EXCURSION TO THE WORLD OF BATIK
There are several types of batik - hot, cold, free painting. They differ in the way the fabric is backed up. As a reserve in hot batik wax is used.…

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COLLECTIONS P.M. TRETYAKOVA
Mikhail Zakharovich Tretyakov, the father of the Tretyakov brothers, the founders of the Tretyakov Gallery, came from a poor merchant family. In his spiritual testament, shortly before his death, he…

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Good tone of poetic parody

The art of literary poetry is no lower than poetic art in general. Say more than that: the ability to write rocks should combine the art of poetic syllable plus literary knowledge and, to them, the same knowledge of psychology. No wonder there are far fewer known parodists than famous poets.
A good parody is not just thin and deep humor. This, as a rule, is a hyperbolization of the phenomenon, metaphors, feelings, situations that occur in the poem chosen by the parodist. Thus, already in a catfish poem should be laid, let’s say, the basis for a parody – and the parodist is obliged to find them, to comprehend and show the reader clearly and vividly.
This means that a successful parody can only be written on a good poem – only in it can there be feelings and thoughts worthy of attention. A good parody is an advertisement for a poem author. And let’s face it, many poets themselves are not at all averse for their parodist to read their collection. Someone will see this as illogical: after all, parody is essentially a mockery. This is a misconception. Let’s look at the parody phenomenon from the other side.
First: as we said, there are many poets, there are few good parodists. So, the parodist’s attention to the poet’s poems already means its significance, visibility.
Second: parodists, as a rule, before writing a parody, monitor the entire creative activity of the poet. And their goal is some one or two poems that, among others, contain something that distinguishes them: original thought, unusual metaphor and other.
Third: a parody in the literary environment is considered not as a mockery of the author, but as a smile over the literary hero of the work.
And this third moment is central to the parodist. The ability to separate the author of the poem and the literary hero he created will always protect the author of a parody from treating him as an evil mocker. This is a special subtlety of the parodist poet, this is his knowledge of the author’s psychology: be able to consider which of the poems the author himself says, and which of the poetic hero he created. Only in this case will a parody not cause any offense to a parody.
A successful parody is not a mockery of the poem itself, not a smile over an unsuccessful rhyme or lurid phrase. A successful parody is an unexpected revelation of a phenomenon, a feeling that is hidden in a poem, veiled. Or, as we have already said, the hyperbolization of such ridiculously good ones.
Sometimes parodists use in their parodies not one, but two or three poems, and if these poems are well known to listeners, the parody takes on the sound of micro-research with a smile.
The success of a parody can be guaranteed if, first, the author of the poem is a famous poet; if, secondly, something is found in the poem on which one can look through the magnifying glass of humor; if, thirdly, the author of the parody subtly feels and understands the literary hero, and the parody itself is not directed at the author of the poem.

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