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What is a message in literature? The meaning of the word message in the dictionary of literary terms. See what a “message” is in other dictionaries

The message, epistole is literary genre: poetic writing. In European poetry it first appears in Horace (for example, the letter to the Piso “Science of Poetry”), continues to exist in the Latin new language poetry of the Middle Ages and the Renaissance, flourishes in the era of classicism of the 17-18 centuries (N. Boileau, Voltaire, A. Pope, A. P. Sumarokov). In the era of romanticism, the message loses its genre characteristics (V.A. Zhukovsky, K.N. Batyushkov, “Message to the Censor”, 1822, A.S. Pushkin), and by the mid-19th century it ceased to exist as a genre. The formal sign of a message is the presence of an appeal to a specific addressee and, accordingly, such motives as requests, wishes, exhortations, etc. The content according to tradition (from Horace) is predominantly moral, philosophical and didactic, but there were numerous messages of narrative, panegyric, satirical, love and etc. The line between the message and other genres that developed the same content, as the formal signs of the message weakened, was erased, so many messages are close to satires (Horace), elegies (Ovid), didactic poem (Pope), lyric poems of an unspecified genre (“Wo depth of Siberian ores", 1827, A.S. Pushkin).

Messages in Ancient Rus'

In Ancient Rus', messages are one of the genres of journalism., which became especially widespread in the works of polemical writers of the 15th-17th centuries. A journalistic message differs from the artistic genre itself by the presence of a direct connection between its content and specific, usually synchronous with the time of writing, facts, problems and phenomena of reality; the existence of a specific addressee and a specific attitude. Genetically, this phenomenon in ancient Russian literature is associated with the epistle of the apostles (New Testament), the “Church Fathers” and Byzantine journalism. In medieval Europe, the genre was also quite widespread: inter-monastic correspondence was widely used in public theological polemics. In Rus', where the form of open public discussion was not developed, polemical oratory was carried out through messages and letters, designed for copying and distribution. Examples of journalistic messages are the correspondence of Ivan IV the Terrible with Prince A.M. Kurbsky; message from Elder Philotheus; Joseph Volotsky and his opponent Vassian Patrikeev; Fyodor Karpov (16th century), Archpriest Avvakum (17th century).

The word epistole comes from Greek epistole.

Thesaurus of Russian business vocabulary

Message

Syn: letter

Efremova's Dictionary

Message

  1. Wed
    1. :
      1. A written appeal, a letter to someone. (usually extensive).
      2. An official appeal from a statesman or public figure to other officials or institutions in the form of a letter.
    2. A literary work in the form of an author's address to someone.
    3. One of the works of early Christian literature attributed by the church to the apostles.

Encyclopedic Dictionary

Message

a poetic or journalistic work in the form of a letter to a real or fictitious person. Poetic messages as a genre have existed since antiquity (Horace, "The Science of Poetry") to mid. 19th century (A.S. Pushkin); later - isolated poems (V.V. Mayakovsky). A prose message of didactic content is a characteristic genre of medieval literature (the message of the church fathers).

Ozhegov's Dictionary

LAST A NIE, I, Wed

1. A written appeal from a statesman (or public organization) to another statesman (or to a public organization) on what mun. important state and political issue. P. President to Congress.

2. In general, a letter, a written appeal (outdated and ironic). Love p.

3. A poetic or journalistic work in the form of an appeal to the commune. Poetic paragraph

Ushakov's Dictionary

Message

message, messages, Wed (books).

1. A written address to someone, a letter. "A message full of poison." A.K. Tolstoy. "I received your message." Lermontov. Love message.

2. A literary work in the form of an author's address to someone ( lit.). A message written in iambic. "Message to Siberia" (Pushkin's poem to the Decembrists). "Message to Maecenas" (Horace).

| A moralizing work in the form of a letter, an appeal to someone ( ist., church). Council message. Epistles of the Apostles.

Terminological dictionary-thesaurus on literary criticism

Message

1) - a prose genre of ancient Russian literature of didactic or political content in the form of a letter to a real or fictitious person.

RB: types and genres of literature

Genus: genres of ancient Russian literature

Example: Message from Ivan the Terrible to Prince Andrei Kurbsky

2) - a poetic work in the form of a letter to a real or fictitious person or group of persons.

RB: types and genres of literature

Genus: lyrical genres

Example: A. Pushkin. "Message to Siberia"

V. Mayakovsky. "Message to the proletarian poets"

Encyclopedia of Brockhaus and Efron

Message

(épî tre, Epistel) - a literary form that has almost gone out of use: writing in verse. Back in the 1st half of the 19th century. P. was a very widespread genre. Its content is very diverse - from philosophical reflections to satirical paintings and epic narratives. When addressing a known or imaginary person, the author of P. speaks to him in the usual epistolary style, which sometimes rises to solemnity and pathos, sometimes - which is more characteristic of P. - is lowered to a simple and friendly tone, in accordance with the person to whom P. is addressed. Old poetics considered grace, wit, and lightness of verse to be especially characteristic of P.'s style. The most common meters are hexameter and Alexandrian verse, but others are also allowed. Pushkin often used the original iambic trimeter in Pushkin. Classical literature did not know literature until Horace, who created this literary genre and gave examples of it that were long considered inimitable; some of them are in the nature of ordinary private letters, others treat various general issues; the most famous of them are 3 P., dedicated to literature, especially P. to the Piso: “De arte poetica”. Following this, Ovid, who calls himself in “Ars amandi” the inventor of this type of posetic works, wrote a series of “Neroides” - love poems on behalf of women, and “Ex Ponto” - love poems to his wife, daughter, friends and to Augustus; his "Tristia" can also be attributed to P. In Rome, P. was also written by Ausonius and Claudian. P.'s true fatherland is France, where the refined epistolary style and superficial brilliant causerie about anything, easily fitting into the framework of P., have long been so popular. Clément Marot (q.v.), who gave the first examples of P. in French literature, created them under the influence of his ancient predecessors. His P. from Chatelet prison to his friend Lyon Jamet and two P. to the king are known - the first “pour sa dé livrance” and the second “pour avoir été desrobbé”; these humorous letters can be considered an example of subtle tact, able to maintain the border between familiarity and respect. He was followed by P. Taboureau, Voiture, Scarron (known as his "Ep î tre chagrine"), Boisrobert, but all of them were eclipsed by Boileau (q.v.), who found in P. a literary form especially suited to his talent. Of his twelve "Epitres" the most famous are IV - "Au Roi, sur le Passage du Rhin" (1672), VII - "A Racine" (1677) and XII - "A mon jardinier" (1695); both in the external structure and in the content of P. Boileau, the strong influence of Horace is noticeable. In the 18th century P. becomes a favorite form. Voltaire, having restored him to his former simplicity, gives him an incomparable brilliance of grace and wit. He wrote to P. Friedrich, Catherine ("Elev é d"Apolion, de Vénus et de Mars, qui sur ton tröne auguste as placé les beaux-arts, qui penses en grandhomme et qui permets qu"on pense etc.", with the famous verse: "C"est du Nord aujourd" hui que nous vient la lumi è re"), to writers, their friends and enemies, actresses, inanimate objects (A mon vaisseau) and even the dead (A Boileau, a Horace). At the same time as Voltaire, P. Gentil Bernard ("Ep î tre à Clandine"), Bernie ("Ep. sur la paresse"), Sedin ("Ep. à mon habit"), Bouffler ("Ep. à Voltaire"), wrote Gresset ("Er. a ma soeur"), Piron, J.-B. Rousseau, Lebrun, M.-J. Chenier and others. In our century in France, P. Delavigne, Lamartine, Hugo wrote; there are separate collections by P. Vienne - “Ep î tres et satires” (1845) and Autran - “Ep î tres rustiques”. P. is a fairly common literary form in England. The four P. Popes that make up his “Essay on Man”, as well as “Epistle from Eloisa to Abelard” (1716), are considered classic. In German fine literature, poetry took on a lyrical coloring. P. was written by Wieland (“Zwö lf moralische Briefe”, 1752), Gecking (“An meinen Bedienten”), Gleim, Jacobi, Schmidt, Utz, Nikolai, I. V. Michaelis; Especially famous are P. Schiller's "Au Goethe, als er den Mahomet des Voltaire auf die B ü hne brachte", Goethe's "Zwei Episteln über das Lesen schlechter Bü cher", and Rückert. Of the modern poets, P. wrote Gottschall (see). In Italy, P. Chiabrera (“Lettere famigliare”), who introduced this form into Italian poetry, and Frugoni (XVIII century) are known. In Russian literature of the 18th century, submissive to French models, the form of poetry (also called “letter, epistole, poetry”) was very common; During this time, there is hardly at least one outstanding poet who did not write P. The most famous are P. Kantemir ("Letters" to Trubetskoy, Potemkin, "To My Poems"), Tredyakovsky ("Epistole from Russian Poetry to Apolline"), V. Petrova, Princess ("P. to the beauties", "P. to the three graces", "To the Russian pupils of the free arts", etc.), Kozodavleva, Kostrova ("Epistole on the all-joyful day of Catherine's accession to the throne", "To the chairman of the muses" and etc.), Sumarokov (five “epistoles” - “On the Russian language”, “On poetry”, etc.), Lomonosov (“On the benefits of glass”, Shuvalov); Fonvizin ("P. to my servants: Shumilov, Vanka and Petrushka"), Dashkova ("P. to the word"), Ruban ("Russian muse P. to Ovid"), Kapnist ("Batyushkova", "Ozerov", " To the beautiful"), Vinogradov ("Epistola to Alexander Petrovich Ermolov"), Derzhavin ("To the Lover of Arts", "Epistola to Shuvalov"), Muravyov, Nartov, Naryshkin. In Russian literature of the 19th century. First of all, they are issued to P. Zhukovsky, who left a lot of them; between them there are real P. in the old style, and inspired, and artless humorous notes in verse; They are addressed to A.I. Turgenev (Philaletus), Bludov, Batyushkov, I.I. Dmitriev, Empress Maria Feodorovna, Voeikov, Prince. Vyazemsky, L. Pushkin, Emperor Alexander I, Pleshcheev, Bok, Naryshkin, Dmitriev. P. also wrote Karamzin (“To Pleshcheev”, “To Women”, “To the Poor Poet”), Gnedich (“Peruvian to Spaniard”) and others. P. Pushkin are excellent examples of this literary form; they are deeply sincere, free and simple, like ordinary writing, elegant and witty, far from the conventional style of classical letters; P. to Delvig (“Skull”) is interspersed in a simple letter and interspersed with prose; other P. were also originally intended not for printing, but only for the addressee. In Pushkin's lyrics, P. occupy a prominent place, especially P. to Batyushkov, "Town", Galich, Pushchin, Delvig, Gorchakov, V. Pushkin, Koshansky ("My Aristarkh"), Zhukovsky, Chaadaev, Yazykov, Rodzianko; P. "To Siberia" and "Ovid" have a special character. In further development, poetry loses essentially any difference from ordinary lyric poems. Lermontov's "Valerik" - a letter in verse - no longer has anything in common with the template of the classical P. P. Tyutchev is imprinted with the same free character ("To A.N. Muravyov", "To Ganka", "To Prince A.A. Suvorov" ), Nekrasov ("Turgenev" and "Saltykov"), Maykov, Polonsky, Nadson ("Letter to M.V.V.").

Ar. Gr .

One of the main forms of ancient literature, message(epistola, έπίστολή), became, following the example of the apostolic epistles, one of the main forms of later Christian literature. In the age of the “apostolic men,” this was almost the only form of writings that set out Christian doctrine and moral teaching, as well as the structure of mutual relations and the external life of Christians. These are the epistles of Clement of Rome, Ignatius the God-Bearer, Polycarp of Smyrna, and the Apostle Barnabas. The simplicity of this form fully corresponded, on the one hand, to the degree of education of these church fathers, who did not have any external education, and, on the other hand, to the need of Christian society for an elementary and publicly accessible presentation of the doctrine, for which the form of P. or letters is especially convenient. As educated and learned people join the church, already in the 2nd century, and, along with the faith of the church (πίστις της έχχλησίας), Christian “knowledge” (γνώσις της έχχλησίας) arises, above the “P.” in Christ In literature, the form of composition takes over (in the East - λόγος, in the West - tractatus), which gave way to a systematic and dialectical disclosure of the subject. But the share of “epistles” in the 2nd and 3rd centuries, as well as in subsequent times, remained a vast area. First of all, this includes the entire area of ​​church law and projects for resolving various controversial issues of church practice. This is how canonical P. appeared (for example, the canonical P. of St. Gregory of Neocaesarea on the degrees of repentance, Dionysius of Alexandria, etc.), P. with notification of heresies that appeared in the dioceses and a request for assistance in their destruction (for example, P. Alexander, bishop of Alexandria, regarding the heresy of Arius), P. welcoming and encouraging (during persecution) from one church to another (for example, Theon and Pamphilus), admonishing - regarding internal unrest and strife, P. Easter bishops of Alexandria - about the time of Easter celebration in a given year, about the monotonous structure of church deanery (Cyril of Alexandria), about dogmatic issues (for example, Pope Leo the Great - about the Eutychian heresy, John the Faster - about virginity). Some of these P., approved by the church, constitute one of the primary sources of Christ. teachings as part sacred legends, along with other works of St. fathers; the other contains this name. private opinions St. fathers. With messages from St. fathers should not mix them letters, which, although their publishers are often also called “epistles,” differ from them in that they were not assigned to the whole or local church, but to individuals related to the correspondents by ties of kinship, friendship or official relations. These letters often have important historical significance, containing a lot of details about the church, social, and state life of a given era. Erasmus and later critics, evaluating these letters from a literary point of view, sometimes rank them alongside the best works of ancient literature. Such are, for example, the letters of Cyprian of Carthage, Blessed. Augustine and Jerome and St. Vasily Vel. (about the latter, see article by I. A. Chistovich in “Christian Readings,” 1866). In the West, after Gregory the Great, an extensive literature of P. of various clergy for various circumstances also developed; but it is little known and little developed in the West itself, since with the establishment of Catholicism. Church of the principle of absolutism, the activities of private individuals were overshadowed by the dogmatic and administrative activities of the pope himself or the councils. The only almost exception in this regard is P. St. Bernard of Clairvaux (XII century). P., reproducing the type of patristic P. of the patristic period, reappeared in spiritual literature with the founding of the Russian Church. These are the pamphlets of the first Russian metropolitans Leonty - “On Unleavened Bread”, George, John II and Nicephorus on fasting, on the Varangian faith, later - P. Simon, Bishop of Vladimir to Polycarp and Polycarp to Akindinus, Metropolitan Photius, Gennady, Archbishop of Novgorod, etc. The same type of patristic period is represented by the later hierarchs of the Eastern Church and the Russian Holy Synod. The best examples of these later P. are “P. of the Eastern Patriarchs in response to the Lutherans to the Augsburg Confession of Luther sent by them” and “P. to the flock of the Patriarchate of Constantinople on behalf of the Patriarch of Constantinople regarding the papal encyclical on the unification of churches”; a sample of the modern P. of the Russian Synod - “P. to the Old Believers.” With the Anglican and Old Catholic Russian churches, St. The synod is also demolished by the “Epistles”.

Message

Message

1. A poetic letter or address of a philosophical-theoretical, didactic-journalistic, love or friendly nature is a popular literary genre in ancient and European literature until approximately the 30s. XIX century Its founder should be considered the Roman poet Horace (see), in his P. to the Piso (“De arte poetica”), who gave the theoretical foundations of poetics. The Russian poet Sumarokov (q.v.) in “Epistola on Poetry” (epistola - in Latin - message, letter), continuing the traditions of Horace and the French theorist Boileau (q.v.) with his “L’art poetique”, outlined the foundations of the poetics of classicism. Four P. English are distinguished by their philosophical character. poet P. Pope (see) - “An Experience about Man.” As an example of didactic. P. can be pointed to the message of Lomonosov (see) to Shuvalov “On the benefits of glass.”
The genre of painting reached a particular flowering in France during the Renaissance (Clément Marot) and classicism (Voltaire). In the 18th century this genre spread widely in Russian literature, then passed on by inheritance in the first decades of the 19th century. We find its best examples of various kinds in the works of Pushkin and his galaxy. P. is a typically aristocratic genre in European literature, predominantly aristocratic, designed for a close circle of socially privileged readers, for whom the poet’s addressees are people of the same environment as him - individuals, fairly well-known, often acquaintances. With the weakening of noble traditions in literature, the literary genre gradually disappears, and starting from the second half of the 19th century. it occurs only as an exception or deliberate stylization.

2. Prose writing of church-religious or journalistic content, which in its meaning and purpose goes beyond the limits of exclusively personal appeal, is a genre that, by the way, is widespread in ancient and medieval Russian literature (for example, P. Prince A. Kurbsky and Ivan the Terrible to each other, numerous P. archpriest Avvakum, etc.). Epistolary literature.

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

Message

Letter in verse. Originated in ancient poetry Horace(eg Epistle to the Piso, “The Science of Poetry”). Reached its peak in the era classicism(N. Boileau, Voltaire, A.D. Sumarokov). In the era romanticism a message from a letter to a specific person turns into a letter to a general addressee (for example, “Message to the Censor” by A.S. Pushkin).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Message

MESSAGE. - a letter in verse. Horace also gave examples of such messages, which in his case were either of a very private nature or touching on topics of general significance. His letter De arte poëtica (on the art of poetry) is especially famous. Ovid wrote letters to his wife, daughter, friends, Augustus - from the place of his exile near the Black Sea ("Ex Ponto" also "Tristia"). In modern times, messages were especially common in France. The first person to draw attention to this type of poem here was Marot. His humorous and gallant messages from prison to his friend and to the king are known. He was followed by a number of epistles (Scarron and others), but especially Boileau (at the end of the 17th century), who gave twelve epistles written under the strong influence of Horace. In the 18th century, Voltaire's letters became famous, distinguished by the brilliance of grace and wit. He wrote them to Frederick II, Catherine the Great, his friends and enemies, even things (to the ship) and the dead (to Boileau, to Horace). The messages of J.B. Rousseau, M.J. Chenier, Lebrun and others were also known. In the 19th century, messages were written by P. Delavigne, Lamartine, Hugo and others.

In England, the four epistles of Pope (early 18th century) that make up his “Essay on Man” and the correspondence of Abelard and Heloise, which he processed in verse, are famous. In Germany, letters were written by Wieland, Schiller, Goethe, Rückert and many others. etc. In Italy, the messages of Chiabrera, who introduced this form into poetry, and Frugoni (18th century) are known.

In Russian literature of the 18th century, messages were also in use, as imitations of French ones. They were written by Kantemir, Tredyakovsky, Petrov, Knyazhnin, Kostrov, Sumarokov, Lomonosov (the famous letter in verse to Shuvalov: “On the benefits of glass”), Kapnist, Fonvizin (“To my servants”), Derzhavin and many others. etc. In the first half of the 19th century, messages were also distributed. “My Penates” (1812) by Batyushkov (to Zhukovsky and Vyazemsky) evoked Zhukovsky’s response: “To Batyushkov,” and then (in 1814) Pushkin’s imitation “Town.” Batyushkov’s messages are also remarkable: “To D-vu”, “To N.”, “To Zhukovsky”. Of Zhukovsky’s messages, the most remarkable are: to Philaletus, to him: A. I. Turgenev, Maria Feodorovna (“report on the moon” - two messages), Vyazemsky, Voeikov, Perovsky, Obolenskaya, Samoilova, etc. In many of these messages Zhukovsky rises to the heights of his creativity. Pushkin’s numerous letters are famous: to Zhukovsky, Chaadaev, Yazykov, Yusupov (to Velmozha), Kozlov, “To Siberia” to the Decembrists, a number of love letters; also - “To Ovid”. Lermontov has messages: to Khomutova, “Valerik”, etc. Kozlov has some of the best poems: messages to Zhukovsky, Khomutova (“To my friend of my spring...”) and some. etc. Further messages were written by Baratynsky, Tyutchev (mainly from the department of political poems), A. Tolstoy (to I. Aksakov and a number of humorous ones), Maikov, Fet, Polonsky, Nekrasov, Nadson.

After the Pushkin era, epistles cease to be a favorite form of poetry, and now, if they are occasionally found, it is as an imitation of the style of that era (Vyach. Ivanov and some others).

Joseph Eiges. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925


Synonyms:

See what “Message” is in other dictionaries:

    MESSAGE, messages, cf. (book). 1. A written appeal to someone, a letter. "A message full of poison." A.K. Tolstoy. "I received your message." Lermontov. Love message. 2. A literary work in the form of an author’s address to someone... Ushakov's Explanatory Dictionary

    MESSAGE, a poetic or journalistic work in the form of a letter to a real or fictitious person. The poetic message as a genre existed from antiquity (The Science of Horace's Poetry) to the mid-19th century. (Message to the Censor A.S. Pushkin); later... Modern encyclopedia

    Cm … Dictionary of synonyms

    Message- MESSAGE, a poetic or journalistic work in the form of a letter to a real or fictitious person. The poetic message as a genre existed from antiquity (“The Science of Poetry” by Horace) until the mid-19th century. (“Message to the Censor” by A.S. Pushkin);… … Illustrated Encyclopedic Dictionary

    In church literature, a written appeal by an authoritative theologian to a certain group of people or to all of humanity, explaining certain religious issues. In Christianity, the letters of the apostles form a significant part of the New ... Wikipedia

    A poetic or journalistic work in the form of a letter to a real or fictitious person. Poetic messages as a genre existed from antiquity (Horace, The Science of Poetry) to the Middle Ages. 19th century (A.S. Pushkin); later isolated poems (V.V.... ... Big Encyclopedic Dictionary

    MESSAGE, I, Wed. 1. A written appeal from a statesman (or public organization) to another statesman (or to a public organization) for any reason. important state and political issue. P. President... ... Ozhegov's Explanatory Dictionary

    - (epitre, Epistel) a literary form that has almost gone out of use: writing in verse. Back in the 1st half of the 19th century. P. was a very common genre. Its content is very diverse, from philosophical reflections to satirical paintings and... ... Encyclopedia of Brockhaus and Efron

Sometimes - which is more characteristic of the message - it is lowered to a simple and friendly tone, in accordance with the person to whom it is addressed.

Old poetics considered grace, wit, and lightness of verse to be especially characteristic of the style of the message. The most common meters are hexameter and Alexandrian verse, but others are also allowed. Pushkin often used the original iambic trimeter in his messages.

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    2-8. Epistle of James 1 chapter 13-18 verses. Yu. K. Sipko

    Bible Verses (1 Timothy 4:16) @biblevideosverse

Subtitles

Examples of messages

Classic literature

Classical literature did not know messages until Horace, who created this literary genre and gave its examples, which were long considered inimitable; some of them are in the nature of ordinary private letters, others treat various general issues; the most famous of them are 3 epistles dedicated to literature, especially the epistles to the Piso: “De arte poetica”.

French literature

The true homeland of the epistles is France, where the refined epistolary style and superficial, brilliant chatter (causerie) about anything, easily fitting into the framework of the epistles, have long been so popular. Clément Marot, who gave the first examples of messages in French literature, created them under the influence of his ancient predecessors. His messages from Châtelet prison to his friend Lyon Jamet and two messages to the king are known - the first “pour sa délivrance” and the second “pour avoir été desrobbé”; these humorous letters can be considered an example of subtle tact, able to maintain the boundary between familiarity and respect.

In the 19th century in France, letters were written by Delavigne, Lamartine, and Hugo; there are separate collections of messages from Vienne - “Epîtres et satires” (1845) and from Autran - “Epîtres rustiques”.

English literature

The epistle is a fairly common literary form in England as well. Pope's four epistles, which make up his Essay on Man, as well as Heloise to Abelard (1716), are considered classic.

German literature

In German fine literature the message took on a lyrical tone. The messages were written by Wieland (“Zwölf moralische Briefe”, 1752), Gecking (“An meinen Bedienten”), Gleim, Jacobi (Johann Georg Jacobi), Schmidt, Jung, Nikolai, I. V. Michaelis; Especially famous are the messages of Schiller “Au Goethe, als er den Mahomet des Voltaire auf die Bühne brachte”, Goethe - “Zwei Episteln über das Lesen schlechter Bücher”, and Rückert. Of the subsequent poets, Rudolf Gottschall wrote the epistle.

Italian literature

In Italy, the epistles of Chiabrera (“Lettere famigliare”), who introduced this form into Italian poetry, and Frugoni ( Carlo Innocenzo Frugoni), (XVIII century).

Russian literature

In Russian literature of the 18th century, submissive to French models, the form of epistles (also called “letters, epistles, poems”) was very common; During this time there is hardly any outstanding poet who did not write a message. The most famous are the messages of Kantemir (“Letters” to Trubetskoy, Potemkin, “To My Poems”), Tredyakovsky (“Epistole from Russian Poetry to Apolline”), V. Petrov, Knyazhnin (“Message to the Charming Ones,” “Message to the Three Graces,” “ To the Russian pupils of the free arts”, etc.), Kozodavleva, Kostrova (“Epistole on the all-joyful day of Catherine’s accession to the throne”, “To the Chairman of the Muses”, etc.), Sumarokova (five “epistoles” - “On the Russian language”, “ About poetry”, etc.), who left a lot of them; between them there are real messages in the old style, and inspired, and artless humorous notes in verse; They are addressed to A.I. Turgenev (Philaletus), Bludov, Batyushkov, I.I.Dmitriev, Empress Maria Feodorovna, Voeikov, Prince. Vyazemsky, L. Pushkin, Emperor Alexander I, Pleshcheev, Bok, Naryshkin, Dmitriev. Karamzin (“To Pleshcheev,” “To Women,” “To the Poor Poet”), Gnedich (“Peruvian to Spaniard”) and others also wrote messages.

Pushkin's epistles are excellent examples of this literary form; they are deeply sincere, free and simple, like an ordinary letter, elegant and witty, far from the conventional style of classical messages; the message to Delvig (“Skull”) is interspersed in a simple letter and interspersed with prose; other messages were also originally intended not for printing, but only for the addressee. In Pushkin’s lyrics, messages occupy a prominent place, especially the message to Batyushkov, “Gorodok”, Galich, Pushchin, Delvig, Gorchakov, V. Pushkin, Koshansky (“My Aristarch”), Zhukovsky, Chaadaev, Yazykov, Rodzianko; The messages “To Siberia” and “Ovid” have a special character.

See also

The message is one of the genres of lyric poem. It traces its history back to the poets of Ancient Greece and Rome. In Russian literature, the genre of the message is represented very widely. They were written by G. Derzhavin. V. Zhukovsky, V. Odoevsky, A. Pushkin.

The genre is divided into "friendly" and "high message".

Distinctive features of the message are its targeting - connection with certain historical or biographical events. Sometimes the message has a specific addressee to whom the author addresses.

The form of the message is a monologue, consisting of an address, a main part and a final appeal. The poet turns to his friends and like-minded people with calls for joint struggle. Therefore, the poet’s voice sounds directly in the message, without hiding behind the image of a lyrical hero.

The Russian classicist message takes shape at the intersection of the Russian tradition itself (apostolic letter, ancient Russian journalistic message of both a spiritual and secular nature) and the European tradition. The latter penetrated into Russia in three ways: through the Greek and Roman epistolary texts themselves, which gained popularity in Russia in the 17th-18th centuries; through European poetic epistole, which arose in imitation of the ancients and marked by the features of European classicism; finally, through Polish treatises on art and doggerel itself, where the specifics of European epistole were complemented by “Slavic flavor” and some Baroque features. Common to all sources was the presence of an addressee and the originality of the dialogue: conversation-argument [Pronin V.A. Theory of literary genres - M.: Prospekt 2009 P.90].

The Russian classicist message takes shape at the intersection of the Russian tradition itself (apostolic letter, ancient Russian journalistic message of both a spiritual and secular nature) and the European tradition. The latter penetrated into Russia in three ways: through the Greek and Roman epistolary texts themselves, which gained popularity in Russia in the 17th-18th centuries; through European poetic epistole, which arose in imitation of the ancients and marked by the features of European classicism; finally, through Polish treatises on art and doggerel itself, where the specifics of European epistole were complemented by “Slavic flavor” and some Baroque features. Common to all sources was the presence of an addressee and the originality of the dialogue: conversation-argument or conversation [Gukovsky G. A. Pushkin and the Russian Romantics - M.: Inter-book 1995]

In the nineteenth century, the novel in letters began to decline. Pushkin's plan for an epistolary novel about the trial of Maria Schoning and Anna Garlin remained unfulfilled; only the beginning of the correspondence between the heroines was preserved. However, epistolary fragments are included in the context of the novels of Balzac, Stendhal, Musset, and Dickens. As a rule, the letters talk about turning points in the plot; let us remember Tatyana’s letter to Onegin and Onegin to Tatyana, Herman’s letters to Lisa in “The Queen of Spades,” Alexei’s correspondence with Akulina in “The Young Lady-Peasant Woman.”

In ancient times, a letter was an important event in the spiritual life of the one who wrote it and whoever receives it. The letter ideally had the sincerity of confession, and at the same time the message is characterized by detachment, because communication between the author and the addressee does not coincide in time and space.

However, in the history of Russian literature there is a strange phenomenon - “Correspondence from two corners”. The preface from the Alkonost publishing house says: “These letters, twelve in number, were written in the summer of 1920, when both friends lived together in the same room in a health resort for workers of science and literature in Moscow” [Zinina E.A. Lyric genres: Lyric poem. Ode. Romance, song. Message. Elegia.-M.: Bustard 2009].

The message could be loving, friendly and satirical, but the genre specificity of the message is in an implied dialogical form with a real or imaginary interlocutor (“Conversation of a bookseller with a poet” by Pushkin, “Conversation with a financial inspector about poetry” by Mayakovsky, “Conversation with Komsomol member N. Dementiev” by Bagritsky ).

The listed examples force us to turn to the genesis of the poetic message. There are two sources of the genre: Christian and pagan - ancient. The New Testament includes 21 letters, of which the most authoritative are the letters of the Apostle Paul. The authors of other letters are unknown or suspected authors. From the letters of the Apostle Paul to the Romans and Corinthians, a tradition arose of searching for truth and justice, piety and love for one's neighbor in the epistols.

On the other hand, Quintus Horace Flaccus marked the completion of his creative career with the creation of two books of “Epistle” in hexameters (in 20 and between 19 and 14 BC). The first book includes twenty messages of a philosophical and satirical tone. The second book consists of three epistles “To Augustus”, “To Florus” and “To the Pisons”. In the message “To Augustus,” who expressed the desire to receive a letter from the most famous poet, who, as he understood, would immortalize his name, we are talking about archaic and modern poetry. In his second letter to the young poet Florus, Horace reflects on the transience of time and the role of the poet in preserving the memory of the past. But the message to the noble Pison brothers is especially significant. It entered the history of literature under the name “The Art of Poetry” (“Ars poetica”). In it, Horace formulated the goals and principles of lyric poetry, and it served as a model for many subsequent aesthetic manifestos. One of the most frequently discussed questions in friendly messages is about the purpose and purpose of art. In his letter “To the Pisons,” Horace examined the entire history of ancient poetry from Homer to the present.

Already from the messages of Horace it is clear that, despite the instructions to whom they are addressed, in essence these letters are without an address, since they are addressed to any interested reader and can become known to him. In the messages of Horace, and after him other poets, not private issues are discussed, but universal problems. The genre of message in lyrics is unique in its own way, because it visibly presents the individual and the universal. It is no coincidence that poems called “To the Reader” or “To the Poet”, and sometimes in the plural, are common in lyric poetry. The author of the lyrical message in these verses addresses everyone at once, sometimes thereby anticipating the subsequent text [Artyomova S.Yu. On the peculiarities of the genre of lyrical message ("Odysseus to Telemachus" by I. Brodsky) // Current problems of philology at university and school. Tver, 2002. S. 129-130].

The late Roman poet Ausonius (IV century) wrote a cycle of poems, “Household Poems,” about his ancestors and grandchildren. However, the intimacy of the topic is apparent. Most of the poems are written in the genre of messages. The cycle opens with a lengthy address “To the Reader,” in which Ausonius talks about his genealogy. And in the end it is emphasized:

Here I am, Ausonius; don't be arrogant

Good reader, take these writings as work.

The poetic message of the 18th century has two modifications: a “high” civil message and a friendly message. Both modifications originate in classicism. But if the peak of popularity of the civil message occurs at the end of the 18th century, then the friendly message develops and becomes popular by the 20s of the 19th century, it is then that its genre specificity is formed, and the poems of Zhukovsky, Pushkin, Delvig, Batyushkov, Vyazemsky and many others can be considered classics samples of friendly messages. High and friendly messages are two varieties of the same genre model.

In the 19th century, the role of the author and the “author’s world” increased. Therefore, variations in the genre of the message correspond not only to the tradition of the canonical genre, but also to the author’s attitude. In this case, it becomes possible to trace how one or another variation of a genre becomes “traditional” for a certain period and for a certain circle of writers.

lyrical message genre literature