Stanzas genre. The meaning of the word stanza in the literary encyclopedia

What are "Stanzas"? How to spell this word correctly. Concept and interpretation.

Stanzas STANZA is a term derived from the Italian word stanza, which means stop. Sometimes this term is applied to any stanza in general. Sometimes applied to the octave (see this word). In another sense, stanzas are a poem built from individual stanzas that are completely complete in themselves. An example of stanzas, in this meaning of them, is Pushkin’s elegy: “Am I wandering along the noisy streets.” In this lyrical play, Pushkin reaches the very limit of those artistic possibilities that are contained in the poetic form of stanzas. Each stanza of the eight stanzas of the play is a rhythmically complete whole. Here there is no continuity of rhythm and rhyme that we see in a sonnet or rondo (see these words). The arrangement of rhymes is completely symmetrical in all stanzas (abab type). Accordingly, the emotional, figurative and logical meaning of each stanza is completely complete: in the first - the persistence of the elegiac mood that accompanies every step of the poet; in the second - the mood of doom for all living things; in the third - the opposition of eternal nature and human mortal existence; in the fourth - resignation of old age, readiness to give way to a new life that has replaced the outdated one; in the fifth - waiting for your hour of death, - and the hour of death can be anyone; in the sixth - reflection on the image in which death will appear - and it can appear in any image; in the seventh - turning with a dream to the “sweet limit”, closer to which one would like to rest after death; in the eighth - reconciliation with death in love for the living: for the young life that will play at the grave entrance, and for the eternal beauty of indifferent nature. But despite the completeness of each stanza, the artistic meaning of the whole poem is determined only by their combination. This can be said about the rhythmic side, and about any other. The rhythmically completed stanzas of Pushkin's stanzas, when combined, form a completely distinct rhythmic pattern that connects these independent stanzas into one. The nature of the rhythmic pattern affects, along with other areas (for example, the location of large and small caesuras), also in the combination of accelerations. Pushkin's stanzas are written in iambic tetrameter. The fourth foot coincides with rhyming line endings. Accelerations therefore can only occur in the first three feet (hypostases in rhyming feet are an extremely rare thing, and a few examples of it are found only in new poetry). All types of accelerations are used here by Pushkin: he gives acceleration on the first, second, and third foot. Their arrangement within the stanzas no longer seems symmetrical. It forms one pattern that runs through the entire play: the first three stanzas give scattered accelerations, with frequent breaks, the next two - the middle of the poem - give, with only one break (and then at the end of the stanza), a continuous thread of accelerations, all at 3 th foot. The last 2 final stanzas again lead to the initial dispersion, and only the last two lines, almost repeating, rhythmically, one another, in this monotony of repetition complete the entire rhythmic plan. The same general artistic concept - and in combinations of figuratively - the semantic basis of individual stanzas. As you read, it may seem at first glance that each stanza could be the final stanza of the play. And only the last stanza fully reveals the whole meaning of the poem. “And let there be life play, And indifferent nature shine with eternal beauty”: here is a return to the three main images of the first part (“We will all descend under the eternal vaults” - from the second stanza; “I look at the solitary oak ...” - from the third; “The Baby I caress my darling” - from the fourth). Pushkin's stanzas in their construction are the most characteristic example for this poetic form in general: despite the monotony and metrical equivalence of the composing stanzas, the artistic meaning of the stanzas is determined by the internal diversity of rhythm and the internal cohesion of individual poetic images. Valentina Dynnik.

Stanzas- (French stance, from Italian stanza, literally - room, room, stop) 1) in literature...

Currently, not many people clearly understand what “STANCES” are, since this term fell out of use back in the 19th century. But the stanzas themselves still exist today, and sometimes, having written a stanza, we cannot find a suitable name for the form of our poem.
In French and Italian ("stance" and "stanza")
the word has the meaning of something limited - “room” and complete - “stop”.
In practice, this is the case, since stanzas are a lyrical poem, often of philosophical content, consisting of several stanzas, each of which has its own complete content and may have nothing in common with the previous and subsequent stanzas.
It is believed that stanzas were originally couplets sung by medieval European street singers. He sang about one thing, and the next verse is about something else. Something like Russian ditties. This distinguished stanzas from long, connected general content, ballads and narratives performed by professional troubadour singers and minstrels.
THEREFORE: we can call a stanza any stanza /in common parlance “couplet”/ that HAS COMPLETE SENSIBLE CONTENT AND GRAMMATICAL FORM.

For example, my stanza:

The bug exclaimed: “I’m proud of myself
And from now on I demand respect:
My ancestor in the royal feather bed, -
I have a lot of blue blood!”

Everything I wanted to say, I said in one stanza, which I can safely call “STANCE”
Then I have the right to write on any other topic and even in any other size.
In the 19th century, the concept of “Stance” began to blur. Here, for example, is a poem by A.S. Pushkin, which he attributed to stanzas:

In the hope of glory and goodness
I look forward without fear:
The beginning of the glorious days of Peter
There were riots and executions.

But with the truth he attracted hearts,
But morals were tamed by science,
And was from a violent archer
Dolgoruky is distinguished before him

By autocratic hand
He boldly sowed enlightenment,
He did not despise his native country:
He knew its purpose.

Now an academician, now a hero,
Either a sailor or a carpenter,
He is an all-encompassing soul
The eternal worker was on the throne.

Be proud of your family resemblance;
Be like your ancestor in everything:
How tireless and firm he is,
And his memory is not malicious.

And there are 5 stanzas here, and all of them are undoubtedly connected by a common meaning; one cannot exist without the other. So why stanzas then?

It seems that in the 19th century any poems with philosophical content began to be called stanzas. Then, getting confused in the terminology, they abandoned this word altogether.

There is a quatrain club “Ten” on the site, / of which I am a member. The poets of this club write quatrains - works of 4 “LINES” / correctly - “POEMS”! / or quatrains. These quatrains have their own individual content and can safely be called stanzas. But solid forms from one stanza can vary in size from couplets to tens (decets). I really love six lines, which provide greater opportunities to convey the thoughts and feelings of the author than quatrains.
1.

I admire the soft blue skies,
I appeal to God, looking to the East...
Through the point that is called by my name,
The flow of energy and reason flows.
Ships sail in this stream:
All feelings, thoughts and dreams are mine!

*2*
You are like a god to the cells in your body,
But the cells argue without finding an answer:
“Does Man really exist?
Or maybe there is no Man at all?
Like our cells, still
We are having a useless argument about God!

*3*
When you prove zealously,
Scaring the people with screams,
That your ancestor is not a monkey, -
The effect is always the opposite!
Sacrifice yourself
And everyone will understand: you are the Son of God!

Don’t try to be in people’s honor,
Only God knows who is the best!
Coincidence, just chance
Success and fame can bring.
You can gain both power and honor...
But on Judgment Day you will find out who you are!

Not every stanza that even has independent content can be called a stanza. Much depends on the content. The stanza conveys the philosophical thought, feeling or mood of the author, his attitude towards life.

Depending on the number of verses/lines/ in a stanza they are called:
1 line - monostic,
2 lines - distich,
3 lines - terzetto,
4 lines - quatrain,
5 lines - quintet,
6 lines - sextet,
7 lines - seventh,
8 lines - octave,
9 lines -nona,
10 lines - decet.

FOR THOSE WHO DIDN'T KNOW BEFORE:

1. VERSE is a line of a poetic work /poetry/.
2. STROPHE / in common parlance - couplet / - organization from 2 to 10 / rarely more / lines, united by size, rhyme, rhythm, meaning.
2. STANS - a stanza that is a complete, independent poetic work.
WISH YOUR CREATIVE SUCCESS!

STANZA - a lyrical poem consisting of stanzas (from 4 to 12 verses each), compositionally complete and isolated from each other. The requirement for compositional independence of the stanzas that make up the stanza is expressed in the prohibition of semantic transfers from one stanza to another (strophic “enjambement”) and in the obligatory nature of independent rhymes that are not repeated in other stanzas.
These conditions for the construction of S. are reflected in the term itself, which comes from the Italian word “stanza”, which means “stop”, “rest”. It should be noted that initially, in the Middle Ages and the Renaissance, the concept of S. was compositionally more defined than in our time, including a number of requirements regarding the number of syllables in a verse, the arrangement of rhymes, etc. In the lyrics of the troubadours under S. , as opposed to large lyrical forms, meant a small song with a verse structure. Subsequently, the loss of the verse-song basis in S. led to the ambiguity and uncertainty of the term, for example. in German poetry it began to be applied to the octave (q.v.), and in France it is often used as a synonym for the term “strophe” (q.v.).
In Russian poetry, the S form was most often used in the genre of meditative lyrics. Wed. Pushkin’s stanzas “Do I wander along the noisy streets,” in which the modern form of S. found its complete expression.
Stanza, Verse.
Literary encyclopedia. - In 11 volumes; M.: Publishing House of the Communist Academy, Soviet encyclopedia, Fiction.Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

Stanzas
STANCES- a term derived from the Italian word stanza, which means stop. Sometimes this term is applied to any stanza in general. Sometimes applied to the octave (see this word).

In another sense, stanzas are a poem built from individual stanzas that are completely complete in themselves. An example of stanzas, in this meaning of them, is Pushkin’s elegy: “Am I wandering along the noisy streets.”

In this lyrical play, Pushkin reaches the very limit of those artistic possibilities that are contained in the poetic form of stanzas.

Accordingly, the emotional, figurative and logical meaning of each stanza is completely complete: in the first - the persistence of the elegiac mood that accompanies every step of the poet; in the second - the mood of doom for all living things; in the third - the opposition of eternal nature and human mortal existence; in the fourth - resignation of old age, readiness to give way to a new life that has replaced the outdated one; in the fifth - waiting for your hour of death, - and the hour of death can be anyone; in the sixth - reflection on the image in which death will appear - and it can appear in any image; in the seventh - turning with a dream to the “sweet limit”, closer to which one would like to rest after death; in the eighth - reconciliation with death in love for the living: for the young life that will play at the grave entrance, and for the eternal beauty of indifferent nature.

But despite the completeness of each stanza, the artistic meaning of the whole poem is determined only by their combination. This can be said about the rhythmic side, and about any other. The rhythmically completed stanzas of Pushkin's stanzas, when combined, form a completely distinct rhythmic pattern that connects these independent stanzas into one.

The nature of the rhythmic pattern affects, along with other areas (for example, the location of large and small caesuras), also in the combination of accelerations. Pushkin's stanzas are written in iambic tetrameter. The fourth foot coincides with rhyming line endings. Accelerations therefore can only occur in the first three feet (hypostases in rhyming feet are an extremely rare thing, and a few examples of it are found only in new poetry). All types of accelerations are used here by Pushkin: he gives acceleration on the first, second, and third foot. Their arrangement within the stanzas no longer seems symmetrical. It forms one pattern that runs through the entire play: the first three stanzas give scattered accelerations, with frequent breaks, the next two - the middle of the poem - give, with only one break (and then at the end of the stanza), a continuous thread of accelerations, all at 3 th foot. The last 2 final stanzas again lead to the initial dispersion, and only the last two lines, almost repeating, rhythmically, one another, in this monotony of repetition complete the entire rhythmic plan.

The same general artistic concept - and in combinations of figuratively - the semantic basis of individual stanzas. As you read, it may seem at first glance that each stanza could be the final stanza of the play. And only the last stanza fully reveals the whole meaning of the poem.

) is a poetic genre form that genetically dates back to the Provençal lyrical song poetry of the Middle Ages. Stanzas are characterized by the relative formal and semantic independence of stanzas from each other. Stanzas are a classic form of epic poetry (Ariosto, Tasso, Camões), Byron (“Don Juan”, “Childe Harold”) gave this genre sophistication. In Russian poetry, “Aul Bastundzhi” by Lermontov and “Little House in Kolomna” by Pushkin are written in stanzas. In addition, in Russian poetry there are many, usually small in volume, elegiac-meditative poems entitled “Stanzas”.

Genre characteristics

The main feature of stanzas is a high degree of independence of stanzas, which is manifested in the absence of semantic transfers from one stanza to another, in the obligatory nature of independent rhymes that are not repeated in other stanzas. Ideally, each stanza in a stanza contains one clearly expressed idea; after reading each stanza, some pause is expected. The number of verses in each stanza can vary from four to twelve, but in the Russian poetic tradition the form of quatrains, written in iambic tetrameter with (mostly) cross rhymes with obligatory strophic closure, has been assigned to stanzas.

Example

Below are the “Stanzas” of V.F. Khodasevich from the collection “Heavy Lyre” is one of the purest examples of this genre.

The hair is already gray at the temples
I cover it with a black strand,
And the heart freezes, as if in a vice,
From an extra glass of tea.
Long labors are too hard for me,
And there is no charm
No knowledge of too spicy fruits,
No women's sultry kisses.
Now I look with coldness
To the boredom of the upcoming glory...
But the words: flower, child, beast -
They come to people's lips more and more often.
Sometimes I listen absentmindedly
Poets' idle rattling,
But the soul is filled with sweet fullness
Grains silent germination.
1918

Metrical formula: Y5m + Y4zh (alternating iambic pentameter and iambic tetrameter with masculine and feminine rhyme).

Stanzas in Russian poetry

A.P. Sumarokov, “Can I tell my beloved differently?” (1759?)
E. A. Baratynsky, “Chains imposed by fate...” (1827)
M. Yu. Lermontov, “Instantly running through the mind...” (1831)
O. Mandelstam, “The heart needs to beat...” (1937)
A. Akhmatova, “Sagittarius Moon. Zamoskvorechye. Night" (1940)

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Notes

Excerpt characterizing Stanzas

– Yes, mother, I will truly tell you, difficult and sad times for every Russian. But why worry so much? You still have time to leave...
“I don’t understand what people are doing,” said the countess, turning to her husband, “they just told me that nothing is ready yet.” After all, someone needs to give orders. You'll regret Mitenka. Will this never end?
The Count wanted to say something, but apparently refrained. He stood up from his chair and walked towards the door.
Berg at this time, as if to blow his nose, took out a handkerchief and, looking at the bundle, thought, sadly and significantly shaking his head.
“And I have a big request to ask you, dad,” he said.
“Hm?..” said the count, stopping.
“I’m driving past Yusupov’s house now,” Berg said, laughing. “The manager, I know, ran out and asked if you would buy something.” I went in, you know, out of curiosity, and there was just a wardrobe and a toilet. You know how Veruschka wanted this and how we argued about it. (Berg involuntarily switched to a tone of joy about his well-being when he began talking about the wardrobe and toilet.) And such a delight! comes forward with an English secret, you know? But Verochka wanted it for a long time. So I want to surprise her. I saw so many of these guys in your yard. Give me one, please, I’ll pay him well and...
The Count frowned and gagged.
- Ask the countess, but I don’t give orders.
“If it’s difficult, please don’t,” said Berg. “I would really like it for Verushka.”
“Oh, go to hell, all of you, to hell, to hell, to hell!” shouted the old count. - My head is spinning. - And he left the room.
The Countess began to cry.
- Yes, yes, mummy, very difficult times! - said Berg.
Natasha went out with her father and, as if having difficulty understanding something, first followed him, and then ran downstairs.
Petya stood on the porch, arming the people who were traveling from Moscow. Pawned carts still stood in the yard. Two of them were untied, and an officer, supported by an orderly, climbed onto one of them.
- Do you know why? - Petya asked Natasha (Natasha understood that Petya understood why his father and mother quarreled). She didn't answer.
“Because daddy wanted to give all the carts to the wounded,” said Petya. - Vasilich told me. In my opinion…
“In my opinion,” Natasha suddenly almost screamed, turning her embittered face to Petya, “in my opinion, this is such disgusting, such an abomination, such... I don’t know!” Are we some kind of Germans?.. - Her throat trembled with convulsive sobs, and she, afraid to weaken and release the charge of her anger in vain, turned and quickly rushed up the stairs. Berg sat next to the Countess and comforted her with kindred respect. The Count, pipe in hand, was walking around the room when Natasha, with a face disfigured by anger, burst into the room like a storm and quickly walked up to her mother.

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Meaning of the word stanza

stanzas in the crossword dictionary

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

New explanatory dictionary of the Russian language, T. F. Efremova.

stanzas

pl. A lyric poem consisting of stanzas, each of which represents a complete whole.

Encyclopedic Dictionary, 1998

stanzas

STANCES (French stance - stanza) in poetry of the 18th-19th centuries. a small elegiac poem (usually meditative, less often love) with a simple strophic structure (usually 4 lines of iambic tetrameter), for example. “In the hope of glory and goodness...” A. S. Pushkin.

Stanzas

(French stance, from Italian stanza, literally ≈ room, room, stop),

in Renaissance literature (especially Italian) the same as stanzas.

In the 18th-19th centuries. the term "S." in European poetry (Byron) denoted a small lyrical poem of a predominantly meditative nature, consisting of stanzas that were meaningfully and compositionally closed: each stanza contained a complete thought, contained a syntactic period, ending with a period, rhymes were not repeated. In Russian poetry the form "S." ≈ a poem written in isolated quatrains, usually in iambic tetrameter with avav rhyme, ≈ was more common in the 1st half of the 19th century. (A.S. Pushkin “In the hope of glory and goodness”). From the 2nd half of the 19th century. the term "S." went out of use.

V. A. Sapogov.

Wikipedia

Stanzas

Stanzas(from - premises, room, stop) is a poetic genre form that genetically dates back to the Provençal lyrical song poetry of the Middle Ages. Stanzas are characterized by the relative formal and semantic independence of stanzas from each other. Stanzas are a classic form of epic poetry (Ariosto, Tasso, Camões), and Byron gave refinement to this genre. In Russian poetry, “Aul Bastundzhi” by Lermontov and “Little House in Kolomna” by Pushkin are written in stanzas. In addition, in Russian poetry there are many, usually small in volume, elegiac-meditative poems entitled “Stanzas”.

Examples of the use of the word stanza in literature.

Voltaire's niece, Madame Denis, beloved of him and many others, who received a remarkable literary and musical education, and for her wedding with the Minister of War Denis, received 30,000 livres from her uncle, lived with Voltaire from 1749 until his death in 1780 and allowed him to die like a dog , after deceiving him all his life with servants and secretaries, Madame Denis asked if these belonged to stanzas to Ariosto's best.

There are, however, places where I have completely failed in my attempt, one place I ask the reader to consider as simple mistake, because in the middle stanzas I, imprudently, left the Alexandrian verse.