Evoluţia genului poetic şi formele acestuia în literatura română şi în literatura universală

Résumé

The first to deal with the thorough study of poetic discipline is Artistotel, who has exposed all his ideas in his poetic treaty. The small specialized work contains fundamental notions about the nature and the creation of a literary work. Etymologically, the semantic content of the Greek poetic word designates the action of making, creating. At the beginning of the twentieth century, the likeness of poetics to rhetoric occurred, as a matter of fact, especially because literary work is a product of language, but, finally, it was established that poetics is a theoretical, descriptive discipline and synchronous. In other words, poetics is a discipline for literature, which it analyzes theoretically. It is an interdisciplinary science that eventually formed from the fusion of linguistics and literary critique applied to the literary text as language. The poetic genre, now understood as the lyrical literary genre, has been explored many years ago since antiquity. For example, Lassos of Hermione (poet and
musician of the sixth century BC, Pindarʹs teacher) or Arion of Metimna (Greek poet from the 7th to the 6th century BC) created the ditiramb (lyrical poem dedicated to Dionysus and Bachus, although this is also a very old form of the dramatic genre), later promoted by the ancient Greek poets Simonide and Pindar.
The lyrical term has its origins, according to the researchers, in lyrical poetry recited on the music of the pound.
The lyrical genre is given this name quite late at the beginning of the romantic period, unlike the epic and dramatic genres that were given more attention in antiquity. In Poetica Stagiritului there is no reference to lyrical poetry, despite the fact that the magnitude of it would have attracted the interest of the Greek philosopher. Aristotle made notes in his small treatise on epic and dramatic poetry, which he considers to be forms of mimesis (the ability of people to imitate). During the Renaissance, for example, lyrical species are born, such as pastoral poetry, sonnet, elegia, but the concept of lyrical genre is not defined or explained. Around the idea of mimesis there is a series of confusions, going from mimesis‐imitation to mimesis‐verosimility, mimesis‐fiction, or mimesis‐fabulation. While Castelvetro is on the side of the classical Aristotelian concept, Patrizzi brings to attention new topics of thought: for example, the fact that poetic poison is the most
important feature of the human being, the ability to create the poets is boundless, and
the core of poetry is given by miraculous.The confusion of the lyrical genre also exists in France during the
Renaissance, considering that the lyric genre is in fact a oda, and the dominant position of the odor among the other species of the lyrical genre spreads mainly in French poetry until Victor Hugoʹs time. Neither Boileau, in the seventeenth century, embraces the distinct forms of lyrical poetry in the same literary genre, but
approaches only species such as sonnet, rondul, madrigal, elegia. L. Muratori, who lived at the same time as Boileau, not only does not abandon the three categories of the literary genre, but considers that the lyrical genre is essential, unique in what it expresses, that is, human feelings and emotions. Considering at first that the lyrical genre is the same as the oda, with time it expands its area, including the first time elegia, followed by lied or poetry of ideas. Romantic poets, followed by Symbolists, have found the fascination of fixed‐form
poetry, such as the sonnet, the rondel, the triolet or the virelai that they have forgotten long ago. In 1872, in full symbolism, Théodore de Banville recorded in his work the lyrical forms mentioned, giving them a literary aesthetic sense, the poetry beginning to take shape. The structuring of poetry in different ways determined the emergence of literary species and certain periods in Romanian literature.