Ballads Lermontov: examples and artistic techniques

A ballad in literature is a special genre, for which a clear story, a small volume and a dramatic development of the narrative are characteristic. Very often ballads use historical canvas to express the author's main message. This is due to the fact that this genre comes from folk legends and legends. Lermontov's ballads are short and capacious, they instantly transfer the reader to the described time and encourage deep empathy for the characters.

Attempt at writing

At the age of 15, the young Lermontov translates from the German language the ballad of Schiller. So far this is just a kind of training. But even in this translation the original style of the author can already be traced. He does not strive to convey the original in the first place, on the contrary, he expounds it in his interpretation, moving the accents from the lengthy and detailed descriptions of what is happening to the inner conflict, to the feelings of the heroes. That's how - lively and dramatic - sounds in his presentation of the ballad "Glove". Lermontov and subsequently will take only the plot of the works, presenting his own vision of situations, and not just imitating someone from the authors.

This is how the young poet works, working on his own "Ballad" in the same year. He takes the plot of Schiller's works "The Diver" and "Glove" and unites them. Like other Lermontov ballads, this one is short and capacious. He cuts off all unnecessary. If Schiller pays much attention to the description of the raging waves and pictures of the underwater world, Lermontov points to the struggle with the elements through the description of the hero's condition.

Folk motives

A little later the poet turns to the people's heritage. Ballads Lermontov's "Reed" and "Where is so quick, Zhidovka young? .." built on a clear pattern, used in the old legends. First comes love, then betrayal (or as an option - love is rejected), followed by all-consuming jealousy, and ends with murder.

It is significant that here Lermontov, masterfully manipulating rhyme, does not sink his genius in verbosity, and with a few confident and accurate strokes creates a complete picture in which many details, however, remain as if behind the scenes. But this does not spoil the work. On the contrary, it makes it even more vivid and memorable.

Using allegories

Lermontov's ballads are often built on allegories. In other words, the author represents abstract concepts or even certain historical personalities, using specific physical objects. For example, in the ballad "Dispute" he refers to the image of mountains, which he loved very much. And "Two Giant" represent the clash between Napoleon and Emperor Alexander the First.

In the use of the reception of the animation of natural objects and phenomena, there is nothing new. In some cases, it helps the author to convey his thought beautifully, while in others it is used because of the inability to express himself directly because of the political situation in the country. Both statements were true for Lermontov.

Mythological images

The poet was interested not only in the folk epic, but also in mythology. Some later ballads have a construction peculiar to the plot development of myths. And then the author takes not just outplayed situations or already well-known characters. No, it refers specifically to the inner core, to the fundamental laws of the genre, on which the narrative is built.

For example, the ballad of M. Yu. Lermontov "Tamara" begins with a classic description of how the hero faces something unknown and inviting. The traveler, walking at night along the river, sees a tower from which the calling of a passionate female voice is heard. After responding to him and spending the night with Queen Tamara, the man pays for this hospitality with his life. In the morning, his lifeless body is carried away by the fast mountain river Terek.