Fans of cacti with beautiful flowering will love the parody cactus. These miniature plants attract with a variety of species, ease of care, and high decorative effect. The genus of parodies includes about 150 varieties. This article describes how to care for them, achieve regular flowering, and consider the most popular varieties.
Most cacti of this genus are foothill plants. Their natural habitat is rocky soils 2-3 thousand meters above sea level. They can often be seen in Brazil, Bolivia, northern Argentina, Paraguay.
At first, a little more than 60 species were assigned to the genus, then other representatives of cacti were added to the list. Parodies are distinguished by a soft and fleshy stem. The shape is round or slightly elongated. The division into 13-26 ribs is characteristic. In some species, the ribs are divided into tubercles. The shape, color of the spines depends on the variety. Sometimes a hook-shaped spine stands out in the center.
Blooms in spring or summer. The peduncle is a scaly, hairy tube of small length. The flowers are not small, mostly yellow and red colors. They bloom singly or together (up to 10 pieces). Localization - the top of the stem.
Interesting! After flowering, small seeds ripen. Ants help to reproduce the cactus, carrying seeds around. They can also be carried by streams of rainwater.
Popular varieties
There are 150 varieties and each deserves attention, has its own striking characteristics. But a number of varieties deserve special attention.
- Lehninghaus Parody(Parodia leninghausii). It has an elongated (up to 60 cm) cylindrical body. Spines up to 5 cm united in the center of 4 pieces. There are up to 20 thin, yellowish spines around. Flowers up to 6 cm in diameter, yellowish.
- Snow Parody (Parodia nivosa). Miniature variety. First in the form of a ball, later - a cylinder up to 15 cm long. The division of the ribs into tubercles is characteristic, covered with a large number of short (2 mm) snow-white spines. There are 4 longer spines in the center. It blooms with large flowers of fiery color.
- Parody is gorgeous(Parodia magnifica). The stem is round with a bluish tint. Size - up to 15 cm. It is distinguished by deep, straight, sharp ribs. The body is covered with golden-yellow spines of equal length (2 mm). The flowers are a pale yellow hue, consist of two rows of petals.
- Parody is changeable(Parodia mutabilis). One of the smallest varieties, no more than 8 cm. The spines are cross-shaped in the center. Blooms with small yellow flowers.
- Parody small-seeded(Parodia microsperma). The round stem gradually stretches into a cylinder. It grows up to 20 cm. The peculiarity of the variety is numerous, spirally arranged ribs. Each rib is made up of individual tubercles. In the center there are 3-4 brick-colored spines, on the sides - up to 20 vitreous. Flowers are orange.
Parody golden-spined(Parodia aureispina). A tiny cactus no more than 6 cm. The shape is spherical, the ribs are of a spiral structure. In the center are 6 golden long spines. One is hooked. On the sides - up to 40 light bristles.- Parody Schwebs (Parodia schwebsiana). The stem is a ball up to 14 cm in diameter. The location of the areoles is spiral. The umbo is pubescent more strongly. It has strong spines. In the center - up to 2 cm, lateral - up to 1 cm. Flowers are modest in size, rich red.
- parody golden needle(Parodia chrysacanthion). Medium-sized spherical variety up to 10 cm. Covered with many white spines. Blooms with yellow flowers.
- Parody of Faust (Parodia faustiana). Neat cactus ball with spiral ribs. The combination of white short and long black spines gives decorativeness. It blooms with small but beautiful red flowers.
- Parody of Haagen (Parodia haageana). The body is round, up to 20 cm high. The spines are small, brown. It blooms with small red flowers.
- Parody Maas (Parodia maassii). A small cactus with a spherical stem that becomes cylindrical as it matures. The height of the stem is rarely more than 15 cm. The ribs are deeply cut and twisted into a spiral. The flowers are small, red with a copper hue.
This is interesting! Biologists continue to study the parody cactus genus. There is still no clear classification, the same plant can be seen under different names. But the modern level of science allows you to scan the seeds with an electron microscope, to reveal the slightest differences in their structure. This is the only way to scientifically substantiate the belonging of each species to this particular genus.
Growing features
Plants are unpretentious. Caring for them is no more difficult than for other cacti. Experts recommend adhering to the following rules.
- Lighting. Abundance of light - familiar natural environment. Grow on the windows on the south side without shading. When moving from the shade to an intensely lit place, an adaptation period is necessary. Gradually accustom to sunlight.
- Temperature. In summer 22-23°C. From mid-autumn, a gradual decrease to 10°C is recommended for the winter period. They hibernate at low temperatures, the lack of light is compensated by artificial lighting. The room is regularly ventilated. For large specimens, it is recommended to increase the winter temperature and periodically moisten the soil.
- Watering. Over watering is dangerous. Water sparingly, as needed - when the soil dries out. Small specimens do without watering in winter, especially if kept at low temperatures. Loss of elasticity is a signal for watering and increasing the temperature of the content.
- Humidity. Nature has prepared cacti for dry air conditions. Spraying and additional moistening is not required.
- The soil. Use soil mixtures containing stony particles. It is recommended to add sand with stone chips to the finished soil mixture for cacti.
- Transfer. Preferably in the spring. The need for transplantation is determined by the appearance of roots in the soil holes. At the stage of formed flower buds, the plant is not disturbed - they are waiting for the end of flowering.
- Top dressing. No more than once or twice a month with a weak solution of fertilizer for cacti. It is acceptable to use complex preparations with a low nitrogen content.
Advice! With the onset of steady heat, cacti can be moved to the balcony or put out in the garden. In the outdoor environment, they harden, less often affected by diseases. Provide shelter from atmospheric precipitation.
Reproduction methods
Cacti reproduce by children. The shoots are separated from the main bush and rooted in light soil. Children quickly give roots and begin to grow. It is recommended to plant shoots in spring or early summer.
The seed method is not common, rarely used. Seeds sprout quickly and amicably. Seedling growth is slow. There are cases that even 2 years after the emergence of seedlings, the seedlings do not grow to the picking stage.
Advice! If you decide to try growing a cactus from seeds, soak them overnight in warm water. The next day, transfer to a saucer, cover with glass or film - leave for another day. Keep in a dark place. Prepare a 4% hydrogen peroxide solution, dip the seeds into it for literally 5 minutes. Rinse clean water, dry and only then plant.
From what insects and diseases to protect?
Among the pests there is a red spider mite, scale insect, mealybugs. The actions are the same in all cases - insecticides. It is recommended to choose drugs "Aktellik", "Aktara". The treatment is repeated several times, the plant and the soil around it are sprayed. Florists have to deal with other problems.
- Root rot. The result of overwatering. The plant is carefully removed from the pot, the rotting roots are cut off. Pour into container hot water, immerse the roots in it for 1-2 minutes. The treated plant is planted in a new soil.
- Rotting stems. It starts with high humidity. Dark softened areas form on the stems. The affected areas are carefully cut out with a sharp sterile knife or blade. Sections are treated with coal powder.
- Wrinkling of the end of the stem. Talks about excess moisture in the soil. Watering is temporarily stopped.
Otherwise, cacti are not capricious. They grow fast and bloom well. Different varieties harmonize with each other. If you love cacti, then you must have at least a few parodies in your collection.
Parody (Parodia) is a miniature representative of the Cactus. This small-sized plant came to us from the territories of Uruguay, Northern Argentina, Paraguay, South and Central Bolivia. Parody is a cactus that has pronounced ribs. Each rib is provided with tubercles. Each such tubercle has spines of different length and diameter. Parody blooms very beautifully. The flower is terry, located at the very top of the plant. The seed box, as well as the seeds themselves, are small, like dust.
Location and lighting
Parody needs a location in the room where it will receive maximum direct sunlight. However, in order to avoid getting burns, the plant must be accustomed to the bright sun gradually. On a short winter day, the parody needs additional artificial lighting so that the duration of summer and winter days is approximately the same. In the summer it will feel great outdoors, but does not tolerate rain drops.
Temperature
In summer and spring, the optimum temperature for keeping a parody is about 22-25 degrees. In the autumn-winter period, the cactus is at rest, so it is better that it be in a room with a temperature of 10 to 12 degrees. Temperatures below 7 degrees are considered fatal for him. Parody needs a constant supply fresh air, but it is not recommended to keep in a draft.
Air humidity
Air humidity is not a decisive factor in the cultivation of parody. The cactus will feel good and delight in flowering even in the dry air of a city apartment.
Watering
In spring and summer, watering the parody should be moderate as the topsoil dries up. Starting in autumn, watering is gradually reduced. In winter, the plant is at rest and may not need watering at all.
The soil
Soil for growing parodies can be bought ready-made in a specialized store, or you can make it yourself. It is necessary to mix leaf, peat and sod land, add sand and stone chips.
Top dressings and fertilizers
Parody needs regular fertilization in the spring and summer. To do this, use universal top dressing for cacti, diluted in a very low concentration. The frequency of fertilizer application is 2 times a month.
Transfer
Parody rarely needs a transplant. The reason why the cactus should be transplanted into a larger pot is the appearance of roots in the drainage holes. The bottom of the pot should be covered with a generous layer of drainage so that the water in the soil does not stagnate for a long time and does not destroy the root system.
There are two ways to propagate a parody: with the help of seeds and offspring. From seeds it is very difficult to get an adult plant. Seeds germinate at a temperature of about 20-25 degrees just a few days after planting, but then they begin to grow too slowly. It may even take two years, but the seedlings will not need to be transplanted into separate containers.
Offspring often appear on the mother plant. This method of reproduction is the most preferable and effective. The shoot is separated from the main plant and transferred to a new pot. The transplant procedure must be done in spring or early summer.
Diseases and pests
Parody can be affected by pests such as scale insects, mealybugs and spider mites. You can fight them with the help of insecticidal preparations in the form of a solution according to the attached instructions.
Parody golden-spined (Parodia aureispina)- is a cactus with a small size, the stem is covered with tubercles about 6 cm in diameter. The surface is made up of edges. There are 6 central and 40 radial spines, the largest and longest has a hook at the end.
Parody golden needle (Parodia chrysacanthion)- is a small cactus, rarely reaching a diameter of more than 10 cm. white color, the central largest is not bent into a hook. It blooms with yellow beautiful flowers of a rather large size.
Snow Parody (Parodia nivosa)- is a cactus with a compact size. The stem, as the plant grows, elongates in the shape of a cylinder. The length of the stem can reach 15 cm, and the diameter is about 8 cm. Each rib is covered with tubercles with spines. It blooms with beautiful bright red flowers with a diameter of about 5 cm.
Parody Schwebs (Parodia schwebsiana)- it's a cactus small size, the stem is spherical in shape, diameter is from 12 to 14 cm, height is from 10 to 12 cm. It has large spines, the central one is bent in the form of a hook. It blooms with bright red flowers of small size.
Parody of Leninghaus (Parodia leninghausii)- is a cactus with a long stem in the form of a cylinder. Stem diameter - about 15 cm, height - about 60 cm. Flowers are yellow-white, diameter - about 6 cm.
- reaches a height of about 15 cm. The stem is spherical in shape with a green and blue hue. The ribs are deeply cut. The diameter of the flowers is up to 4-5 cm, pale yellow.
Parody changeable (Parodia mutabilis)- has a spherical stem, diameter - about 8 cm. The central spines have a cruciform arrangement. It blooms with small flowers of a golden yellow hue.
Parody Maas (Parodia maasii)- is a small cactus, the stem is spherical in shape, but as it grows older it becomes cylindrical. The height of the stem is rarely more than 15 cm. The ribs are deeply cut and twisted into a spiral. The flowers are red with a copper tint, small in size.
Parody small seed (Parodia microsperma)- cactus, which early age has a spherical stem. As the stem grows, it takes on a cylindrical shape about 20 cm high. It has about 20 spirally twisted ribs. The spines are located on the costal tubercles. The plant blooms with orange flowers with a red tint, you can also find specimens with golden yellow flowers.
Parody of Faust (Parodia faustiana)- spherical cactus of compact size. It has ribs twisted in a spiral, there are only 24 spines. The flowers are golden yellow.
Parody Haagena (Parodia haageana)- this is a cactus with a large stem, the height of which reaches about 20 cm. The spines are small Brown completely cover the plant. Flowers small, red.
Parody(from Greek. parodia- rehash) - comic imitation. Usually built on a deliberate discrepancy between stylistic and thematic plans art form. The two classic types of parody are determined by the task that the parodist sets himself: burlesque - a low subject set forth in a high style, travesty- a high subject, stated in a low style. The first known parody was written in antiquity. In ancient times, it was believed that Homer wrote "Batrachomyomachia" ("The War of Mice and Frogs"), where the exploits of gods and heroes appeared reflected in the distorting mirror of the world of bestiaries. However, this version is not correct. M. L. Gasparov wrote about this: “Two hundred years ago you would have read in textbooks that, of course, Homer himself wrote The War of Mice and Frogs. A hundred years ago you would have read that it was composed two or three centuries later, during the Greco-Persian wars. Now you will read that it was composed two centuries later, in the Alexandrian era, when people had already learned to think and write in a way other than Homeric and it became easy to laugh at Homer's manner. And for the first time scientists doubted the authorship of Homer here why. In the "War of Mice and Frogs" ... Athena complains that the croaking of frogs keeps her awake until the rooster crows. And roosters and hens did not appear in Greece until two hundred years after Homer. " M. L. Gasparov, thus, shows not only how the ancient scientists were mistaken, but also provides a vivid illustration of the delusions of an entire era, hence the different attitudes towards the genre of parody and its forms are clarified. If, for example, Homer parodies his great creation, then he starts an intrigue with the reader or is disappointed in the truths presented. If the famous text is parodied by another author, then this is an expression of an ironic attitude to the world of the past, a travesty commentary on motives and images.
Ridicule can focus on both style and subject matter. The poetics of a particular work, author, genre, or a whole ideological direction can be parodied.
IN early XIX V. parody becomes in an efficient way conducting controversy. An example is the fact literary struggle when a war of styles broke out between the "archaists" (members of the "Conversation of Russian Word Lovers" society) and the "innovators" (the "Arzamas" circle). "Arzamas" ridiculed the stylistic standardization of the classicists. To exaggerate the former poetic canons, they not only showed examples of outrageous literature in parodies and epigrams, but also imitated the manners of their opponents in their behavior. The Arzamas meetings had a buffoonish ritual character: all members of the circle were awarded playful nicknames, a roast goose as a metaphor for sacrifice was a constant attribute of the meetings. In this way, they parodied the ritual forms of the Conversations meetings with the service-class and literary hierarchy that reigned in it. Ironically over the procedure of initiation in the "Beseda" society, upon joining the "brotherhood" Arzamas residents had to read a "eulogy" to their "deceased" predecessor from among the living members of the "Conversations". "Eulogy" parodied the "high" genres beloved by the "talkers", ornate style, sound cacophony their poetic opuses. Parodies were often written collectively.
The tradition of collective creativity and a literary pseudonym was revived during the period of exacerbation literary controversy already in the 40s. 19th century The beginning of this process was laid by the joint parodies of N. A. Nekrasov and I. I. Panaev, they were published under the pseudonym " New poet". The mask of the "New Poet" allowed critics not only to boldly express some political thoughts, but also to fight against the poets of "pure art".
Later the most is born famous image parodist Kozma Prutkov (brothers Alexei, Alexander, Vladimir Zhemchuzhnikov and A. Tolstoy).
By the nature of comedy, parody can be humorous, as, for example, a joke by Pushkin the Lyceum student about composing a poem on a given topic. A fellow student of Myasoedov, who was distinguished by exceptional stupidity, wrote about the rising sun in a literature lesson:
The ruddy king of nature flashed in the west...
And astonished nations
Don't know what to start
Go to bed or get up.
Parody can also be satirical, with many transitional steps. For example, parodies of A. Fet's poems. One of them is a sharp line by I. S. Turgenev, who constantly corrected the poet’s poems: “Something is blowing somewhere, it’s chilling ...”.
Yu. N. Tynyanov wrote in his article "Literary Fact": "Each term of the theory of literature must be a concrete consequence of concrete facts." Thus, parody is born in art as a means of controversy, a struggle against outdated norms or against the tradition of a theme, genre, or style.
A vivid example of a "concrete fact" that gave rise to new themes, new forms, and new parodies was A. S. Pushkin's novel "Eugene Onegin".
Like many of Pushkin's works, "Eugene Onegin" caused conflicting rumors, often caustic parodies. For example, F. N. Bulgarin could not resist writing in the "Onegin stanza" part of his review of the seventh chapter, which he considered empty, plotless and empty in all respects:
Well, how to dispel Tanya's grief?
Bo r how: put a maiden in a sleigh
And they will take you from nice places
To Moscow, to the fair of brides!
Mother is crying, daughter is bored:
End of the seventh chapter - period!
Bulgarin was most outraged by the parodic nature of Pushkin's novel. In the title of the novel, in the epigraph to the entire text, the author's irony is visible. The "noble" name of Eugene was already well known to contemporaries according to A. E. Izmailov's story "Eugene, or the Pernicious Consequences of Bad Education and Community". Yevgeny Negodyaev became a satirical "mask" in moralistic literature. The characterization given by Pushkin to the hero in the epigraph cast doubt on the authenticity of those qualities of character that distinguished the romantic hero: " Imbued with vanity, he possessed, moreover, a special pride, which prompts him to confess with equal indifference to his good and bad deeds, – a consequence of a sense of superiority, perhaps imaginary. The first chapter caused conflicting opinions of contemporaries precisely because Onegin did not at all resemble those heroes that literature knew. "Philosopher at eighteen" contemptuously refers to the world, "to life completely cooled", indifferent to love. And when Tatyana concludes that Onegin is a "parody", "imitation", "a Muscovite in Harold's cloak", the author confirms this idea with a plot. Literary criticism covers in detail the issue of the parodic levels of the novel (language and style, the romantic hero, the situation of a love date, the sensory world, etc.). The work of A. S. Pushkin has become that "literary fact" that changes the idea of the canon, is a new genre; it was "Eugene Onegin" who became the first Russian realistic novel and an encyclopedia of plots, images, types.
Later, D. D. Minaev will write a witty parody "Eugene Onegin of our time" - a novel in verse, but not with the aim of condemning weaknesses Pushkin's text, but in order to present the new "hero of the century" on the basis of well-known literary material:
My uncle, like Pavel Kirsanov,
When I fell ill in earnest,
He forced himself to pour
Perfume from head to toe...
One of the most famous and successful parodies of Minaev can be considered the poem "Cold, dirty villages ...".
Cold, dirty villages,
Puddles and fog.
castle destruction,
The speech of the villagers.
There is no bow from the courtyards,
Sideways hats
And worker Seeds
Cunning and laziness.
Other people's geese in the fields
The audacity of the caterpillars, -
Shame, the death of Rus',
And debauchery, debauchery!
This is a parody not so much of the poetic style of A. A. Fet, but of his protective views, which seemed criminal to the poets of the Nekrasov school. Their irony was also fed by the prose of the life of the poet - a stingy landowner who sued the peasants; in his declining years - a chamberlain, rejoicing at the key on a blue ribbon. And to aesthetes and supporters of the purity of the poetic word, Fetov's poems seemed mediocre. I. S. Turgenev wrote about Fet this way:
I stood still for a long time
And read strange lines;
And they seemed very wild to me
Those lines that Fet wrote.
I read ... what I read, I don't remember
Some mysterious nonsense;
A book fell out of my hands
I haven't touched her since.
An even sharper parody was written by Turgenev later:
And the mountain tops whisper: "Where is Fet?
Where is the poet
Whose verse is fresh caviar and sweeter than sweets?
A completely different meaning of the parodies of N. Worms and N. Dobrolyubov. In "Whistle" - the satirical department of the magazine "Contemporary" - Dobrolyubov parodied the romantic pathos of the poem "Whisper, timid breathing ...". He portrayed the date in a purely everyday way, retaining the external forms of Fet's poetic style:
The outline of a pretty head,
Passionate eyes shine,
Dissolvable lacing
Convulsive crack.
sweet hugs,
Kiss dumb -
And standing over the bed
Golden moon...
N. Worms drew attention to the fact that in Fetov's poem any lines can be interchanged and the work will not lose its meaning:
Sounds of music and trills, -
trill nightingale,
And under the thick lindens
Both she and me.
And she, and I, and trills,
Sky and moon
Trill, me, she and the sky,
Heaven and her.
This possibility to change Fet's verse without much semantic loss was brilliantly presented by D. Minaev in a parody-palindrome. M. L. Gasparov wrote the article "The Poetics of Parody" about this unique case of genre play, where he proved that Minaev's text is both compositionally and thematically more harmonious and interesting than Fet's original.
The lake fell asleep; the black forest is silent;
Like a young swan, the moon is in the sky
It glides and contemplates its double on the moisture.
The fishermen fell asleep at the sleepy lights;
Sometimes a heavy carp splashes near the reeds,
Letting wide circle run on moisture smooth.
How quiet... I hear every sound and rustle,
But the sounds of silence at night do not interrupt, -
Let the grasses on the water sway the mermaids...
Here is a parody of this poem by D. D. Minaev (under the pseudonym Mikhail Bourbonov):
Let the grasses on the water sway the mermaids,
Let the live trill be bright at the nightingale,
But the sounds of silence at night do not interrupt ...
How quiet... I hear every sound and rustle.
Having let a wide circle run through the smooth moisture,
Sometimes a heavy carp splashes near the reeds;
The pale sail does not move a fold;
The fishermen fell asleep at the sleepy lights.
Slides and contemplates his double on the moisture,
Like a young swan, the moon is in the sky.
A white mermaid carelessly swims out;
The lake fell asleep; silent black forest.
The impression of "authenticity" of the Minaevsky version is achieved by its inception. "Let..." or "Let..." is a characteristic opening in Russian elegiac lyrics ("Let the crowd stigmatize with contempt...", "Let the changing fashion tell us...", etc.). This initial "Let..." serves as a signal of periodic syntax. The sequence of images is confirmed by the entire composition of the text and the desire to comprehend silence. As in many of Fet's poems, the movement of images is transmitted through auditory and visual associations. There is a general feeling of transition from movement to rest. The direction of the author's and reader's gaze: "down, on the water - to the side and up - inside yourself." Each stanza begins with a downward movement and ends with an inward movement, begins with the image of water, and ends with the image of the soul.
Finally, the development of the text on a rhythmic level also accompanies the outlined composition. In the rhythm of the line, tension is first, and then its resolution (dactylic rhyme). The poem is printed without spacing between quatrains, one continuous tirade, and this feature fits into the artistic system of the main image.
If in the Minaevsky version the space expanded from stanza to stanza, then in the Fetov it narrows, and the sequence of this narrowing becomes the basis of the composition. In the first stanza, a lake framed by a forest and the sky are in sight. In the second stanza - the shore and the fishermen. In the last stanza - only the author's "I". For Minaev, nature is falling asleep, freezing, for Fet it is reviving and living through a visible dream and peace. Minaev's life is concentrated in the initial "I" and then gradually weakens. In Fet, life is dissolved in nature.
The flow of parodies on Fet's poems grows shallow outside the sixties. Repeatedly ridiculed, the features of his style are evaluated as virtues by the new legislators of literary taste. Fet's literary reputation changed dramatically at the turn of the 19th–20th centuries; the Symbolists added him to their genealogy. For V. Bryusov, A. Blok, K. Balmont, A. Fet is a congenial poet, a master of verse, to whose school they went voluntarily.
The impact of parody on the reader is very different. Often the reader does not perceive the text, where a parody of a style or image is fundamentally important for the author, on the contrary, he treats the image with special sympathy. If Pushkin in the novel "Eugene Onegin" is clearly ironic about Lensky the romantic and his examples of lyrical outpourings, then for many Lensky is an unfortunate victim of circumstances. So, in the libretto of P. I. Tchaikovsky's opera "Eugene Onegin" a poet with "a soul directly Goettingen" - main character, passionate and bold. In the same way, posterity ceases to grasp the parodic nature of Pushkin's "Belkin's stories" because this text is perceived in isolation from the contemporary context of the literary struggle. Yu. Tynyanov in his article "Dostoevsky and Gogol. Towards the Theory of Parody" wrote: "The reader's unacquaintance with the second plan ... entails depriving the parody of its parody."
The scientist notes that one should distinguish between stylization and parody: "Both of them live double life: behind the plan of the work there is another plan, stylized or parodied. But in parody, the inconsistency of both plans, their confusion, is obligatory; comedy will be a parody of tragedy (it doesn’t matter whether through emphasizing tragedy or through appropriate substitution comic). When stylizing, there is no such discrepancy; on the contrary, there is a correspondence of both plans to each other: the stylizing and the stylized through it.
Attention should be paid to the fact of self-parody. Such rehashings of own motives are known in the lyrics of N. Ogarev. For example, its variations on " an old house"and the poem" Kabak ". Chekhov sometimes resorted to a similar technique. In the plays he used replicas already known from the stories, but they acquired a parodic sound. In the Three Sisters, the phrase "He didn’t even have time to gasp, as the bear settled on him ", which in the story "At Friends" was read as an expression of the death of "noble nests." Or Chebuttkin's remark "tare ... ra ... bumbia I'm sitting on the pedestal" satirically functioned in the story "Volodya big and Volodya small".
Parody is an effective tool of criticism. The popularity of this method of conducting literary controversy falls on the 60s. 19th century M. E. Saltykov-Shchedrin, F. M. Dostoevsky parodied their ideological opponents. Writers included in their novels images-characters, which in a grotesque way represented the distinctive features of the poetics of the writer-opponent. So, Dostoevsky in the image of Karmazinov ("Demons") presented a caricature of Turgenev.
The heyday of parody is observed in the era of turning points, saturated with struggle literary schools, directions, groupings, marked by the breaking of old aesthetic tastes.
Teffi said that in the tradition of Russian literature it was to depict "purifying laughter through tears", but in life "laughter instead of tears" is more often observed. This made it possible for the authors of the Satyricon to talk about the complex simply and cheerfully. For example, they wrote their " world history", a kind of parody of official textbooks, presented their humorous interpretation of the historical path of Europe. They did not want to come to terms with only one official point of view on history, they tried to destroy the illusion of bourgeois prosperity and questioned the inevitable triumph of capitalism.
At the beginning of the century, I. Severyanin's poem "Overture" was perceived as a kind of bourgeois slogan:
Surprisingly tasty, sparkling and spicy!
I'm all in something Norwegian! I'm all in something Spanish!
I get inspired impulsively! And take up the pen!
In a group of nervous girls, in an acute society of ladies
I will turn the tragedy of life into a dream farce...
Pineapples in champagne! Pineapples in champagne!
From Moscow to Nagasaki! From New York to Mars!
This poem was sharply parodied by V. Mayakovsky: "Eat pineapples, chew grouse! Your last day is coming, bourgeois!"; and in very sad tones, as if nostalgia for the past, presented "Imitation of Igor Severyanin" by Don Aminado:
Don't try to get it. Don't guess thoughts.
Thought hovers in spaces, but cannot settle down.
Pineapples in champagne finally turned sour,
And in this state they are unthinkable to eat.
We must take and discard, and discard desires,
And understand the inevitability of both events and years,
For it is precisely the pineapples of exile that are bitter,
When there are pineapples and no champagne.
What, gentlemen, follows from this poetry?
The pineapple is already squeezed, and the idea is simple:
From champagne to a puddle - it happens in life,
And from the puddle back - a paradox and a dream! ..
By the 1920s parody as a form of literary controversy and as a genre is losing its popularity. Not only censorship bans ruined "jolly poetry". Artists could not show creative individuality, because "their hearts belonged to the party." In the literature of socialist realism, style became equal to genre. The dignity of a work is measured by the most accurate reproduction of socialist reality.
Parodists have no material left, but more - freedom of choice.
The collection "Parnassus on End" was published in Kharkov in 1925. It was a bright attempt by the followers of A. Potebnya and A. Veselovsky to present an illustration to the theory wandering plots. The plots "Once upon a time there was a gray goat with my grandmother", "The priest had a dog" and "Veverley went for a swim" were taken as the basis, which were re-arranged in different styles.
Here is a parody of the style of A. Vertinsky's romances:
Where did you go, my gray, my goat,
with a bell on his forehead and a ribbon on his horns?
Your garden is sad. Nannet old woman crying near
about dead love, about May past days.
In the last terrible hour I saw you so close
to a distant dark forest you were driven by a convertible.
Under the weight of the wolf then you fell low,
leaving only legs and horns for Nannet.
In the 1920s formed literary Association real art. But the "real" among the Oberiuts is the opposite of the "realistic" slogan of theorists of socialist realism. The Oberiuts perceived themselves as parodies of the heroes of the writers of Russian classical literature. Their absurd world is an attempt to represent the whole horror of modernity with the help of an "inverted image". Life becomes a parody of death. For them, defiantly children's language verse - the ruthless destruction of the classical poetic word. D. Kharms deliberately writes short stories about the life of Pushkin, where he represents him most ordinary person. He does this because people are accustomed to respectfully pronounce "Pushkin is a genius", "Pushkin is our everything", not understanding the true greatness of the Russian poet, because they do not know his works at all. A habit has formed to see in Pushkin "authority as a monument." But the author of wonderful tales and " captain's daughter"can be perceived as his contemporary. D. Kharms brought Pushkin closer to people. He wrote about him like this:" As you know, Pushkin never grew a beard. Pushkin was very tormented by this and always envied Zakharyin, whose beard, on the contrary, grew quite decently. “It grows with him, but it doesn’t grow with me,” Pushkin often said, pointing with his nails at Zakharyin. And he was always right."
In modern literary criticism, Mayakovsky was first of all entrenched in the idea of \u200b\u200ba poet-innovator, who in his work embodied the slogan of the futurists "throw off the ship of modernity" all previous ideas about poetic creativity. O. B. Kushlina in the book “Russian Literature of the 20th Century in the Mirror of Parody” writes: “By an order from the army of arts, all his work turned into one monolithic “GOOD”, and he himself became a dreary punishment for generations of Soviet schoolchildren. The “monument” to Mayakovsky is smeared today with so many layers of red paint that it is not clear whether it is bronze or plaster."
Still, it would be wrong to say that Mayakovsky was not among the great poets of Russian literature, that his work did not influence the development of poetic forms. Even the epigram of Y. Tynyanov, where Mayakovsky is presented in the series outstanding artists words, testifies to the epochal nature of his work:
Pushkin left the ode "Liberty",
And Gogol pulled the "Nose" for us,
Turgenev wrote "Enough"
And Mayakovsky "Good, sir."
If a poet deserves epigrams and parodies, this is already evidence of his genius. How many parodies were written on the poems of A. Fet! But it was precisely his "nonverbal" that became the traditional means of artistic expression, for example, in the poetry of Don Aminado or Balmont.
Mayakovsky himself parodied more than once brilliant creations Russian literature. In his poem "Good" a dialogue of two cultures is presented: the noble and the proletarian. Paraphrases create a parodic atmosphere, but do not detract from Pushkin's poetic images. The study of parodies of Mayakovsky's works allows the reader to see all the originality of his poetics.
In the 1960s. there is a surge of parodic texts, as the "wave of freedom" gives poets the opportunity to rethink what has become traditional or obligatory.
Mitki lifestyle, their poetic creativity revives the traditions of the Oberiuts. pointedly rude word, primitive illustrations to equally primitive poems allow poets to reduce the norms of classical culture, to discover poetry in everyday life.
The evolution of poetry is accomplished not only through the invention of new forms, but also through the parodic rethinking of cultural heritage.
From the early childhood all people love to imitate someone. For example, small children, before they have learned to speak, already repeat the sounds that dogs, cats, cows, pigs, birds, and so on make.
Older girls and boys begin to imitate their favorite idols, performing their works or voicing expressions from films and TV shows. And this is not surprising. Everyone is trying to look up to someone.
But in art there is a special genre called parody. It's the same as imitating someone. Consider where this word comes from.
Parody - what is it?
The word "parody" comes from the Greek words "para" - "near", "against", and "dia" - "song". Parody is an art where people imitate existing films, songs, clips and other works in a modified form. This is usually done in a humorous way, as a mockery.
Absolutely everything can be parodied: films, video clips, songs, some theatrical performances, compositions, poems, actions of some singer or actor.
The very first parody is associated with antiquity, with ancient literature and was called "Batrachomyomachia". This is a parody poem about the war of mice and frogs, using travesty (when a small object is described in high style). In this case, mice and frogs are small objects.
Parodies can be presented in various ways.
Directions of parody
There are parodies of songs, movies, literary, parody sites and others. Each of them is also classified according to certain characteristics.
Consider what a film parody is. Everyone knows what a “movie” is, which means that a film parody is a parody of a certain film. The most successful is an imitation of a well-known film. Movies such as Don't Be a Menace to South Central, The Naked Gun, Hot Shots, Top Secret, Not a Kid's Movie, and others have been parodied.
The horror film "Scary Movie" - really keeps the audience in a tense state. There are some pretty creepy moments when you want to close your eyes and no longer look at the screen. But a parody of this film makes the audience not only not afraid, but also laugh out loud. Yes, there is also a lot of blood, but still not scary, but funny.
Parody sites are made on popular web pages, on their external and internal design.
People are doing more and more parodies of songs, usually the most famous ones. Both the words and the sound of the melody can change. For example, a parody was made of such songs as "Flying gait ...", "It's fun to walk together ...", "Slowly the minutes float away into the distance ..." and others. Both the tsarist anthem and the anthem of the Russian Federation did not go unnoticed.
Literary parodies are also popular. This includes famous works, theatrical performances, poems and others.
There are three main genre paths in parody:
1. In a comic or humorous form, that is, not a mockery or mockery of the film or song, but with good intentions to the original. People do such parodies either out of a desire to imitate, or they want to gain popularity on the networks.
2. Satirical form - this means against the original. Presented as a mockery of the main characters of the film, making actors with scary faces, putting them in awkward situations. Or there is a mockery of the words of the songs - they are replaced by stupid, sometimes even obscene ones.
3. The latter is called "parodic use", that is, the focus is only on intra-literary purposes.
TV parodies
A few years ago, a TV show appeared on television and immediately fell in love with everyone. A big difference". She gained immense popularity, which indicates that this genre is in great demand. In this program, parodies of popular politicians, pop artists, TV presenters and so on were presented. The very name of the program, as it were, suggests that the audience must find the difference between the parody and the original.
The musical parody “What is a crisis?” was very original. to the song of the group DDT.
The most famous parodists of our country are Vladimir Vinokur, Maxim Galkin, Evgeny Petrosyan, Elena Vorobey, Mikhail Grushevsky and others. All of them can be seen on television, on the Internet. They parody different people, actors, performers.
Favorite group "Ex-BB"
Pretty unusual performance famous band"Ex-BB". Musically literate, with high artistry, the members of this group parodied many songs. In addition to songs, they made parodies of films. For example, the audience liked the film "Gentlemen of Fortune". Once you visit them, you will never forget them.
Afterword
It became fashionable to make parodies of clips. For example, the famous clip "On the Louboutins" was parodied several times. And all options are interesting and funny.
In the 60-70s of the twentieth century, Viktor Chistyakov was an outstanding parodist.
After analyzing the concept of "parody" (what it is, where it is used), we can say that this genre of art was created to cheer up the audience.
Anything, N2 caricature of anything
Parody Comic or satirical imitation of someone or somethingParody in the Encyclopedic Dictionary:
Parody - (Greek parodia) - 1) a genre in literature, theater, music, on the stage, conscious imitation for satirical, ironic humorous purposes of an individual manner, style, direction, genre or stereotypes of speech, play and behavior (see, for example, Kozma Prutkov). 2) Imitation, unconsciously distorting the sample. funny, distorted likeness of something.
The meaning of the word Parody according to Ushakov's dictionary:
PARODY
parodies, (Greek parodia, lit. song opposite, vice versa). 1. A satirical work in prose or in verse, comically imitating, ridiculing any. traits of others literary works(lit.). Parodies of Kozma Prutkov. the story of Gogol's Captain Kopeikin parody to a romantic robber story. IN different eras we allowed a lot of satires, epigrams, mocking inside out of the most famous works and all kinds of parodies. Gogol. 2. External, unsuccessful imitation of something, comically distorting the sample. - what is he (Onegin)? ... interpretation of other people's whims, full lexicon of fashionable words? ... parody whether he? Pushkin. || What-n. so distorted, so different from what it should have been, that it seems to be a mockery, a caricature. Tatyana Pavlovna hired this parody of an apartment just to be alone. Dostoevsky. Parody elections in fascist countries.
The meaning of the word Parody according to Dahl's dictionary:
Parody
and. Greek amusing alteration of an important essay, funny or mocking imitation. turning, writing or presenting inside out. To parody what, to represent, to portray in a funny, perverse way. turn inside out, turn inside out. make the important funny.
The meaning of the word Parody according to the dictionary of Brockhaus and Efron:
Parody(from the Greek word παρωδή. - chorus, couplet) - a kind of satirical poetry, states that the author ridicules some serious poetic work, imitating the form and tone of the latter, but deliberately substituting in place of images and concepts of graceful and majestic funny and insignificant . there is a kind of turning inside out of the ridiculed writer (hence the French synonym for parody - travestie, "turning"). P. is characteristic not only of fine literature, but also of other arts - but there it already bears other names (see Caricature). there is even a musical parody (like Mussorgsky's Raik). P. differs from pamphlet and satire in that he ridicules not so much individual public figures or entire social classes as one parodied writer. P. developed in Greece. one of its oldest monuments is P. "Iliad", the comic-heroic poem by Ligres "The War of Mice and Frogs" ("Batrachomyomachia", III, 182). P. developed, probably from satirical farces, which ended, for the entertainment of the audience, serious tragedies of classical antiquity. these farces often parodied the content of tragedies. On the same basis, P. developed in Roman literature - from the so-called. atellan, or atellan tales (see). in atellans often turned over ancient greek tragedies- for example, in the play "Agamemnon suppositus" by Pomponius ("Agamemnon inside out"). Since the Renaissance, it has become a custom in the literature of all countries to parody the works of classical antiquity. especially often parodied Virgil-Lalli in Italy ("Eneide travestita", 1633), Scarron in France ("Virgile travesti"), Blumauer (see) in Germany ("Virgils Aeneis iravestirt"), Osipov (see) and I. P. Kotlyarevsky (see) in Russia. In recent times, the scope of P. has expanded significantly. Bret Hart's Condensed Novels, who masterfully copied the style of the most famous French and English novelists of the 19th century, can serve as a witty and elegant example of the new novel. P. is also highly developed in the latest Russian literature. Pushkin in his "Ode to Khvostov" aptly mimicked the manner of the Russian ode painters of the 18th century. Later P. was written by B. Almazov, D. D. Minaev, V. P. Burenin. Sun. Ch.
Definition of the word "Parody" by TSB:
Parody(Greek parodna, literally - singing inside out)
in literature and (less often) in music and fine arts comic imitation of a work of art or a group of works. P. is usually built on a deliberate discrepancy between the stylistic and thematic plans of the artistic form. two classical types of P. (sometimes singled out in special genres) - Burlesque, a low subject, presented in a high style
(“The Stolen Bucket” by A. Tassoni, “Elisey ...” by V. I. Maikov), and travesty, a lofty object, presented in a low style (“Morgante” by L. Pulci, “Virgil’s Aeneid, turned inside out” by N. P. Osipov) . Ridicule can focus on both style and subject matter - ridiculed as clichéd, outdated methods of poetry, as well as vulgar, unworthy of poetry phenomena of reality. it is sometimes very difficult to separate the two (for example, in Russian humorous poetry of the 1850s-1860s, which exposed reality with the help of “rehashes” from A. S. Pushkin and M. Yu. Lermontov).
The poetics of a specific work of an author, a genre, an entire literary movement, an entire ideological worldview can be parodied (all examples can be found in the works of Kozma Prutkov). By the nature of comedy, P. can be humorous and satirical, with many transitional stages. In terms of volume, writing is usually small, but elements of writing can be abundantly present in large works.
(“Gargantua and Pantagruel” by F. Rabelais, “The Virgin of Orleans” by Voltaire, “The History of a City” by M.E. Saltykov-Shchedrin, “Ulysses” by J. Joyce). The first samples of P. appeared in antiquity (Batrachomyomachia, 6th century BC).
in the Middle Ages, biblical and liturgical texts were widely used. Subsequently, almost every change in literary epochs and trends (Renaissance, Baroque, Classicism, Romanticism, Realism, Modernism) was usually accompanied by a wave of P. on both sides. In Russian literature
