Introduction The ballad in Renaissance and during Modern times

Conclusion

The highest and the art influence of a folk song which still didn't lose the force is concluded in the primary accuracy of word usage, in primitive simplicity of provisions and situations from which grow insoluble, mostly tragic, the conflicts. In the majority these conflicts carry not casual, but social, social being and public consciousness the caused character. Moreover, tracing the roots back to patrimonial customs and beliefs, the folk song is gold fund of traditional feelings and thoughts of the people.

Were reflected in a folk song not only important points of the social relations of the person and society, but also the most important lines of the most human essence which are found (let and differently and, naturally, taking into account national specifics) during different eras, within various socioeconomic structures.
The literary ballad, growing from national and keeping a strong continuity with it, it changed constantly and enriched, absorbing in itself new historical experience, not only national, but also international. And still in the literary ballad the interpenetrating unity of elements of lyrics, the epos and drama, the poetic form gravitating to "magic" musicality, rather small volume remained; in it the element or a raid of mystery, mysteriousness, incompleteness, a reticence, a tragic not resolution or insolvability concluded in a plot, rhythmic and a figurative system, as a rule, takes place. The modern literary ballad continues to remain one of the leading poetic genres in which the poets of various regions of Europe writing in the most different languages express the ideas of essence of life, of human life, of contradictions of our era.
The ancient and unfading, archaic and eternally young, gravitating to a rigid form and infinitely changeable, people rough and artistic distinguished genre of the ballad existing in Europe, at least, already whole millennium actively develops and in the XX century, creatively processing the traditional conflicts, recovering the stiffened forms and proving (again!) unfading beauty of eternal subjects and plots.
At the beginning of the XIX century canons of the poetic diction proclaimed classicists were rejected by romantics. Romantics defended the emotional and esthetic value of speech originality. They sought to enrich poetic diction with new lexicon, scooping it from different sources. For example, V. Scott widely uses dialecticisms, and U. Wordsworth urges to refuse the special poetic dictionary and to use words and forms of a living spoken language in poetry.
Romantics reject classical division of words into "sublime" words, suitable for poetry, with wide value and unsuitable "low" with narrow value. They often prefer to use words with narrow value as they allow creating more concrete associations and that stronger to influence emotions of the reader. Emoting function at romantics comes to the forefront. Poets seek to use various means; each means of expression, each word or a turn are regarded depending on their suitability for expression of this feeling given ideas of the author. Poets seek to pull together poetry with the live speech that allows them to give the thoughts and feelings to the reader better; they oppose conventions of poetic diction, the stiffened images, traditional epithets, sample phraseological units.
The ballad as lyric-epic and lyric-dramatic genre, gains the development in creativity of romantics. Romantic ballads, as well as national, it is possible to divide into some groups: the ballads which are based on historic facts and events, the ballads developing fantastic subject, and ballads in which the lyrical beginning prevails. In general the lyrical beginning dominates in creativity of romantics therefore lyricism often joins a narration. Poets romantics addressed to ancient legends as to sources therefore and in a folk song, and in romantic it is possible to find their communication with legends and legends.
Poets of an era of Romanticism develop in the creativity many traditions point. Generally romantic ballads, as well as national, conflicts are also under construction round one, often tragic event. In some ballads act notification on behalf of the author as expositions, the ballads showing the reader the ropes of events, but most often have the sharp beginning which isn't offering to the reader any explanations. Very often the ambiguity and incomprehensibility accompany in the ballad from the beginning till the end. Though the generalizing reflection of the author sometimes acts as the conclusion in some ballads, in the majority authors don't impose to the reader ready conclusions, leaving it alone with themselves, giving the chance to draw own conclusions. Thus, graphic and narrative ballads of lyrical character in general keep traditional quality of a ballad genre – a statement fragmentariness when the narration loses the smoothness and dimension. The fragmentariness plays large role in strengthening of a drama element of a narration. Each of poets romantics emphasizes dramatic nature in own way: Coleridge – through mystery, unreality and mysticism, Wordsworth – through dramatic nature of a plot and simplicity of language, Scott – through the most exact stylization under an ancient folk song with use of the archaized lexicon, a dialect of the northern regions of England and Scotland, characteristic for a ballad genre of epithets.
As it was already told, romantics paid much attention to the description of an inner world of the heroes, their sincere experiences. Actions and events in ballads are as if aimed at detection of spiritual qualities of heroes. Therefore to give to the poems of bigger emotionality and expressivity authors use a dialogical form of a narration, simplicity of language and ballad equipment, archaic turns of national poetry, numerous repetitions – all these stylistic receptions strengthen a dramatic tension of feelings of the reader. In popularity of ballads their size played not the last role. This size originating in syllabic – tonic versification of folk songs and changed by Coleridge in his "Kristabeli", was a suitable form for the romantic poem which strongly depended on character of its plot. To avoid monotony rhythmic inversion therefore there were short lines which created pauses was entered into ballads, but the melodic of ballads didn't suffer from it at all. It is impossible to read ballads of romantics, without having noticed easy musicality almost all of them poems.
Having changed in works of poets romantics, stylistics, images, motives, plots of both the national, and literary ballad became the general property of English poetry. The Ballad form became means of an embodiment of new feelings and ideas, processing of new material in works of English poets of the XIX-XX centuries
References:

1. 
   Meri, Josef W.; Bacharach, Jere L. (2006-01-01). Medieval Islamic Civilization: A–K, index. Taylor & Francis. ISBN 9780415966917.
   
2. 
   Blois, François de (2011). "DĪVĀN". Encyclopædia Iranica.
   
3. 
   Alain Rey et al., Dictionnaire historique de la langue française, new ed. (Robert, 1995), vol. 1, p. 617.
   
4. 
   Andrews, Walter G.; Kalpaklı, Mehmet (2005). The age of beloveds : love and the beloved in early-modern Ottoman and European culture and society (2nd ed.). Durham: Duke University Press. ISBN 0-8223-3424-0.
   
5. 
   Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN 975-338-081-X
   
6. 
   Andrews, Walter G.; Black, Najaat; Kalpaklı, Mehmet (2011). Ottoman Lyric Poetry: An Anthology. University of Washington Press. pp. 22–23. ISBN 9780295800936.
   
7. 
   Rollberg, Peter (1987). Harry Butler Weber (ed.). The Modern Encyclopedia of Russian and Soviet Literature (including Non-Russian and Emigre literatures).
   
8. 
   Academic International Press. p. 76. In Mesopotamia Fuzuli was in intimate contact with three cultures – Turkic, Arabic, and Persian. Besides his native Azeri, he learned Arabic and Persian at an early age and acquired a through command of the literatures in all three languages, an accomplishment in which the cosmopolitan literary and scholarly circles of Hilla played an important role.
   
9. 
   Child, Francis James (1904). Sargent, Helen Child; Kittredge, George Lyman (eds.). English and Scottish Popular Ballads. Boston: Houghton Mifflin Co. Retrieved 30 October 2017.
   
10. 
    N. Bold, The Ballad (Routledge, 1979), p. 5.
    
11. 
    T. A. Green, Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art (ABC-CLIO, 1997), p. 352.
    
12. 
    Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford University Press, 2005), p. 45.
    
13. 
    Mary Ellen Brown, Child's Unfinished Masterpiece: The English and Scottish Popular Ballads (Urbana: University of Illinois Press, 2011).
    
14. 
    English and Scottish Ballads. ed. by Francis James Child (Boston: Little, Brown and company, 1860).
    
15. 
    http://search.lib.cam.ac.uk/?itemid=%7Ccambrdgedb |3400905] Archived 4 October 2018 at the Wayback Machine
    
16. 
    |cambrdgedb |3330807
    
17. 
    |collpwdb |107150
    
18. 
    "ballad". Encyclopædia Britannica. The minstrels manipulate the story with coarse explicitness.
    
19. 
    E. Housman, British Popular Ballads (1952, Ayer Publishing, 1969).
    
20. 
    "Ewan MacColl & A.L. Lloyd: The English and Scottish Popular Ballads, Volume I". Ewan MacColl's Discography. Retrieved 21 May 2014.
    
21. 
    Baez's first, second, third and fifth albums (released in 1960–64) included these ten Child ballads, in this order: 173, 250, 54, 84, 113, 81, 209, 243, 78, 170.
    
22. 
    "June Tabor – AN ECHO OF HOOVES ~ Released September 2003". June Tabor's Discography. Retrieved 11 June 2019.
    
23. 
    In the first collection there are 115 ballads that are not in the second collection. In the second collection there are 90 ballads that are not in the first collection. The first collection has 369 ballads (219 plus 150 that come under the eight volumes' "Appendix" heading). The number of ballads in the second collection is nominally 305 but actually much higher because hundreds of the ballads that Child presented as versions of another ballad (because their story is basically the same or similar) are very different from that other ballad, in many cases sharing not even one stanza.
    
24. 
    Which ballads are the 46 for which a tune was included in the 1882–1898 publication (The English and Scottish Popular Ballads) is indicated in this footnote's list of numbers, which are Child's index numbers for those 46. The number of occurrences of a ballad's index number in this list is the number of music scores included for it in that publication. The referents of the index numbers (the title that Child selected to be each ballad's main title) are listed in the List of the Child Ballads.
    

1^ Rollberg, Peter (1987). Harry Butler Weber (ed.). The Modern Encyclopedia of Russian and Soviet Literature (including Non-Russian and Emigre literatures).

2^ Alain Rey et al., Dictionnaire historique de la langue française, new ed. (Robert, 1995), vol. 1, p. 617.

3^ Andrews, Walter G.; Black, Najaat; Kalpaklı, Mehmet (2011). Ottoman Lyric Poetry: An Anthology. University of Washington Press. pp. 22–23. ISBN 9780295800936.

4^ Blois, François de (2011). "DĪVĀN". Encyclopædia Iranica.

5^ Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN 975-338-081-X

6^ Andrews, Walter G.; Kalpaklı, Mehmet (2005). The age of beloveds : love and the beloved in early-modern Ottoman and European culture and society (2nd ed.). Durham: Duke University Press. ISBN 0-8223-3424-0.

7^ Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN 975-338-081-X

8^ Meri, Josef W.; Bacharach, Jere L. (2006-01-01). Medieval Islamic Civilization: A–K, index. Taylor & Francis. ISBN 9780415966917.

9^ Blois, François de (2011). "DĪVĀN". Encyclopædia Iranica.

10^ Alain Rey et al., Dictionnaire historique de la langue française, new ed. (Robert, 1995), vol. 1, p. 617.

11^ Andrews, Walter G.; Kalpaklı, Mehmet (2005). The age of beloveds : love and the beloved in early-modern Ottoman and European culture and society (2nd ed.). Durham: Duke University Press. ISBN 0-8223-3424-0.

12^ Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN 975-338-081-X

13^ Andrews, Walter G.; Black, Najaat; Kalpaklı, Mehmet (2011). Ottoman Lyric Poetry: An Anthology. University of Washington Press. pp. 22–23. ISBN 9780295800936.

14^ Rollberg, Peter (1987). Harry Butler Weber (ed.). The Modern Encyclopedia of Russian and Soviet Literature (including Non-Russian and Emigre literatures).

15^ Andrews, Walter G.; Black, Najaat; Kalpaklı, Mehmet (2011). Ottoman Lyric Poetry: An Anthology. University of Washington Press. pp. 22–23. ISBN 9780295800936.

16^ Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN 975-338-081-X

17^ Alain Rey et al., Dictionnaire historique de la langue française, new ed. (Robert, 1995), vol. 1, p. 617.

18^ Blois, François de (2011). "DĪVĀN". Encyclopædia Iranica.

19^ Andrews, Walter G.; Kalpaklı, Mehmet (2005). The age of beloveds : love and the beloved in early-modern Ottoman and European culture and society (2nd ed.). Durham: Duke University Press. ISBN 0-8223-3424-0.

20^ Blois, François de (2011). "DĪVĀN". Encyclopædia Iranica.

21^ Alain Rey et al., Dictionnaire historique de la langue française, new ed. (Robert, 1995), vol. 1, p. 617.

22^ Andrews, Walter G.; Kalpaklı, Mehmet (2005). The age of beloveds : love and the beloved in early-modern Ottoman and European culture and society (2nd ed.). Durham: Duke University Press. ISBN 0-8223-3424-0.

23^ Pala, İskender (1995) Divân Şiiri Antolojisi: Dîvânü'd-Devâvîn Akçağ Yayınları, Kızılay, Ankara, p. 425, ISBN 975-338-081-X