Epic as a type of literature.

The term “epic”, inherited from antiquity, going back to the ancient Greek word “epos” (literally, word, narrative, story), denotes a literary genre that recreates an objective picture of the world, existing completely independently of the narrator.

The eventfulness inherent in epic works makes them predisposed to plot. Epic has certain advantages over lyricism and drama, having complete freedom in the organization of artistic time and space and having a universal arsenal of means not only for the objective depiction of reality, but also for the subjective expression of the author’s consciousness and characters. In other words, the epic has unique ability absorb elements of both poetry and drama, adapting them into an overall narrative structure.

The specificity of epic imitation, according to Aristotle, is that the poet talks about the event in a detached manner, as something external, separate from himself.

An epic work, not limited by either volume or regulated speech structure, includes lyrical digressions, and dramatic forms of monologue, dialogue and polylogue. The narration in an epic usually comes either from the author-narrator, or from the hero-storyteller, or without personalization, as if on behalf of the truth itself, the all-seeing and all-knowing author, or, finally, from a generalized representative of a certain society, behind whose speech mask the writer hides his the true face, as a result of which the method of narration serves not only as a means, but also as the subject of the image.

The complete freedom of the epic work in organizing the chronotope, expressing the author's consciousness, thoughts and experiences of the characters, a flexible variety of storytelling methods, a universal range of visual and expressive means, and the absence of strict regulation in their use collectively provide it with inexhaustible possibilities in the implementation of the cognitive function.

Like any kind of literature or oral folk poetry, the epic is divided into types, which, in turn, are divided into genres. The leading type of oral folk art is a fairy tale. It is based on a narrative with a fictional attitude. This type of folklore epic is represented by tales about animals, magical, adventurous, everyday, boring, tall tales, etc.

If in a fairy tale the fantastic element is perceived as a conventional fiction, then in traditions and legends (from the Latin legenda - that which must be read) it constitutes the very essence of their creation and functioning and is completely sincerely experienced as reality, supernatural, amazing, but all- still reality. Tradition is a legendary tale based on the memory of genuine historical events, transformed by folk imagination. Legends mostly served as material for poems heroic epic.

The concept of “heroic epic” appears both in folklore and literary studies. On the one hand, this is a work or a set of works of oral creativity of a people, reflecting a holistic picture of its historical existence, mainly in the early stages of development.

The genre forms of the epic poem are extremely diverse. Its most monumental form - epic (from the Greek epos + poieo - narrative, story + create) - depicts nationally significant events of a mythological, historical and (or) legendary nature, deeply engraved in people's memory and transformed by people's imagination. Later, the folk epic was replaced by the author's literary epic: “War and Peace” by Tolstoy, “Quiet Don” by Sholokhov. In two recent cases, however, it is more logical to talk about an epic novel.

Among the literary forms of epic, the novel stands out - this is a large epic form, usually with a branched plot, a narration about the fate of one or several heroes. The term “novel” originated in the Middle Ages and originally meant any work written in one or another national Romance language (and not in scholarly Latin).

Of course, as it evolved, the term “novel” significantly narrowed its original scope, retaining only partially the original properties of the concept it denotes.

A certain rival to the novel in the epic genre of literature can only be a story, short story and short story, connected together into an integral systemic unity.

The concept of “story” appears in at least two main meanings. In ancient Russian literature, a story was a work that objectively, without obvious rhetorical tricks, described something that really happened (for example, “The Tale of Bygone Years”). Currently, the story is an average epic form, where the action passes through several similar plot situations, presented by a certain directly or indirectly personified narrator. The story is inferior to the novel in its holistic depiction of reality; The organizing center in it usually becomes the narrative itself or the perception of the author's mediator.

But the story also coexists with epic types of small form - short stories and short stories, in which the action is limited to one conflict situation. The small volume naturally affects the structural features of both types: the meager concentration of the landscape, exterior and interior, portrait characteristics, a minimized number of characters, an ascetic lack of development of the event plan, increased severity of the conflict, emphasized dynamism in the development of the plot, emphasis on the climax and the forced role of artistic detail.

What is the difference between a short story and a novella? In view of the exceptional diversity of their real national and historical forms, it is not easy to answer this question. The etymology of the terms themselves sheds some light on the problem. Italian in origin, the word “short story” (novella - lit, news) appeared in the Renaissance to designate popular prose works, characterized by extreme brevity, rapid paradoxical development of plot twists and turns and unexpected endings. Initially, it was an imitation of an oral live story, reminiscent of an anecdote in its structure.

Another thing is the story. This is a small epic form that arose at the turn of the 18th-19th centuries, the main structure-forming element of which was the situation of storytelling. As a rule, this is a story told by someone in a suitable situation, and then simply a free narrative, reminiscent of the first reference samples. For a long time, the story had no restrictions in volume and, in essence, was no different from a story or even a novel (the main thing is that there was a storytelling situation).

The essay has its definite place - a type of small epic form, based on real life material and gravitating towards journalism. There are different types of essays: documentary, journalistic, and artistic.

The fable is a small epic form of didactic literature - short story allegorical in nature, genetically dating back to fairy tales about animals, also related to anecdotes, proverbs, and sayings. The characteristic features of the fable structure are two-part structure: the narrative usually ends or opens with a “moral” (moral conclusion, teaching) and structural ambivalence (both prose and poetic fables have existed since ancient times).

A genre that combines the features of epic and lyrical literature: lyric epic work plot work, a narrative about the events, actions and experiences of the characters, written in poetic form. L. e. and. historically... ... Dictionary of literary terms

LYRO-EPIC GENRE- (type), literary works of art that combine the features of epic and lyric poetry; the plot narration of events is combined in them with emotionally meditative statements of the narrator, creating an image of the lyrical “I”. The connection between two... ... Literary encyclopedic dictionary

Lyric-epic genre- (type) of a literary work of art combining the features of Epic and Lyrics (See Lyrics); the plot narration of events is combined in them with emotionally meditative statements of the narrator, creating an image of a lyrical... ... Great Soviet Encyclopedia

lyric-epic genre- lyrical narrative, usually poetic. New dictionary foreign words. by EdwART, 2009 … Dictionary of foreign words of the Russian language

genre- A; m. [French] genre] 1. A historically established type of art or literature, characterized by certain plot, compositional, stylistic and other features; individual species of this genus. Musical and literary genres... encyclopedic Dictionary

EPIC- EPIC, epic, epic. 1. adj. to the epic; belonging to the epic (lit.). Epic genre. “The age of epic poems has passed away and stories in verse have fallen into decay.” Lermontov. 2. transfer Majestically calm (book). Speak in an epic tone. Intelligent... ... Dictionary Ushakova

GENRE- (French genre) (in art) a historically established internal division in all types of art; the type of a work of art in the unity of the specific properties of its form and content. The concept of genre generalizes the features characteristic of a broad... ... Big Encyclopedic Dictionary

- ▲ type of art genre type of l. art. genre. ▼ instrumental genres, vocal genres, painting genres... Ideographic Dictionary of the Russian Language

Genre- (poetic) certain type literary work. The main genres can be considered epic, lyrical and dramatic, but it would be more accurate to apply this term to their individual varieties, such as an adventure novel, a clownish comedy... Literary encyclopedia

GENRE- (French genre), a historically established internal division of an art form; the type of a work of art in the unity of the specific properties of its form and content. Summarizes the features characteristic of a wide group of works of any... ... Modern encyclopedia

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Autobiography(from Greek autos – myself, bios - life, grapho - writing), lit. prose genre, as a rule, a consistent description by the author own life. Early examples of the genre are “Confession” by St. Augustine, a later example is “Confession” by Jean-Jacques Rousseau. An autobiographical life story is characterized by the desire to comprehend the life lived as a whole, to give empirical existence formality and coherence. A person writing a literary autobiography often resorts to fiction; he “adds on” and “rewrites” his life, making it more logical and purposeful. A. - ϶ᴛᴏ always an act of overcoming the passing time, an attempt to return to one’s own childhood, youth, an attempt to resurrect the most significant and memorable periods of life - as if to live life all over again: A. in this regard, are written, as a rule, in mature years when most of life's journey is already behind you.

Dystopia, dystopia, negative utopia, image (usually in artistic prose) dangerous, harmful and unforeseen consequences associated with building a society corresponding to a particular social ideal. Dystopia emerges and develops as the utopian tradition of social thought consolidates (see. Utopia), often fulfilling the role in its own way of an extremely important dynamic corrective to a utopia that is always somewhat static and closed.

Fable, genre of didactic literature: short story in verse or prose with a directly stated moral conclusion, giving the story an allegorical meaning. A short fable sometimes called apologist. The narrative part of the fable is close to fairy tales (especially about animals), short stories, and anecdotes; the moralistic part - with proverbs and maxims, the same material flows freely between the fable and these related genres. Unlike a parable, which exists only in context (on an occasion), a fable exists independently (applied to different occasions) and develops its own traditional range of images and motifs (animals, plants, schematic images of people, plots like “how someone wanted to make themselves better” , but only made it worseʼʼ). Often in a fable there is comedy, often there are motives social criticism. In Russia, the main stages of its development were the amusing fable of A.P. Sumarokova, instructive I. Khemnitser, graceful I.I. Dmitrieva, the slyly sophisticated I.A. Krylova. Since the middle of the 19th century, fable creativity in Russia and Europe has been dying out.

Introductory novella(introductory story), a short story or a story included in a large plot-based work of art, usually has a plot that is not related to the general narrative. Such, for example, are the numerous stories told by the characters in “Don Quixote” by M. Cervantes, “The Tale of Captain Kopeikin” in “The Dead” souls" N.V. Gogol, poem about the Grand Inquisitor in “The Brothers Karamazov” by F.M. Dostoevsky. In the work of art by V. n. usually subordinate main idea works.

Dilogy(from Greek di - in difficult words twice and logos - word, story, narration), a combination of two compositionally independent works connected by a common concept, plot and characters (for example.
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“novels by I. Ilf and E. Petrov “The Golden Calf” and “The Twelve Chairs”).

Novella(Italian novelella - lit. news), a small prose genre, comparable in volume to a story, but differing from it in its sharp centripetal plot, often paradoxical, lack of descriptiveness and compositional rigor. By poeticizing the incident, the short story reveals the core of the plot - the central vicissitudes, and brings life material into the focus of one event. The novelistic plot is built on sharp antitheses and metamorphoses, on the sudden transformation of one situation into its exact opposite. The heyday of the novella occurs in the era of romanticism (E.T.A. Hoffmann, P. Merimee, E. Poe, early N.V. Gogol). To the short story genre late XIX century - the beginning of the 20th century, Guy de Maupassant, O. Henry, A.P. Chekhov, I.A. Bunin, L.N. Andreev. IN Soviet literature The short story genre is represented in the works of I.E. Babel, A. Green, M.M. Zoshchenko.

Feature article, a type of small form of epic literature, different from its other form, the story, in the absence of a single quickly resolved conflict and in the greater development of descriptive images. The essay touches not so much on the problems of developing the character of an individual in its conflicts with the established social environment, but rather on the problems of the civil and moral state of the “environment” (usually embodied in individuals) and has great cognitive diversity. The essay can relate to both literature and journalism. There are morally descriptive essays (Notes of a Hunter by I.S. Turgenev), essay-memoirs (Day Stars by O. Berggolts), travel essays (for example, by G. Heine), lyrical and philosophical essays (by M.M. Prishvin).

Tale, medium shape epic kind. If in a novel the center of gravity lies in the holistic action, in the actual and psychological movement of the plot, then in the story the main gravity is transferred to the static components of the work - positions, states of mind, landscapes, descriptions ("Family Chronicle" by Aksakov, "Steppe" by A.P. Chekhov), the effective moments themselves freeze at the point of highest tension, because there is no single end-to-end action, episodes often follow each other according to the principle of a chronicle.

Story, a small epic genre form of fiction - a small volume of depicted phenomena, and hence a prose work in terms of text volume. At the root of the story is an incident that reveals the development of the protagonist’s character. Usually the story is about a separate event, one episode in a person’s life, in which, as if in focus, the big world is concentrated.
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At the same time, the story must recreate a period in a person’s life and even his entire fate (ʼʼIonychʼʼ by A.P. Chekhov).

Novel, an epic work in which the narrative is focused on the fate of an individual in the process of its formation and development, unfolded in artistic space and time sufficient to convey the “organization” of the individual. Being an epic of private life, the novel presents individual and public life as relatively independent elements, not exhaustive and not absorbing each other, and this is the defining feature of its genre content. The history of individual destiny takes on a substantial meaning. At the same time, for a romantic hero, the introduction to collective - folk, national, social - ideals and goals is usually the final, culminating moment in the development of his self-awareness, and an attempt to depict the effective plot results of this culmination leads to a significant transformation of both the meaningful nature , and the structure of the novel.

The interpretation of character in the novel is expressed in the fact that in the novel “man is not fully embodied in the actual historical flesh” (M. Bakhtin). One of the basic internal themes of the novel is precisely the theme of the hero’s inadequacy of his fate and his position. A person is either greater than fate or less than his humanity.

Epic – an epic work of national problematics, monumental in form. In the early stages of the development of literature, the predominant type of heroic epic; depicted the most significant (according to Hegel, “substantial”) events and collisions of life: either clashes of natural forces mythologically realized by folk fantasy, or military clashes of peoples and tribes. Ancient and medieval epics - large works of poetry - arose through either the combination of short epic tales or the development of a central event. Later, some poets imitated folk epics in their individual works (Virgil's Aeneid). In “moral descriptive” epic literature, revealing not the heroic formation of national society, but its comic state, comic epics arose (Gargantua and Pantagruel, F. Rabelais, Dead Souls N.V. Gogol). In epic novels (War and Peace by L. Tolstoy), the formation of the characters of the main characters is subject to events of a national-historical scale.

Types of poetry, lyrical and lyric-epic genres

Lyrics ( from Greek lyra - a musical instrument, to the accompaniment of which poems and songs were performed), a type of literature in which it is not the object that is primary, but the subject of the statement and his relationship to what is depicted. Central character of a lyrical work turns out to be its creator himself, and above all his inner world.
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This is the objectification of lyrical experience in the form of lyrical experience (alienation of a personal state, but again in personal forms).

lyrical hero, the image of a poet in lyrics, one of the ways to reveal the author's consciousness. A lyrical hero is an artistic double of the author-poet, growing out of the text of lyrical compositions (a cycle, a book of poems, a lyric poem, the entire body of lyrics) as a clearly defined figure or life role, as a person endowed with certainty of individual destiny, psychological clarity of inner the world, and sometimes also the features of the plastic appearance. This concept was first formulated by Yu. Tynyanov in 1921 in relation to the work of A. Blok. The lyrical hero is ϶ᴛᴏ ʼʼIʼʼ createdʼʼ (M. Prishvin). At the same time, this image is accompanied by a special sincerity and “documentary” lyrical outpouring, introspection and confession prevail over fiction. When referring to the image of a lyrical hero, it is extremely important to remember his: 1) integrity; 2) inadequacy to its author. Attention to inner life lyrical hero, changes, states, sensations.

In literary criticism, there is a classification of lyrics by genres and themes (love, civil, philosophical, landscape).

There are also meditative lyrics (reflections on the eternal problems of existence) and suggestive lyrics (suggestive, focused on conveying an emotional state).

Lyrical genres: dithyrambs, hymns, iambs, songs, elegies, satires, lamentations, laments, tensons, albs, ballads, pastorellas, sirvents, canzones, madrigals, sonnets, triolet, epistles.

Historical principle of classification of lyrics:

In folk art, lyrical works differed either in their everyday function (lamentations: wedding, funeral, recruiting, songs: dance, game, round dance, wedding, carol) or in their tune (drawn-out, frequent).

IN ancient literature– by the nature of performance: choral and monodic, declamatory and song, elegiac and satirical; hymn, dithyramb, paean, ode, scholia, phrenos, elegy, encomia, epithalamus, epigram, epitaph, iambics.

Middle Ages - troubadours (alba, ballad, romance, pastorella, canzona, tenson's sirventa, lament), trouvères (songs about the Crusades, weaving songs, songs about an unsuccessful marriage).

Renaissance – canzone, sonnet, madrigal, triolet, rondo, rondel.

Alba(Provence alba, lit. dawn) a genre of medieval courtly lyrics: a morning song about a secret night love meeting, interrupted by the morning dawn; in form - predominantly strophic dialogue. It developed among the troubadours. Wed.
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Serena: ʼʼevening songʼʼ – an invitation to a date (see. Serenade).

Anacreontic poetry, light, cheerful lyrics common in European literature of the Renaissance and Enlightenment. An example of AP was the late Greek collection of poems Anacreontika, created in imitation of the ancient Greek poet Anacreon and later erroneously attributed to him. The main motives of Anacreontics are earthly joys, wine, love, and less often - political free-thinking. Anacreontic poems in Russia were written by M.V. Lomonosov, G.R. Derzhavin, K.N. Batyushkov.

Ballad(French ballade, from Provence ballada - dance song), 1) solid form of French. poetry of the 14th–15th centuries: three stanzas with identical rhymes (ababbcbc - for 8-syllable and ababbccdcd for 10-syllable verse) with a refrain and a final half-stanza - “parcel” (address to the addressee). Vivid examples are in the poetry of Fr.
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Villon. It became widespread outside of French poetry only in stylizations (V. Bryusov, M. Kuzmin). 2) Lyro- epic genre English-Scottish folk poetry of the 14th–16th centuries on historical (later even on fairy-tale and everyday) themes - about border wars, about nationalities. the legendary folk hero - Robin Hood - usually with tragedy, mystery, abrupt narration, dramatic dialogue. Interest in the folk ballad in the era of pre-romanticism and romanticism gave rise to a similar genre of literary ballad (W. Scott, G. Burger, F. Schiller, A. Mitskevich, V. Zhukovsky, A. Pushkin, M. Lermontov, A. Tolstoy); fairy-tale or historical themes were usually developed here, modern themes were rarely involved, usually with the aim of glorifying the event or, on the contrary, ironically (G. Heine). In Soviet poetry, poems about exploits during the Great Patriotic War often took the form of a ballad (N. Tikhonov, K. Simonov).

Bucolic poetry ( Greek bukolika, from bukolikos - shepherd) genre of ancient poetry of Hellenistic and Roman times (3rd century BC - 5th century AD), small poems in hexameter in narrative or dialogic form with description peaceful life shepherds, their simple life, tender love and pipe songs (often using folklore motifs). Works of bucolic poetry were called idylls (lit. - picture) or eclogues (lit. - selection), subsequently it was conventionally believed that an idyll requires more feeling, and an eclogue requires more action. The founder and classic of Greek bucolic poetry was Theocritus, and Virgil of Roman poetry. In new European literature bucolic poetry, crossing with medieval folklore in the pastoral of the 12th - 13th centuries, gave birth to various pastoral genres of the 14th - 18th centuries. Long's novel Daphnis and Chloe is adjacent to bucolic poetry.

Gazelle(Arabic ghazal), a type of monorimic lyric poem (usually 12-15 beits). Distributed in the poetry of Bl. and Wed.
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East and South-East. Asia. Most likely, it arose from a pre-Islamic Persian folk lyrical song and was finally formed by the 13th – 14th centuries. In the first beat, both hemistiches rhyme, then there is a rhyme scheme according to the scheme ba, ca, da... In the last beat, the author's takhallus should be mentioned. Each beit of a gazelle, as a rule, contains a complete thought and has an independent meaning. The genre reached a high degree of perfection in the works of Persian and Tajik poets Rudaki, Saadi, Hafiz.

Hymn ( Greek gymnos - praise), celebrations. a song based on programmatic verses. There are known anthems for state, revolutionary, religious, in honor of historical events, etc. The most ancient hymns go back to the literature of the early state formations of Egypt, Mesopotamia, India (for example, the hymn of the Rigveda). In the anthem one sees the beginnings of epic, lyricism, and drama.

Dithyramb(Greek dithyrambos), a genre of ancient lyric poetry that arose (apparently in Al.
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Greece) as a choral song, a hymn in honor of the god Dionysus or Bacchus, and later in honor of other gods and heroes. Accompanied by an orgasmic dance; had the beginnings of a dialogue (between the lead singer and the choir) and contributed to the emergence of ancient drama. It took shape literary in the 7th century BC. e., flourishing in the 5th – 6th centuries BC (poetry of Simonides of Kios, Pindar). In new European literature there are imitations of the ancient dithyramb (for example, in F. Schiller, I. Herder, and satirical in F. Nietzsche).

Cantata ( from Italian cantata, from Lat. canto – I sing). 1) A large poetic work designed for musical accompaniment, usually in the form of alternating arias, recitatives and choruses, written different sizes; in content - usually festive poems for the occasion, of a high allegorical style, close to the Pindaric ode. There were cantatas of more religious and epic content (oratorios) and more secular and lyrical ones (cantatas proper). Developed in the art of Baroque and XVII classicism– XVIII centuries (J.B. Rousseau, G.R. Derzhavin).

2) A large vocal-instrumental work of a solemn or lyrical-epic nature, consisting of solo (arias, recitatives), ensemble and choral parts. Russian composers of the second half of the 19th–20th centuries composed cantatas in poetic texts, not specifically intended for this purpose ("Moscow" by P. Tchaikovsky to the verses of A. Maykov, "On the Kulikovo Field" by Yu. Shaporin to the verses of A. Blok).

Madrigal ( French Madrigal, Italian. Madrigale, from Late Lat. Matricale - a song in the mother's native language), a small poem written in free verse, mainly of loving-complimentary (less often abstract-meditative) content, usually with a paradoxical sharpening at the end (bringing the madrigal closer to the epigram). It developed in Italian poetry of the 16th centuries on the basis of the madrigal of the 14th–15th centuries - a short love song (to music) with motifs of bucolic poetry; was popular in the salon culture of Europe in the 17th–18th centuries (in Russia - N. Karamzin).

Macaronic poetry(Italian . poesia maccheronica), satirical or comic poetry, in which comedy is achieved by mixing words and forms from different languages. Russian macaroni poetry was based mainly on parodying the speech of French nobles.

Message, epistole (Greek epistole), lit. genre, poetic writing. In European poetry, it first appeared in Horace, lives in the Latin new language poetry of the Middle Ages and the Renaissance, and flourishes in the era of classicism of the 17th–18th centuries. (N. Boileau, Voltaire, A. Pop, A.P. Sumarokov). In the era of romanticism, it loses its genre characteristics (V.A. Zhukovsky, K.N. Batyushkov, A.S. Pushkin’s “Message to the Censor”), and by the middle of the 19th century it disappears as a genre.

The formal sign of a message is the presence of an appeal to a specific addressee and, accordingly, such motives as requests, wishes, exhortation. The content of the message, according to tradition, is predominantly moral, philosophical and didactic, but there were numerous messages of narrative, panegyric, satirical, love, etc.
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The line between the epistle and other genres that developed the same content was erased as the formal characteristics weakened; in this regard, many epistles are close to satires (Horace), elegies (Ovid), didactic poem (A. Pop), lyric poems of unknown genre ("In the depths of the Siberian ores" by A.S. Pushkin).

Oh yeah ( from Greek ode – song), a genre of lyric poetry. In antiquity, the word “ode” at first had no terminological meaning, then it began to mean a predominantly lyrical choral song written in stanzas of a solemn, upbeat, moralizing nature (especially the songs of Pindar). In the Renaissance and Baroque era (XVI-XVII centuries), the word was applied primarily to pathetic high lyric poetry, guided by ancient examples (Pindar, Horace) and written in strophic verse (P. Ronsard). In the poetry of classicism, the ode (XVII-XVIII centuries) is the leading genre of high style with canonical themes (glorification of God, fatherland, life wisdom), techniques (quiet or swift attack, the presence of digressions, permitted lyrical disorder) and types (spiritual solemn odes - Pindaric , moralizing - Horatian, love - Anacreontic). Classics of the genre - F. Malherbe, J.B. Rousseau. In Russia – M.V. Lomonosov and A.P. Sumarokov (respectively “enthusiastic” and “clear” types). In the era of pre-romanticism (late 18th century), the genre characteristics of the ode were weakened (G.R. Derzhavin).

Solid forms- ϶ᴛᴏ poetic forms in which both the volume and the strophic structure of the poem are more or less firmly determined by tradition. In terms of the predictability of formal elements, solid forms are close to stanzas, but in stanzas the repetition of identical forms occurs within one poem, and in solid forms - between different poems of the same tradition.

According to the severity of the organization, solid forms are distinguished, in which 1) both volume and stanza are fixed ( sonnet, triolet, rondo, rondel, sextine; 2) the volume is not fixed, the stanza is fixed ( terzines, villanelle, ritornello; 3) neither the volume nor the stanza is fixed ( canzona, virele, glossa).

Villanelle(French Villanelle - village song) - solid poetic form: 6 stanzas with rhyme A 1 bA 2 abA 1 abA 2 abA 1 abA 2 abA 1 A 2, where A 1 and A 2 are repeating choruses. It took shape in French poetry of the 16th century according to the model of imitations of Italian folk songs, became widespread only in stylizations (ʼʼIt was all an instant dream…ʼʼ V.Ya. Bryusova).

Virele(French virelai - refrain, chorus based on onomatopoeia) - song form in medieval French poetry: chorus + 2-member stanza of a structure not identical with the chorus + 1-member stanza of a structure identical to the chorus + chorus: ABBA + (сd + cd+ abba +ABBA).

Gloss- a solid form in Spanish poetry of the 14th–17th centuries: a verse of several stanzas (usually 4 decimes), the last lines of which constitute a special stanza (introductory motto), commented on by subsequent stanzas (for an example, see Cervantes’ novel “Don Quixote,” part II, chapter .18). Rarely used in other literatures; cf., for example, similarly constructed poems by V. Bryusov “Stained Glass Triptych” and “Parks Women's Babbling....”

Canzona(from Italian canzone - song) - semi-solid form of Italian. poetry. The stanza of a classical canzone consists of an ascending part (two members with identical arrangement of short and long verses) and a descending part (one member, coda (Italian coda, lit. tail: 1) the descending part of stanzas of song and dance origin, closing the two-member part; 2 ) additional lines, i.e., in addition to 14 at the end of the comic sonnet)). The whole poem consists of 5-7 stanzas and other codes. In other literatures it is used in stylizations. An example of a canzone stanza (Vyach. Ivanov according to Petrarch’s scheme: AbC+AbС+сDdEE, where capital letters long, and small - short verses):

Great Bell on pilgrimage

I called you... Longing

Suddenly trembled impatient

And the soul escaped into its freedom

(For feat or peace?)

From the tender shackles of jealous love...

And again over a thin field

I see you as Sir Ceres:

With sadness and faith

You call rain and sun to the fields,

Where the earth still hides the captive rain.

Epic genres - concept and types. Classification and features of the category "Epic genres" 2017, 2018.

Art style used in fiction. It influences the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, the possibilities of different styles, and is characterized by imagery and emotionality of speech.

The emotionality of an artistic style differs from the emotionality of colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Artistic style presupposes a preliminary selection of linguistic means; All language means are used to create images.

Genre as a concept appeared a very long time ago, back in ancient world. At the same time, a typology of genres appeared. Today, text typologies are more strict and have clear boundaries. Moreover, they are used in all spheres of life - in government activities, in professional fields, theater, medicine and even everyday life.

Genres in fiction are a particularly complex issue. As you know, all literary works, depending on the nature of what is depicted, belong to one of three genres: epic, lyric or drama. A literary genre is a generalized name for a group of works depending on the nature of the reflection of reality.

EPOS(from the Greek “narration”) is a generalized name for works depicting events external to the author.

LYRICS(from the Greek “performed to the lyre”) is a generalized name for works in which there is no plot, but the feelings, thoughts, experiences of the author or his lyrical hero are depicted.

DRAMA(from the Greek “action”) - a generalized name for works intended for production on stage; The drama is dominated by character dialogues, and the author's input is kept to a minimum.

Varieties of epic, lyrical and dramatic works are called types of literary works .

Type and genre - concepts in literary criticism very close .

Genres are called variations of a type of literary work. For example, a genre variety of a story can be a fantasy or historical story, and a genre variety of a comedy can be vaudeville, etc. Strictly speaking, literary genre- this is a historically established type of artistic work, containing certain structural features and aesthetic quality characteristic of a given group of works.

TYPES (GENRES) OF EPIC WORKS:

epic, novel, tale, story, fairy tale, fable, legend.

EPIC- a major work of fiction telling about significant historical events. In ancient times - a narrative poem of heroic content. In the literature of the 19th and 20th centuries, the genre of the epic novel appeared - this is a work in which the formation of the characters of the main characters occurs during their participation in historical events.

NOVEL- a large narrative work of art with a complex plot, in the center of which is the fate of the individual.

STORY- a work of fiction that occupies a middle position between a novel and a short story in terms of volume and complexity of the plot. In ancient times, any narrative work was called a story.

STORY- a work of art of small size, based on an episode, an incident from the life of the hero.

FAIRY TALE- a work about fictional events and characters, usually involving magical, fantastic forces.

FABLE(from “bayat” - to tell) is a narrative work in poetic form, small in size, of a moralizing or satirical nature.

TYPES (GENRES) OF LYRIC WORKS:

ode, hymn, song, elegy, sonnet, epigram, message.

OH YEAH(from Greek “song”) – a choral, solemn song.

HYMN(from Greek “praise”) is a solemn song based on programmatic verses.

EPIGRAM(from Greek “inscription”) is a short satirical poem of a mocking nature that arose in the 3rd century BC. e.

ELEGY- a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness. Belinsky called elegy “a song of sad content.” The word "elegy" is translated as "reed flute" or "plaintive song." Elegy arose in Ancient Greece in the 7th century BC e.

MESSAGE– a poetic letter, an appeal to a specific person, a request, a wish, a confession.

SONNET(from the Provencal sonette - “song”) is a poem of 14 lines, which has a certain rhyme system and strict stylistic laws. The sonnet originated in Italy in the 13th century (the creator was the poet Jacopo da Lentini), in England it appeared in the first half of the 16th century (G. Sarri), and in Russia in the 18th century. The main types of sonnet are Italian (from 2 quatrains and 2 tercets) and English (from 3 quatrains and a final couplet).

LYROEPIC TYPES (GENRES):

poem, ballad.

POEM(from Greek poieio - “I do, I create”) is a large poetic work with a narrative or lyrical plot, usually on a historical or legendary theme.

BALLAD- a plot song with dramatic content, a story in verse.

TYPES (GENRES) OF DRAMATIC WORKS:

tragedy, comedy, drama (in the narrow sense).

TRAGEDY(from Greek tragos ode - “goat song”) - a dramatic work depicting an intense struggle strong characters and passions, which usually ends in the death of the hero.

COMEDY(from Greek komos ode - “cheerful song”) - a dramatic work with a cheerful, funny plot, usually ridiculing social or everyday vices.

DRAMA(“action”) is a literary work in the form of a dialogue with a serious plot, depicting an individual in his dramatic relationship with society. Varieties of drama can be tragicomedy or melodrama.

VAUDEVILLE– genre variety Comedy is a light comedy with singing couplets and dancing.

FARCE- a genre variety of comedy, it is a theatrical play of a light, playful nature with external comic effects, designed for rough tastes.