PROSE is the antonym of verse and poetry, formally - ordinary speech, not divided into selected commensurate segments - poetry, in terms of emotional and semantic - something mundane, ordinary, mediocre. In fact, the dominant form in the literature of two, and in Western Europe- the last three centuries.
Back in the 19th century. all fiction, including prose, was called poetry. Nowadays only poetic literature is called poetry.
The ancient Greeks believed that poetry uses a special speech, decorated according to the rules set out by its theory - poetics. Verse was one of the elements of this decoration, the difference between the speech of poetry and everyday speech. Oratory was also distinguished by ornate speech, but according to different rules - not poetics, but rhetoric ( Russian word“eloquence” literally conveys this feature of it), as well as historiography, geographical descriptions And philosophical works. Antique novel as the least “correct” one stood lowest in this hierarchy, was not very taken seriously and was not recognized as a special layer of literature - prose. In the Middle Ages, religious literature was too separated from secular, artistic literature itself, for the prose in both to be perceived as something unified. Medieval entertaining and even edifying works in prose were considered incomparable with poetry as such, which was still poetic. The Greatest Novel Renaissance - “Gargantua and Pantagruel” by Francois Rabelais (1494-1553) - belonged more to grassroots literature associated with folk laughter culture than to official literature. M. Cervantes created his “Don Quixote” (1605, 1615) as a parody novel, but the implementation of the plan turned out to be much more serious and significant. In fact this is the first prose novel(the chivalric romances parodied in it were mostly poetic), which was recognized as a work of high literature and influenced the rise of the Western European novel more than a century later - in the 18th century.
In Russia, untranslated novels appeared late, from 1763. They did not belong to high literature; a serious person had to read odes. In the Pushkin era, foreign novels of the 18th century. young provincial noblewomen like Tatyana Larina were keen on domestic ones, while an even more undemanding public was interested in domestic ones. But sentimentalist N.M. Karamzin in the 1790s. had already introduced prose into high literature - in the neutral and unregulated genre of the story, which, like the novel, was not included in the system of recognized classic genres, but also not burdened, like it, with unprofitable associations. Karamzin's stories became poetry in prose. A.S. Even in 1822, Pushkin wrote in a note about prose: “The question is, whose prose is the best in our literature? - Answer: Karamzin.” Ho added: “This is still not great praise...” On September 1 of the same year, in a letter he advised Prince P.A. Vyazemsky to seriously engage in prose. “They are tending to summer to prose...” - Pushkin noted, anticipating his poems in the sixth chapter of “Eugene Onegin”: “They are tending to summer to harsh prose, / They are driving summer to the naughty rhyme...” Author romantic stories A.A. In letters of 1825, he twice called on Bestuzhev (Marlinsky) to take up the novel, as later N.V. Gogol - move from stories to great work. And although he himself made his debut in prose in print only in 1831, simultaneously with Gogol (“Evenings on a Farm near Dikanka”) and, like him, anonymously - “Tales of the late Ivan Petrovich Belkin”, thanks primarily to the two of them in the 1830s gg. An epochal turning point has occurred in Russian literature, which has already occurred in the West: from predominantly poetic it becomes predominantly prosaic. This process ended in the early 1840s, when “A Hero of Our Time” (1840) by Lermontov (who had extensive plans in prose) and “ Dead Souls” (1842) Gogol. Nekrasov then “proseized” the style of verse poetry.
Poems regained their leadership for a relatively long period only by turn of XIX-XX centuries (“Silver Age” - in contrast to Pushkin’s “golden”), and then only in modernism. The modernists were opposed by strong realist prose writers: M. Gorky, I.A. Bunin,
A.I. Kuprin, I.S. Shmelev, A.N. Tolstoy and others; for their part, symbolists D.S. Merezhkovsky, Fedor Sologub, V.Ya. Bryusov and Andrei Bely, in addition to poetry, created fundamentally new prose. True, and in Silver Age(N.S. Gumilev), and much later (I.A. Brodsky) some poets put poetry much higher than prose. However, in the classics of the 19th-20th centuries, both Russian and Western, there are more prose writers than poets. Poems were almost completely squeezed out of drama and epic, even from lyric epic: in the second half of the 20th century. the only Russian poem of the classical level is Akhmatova’s “Poem without a Hero,” which is predominantly lyrical and began by the author back in 1940. Poems remained mainly for lyricism, and modern lyric poetry by the end of the century, as in the West, had lost a mass, even a wide readership, remained for a few fans. Instead of a theoretically clear division of the types of literature - epic, lyricism, drama - a vague but familiar one was fixed in the language: prose, poetry, drama (although lyrical miniatures in prose, strained poems and completely ridiculous dramas in verse are still being created).
The triumphant victory of prose is natural. Poetic speech is frankly conventional. Already L.N. Tolstoy considered it completely artificial, although he admired the lyrics of Tyutchev and Fet. In a small space intense in thought and feeling lyrical work poems look more natural than in lengthy texts. The verse has a lot of additional expressive means compared to prose, but these “props” are archaic in origin. In many countries of the West and East, modern poetry uses almost exclusively free verse (free verse), which has no meter or rhyme.
Prose has its structural advantages. Much less capable than verse of influencing the reader “musically,” it is more free in the choice of semantic nuances, shades of speech, and in the transmission of “voices.” different people. “Diversity”, according to M.M. Bakhtin, prose is inherent to a greater extent than poetry (see: Artistic speech). The form of prose is similar to other properties of both the content and form of modern literature. “In prose there is unity crystallizing from diversity. In poetry, on the contrary, there is diversity developing from a clearly declared and directly expressed unity.” Ho for modern man unambiguous clarity, “head-on” statements in art are akin to banality. Literature XIX and even more than the 20th century. prefers as a basic principle a complex and dynamic unity, a unity of dynamic diversity. This also applies to poetry. By and large, one pattern determines the unity of femininity and masculinity in the poems of A.A. Akhmatova, tragedy and mockery in the prose of A.P. Platonov’s seemingly completely incompatible plot and content layers - satirical, demonic, “evangelical” and the love connecting them - in “The Master and Margarita” by M.A. Bulgakov, novel and epic in “ Quiet Don” M.A. Sholokhov, the absurdity and touching character of the story by V.M. Shukshin “Weirdo”, etc. Given this complexity of literature, prose reveals its own complexity compared to poetry. That's why Yu.M. Lotman built the following sequence from simple to complex: “ Speaking- song (text + motive) - “classical poetry” - literary prose.” With a developed culture of speech, the “assimilation” of literary language to everyday language is more difficult than the clear, straightforward “dissimilarity” that poetic speech originally was. Thus, it is more difficult for a student to draw to draw a life that is similar than that which is dissimilar. Thus, realism demanded more experience from humanity than pre-realist movements in art.
One should not think that only verse has rhythm. Spoken speech is quite rhythmic, like normal human movements - it is regulated by the rhythm of breathing. Rhythm is the regularity of some repetitions in time. Of course, the rhythm of ordinary prose is not as orderly as that of poetry, it is unstable and unpredictable. There is more rhythmic (in Turgenev) and less rhythmic (in Dostoevsky, L.N. Tolstoy) prose, but it is never completely unordered. Syntactically prominent short sections of text do not differ greatly in length; they often begin or end rhythmically in the same way two or more times in a row. The phrase about the girls at the beginning of Gorky’s “Old Woman Izergil” is noticeably rhythmic: “Their hair, / silky and black, / was loose, / the wind, warm and light, / playing with it, / jingled with the coins / woven into it.” The syntagmas here are short and commensurate. Of the seven syntagmas, the first four and sixth begin with stressed syllables, the first three and sixth end with two unstressed (“dactylic” endings), inside the phrase the same way - with one unstressed syllable - two adjacent syntagmas end: “wind, warm and light” (all three words are rhythmically identical, consist of two syllables and are stressed on the first) and “playing with them” (both words end with one unstressed syllable). The only, last syntagma ends with an accent, which energetically ends the entire phrase.
The writer can also play on rhythmic contrasts. In Bunin’s story “Mr. from San Francisco,” the fourth paragraph (“It was the end of November...”) contains three phrases. The first is small, it consists of the words “but they sailed quite safely.” The next one is huge, half a page, describing the pastime on the famous “Atlantis”. In fact, it consists of many phrases, separated, however, not by a period, but mainly by a semicolon. They're like sea waves, overlap one another continuously. Thus, everything that is discussed is practically equalized: the structure of the ship, the daily routine, the activities of passengers - everything, living and inanimate. The final part of the gigantic phrase is “at seven they announced with trumpet signals what was the main goal of this entire existence, its crown...” Only here the writer makes a pause, expressed by an accent. And finally the last, final phrase, short, but as if equated to the previous one, so information-rich: “And then the gentleman from San Francisco hurried to his rich cabin to get dressed.” This “equation” enhances the subtle irony about the “crown” of this entire existence, that is, of course, dinner, although it is not deliberately named, but only implied. It is no coincidence that Bunin later described in such detail his hero’s preparation for dinner and his dressing in a hotel in Capri: “And then he again began to prepare, as if for a crown...” Even the word “crown” is repeated. After the gong (analogous to the “trumpet signals” on Atlantis), the gentleman goes to the reading room to wait for his not quite ready wife and daughter. There he suffers a blow from which he dies. Instead of the “crown” of existence there is non-existence. So rhythm, rhythm disruptions, and similar rhythmic semantic “roll calls” (with some reservations we can also talk about the rhythm of imagery) contribute to the merging of all elements of the text into a harmonious artistic whole.
Sometimes, since the end of the 18th century, and most of all in the first third of the 20th century, writers even metrize prose: they introduce the same sequence of stresses into syntagmas as in syllabic-tonic verses, but do not divide the text into poetic lines, boundaries between syntagmas remain unpredictable. Andrei Bely tried to make metered prose almost a universal form; he used it not only in novels, but also in articles and memoirs, which greatly irritated many readers. IN modern literature metrized prose is used in some lyrical miniatures and as separate inserts in larger works. When in a continuous text the rhythmic pauses are constant and the metered segments are equal in length, the sound of such a text is indistinguishable from a poetic text, like Gorky’s “Songs about the Falcon and the Petrel.”
PROSE is the antonym of verse and poetry, formally - ordinary speech, not divided into selected commensurate segments - poetry, in terms of emotional and semantic - something mundane, ordinary, mediocre. In fact, the dominant form in the literature of the last two, and in Western Europe - three centuries.
Back in the 19th century. all fiction, including prose, was called poetry. Nowadays only poetic literature is called poetry.
The ancient Greeks believed that poetry uses a special speech, decorated according to the rules set out by its theory - poetics. Verse was one of the elements of this decoration, the difference between the speech of poetry and everyday speech. Oratory was distinguished by ornate speech, but according to different rules - not poetics, but rhetoric (the Russian word “eloquence” literally conveys this feature), as well as historiography, geographical descriptions and philosophical works. The ancient novel, as the least “correct”, stood lowest in this hierarchy, was not taken seriously and was not recognized as a special layer of literature - prose. In the Middle Ages, religious literature was too separated from secular, artistic literature itself, for the prose in both to be perceived as something unified. Medieval entertaining and even edifying works in prose were considered incomparable with poetry as such, which was still poetic. The greatest novel of the Renaissance - “Gargantua and Pantagruel” by Francois Rabelais (1494-1553) - belonged more to grassroots literature associated with folk laughter culture than to official literature. M. Cervantes created his “Don Quixote” (1605, 1615) as a parody novel, but the implementation of the plan turned out to be much more serious and significant. In fact, this is the first prose novel (the chivalric novels parodied in it were mostly poetic), which was recognized as a work of high literature and influenced the rise of the Western European novel more than a century later - in the 18th century.
In Russia, untranslated novels appeared late, from 1763. They did not belong to high literature; a serious person had to read odes. In the Pushkin era, foreign novels of the 18th century. young provincial noblewomen like Tatyana Larina were keen on domestic ones, while an even more undemanding public was interested in domestic ones. But sentimentalist N.M. Karamzin in the 1790s. had already introduced prose into high literature - in the neutral and unregulated genre of the story, which, like the novel, was not included in the system of recognized classic genres, but also not burdened, like it, with unprofitable associations. Karamzin's stories became poetry in prose. A.S. Even in 1822, Pushkin wrote in a note about prose: “The question is, whose prose is the best in our literature? - Answer: Karamzin.” Ho added: “This is still not great praise...” On September 1 of the same year, in a letter he advised Prince P.A. Vyazemsky to seriously engage in prose. “They are driving Summer towards prose...” - Pushkin noted, anticipating his poems in the sixth chapter of “Eugene Onegin”: “They are driving Summer towards harsh prose, / They are driving Summer to the naughty rhyme...” The author of romantic stories A.A. In letters of 1825, he twice called on Bestuzhev (Marlinsky) to take up the novel, as later N.V. Gogol - move from stories to a great work. And although he himself made his debut in prose in print only in 1831, simultaneously with Gogol (“Evenings on a Farm near Dikanka”) and, like him, anonymously - “Tales of the late Ivan Petrovich Belkin”, thanks primarily to the two of them in the 1830s gg. An epochal turning point has occurred in Russian literature, which has already occurred in the West: from predominantly poetic it becomes predominantly prosaic. This process ended in the early 1840s, when “A Hero of Our Time” (1840) by Lermontov (who had extensive plans in prose) and “Dead Souls” (1842) by Gogol appeared. Nekrasov then “proseized” the style of verse poetry.
Poems regained their leadership for a relatively long period only at the turn of the 19th-20th centuries. (“Silver Age” - in contrast to Pushkin’s “golden”), and then only in modernism. The modernists were opposed by strong realist prose writers: M. Gorky, I.A. Bunin,
A.I. Kuprin, I.S. Shmelev, A.N. Tolstoy and others; for their part, symbolists D.S. Merezhkovsky, Fedor Sologub, V.Ya. Bryusov and Andrei Bely, in addition to poetry, created fundamentally new prose. True, both in the Silver Age (N.S. Gumilyov) and much later (I.A. Brodsky) some poets placed poetry much higher than prose. However, in the classics of the 19th-20th centuries, both Russian and Western, there are more prose writers than poets. Poems were almost completely squeezed out of drama and epic, even from lyric epic: in the second half of the 20th century. the only Russian poem of the classical level is Akhmatova’s “Poem without a Hero,” which is predominantly lyrical and began by the author back in 1940. Poems remained mainly for lyricism, and modern lyric poetry by the end of the century, as in the West, had lost a mass, even a wide readership, remained for a few fans. Instead of a theoretically clear division of the types of literature - epic, lyricism, drama - a vague but familiar one was fixed in the language: prose, poetry, drama (although lyrical miniatures in prose, strained poems and completely ridiculous dramas in verse are still being created).
The triumphant victory of prose is natural. Poetic speech is frankly conventional. Already L.N. Tolstoy considered it completely artificial, although he admired the lyrics of Tyutchev and Fet. In a small space of a lyrical work that is intense in thought and feeling, poems look more natural than in lengthy texts. Verse has a lot of additional means of expression compared to prose, but these “supports” are archaic in origin. In many countries of the West and East, modern poetry uses almost exclusively free verse (free verse), which has no meter or rhyme.
Prose has its structural advantages. Much less capable than verse of influencing the reader “musically,” it is more free in the choice of semantic nuances, shades of speech, and in conveying the “voices” of different people. “Diversity”, according to M.M. Bakhtin, prose is inherent to a greater extent than poetry (see: Artistic speech). The form of prose is similar to other properties of both the content and form of modern literature. “In prose there is unity crystallizing from diversity. In poetry, on the contrary, there is diversity developing from a clearly declared and directly expressed unity.” But for a modern person, unambiguous clarity and “head-on” statements in art are akin to banality. Literature of the 19th and even more of the 20th centuries. prefers as a basic principle a complex and dynamic unity, a unity of dynamic diversity. This also applies to poetry. By and large, one pattern determines the unity of femininity and masculinity in the poems of A.A. Akhmatova, tragedy and mockery in the prose of A.P. Platonov’s seemingly completely incompatible plot and content layers - satirical, demonic, “evangelical” and the love connecting them - in “The Master and Margarita” by M.A. Bulgakov, novel and epic in “Quiet Don” by M.A. Sholokhov, the absurdity and touching character of the story by V.M. Shukshin “Weirdo”, etc. Given this complexity of literature, prose reveals its own complexity compared to poetry. That's why Yu.M. Lotman built the following sequence from simple to complex: “colloquial speech - song (text + motive) - “classical poetry” - literary prose.” With a developed culture of speech, the “assimilation” of literary language to everyday language is more difficult than the clear, straightforward “dissimilarity” that poetic speech originally was. Thus, it is more difficult for a student to draw to draw a life that is similar than that which is dissimilar. Thus, realism demanded more experience from humanity than pre-realist movements in art.
One should not think that only verse has rhythm. Spoken speech is quite rhythmic, like normal human movements - it is regulated by the rhythm of breathing. Rhythm is the regularity of some repetitions in time. Of course, the rhythm of ordinary prose is not as orderly as that of poetry, it is unstable and unpredictable. There is more rhythmic (in Turgenev) and less rhythmic (in Dostoevsky, L.N. Tolstoy) prose, but it is never completely unordered. Syntactically prominent short sections of text do not differ greatly in length; they often begin or end rhythmically in the same way two or more times in a row. The phrase about the girls at the beginning of Gorky’s “Old Woman Izergil” is noticeably rhythmic: “Their hair, / silky and black, / was loose, / the wind, warm and light, / playing with it, / jingled with the coins / woven into it.” The syntagmas here are short and commensurate. Of the seven syntagmas, the first four and sixth begin with stressed syllables, the first three and sixth end with two unstressed (“dactylic” endings), inside the phrase the same way - with one unstressed syllable - two adjacent syntagmas end: “wind, warm and light” (all three words are rhythmically identical, consist of two syllables and are stressed on the first) and “playing with them” (both words end with one unstressed syllable). The only, last syntagma ends with an accent, which energetically ends the entire phrase.
The writer can also play on rhythmic contrasts. In Bunin’s story “Mr. from San Francisco,” the fourth paragraph (“It was the end of November...”) contains three phrases. The first is small, it consists of the words “but they sailed quite safely.” The next one is huge, half a page, describing the pastime on the famous “Atlantis”. In fact, it consists of many phrases, separated, however, not by a period, but mainly by a semicolon. They are like sea waves, lapping one another continuously. Thus, everything that is discussed is practically equalized: the structure of the ship, the daily routine, the activities of passengers - everything, living and inanimate. The final part of the gigantic phrase is “at seven they announced with trumpet signals what was the main goal of this entire existence, its crown...” Only here the writer makes a pause, expressed by an accent. And finally the last, final phrase, short, but as if equated to the previous one, so information-rich: “And then the gentleman from San Francisco hurried to his rich cabin to get dressed.” This “equation” enhances the subtle irony about the “crown” of this entire existence, that is, of course, dinner, although it is not deliberately named, but only implied. It is no coincidence that Bunin later described in such detail his hero’s preparation for dinner and his dressing in a hotel in Capri: “And then he again began to prepare, as if for a crown...” Even the word “crown” is repeated. After the gong (analogous to the “trumpet signals” on Atlantis), the gentleman goes to the reading room to wait for his not quite ready wife and daughter. There he suffers a blow from which he dies. Instead of the “crown” of existence there is non-existence. So rhythm, rhythm disruptions, and similar rhythmic semantic “roll calls” (with some reservations we can also talk about the rhythm of imagery) contribute to the merging of all elements of the text into a harmonious artistic whole.
Sometimes, since the end of the 18th century, and most of all in the first third of the 20th century, writers even metrize prose: they introduce the same sequence of stresses into syntagmas as in syllabic-tonic verses, but do not divide the text into poetic lines, boundaries between syntagmas remain unpredictable. Andrei Bely tried to make metered prose almost a universal form; he used it not only in novels, but also in articles and memoirs, which greatly irritated many readers. In modern literature, metrized prose is used in some lyrical miniatures and as separate inserts in larger works. When in a continuous text the rhythmic pauses are constant and the metered segments are equal in length, the sound of such a text is indistinguishable from a poetic text, like Gorky’s “Songs about the Falcon and the Petrel.”
Origin
Despite the apparent obviousness, there is no clear distinction between the concepts of prose and poetry. There are works that do not have rhythm, but are divided into lines and relate to poetry, and vice versa, written in rhyme and with rhythm, but relate to prose (see Rhythmic prose).
Story
Literary genres traditionally classified as prose include:
see also
- Intellectual prose
- Poetic prose
Notes
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Synonyms:See what “Prose” is in other dictionaries:
Prose writer... Russian word stress
URL: http://proza.ru ... Wikipedia
See Poetry and Prose. Literary encyclopedia. At 11 vol.; M.: Publishing House of the Communist Academy, Soviet encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929 1939 … Literary encyclopedia
- (lat.). 1) a simple way of expression, simple speech, not measured, as opposed to poetry, verses. 2) boring, ordinary, everyday, everyday, in contrast to the ideal, the highest. Dictionary foreign words, included in the Russian language.... ... Dictionary of foreign words of the Russian language
- (vital, everyday, life); everyday life, fiction, everyday life, everyday life, everyday trifles Dictionary of Russian synonyms. prose see everyday life Dictionary of synonyms of the Russian language. Practical guide. M.: Russian I... Synonym dictionary
PROSE, prose, many. no, female (lat. prosa). 1. Non-poetry literature; ant. poetry. Write in prose. “There are inscriptions above them both in prose and verse.” Pushkin. Modern prose. Pushkin's prose. || All practical, non-fiction literature (outdated).... ... Dictionary Ushakova
Art * Author * Library * Newspaper * Painting * Book * Literature * Fashion * Music * Poetry * Prose * Public * Dance * Theater * Fantasy Prose Some novels are too bad to be worth printing... But it happens that others... Consolidated encyclopedia of aphorisms
prose- y, w. prose f. , lat. prosa. 1. Speech that is not rhythmically organized. ALS 1. Drunk men and excrement of various animals are found in nature; but I would not want to read a living description of them, either in poetry or in prose. 1787. A. A. Petrov to Karamzin. //… Historical Dictionary of Gallicisms of the Russian Language
- (Latin prosa), spoken or written speech without division into commensurate segments of poetry. Unlike poetry, it relies on the correlation of syntactic units (paragraphs, periods, sentences, columns). Initially, business,... ... Modern encyclopedia
prose
and. Greek ordinary speech, simple, unmeasured, without size, opposite gender. poetry. There is also measured prose, in which, however, there is no syllable size, but a type of tonic stress, almost like in Russian songs, but much more varied. Prose writer, prose writer, prose writer writing in prose.
Explanatory dictionary of the Russian language. D.N. Ushakov
prose
prose, plural no, w. (Latin: prosa).
Non-poetry literature; opposite poetry. Write in prose. Above them are inscriptions both in prose and verse. Pushkin. Modern prose. Pushkin's prose.
All practical, non-fiction literature (outdated). Until now, our proud language is not accustomed to postal prose. Pushkin.
trans. Everyday life, everyday life, something that is devoid of color, brightness, liveliness. Among our hypocritical deeds and all sorts of vulgarity and prose. Nekrasov. Prose of life or everyday prose.
Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.
prose
Non-poetry literature, as opposed to poetry. Fiction. Write in prose.
trans. Everyday, everyday life. Everyday item of life.
adj. prosaic, -aya, -oe (to 1 meaning).
New explanatory dictionary of the Russian language, T. F. Efremova.
prose
Rhythmically unorganized speech.
Non-poetry literature.
trans. decomposition Boring monotony; everyday life, everyday life.
Encyclopedic Dictionary, 1998
prose
PROSE (from Latin prosa) oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic structures (periods, sentences, columns). Initially, business, journalistic, religious-preaching, scientific, memoir-confessional forms developed. Fiction(story, tale, novel) is predominantly epic, intellectual, in contrast to lyrical and emotional poetry (but lyrical prose and philosophical lyrics); originated in ancient literature; from the 18th century came to the fore as part of verbal art.
Prose
(lat. prosa),
artistic and non-fictional (scientific, philosophical, journalistic, informational) verbal works, in which the most common feature of poetic speech is missing (breakdown into verses).
In a narrower and more common sense, it is a type of word art, literature, correlated with poetry, but differing from it in special principles of creation art world and organization of artistic speech. See Poetry and Prose.
Wikipedia
Prose
Prose- oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic structures (periods, sentences, columns). Sometimes the term is used as a contrast fiction in general, scientific or journalistic literature, that is, not related to art.
Examples of the use of the word prose in literature.
She continued the conversation about small things, about mundane things: “However, I got distracted, but the conversation was not about prose, but about poetry.
Generally autobiographical prose, critical articles and poetry constitute for Grigoriev the three cornerstones of his work, being in a peculiar relationship with each other.
If I belonged to the elite, I would spend more money than effort, If I lived in the Paleolithic, I would crush my neighbor’s skull with a club, When I would measure the race track in circles, I would show remarkable agility, But if I could suddenly write poetry, I would instantly stop prose speak.
The model reproduces the style and partly the vocabulary of early Anglo-Saxon prose using rhythmic and alliterative techniques.
Rhythmization prose, the alliterations, assonances, and rhymes abundantly found in him, due to the special pathos of his inherent manner, create the impression of ornateness, designed for a special effect.
To do this, he used the baggage of metaphors, comparisons, antitheses and other embellishments of classical rhetoric, and borrowed the tool of alliteration from his native poetry to give his prose bright sound color.
That is why cante jondo, and especially sigiriya, gives us the impression of being sung prose: any sense of rhythmic meter is destroyed, although in fact the lyrics are composed of tercets and quatrains with assonant rhyme.
Both then and now the absurdity of such a statement is obvious to me, although Tsirlin was not alone - this was evidenced by the speeches of some historians at the discussion about historical prose.
The poem addressed to Wigel ends with the words: I will be glad to serve you - In verses, prose, with all my soul, But, Vigel - have mercy on my ass!
I love the Gnessin school for the song, for the excess prose, behind yellow, which is presented to November like a bunch of mimosa.
New Age Gothic style established itself in the mid-seventies of the eighteenth century, which was expressed in prose, poetry and art.
Phillips began to write for tabloid magazines, and, in addition, processed entire mountains of almost hopelessly graphomaniacal prose and the lyrics sent to him by amateur writers who hoped that Phillips's magic pen would help them see their works in print - all this allowed him to lead a fairly independent lifestyle.
The latter will become characteristic feature and all subsequent autobiographical works Grigoriev in verse and prose.
Only in the early prose Grigoriev, one can detect direct traces of Heine’s influence.
If Guiraldez had not absorbed French metaphorism and American-British structuralism, we would not have had classical Argentine prose!
Prose(lat. prōsa) - oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic structures (periods, sentences).
So what is this - prose
It would seem that this is such a simple concept that everyone knows. But this is precisely where the difficulty of describing it lies. It’s easier to define what poetry is. Poetic speech is subject to strict laws and rules.
- It is a clear rhythm or meter. Like in a march: one - two, one - two, or like in a dance: one - two - three, one - two - three.
- Although an optional condition: Rhyme, that is, words that are consonant in their pronunciation. For example, love is a carrot or prose is a rose, etc.
- A certain number of stanzas. Two stanzas are a couplet, four are a quatrain, there are eight stanzas, as well as various combinations of them.
Everything else is written or oral speech that does not obey these laws is prose. In it, words flow like a full-flowing river, smoothly, freely and independently, obeying only the thoughts and imagination of the author. Prose is a description in simple accessible language of everything that is around.
There is such a thing as the prose of life. These are everyday, mundane events that happen in people's lives. Writers who describe these events in their works. Writers are called prose writers. You don't have to look far for examples.
All world classic literature, and not only classical. F.M. Dostoevsky, L.N. Tolstoy. M. Gorky, N.V. Gogol are great prose writers. Open any of their books, and you will immediately understand what prose is, if you didn’t already know it.
But there are still people in the wide, vast expanses of our Motherland who seriously believe that prose writers are the kind of people who write about ZAEK. Some consider them illiterate and uneducated, while others, on the contrary, consider them original and creative. The choice is yours.
So what is prose? Look carefully, here is an example of a simple prose work. This article. And if someone still doesn’t understand what prose is, then read it again.