Ballad

What is a ballad? Here’s a quick and simple definition:

A ballad is a type of poem that tells a story and was traditionally set to music. English language ballads are typically composed of four-line stanzas that follow an ABCB rhyme scheme.

Some additional key details about ballads:

• The ballad is one of the oldest poetic forms in English.
• There are so many different types of ballad that giving one strict definition to fit all the variations would be nearly impossible. The simplest way to think of a ballad is as a song or poem that tells a story and has a bouncy rhythm and rhyme scheme.
• Traditional ballads are written in a meter called common meter , which consists of alternating lines of iambic tetrameter (eight syllables) with lines of iambic trimeter (six syllables).
• Many ballads have a refrain (a line or stanza that repeats throughout the poem), much like the chorus of modern day songs.

Ballad Pronounciation

Here’s how to pronounce ballad: Bal-lad

Ballads, Meter, and Rhyme Scheme

Ballads are a type of formal verse, meaning that they tend to have both strict meter and a defined rhyme scheme. For that reason, it’s helpful to have a strong grasp of what meter and rhyme scheme are in order to understand ballads. We provide more details about these terms on their own pages, but here’s a quick guide:

• Meter: A pattern of stressed and unstressed syllables that creates the rhythm of lines of poetry. Each stress pattern is composed of repeating units (da-dum, da-dum, da-dum, for example) where each unit (da-dum) is called a foot . There are different types of feet; for instance, an iamb is a foot with an unstressed syllable followed by a stressed syllable (de-fine), while a trochee has the opposite: a stressed syllable followed by an unstressed syllable (Po-et). Poetic meters are defined by both the type and number of feet they contain. For example, iambic pentameter is a type of meter that contains five iambs per line (thus the prefix “penta,” which means five).
• Rhyme scheme: Poems that make use of end rhymes (rhymes at the end of each line), often do so according to a repeating, predetermined pattern. That pattern is called a rhyme scheme. Rhyme schemes are described using letters of the alphabet, so that each line of verse that corresponds to a specific type of rhyme used in the poem is assigned a letter, beginning with “A.” For example, a four-line poem in which the first line rhymes with the third, and the second line rhymes with the fourth has the rhyme scheme “ABAB.”

Meter in Ballads

Though the majority of ballads use iambs as their main foot , there is no specific meter required for a ballad. This means that while one ballad might use common meter (and many do), another ballad might use a different sort of meter. Generally speaking, ballads have a consistent meter throughout, so that a ballad in common meter will be common meter all the way through, while a ballad with another meter will use that meter all the way through. However, even poems with consistent meter tend to have some mild variations on that meter within them, meaning that a ballad in iambic pentameter will likely contain occasional lines of eleven or more syllables that break the “ten syllables per line” rule of iambic pentameter.

Ballad Rhyme Scheme

The stanzas of a typical ballad follow the rhyme scheme “ABCB.” For instance, here’s the first stanza of a famous Irish folk ballad entitled “Tam Lin” that exemplifies the traditional A B C B rhyme scheme.

O I forbid you, maidens all ,
That wear gold in your hair ,
To come or go by Carterhaugh ,
For young Tam Lin is there .

The same ballad has a refrain of six lines that shows how the typical “ABCB” rhyme scheme can be modified for stanzas with more than four lines. The following stanza has a rhyme scheme of A B C B D B .

Janet has kilted her green kirtle
A little above her knee ,
And she has braided her yellow hair
A little above her bree ,
And she’s away to Carterhaugh
As fast as she can hie .

Note: “bree” means “brow,” and “hie,” means “go.” Also, “hie” is pronounced “hee,” so it rhymes with “knee” and “bree.”

The Evolution of the Ballad

The ballad as a musical and poetic form originated in Europe in the late middle ages—as early as the 14th century—when traveling minstrels popularized the form. Since then, many writers have adapted the ballad to their own vision for new and original compositions. As a result, many different types of ballads exist. These variations can largely be broken up into three main categories that help define the evolution of the ballad:

• Folk ballads are traditional ballads (such as “Tam Lin” and “Robin Hood”) that existed as an oral (and often musical) tradition before they were recorded in written language. These ballads are, therefore, typically not attributable to any one author. These are some of the oldest ballads, and they tend to tell stories of love and adventure. Folk ballads typically employ common meter . Since the alternating four-stress and three-stress lines of common meter harken back to the seven-stress lines of the Old English epic poem Beowulf, some people speculate that the form of the ballad derives from that poem.
• Lyrical ballads, also called “literary ballads,” are poems that began to appear in the 18th century as a new variation on the folk ballad. Although the Romantic poets who pioneered the form of the lyrical ballad were inspired by the musical traditions surrounding traditional folk ballads, lyrical ballads have little to do with oral tradition or music. Writers of lyrical ballads from the 18th to the 20th century, such as Coleridge and Poe, continued to use the “bouncy” rhythm of the iamb to tell their stories, but they allowed themselves to stray from always using common meter. In addition, these poets expanded the subject matter of the ballad by using lyrical ballads to tell everyday stories, rather than only stories characterized by excitement or adventure.
• Modern ballads: The word ballad is used today to describe many different types of poems and songs that tell stories, but not all modern ballads adhere to the conventions of meter or rhyme schemes that once defined the form. The musical roots of the ballad have, however, endured. Narrative songs—and especially pop songs about love—are often referred to as ballads. While this is a reminder of the ballad’s origins, the ballad today enjoys less prestige than it once did when it was considered to be a form whose merit was largely literary rather than musical.

Ballad Examples

The following examples of ballads show several types of variations of the form. To help highlight the structure of each example, we’ve highlighted all “A” rhymes in green , “B” rhymes in red , and “C” rhymes in yellow .

Folk Ballad: “Barbara Allen”

“Barbara Allen” is a folk ballad that follows the traditional A B C B rhyme scheme. As is usually the case with traditional ballads, the author of this ballad is unknown because the lyrics have been passed down through oral tradition. Like other traditional ballads, “Barbara Allen” is often set to music.

In Scarlet town, where I was born ,
There was a fair maid dwellin ’,
Made every youth cry Well-a- way !
Her name was Barbara Allen .

Lyrical Ballad: “La Belle Dame sans Merci: A Ballad”

John Keats’ ballad “La Belle Dame sans Merci: A Ballad” is a perfect example of the lyrical ballad’s departure from the form of the traditional ballad. While this poem employs the ABCB rhyme scheme and refrain (“O what can ail thee, knight-at-arms”) that are typical of a traditional ballad, Keats’ use of meter is unconventional for a ballad—particularly the short fourth lines of each stanza.

O what can ail thee, knight-at- arms ,
Alone and palely loitering ?
The sedge has withered from the lake ,
And no birds sing .

O what can ail thee, knight-at- arms ,
So haggard and so woe- begone ?
The squirrel’s granary is full ,
And the harvest’s done .

Lyrical Ballad: “The Rime of the Ancient Mariner”

Samuel Taylor Coleridge’s long lyrical ballad “The Rime of the Ancient Mariner” employs many different types of meter, but the poem frequently uses common meter (the alternation of iambic tetrameter with iambic trimeter), as in the second stanza below.

Water, water, every where ,
And all the boards did shrink ;
Water, water, every where ,
Nor any drop to drink .

The very deep did rot – Oh Christ !
That ever this should be .
Yea, slimy things did crawl with legs ,
Upon the slimy sea .

Ballad: “The Ballad of Reading Gaol”

Oscar Wilde’s famous ballad is based on a six-line stanza instead of the traditional ballad’s four-line stanza, and it has an “ABCBDB” rhyme scheme. The poem is written in common meter, which was typical of the traditional ballad.

And all men kill the thing they love ,
By all let this be heard
Some do it with a bitter look ,
Some with a flattering word ,
The coward does it with a kiss ,
The brave man with a sword !

Ballad: “Annabel Lee”

Edgar Allen Poe’s ballad breaks with convention by using stanzas of varying lengths and a highly irregular meter. However, the poem does employ the typical ABCB rhyme scheme (though it can be ABCBDB or even ABCBDBEB in longer stanzas) and a refrain: “In this kingdom by the sea.”

I was a child and she was a child ,
In this kingdom by the sea ,
But we loved with a love that was more than love —
I and my Annabel Lee —
With a love that the wingèd seraphs of Heaven
Coveted her and me .

And this was the reason that, long ago ,
In this kingdom by the sea ,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee ;
So that her highborn kinsmen came
And bore her away from me ,
To shut her up in a sepulchre
In this kingdom by the sea .

Modern Ballad: “Livin’ on a Prayer”

Bon Jovi’s mega-hit from the 1980s, “Livin’ on a Prayer,” is a pop ballad: like traditional ballads, it tells a story, it’s set to music, and it has a repeating refrain that makes the lyrics stick in your head. The song does not, however, employ the traditional ABCB rhyme scheme. The excerpt below contains the first verse and the song’s refrain.

Once upon a time not so long ago
Tommy used to work on the docks, union’s been on strike
He’s down on his luck, it’s tough, so tough
Gina works the diner all day working for her man
She brings home her pay, for love, for love

.

Woah, we’re half way there
Woah, livin’ on a prayer
Take my hand, we’ll make it I swear
Woah, livin’ on a prayer

Why Do Writers Choose to Write Ballads?

As the ballad has undergone major shifts in form and content throughout its centuries-long history, the answer to why poets write ballads question differs, primarily based on the era in which a ballad was written. Folk ballads—the oldest form of ballad—were generally transmitted orally, so the repetitive form of the ballad was helpful for memorization. The strict meter and rhyme scheme of folk ballads helped singers and storytellers to remember the words of the poems, as did the recurring sounds of rhymes and the repeating words of refrains. All in all, the traditional ballad was an ideal form for narrative poetry that was transmitted orally because the form made the words so easy to remember. In addition, the communal nature of oral and musical storytelling made the ballad a perfect form for transmitting and preserving a culture’s most important stories and myths.

After the advent of printing, though, memorization became less important—poetry was no longer exclusively an oral tradition, nor even the primary means of telling stories. In this context, writers’ interest in ballads shifted away from the features that had made this form helpful for oral and musical storytelling, and more towards the form’s potential in written language. A writer of this new kind of ballad—which coalesced into its own form of ballad, the lyrical ballad, in the 18th century—would choose a lyrical over a traditional ballad because of its less strict conventions regarding meter and rhyme and, more importantly, because the lyrical ballad took everyday life as its subject matter, rather than the tales of love and adventure that were the typical subjects of the folk ballad. Since writers used lyrical ballads to tell their own stories rather than the stories and myths of a broader culture (and because lyrical ballads were written rather than sung), the lyrical ballad was considered to be a more literary form than the traditional ballad. Thus, a writer might choose to write a lyrical ballad because the prestige of the form, combined with its association with the folk ballad, could give power to a commonplace story, placing a writer’s own everyday life or observations alongside myths that were immortalized by traditional ballads.

The era of the lyrical ballad is considered to have been the apex of the ballad’s literary prestige. While lyrical ballads are still written today, the ballad as a literary form began to lose its prestige during the Victorian era because of its increasing association with sentimentality. This uptick in sentimentality accompanied the return of ballads to their musical roots; rather than poems about everyday life, the term “ballad” began, in the 19th century, to connote something closer to its contemporary meaning, a slow love song. Contemporary ballads, like traditional ballads, use music to talk about love, but they have no strict meter or rhyme scheme. A writer today would be most likely to write a ballad out of the desire to tell an emotional story through song. This, however, is just the most common usage of “ballad”—the term can still be used by poets to describe poetry that tells a story, regardless of its meter and rhyme.

Other Helpful Ballad Resources

• The Wikipedia Page on Ballad: A somewhat technical explanation, with more details about ballads in different cultures.
• The dictionary definition of Ballad: A basic definition that includes a bit on the etymology of ballad (spoiler: it comes from the French word for “dance”).
• Ballads on Youtube
  • A rendition of the traditional Irish ballad Tam Lin that gives a sense for the musical and folk traditions behind these types of ballads.
  • The original music video for Bon Jovi’s “Livin on a Prayer” is a good example of a modern pop ballad.
  • An unconventional ballad by Allen Ginsberg can give you a sense for how in modern times “ballad” has become a kind of catch-all phrase that can refer to poems of all sorts of different types.

  Ballad

  A ballad is a form of narrative verse that is considered either poetic or musical. As a literary device, a ballad is a narrative poem, typically consisting of a series of four-line stanzas. Ballads were originally sung or recited as an oral tradition among rural societies and were often anonymous retellings of local legends and stories by wandering minstrels in the Middle Ages. These traditional or “folk” ballads are sometimes referred to as “popular” ballads. Literary ballads are deliberate creations by poets in imitation of the form and spirit of a traditional ballad.

  One of the most famous ballads in poetry and literature is “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge. Coleridge incorporates many aspects of a traditional folk ballad, including a dramatic story of the journey of an old sailor. In addition, “The Rime of the Ancient Mariner” features conventional ballad elements such as dialogue, word and phrase repetition, and patterns of rhyme and rhythm. Coleridge also implants a Romantic writing influence in his ballad as well, by emphasizing the supernatural and utilizing elevated sound devices. The merging of traditional folk ballads and Coleridge’s own style as a poet creates a complex poem that is beautifully composed.

  Common Examples of Subject Matter Found in Ballad

  • tragic romance
  • reimagination of legends
  • religion, life, and death
  • recounting historical events
  • the supernatural
  • happy love stories
  • honor of warriors/soldiers
  • despair of poverty
  • personal stories
  • archetypal stories

  Examples of Ballads in Popular Music

  • Knockin’ on Heaven’s Door (Bob Dylan)
  • Yesterday (The Beatles)
  • Piano Man (Billy Joel)
  • Can’t Help Falling in Love (Elvis Presley)
  • You’ve Lost that Lovin’ Feeling (Righteous Brothers)
  • American Pie (Don McLean)
  • Wish You Were Here (Pink Floyd)
  • Angie (Rolling Stones)
  • Only the Lonely (Roy Orbison)
  • Bridge Over Troubled Water (Simon & Garfunkel)
  • Tears in Heaven (Eric Clapton)
  • Stairway to Heaven (Led Zeppelin)
  • Open Arms (Journey)
  • He Ain’t Heavy (He’s My Brother) (The Hollies)
  • Desperado (The Eagles)

  Famous Examples of Ballads in Poetry

  • John Barleycorn: A Ballad (Robert Burns)
  • The Ballad of the Dark Ladie (Samuel Taylor Coleridge)
  • A Ballad of Burdens (Algernon Charles Swinburne)
  • A Ballad of Boding (Christina Rossetti)
  • The Ballad of East and West (Rudyard Kipling)
  • The Ballad of Moll Magee (William Butler Yeats)
  • Bridal Ballad (Edgar Allan Poe)
  • The Ballad of Reading Gaol (Oscar Wilde)
  • The Sonnet-Ballad (Gwendolyn Brooks)
  • A Ballad of the Two Knights (Sara Teasdale)
  • An Eastern Ballad (Allen Ginsberg)
  • The Ballad of the Landlord (Langston Hughes)
  • Ballad of the Long-Legged Bait (Dylan Thomas)
  • A Boston Ballad (Walt Whitman)
  • The Ballad of the Harp-Weaver (Edna St. Vincent Millay)

  Structure of Ballad

  Most ballads are structured in short stanzas. They often feature quatrain which is known as “ballad measure,” with alternating lines of iambic tetrameter and iambic trimeter. In general, the second and fourth lines of each stanza rhyme, although occasionally the first and third lines rhyme. Some ballads feature two lines rather than four, which are from rhymed couplets of seven-stress lines.

  Ballad is a general literary term that does not require a fixed poetic form. Many ballad poems are variations of the form or departures from it. As a form of narrative verse, ballads can be poetic or musical, but not all of them are songs. In addition, though most ballads tell a story, this is not a requirement of balladry. As a result, the structure of the ballad is a narrative poem or song, but there can be many variations for this literary form.

  Meter and Rhyme Scheme in Ballads

  Almost every good ballad has a four-lined stanza. It is also called a ballad stanza or a ballad measure. It is known to be borrowed from the Persian quatrain. However, its history and unknown origin make it specifically associated with English ballads. Its rhyme scheme is usually ABCB and four and three accented lines with first and third and second and fourth respectively. They are also called iambic tetrameter and trimeter. However, some ballads have an ABAB rhyme scheme.

  The Evolution/History of the Ballad

  Derived from the Scottish word “ballares” which means to dance, the ballad has become popular as a narrative song with a specific theme and function. However, it is stated that it has been derived from Germanic traditions of telling stories through poems. One such poem is Beowulf. It has also an alternative word in French, ballade, while ballet, too, is stated to have originated from ballare, the main Scottish root. The tradition of music has entered into it from the Minnesang traditions. The first ballad in English is “Judas” with its history going back to the 13 th century.

  The Importance of Ballads in Modern Literature

  The question of whether ballads are important in modern literature is very tricky. If tribal traditions become a priority in some cultures where ballads are conventionally included in weddings and other festivals, then ballads become important in the modern literature of that region. If not, postmodern trends have relegated ballads to secondary positions due to the popularity of other genres. Despite this cultural shift, some regions and some singers prefer ballad writing due to their entertainment purposes and emotional expressions.

  Difference between Balland and Epic Poem

  Both ballad and epic poems seem to have been written for the purpose of singing or narrating the story with music, both are entirely different. Though a ballad is a short poetic form, an epic is usually very long, comprising almost 12 books in some cases. A ballad has a specific short theme, while an epic has several themes woven into the main theme. A ballad has a rhyme scheme, while an epic is written in blank verse. A ballad has a few stanzas, while an epic runs thousands of lines. Therefore, both are different poetic forms. Also, whereas a ballad has a commonplace theme in simple language, an epic has a grand theme, written in grand style and iambic pentameter.

  How to Write a Ballad?

  1. It must be relevant to the culture, region, and tribal customs.
  2. Choose your topic and create a narrative poetic form.
  3. Divide it into stanzas with a specific rhyme scheme that you want to use.
  4. Check your syllables for accent.
  5. Revise it for clarity and rhythm.
  6. Check the use of regional metaphors and similes.

  Structure of Ballad

  1. It follows ABCB or ABAB rhyme scheme.
  2. It is always written in quatrain form or four-lined stanzas.
  3. The first and third lines are written in iambic tetrameter.
  4. The second and fourth lines are in the trimester.
  5. It is a story in narrative poetic form.
  6. It is used for singing on some occasions.

  Characteristics of Ballad in Literature

  1. It has a rhythm and music.
  2. Its purpose is to express strong emotions through music.
  3. It has a good rhyme scheme with ABAB or ABCB rhyme scheme.
  4. It has a regional theme and regional musicality.
  5. It has a good regional story.
  6. It is in narrative poetic form.

  Examples of Ballads in Literature

  As a literary device and form of narrative verse, balladry represents a melodious form of storytelling. Therefore, the ballad has greatly impacted poetry and poets across time. Here are some examples of ballads in literature and the lasting value of these works.

  Example 1: La Belle Dame sans Merci by John Keats

  In his poem, Keats utilizes the traditional ballad form of measures and meter. In addition, his narrative verse reflects the traditional folklore setting of the Middle Ages, with a knight as the main character and kings and princes–all of who have been entranced by “La Belle Dame sans Merci.” The mournful tone of the poem along with the conflict of enchantment and dreamscape in opposition to reality is also resonant with traditional balladry.

  Keats was among the Romantic poets that revitalized ballads as a poetic form of literature. This allowed for a new appreciation of balladry in poetry in addition to a literary form for others to expand and create new variations. Unlike other poetic forms that are strict in compositional elements, balladry is versatile in its narrative verse, musicality, and structure. This gives readers an opportunity to appreciate ballads from the Middle Ages, to Keats, to contemporary poets and lyricists.

  Example 2: Annabel Lee by Edgar Allan Poe

  The Angels, not half so happy in Heaven,
  Went envying her and me—
  Yes!—that was the reason (as all men know,
  In this kingdom by the sea)
  That the wind came out of the cloud by night,
  Chilling and killing my Annabel Lee.

  But our love it was stronger by far than the love
  Of those who were older than we—
  Of many far wiser than we—
  And neither the angels in Heaven above
  Nor the demons down under the sea
  Can ever dissever my soul from the soul
  Of the beautiful Annabel Lee;

  For the moon never beams, without bringing me dreams
  Of the beautiful Annabel Lee;
  And the stars never rise, but I feel the bright eyes
  Of the beautiful Annabel Lee;
  And so, all the night-tide, I lie down by the side
  Of my darling—my darling—my life and my bride,
  In her sepulchre there by the sea—
  In her tomb by the sounding sea.

  “Annabel Lee” is a narrative poem due to its characters, conflict, and story arc. Most people, including Poe himself, consider this poem to be a ballad although the measure and meter don’t perfectly follow the traditional form. However, the mournful tone of the poem, the story of lost love, and the musicality of the work through the repetition of words and phrases evoke the feeling of balladry in Poe’s poem.

  In addition, Poe incorporates elements honoring medieval ballads through the subject of true love and the setting of “this kingdom by the sea.” This underscores a sense of timelessness, both within the poem itself and through its balladry. The poet’s love for Annabel Lee has not died with her death. In fact, the poet has entombed himself by devoting his life and love to his “bride.” This feeling of timelessness is captured in the poem, and the poem itself is timeless in its narrative and ballad form.

  Example 3: Ballad of the Goodly Fere by Ezra Pound

  If they think they ha’ snared our Goodly Fere
  They are fools to the last degree.
  “I’ll go to the feast,” quo’ our Goodly Fere,
  “Though I go to the gallows tree.”

  “Ye ha’ seen me heal the lame and blind,
  And wake the dead,” says he,
  “Ye shall see one thing to master all:
  ‘Tis how a brave man dies on the tree.”

  A son of God was the Goodly Fere
  That bade us his brothers be.
  I ha’ seen him cow a thousand men.
  I have seen him upon the tree.

  He cried no cry when they drave the nails
  And the blood gushed hot and free,
  The hounds of the crimson sky gave tongue
  But never a cry cried he.

  Pound notes at the beginning of his ballad that the speaker is “Simon Zelotes speaking after the Crucifixion.” This gives context to the narrative verse, as the reader understands the “Goodly Fere” is Jesus Christ. Through his use of ballad form, Pound effectively creates a sense of melody that is like a folk song. This form combined with the context of the narrative results in the figure of Jesus being portrayed in a way that resembles a folk hero or legendary man, rather than a divine being.

  This focused portrayal of Jesus as a man among men reinforces and emphasizes his actions as being heroic rather than a result of divinity or martyrdom. For example, when the poet states that Jesus did not cry out as the nails were driven into him and that his blood “gushed hot and free,” these images are of a mortal man bearing great suffering. Therefore, the impact of this ballad on the reader is both a reminder of Jesus as a man and admiration for him as such, apart from being the Son of God.

  Synonyms of Ballad

  Ballad, like most literary devices, only has a few distant meanings or synonyms such as song, folk song, ditty, canzone, ditty, poem, tale, and shanty.

  Related posts:

  Роза флорибунда: выращивание и сорта

  Автор и редактор: Елена Н. https://floristics.info/ru/index.php?option=com_contact&view=contact&id=19 Правки: 13 сентября 2023 Опубликовано: 07 июля 2020 Первая редакция: 07 июля 2020 🕒 9 минут 👀 106505 раз 💬 3 комментария

  Флорибунда – популярная разновидность садовых роз. Главным достоинством флорибунды является ее способность цвести практически непрерывно в течение лета и осени до самых холодов. Однако королева цветов капризна и не терпит дилетантов, поэтому каждому, кто хочет украсить свой цветник розой флорибунда, нужно сначала изучить правила ухода за ней. О них мы и поговорим.

  Что представляет из себя флорибунда

  История происхождения разновидности

  До сих пор доподлинно не выяснено, кто из двух селекционеров – датчанин Свенд Поульсен или немец Петер Ламберт – является автором флорибунды, но появился этот гибрид в результате скрещивания чайно-гибридных и полиантовых роз. А создателем более шестидесяти современных высокодекоративных сортов флорибунды, которые выращиваются сегодня по всему миру, является американский ученый Евгений Бернер.

  Ботаническое описание

  От полиантовых роз флорибунда унаследовала богатство расцветок и форму бутона, а от чайно-гибридных – устойчивость к низким температурам, к различным хворям и вредителям. Диаметр цветков этого класса достигает 4-8 см. Простые, махровые, полумахровые и густомахровые цветки могут иметь бокаловидную или чашевидную форму.

  Характерным для кустов флорибунды является букетный тип цветения, когда множество цветков образует крупное соцветие. Цветут эти розы долго, обильно, но волнообразно: период массового формирования цветков сменяется периодом менее интенсивного цветения.

  Поражают растения этого класса и многообразием расцветок. Относительным недостатком некоторых сортов флорибунды считается отсутствие запаха у цветков. По высоте куста сорта делятся на бордюрные (высотой до 40 см), среднерослые (от 60 до 80 см) и высокорослые (от 1 м и выше). Высаживают флорибунды вдоль бордюров, в качестве солитера на газонах или в групповых композициях с почвопокровными и многолетними травянистыми культурами.

  Посадка флорибунды

  Подготовка к посадке

  В условиях средней полосы саженцы флорибунды с открытыми корнями лучше сажать в конце мая или в начале июня, а в регионах с более теплым климатом это можно делать и осенью – с сентября до середины октября. Саженцы в контейнере можно сажать в течение всего вегетационного периода. Найдите для растения защищенный от сквозняков участок, который освещается солнцем большую часть дня, однако не в полуденные часы: под интенсивными лучами на листьях розы могут появиться ожоги, а бутоны и цветки быстро выгорают и делаются блеклыми.

  Почву на участке перед посадкой нужно привести в соответствие с требованием флорибунды: в глинистый грунт нужно внести компост и песок, а в песчаный – глину с перегноем.

  При посадке в каждую яму нужно добавлять 40 г суперфосфата и немного костной муки. А можно просто приготовить плодородную почвенную смесь для заполнения посадочной ямы из равных частей песка, торфа, глины, садовой земли и перегноя, добавив в нее по горсти суперфосфата и костной муки. Ямки выкапывают диаметром 50 см и глубиной 30-40 см. В качестве садовой земли для почвенной смеси используют верхний слой грунта, вынутый при выкапывании ямы. На дно каждой ямы для улучшения дренажных качеств почвы укладывают слой крупнозернистого песка.

  Как сажать

  При покупке отдайте предпочтение привитым саженцам: они более устойчивы к низким температурам, инфекциям и вредителям. Порядок процедуры посадки следующий:

  • корневую систему саженца замачивают на сутки в воде или в растворе стимулятора роста – Корневина или Эпина;
  • посадочную яму обильно поливают, а когда вода впитается, на дно помещают песок, а на него насыпают горкой плодородную удобренную почвенную смесь, на которую устанавливают саженец розы таким образом, чтобы место прививки после посадки оказалось на глубине 3-5 см;
  • расправьте корни саженца в направлении их роста, но если они находились в контейнере, трогать их не нужно;
  • оставшееся пространство заполняют такой же плодородной почвой, слегка утрамбовывают поверхность, еще раз поливают саженец в специально сделанную на расстоянии 20 см от кустика круговую борозду, а когда вода впитается, куст окучивают, а прикорневую зону флорибунды мульчируют органическим материалом – опилками, перегноем, керамзитом, соломой или торфом. Слой мульчи должен быть толщиной 6-8 см;
  • если вы сажаете несколько кустов, располагайте их на расстоянии полуметра друг от друга.

  О том, как обрезать саженец перед посадкой, вы узнаете из следующего видео:

  Если вы высаживаете розу весной, накройте саженец на первое время бумажным колпаком, чтобы защитить его от прямых солнечных лучей. Убрать защитное покрытие можно будет, когда саженец укоренится и пойдет в рост.

  Уход за розой флорибунда

  Полив

  Основные действия по уходу за этим классом роз рутинны: полив, рыхление грунта вокруг куста, прополка, подкормка, обрезка, защита от болезней и вредителей и подготовка к зиме. Полив растению в жару нужен обильный – до 10 л под каждый куст, а как часто придется увлажнять почву, вы должны определить сами. В обычную летнюю погоду полив проводят рано утром или после захода солнца один раз в неделю, а в засушливый период флорибунду поливают два раза. Особенно растение нуждается во влаге, когда на нем распускаются почки и когда появляются первые цветки. В конце лета полив постепенно сокращают, но если осень будет аномально сухой, поливайте розу один раз в две недели.

  После полива или дождя нужно время от времени рыхлить почву вокруг куста, стараясь при этом не повредить корни розы. Глубина рыхления 8-10 см.

  Подкормка

  • ранней весной, после обрезки, но до распускания листьев, а потом еще раз через две недели в приствольный круг заделывают аммиачную селитру из расчета 30 г/м²;
  • примерно в середине мая, когда роза начнет формировать бутоны, полейте хорошо увлажненный грунт вокруг куста раствором 30 г полного минерального удобрения в 10 л воды, расходуя 3 л на каждое растений;
  • когда первая волна цветения пойдет на спад, флорибунду по мокрому грунту еще раз подкармливают раствором комплексного минерального удобрения;
  • в октябре розу можно подкормить калийно-фосфорным комплексом из расчета 30 г/м². Азот с августа в грунт не вносят.

  Обрезка

  Обрезают розы этого класса трижды за сезон:

  Весной, до начала сокодвижения, проводят санитарную и формирующую обрезку куста, однако постарайтесь не переусердствовать, иначе ваша роза зацветет лишь к концу лета;

  Летом, после того, как интенсивность первой волны цветения пойдет на спад, в целях стимулирования повторного цветения побеги укорачивают на несколько сантиметров;

  Осенью с кустов удаляют старые ветки и слабые побеги, которые не переживут зиму. Если вы живете в теплом регионе, такой обрезки будет достаточно, потому что розы укрывать на зиму вам не придется. Но в районах, где зимой бывают ощутимые морозы, флорибунду нужно укрывать, поэтому оставшиеся побеги укорачивают до 40 см, после чего осторожно, чтобы не повредить почки, снимают с побегов все листья. Не забудьте после обрезки собрать и сжечь растительные осадки.

  Подготовка к зиме

  Готовить розу к зиме начинают в середине осени, после санитарной обрезки куста. Обработайте розу и почву вокруг нее трехпроцентным раствором железного купороса или бордоской жидкости и замульчируйте прикорневой участок толстым слоем (25-30 см) торфа или сухой земли. Если вы живете в средней полосе или еще севернее, оберните куст на зиму спанбондом или лутрасилом.

  Как правильно укрывать розы на зиму О том, как защитить розу от болезней и вредителей, вы узнаете из следующего видеоматериала:

  Сорта роз флорибунда

  Флорибунда с белыми цветками

  Космос – растение с устойчивыми к осадкам ароматными густомахровыми кремовато-белыми цветками. Куст крупный, высотой до 120 см.

  Айсберг (или Белоснежка) –обильно и продолжительно цветущий сорт, стойкий ко всем неблагоприятным факторам. Белые цветки собраны в крупное соцветие. Куст компактный, высотой до полутора метров.

  • Алебастр,
  • Аспирин,
  • Бордюр Бланш,
  • Карт Бланш,
  • Ла Палома,
  • Мисс Файн и другие.

  Флорибунда с кремовыми и желтыми цветками

  Амбер Куин – непрерывно цветущий куст высотой до 1 м с блестящими крупными листьями и янтарными цветками. Сорт устойчив к основным болезням роз.

  Лампион – обильно цветущий новый сорт немецкой селекции с ароматом средней интенсивности. Цветки биколор – желтые с красными наружными лепестками. Куст высотой до 90 см.

  Кроме описанных, в культуре востребованы такие сорта с желтыми цветками:

  • Голден Веддинг,
  • Джулия Чайлд,
  • Голдквелле,
  • Дольче Вита,
  • Фрезия,
  • Чина Герл,
  • Комтесс дю Барри,
  • Эттрекшн,
  • Аустралиан Голд,
  • Бернстайн,
  • Али Дорате,
  • Эбэндэнс,
  • Энтони Мейлэнд и другие.

  Флорибунда с оранжевыми цветками

  Энн Харкнесс – устойчивый к осадкам и болезням поздний сорт с абрикосовыми цветками, источающими едва различимый аромат. Куст достигает в высоту полутора метров.

  Эйрбраш – куст высотой 60 см с нарядными полумахровыми цветками в оранжево-желтых тонах и ярко-розовых брызгах. Растение достаточно холодостойко и устойчиво к заболеваниям.

  В этой цветовой гамме популярны также сорта:

  • Бордюр Камайо,
  • Бриоса,
  • Циркус,
  • Доктор Джо,
  • Изи Даз Ит,
  • Феллоушип,
  • Картенспасс,
  • Голделз,
  • Айрис Уэбб,
  • Джаз,
  • Жан Кокто,
  • Джет Сет,
  • Кимоно,
  • Ла Севильяна и другие.

  Флорибунда с розовыми цветками

  Сити оф Лондон – этот сорт подходит для живой изгороди: в высоту он может вырасти до 2 м, а в ширину – до 1,7 м. Средней махровости цветки диаметром до 8 см окрашены в нежный перламутрово-розовый цвет.

  Мария Терезия – стойкая к заболеваниям, капризам природы и низким температурам роза с нежным ароматом высотой до 60 см с блестящими темными листьями и переливающимися от жемчужно-розового к кремово-сливочному оттенку лепестками.

  Прекрасны также розы сортов:

  • Секси Рекси,
  • Маню Мэйлэнд,
  • Ламинетт,
  • Ханс Гоневейн,
  • Ханна Гордон,
  • Хоум энд Гарден,
  • Герцогиня Кристиана,
  • Ай эм Грейтфул,
  • Инджой,
  • Диадема,
  • Эден Романтика,
  • Фортуна,
  • Гейша,
  • Карманьоль,
  • Цикламен,
  • Берлебург,
  • Бетти Бур,
  • Блю Берд,
  • Боника 82,
  • Бриллиант Пинк,
  • Боттичелли,
  • Акрополис,
  • Энджел Фэйс,
  • Энджел Айз,
  • Астрид Линдгрен,
  • Астрономия и другие.

  Флорибунда с красными цветками

  Эвелин Фисон – стойкий ко всем катаклизмам, постоянно цветущий сорт высотой до 85 см с ярко-красными цветками до 8 см в поперечнике. В каждом соцветии по 7-10 бутонов.

  Блэк Форест Роуз – компактный куст высотой более 1 м с некрупными темно-зелеными листьями и яркими красными полумахровыми цветками со слабым ароматом. Эти розы устойчивы к заболеваниям, зимостойки и хорошо стоят в срезке.

  Прекрасны также красные розы сортов:

  • Сити оф Бэлфэст,
  • Кло Флери Вермийон,
  • Кордула,
  • Фестиваль,
  • Ферст Кисс,
  • Братья Гримм,
  • Индиенс Раффлз,
  • Лаваглут,
  • Лили Марлен,
  • Любекер Ротспон,
  • Маликорн и другие.

  Флорибунда с пестрыми цветками

  Орэндж энд Лемон – почти беспрерывно цветущий куст высотой 1-2 м с ярко-желтыми цветками диаметром до 8 см, покрытыми оранжевыми пятнами, полосами и штрихами.

  Лэтс Селебрэйт – обильно цветущий куст высотой до 1 м с плотными, блестящими листьями и серебристо-розовыми цветками в малиново-фиолетовых пятнышках и штришках.

  Поражают необычной окраской также сорта:

  • Пурпурный тигр,
  • Гримальди,
  • Камиль Писсарро,
  • Дип Импрешн,
  • Нью Имэджин,
  • Нимэ,
  • Сэнтиментэл,
  • Тауни Тайгер,
  • Токад и другие.