Russian classicism: personalities, poetics. Analysis of the work of one author of your choice.
Genre system of Russian classicism. Analysis of one work of your choice.
Classicism- a special type of figurative construction of art. models of the world, reflecting a specific concept of man and the world.
Any thin The method is characterized by general principles of art. selection and thin. generalizations, aesthetic assessment of reality and art. incarnations.
K (from Latin classicus - exemplary) in European literature took shape by the 17th century (Cornel, Moliere, Racine).
The classicists recognized ancient art as the highest example, ideal, and as the norm - works of antiquity (hence the reworking of plots).
The plots are based on principles of life imitation and rationalism. Hence the didactic guidelines of K. The cult of reason (for example, building a conflict: between feeling and duty, you need to choose duty), an appeal to the reader’s mind. The purpose of art was seen as a moral influence on the education of noble feelings. They achieved harmony of content and form, while thinning. the work was organized as an artificial whole, based on rigid logic. This was expressed in the fact that the authors followed strict logic and tried to transform life phenomena in such a way as to, avoiding nuances, identify and capture generic, essential features of reality and character. Therefore, the narrowness of K can be considered a straightforward depiction of characters, a depiction of the conflict not as internal, but as arising from the opposition of characters. Heroes, as a rule, are carriers of one trait: they are unipolar, devoid of contradictions (–> the possibility of naming speaking surnames). There is an idealization of heroes, an absolutization of ideas.
Classicists actively turn to civil social issues, trying to emphasize the objectivity of the narrative, striving for canonicity, simplicity and rigor. Classicists introduce strict structural rules. (in dramaturgy - trinity). Fonvizin's innovation: he managed to show the characters. In pure K there is no principle of determinism. K is the language of formulas.
In K there is a strict hierarchy of styles into high and low. In high places, social life and history are mastered; heroes, generals, monarchs act (epic poem, ode). In the low - daily life ordinary people(comedy, satire, fable). Satire is sometimes classified as a “middle” genre, as is didactic poetry. On the basis of Russian K, it is not entirely correct to say that mixing high and low is not allowed.
The appearance and development of K in Russia is associated with the 30s. 18th century Kantemir, Trediakovsky, Lomonosov.
Features of Russian K:
active development of low genres associated with a satirical orientation;
predominance of national historical themes (tragedies of Sumarokov, Knyazhnin)
predominant development at the first stage of the ode genre.
RK declared itself in all literary births. Epic : epic poems (Kheraskov “Chesme Battle”, Trediakovsky “Feoktia”), fable - short story in poetry/prose with a directly formed moral (Kheraskov, Sumarokov, Dmitriev). Lyrics: ode (Lomonosov, Derzhavin), satire (accusatory genre) (Derzhavin “To Rulers and Judges”), epigram (Derzhavin). Dramaturgy: tragedies (Sumarokov “Dmitry the Pretender”, V. Knyazhnin), comedies (Fonvizin “Brigadier”, “Minor”)
Formation artistic system K in the West coincided with the era of the dominance of metaphysics. And it was the metaphysical way of thinking that determined the features of the artistic thinking of classic writers. Natural phenomena and public life were depicted separately from each other, without connections, development and movement. This led to the division of “nature” (in in a broad sense) in K on phenomena sublime and base, virtuous and vicious, tragic and funny. Hence the strict system of genres based on opposition: tragedy and comedy, ode and satire, poem and fable etc. Each genre was assigned a certain circle of phenomena from which it was impossible to escape: “high” and “low” were never combined in one work.
K gave preference to poetic genres over prose ones, because prose speech is practically oriented speech, in which much depends on the accidental, not foreseen by reason. Prose occupied a limited and subordinate place: considered a means of journalism and scientific speech, it, in fact, fell out of the literary series.
Classicists strove to create monumental works, with problems of great social resonance, to depict heroes who are effective, energetic and capable of resolving complex, tragic conflicts.
The genre division is hierarchical for one more reason. epic poem has the greatest value because turning to the distant past, the poet in this type of creativity could recreate the most abstract situations, which made it possible to give the fiction the most plausible form. In epic form, compared to tragedy, there is more opportunity to achieve a perfect ideal - heroic character. Since the basis of an epic poem is, as a rule, a legendary truth, which has the most high degree poetic truth, then to achieve verisimilitude, only the internal consistency of the actions of the heroes and the events depicted is sufficient. Region tragedy - historical era, which has a lower degree of truth, because it may contain an unintentional, random event that violates the harmony of poetic fiction and the requirement of verisimilitude. That is why the truth of the tragedy turns out to be less solid than in the epic poem. Comedy turns out to be even lower ep. poems and tragedies, because it is even more difficult to achieve verisimilitude. The simple experience of the public, a good knowledge of modern mores, can reveal the unreasonableness of the plot of a comedy from the standpoint of plausibility.
The decisive place in the literary system of K was occupied by "high" and "low" genres. They set and solved the same tasks - the establishment of the ideal of a human citizen and patriot, but the methods of its establishment were different: in high genres - direct glorification of the ideal, in low genres - ridicule of unworthy people. "Medium" genres found themselves on the periphery of the literary system of Kazakhstan. Here it should be said about such genres as elegy, message, song. Addressed to the depiction of the inner world of an individual, entirely appealing to the imagination and individual experience, they did not occupy a leading position in the literature of the period of its heyday. But in the last third of the century, due to changes in the general situation in literature, interest in these genres is growing.
There are two periods in the development of Russian genre theory K. The first period, associated with the names of Lomonosov, Trediakovsky, Sumarokov, is the time of the creation of a clear and organized system of genres, taking into account both the achievements of French genre theory and the state of national Russian literature. The second period is associated with the activities of Derzhavin, Kheraskov, Lukin and Plavilshchikov. It was marked by the beginning of the destruction of strict genre-typological characteristics, the formation of genres born at the junction of traditional ones, which created the preconditions for entering another literary era.
Russian writers turned out to be faithful to the basic principle of K - to depict the events of distant eras, but, in contrast to European, in particular, French K, they turned mainly to domestic history. It is there that they find images of people whose activities were animated by love for the fatherland, concern for liberating it from its age-old enemies, and strengthening the power of the Russian state: Vadim Novgorod, Rurik, Svyatoslav, Vladimir Monomakh, Alexander Nevsky, Dimitri Donskoy, Peter I, etc.
The connections of Russian classic writers with the ancient Russian and oral poetic traditions were quite wide and varied. In line with the heroic tradition, the image was created positive hero, who embodied the ideal of civic service to the Motherland. The basis for most Russian tragedies was chronicle material. Folk sources(songs) were used by Kheraskov when writing the heroic poem “Rossiada”. The influence of folk satire and Russian literature of the second half of the 17th century. affected such genres as poetic satire, comedy, and fable. Based on the combination of folk and book traditions, the famous reforms of Trediakovsky-Lomonosov's verse and Lomonosov's language were carried out. In low genres, writers widely used Russian proverbs and sayings.
The regulation of the genre system was carried out by A. P. Sumarokov(“Two epistles (The first is about the Russian language, and the second is about poetry)”, 1748). He relied on the traditions of Horace’s aesthetic message “To the Piso (On the Art of Poetry)” and N. Boileau’s didactic poem “Poetic Art”.
The genre system of literature seemed to Sumarokov to be clearly hierarchically organized: in theoretical aspect he put forward a general classicist position about the inadmissibility of mixing high and low styles, but in practice his own high and low genre models were in constant interaction.
Most of all, Sumarokov’s orientation towards national trends literary development noticeable in the composition of the genres that he characterizes in his epistles. So, for example, he devoted practically no space to the highest genre of European classicism - the epic poem - and briefly mentioned the very fact of the existence of the literary epic. The genres that in Russian literature have taken on the charge of satirical exposure and didactics are characterized in exceptional detail and fully - satire as such, the heroic-comic poem (a parody of the epic), fable and comedy, and the description of comedy itself is also very original. If Boileau, describing a comedy, fluently lists the comedic types of characters and focuses mainly on the plot, intrigue, witty and brilliant style, then Sumarokov’s entire description of the genre comes down to characterology: Russian comedy, which has yet to appear in literature, differs from Western European comedy precisely for this reason: French comedy is mainly a comedy of intrigue, Russian is a comedy of character.
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§ 5. Genre systems. Canonization of genres
In every historical period genres relate to each other in different ways. They, according to D.S. Likhachev, “they interact, support each other’s existence and at the same time compete with each other”; therefore it is necessary to study not only individual genres and their history, but also “ system genres of each given era."
At the same time, genres are assessed in a certain way by the reading public, critics, creators of “poetics” and manifestos, writers and scientists. They are interpreted as worthy or, on the contrary, not worthy of the attention of artistically enlightened people; both high and low; as truly modern or outdated, exhausted; as main or marginal (peripheral). These assessments and interpretations create genre hierarchy, which change over time. Some of the genres, a kind of favorites, happy chosen ones, receive the highest possible assessment from some authoritative authorities - an assessment that becomes generally recognized or at least acquires literary and social weight. Genres of this kind, based on the terminology of the formal school, are called canonized.(Note that this word has a different meaning than the term “canonical,” which characterizes the genre structure.) According to V. B. Shklovsky, a certain part of the literary era “represents its canonized crest,” while its other links exist “dumbly,” on periphery, without becoming authoritative and without attracting attention. Canonized (again, following Shklovsky) is also called (see pp. 125–126, 135) that part of the literature of the past that is recognized as the best, pinnacle, exemplary, i.e., classic. The origins of this terminological tradition are the idea of sacred texts that have received official church sanction (canonized) as indisputably true.
The canonization of literary genres was carried out by normative poets from Aristotle and Horace to Boileau, Lomonosov and Sumarokov. Aristotle's treatise gave the highest status to tragedy and epic. The aesthetics of classicism also canonized “high comedy,” sharply separating it from folk farcical comedy as a low and inferior genre.
The hierarchy of genres also took place in the minds of the so-called mass reader (see pp. 120–123). Thus, Russian peasants at the turn of the 19th–20th centuries. gave unconditional preference to “divine books” and those works of secular literature that resonated with them. The lives of saints (most often reaching the people in the form of books written illiterately, in “barbaric language”) were listened to and read “with reverence, with enthusiastic love, with wide with open eyes and with the same wide-open soul.” Works of an entertaining nature, called “fairy tales,” were regarded as a low genre. They were very widespread, but they evoked a disdainful attitude and were awarded unflattering epithets (“fables”, “little tales”, “nonsense”, etc.).
The canonization of genres also takes place in the “upper” layer of literature. Thus, during the period of romanticism, marked by a radical restructuring of genres, a fragment, a fairy tale, and also a novel (in the spirit and manner of “Wilhelm Meister” by J.V. Goethe) were elevated to the pinnacle of literature. Literary life XIX V. (especially in Russia) is marked by the canonization of socio-psychological novels and stories prone to life-likeness, psychologism, and everyday authenticity. In the 20th century experiments were undertaken (to varying degrees successful) in the canonization of mystery drama (the concept of symbolism), parody (formal school), epic novel (aesthetics socialist realism 1930–1940s), as well as novels by F.M. Dostoevsky as polyphonic (1960–1970s); in Western European literary life- a “stream of consciousness” novel and absurdist dramaturgy with a tragicomic sound. The authority of the mythological principle in the composition of novel prose is now very high.
If in the era of normative aesthetics were canonized high genres, then in times close to us those rise hierarchically genre beginnings, which were previously outside the scope of “strict” literature. As noted by V.B. Shklovsky, there is a canonization of new themes and genres that had hitherto been secondary, marginal, and low: “The bloc canonizes themes and tempos.” gypsy romance", and Chekhov introduces "The Alarm Clock" into Russian literature. Dostoevsky raises to literary norm techniques of the pulp novel." At the same time, traditional high genres cause an alienated-critical attitude towards themselves, are thought of as exhausted. “What is curious about the change of genres is the constant displacement high genres low,” noted B.V. Tomashevsky, stating in literary modernity the process of “canonization of low genres.” According to the scientist, followers of high genres usually become epigones. M.M. spoke in the same spirit a little later. Bakhtin. Traditional high genres, according to him, are prone to “stilted heroization”; they are characterized by conventionality, “constant poetry,” “monotoneness and abstractness.”
In the 20th century, as can be seen, predominantly genres rise hierarchically new(or fundamentally updated) as opposed to those that were authoritative in the previous era. At the same time, the places of leaders are occupied by genre formations that have free, open structures: the subject of canonization, paradoxically, turns out to be non-canonical genres, preference is given to everything in literature that is not part of ready-made, established, stable forms.
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IntroductionThe term "genre" originated in the aesthetics of French Classicism mid-17th century century, although genre self-determination existed much earlier. In the 16th century academic art theorists divided it into “high” and “low” genres depending on the subject of the image, theme, and plot. This division was strengthened in the practice of European art academies of the 17th-19th centuries. In painting, historical (heroic) and mythological genres were considered “high”, and “low” were portraits (with the exception of ceremonial, ceremonial, and statue), landscape, and still life. In literature there was a contrast between tragedy and comedy. The Church, for its part, canonized the iconography of icon painting, altar painting and sculpture compositions, and paintings on biblical subjects.
The category of literary genre is a historical category. Literary genres appear only at a certain stage in the development of the art of words and then constantly change and are replaced. The point is not only that some genres come to replace others and not a single genre is “eternal” for literature; the point is also that the very principles of identifying individual genres change, the types and nature of genres change, their functions in that or another era. Modern division into genres, based on purely literary features, appears relatively late. For Russian literature purely literary principles the distinction of genres came into force mainly in the 17th century. Until this time, literary genres, to one degree or another, carried, in addition to literary functions, extraliterary functions. Many literary genres have their origins and roots in folklore.
GenreAndgenresystem
Literary genres are groups of works distinguished within types of literature. Each of them has a certain set of stable properties.
Genres are difficult to systematize and classify (unlike types of literature), and stubbornly resist them. First of all, because there are a lot of them: in each artistic culture genres are specific. In addition, genres have different historical scope. Some exist throughout the entire history of verbal art (such as, for example, the ever-living fable from Aesop to S.V. Mikhalkov); others are correlated with certain eras.
Based on certain typological properties (i.e., inherent in a number of works), a work is classified as a specific literary genre (epic, drama, lyric poetry, as well as their combinations); to poetry or prose; it identifies the dominant aesthetic category (tragic, comic, heroic, etc.), etc.
When determining the genre, first of all, it is taken into account family affiliation works. Epic genres include: short story, tale, novel, literary fairy tale, poem, epic, etc.; dramatic - tragedy, drama, comedy, vaudeville, melodrama, etc.; lyrical - lyric poem, ode, hymn, elegy, satire (in verse), epigram, sonnet, madrigal, etc., dating back to antiquity. There are genres that combine various generic principles: lyric poem, ballad, fable, lyrical drama(for example, "Rose and Cross" by A. Blok), dramatic poem ("Cain" by J. G. Byron), etc. But in some genres it is difficult to determine the generic basis; Thus, essays, “stream of consciousness” literature, and essays can be considered “non-generic forms.”
The picture is further complicated by the fact that the same word often denotes deeply different genre phenomena.
The word “elegy” denotes several genre formations. Elegies early eras and cultures have different characteristics. What the elegy as such is and what is its supra-epochal uniqueness is impossible to say in principle. The only correct definition of elegy “in general” is as a “genre of lyric poetry.”
Many other genre designations (poem, novel, satire, etc.) have a similar nature.
Existing genre designations capture various aspects of works. Thus, the word “tragedy” states the involvement of this group dramatic works a certain emotional and semantic mood (pathos); the word “story” indicates the affiliation of the works epic kind literature and about the “average” volume of text (less than that of novels, and greater than that of short stories); The sonnet is a lyrical genre, which is characterized, first of all, by a strictly defined volume (14 verses) and a specific rhyme system, and so on.
Authors often designate the genre of their works arbitrarily, without conforming to the usual usage of words. So, N.V. Gogol called " Dead souls"poem; “House by the Road” by A.T. Tvardovsky has the Subtitle “lyrical chronicle”, “Vasily Terkin” - “a book about a fighter”.
Naturally, it is not easy for literary theorists to navigate the processes of genre evolution and the endless “diversity” of genre designations. However, literary criticism of our century has repeatedly outlined, and to some extent, carried out the development of the concept “ literary genre“not only in the concrete, historical and literary aspect (studies of individual genre formations), but also in the theoretical itself.
Consideration of genres is unimaginable without reference to the organization, structure, and form of literary works. Theorists of the formal school persistently spoke about this. Fundamental in the approach of Russian formalists to a work of art (primarily poetic) was the assertion that it is the form that makes poetry poetry, determining the specifics of the latter.
Inheriting the traditions of the formal school, and at the same time revising some of its provisions, scientists turned close attention on the semantic side of genres, using the terms “genre essence” and “genre content”. The palm here belongs to M.M. Bakhtin, who said that the genre form is inextricably linked with the themes of the works and the features of the worldview of their authors.
Emphasizing that the genre properties of works constitute an indissoluble unity, Bakhtin at the same time distinguished between the formal (structural) and the actual substantive aspects of the genre. He noted that such genre names rooted in antiquity as epic, tragedy, idyll, which characterized the structure of works, were later, when applied to modern literature, “used as a designation of the genre essence.
In the same vein is the concept of literary genres by G.N. Pospelov, who in the 1940s undertook an original experiment in systematizing genre phenomena. He distinguished between “external” genre forms (“a closed compositional and stylistic whole”) and “internal” (“specific genre content” as the principle of “imaginative thinking” and “cognitive interpretation of characters”). Having assessed external (compositional and stylistic) genre forms as content-neutral (in this, Pospelov’s concept of genres, as has been repeatedly noted, is one-sided and vulnerable), the scientist focused on inside genres. He identified and characterized three supra-epochal genre groups, basing their differentiation on a sociological principle: the type of relationship between an artistically comprehended person and society, the social environment in a broad sense.
Along with the epics, epics and odes about which N.G. Pospelov spoke about works of national-historical genre content, the scientist singled out another one: mythological, containing “folk figurative and fantastic explanations of the origin of certain natural and cultural phenomena.” He attributed these genres only to the “pre-art” of historically early, “pagan” societies, believing that “the mythological group of genres, during the transition of peoples to higher levels of social life, did not receive its further development.”
Characteristics of genre groups given by G.N. Pospelov, has the advantage of a clear systematic approach. However, it is incomplete. Now that the ban on discussing religious and philosophical issues of art has been lifted from Russian literary criticism, it is not difficult for scientists to add to what has been said that there is and is deeply significant a group of literary and artistic genres, where a person relates not so much to the life of society, but to cosmic principles, universal laws world order and higher powers being. These are parable, life, mystery, religious and philosophical lyrics.
The named genres, which do not fit into any sociological constructs, can rightfully be defined as ontological (ontology is the doctrine of being).
The origins of the genres that we called ontological are mythological archaics, and above all, myths about the creation of the world, called etiological (or cosmological).
The ontological aspect of genres comes to the fore in a number of foreign theories of the 20th century. The content (semantic) basis of literary genres, as can be seen, attracts the closest attention of scientists of the 20th century. And it is interpreted differently.
Canonizationgenres.
Genres gradually acquire and accumulate their characteristics - necessary and sufficient conditions for their identity, then “live”, sharing the fate of all living things, that is, enduring changes; sometimes they “die”, leave the living literary process, sometimes they return to life, usually in a transformed form.
Genre norms and rules (canons) were initially formed spontaneously, on the basis of rites with their rituals and traditions of folk culture. “Both in traditional folklore and in archaic literature, genre structures are inseparable from extra-literary situations; genre laws directly merge with the rules of ritual and everyday decency.”
Later, as it hardens in artistic activity reflections, some genre canons took the form of clearly formulated provisions (postulates). The canon of a genre is “a certain system of stable and solid genre characteristics.”
Traditional genres, being strictly formalized, exist separately from each other, separately. The boundaries between them are clear and precise. Genre formations of this kind follow certain norms and rules that are developed by tradition and are mandatory for authors.
In the era of normative poetics (from antiquity to the 17th–18th centuries), along with the genres that were recommended and regulated by theorists, there were also genres that for a number of centuries did not receive theoretical justification, but also had stable structural properties. These are fairy tales, fables, short stories and similar laughable ones. stage works, as well as many traditional lyrical genres (including folklore).
Genre structures have changed (and quite dramatically) in the literature of the last two or three centuries, especially in the post-Romantic era. They became pliable and flexible, lost their canonical rigor, and therefore opened up wide spaces for the manifestation of individual authorial initiative.
The “decanonization” of genre structures made itself felt already in the 18th century. In the XIX–XX centuries. these, as a rule, are no longer phenomena isolated from each other, possessing a clearly defined set of properties, but groups of works in which certain formal and substantive preferences and accents are more or less clearly visible.
Accordingly, in literature there are two types of genre structures: ready-made, complete, solid forms (canonical genres) (for example, a sonnet) and non-canonical genre forms: flexible, open to all kinds of transformations, restructuring, updates (for example, elegies or short stories in the literature of modern times) .
Genres, according to D.S. Likhachev, “they interact, support each other’s existence and at the same time compete with each other”; therefore, it is necessary to study not only individual genres and their history, but also “the system of genres of each given era.” At the same time, genres are assessed in a certain way by the reading public, critics, creators of “poetics” and manifestos, writers and scientists. They are interpreted as worthy or, on the contrary, not worthy of the attention of artistically enlightened people; both high and low; as truly modern or outdated, exhausted; as main or marginal (peripheral). These assessments and interpretations create hierarchies of genres that change over time. Some of the genres receive the highest possible rating. Genres of this kind, based on the terminology of the formal school, are called canonized. Canonized is also called that part of the literature of the past that is recognized as the best, pinnacle, exemplary, i.e. classics.
If in the era of normative aesthetics were canonized high genres, then in times close to us, those genre principles that were previously outside the framework of “strict” literature rise hierarchically.
At the same time, traditional high genres evoke an aloof critical attitude towards themselves and are thought of as exhausted. “What is curious about the change of genres is the constant displacement of high genres by low ones,” noted B.V. Tomashevsky, stating the process of “canonization of low genres” in literary modernity.
In the 20th century, as can be seen, predominantly new (or fundamentally updated) genres rise hierarchically, as opposed to those that were authoritative in the previous era. At the same time, the places of leaders are occupied by genre formations that have free, open structures: the subject of canonization, paradoxically, turns out to be non-canonical genres, preference is given to everything in literature that is not part of ready-made, established, stable forms.
Novel- leadinggenreliterature.
The leading genre of literature last centuries the novel is recognized.
In contrast to the classical epic, the novel is focused on depicting the historical present and the destinies of individuals, ordinary people searching for themselves and their purpose in a “prosaic” world that has lost its pristine stability, integrity and sacredness (poetry). Even if in a novel the action is transferred to the past, this past is always assessed and perceived as immediately preceding the present and correlated with the present.
The novel (according to Bakhtin) is capable of revealing in a person not only the properties determined in behavior, but also unrealized possibilities, a certain personal potential: “One of the main internal themes of the novel is precisely the theme of the inadequacy of the hero’s fate and his position,” a person here can be “or more of your destiny, or less of your humanity.”
The ground for the formation and consolidation of a novel arises where there is interest in a person who has at least relative independence from institutions social environment with its imperatives, rites, rituals, which is not characterized by “herd” inclusion in society. The alienation of a person from society and the world order was interpreted by M.M. Bakhtin as necessarily dominant in the novel.
In classical novelism of the 19th century. The hero's reliance on himself was most often presented in a dual light: on the one hand, as a “self-worth” worthy of a person, sublime, attractive, enchanting, on the other hand, as a source of delusions and defeats in life. At the same time, many novel characters strive to overcome their solitude and alienation.
In the centuries-old history of the novel, two types of it are clearly visible, more or less corresponding to two stages of literary development. These are, firstly, works of acute events, based on external action, the heroes of which strive to achieve some local goals. These are adventurous novels, in particular picaresque, knightly, “career novels,” as well as adventure and detective stories.
Secondly, these are novels that have prevailed in literature over the last two or three centuries, when one of central problems social thought, artistic creativity and culture as a whole became the spiritual independence of man. Here the internal action successfully competes with the external action: the eventfulness is noticeably weakened, and the consciousness of the hero in its diversity and complexity, with its endless dynamics and psychological nuances, comes to the fore.
One of the most important features of the novel and related stories (especially in the 19th–20th centuries) is the authors’ close attention to the microenvironment surrounding the heroes . Outside of recreating the microenvironment, it is very difficult for a novelist to show inner world personality.
Novels, focused on a person's connections with a reality close to him and, as a rule, giving preference to internal action, have become a kind of center of literature. They seriously influenced all other genres, even transformed them.
In the 20th century in Russian literature, despite all aesthetic revaluations, the novel remains a “genre of genres”, although the so-called “postmodern era” weakens the position of the novel - as well as all fiction, "fine literature". "Objective reality", " living life», former subject The images of the novel began to be perceived differently: not so integral and self-identical.
Conclusion.
Genres form the most important link between writers different eras, without which the development of literature is unimaginable. According to S.S. Averintsev, “the background against which one can view the silhouette of a writer is always two-part: any writer is a contemporary of his contemporaries, comrades in the era, but also a successor of his predecessors, comrades in the genre.”
Genre as a reality exists in literature as an obligatory quality creative process and the process of perception. Even if the author is declaratively opposed to the genre, this does not negate the genre dimension in his work. O. E. Mandelstam expressively spoke about the problem of the genre as the inevitability of inheritance in the poem “I have not heard the stories of Ossian” (1914):
And more than one treasure, perhaps,
Bypassing the grandchildren, he will go to his great-grandchildren,
And again the skald will compose someone else's song
And how he will pronounce his own.
References:
1. Pospelov G.N. TO question O poetic genres. 1948
2. Bakhtin M.M. Epic And novel. M. 1975
3. Likhachev D.S. Poetics Old Russian literature. M.1979
4. Tomashevsky B.V. Theory literature. Poetics. M. 1999
5. Khalizev V.E. Theory literature. M.1999
Trediakovsky assimilates the basic doctrines of classicism: rationalism, following rules, imitating models. 1: Ode on the surrender of the city of Gdansk" is an example of one of the most basic poetic genres of Russian literature of the 18th century - the solemn "praise" ode. The author attached to the ode a theoretical “Discussion about the ode in general,” in which the genre definition of the ode is given for the first time. Later, Trediakovsky wrote theoretical discussions about the genre of the epic poem ("Predictions about the ironic poem") and comedy ("Reflections on Comedy in General"). Trediakovsky introduced literary usage and a number of other genres - epistle, love elegy, ode, stanzas, epigram, madrigal, rondo, sonnet. For the first time, Trediakovsky gave us an arrangement of Aesop's fables. In 1752, he published the first and only collection of his works in 2 volumes - “Works in both verse and prose.”
"Tilemakhida"
Trediakovsky’s best work is “Tilemakhida” - an adaptation in the form of an epic poem of Fenelon’s French political and moral novel “The Adventures of Telemachus”. This work impressed Trediakovsky with its hidden satirical stream directed against “unrighteous kings” (this irritated Catherine II, who tried to downplay the significance "Tylemachides", ridiculing her manner and style in "All sorts of things"). "Tilemakhida" is remarkable in the history of Russian literature in that for the first time in a large work an unrhymed hexameter, composed of dactyls and trochees and approaching the ancient size of Homer's poems, was used in it. Researchers agree that the hexameter is used extremely successfully by Trediakovsky. There are also extreme points "It should definitely be said," wrote S. Bondi, "that Trediakovsky's hexameter is one of the best in Russian literature in terms of rhythm. In any case, it is better than the hexameter of Gnedich and Pushkin, much richer and more varied."
Trediakovsky is of great importance as a learned philologist and poet. He is the founder of Russian philology. Pushkin emphasized this merit of his: “His grammatical and philological research is very remarkable. He had a more extensive understanding of Russian versification than Lomonosov and Sumarokov<...>In general, the study of Trediakovsky brings more benefits than the study of our other old writers" (Pushkin A.S. Complete collected works / A.S. Pushkin. - T. XI. - P. 227). This opinion of the genius of Russian literature is not A young philologist who cannot always discern valuable content behind an imperfect form should forget.
Lyrics
Trediakovsky V.K. A new and short way to compose Russian poetry; Opinion about the beginning of poetry and poetry in general; The song is love; Epistole from Russian poetry to Apolline; Poems of praise to Russia; Solemn ode on the surrender of the city of Gdansk; To the reader (preface to “A Trip to the Island of Love”): Tilemakhida (excerpts) / V.K. Trediakovsky // Russian literature XVIII century. 1700-1775: reader // comp. V.A. Zapadov. - M, 1979.-S. 88-97.
Basic literature
Serman I.Z. Russian classicism: Poetry. Drama. Satire / I.Z. Serman. - L., 1973.-S. 101 -113.
Moskvicheva G.V. Russian classicism / G.V. Moskvichev. - M., 1986. - P. 20 - 42.