, “Shares” ( Les Destinées,Posth. 1864) A. de Vigny, but the greatest controversy to this thematic and stylistic side of the poetry of the Pleiades - Victor Hugo, author of "Vidplat" ( Les Châtiments, 1853) and “Legends of the Ages” (La legend des siècles, 1859-1883).

Speaking about the poetic reform of the Pleiadian, we first intend to reveal the richness of the pathos of the Pleiadian poets and show that the main stages of the evolution of the new school from high to “low”, and as a result - to the “middle” style of poetry - will not be forgotten the final principles of the first manifesto , but also creative development and re-interpretation. Without focusing on the individual look and uniqueness of the poets of the Pleiades 35, it is significant that each of them, using the “Zahist” program, “having explored my power nature”, “verified what is within my power” and choosing the powerful path “to the peaks of Parnassus” .

Remi Bello, who rightly drew attention to the right life from his “Koshtovnye stones”, appreciated that he was discovering a new genre and, as he said, “the dark core” of poetry. And it’s true, Bello, that Ronsard called “the painter of Nature,” having established the paths of descriptive poetry in the 17th and 18th centuries, and in the 16th century, perhaps more than others, having passed the dates of the report on the “landscape in its natural simplicity” 36 and having gained its With the first turbo .

Etienne Jodel, however, does not have any special skill in describing nature, achieving the greatest individuality in style in philosophical and satirical poetry. In his late love sonnets, which exude a streamlined and asceticism that is alien to the hedonism of the Pleiades, Jodel has a lot to say about the Renaissance, harmonious style, the powerful “Stings” and “Ancientism” To Rome" by Du Bellay or "Sonnets to the Deer" by Ronsard. Vin vibrates his own special form of sonnet (which was later called the “Jaudelian sonnet”), imbued with metaphysical symbolism, the drama of contrasting emotions, anticipating the future Baroque poetry.

Jacques Tayuro, who knew in advance about the complexity of the life described by his term, immediately took up the development of the “middle style” and lost himself in the history of poetry before us as the “light” sings. Previously, for other reasons, there was a difference between the world of spiritual freedom and action, and, perhaps, not so much “noblesse de style” as the sophistication and simplicity of the poetic style, revealing this tragic discord in the prose “Dialogues” ( Les Dialogues,Posth. 1583).

Pontus de Thiard, who lived before the “Lyon school”, and then became a zealous purveyor of the ideas of the Pleiades, once again embraced the “rare ancient erudition”, forever preserving his bias, as he wrote, until the “high ide ї". In a kind of “memory” of the Pleiades, and at the end of the century, when the new gallant relishes of the court of Henry III become more detailed, as before, peaceful, harmonious sonnets about the presentation of the khan.

Another “religion of Antiquity,” Jean Antoine de Baif, was not gifted with a high gift of oratory. The only issue of his huge poetry was “Mirkuvannya about the huge war” ( Discours sur la guerre civile), and they “recorded” some of the 70s rocks - on the basis of the first odes of Ronsard - and the “rural odes” significantly yielded to the similar genres of other poets of the Pleiades. Most “on the shoulder” were eclogues, epigrams and odelletti. Possessed by the spirit of reform in Galusia, Versha and Mav intend to transfer ancient metrics to the French soil. And although such direct “inheritance from the past” yielded few results, and “vers mesurés” did not take root on the French soil, amalgamation with ancient Latin and Greek authors, as well as Baif’s respect for the national The latest developments in genres have led to the creation of a unique fusion. the famous “Memes” - fiery and philosophical six-verses, which with their lapidaryness give a poetic quintessence of either fable parables, or satirical drawing of current affairs, or tragic and ironic warnings over history or human nature.

The most universal of the poets of his school was Ronsard: having given images of all the genres introduced by the Pleiades, they included masterpieces of love and landscape poetry, philosophical and huge poetry, which were in his possession. And the intonation ranges from ecstatically intoxicated to deeply tragic, with all those and all poetic dimensions, what we have been constantly trying to find out the harmony of the form and the sense; in a word, it was the main “direct creative force” that oriented my current poetry. Reading his work, we understand that he has not at all exceeded his merits, since he wrote, he is annoyed by the current poets who allowed him to be blasphemed by his superiors: “You have all come from my greatness... You have all my tributaries."

Nevypadkovo, in many current histories of French literature, the poetry of the other half of the 16th century is called “the centuries of Ronsard.” And I am in charge and in line with him - Du Bellay, who gave the poetry of France “It’s a pity” - a unique lyrical tribute to “the mind of cold caution and the heart of dull litter”, a tragic document of the tragic era of the late Renaissance.

Pushkin, speaking about the wonder that is found in national literature, when it appears in it as a rant of “the generation of truly great writers,” asking: “whose people are assigned an era in which the narrowness of geniuses Yes, shine and know?.. » 37. And although Pushkin, believing Boileau, had already come to terms with the poetry of Ronsard and was in the respect of the 17th century of France, such an era of “truly great” poets would become the “Century of Ronsard” and this Pleiades, with in the 20th century it changed so much . I. Yu. Pidgaitska

Notes.

1. About the traditions of poetry of the Pleiades in French literature. research by Yu. B. Vipper: “Poetry of the Pleiades.” M., 1976.

2. Yu. B. Vipper. Poetry of the Pleiades. Decree. view., p. 3.

3. Report on the history of the formation of the term “Pleiad” of divas: R. Lebègue. De la Brigade à la Pléiade. - In: "Lumières de la Pléiade". P., 1966, pp. 13-20.

4. L. Ya. Ginzburg. About old and new. L., 1982, p. 62-63.

5. The fierce one has 1553 rubles. In honor of the success of Jodel's tragedy "Cleopatra Overwhelmed" (Cléopatre captive) Ronsard and his friends led the way "to the image of the ancient saints", leading a goat entwined with flower garlands, which they presented as a gift.

6. Pontus de Thiard with another book of “Love Pardons” (Les Erreurs amoureuses, 1550), Guillaume Desautels with the collection “Continuation of the Retirement as a More Serious Activity” (Suite du Repos de plus grand travail), Jacques Tayureau with the cycle “First Leaders” ", 1554) і “Sonnets, Odes et Mignardises à l" Admirée, 1554), Etienne Jodel, tragedy and comedy based on the plots of ancient authors and love and satirical sonnets, Jean-Baptiste de Laperius, elegies and messages, Jean Antoine de Baif with the cycle “The Cohanna to Meliné” (Amours de Méline, 1552).

7 Before the hour of writing “Elegy to Cretoflu de Choiseul,” the lives of Tauro (1527–1555) and La Peruse (1529–1554) had already begun.

8. Div. 554 of whose appearance.

9. Div. Ronsard’s sonnet “Between these, as you live on the ancient Palatine” (p. 116) and the Xth sonnet from Du Bellay’s version of “Zhaliv”.

10. Div: A. Noël. Henri II et la naissance de la société moderne. P., 1944.

11. J-Du Bellay. La Defense et Illustration de la langue françoyse. P., 1948,

12. Ibid., p. 127.

13. Quote from the book: N. Busson. Le Rationalisme français au temps de la Renaissance. P., 1957, p. 94.

14. Programs for the training of poets Ronsard accorded a great deal of respect to his works, as well as to his envoys, elegies and “romances”.

15. At this clarification, the principle of “inheritance from the past” gained respect for the first time. 3. Gukovska in the book: “On the history of linguistic views of the Renaissance era.” LDU, 1940.

16. J. Du Bellay. Poésies françaises et latines, v. I.P., p. 121.

17. J. Du Bellay. La Defense et Illustration..., ed. cit., pp. 123-124.

18. Du Bellay. Ibid.

19. Div, for example: N. Weber. La Creation poétique a XVI XVI siècle en France. De Maurice Scève à Agrippa d'Aubigné, v. I.P., 1956, p. 121.

20. Even Du Bellay himself, Bellot, Ronsard and other singers of the Pleiades have repeatedly translated Greek and Latin authors.

21. Ap. Grigor'ev. Zibr. op., vip. 6. M., 1915, p. 10.

22. J. Du Bellay. Poésies françaises et latines, ed. cit., p. 127.

23. J-Du Bellay. La Defense et Illustration..., ed. cit., pp. 108-109.

24. This is what the French follower Marcel Remond called the first manifesto of the Pleiades. Div: M. Raymond. L"Influence de Ronsard sur la poésie française (1550-1585), v. I. P., 1965, p. 10.

25. Report on criticism of Du Bellay’s manifesto: Yu. B. Vipper. Poetry of the Pleiades, op. view., p. 125-126.

26. "Sing the French Birthday." L., 1938, p. 268.

27. Aragon. Du Sonnet.- "Les Lettres françaises", mars 1954.

28. Div: Yu. B. Vipper. Decree. cit., p. 346.

29. Quote. for the book: P. de Ronsard. Œuvres complètes, ed. P. Laumonier, vol. V, P. 1928, p. XVII.

30. Behind the blame of the zealous Catholic N. Denizot, who was shocked by the “liberties” of Ronsard.

31. Why did Ronsard, fearing such a reaction, in the latest editions of his creations centered on “Fun” in various collections, and changed “Fun” to the more neutral “Fun” ( Gaytez).

32. Div: M. Raymond. Op. cit., pp. 351-357.

33. “Sing the French Birthday”, op. view., p. 282 – 283.

34. Div: A. D. Mikhailov. The main stages of Ronsard’s creative evolution. - “Izvestia Olya”, 1962, vol. XXI, vip. 6, p. 501.

36. M. Raymond. Op. cit., p. 190.

37. A. S. Pushkin. Povn. zіbr. TV in 10 volumes, vol. VII. M., 1949, p. 310.

Third quarter of the 16th century. In France, literary scholars are often called not by the names of the kings who reigned (Henry II, Francis II, Charles IX), but the era of the Pleiades or else the hour of Ronsard.

At that time, everything that was new in literature was grouped around the Pleiades, identified by Pierre de Ronsard and Joachin Du Bellay. The group also included E. Model, J. A. le Baif, R. Belli and others.

The name Pleiades was first given to a group of poets in 1556. in one of Ronsard’s works, as if to answer the riddle about the “pleiad” of seven Hellenistic poets of the 3rd century. BC

Pleiades in ancient Greek mythology – this daughter of Atlas and Pleioni; after death it was placed by Zeus in the sky in the view of Susira.

The word galaxy has a broader meaning - a group of well-known people who have been associated with their activities with sordid tasks, sordid glances, etc.

The theoretical principles of the Pleiades were laid out in the treatise “The Desire and Glorification of the French” by Du Bellay. The treatise was the starting point of the national poetic school.

Reach of the Pleiades.

1. The Pleiades defines itself as a single national poetic
school. Vaughn opposed the remnants of the Middle Ages to the numerous provincial groupings and groups with their peculiarity to the old lyrical forms, the musicality of the theme, with the irresponsibility of reference to ancient evidence and the traditions of the Italian Renes ansu.

2. The activity of the Pleiades teases a turbot about the whole French
literature This manifests itself immediately in the hatred of French language as a full-blooded language literature.

In their efforts to refine the French language, the singers of the Pleiades focused no longer on the peculiarities of their native language, not on the national vocabulary fund, but on Greek and Latin lexicons.

Pushkin wrote from this account: “People endowed with talent, being enraged by worthlessness and, perhaps, under the influence of the French tradition, thought that the wretchedness of the language was the reason for this, and began to try to transform it into the image of the ancient Greek whom. A new school has been created, with the goal and effort to imagine the school of our words of the Yanorussians, among whom were also gifted people. Ale praci of Ronsard, Jodel and Du Bellay have lost their marnies. "Mova was convinced of the stranger's direction and went on her way again."

The members of the Pleiades did not manage to thoroughly master the French language, but they lost the respect of their companions to the need for the creation of a literary language.

The language was understood as mysticism. Du Bellay confirmed that people are created by people, and therefore, they are convinced that they are also guilty by people.

Poetry was recognized as the highest form of language, and therefore, the main thrust of the refinement of language was often poets.

Versh Ronsard “Tilki Kamena...” 2.

Shchoino Kamena meni dzherelo its vikrila

And I was jealous of the licorice for the feat,

Merry pride of my blood has warmed up

And a noble fire burned in me.

Poloneniya at twenty rocks with the beauty of a non-turbocharged,

I decided to pour out my heart’s heat at the top,

Ale z chuttyami mova Frenchman after a while,

Pobachiv, as he is rude, foolish, ugly.

This is for France, for our native land,

Pratsyuvati I began with great importance and severity:

I have multiplied, resurrected, and spoken words.

I glorified the creation a little.

I, having forged long ago, having opened my path,

Giving order to phrases, variety of style,

I am in accordance with the poetry of the knowers - and by the will of the muses,

Like a Roman and a Greek, he became a great Frenchman.

(Translated by W. W. Levik).

Stones 2 – tobto. muzi

3. As a result of the creative activity of the Pleiadian poets, a new genre system was created in lyricism. Such concepts appeared as sonnet, elegy, ode. No one had written in these genres before.

4. The theory of poetic tension was created. Seeing the singer rise
It's a steady job. However, neither prudence nor honor bear fruit,
who sings without being “led by the muses.”

This theory was directed against official poets, who were ready to write poems to suit the needs of the desired style.

Tim himself affirmed the idea about the great importance of the poet-creator.

5. The arrival of Pleiades appears a new type of writer. Writers become less stale not only because of the life and relish of other courts, but also because of the royal court, to which the stench of confusion was associated with their statement about national unity.

Having reached the fusion of national traditions with the humanistic culture of Italy, the singers of the Pleiades evolve to “poetic effectiveness”, creating miraculous images of the lyric of revival.

Pierre de Ronsard (1524 - 1585) was born into the family of a poor nobleman, whose ancestors were respected immigrants from the Ugric region. In his youth, the song has become much more expensive, having visited England, Scotland, Flanders, Germany. Ronsard, after the appearance of his first books, immediately becomes the head of a new one, literally the “prince of poets.” The church has decided on the main those lyrics Ronsard has a more specific solution.

Svitoglyad sings in the 40-50s. wholesome, lively, humanistic. The understanding of the nature of human mutuality and love is revealed by Ronsari people of Vidrozhennya the period of blossoming, when the development of humanistic ideals was close.

Great sonnet cycle “Kohannya to Kassandri”"(1552 – 1553) writings under the flow poetry of Petrarch and his followers. However, in the French poet’s interpretation of love, the sensitive side of the experience appears in the first place. Ronsard took the important literary advantage Petrarchism- raising interest to a sophisticated artistic form, dedicated to conveying the vicissitudes of a love experience.

From the cycle “Kohannya to Kassandra”.

If you, having risen from sleep like a sweet goddess,

Covered to the last hair with a golden tunic,

Either you write them down, then, having made the chignon thick,

Let loose the unfettered wimp to the knees -

Oh, how similar you are to this one, by birth.

What, curls, curled, braided, oblique

I let loose the glory, admiring its beauty,

The nayad flows through the troubled hair!

Yaka mortal I could have bothered you

I supply, I'm timid chi beauty chola,

Or with an important glare eye, why is it for nothing? movie?

Kotriy z nymphs forest and river dryads

Given and the strength of the lips, and the whole body look,

І gold got hairy, Are your shoulders burnt?

(Translated by W. W. Levik).

The most beautiful thing that was created by the young Ronsard is “Odie” (the first of which cost 1550 rubles). They have a larger world than the sonnet cycle “Kohanna to Kassandra”, which is typical for the era of a lively and buried setting to all manifestations of human trouble, as well as to nature, which has become extremely close and understandable to people. trembling.

For Ronsard nature It has aesthetic and philosophical significance, it is not only a matter of inspiration, but also a mentor in life, the world of beauty. The very creativity of the poets of the Pleiades in French literature is to blame extreme lyricism. Nature in Ronsard's odes is invisible to people, the lyrical hero reveals himself only in his interaction with nature, and it is given only to his friend.

My jet.

The midday heat of languor,

How I love you, oh my strumok.

Come to your cold frog,

Die away from your cold.

Poki Serpen' is merciful

Hurry up to collect give earth,

And bend under sickles nivi.

And the song is singing in the distance.

Incredibly fresh and young.

You will be a deity forever

To the one who drinks yours badory cold.

I wish you could tend the flock.

And last night on your galaviny,

Enthused by the gaiety of its calm,

Everything is just like that nymphs ta sylvani

They run away with the chewy yurba.

(Translated by W. W. Levik).

The transition to “poetic activity”, which was noted in the early collections, was consolidated in the two cycles dedicated to Mary. The new home is thirsty for the singer of a new style. Ronsard recognizes the style not of “supposed tops”, but of “a beautiful low style, accessible and accepting...”; know simple and varied forms of expressing your lyricism.

The image of a kohanoi, a simple girl, which is formed from the surrounding strokes, stems from the all-spitting sensation of spring purity and freshness; There will be a playful pose in front of pictures of joyful nature. Simplicity and naturalness are the axis that attracts the poet from his kohaniya. The painter sings without embellishment or artifice, in a way that feels like a grass wound.

Marie is a Lenivian!

It's time to get up from bed!

Your lark has fallen asleep with its joyful sleep,

I over the thorn, sprinkled with dew,

The cooing of nightingales emerges from the lower trill.

Alive! The jasmine was blooming, and the poppies were shining -

Don’t indulge in the rich mignonette!

So the water was sprinkled on the water.

Shvidshe give a drink They were wanted for the night!

Yak they conjured yesterday eyes their

Wake up early, then I’ll come for you,

And still rest in turbo-free forgetfulness, -

Dream of loving girls, but not getting along with one year old!

A hundred times the eyes and breasts of you,

As soon as we could, we rushed forward and stood up,

(Translated by W. W. Levik).

Ronsard portrays Mary in her daily routine, at her homestead, at the forest, at work. Now Kohana lives not among the nymphs of the wonderful fox, but rather walks among the beds of lettuce and cabbage, among the flowers planted by her hand.

The image of it is given in Russia, then, as before, dynamic love was not singing, its arms were kicking at the center of respect. The concept of love as the culmination point of life, as the spring of a person, organically enters into the poet’s life philosophy.

The subject matter of the book is becoming more varied. The wisdom of nature is fading. Ronsard brings nature closer to people, “domesticating” them.

The onset of a new period of Ronsard's creativity is marked by the beginning of religious wars. Ronsard can be regarded as one of the founders of the tradition of political poetry, imbued with the spirit of patriotism (the collection “Mirkuvannya”).

The most important works of the remaining period of Ronsard's creativity were creations of the 70s, poetic cycle “Sonneti to Oleni”. He also sings about the joys of the butt, but now his Horatian cry hasten to enjoy life to sound at times not only elegibly, but with a haunted tragedy.

Before the cycle “Sonnets to the Deer” there are a few verses created in the rest of life. The sadness of the experience reaches their supernatural strength. Ronsard suvoro, truthfully and firmly expresses his fear of the unknown:

I'm dry to the bones. It's dark and cold until the threshold

I am approaching, deaf, smooth, black, weak,

And death will no longer let me out of its clutches.

I am terrible to myself, as if I came from hell.

Poetry was lying! The soul would be glad.

Let neither Phoebus nor Esculapius lie to me.

Farewell, shining light of the day! Slave of the painful flesh,

I’m going to the greedy world of zagal disintegration.

(Translated by W. W. Levik).

The historical merit of the Pleiades zagalom:

Renewal of French poetry, a deep exploration of thoughts, it seems, the experience of his companion, a well-built, super-satisfied person, which completes the stage of the French Rebirth. Ronsard's special merit:

The richly-faceted, non-streaming Renaissance style has a naked butt of the human spirit;

The buried glorified all the beautiful things in life, great and small;

In an optimistic and, at the same time, deep and folding tank light;

For the one who has everything infused into the monsters behind the lyrical penetratingness, richness and barvist of the figurative system;

Rich French poetry has new forms and dimensions (Ronsardian stanza) in 6 verses: AABSSV, the protection of the Alexandrian verse and others.

Mikhailov A. D. Poetry of the Pleiades

History of world literature: In 8 volumes/AS SRSR; Institute of Light Flights. im. A. M. Gorky. - M: Science, 1983-1994.T. 3. – 1985. – P. 255-263.

Third quarter of the 16th century. - the fates of the reign of Henry II (1547-1559), Francis II (1559-1560) and Charles IX (1560-1574) are called not by their names, but by the Age of the Pleiades or, more often, by the Hour of Ronsard. These ten years have been marked by the achievements of the Ronsard school, which gave rise to the new French poetry and drama. Everything that was new in the literature of these rocks was grouped around the Pleiades, isolated by Pierre de Ronsard and Joachin Du Bellay. This name was first given to a group of poets in 1556. in one of Ronsard’s works, as if to answer the riddle about the “pleiad” of seven Hellenistic poets of the 3rd century. to sound That is, they were grouped around Lycophron, Theocritus and Homer the Young. The warehouse of the French Pleiades changed with the fates. Before her came the most important Hellenistic teachings of the era, the reader of Ronsard and his friends Jean Dora (1508-1588), and the subtle lyricist, nature painter Remi Bellot (1528-1577), and the great singer and playwright Etienne Jo del (1532-157) i singer, as well as musician and theorist of poetry, Jean Antoine de Baif (1532-1589), and a Neoplatonist singer, close to the Lyon school, Pontus de Tillard (1521-1606). In the first decade of the founding of the Pleiades, Jacques Peletier (1517-1582), Guillaume Desautels (1529-1581), Olive de Magny (1520-1561), Jacques Tauro (1527-1555), Jacques Grevin (153) Passerat ( 1524-1602), Amadis Jamin (1538-1592) and many others. Since the people of the era had no small direct contacts with members of the Pleiades, they felt their influx, let’s say, the creativity of the Bordeaux resident Etienne de La Boesie (1530-1563), the Poitevins of Madeleine (1520 -1587) ta Catherine (154) de Roches .

The theoretical principles of the Pleiades were laid down in treatises, editorials, and poetic epistles. The first place and after the hour, and after the meanings, follow here “The Desire and Glorification of the French Language” (1549) by Joachin Du Bellay. In France, treatises on poetics were numerous in the Middle Ages, before the Pleiades Manifesto, “The Poetic Mystique” of Thomas Sebille (1512-1589) appeared, which summed up the achievements of the Marot school and is now increasingly necessary Details of changes. The pathos of the renewal of letters and the manifesto of the Pleiades, although Du Bellay did not perceive the merits of Marot and his successors, nor the weight of national epic traditions, which could become the source of new artistic impulses. Already before the middle-of-the-road successors of the Pleiades stood the nourishment of the creation of a national poetic school. About this tragedy, taken on by the comrades of Du Bellay and Ronsard, it was said in “The Desire of the Illustrious French Language.”

The Pleiad established itself as a single national poetic school, opposing itself to the remnants of the Middle Ages - numerous provincial groupings and groups with their familiarity to the old lyrical forms, the subtlety of the theme, and their inconsistencies focus on ancient evidence and on the traditions of the Italian Renaissance. A discussion about all French literature in the name of the greatness and glory of France reveals the activity of the Pleiades from the first times. This was resisted by the jealousy of the French as a full-blooded Russian literature. In spite of the capabilities of the native language, it is clear that there is no need to learn Latin. The experts of ancient culture, singing the Pleiades, understood the greatness of the revolution, inspired by the writings of Ancient Greece and Rome, for European culture. The stench was not against Latin, but for Russian language. Du Bellay attacked the vile French poets, who do not develop their language, but rather sing about it. Du Bellay and Ronsard clearly sought to draw their wealth not only from the treasures of antiquity, but from provincial dialects. Thus, the Pleiadian manifesto did not yet have the development of national awareness of political monism characteristic of classicism and the new phase. The basis for the theory of the Pleiades is the understanding of language as a mystery. Movi, for Du Bellay, are created by people; and if so, then its thoroughness is on the right of people; Poetry was recognized as a major factor in the development of language, and the main source of advanced language was often poets.

Basically, the modernization of language and literature of the Pleiades was based on the “inheritance”. The concept of inheritance, which corresponded to the Aristotelian concept of “mimesis” (inheritance, imitation, and created mysticism), is of little great importance for the entire aesthetics of the 16th century, Du Bellay has a rich plan. It is a literal follow-up to the original, it means inheriting not the letter, but the spirit, not the language, but the style: “And just as for the ancients it was especially commendable to write well, so it is also worthwhile to inherit, especially for those whose language is still lacking in wealth and gata " For Du Bellay, ancient literature is the greatest example of poetic mastery. Du Bellay called for the creation of her national poetry, as if she would not sacrifice her literary merits of ancient poetry.

Antiquity, in Du Bellay's view, could give French poetry its own genres and forms. Some of them were then effectively acquired, others, for example, the Pandaric ode, were not attached and were lost at the stage of pre-tracing. The Pleiades also called for active support for the wealth of Renaissance literature in Italy. The treatise of Bembo, a reformer of Italian poetry, “The World of Prose about the Folk Language” (1525) was read by the students of Dore, and the “Dialogue about the Language” (1542) by Sperone Speroni, the student of Bembo, who was the victor of Du Belle at the time of writing “Zachist”. Another reasonable mysticism, such as the inheritance of nature, directly descends from Aristotle’s Poetics and foreshadows classicism, appears in the theoretical members of the Pleiades at the time and later, for example, in the treatise of Ronsard (1565) and It’s already quite impressive - from Vauquelin de La Frenais (1605).

Du Bellay and Ronsard, developing a new theory that revolves around the ancient system of genres, paid attention to the expressive function of the word. This confirmed their statement about literature as a high mysticism, which is to resist the “smartness” of the Romans, like writing on a promise. Whose nourishment of the Pleiades prepared classicism - Ronsard in his “Poetic Mysticism” emphasizes the choice of peace, laconicism and completeness of form, which is quite unique in the manners of the Italians, which accumulate beyond all there are five epithet in one verse.”

The theory of the Pleiades was based on the song of constant practice. Following Horace, whose “Message to the Pisons” is a small infusion of Du Bellay, “Zahist” is pleased not to rush into publicizing his works, but to effortlessly polish and refine their style. However, honor and prudence will not bear fruit if one sings without being led by the muses; The theory of poetic intension will be the Pleiades in line with the teachings of Plato, who affirms that singing is a manifestation of the divine intension descended by them. The theory of poetic intensity, which is located in “Zakhista”, was directly directed against official poets who are ready to write verses as best they can - in the desired mood and in the required style. Tim himself affirmed the idea about the great importance of the poet-creator. Du Bellay puts the activity of the poet on par with the feat of commanders, guards, and scientists. Mav zmusiti chitach sings “to be overwhelmed, to calm down, to be happy, to be sad, to love, to hate.”

The poetry of great thoughts, lofty sentiments, as French literature seemed to the reformers of the Pleiades, could not survive life, and Du Bellay, continuing in this period the tradition of Rabelais, guessed: “I also want to precede you, so that you blowing in the water not only recently, but also all kinds of workers and craftsmen - sailors, distillers, painters, engravers and others - and knowing their origins, the materials used for that purpose, which are practiced in their crafts and crafts.”

Du Bellay would convey that the most valuable would be the contribution of the Pleiades to the sphere of lyricism, and the importance of the creation of national epic to the main works of French poetry (the theory of epic, outlined in “Zakhist”, having developed 1572 R. Ronsard from the frontiers and to “Franciade”).

With the arrival of Pleiades, a new type of writer appears. The writers become less stale not only because of the life and tastes of other courts, but also because of the royal court, from which they were afraid to practically communicate their statement about national unity. Among the poets of the Ronsard school there were many (Dora, Peletie) who were representatives of the “high professions” (for example, the painter Nicolas Denizot), but also many people from the serving, often homeless nobility. Without much of a stretch, we can say that Ronsard, Du Bellay and his followers encouraged the interests of the broadly prosperous French intelligentsia, inspired by the humanistic culture of the European Revival.

The creativity of the Pleiadian poets and their followers confirmed the fruitfulness of the reform proposed by Du Belle. The action was quick, and the opponents' support turned out to be insignificant and was broken by the friendly onslaught of Ronsard's young comrades.

At 1549-1553 pp. The creativity of the Pleiadian poets most closely supported the ideas of “Zakhist”. Love poetry developed under the influx of Italian Petrarchism; These were the first sonnet cycles of Du Bellay (1549-1550) and Ronsard (1552-1553), Tillard's book "Love's Mercies" (1549-1551), Baif's cycle "The Cohannie to Melina" (1552). The books of Ronsard and Du Bellay introduced the French to the diversity of the poetry of Pindar, Horace and Virgil. In the early days of the Pleiades, their members began to use their creative practice to get closer to ancient and Italian symbols, to create something more adequate for them. This, of course, led to the apparent loss of strong individuality, having mastered the ancient and Italian decline, Ronsard and Du Bellay were able to create deeply original lyrics, opening up new horizons before the poetry.

The short period of study will end. New sonnet cycles by Ronsard (1555-1556), “Cohannie before Francine” (1555) by Baif talk about the turn to simplicity and breadth. From the rocks that passed the beginning of religious wars, until 1562, the singing of the Pleiades created most of their shortest books: three Italian collections by Du Bellay, “Homni” and “The Royal Guy” by Ronsard, published and one and sonnet cycles; Jodelle writes songs and publishes a collection of works (1558). Books by Peletie, La Perouse, Belleau, Magni and other poets related to the Pleiades are published. Sing the Pleiades, having reached the fusion of national traditions with the humanistic culture of Italy, and blossom to the point of “poetic effectiveness”, creating the miraculous images of the lyric of revival.

At the onset of events, in the context of religious wars and the Counter-Reformation, the growing camp of the members of the Pleiades is noticeably changing, one of them (Ronsard, partly Baif) become court poets, write verses “at random”, ber This is the fate of the court saints; Others, however, occupy positions that are completely in control (Jodel). Until the mid-60s, Ronsard and the Pleiades were recognized everywhere (in 1556, in the Apology of Herodotus, Henri Etienne coined the word “pleiadize”), but in the 60s, not so many significant works of the Pleiades appear; Among them are the political “Mirkuvanna” (1562-1563) by Ronsard, his cycle “We Sing”, the book of Remy Bello “The Silent Poem” (1565), the remaining bright image of the school’s landscape lyricism, the poetic collection of Baif “M They”, as well as their own love affairs verses of Jodel.

At the end of the reign of Henry III (1574-1589), the Pleiades began to rise to another level. The courtyard's favorite is the mannered and chimerical Philippe Deporte. Neopetrarcism, one of the varieties of mannerism, is becoming fashionable. The new age does not pass in vain for the Pleiades, and in Ronsard himself, in the beautiful late cycle “Sonnets to the Deer” (1578), one can feel the internal struggle of the Renaissance artistic light and classicism, which is growing from the new trend Iyami Baroko.

If the influx of the Pleiades in France is decreasing, then the international influx is expanding. A similar reform was attempted in England by Philip Sidney and Edmund Spenser, whose knowledge of the work of the Pleiadian poets is revealed by Jan Kokhanovsky, who sang at the turn of the century and at the beginning of the 17th century. – the Germans Georg Weckerlin and Martin Opitz, the Italian Chiabrera – declare themselves supporters of Ronsard’s ideas.

The Pleiades gave light poetry two miraculous lyricists - Joachin Du Bellay and Pierre de Ronsard.

Du Bellay (1522-1560) belonged to the old noble family, dating back to the 10th century. Close relatives of the poet Guillaume Du Bellay (1491-1543) and his brother Martin (1495-1559) were military leaders and politicians, and their third brother, Cardinal Jean Du Bellay (1492-1560), was a diplomat; he wrote Latin verses, indulged in poets and writers, and was friends with Rabelais. Joashen, who lived in the poor young line of his family, was often sick and died early. However, his life was turbulent, filled with humanistic studies, distant mandrivations and practice. Interest in literature arose early: in 1547. Ronsard will bury them in Paris, de Du Bellay and complete the humanistic illumination. At 1549 r. At the same time, the second sonnet cycle “Olive” and the cycle “Lyrical Vershy” will be released from “Zakhist”. Here the young man sings following the orders of his manifesto; the first sonnets of “Olive”, with a short form, cold bits: the image of an ideal woman, creations, poses of all sorts of doubts, the inheritance of Petrarch, often a reduction in warmth, and the experienced poem - indefinite breadth. Du Belle's early research is valuable for the development of new genres in literature and the peredubova figurative system. Let us do the work ahead of us, which is marked with the seal of a master’s talent. According to the speeches written in the inheritance of the Italian Petrarchists, there are sonnets and odes in which the current poetic era was imagined, through the intellectual poetic language the true love seems to have made its way.

Later, Du Bellay was inspired by the flamboyance of French Petrarchist lyricism and synthesized its achievements with the tradition of Marot, marking an important turn to the simplicity and artlessness of Renaissance poetry. At 1553 r. in the message “Until One Ladies” Du Bellay wrote:

The words are high and bright, And everything is depression, everything is words, Hot ice. Kohannya is dead, Vaughn cannot tolerate mastery. Stop inheriting Petrarch! (Translation by I. Yerenburg)

The price is 1553 rubles. sings from the retinue of his eminent cousin Jean Du Bellay to Rome. Over the course of his time in Italy, Du Belle created such works as “Ancient Rome”, “The Pity”, “The Silent Games” - the most beautiful thing that ever came from his pen. The Qihs of the Books of the Duma, having experienced, survivor of the people of that hour, is a fighting, and such a non -huniper of the skargi on the specialty, the tonk, the shirrifice of the vaporous vitriral puppy. The hero of these books is a humanist, not a cheerful epicurus of the early collections of the Renaissance, but a stern politician and thinker, who with a singing world recognized the threat that hung over the Renaissance ideals.

“Rural Games” is closest to the Maro tradition, enriched with the touch of ancient bucolic. Here, with a glimpse of patristicism, Du Bellay recalls the landscapes of the native Anjou, the days of the burghers and their songs (“Song of the Wind Blower”).

The collection of sonnets “Ancient History of Rome” is a book of philosophical reflections on the shares of peoples and cultures, a constant fascination with Roman landscapes and various traces of the great civilization. However, Du Bellay does not create “poetic ruins”, like the artist Piranesi did two hundred years later. Du Belle's road is characteristic of the Renaissance era, the idea of ​​fluidity, the uninterrupted connection of a new culture with the great culture of antiquity.

Don’t think that everything is dead, the colonies have fallen, there is no mastery, don’t trust the deceptive image; The axis of Rome is centuries of blame, Rome is resurrected, the wine of innocence. I am partial to the people, the strongest is guilty of death. (Translation by I. Yerenburg)

A collection of sonnets “The Sting” is dedicated to the present day Rome. Italy is not only the land of classical antiquity, but also the wheel of the Rebirth, which has added great strength to all European humanists. Du Bellay’s profound praise, having first set foot on the sacred ground, was disenchanted, sensing the bitterness and revival, like the singer suffused with the current yoma of papal Rome. Du Bellay was attacked by the spirit of costry, which was poured out by the papal exasperation, which infected the whole place with corruption and emptiness. The criticism of papal Rome in “The Sting” is spared the theological side. Du Bellay's humanistic, distant view of Catholic orthodoxy on religious differences brings the poet closer to the positions of leading people of that time. Vodkidyuchi anti-humanist, reaction counter-reforms, the Uzoblenes of the Jogo Rome Papi-Mracobes Pavel IV, Yaki Sanzovuvuvuv, Du Belle critically, if the Protestantism of the Mirzi asceticm ". Zvidsi is a thought about tolerance that constantly appears on the “It’s a pity” pages. Having unleashed his satirical talent on papal Rome, Du Bellay confronted the “eternal place” with the image of Fatherlandism, even sweeter in separation. This image is formed by the poet in two parts: this is the modest province of Anjou, and the power, glorious and powerful for its rich history. The elegiac tightness fared with Du Bellay’s collection, creating from it a miraculous memento of Renaissance lyricism:

I would give all the glory of the famous palaces, And all their marmurs - for the slate roofing of the old, And the whole Latin Tiber, and the proud Palatine For the Gallic stream, for my Lyra alone, And all of their gallant Rome - for the little wake Loire. (Translation by V. Levik)

The theme behind Fatherlandism is transformed into the motive of self-reliance. Sings among a group of courtiers at the papal palace, the sky is deprived of the great witch of my light. In this “sick” age there is a need to appreciate the common and simple joys of life:

So why not be people like fish and live like animals? No, hang on to your head! I'll have fun at the door! May the gods of joy panic in our house! (Translation by V. Levik)

Du Belle's mind, and in which there was the specificity and strength of the Pleiades, can be seen in the sonnet and a sense of love before Fatherlandism, and a sense of anxiety about the future world and revelations about the peculiarities of the trouble and waste that have revealed its greatness the possibility of this poetic form. Du Bellay's sonnet, although paradoxically, is close to Montaigne's “Doslides”; in another rich plan: he gives a politically sharp assessment of the approach, savory virok, he wants to tell himself, and more than a few words. “Sorry” Du Bella - the butt of smiling innovation, introduced into the isolation of the form of a rifly -landing suspension dosvіd, the dushkivs of the form of their own thoughts, I Pіdesenikh, I Zvillensky, Zhittt.

The creativity of Du Bellay was forgotten in the rationalistic 17th century, and he began to listen to the literature of the classicism of the past, as the romantics resurrected the glory of the Pleiades.

Pierre de Ronsard (1524-1585) was two years younger than Du Bellay; These were born into the family of a poor nobleman, whose ancestors were respected immigrants from the Ugrian region; My father sings, a participant in some of the Italian campaigns from the beginning of the 16th century, and was a lover of literature, writing works and taking an interest in the antiquity of his son. In his youth, the song has become much more expensive, having visited England, Scotland, Flanders, Germany. At 1540 rub. Ronsard introduced introductions at the booths of Lazare de Baif, a diplomat, Latin writer, and a translation of Sophocles' Electri in French. Here Ronsard, under the guidance of Jean Dore and the young Jean Antoine de Baif, seriously explores language and ancient literature.

After the appearance of his first books, Ronsard immediately becomes the head of the new one, and the “prince of poets.” We have tried our hand at the main genres pioneered by Zachist. The audience identified the main themes of Ronsard's lyrics and his specific solutions. Svetoglad sings in the 40-50s wholeheartedly, cheerfully, humanistically. The sympathies of nature, human mutuality, and love are revealed in Ronsari by people of the Renaissance period, when humanistic ideals were close to modern times, and phenomena that had subsided during antiquity were still in existence. at life. Therefore, early works, such as the poetic odes of Ronsard, are sometimes oversaturated with reminiscences from ancient mythology and literature. The most profound influence on Ronsard was the poetry of Horace, whose living philosophy was in conflict with the ideals of the poet. The Italian swelled with the antique tide. The great sonnet cycle “Kohanna to Kassandra” (1552-1553) was written under the influence of the poetry of Petrarch and his successors. However, in the French poet’s interpretation of love, the sensitive side of the experience appears in the first place. And since my mother respects the fact that sonnets were created at the same time, completely eliminating the Platonic overindulgence, then I realized that Ronsard had mastered the important literary side of Petrarchism - advancing interest to a refined artistic its form, a unique way of conveying the vicissitudes of a love experience.

The most beautiful thing that was created by the young Ronsard is “Audi”, the first of which came out in 1550. In their larger world, in contrast to the sonnet cycle “Kohanna to Kassandra”, it seemed typical for the era to lively and buried the focus on all manifestations of human troubles, as well as nature, which became extremely close and understood the Renaissance to people For Ronsard, nature has aesthetic and philosophical significance , she is not less than a dzherelo natkhennaya, but a mentor in life, the world of beauty. The very creativity of the poets of the Pleiades in French literature is a reference to landscape lyricism. Nature in Ronsard's odes is invisible to people, the lyrical hero reveals himself only in his interaction with nature, and it is given only to his friend. Ronsard speaks out his poetic imagery to the natural world of his native land. Here you will enter the warehouse and the humanistic utopia of the “blessed islands”, this poetic and beautiful corner of the muses that are waiting to occupy, friendly singing and sensitive joys, where the singers want to come together against the threat to the world that I will leave vav.

Naturally, the works of these rocks draw on the image of nature from the ancient poets: in the middle of the French vineyards dryades and satyrs play, and by the water of the streams of Bellerie naidas and fauns are seen. Here, too, there were signs of one of the main figures of the French Renaissance - the native, domestic intertwined in the knowledge of the poet from the foreign Renaissance, which was pinched on the French soil. The theme of death and death, which sounds unique in the first period of Ronsard's work, is that in the young poet - in the spirit of the Anacreontic and Horatian tradition - the greatest proof of the worthiness of life. Therefore, the theme of death under the pen of Ronsard is influenced by a religious-moralistic tendency, the power of poetry.

The transition to “poetic activity”, which is evident in the early collections, is consolidated in the two cycles dedicated to Mary. The new home is thirsty for the singer of a new style. At the top of “Before his book”, which closes the collection of 1556 rubles, Ronsard wrote that now his manner will not be “presented by the top”, but “a beautiful low style, accessible and accepting, as Tibulus wrote, Ovid’s mastery is confirmed y Catullus." Ronsard is good at recognizing simple and varied forms of expression for his lyricism. The subject matter of the book is also becoming more varied. That wisdom of nature is fading. Ronsard brings nature closer to people, “domesticating” them. The outer light now reminds us of the sonnets and odes, and the light sensations and experiences have to be squeezed together. The tone of the top becomes calmer. This was confirmed by the twelve-fold Alexandrian verse, which replaced the mostly ten-syllable sonnets before Cassandra and became the main type of classical drama and high poetry in France.

The image of Kohanoi, a previously simple girl, is formed from a series of strokes, stemming from the overwhelming sensation of spring purity and freshness; There will be a playful pose in front of pictures of joyful nature. Simplicity and naturalness are the axis that attracts the poet from his kohaniya. The painter sings without embellishment or artifice, in a way that feels like a grass wound. Ronsard portrays Mary in her daily routine, at her homestead, at the forest, at work. Now Kohana lives not among the nymphs of the wonderful fox, but rather walks among the beds of lettuce and cabbage, among the flowers planted by her hand. The image of it is given in Russia, then, as before, the dynamic was no longer the song of the singer, but the hands were kicked in the center of respect.

The concept of love as the culmination point of life, as the spring of a person, organically enters into the poet’s life philosophy. Although Ronsard does not have a strong philosophical concept, in his two books “Hymns” (1555-1556) he boldly poses philosophical and scientific problems. He sings harmonies to the cosmos and clearly demonstrates the lack of control of earthly life and its disharmony. Ronsard's "Homnies", following the trends that had already emerged in the "Odes", laid the foundation for the tradition of high philosophical poetry. In Ronsard's poetry, the idea about the absurdity of humanistic ideals and the reality of the mid-16th century sounds more and more easily; the head of the Pleiades reinforces the witchcraft of the court of God about the “earthly paradise”. What a compromise between the beautiful picture of the “golden century” and the action one can recognize in a rural, cultured life with an awkward, “natural” life. This cher’s utopia, where the generous era of the Renaissance was, was super-studied by the huge mission of literature voiced by the poet himself, and the third stage of the poet’s creativity, in “Mirkuvanny”, which was supposed to be true It was at the cost of enormity.

The onset of a new period of Ronsard's creativity is marked by the beginning of religious wars. Ronsard can be considered one of the founders of the tradition of political poetry, imbued with the spirit of patriotism, and the singing successor of d'Aubigne, although he created two poets - a Catholic and a Huguenot - butchering the pathos. Awareness of oneself as a part of the nation, as a representative of the region, is the main reason for the “Mirkuvan” rice, the spontaneous reason for its writing. This is not just a colossal, non-turbo love for the place, where the spirit of childhood sings. The nationals seemed to go shoulder-to-shoulder with the artist’s feelings. Speaking about the troubles of the country, Ronsard deprived the language of religious polemics and created specific pictures of action. “Mirkuvannya” greatly enriched the epic tradition, depriving the decline of classicism of the system of poetic features and techniques for such an important genre as the message.

After 1563, Ronsard again approached deeply political issues, devoting ten years of work on “Franciade” and on works of small genres (scripts for court ballets, mottos and madrigals for masquerades). The Church of Ronsard solidified the ancient eclogue on the French soil, and in the new century there was a great expansion of poetry to classicism. In the elegies and eclogues, the deeply special, experienced nature combines with clever, meager and precise descriptions of its beauty.

In “Franciade” (the first songs were published in 1572), Ronsard attempted to create a national epic, therefore about France, the victorious traditions of ancient epic, the Italian testimony, the nation Alna epic downfall. The beginning of the poem appeared not far away, but in Ronsard’s epic there is a place, meaning mastery and originality. "Franciade" inspired all the epic works of classicism - right up to Voltaire's "Henria". The most important work of the remaining period of Ronsard’s work was the dry epic poem, and the works of the 70s, for example, the poetic cycle “Sonnets to the Deer”.

The cycle was created in folding minds. In literature, more recently, mannerist tendencies emerged, as modern forms of neo-Petrarchism emerged. The Ronsard cycle is overtaken by another trend - that of classicism, a change of mind that is already beginning to take shape. And although in Ronsard’s sonnets one can detect mannerism and fanciness, which goes beyond neo-petrarchism, focusing on precision and laconicism, it seems as if the world is taking the mountain. Sings like this itself, expressing the humble joys of the butt, but now his Horatian cry to hasten to rejoice in life to sound at times not only elegibly, but also with haunted tragedy. With the astonishing charm of the painted image of the kohanoi, which is simultaneously evocative, real and infinitely distant.

Before the cycle “Sonnets to the Deer” there are a few verses created in the rest of life. The sadness of the experience overcomes their supernatural power. Ronsard suvoro, truthfully and firmly expresses his fear of the unknown:

I'm dry to the bones. I am approaching the threshold of darkness and cold, deaf, smooth, black, weak, and death will no longer let me out of its clutches. I am terrible to myself, as if I came from hell. Poetry was lying! My soul would be glad that neither Phoebus nor Esculapius would lie to me. Farewell, shining light of the day! Slave of the painful flesh, I go into the greedy light of the corrupted decay. (Translation by V. Levik)

The historical merit of the Pleiades as a whole, in addition to the modernization of French poetry, the preparation of a new stage - classicism, lay in the deep reflection of thoughts, it seemed, the experience of its companion - a person of a flexible and super-sensitive era, the final stage of the French Renaissance, then the special merit of Ronsard and the secret poetry is also in the rich, generous, Renaissance-style, unstreamed naked butt of the human spirit, buried in the glorified everything beautiful in life, great and small, in an optimistic, yet somehow unreduced depth and complexity In the great world, they will decide, that everything was infused with the miracles behind the lyrical penetratingness, behind the richness and richness of the figurative system, behind the melody and beauty of the verses.

In terms of semantic meanings, the word “pleiad” is respectful of the community of people of the same era and the same activity. The word take the cob from ancient Greek mythology. The Pleiades are the daughters of Atlas and Pleioni, whom Zeus brought to the sky and transformed into earth. Six stars from them shine with bright light, and only one soror is sarcastically possessed - and even there, in the face of her hearing sisters, gave precedence to the gods of the gods and mortals. Due to the same mythology, the ancient sailors served as a heavenly beacon itself.

It’s not surprising that this thousand-year anniversary has become a favorite symbol for ministers of muses. The brightest image of suzir was found in the Red Man literature. Already in the hours of antiquity, in the 3rd century BC, the Alexandrian poetic school was born. These poets who came before her - Homer the Younger, Apollonius, Nicander, Theocritus, Aramur, Lycotron and Philik - were organized around the circle and called themselves "Pleiades". This current has been lost in history as a symbol of high poetry.

A thousand years have passed, history repeated itself. During the Renaissance, 1540, France introduced new songs to the Pleiades. This is the hour of French romanticism, and also the general inundation of ancient poetics. A group of young poets demonstrated a truly revolutionary program for the development of national literature. It is noteworthy that there were seven of them, and they called their group nothing less than “Pleiad”. There was an attempt to revive and date the new development of traditional literature, and at the same time it was new to the age-old traditions of French poetry.

What was the program of the “Pleiades” poets based on? It was published in the treatise of Joachin du Bellay and was a kind of manifesto not of revival, but rather of the creation of a new literature. poets advocated for introducing the traditions of the ancient Alexandrian poem into French literature. Such a terrible stench explained to them that the Hellenic and Alexandrian poetry itself is close to thoroughness - both behind the warehouse and from the poetics behind the scenes. At VIDERTO, the weak -up of the ICROUNE TRACTITY TOMENT LAKVAVIMIS OF THE ORISENSE OF THE BIK RINEYA MOVI: So, Frenchman Mova is beautiful, there is a great can, the prote is not Nastilka Rosvinenen, yak Gredzka abo Latin, and that is the same. And what is the way to reverse the development of the “Pleiades”? It is nothing more than an inheritance from the ancients.

Before the poetic fusion there were five more members - Etienne Jodel, Jean Antoine de Baif, Remi Bellot, Jean Dora, Pontus de Thiard. The fall of the Pleiades, which came to an end, is best known for the poetry of Pierre de Ronsard, which became a symbol of true French romanticism and lyricism, not least the recent testimony of the Young Elenists of the Renaissance era. Already in the 70s, in the late 1970s, he wrote masterpieces that were lost in the history of French literature, “Sonnets to the Deer” - the dedication of his remaining hopeless khan. And there is no trace of inheritance in them, there is no loving heart of the Alexandrian Versh, and there is only a living, suffering soul of the singer.

In later periods of literary history, the word “Pleiad” was heard more than once. This was, however, the original designation of the poets of the same current or the same era. Thus, in modern literary studies the term “sings of Pushkin’s galaxy”, “galaxy of poets of the Siberian century” is often adopted. Already, as Goethe wrote, “the new century is different birds.”

Poetry of the Pleiades

The material was published on the site http://site/

The famous manifesto “Zakhist and glorification of the French language” (later “Zachist”) of 1549 became an instant addition to Sebile’s treatise. This is a book inspired by the works of Sperone Speroni Dialogue delle lingue"(About the supermundane transcendence of Latin) 1542 rock, became the expression of the literary principles of the Pleiades as a whole. I wanted to be elected leader, but the editorship of the manifesto was entrusted to Du Belli. In order to better understand the essence of the reforms that the Pleiades initiated, “Zachist” Varto began to look at both Ronsard’s work “A short essay of poetic mystique” and his advance to “Franciade”.

Poetry of the Pleiades

Look du Belli

Having come to the conclusion that French language, in the form in which it was presented at that time, needed to be poor in order to serve as a means for the expression of higher forms of poetry. However, we emphasize that with proper cultivation it can be raised to the same level as classical languages. We judged those who waved their hand and vikorized Latin language for more serious and ambitious people. In the translations of ancient authors, it is for the sake of unique imitations, although without specifying from Zakhista how this can be achieved. Following the attention to both the forms of classical poetry and the adjacent poetic style, it is seen from what has been inspired by prose. It is important to ensure that you develop your internal resources in a variety of ways, including the Italian, Latin and Greek languages. Both du Bellay and Ronsard were mainly concerned with the need for extreme caution in such situations, and they were offended by the trend of Latinization of their native languages. Its manifesto became a breathtaking defense of poetry and the possibilities of French language. It also became a kind of stunned war for these writers, who pursued fewer advanced views.

Chalen's attacks by Du Bellay on Marot and his followers, as well as on them, did not go unnoticed. Sebіle vіdpovіv at the forefront of his translation of “Iphigenia” by Euripes. Guillaume Desautels, the Lyonnais sings, agreeing with Du Belli in the absence of his predecessors and pointing out the weakness of his argument from the drive of imitation in the translation, which is similar to those in the “Commentary before the baked histu Louis Maigret" (Lyon, 1550). A number of other prominent authors of that time gave him their bitter criticism.

Du Bellay gave his numerous opponents at the forefront before his other publication (1550) of the collection of sonnets “Olive”, at the same time also publishing two polemical poems - “ Musagnaeomachie"An ode addressed to Ronsard, “Against the evil spirits” ( Contre les envieux fioles). The collection of works "Olive" was a collection of sonnets that resemble the poetry of Petrarch, Ariosto and current Italian authors. First, he received the light from 1549 and received the guidance of the Italian visionary Gabriele Giolito de Ferrari. At the same time, 13 ods were placed behind him. under the cover name “Lyrical Vershy” ( Vers lyriques).

For Juan Other:
If it is written - "virsh", then the author of what is written - "sings". Poetry is how power is accomplished, and if one sings, it is how one succumbs. So just like a good writer - not one who just writes a lot of letters. For whom the words “amator”, “graphomaniac”, “scribbler” are used.
amateur writer, no? Because The axis came to the fact that the I writes the I writes the ceremony of Tilki systematically equipped with the іrarchіya understanding of the і і і ї і і і і і І СО І і ibnu, more, strangle, I yaksifsky. So why did you get the idea that a man’s scripture cannot be respected like that? Each person has his own inner light, his own interpretation of the concept, his own empirical impressions. Therefore, no one dares to declare, whether people sing in this world or in another world, that their creation does not converge with any ideal - I repeat the problem of relish and aesthetics. I don’t deny that our skin is rich in riches and will always be of great value, and we all have richness, whether we can reach it or not. Instead of criticism, I would like to ask for more help, since you know everyone well))
People were jubilant and they declared. Whole bunch of people were doing poetic things.
Believe me, the fact that the group was created does not mean anything, apart from the collective association of like-minded people. They're fools, I guess.

It is impossible to know whether something is worthy unless you read it.
If you spelled incorrectly, you can read a couple of rows in order to understand what is happening)

(TD1, p. 536) ...At the beginning of the skin cycle of 4,320,000 years, this or that, like many peoples, all the Great Gods descend to establish a new order of speeches and give an impulse to the new cycle. This eighth God is the united Stake and Logos, seen and represented from his Host in exoteric dogma, just like the three divine hypostases of the ancient Greeks, which are neither seen in the churches, like the three i Individuals. How to speak Comment:

“They can slow down their great work and deprive them of some inevitable monuments to capture their goals, now the stench penetrates our illusory veil (atmosphere)” So we think that the great Pyramids were created And under their direct gaze, “if Dhruva’s polar star) was at her lowest culminating point, Krittika (Pleiades) marveled over her head (they were on the same meridians, only on the mountains) and watched over the work of Veletniv.” In this way, since the first pyramids were built on the cob of Zoryany Roka under Dkhrova (Alpha Polaris), then there is little more than 31,000 rocks (31,105) to that. Bunsen believes that Egypt has a long history that exceeds 21,000 years, but this action is unlikely to draw truth and fact from its diet. ...

(TD1, p. 811)… In addition, several other “authorities” tell us that people were expected to immediately not know about the Zodiac before the Hellenics mercifully did not recognize their neighbors with their exit. And this is a firm commitment to fight, regardless of the Book of Job, as they themselves are deafened, as it is found in the European Canon and, of course, earlier for Moses. A book that talks about the creation of Arcturus, Orion and the Pleiades (As, Kesil and Khima) and the archaeologists of the Day, about Scorpio and Mazarut - twelve signs, words, what they mean, convey the knowledge of the Zodiac among the nomads Arab tribes. ...

(TD1, p. 813) ...Then Bayi counted the period when the suzirs showed atmospheric influxes, calling Job “the good influxes of the Pleiades” [in Hebrew Kima] (The Pleiades are the stars behind the susirs of Taurus, which appear on the cob springs. They have occult significance in Hindu Esoteric Philosophy and are connected with Sound and other mystical principles in Nature.); also pouring in Orion (Kesila); and the boardwalks were empty in connection with Scorpio, the eight suzirs; And we know that through the eternal diversity of these divisions of the Zodiac and the naming of the listed Planets, from time to time, through and in the same order, and through the impossibility of attributing everything to the same year and “escape” - “like none” do not create similar identities” – it is reasonable to assume even a long time ago Zodiac. ...

(TD2, p. 510) ... “At the echo, if the“ Columbia ”tropіkiv passing through the Pleiadi, if Lev Bulo is on the Ekvatori, Kolya Lev, the vertical laid is on the vertical one by the Tselon, the Todi Taji Opіvdnі was vertically standing vertically over the island of Atlantis." ...

(TD2, pp. 689-692) ... Well, there are up to seven secret Rishis of the Great Vedic Medicine, then, since Egypt dedicated them to their “old fathers” Typhon, India has been sharing these symbols since recent times with cycles of Hour and Cycles of Evening and Dark associated with our current era - the dark Kali-Yuga. The Great Colo Hour, which the fantasy of the Hindus depicted as a dolphin and shishumara, may be a cross, containing a new nature in its subdivisions and divisions of stars and susirs. The Bhagavata Purana says (Volume XXIII):

“At the end of the tail of this creature, the head of which is animalized for the day, and the body is depicted in the shape of a ring [stake], there is a Dhruva [extra polar star]; At the end of his tail are drawn the Prajapatis, Agni, Indra, Dharma, etc., and across his tail are these Rishis" (Translated from the French translation by Burnouf and inspired by Fitzedward Hall in the Vishnu Purana, in Wilson's translation, II, 3 07).

Well, this is the first and greatest cross and stake, created by the Divine, at whose symbol of the Cherry, the Eternal Stake of the Never-ending Hour, Kal, on the plane of which the gods lie, creatures and creatures, people from the Expanse and the Hours - and like , as I firmly believe Philosophy, everyone dies in the hour of Mahapralaya.

For now, these very decisions indicate the times and troubles of our sevenfold Life-Cycle. The stench is so mysterious, as are their fortune-telling squads of the Pleiades, of which only one - the one who is supposed to be - turned out to be virtuous. The Pleiades or Krittika are the anniversaries of Kartikeya, the God of War (Mars of the descending pagans), called the Water of the Heavenly Armies or, more accurately, Sidh - Sidha-Sena (in the translation - Yogis in Heaven and holy Sages on Earth ) – what to do to rob Kartikeya of the Heavenly Armies”, and the previously unoccupied Kumar (Moreover, the defeat of Tripurasura and the Titan Taraka is attributed to him. Mikhailo is the Dragon Slayer, and Indra and Kartikeya are often identified.). Truly, there is Guha, “The Hidden One,” just like the Saptarshas and Krittika, these Reshis and Pleiades, for the explanation of them in all their totality reveals to the Adept the greatest secrets of Occult Nature. One point is due to the mystery of the nutrition of the cross and stake, since it may be closely related to the elements of Fire and Water, which play such a significant role in the symbolism of the cross and stake. Like Mars, whom Ovid portrays as born from his mother Juno without the participation of his father, and like the Avatars (for example, Krishna) - at the Sunset as well as at the Gathering - Kartikeya is popularized even more with a monstrous rank, not being conceived by my father, not by matter, but from the life of Rudra-Shiva, thrown into Vogon (Agni) and then absorbed by Water (Ganges). In this manner, among the people of the Fire and Water - “a boy, sparkling, like the Sun, and beautiful, like the Month.” Therefore it is called Agnibhu (syn Agni) and Gangaputra (syn Ganga). Add to this the fact that Krittika, her yearling, as the Matsya Purana states, is abandoned by Agni or, in simple words - “This time we decide to be on the same line as the brilliant Agni,” also, “Kr. Ittika is a synonym Agney" (Ibid., IV (page 235) - and the links of this are easy to quilt.

Well, the Risha itself signifies the hours and periods of Kali Yuga, the centuries of sin and grief. Like the Bhagavata Purana:

“If the writing of Vishnu, called Krishna, went to heaven, then the age of Kali, at the hour of which people will be filled with sins, having fallen into the light.

If these Rishis were in Magha, Vik Kali, then they would take 1200 [divine] fates, having begun; I Kolya Z Magha Woi, reach Purvashadha, Todi tsi Kali Kali Dosyagnita Pid Nanda Yogo Spadkumsya ”(op. Cit, XII, II, 26–32; introduced by Vishna Purani. Trans. Vilson, IV, 230. Nanda Buva Buv Ruler Chandragupta, against whom all the Brahmins rebelled, from the Moria Dynasty and the ancestor of Ashoka, at one place, which was not found in the early Puranic Manuscripts, which were given by the Vaishnavas, who by virtue of their And sectarian anger was as great a leader as and Christian fathers). Tse є (renewed) turnover Rishi –

"If the two first stars of the seven Rishis (Great Vedic Medicine) rise in the sky and the monthly asterism will be visible at night on the level between them, then these Rishis will lose their inviolability in this united by a hundred years of history",

- As one hater of Nandi, Parashara said. According to Bentley's idea, this study took the cob from the middle of astronomers in order to reveal the significance of the precession of the day.

“It was located on the identified obvious line or a large stake that passes through the poles of the ecliptic and the cob, installed by Magha, but it is not enough to see the eyes of the Great Vedicin... So how is this star in The great Vedic Medicines were called Rishis, then this implied symbol was called line Rishi; and being invariably connected with the cob of the monthly asterism of Magha, it was possible to calculate the precession, taking for the insertion of a degree, etc., any loose monthly box, cut along a line or in a circle "/27 2/.

At first, perhaps, there is still a never-ending super-church regarding the chronology of the Hindus. This is not less, there is a point that could help to define the era, if the symbolism of the seven Rishis and their connections with the Pleiades began. If Kartikeya was transferred by the Gods under the tutelage of Krittika, there were more than six of them, Kartikeya is depicted with six heads; If the poetic reality of the early Aryan Symbolists created their seven Rishis, they became seven. Their names are as follows: Amba, Dula, Nitatui, Abrayanti, Maghayanti, Varshayanti and Chupunika. Even more groups of names, however, they all differ. Every time, these Rishas show how they entered into an amorous alliance with the Krittikas before the disappearance of our Pleiades. Otherwise, how could Indian astronomers talk about a star that they cannot see without the help of a very powerful telescope? Perhaps, because of this, each of these people has more ideas described in Hindu allegories, which means “a very recent guess and, undoubtedly, within the Christian faith.” The most recent Sanskrit Manuscripts on astronomy begin their series of Nakshatras, twenty-seven monthly asterisms, which Krittika can hardly establish their date earlier, at least 2780 BC. that era, and their readers sing that, regardless of the Calendar, the Hindu pandits could add their knowledge about the monthly weekdays, inspired by the Crittics, from the Phoenicians, etc. As if it had not been there, but The Pleiades are the central group in the system of mirror symbolism. The stench is located in the neck of Taurus, which is seen by Medler and other astronomers as the central group of the system of the Chumatsky Way, and in the Kabbalah of the Similar Esotericism, as the dawn of the sevenfold, peopled from the first, revealed side of the top New Trikutnik, who was worshiped. This side is revealed - Taurus, the symbol of One (number 1) or the first letter of the Hebrew alphabet, Aleph "Taurus" or "Bik", a synthesis of the ancient Ten (10) or Yod (), which is a complete letter and number. The Pleiades (especially Alcyone) are seen in this way, in astronomy, as the central point around which our All-World of indestructible stars wraps, as a focus, from which and in which Divine Dihanna, Rukh inevitably flows through the Manvantari. Also, in the bright symbols of Occult Philosophy, this very thing, with the bright cross on its surface, plays the most important role. ...

(TD2, p. 778) ... The number of this is also closely connected with the occult meanings of the Pleiades, the seven daughters of Atlas, of which “six are revealed, seven are taken.” In India, the stench is associated with their Vihovan, the God of War, Kartikeya. The Pleiades themselves (Krittika in Sanskrit) gave this name to God, since Kartikeya is astronomically the planet Mars. Like God is the son of Rudri, the people without the help of a woman. Vin is Kumara, the “innocent youth”, born from the Seed of Shivi - the Holy Spirit - called Agni-Bhu. The late Dr. Kineli noted that in India, Kartikeya is the hidden symbol of the Cycle of Growth, which consists of 600,666 and 777 deities, just as the monstrous and monthly deities are counted enny or mortal fates; And what is visible are six or, in fact, seven sisters, the Pleiades, who are needed to complete the most obscure and secret of all astronomical and religious symbols. To him, if it was necessary to learn this song, Kartikeya appeared in ancient times, like Kumara, an ascetic with six heads - one on the skin of the century of Naros. If the symbol is needed for another aspect, then it is united with the same star sisters, Kartikeya of phenomena in the consort Kaumari or Zena, his female aspect. Then he appears to be sitting on the pavic, the bird of Wisdom and Occult Knowledge, and the Indian Phoenix, the connection with the 600 rocks of Naros, well known to the Greeks. A mirror of six ends (sub-triquet), a Swastika and a six-pointed and sometimes seven-pointed side are visible on his face; Pavich's tail depicts the dawning skies; and twelve signs of the Zodiac are located on your body; For this reason, they are also called Dvadasha-kara, “twelve-armed” and Dvadashaksha, “twelve-eyed.” However, he is especially glorified as Shakti-dhara, “the scribe-bearer,” and Taraka-jit, the overcomer of Taraka. ...

(РІ2, page 380) ... “Who is it that Providence obscures with words without sense?” [Job, XXXVIII, 2, and further] – to speak God’s voice through one’s source – nature. - “Where would you be if I cut into the foundations of the earth? tell me if you know. Who knows the world?.. With the soaring triumph of the morning stars, if all the blues of God hummed with joy?.. What if I told the seas: so far you will come and you will not cross, and here between the proud what are you doing?.. Do you know who, having died down, falls on a deserted land, on a wasteland, where there are no people... How can you tie the knot of Orion and allow the ultrasound of the Pleiades?.. Who can send flashes. And why should there be a stink and why should I say to you: “Axis?” [Job, XXXVIII, 35] ...

Posilannya

"The Secret Doctrine" (in 2 volumes), quotes taken from the stars

Third quarter of the 16th century. In France, literary scholars are often called not by the names of the kings who reigned (Henry II, Francis II, Charles IX), but the era of the Pleiades or else the hour of Ronsard.

At that time, everything that was new in literature was grouped around the Pleiades, identified by Pierre de Ronsard and Joachin Du Bellay. The group also included E. Model, J. A. le Baif, R. Belli and others.

The name Pleiades was first given to a group of poets in 1556. in one of Ronsard’s works, as if to answer the riddle about the “pleiad” of seven Hellenistic poets of the 3rd century. BC

Pleiades in ancient Greek mythology – this daughter of Atlas and Pleioni; after death it was placed by Zeus in the sky in the view of Susira.

The word galaxy has a broader meaning - a group of well-known people who have been associated with their activities with sordid tasks, sordid glances, etc.

The theoretical principles of the Pleiades were laid out in the treatise “The Desire and Glorification of the French” by Du Bellay. The treatise was the starting point of the national poetic school.

Reach of the Pleiades.

1. The Pleiades defines itself as a single national poetic
school. Vaughn opposed the remnants of the Middle Ages to the numerous provincial groupings and groups with their peculiarity to the old lyrical forms, the musicality of the theme, with the irresponsibility of reference to ancient evidence and the traditions of the Italian Renes ansu.

2. The activity of the Pleiades teases a turbot about the whole French
literature This manifests itself immediately in the hatred of French language as a full-blooded language literature.

In their efforts to refine the French language, the singers of the Pleiades focused no longer on the peculiarities of their native language, not on the national vocabulary fund, but on Greek and Latin lexicons.

Pushkin wrote from this account: “People endowed with talent, being enraged by worthlessness and, perhaps, under the influence of the French tradition, thought that the wretchedness of the language was the reason for this, and began to try to transform it into the image of the ancient Greek whom. A new school has been created, with the goal and effort to imagine the school of our words of the Yanorussians, among whom were also gifted people. Ale praci of Ronsard, Jodel and Du Bellay have lost their marnies. "Mova was convinced of the stranger's direction and went on her way again."

The members of the Pleiades did not manage to thoroughly master the French language, but they lost the respect of their companions to the need for the creation of a literary language.

The language was understood as mysticism. Du Bellay confirmed that people are created by people, and therefore, they are convinced that they are also guilty by people.

Poetry was recognized as the highest form of language, and therefore, the main thrust of the refinement of language was often poets.

Versh Ronsard “Tilki Kamena...” 2.

Shchoino Kamena meni dzherelo its vikrila

And I was jealous of the licorice for the feat,

Merry pride of my blood has warmed up

And a noble fire burned in me.

Poloneniya at twenty rocks with the beauty of a non-turbocharged,

I decided to pour out my heart’s heat at the top,

Ale z chuttyami mova Frenchman after a while,

Pobachiv, as he is rude, foolish, ugly.

This is for France, for our native land,

Pratsyuvati I began with great importance and severity:

I have multiplied, resurrected, and spoken words.

I glorified the creation a little.

I, having forged long ago, having opened my path,

Giving order to phrases, variety of style,

I am in accordance with the poetry of the knowers - and by the will of the muses,

Like a Roman and a Greek, he became a great Frenchman.

(Translated by W. W. Levik).

Stones 2 – tobto. muzi

3. As a result of the creative activity of the Pleiadian poets, a new genre system was created in lyricism. Such concepts appeared as sonnet, elegy, ode. No one had written in these genres before.

4. The theory of poetic tension was created. Seeing the singer rise
It's a steady job. However, neither prudence nor honor bear fruit,
who sings without being “led by the muses.”

This theory was directed against official poets, who were ready to write poems to suit the needs of the desired style.

Tim himself affirmed the idea about the great importance of the poet-creator.

5. The arrival of Pleiades appears a new type of writer. Writers become less stale not only because of the life and relish of other courts, but also because of the royal court, to which the stench of confusion was associated with their statement about national unity.

Having reached the fusion of national traditions with the humanistic culture of Italy, the singers of the Pleiades evolve to “poetic effectiveness”, creating miraculous images of the lyric of revival.

Pierre de Ronsard (1524 - 1585) was born into the family of a poor nobleman, whose ancestors were respected immigrants from the Ugric region. In his youth, the song has become much more expensive, having visited England, Scotland, Flanders, Germany. Ronsard, after the appearance of his first books, immediately becomes the head of a new one, literally the “prince of poets.” The church has decided on the main those lyrics Ronsard has a more specific solution.

Svitoglyad sings in the 40-50s. wholesome, lively, humanistic. The understanding of the nature of human mutuality and love is revealed by Ronsari people of Vidrozhennya the period of blossoming, when the development of humanistic ideals was close.

Great sonnet cycle “Kohannya to Kassandri”"(1552 – 1553) writings under the flow poetry of Petrarch and his followers. However, in the French poet’s interpretation of love, the sensitive side of the experience appears in the first place. Ronsard took the important literary advantage Petrarchism- raising interest to a sophisticated artistic form, dedicated to conveying the vicissitudes of a love experience.

From the cycle “Kohannya to Kassandra”.

If you, having risen from sleep like a sweet goddess,

Covered to the last hair with a golden tunic,

Either you write them down, then, having made the chignon thick,

Let loose the unfettered wimp to the knees -

Oh, how similar you are to this one, by birth.

What, curls, curled, braided, oblique

I let loose the glory, admiring its beauty,

The nayad flows through the troubled hair!

Yaka mortal I could have bothered you

I supply, I'm timid chi beauty chola,

Or with an important glare eye, why is it for nothing? movie?

Kotriy z nymphs forest and river dryads

Given and the strength of the lips, and the whole body look,

І gold got hairy, Are your shoulders burnt?

(Translated by W. W. Levik).

The most beautiful thing that was created by the young Ronsard is “Odie” (the first of which cost 1550 rubles). They have a larger world than the sonnet cycle “Kohanna to Kassandra”, which is typical for the era of a lively and buried setting to all manifestations of human trouble, as well as to nature, which has become extremely close and understandable to people. trembling.

For Ronsard nature It has aesthetic and philosophical significance, it is not only a matter of inspiration, but also a mentor in life, the world of beauty. The very creativity of the poets of the Pleiades in French literature is to blame extreme lyricism. Nature in Ronsard's odes is invisible to people, the lyrical hero reveals himself only in his interaction with nature, and it is given only to his friend.

My jet.

The midday heat of languor,

How I love you, oh my strumok.

Come to your cold frog,

Die away from your cold.

Poki Serpen' is merciful

Hurry up to collect give earth,

And bend under sickles nivi.

And the song is singing in the distance.

Incredibly fresh and young.

You will be a deity forever

To the one who drinks yours badory cold.

I wish you could tend the flock.

And last night on your galaviny,

Enthused by the gaiety of its calm,

Everything is just like that nymphs ta sylvani

They run away with the chewy yurba.

(Translated by W. W. Levik).

The transition to “poetic activity”, which was noted in the early collections, was consolidated in the two cycles dedicated to Mary. The new home is thirsty for the singer of a new style. Ronsard recognizes the style not of “supposed tops”, but of “a beautiful low style, accessible and accepting...”; know simple and varied forms of expressing your lyricism.

The image of a kohanoi, a simple girl, which is formed from the surrounding strokes, stems from the all-spitting sensation of spring purity and freshness; There will be a playful pose in front of pictures of joyful nature. Simplicity and naturalness are the axis that attracts the poet from his kohaniya. The painter sings without embellishment or artifice, in a way that feels like a grass wound.

Marie is a Lenivian!

It's time to get up from bed!

Your lark has fallen asleep with its joyful sleep,

I over the thorn, sprinkled with dew,

The cooing of nightingales emerges from the lower trill.

Alive! The jasmine was blooming, and the poppies were shining -

Don’t indulge in the rich mignonette!

So the water was sprinkled on the water.

Shvidshe give a drink They were wanted for the night!

Yak they conjured yesterday eyes their

Wake up early, then I’ll come for you,

And still rest in turbo-free forgetfulness, -

Dream of loving girls, but not getting along with one year old!

A hundred times the eyes and breasts of you,

As soon as we could, we rushed forward and stood up,

(Translated by W. W. Levik).

Ronsard portrays Mary in her daily routine, at her homestead, at the forest, at work. Now Kohana lives not among the nymphs of the wonderful fox, but rather walks among the beds of lettuce and cabbage, among the flowers planted by her hand.

The image of it is given in Russia, then, as before, dynamic love was not singing, its arms were kicking at the center of respect. The concept of love as the culmination point of life, as the spring of a person, organically enters into the poet’s life philosophy.

The subject matter of the book is becoming more varied. The wisdom of nature is fading. Ronsard brings nature closer to people, “domesticating” them.

The onset of a new period of Ronsard's creativity is marked by the beginning of religious wars. Ronsard can be regarded as one of the founders of the tradition of political poetry, imbued with the spirit of patriotism (the collection “Mirkuvannya”).

The most important works of the remaining period of Ronsard's creativity were creations of the 70s, poetic cycle “Sonneti to Oleni”. He also sings about the joys of the butt, but now his Horatian cry hasten to enjoy life to sound at times not only elegibly, but with a haunted tragedy.

Before the cycle “Sonnets to the Deer” there are a few verses created in the rest of life. The sadness of the experience reaches their supernatural strength. Ronsard suvoro, truthfully and firmly expresses his fear of the unknown:

I'm dry to the bones. It's dark and cold until the threshold

I am approaching, deaf, smooth, black, weak,

And death will no longer let me out of its clutches.

I am terrible to myself, as if I came from hell.

Poetry was lying! The soul would be glad.

Let neither Phoebus nor Esculapius lie to me.

Farewell, shining light of the day! Slave of the painful flesh,

I’m going to the greedy world of zagal disintegration.

(Translated by W. W. Levik).

The historical merit of the Pleiades zagalom:

Renewal of French poetry, a deep exploration of thoughts, it seems, the experience of his companion, a well-built, super-satisfied person, which completes the stage of the French Rebirth. Ronsard's special merit:

The richly-faceted, non-streaming Renaissance style has a naked butt of the human spirit;

The buried glorified all the beautiful things in life, great and small;

In an optimistic and, at the same time, deep and folding tank light;

For the one who has everything infused into the monsters behind the lyrical penetratingness, richness and barvist of the figurative system;

Rich French poetry has new forms and dimensions (Ronsardian stanza) in 6 verses: AABSSV, the protection of the Alexandrian verse and others.

A significant role in the development of French mysticism during this period was played by the activity that took shape before 1549 to the rock of the poetic school "Pleiades". The head is Pierre Ronsard It also included J. Dubelle, A. J. de Baif and a number of other poets. Members of the “Pleiad” preached the idea of ​​enriching national poetry with the traditions of Greek and Roman literature, which they acquired great respect for. Together with Dubelle and Baif, Ronsard created a plan for a great poetic reform, drawing on Dubelle's "Defense et Illustration de la langue francaise" ("... lack of natural creativity, the need for a doctrine... trace the canopies of poetry from the ancients... plunder without I'll take a look"). conscience of the treasure of the Delphic temple”, etc.). A great place in the activity of the “Pleiades” was the nutrition of music. “Love before music,” Ronsard asserted, “has always been a showpiece of good faith, generosity, and noble gentry, a stranger to all that is base.” Jean Antoine de Baif - a great scholar of music, a wonderful lutenist - in 1570 the birth of Paris opens "Academy of Poetry and Music"(woke until 1584). Until the academy, it was directed towards the creation of a special style of singing, where words and music would develop into a special identity, similar to the ancient monody: the rhythm of the song is subject to the metrical structure of the ethical versha. In large part, these ideas were conveyed by the contemporary jokes of the Florentine Camerata, which led to the popularization of the opera in 1594. In France they did not take away such a development as in Italy, but in their own way they were realized in the court theater performances of the “Comedy Ballet of the French Queen”.

Nіmechchina

Renaissance ideas in artistic culture Nimechchini appear in the other half of the 16th and 16th centuries. Partnerships and groups are constantly growing, the number of universities is significantly increasing, and friendship is rapidly expanding. The works of Petrarch and Boccaccio (“Decameron”) are translated into German translations, and appear in German translations by many Latin historians, philosophers and poets. German humanism developed greatly among a high number of philanthropic secular and spiritual princes, and great respect was accorded to the scholars of theology. The hallmarks of professional German musical culture are the court and the cathedrals of the singing drops, as well as the various associations of the German burghers. Polyphonic traditions were brought from the Netherlands in many ways Heinrich Isaac(1450-1517). The full flowering of German rich-voiced music began only in the other half of the 16th century (at this time, one of the greatest Dutch composers, Orlando Lasso, was working in Munich).

An important role in the distinguished tradition of Dutch polyphony in German practice was played by Maximilian I (1459-1519), Austrian Archduke, Emperor of the “Holy Roman Empire” from 1493 (from the Habsburg dynasty). He was a great lover of music and painting (having painted Dürer’s paintings). In 1497, Henry Izak was in his service as a court composer. Unsurprisingly, in the composer’s work, the song genre plays a priority role - Lied, which is a richly voiced sample of popular German folk melodies. So, having written the same way, knead and moteti. This style organically combines the traditions of Dutch polyphony with the drawings of German folk songs. After the death of Isaac, his place of planting Ludwig Senfl(1492-1555) – student of Isaac, perhaps the first great German composer-polyphonist. He was born in Zurich, then became Isack's sergeant-at-arms in the court chapel of Innsbruck, and then became a ceramic maker. From 1523 he lived near Munich, where he was the conductor of the court singing choir. A lot of his works were published - mesos, motets, songs (carminum - as the composer himself called them). Zenfl has a high degree of polyphonic processing of folk melodies. Suchasniki called him “the prince of German music.”

Among other German composers are recognized Johann Walter(1496-1570),Hans Leo Hasler(1564-1612).