Lyric Poetry
The lyric poetry is often defined as the literary Genre which accommodates the personal expression of the feelings of the poet. The lyric author speaks indeed in his proper name; he says “I”.
This definition, however, is insufficient, in what she neglects two other essential components of lyricism which are the research of the musical quality and the aiming of the ideal. It is thus advisable rather to perceive this one as the expression of a singular subject which tends to metamorphose, to even sublimate the contents of its experiment and its emotional life, in a mélodieuse and rythmée word having the music for model. Lyric poetry indeed owes its name with the Lyre which, in the Antiquité, accompanied its Chant S. Symbole by unit and harmony, this Apollinian instrument takes, in the myth of Orphée, a pacificatory value. Able to suspend the torments of the Hells, it becomes the model of the capacities of poetry and the close links which link it with the destiny of the human creature.
Historical evolution
Lyricism appears in
France, with the Moyen-âge, through a myriad of forms generally associating with the poem the Musique and the Danse: weaving songs,
Pastourelle S, Serenade S,
Ballade S, Canso S, Tournaments, Tenson S,
Lay S and
Virelai S flower in the song of the Trouvère S and the
Troubadour S.
Bernard de Ventadour (1150-1200), Richard Lion-hearted (1157-1199) and Thibaut de Champagne (1201-1253) counts among the many representatives of this old lyricism. The Courtly love is then the topic dominating of the most erudite works, which are divided between intimacy and virtuosity. The codified play overrides the authentic expression.
It is in second half of the 13th century, in particular with Rutebeuf, that lyricism undertakes to emerge from its Stéréotype S. At the 15th century, Charles of Orleans (1391-1465) and François Villon (1431-1463) impose two votes melancholic persons on the accents more resolutely personal, one invaluable and nourished Allégorie S, the other mobile, unstable, but able to articulate the fate of a singular subject to that of his/her “human brothers”.
During the Rebirth, the space of lyricism widens. Lightness of Marot, joy of Ronsard, melancholy of Of Bellay, virtuosity of Louise Labé and Maurice Scève: the Poésie then multiplies its sources of inspiration and its forms. The second reading of the poets of Antiquity and the influence of the Italian literature, combined with enthusiasm to invent a new figure of the man and world, induce a very rich poetic production. At the poets of the Pleiad, the Ode and the Sonnet open a new formal space with the lyric expression. In 1550, Ronsard celebrates “the happy happiness of the life”. Pantheist enthusiasm and the influence ist lead it to multiply the correspondences between the beauties of nature and those of the loved woman. The old diagrams of courteous poetry yield little by little the step to a more familiar inspiration.
But the traditional time stops this flowering. By developing the figure of “the honest man” and by privileging the values of order and hierarchy, it involves a backward flow of lyricism. Still many at the time of the baroque, the lyric poets rarefy as from 1640. The figure of the poet is then relativized, if not disparaged, [[François de Malherbe|Malherbe]] itself goes until writing “that a good poet is not more useful for the State than a good player of skittles”. Mondanity and preciosity are not enough to give a direction to the “trade of the Muses”. Lyricism then finds to be placed out of poetry: it is not absent nor of the '' Funeral orations '' (1667-1687) of [[Jacques Bénigne Bossuet|Bossuet]] nor of the tragedies of [[Pierre Corneille|Crow]], where it animates to them [[stanza]] S of the '' [[Cid (Crow)|Cid]] '', nor of those of [[Jean Root|Root]] which counts some of the mélodieux worms of the French language.
It is necessary to await the medium of the {{XVIIIe century}} to attend a revival of lyricism. [[Preromantism]] in sentimental prose, then it [[romanticism]] in very whole poetry, make it open out by lending voice to solitary subjectivity. After being remained more than one century under the yoke of traditional esthetics, the poet redécouvre the whole of his capacities and exerts them freely. It émancipe its writing of a certain number of conventions, by dislocating for example it [[alexandrine]] or by mixing the kinds. He extends his vocabulary while not fearing more to employ words commoners which ran up against the good taste at one time. He also widens his space: he does not confine himself any more in one hieratic antiquity, but escapes towards the Middle Ages or the Rebirth whose tumults and expansion of life allure it. It émancipe its thought by integrating there the ideas or the new values of the revolution. Lastly, it delivers its “me” and exposes its heart.
[[Image: Lamartine, by Decaisne.jpg|thumb|
Lamartine (1790-1869) ]]
'' Poetic Meditations '' (1820) of [[Alphonse of Lamartine|Lamartine]], '' interior Voices '' (1837) of [[Victor Hugo]] or '' the Destinies '' (1864) of [[Alfred de Vigny|Vigny]] count among the florets of this new poetry where the personal expression cannot be separate moral and philosophical meditation. The movement even of lyric romantic leads the poet to overflow his clean “me” to deal with in its song nature, or the fate of humanity. More than very other, Victor Hugo incarnates, in the neighborhoods of [[1830]], the three fields of new lyricism: dramatic in '' [[Hernani]] '', close friend in '' Sheets of autumn '', epic in '' [[Notre-Dame de Paris (Hugo)|Notre-Dame de Paris]] ''. Critic [[Ferdinand Brunetière|Brunetière]] summarizes this triumph of a formula, while writing: “with the romanticism, it is the lyricism which penetrates the whole literature. ” To specify this equivalence between lyricism and romanticism, it introduces a third term: “individualism”. It summarizes its thought thus: “The Romanticism, in our history, is a social phenomenon characterized by a tendency in all directions with the Individualism, and, like such, whose literary form or poetic could be only lyricism”.
It seems whereas lyricism absorbed all poetry. But the failure of [[the French revolution of 1848|Revolution of 1848]] inaugurates a new age in the history of the lyric Frenchwoman. Starting from the medium of the {{XIXe century}}, it is led to engage its clean critical. The values of creation tend to replace the values of expression. Following [[Théophile Gautier|Gautier]] then of [[Charles Baudelaire|Baudelaire]], the accent is put on the beauty of the form and its effects. Overflowing is rejected with the profit of the work of the writing even. [[Parnassiens]] react against excesses of the romanticism while preaching “art for art's sake”. Formed a time at their school, [[Paul Verlaine|Verlaine]] dilutes in the fogs of impersonal contours of “ego”. [[Arthur Rimbaud|Rimbaud]], more radically, rejects with violence the subjective poetry which he considers “awfully dull”. It is [[Stephan Mallarmé|Mallarmé]] which pushes with its paroxysm this crisis of lyricism by preaching “disappearance élocutoire” of the poet. But this succession of questionings paradoxically, lyricism leaves reinforced. Indeed affirming its autonomy while emerging at the same time from the expression and from [[didactism]], poetry comes from there to constitute an adventure in oneself.
Heirs to Mallarmé, them [[Symbolism (art)|Symbolists]] launch out to the continuation of a total art, having to it [[Opera (music)|opera]] for model. Thus they reaffirm the ancestral alliance of lyricism and the music, as well as the ideal character of the song. At the beginning of the {{XXe century}}, [[Guillaume Apollinaire|Apollinaire]] in '' Zone '' and [[Blaise Cendrars]] in '' Easter in New York '' (1912) and '' Prose of Trans-Siberian the '' (1913) open on the contrary the space of the poem to the innovations of the modern world whose their predecessors had been diverted. They go until celebrating the visual lyricism of publicity.
With the image of [[André Breton]] in '' the insane Love '' (1937), the surrealist ones preaches “the lyric behavior” heard like attention and obedience with the injunctions of the unconscious one. Each one of these schools thus marks a deepening of the concept and a widening of its field of investigations. Less and less effusive, increasingly conscious of its capacities and its dangers, lyricism in the final analysis appears as the name even energies which are with work in the poetry and which unceasingly push it to call into question its own delimitations.
==Les forms lyriques==
[[Image: Pindar statue.jpg|thumb|
Pindare, (518-438 av. J. - C.).]]
Lyricism covers all the registers of the subjective expression, since the joys or the sorrows most familiar until the celebration of the heroes or the gods. It can be intimate or of pageantry, of elegiac or merry tonality.
[[Ode]] is its oldest form and noblest. Near to [[anthem]], it associates with the idea song that of celebration. Cultivated by [[Pindare]] in Greek Antiquity, it is found as well at Ronsard ('' Odes '', 1550-1556) as at Victor Hugo ('' Odes and ballades '', 1822-1828) or [[Paul Claudel]] ('' Five great odes '', 1908). Through it, it is the properly religious dimension of the lyricism which is developed. To this exaltée form, one opposes readily it [[reduced]] which appears the depressive reverse of them. This one is carried to celebrate than to meditate and regret. The passage of time, human finitude, the torments of passion and the melancholy, nourish the '' Regrets '' (1558) of Of Bellay, like the '' Élégies '' (posthumous, 1844) of [[Chénier]] and the '' poetic Méditations '' of Lamartine.
Beside these great forms, a multitude of minor kinds proliferated, often of popular origin, such as the song and it [[ballade]]. The sentimental and musical data are dominating there. It goes from there thus from the '' Chansons of the streets and wood '' (1859-1865) of Victor Hugo. Lyric poetry is so varied that one could not ultimately attach particular versification to him. It is characterized rather by an extreme formal variety which largely contributes to make evolve the resources of [[To|metric]]. Thus, in the '' gallant Fêtes '' (1869) and the '' Romances without words '' (1874) of Paul Verlaine, it [[meter]] odd are seen it preferred to express uncertainties and the failures of subjectivity. But it is undoubtedly it [[octosyllabic]] which seemed the worms a long time most favourable with the mélodieuse expression of the lyric inspiration. At the beginning of this century, the '' Chanson of the evil liked '' of Guillaume Apollinaire in fact still use.
It will be observed in addition that lyric poetry uses readily of exclamation and the repetition. Those are the most manifest signs of the animation of the speech. One can there distinguish the movements which the subject in the language makes to approach the ideality that he covets. Thus [[Persian Saint-John]] multiplies it, in '' Éloges '' (1911), them [[not of exclamation|points of exclamation]] like as many marks of the celebration. And if [[Paul Valéry|Valéry]] does not fear to define lyricism as “the development of an exclamation”, it is that the work of the poet precisely consists in giving body, by amplifying it, with the initial impulse of a wish, a concern or a desire.
Thus naturally carried towards [[amplitude]], lyricism is not confined in the worms. With the {{S|XVIII|E|}}, it is with work in the prose of the '' Rêveries of the solitary walker '' (1776-1778) of [[Jean-Jacques Rousseau|Rousseau]] or of the '' Mémoires of in addition to-fall '' (1809-1841) of [[François-Rene de Chateaubriand|Chateaubriant]]. With the {{S|XIX|E|}}, it gives place to the new form of the prose poem that Baudelaire characterizes like eager to carry out the dream of a “poetic prose, musical, without rate/rhythm and rhyme, rather flexible and run up enough to adapt to the lyric movements of the heart (...)”. Such would be ultimately lyricism: the covetousness of a different language within the language even.
==L' expression subjective==
[[Image: Cervelli Orfeo ED Euridice.jpg|thumb|Orphée and Eurydice.]]
After having lost [[Eurydice]], [[Orphée]] wanders through the campaigns by singing its pain and its loneliness: “I am the dark one, the widower, the unconsoled one” will exclaim [[Nerval]] by réappropriant this image in '' the Dreams '' (1853). Such is undoubtedly the most famous figure of the lyric poet: that of a solitary creature whose identity even is suspended with its song.
Anxious to apprehend the gasoline of the various literary kinds, the philosopher [[Georg Wilhelm Friedrich Hegel|Hegel]] opposes, in its '' Esthétique '', the subjective dimension of lyric poetry to the objectivity of epic poetry: “It has as contents the subjective one, the interior world, the heart agitated by feelings and which, instead of acting, persists in its interiority and can consequently have for form and goal only épanchement of the subject, its expression. ” Realities which the lyric poet seizes thus are chosen and interpreted by its subjectivity.
If lyricism is musical essentially, it is that its object even is extremely variable. It is related to the diversity of the psychological states of the subject. All the tonalities of the emotional life find to be expressed there. Consequently, lyricism constitutes an unstable kind, the composition of which enter of the very different contents. It gathers, with more or less coherence, all that constitutes poetry when it is not reducible with a historically and formally characterized kind. Its set of themes is directly related to the contents of the subjective experiment. Time, death, the love, is its reasons for predilection in what they blame the integrity of the individual and his report/ratio at the surrounding world.
It should be noted however that the lyric expression is not so naive that it appears. The sentimental contents of the poem can be pretends as much as really tested. “I the” lyric one do not coincide inevitably with the person who expresses herself through him. It is before a whole subject of stating which can take quantity of aspects. It becomes for example “you” at the beginning of '' Zone '' of Apollinaire: “At the end you are tired of this old world” ('' Alcools '', 1913). It declines of the twilight and random identities in the second '' Spleen '' of Baudelaire: “I am a cemetery… ”, “I am an old boudoir…” More than it “I” itself, they are in the final analysis the metamorphoses or deteriorations of which it is the object which constitute the principal interest of the lyric text. The poet entrusts to a musical, coloured and rythmée word, the care to idealize, stylize or blacken his own features. Thus it is delivered its finitude in a speech which transfigures it. Eager from azure and rise, lyricism removes or charms the subject in the language: “Carries me, coach! remove me, frigate! ” [[Charles Baudelaire exclaims|Baudelaire]] in '' Moesta and errabunda '' ('' [[Flowers of the evil]] '', [[1857]]).
==Bibliographie==
===Ouvrages of référence===
* [[Ferdinand Brunetière]], '' evolution of the kinds in the history of the literature '', Paris, Hatchet, 1910.
* [[Bernard Delvaille]], '' Thousand and hundred years of French poetry '', Paris, Laffont, 1991.
* [[Georges Duhamel]], '' Anthologie of lyric poetry in France '', Paris, Flammarion, 1946.
* [[Georg Wilhelm Friedrich Hegel]], '' Esthétique '', T. 8, “poetry”, Paris, Sapwood, 1965.
* Lyric poetry, edition gallimard
===Études===
* D. Combe, '' Poésie and account, a rhetoric of the '' kinds, Paris, Corti, 1989.
* L. Jenny, '' singular word '', Paris, Belin, 1990.
* B. Johnson, '' Défigurations of the poetic language '', Paris, Flammarion, 1979
* J. - M. Maulpoix, '' Of lyricism '', Paris, Corti, 2000
* S. Charon, '' Réinventer lyricism, the Surrealism of Joyce Mansour '', Geneva, Droz, 2007
{{Gate literature}}
[[Category: Poetic kind]]
[[Cs: Lyrická poezie]]
[[da: Lyrik]]
[[of: Lyrik]]
[[el: Λυρική ποίηση]]
[[in: Lyric poetry]]
[[eo: Liriko]]
[[be: Poesía lírica]]
[[He: שירהלירית]]
[[io: Liriko]]
[[it: Poesia lirica]]
[[ja: 抒情詩]]
[[it: Poesis lyrica]]
[[lb: Lyrik]]
[[nds: Lyrik]]
[[nl: Lyriek]]
[[No: Lyrikk]]
[[pl: Liryka]]
[[Pt: Poesia lírica]]
[[Ru: Лирика]]
[[HS: Lirika]]
[[sv: Lyrik]]
[[tr: Lirik]]
[[the U.K.: Поезія