This chapter mainly examines the history of the emergence of the genre of the story, its features, problems, and typology. It is divided into two paragraphs: the first paragraph is devoted directly to the history of the genre, the second - to the typology of the story of the first thirds of the XIX century.
Definition of the genre of a story in modern literary criticism
Prose story - one of genre varieties average epic form (along with the novella, short story and new, non-canonical poem), which is distinguished by the following system of constant structural features: 1) in the area of the “event that is being told” - the dominance of the cyclic plot scheme, the situation of testing the hero and the action as a result of an ethical choice, the principle of reverse (“mirror”) symmetry in the arrangement of the most important events; 2) in the structure of the “event of the narration itself” - its unreflective character, preference for temporal distance, evaluative focus of the narration on the ethical position of the hero and the possibility of an authoritative summary position, the tendency to rethink the main event and give it an allegorically generalized meaning (a parallel inserted plot or an additional one). analogue in the final); 3) in the aspect of the “zone of image construction” of the hero - the seriousness, unequal value of the depicted world of reality of the author and the reader and at the same time the potential closeness of the horizons of the character and the narrator (can be realized in the finale); correlation of the hero and his fate with known patterns of behavior in traditional situations and, consequently, interpretation central event as an “example” (often a temporary deviation from the norm), as well as an extract from the story told life lessons. Poetics: a dictionary of current terms and concepts / Ch. scientific supervisor N.D. Tamarchenko / M., 2008.
The story in modern Russian literary theory is medium in text volume or plot epic prose genre, intermediate between story And novel. In world literature, it is most often not clearly distinguished. IN ancient Russian literature the story was not a genre; this word denoted the works of the most different types, including chronicles ("The Tale of Bygone Years"). In the 18th century, author's poetic stories appeared: I.F. Bogdanovich's "Darling" (1778) - "an ancient story in free verse", "Dobromysl" (late 1780s) - "an ancient story in verse." The satirical "Kaib" (1792) by I. A. Krylov, reminiscent of Voltaire's "oriental stories", is subtitled "oriental story". A.S. Pushkin applied the word “story” to his poems: “ Caucasian prisoner" (1820-21), "To the Bronze Horseman"(1833). N.V. Gogol's early stories are shorter than the subsequent ones, and "Taras Bulba" (1835) is comparable in volume to some novels of the 1830s. M. Gorky gave his four-volume chronicle "The Life of Klim Samgin. Forty Years" subtitle "story", apparently emphasizing, first of all, that this is not a novel, but a narrative in general. In the last third of the 20th century there were writers who distinguished themselves specifically in the story because the middle genre was criticized less than the large one. This is the mature Yu.V.Trifonov, the early Ch.T.Aitmatov, V.G.Rasputin, V.V.Bykov. Literary encyclopedia terms and concepts / ed. A. N. Nikolyukina / M, 2001.--1600 stb.
The original meaning of the word "story" in our ancient writing very close to its etymology: a story - what is narrated represents a complete narrative, therefore it is used freely and widely. “So, a story was often called a hagiographic, short story, hagiographic or chronicle work (for example, “The Tale of the Life and Partly of Miracles, the Confession of Blessed Michael...”, “The Tale of Wise Wives” or the well-known “Behold the Tale of Bygone Years”, etc. .). And vice versa, in the titles of ancient stories one can find the terms “Legend”, “Life”, “Acts”, according to the Latin “gesta”, “Word”, common in the West, with moral interpretation - often “Parable”, later “. Butt "(i.e. example)". Vinogradov V V . , Favorite works: On the language of artistic prose. [T. 5]. M., 1980. Nevertheless, the old story is closely intertwined with most other narrative genres. In insufficiently differentiated, “syncretistic” ancient writing, the story is a general genre form in which almost all narrative genres: hagiographical, apocryphal, chronicle, military-epic, etc. The story is characterized by a coherent presentation of not one, but a whole series of facts, united by a single core. The central line of development of narrative genres is given by secular stories, which contained within themselves the tendency of the development of fiction. At the same time, the comparative simplicity social relations and their everyday manifestations and the primitiveness of the cognitive capabilities of literature determined the plot one-linearity, the “one-dimensionality” of ancient works, characteristic of the story. Only in later period medieval literature appear everyday, adventurous, talking about “ordinary” people and built on fiction secular stories. This period is a stage in the development of Russian literature when the total mass of narrative genres begins to differentiate more clearly, highlighting, on the one hand, the short story, on the other, the novel, as already clearly defined genres. Such works as “The Tale of Karp Sutulov”, “About Shemyakin’s Court”, etc., which have not yet been terminologically isolated in separate genre, are essentially typical short stories. In the presence of such differentiation of narrative forms, the concept of “story” acquires a new and narrower content, occupying a middle position between the novel and the short story. This is primarily determined by the scale of the volume and complexity of the reality covered by the work. But the size of the product decisive role at the same time, it does not play: a small story may be shorter than a long story (for example, L. N. Tolstoy’s story “Notes of a Marker” and the story “Blizzard”), while a large story may turn out to be longer than a short novel. However, on average, a story is longer than a short story and shorter than a novel; the size of a work is derived from its internal structure. Compared to a story, a story is a more capacious form, therefore the number of characters in it is usually greater than in a story. In the first third of the 19th century, in the dominant style, i.e. in the style various groups nobility, mainly poetic stories and dramatic genres are put forward. Later, in the 30s, when prose began to grow with extreme intensity, the story came to the fore along with the novel. So, Belinsky in the 30s. asserted: “Now all our literature has turned into a novel and a story” (“On the Russian story and Gogol’s stories”). The development of the story is undoubtedly connected with the appeal of literature to “prosaic”, everyday reality (it is not for nothing that Belinsky contrasts the story and novel with the “heroic poem” and ode of classicism), although this reality itself can be perceived by the authors in a romantic aspect (for example, the St. Petersburg stories of N.V. Gogol, a number of stories by V. Odoevsky, Marlinsky, such works by N. Polevoy as “The Bliss of Madness”, “Emma”, etc.). But among the stories of the 30s. There were quite a few with historical themes (romantic stories by Marlinsky, stories by Veltman, etc.). But truly typical of the era, new in comparison with the previous stage, are stories with a realistic aspiration, addressed to modern, everyday life ("Belkin's Tales" by A.S. Pushkin, bourgeois and petty-bourgeois everyday stories by M.P. Pogodin, I.N. Pavlov, N. A. Polevoy and others; among the romantics - V. F. Odoevsky and A. A. Marlinsky). WITH further development Russian literature, in which the novel is beginning to play an increasingly important role, the story still retains a fairly prominent place. The story retains approximately the same share in the works of our modern writers. M. Gorky made an exceptional contribution to the development of the story with his autobiographical stories(“Childhood”, “In People”, “My Universities”), the structural feature of which is the great importance of the characters surrounding the main character. The story has taken a strong place in the works of a number of other modern writers. It is enough to name such most popular works Soviet literature, like “Chapaev” by D.A. Furmanov, “Tashkent is a city of grain” by S.I. Neverov and many others. etc. At the same time, the “unilinearity” of the story, the well-known simplicity of its structure in the literature of socialist realism, does not come at the expense of the depth of social understanding of the reflected phenomena and the aesthetic value of the work. Vinogradov V.V. Plot and style. Comparative historical research, M.: USSR Academy of Sciences, 1963. - P.102
The story and novella, along with the novel, belong to the main prose genres fiction. They have both in common genre features, and certain distinctive features. Still, the boundaries between the genres of a story and a short story are often unclear, so difficulties often arise in defining the genre. And even experienced literary critics do not always cope with this task right away.
The history of the development of the story as a genre
This genre stems from ancient Russian chronicle and literature. The word “story” was used in the sense of “news about some event.” This word denoted works written in prose rather than poetic form. They talked about the events that took place at that time. These were chronicles, lives, chronicles, and military stories. The titles of works of ancient Russian prose eloquently speak about this: “The Tale of Bygone Years”, “The Tale of Igor’s Campaign”, “The Tale of Batu’s Invasion of Ryazan”.
Later, from the seventeenth century, responding to the needs of the time, stories appeared about the lives of ordinary people, lay people - secular stories. 
It was the secular story that was the fundamental basis of the genre of the story, which was developed in the literature of the 19th-20th centuries and in modern prose. It describes the natural course of life, often the harsh reality of time, in the center of which is the fate of the main character.
In the nineteenth century, the story became a favorite genre of famous Russian writers. A. Pushkin addresses her (“ Stationmaster"), N. Gogol ("The Overcoat"). Later, the genre of the story was developed by writers of the realistic direction: F. Dostoevsky, N. Turgenev, A. Chekhov, L. Tolstoy, I. Bunin. Later, in Soviet time, the genre is developed in the works of R. Pogodin, A. Gaidar, V. Astafiev. It is interesting that the story is the property of Russian literature. IN foreign literature The genres of short story and novel are developing, but the story as a genre is absent.
The history of the development of the short story as a genre
The origins of the short story genre stem from works of folklore - parables, fairy tales, and oral retellings. The story of how short work about a separate event, an episode from the life of the hero, was formed much later than the story, going through certain stages and developing in parallel with other narrative genres.
In the process of formation, there is a lack of clarity in the distinction between the genres of the story and the short story. Thus, A. Pushkin and N. Gogol preferred the name “story” for those of their works that we could define as a story.
Since the fifties of the 19th century, greater accuracy has been seen in the designation of the genre of the story. In L. Tolstoy’s “Notes of a Marker” the author calls it a story, and “The Blizzard” is called a short story, which fully corresponds to the definition of the genre. In the literature of the 19th and 20th centuries, the story gives way to the story, which is most widespread.
Characteristics of the story as an epic genre
The story is a prose literary genre. It does not have a stable volume. Its volume is larger than that of a story, but significantly less than that of a novel. The narrative is centered around several important episodes in the life of the main character. The presence of secondary characters is mandatory.
The composition often uses all kinds of descriptions (interior, landscape), author’s digressions, portrait characteristics. A branched plot containing additional storylines is possible. The content of the story is based on historical material, interesting events of human life, and less often fiction and fantasy. 
Characteristics of the story as an epic genre
The story is short in size epic work. The narrative is dynamic, dedicated to the important interesting event from the life of an author or fictional character. The composition is tense. The story has a single plot line, there are no additional plot lines.
With a relatively small volume, the author's use of artistic means is limited. Therefore, a large role is given to expressive artistic detail. The narration of events is often presented as a first-person account. It could be either main character, or the author himself.
What do stories and stories have in common?
- Both genres are prose.
- Compared to the novel, they are small in volume.
- There is a main character around whom the action is concentrated.
- Both the story and the story can be everyday, fantastic, historical, adventurous.
The difference between a story and a story
- The size of a story is variable and can reach several hundred pages, and a short story - tens of pages.
- The story is characterized by a lack of intrigue. Its content reveals reliable periods of the hero’s life. And the story describes one or more incidents from the life of the main character.
- A clear, dynamic plot is characteristic of the story. A leisurely, smooth narrative is a feature of the story.
- Additional storylines intertwined with the main one are a feature of the story. The story has one plot line.
- The author of the story strives for historical and factual truthfulness. A story is a true fiction.
- The story is characterized by techniques that slow down the action: descriptions, portrait sketches, lyrical digressions. This is missing from the story and an artistic detail plays a role.
- Unlike a story, a story has one hero, there is no backstory that allows you to trace the development of character.
- There are no analogies of the story in other literatures; the story has such analogies.
MINISTRY OF EDUCATION AND SCIENCE OF THE RF
FSBEI HPE "Mari State University"
Faculty of Philology and Journalism
Department of Russian Foreign Literature
Course work
on the topic: “Features of the genre of N. A. Durova’s story “Sulfur Key”
Completed by: 2nd year student of specialty 050301.65. Russian language and literature N. A. Lipina
Scientific supervisor: Ph.D. Sciences, Associate Professor O. I. Pozdnyakova
Yoshkar-Ola
2012
Content
Introduction………………………………………………………… …………..…………3
1. The story as a literary genre……………………………..……………………….5
1.1 Determination of the genre of the story in modern literary criticism………….5
1.2 Typology of the story of the first third of the 19th century…………………………………..8
1.2.1. Romantic story……………………… …………........................11
1.2.2. Historical story…………………………………………………..14
1.2.3. Fantastic story. …………………………………………….....16
1.2.4. Secular story….………………………………………………….. ....17
1.2.5. Household story…………………………………….…………………….. ....19
2. Analysis of the genre features of N. A. Durova’s work “Sulfur Key”………………………………………………………………… …......... .................... ...21
Conclusion…………………………………………………… …..…......................... .27
List of sources and literature used………………………………………..……… …………………………………..29
Introduction
The work of N. A. Durova was admired by many of her contemporaries. Undoubtedly, a brilliant future awaited her, but it was as if that same Ulanov saber that A.S. Pushkin spoke about suddenly cut off the pen. It is worth noting that now few people know about Durova the writer, and if they know something, then perhaps only that she is the author of “Notes of a Cavalry Maiden.” But besides this book, she is the author of a novel, a number of short stories and novellas Taken as a whole, the works of N. A. Durova are a significant asset of Russian literature of the thirties of the 19th century. Having completed the publication of her works in 1840, Durova abandoned literary activity forever and did not write a single line for twenty-six years. Perhaps the lack of vivid impressions affected her. While living in Yelabuga, the sharp criticism of her latest works may have had an effect. Durova herself, when asked why she no longer writes, answered that she would no longer be able to write as she wrote before, “and I don’t want to appear in the world with anything.” " 1
The activities of N. A. Durova as a writer were of interest not only to her contemporaries. But it is worth noting that researchers studied her work as a whole, without delving too deeply into the genre characteristics of individual works. So it was with the story “Sulfur Key”. Based on the introductory articles of the collections of the author’s works, we came to the conclusion that the issue of the genre features of the story has been almost not studied. So, for example, B.V. Smirensky wrote that “in the collection “One Hundred Russian Writers,” Volume I, there is the story “The Sulfur Key” with a portrait of the author of the work, A. Bryullov. The latter was included in the collection of Durova’s stories entitled “Cheremiska”. 2 Smirensky also noted that “the story was written in Durova’s inherent romantic spirit. The artistic technique of creating the story “Sulfur Spring” lies in the usual manner of Durova’s autobiographical works: the hero of the story is told the story that served as the plot of the work.” 3 Vl. Muravyov wrote that the plot of the story “entirely belongs to the era of romanticism.” 4 A. V. V. Afanasyev noted that Durova “surprisingly correctly captured the subtlest shades of the appearance of representatives of different peoples - Tatars, Mari (“Sulfur Key”), Poles, Lithuanians (“Gudishki”). 5
All researchers consider some individual aspects and do not focus their attention on the features of the genre, so we believe that this issue requires a more in-depth study. Due to the above this topic is relevant.
The purpose of this scientific research– identify the features of the genre of the story “Sulfur Key” by N. A. Durova.
To achieve this goal, it is necessary to complete a number of tasks:
- study the features of the genre of the story;
define genre specificity the story “Sulfur Key”;
establish the place of the story “Sulfur Spring” in the works of N. Durova;
The object of the study is the story “Sulfur Key” by N. A. Durova.
Subject – epic genre the story, its typology and artistic specificity.
Research method: the work uses an integrated approach, consisting of a combination of historical-genetic and typological research methods.
Structure of the work: the work consists of an introduction, two chapters (theoretical and practical), a conclusion and a list of used sources and literature, including 12 titles. The first chapter examines theoretical issues related to the definition of a story as a genre of Russian poetry. The practical part provides a typological analysis of the story “Sulfur Key” by N. A. Durova.
The texts of the work by N. A. Durova are quoted from the publication: Selected works of the cavalry maiden N. A. Durova / Comp., intro. note Vl. Muravyova. – M.: Moscow. Worker, 1983. – 479 p. In the work, pages are indicated in parentheses in Arabic numerals.
1. The story as a literary genre
This chapter mainly examines the history of the emergence of the genre of the story, its features, problems, typology. It is divided into two paragraphs: the first paragraph is devoted directly to the history of the genre, the second - to the typology of the story of the first third of the 19th century.
1.1. Definition of the genre of a story in modern literary criticism
A prose story is one of the genre varieties of the average epic form (along with the novella, story and new, non-canonical poem), which is distinguished by the following system of constant structural features: 1) in the area of the “event that is being told” - the dominance of a cyclic plot scheme, a test situation hero and action as a result of ethical choice, the principle of reverse (“mirror”) symmetry in the arrangement of the most important events; 2) in the structure of the “event of the narration itself” - its unreflective character, preference for time distance, evaluative focus of the narration on the ethical position of the hero and the possibility of an authoritative summary position, the tendency to rethink the main event and give it an allegorically generalized meaning (a parallel inserted plot or an additional one). analogue in the final); 3) in the aspect of the “zone of image construction” of the hero - the seriousness, unequal value of the depicted world of reality of the author and the reader and at the same time the potential closeness of the horizons of the character and the narrator (can be realized in the finale); correlating the hero and his fate with known patterns of behavior in traditional situations and, therefore, interpreting the central event as an “example” (often a temporary deviation from the norm), as well as drawing life lessons from the story told. 6
The story in modern Russian literary theory is an epic prose genre of average volume of text or plot, intermediate between a short story and a novel. In world literature, it is most often not clearly distinguished. In ancient Russian literature, the story was not a genre; this word denoted works of various types, including chronicles (“The Tale of Bygone Years”). In the 18th century, author's poetic stories appeared: I.F. Bogdanovich's "Darling" (1778) - "an ancient story in free verse", "Dobromysl" (late 1780s) - "an ancient story in verse." The satirical “Kaib” (1792) by I. A. Krylov, reminiscent of Voltaire’s “oriental stories,” is subtitled “oriental story.” A.S. Pushkin used the word “story” to his poems: “The Prisoner of the Caucasus” (1820-21), “The Bronze Horseman” (1833). N.V. Gogol’s early stories are shorter than his later ones, and “Taras Bulba” (1835) is comparable in length to some novels of the 1830s. M. Gorky gave his four-volume chronicle “The Life of Klim Samgin. Forty Years” subtitle “story”, apparently emphasizing, first of all, that this is not a novel, but a narrative in general. In the last third of the 20th century there were writers who distinguished themselves specifically in the story because the middle genre was criticized less than the large one. This is the mature Yu.V.Trifonov, the early Ch.T.Aitmatov, V.G.Rasputin, V.V.Bykov. 7
The original meaning of the word “story” in our ancient writing is very close to its etymology: story - what is narrated, represents a complete narrative, therefore it is used freely and widely. “Thus, hagiographical, short story, hagiographical or chronicle works were often called a story (for example, “The Tale of the Life and Partly of Miracles, the Confession of Blessed Michael...”, “Tales of Wise Wives” or the well-known “Behold the Tale of Bygone Years”, etc. .). And vice versa, in the titles of ancient stories one can find the terms “Legend”, “Life”, “Acts”, according to the lat. “gesta”, “Word”, when interpreted morally - often “Parable”, later “Butt” (i.e. example).” 8 Nevertheless, the old story is closely intertwined with most other narrative genres. In insufficiently differentiated, “syncretistic” ancient writing, the story is a general genre form in which almost all narrative genres are intertwined: hagiographic, apocryphal, chronicle, military-epic, etc. The story is characterized by a coherent presentation of not one, but a whole series of facts, united by a single core. The central line of development of narrative genres is given by secular stories, which contained within themselves the tendency of the development of fiction. At the same time, the comparative simplicity of social relations and their everyday manifestations and the primitiveness of the cognitive capabilities of literature determined the plot one-linearity, the “one-dimensionality” of ancient works, characteristic of the story. Only in the later period of medieval literature did everyday, adventurous, talking about “ordinary” people and secular stories based on artistic fiction appear. This period is a stage in the development of Russian literature when the total mass of narrative genres begins to differentiate more clearly, highlighting, on the one hand, the short story, on the other, the novel, as already clearly defined genres. Such works as “The Tale of Karp Sutulov”, “About Shemyakin’s Court”, etc., which have not yet been terminologically isolated into a separate genre, are essentially typical short stories. In the presence of such differentiation of narrative forms, the concept of “story” acquires a new and narrower content, occupying a middle position between the novel and the short story. This is primarily determined by the scale of the volume and complexity of the reality covered by the work. But the size of the work does not play a decisive role: a short story can be shorter than a long story (for example, by L. N. Tolstoy’s story “Notes of a Marker” and the story “Blizzard”), but a large one may turn out to be longer than a short novel. However, on average, a story is longer than a short story and shorter than a novel; the size of a work is derived from its internal structure. Compared to a story, a story is a more capacious form, therefore the number of characters in it is usually greater than in a story. In the first third of the 19th century, in the dominant style, that is, in the style of various groups of the nobility, predominantly poetic stories and dramatic genres were put forward. Later, in the 30s, when prose began to grow with extreme intensity, the story came to the fore along with the novel. So, Belinsky in the 30s. asserted: “Now all our literature has turned into a novel and a story” (“On the Russian Story and Gogol’s Stories”). The development of the story is undoubtedly connected with the appeal of literature to “prosaic”, everyday reality (it is not for nothing that Belinsky contrasts the story and novel with the “heroic poem” and ode of classicism), although this reality itself can be perceived by the authors in a romantic aspect (for example, the St. Petersburg stories of N.V. Gogol, a number of stories by V. Odoevsky, Marlinsky, such works by N. Polevoy as “The Bliss of Madness”, “Emma”, etc.). But among the stories of the 30s. There were quite a few with historical themes (romantic stories by Marlinsky, stories by Veltman, etc.). But truly typical of the era, new in comparison with the previous stage, are stories with a realistic aspiration, addressed to modern, everyday life (“Belkin’s Tales” by A.S. Pushkin, bourgeois and petty-bourgeois everyday stories by M.P. Pogodin, I.N. Pavlov, N.A. Polevoy and others; among the romantics - V.F. Odoevsky and A.A. Marlinsky). With the further development of Russian literature, in which the novel begins to play an increasingly important role, the story still retains a fairly prominent place. The story retains approximately the same share in the works of our modern writers. M. Gorky made an exceptional contribution to the development of the story with his autobiographical stories (“Childhood”, “In People”, “My Universities”), the structural feature of which is the great significance of the characters surrounding the main character. The story has taken a strong place in the works of a number of other modern writers. It is enough to name such popular works of Soviet literature as “Chapaev” by D.A. Furmanov, “Tashkent - the city of grain” by S.I. Neverov and many others. etc. At the same time, the “unilinearity” of the story, the well-known simplicity of its structure in the literature of socialist realism, does not come at the expense of the depth of social understanding of the reflected phenomena and the aesthetic value of the work. I
1.2. Typology of the story of the first third of the 19th century.
The paths of formation and development of Russian prose can be most clearly traced when considering its two main genres - the story and the novel. If the typology of the novel of the late 18th century is early XIX century has been studied relatively fully, the study of the original Russian story in the typological aspect is still insufficient.
Currently, in literary studies there is no doubt about the relevance of the typological research method. Moreover, it is the typological approach that allows us to most accurately trace the genesis and development of genres within a certain literary era. As Yu.M. rightly noted. Lotman, “the need for typological models arises when a researcher faces the need to explain the essence of chronologically or ethically distant literature, presenting it not as a set of exotic absurdities, but as organic, internally harmonious, artistic and ideological structure" 10
At the beginning of the 19th century, special works devoted to the study of the story appeared. For example, the first attempt to classify Russian stories and novels of the 18th century is represented by the work of V.V. Sipovsky "Essays from the history of the Russian novel". The advantage of this study is that it was the first attempt to describe and classify a huge amount of material that had not previously been studied and was not included in scientific circulation (many sources of the 18th century, starting from 1730, were involved). A significant drawback of the monographic study is, firstly, the classification given on the basis of works of Western European literature, which, in our opinion, overemphasizes the imitative nature of Russian literature of the late 18th century and does not fully reveal the features of the original Russian novel and story; and, secondly, genre differentiation between a novel and a story is not given. The typological aspect of the study of the Russian story of the late 18th century was devoted to the work of T. Zh. Yusupov “Russian story of the 80s-90s. XVIII century (Problems of typology)". The proposed classification is limited to the following types of stories: 1. satirical and everyday story; 2. a sentimental story a) with a developed plot, b) without a plot. A typology of stories by N.M. is also given. Karamzina: sentimental, pre-romantic, secular.
In our opinion, when classifying stories according to the thematic principle, such types of stories of the 80-90s of the 18th century as adventure, historical, philosophical, “oriental” and so on, which took place in the literary process of the end of the century, remain beyond the attention of the researcher. Thus, a significant layer of Russian stories of this period remains unaccounted for, which does not allow us to talk about a holistic study of the story genre.
V. G. Belinsky in his article “On the Russian story and Gogol’s stories (“Arabesques” and “Mirgorod”) also attempts a typology of the story. 11 In it, the author fully analyzes the work of the authors who laid the foundation for the development of the Russian story. Among them are A. A. Bestuzhev-Marlinsky, who “was our first narrator, was the creator, or, better to say, the instigator of the Russian story” 12, Prince V. F. Odoevsky, M. P. Pogodin, N. A. Polevoy, N.F. Pavlov, who gravitated more towards historical narratives, and N.V. Gogol wrote mostly stories of a fantastic nature. It is worth clarifying that V. G. Belinsky did not set himself the goal of classifying stories according to any criteria, but his work served as an impetus for subsequent researchers of this genre.
Belinsky wrote: “Our story began recently, very recently, namely, from the twenties of the current century. Until that time, it was a foreign plant, transported from overseas at whim and fashion and forcibly transplanted onto its native soil.” The critic associated the appearance of a new type of story in Russian literature with the development of Russian romanticism. “In the twenties,” Belinsky continued, “the first attempts to create a true story were discovered. It was a time of general literary reform, which arose as a result of the beginning acquaintance with German, English and modern French literature and with common sense concepts about the laws of creativity" 13
V. G. Belinsky considered A. A. Bestuzhev-Marlinsky to be the “father” of the Russian story, who gave a huge impetus to the development of this genre. His stories were mostly “folk” or historical, telling about the life and way of life of the Russian people, but this “nationality” consisted only in Russian names, and in their content his works were more similar to knightly novels. “But, despite all this, Mr. Marlinsky’s stories, without adding anything to the sum of Russian poetry, brought a lot of benefit to Russian literature and were a big step forward for it.<…>Mr. Marlinsky's stories had the latest European manner and character; intelligence and education were visible everywhere, individual beautiful thoughts were encountered, striking both with their news and their truth; add to this his style, original and brilliant in the most extreme terms, in the very phraseology - and you will no longer be surprised at his extraordinary success.” 14 The stories of Prince V.F. Odoevsky were allegorical in nature, but nevertheless they were historical. For the first time, attacks were made on the 18th century. But, as Belinsky wrote, “do not look for a poetic representation of real life in his creations, do not look for stories in his stories, for the story was not a goal for him, but, so to speak, a means, not an essential form, but a convenient frame.” 15 “Following the chronological order, I must now talk about the stories of Mr. Pogodin. None of them were historical, but all were folk, or, better said, “common people.” 16 M.P. Pogodin wrote about the life of the common people, the world of his poetry is the world of merchants, townspeople, small nobility and peasants. His “Beggar,” who innocently talks about his love and his suffering, can serve as a type of nobly feeling commoner. “Black Sickness” describes the life of the middle class, with its half-wild, half-human education, with all its shades and “birthmarks.” “One of the most important, one of the most prominent places among our narrators is occupied by Mr. Polevoy. The distinctive character of his works is their amazing versatility, so that it is difficult to bring them under a general view, for each of his stories represents a completely separate world.” 17 His stories are rather historical, in which the author was able to very accurately and unobtrusively tell about the past (“The Painter” and “Emma”). “It is difficult to judge Mr. Pavlov’s stories,” Belinsky wrote. - It is difficult to decide what they are: the thought of an intelligent and feeling person, the fruit of an instant flash of imagination, the product of one happy moment, one favorable era in the life of the author, the product of circumstances, the result of one thought deeply sunk into the soul - or the creation of an artist, unconditional works , irrespective, free outpouring of the soul, whose destiny is creativity? 18 The stories of N. F. Pavlov are rather imbued with the everydayness of everyday life. There is nothing supernatural about them, but on the contrary, everything is normal.
The work of V. G. Belinsky gave impetus to further study of the story as a genre.
And in our opinion, the most complete work in considering the issue of the typology of this genre was the collective monograph “Russian story XIX centuries: history and problems of the genre" edited by Meilakh B. S. (Leningrad, 1973). Since N. Durova’s story “The Sulfur Spring” belongs to the first third of the 19th century, let us proceed directly to the consideration of this period of Russian literature. The authors of this scientific work identify five types of stories of the 19th century: romantic, historical, fantastic, secular and everyday.
1.2.1. Romantic story
“The process of formation of romantic prose in Russia was distinguished by its unique character. If the history of German romanticism begins with the novel and story, which immediately took on the most complex philosophical and aesthetic problems of the new direction, then Russian romanticism was established from the beginning in poetry.” 19 The searches of the first Russian romantics were connected with the idea of personality, with the desire to express the spiritual and psychological experience of a person in a new way. historical era, which posed problems for literature that were unsolvable by the artistic means of classicism and sentimentalism. This tendency - to convey the more complex psychology of modern man and the changed nature of his relationships with the outside world, which has undergone turbulent historical events - brought to the fore poetic genres, which turned out to be more prepared to assimilate the new literary and aesthetic tasks posed by romanticism. That is why the 1800s - 1810s are characterized by a significant flourishing of romantic poetry, which gave, according to Belinsky’s figurative definition, Russian literature “soul and heart”, enriching it with psychologism. “The historical task of the next period,” notes the “History of the Russian Novel,” “was to transfer the achievements of Zhukovsky, Pushkin, Griboyedov, the Decembrist poets... into the sphere of artistic prose, and above all the novel and story.” 20
At the beginning of the 19th century. the number of original stories that can be called sentimental is increasing significantly compared to the 18th century. Artistically, these stories are, as a rule, much weaker than Karamzin's. Nevertheless, the story of the 1800-1810s is not only an epigony, but also new discoveries, although not very noticeable at first glance, but showing the gradual evolution of the genre.
In the stories of the 1800-1810s, many stable elements were preserved that repeated the plots, images, characters, and style of the stories of the 18th century.
V.V. Sipovsky noticed that prose writers of the beginning of the century showed interest in the form of the story and short story, but not the novel. At the same time, the plot of the work itself acquired interest for the author only in connection with the opportunity to describe the feelings and experiences of the characters. The richness of events and the dynamism of the action gradually gave way to a slow, almost static description with detailed analysis thoughts and feelings about the event.
Already in the 90s of the XVIII century. Another line appears in the literature of Russian sentimentalism - actually pre-romantic ("Bornholm Island" and "Sierra Morena" by Karamzin). At the beginning of the 19th century, the genre of the romantic story further developed, but before this genre finally took shape, it coexisted for a long time with the sentimental story.
In the era of pre-romanticism and romanticism, attention to antiquity increased in all European countries, and Russia was no exception in this regard. Writers turned to distant times in search of true hero, closer to nature than modern people, a person not bound by the prejudices of civilization. Historicism was naturally of a conditional nature, but gradually interest in the historical past of one’s people became more serious and deeper.
Already in the story “Natalya, the Boyar’s Daughter” (1792), Karamzin transfers the action to those old times, “when the Russians were Russians, when they dressed up in their own clothes, walked with their own gait, lived according to their custom, spoke with their own language according to their hearts, that is, they spoke as they thought.” In the 19th century, as is known, history became the main subject of Karamzin’s studies, which is associated with the appearance of his historical story “Martha the Posadnitsa, or the Conquest of Novgorod” (1803). 21
This work can no longer be considered a sentimental story, but it was written by Karamzin, the recognized head of Russian sentimentalism. Very significant changes took place in Karamzin’s worldview and creativity, but the writer’s new artistic principles grew on the basis of his previous experience.
In the work of the largest Russian sentimentalist writer, the main types of stories began to take shape, which became popular during the 1820-1830s. Karamzin wrote not only one of the first historical stories, but also one of the stories dedicated to the life of secular society - “Julia”. “The author of the article “A Look at Stories or Fairy Tales” considers “Julia” to be the “most excellent” of Karamzin’s stories: “The liveliness of the story, the beauty of expressions, the lightness of the brush, the pictures of prose painting, the true images of society, finally, all the flowers of the imagination and all the charms of the style adorn it.” . 22 “Julia” (1794) was one of the first secular stories in Russian literature. It is this type of genre that becomes widespread at the beginning of the 19th century. The secular story gave writers ample opportunities to pose problems of psychologism on the material that was closest and most familiar to them. The democratism of the authors of Russian sentimentalism was essentially very limited: recognizing the peasant woman’s ability to “feel,” they preferred to talk about the experiences of the “noble” hero.
The significance of the sentimental story for Russian realistic literature of the 19th century was assessed differently by researchers. Many have noted that certain plots, motifs, and images from the stories of Karamzin and his followers are transferred into the works of Pushkin, Turgenev, Tolstoy, and Dostoevsky. “In a number of works, however, the fundamental differences between Pushkin’s stories and sentimental ones were shown. V.V. Gippius, who studied this problem in detail, wrote: “Pushkin’s story arose not from the assimilation of a sentimental story, but from its overcoming and denial.” 23
So, we can conclude that the Russian story of the first decades of the 19th century, which was strongly influenced by Karamzin and Zhukovsky, was distinguished by significant diversity in theme and style. Folklore, religious motifs, and mystical fiction later become essential features of the romantic story in its classical version. Later, in the Russian story, reality began to be considered in other aspects - fantastic, “secular”. A special variety was formed by stories about art and artists (stories about “genius”). Thus, in the course of the development of Russian romantic prose, four independent genre variants were created - historical, secular, fantasy, and everyday stories.
1.2.2. Historical story
“The process of overcoming and denial began essentially from within, in the depths of the sentimental story genre itself, as can be seen from the material cited above. A sentimental story is a complex concept, including several groups, heterogeneous and at the same time closely related to each other.” 24 Already within the sentimental story, a noticeable evolution of the genre takes place: the problems of the story are gradually expanding, in particular, the problem of the hero’s relationship to the environment that surrounds him and leaves its mark on him appears. “In accordance with this, the sentimentalists’ understanding of the “life of the heart”, of human psychology, deepens, and new multilateral connections exist between the hero and the outside world.” 25
“Some authors focus their attention on depicting the personality of a “sensitive” hero who opposes the “light” and does not obey its morality. Such a hero immediately precedes the hero of a romantic story with his violent protest against established laws and opinions.” 26
Emphasizing that the stories they told were taken from reality, sentimentalists sought to introduce into their works such details that could indicate the authenticity of the story. If the time of action was placed in the past, information, facts, and descriptions appeared that allowed the reader to imagine this distant era. This is how the principles of creating a historical story began to be developed.
On historical story The Decembrists, for example, were clearly influenced by the genre of Ryleev’s Duma. The principles of historicism developed by Ryleev were undoubtedly taken into account in the historical stories of A. Bestuzhev. These include:
- historical figure, endowed with features of exclusivity, whose inner world is extremely close to the author’s;
- historical allusions in the depiction of the morals of the past, which is intended to “hint” the reader at the present;
- lyricization of the author’s narrative, bringing together the confessional style of speech of the author and the main character;
- techniques of psychologism (portrait, landscape), which came into the historical story from the arsenal of elegiac romanticism, etc.
1.2.3. Fantastic story
“From the mid-1820s, one of the branches of the romantic story, called fantastic, began to develop in Russian narrative prose and soon reached significant distribution.” 27
The term “fantastic story” is far from unambiguous in its content. “The necessary condition underlying the fantasy of this period and, consequently, the fantastic story, is a concept called two-worlds. It lies in the fact that supposedly, independently of the world visible and perceived by man, regardless of the reality surrounding him and, as it were, behind it, beyond it, there exists another, inaccessible to sensory perception and not comprehended by the mind, a supernatural, “otherworldly” world. This second, “other” world can have (and does) have a mysterious and ultimately destructive influence on a person, his fate and the reality around him, at times invading human life. Translated into historically established religious concepts, this dark other world is the creation and instrument of the spirit of evil - the devil; he is hostile to the bright world created and governed by a deity; he fights against the deity, or at least stands as if outside of it; Man’s attempts to penetrate this world, and especially to subjugate its powers, are illegal and sinful, are witchcraft, sorcery, leading a person to destruction.” 28
A special source of mystical ideas is folk art in the form of beliefs and traditions that developed in the Middle Ages under the double influence of ancient pagan beliefs (spiritualization of nature, cult of ancestors, etc.) and Christian mythology, which merged with these beliefs. Interest in folk art arose and began to grow from the middle of the 18th century. Let us note that we should not confuse the fantasy of folk beliefs and legends with the fantasy of folk tales. The significant difference between one and the other lies in the fact that in the fairy tale there is no idea of the otherworldly, supernatural world as another, even the other side of existence - the idea that was mentioned above.
“One of the important sources of fantastic stories - both in Western Europe and in Russia - is the romantic idea of nationality, understood as the expression of the “folk spirit” in morals, customs, beliefs, legends coming from antiquity, in folk art. But in contrast to the ballad, introduced into Russian poetry by Zhukovsky and which turned mainly to the foreign Middle Ages, to pseudo-historical or poetic antiquity, to German, British, Scandinavian, and Eastern folklore, the Russian fantasy story of the 20s and 30s most often turns to materials from Russian or - even more - Ukrainian (“Little Russian”) folk art.” 29
The close connection of literary fiction with folklore, popular beliefs and legends as its essential source contributed to the fact that fantastic story in the form of an oral story has become a phenomenon of everyday life. Many Russian writers and poets from the mid-20s to the early 40s took part in the creation of a fantastic story from greatest geniuses of that time to the third-rate, unknown and forgotten writers. Here in the first row you need to name three names such as Pushkin, Gogol and Lermontov; they are followed by smaller, but still noticeable names - A. A. Perovsky (Antony Pogorelsky), V. F. Odoevsky, M. N. Zagoskin, O. M. Somov (Porfiry Baysky), G. F. Kvitki-Osnovyanenko, E. P. Grebenki, A. K. Tolstoy.
1.2.4. Secular story
In the mid-1830s, a new variety emerged from the stream of romantic stories - the “secular story,” which in less than a decade would become one of the most widespread and fashionable genres of the time. The term “secular story” has been included in criticism only since 1835, although by this time the genre itself had already been formed and acquired its characteristic features. But despite the fact that the genre became popular in the 30s of the 19th century, N.M. Karamzin is considered to be the founder and creator of the “secular story”. His sentimental story "Julia", written in 1796, opens this genre in Russian literature. Almost all writers of the 1830s went through “secular stories.” The most famous of them were A.S. Pushkin, V.A. Sollogub, N.F. Pavlov, A.A. Bestuzhev-Marlinsky, V.F. Odoevsky, M.Yu. Lermontov.
The basis of a “secular story”, as a rule, is a love-psychological drama, a conflict between the “light” and the hero who wants to be himself, live according to his heart, and, as a result, violates the “laws” of high society. In many cases, such a collision determines the plot development of “secular stories”, the relationships of the characters, as well as the peculiarities of character construction and the emotional tone of the narrative.” 30 The plot of the “secular story” is based on the discrepancy between sincerity and hypocrisy, deep feelings and social conventions (“Duel” by E.P. Rostopchina).
“The term “secular story” was first introduced into literature by the critic and writer S.P. Shevyrev, reviewing the collection of N.F. Pavlov’s “Three Stories” (1835). The name of the genre speaks for itself. All the stories are devoted to the theme of the big world and the socialite. Thus, characters“a secular story” is “ordinary faces that you often come across in society: Count, Countess, Princess, Colonel, Cornet, etc.” 31
The main problem around which the story is built is the relationship between man and society. The evolution of relationships constitutes the content of the story and is explained by the pressure of “circumstances.” The presence of a love affair, which is the center of plot development, is required. The hero’s experiences and his inner world are in the first place for the author of the “secular story.” The action takes place in a secular environment, the background of which is a living room, a ball, a theater, a masquerade, a home environment, an estate. Writers pay a lot of attention to composition and style and strive to enrich literary language, give it grace, brilliance and conversational ease. They develop dialogues that, in their diversity, humor, wordplay, and metaphors, resemble a secular verbal duel.
The standard set of a “secular story”: a love triangle, “light” as a structure-forming component, a romantic conflict: an extraordinary personality confronts society. The hero does not find a place for himself in society, and therefore the author is forced to make sure that he dies, leaves, etc. The “secular story” of the 1830s is characterized by an unhappy ending. The power of the “light” is disproportionately greater than the hero’s power. Main feature is that than more positive hero The more good qualities he has, the more open he is to the world, the more vulnerable he is, and the more likely he is to die.
“The image of the protagonist or heroine is always contrasted with the “secular mob”, the “secular crowd”. And it rarely happens that the author singles out any one character from the crowd; as a rule, he creates a collective image, the entire secular society merges into one whole.” 32
In the “secular story”, the motif of “rumour”, “gossip”, “rumour”, “argus” is widespread, which is the engine of the plot. Envy, lies, betrayal - all this is the diocese of the “secular rabble”. The main character of a women's "secular story" is a woman (in a man's "secular story" the situation is different: in most cases the main character is a man), in some cases she is the pinnacle love triangle. The motif of unrequited, “criminal” love is widespread in “secular stories”; as a rule, the plot is built on it. But in this collision, the male hero is most often blind, choosing as the object of his love an empty, frivolous woman, an intriguer who knows well the rules of the “world” and knows how to achieve a goal using coquetry.
1.2.5. Household story
“The everyday story receives significantly less development in Russian prose of the early 19th century than other genres. This is explained by the fact that it is associated primarily with everyday life, with the depiction of everyday life, characteristic of fair and semi-fair stories, morally descriptive prose, as well as fables. But since everyday life can be different, for example, secular, then an everyday story is usually understood as one in which the narrative concerns the lower classes of society - peasants, soldiers, commoners, burghers, merchants, etc. In other cases, the image of everyday life is studied as its functions in romantic prose. However, the everyday story has a number of structural features, which include:
- the clash of a “simple” person from the lower strata of society with a person (or environment) of a higher social status - the opposition of the patriarchal world to the civilized one;
- at the same time, the patriarchal world is assessed positively, and the civilized one – negatively;
“The hero, as a rule, suffers personal ruin in his family, in his pursuit of knowledge, in art.” 33
“The development of new principles of everyday life writing in the early 1830s was largely associated with attempts at socio-historical understanding of reality, and Pushkin had a special place here. Already in the first songs of Eugene Onegin, Pushkin paints his hero against a broad and detailed everyday background. “Everyday life” appears as an “environment”, and as an aesthetically neutral environment, beyond evaluation. The environment acts as a determining factor; this becomes especially clear after the second chapter, where Tatiana’s upbringing and her everyday sphere will be contrasted with Onegin’s” 34
etc.................
The story is in modern Russian literary theory, the epic prose genre is medium in volume of text or plot, intermediate between the story and the novel. In world literature, it is most often not clearly distinguished. Thus, in Japanese the word “monogatari”, recorded since the 9th century, literally means “story about things” and defines prose works different genres: fantasy tale, fairy tale, collection short tales or legends, a major work analogous to a European novel, a heroic epic. In English, the story is tale, from the mid-18th century the terms history, novel were called as opposed to the old romance novels(romance) a type of novel with characters endowed with more diverse interests, with themes from the sphere of ordinary modern life. In French, story is conte, literally “fairy tale”, what is told, is told, is narrated (raised in French culture A.S. Pushkin in his letters calls his “Belkin’s Tales” fairy tales); however, the word conte is also applied to poetry - for example, “Fairy tales and stories in verse” (“Contes et nouvelles en vers”, 1665-85) by J. Lafontaine. Modern literature uses the term “micronovel”, in particular, it has taken root in Estonia.
In ancient Russian literature, the story was not a genre; this word denoted narratives of various types, including chronicles (“The Tale of Bygone Years”). In the 18th century, author's poetic stories appeared: I.F. Bogdanovich's "Darling" (1778) - "an ancient story in free verse", "Dobromysl" (late 1780s) - "an ancient story in verse." In the subtitle, one word “story” was initially not included as meaningless, requiring definition and clarification; the satirical “Kaib” (1792) by I.A. Krylov, reminiscent of Voltaire’s “oriental stories”, is subtitled “oriental story”. In the 1790s, N.M. Karamzin, with his sentimental stories, elevated prose to the rank of high literature. Pushkin applied the words “story” to his poems: “Prisoner of the Caucasus” (1820-21), “The Bronze Horseman” (1833, “Petersburg story” - a designation borrowed by A.A. Akhmatova for the first part of “Poem without a Hero”, 194062 , - “Nine hundred and thirteenth year”), fantastic and “high” on the theme “Demon” (1829-39) by M.Yu. Lermontov, also an “eastern story”.
The prose story from Karamzin to Pushkin, which is structurally and in volume usually similar to the Western European short stories of that time, cannot be identified with them: in early Russian prose, the story and the novel were not contrasted in volume even as relatively as in the West. N.V. Gogol’s early stories are shorter than the subsequent ones, and “Taras Bulba” (1835), a prose imitation heroic epic Homer, comparable in length to some novels of the 1830s.
D.P. Svyatopolk-Mirsky in his “History of Russian Literature...” (1926) found that I.S. Turgenev’s novels differ from his stories not so much in volume as in the presence of topical conversations between the characters. Turgenev himself more often called them stories and only in 1880, when after L.N. Tolstoy and F.M. Dostoevsky the novel was established as the highest achievement national culture, brought together his six short novels under this general title. In the 20th century, the volume of text is also not always considered as a defining feature of the genre. M. Gorky gave his four-volume chronicle “The Life of Klim Samgin. Forty Years” subtitle “story”, apparently emphasizing, first of all, that this is not a novel, but a narrative in general. “A story,” wrote A.I. Solzhenitsyn in his autobiographical book “A Calf Butted an Oak Tree” (Paris, 1975), “is what we most often strive to call a novel: where several storylines and even extension in time is almost obligatory. And a novel (a vile word! Isn’t it possible otherwise?) differs from a story not so much in volume and not so much in its length in time (it even became compressed and dynamic), but rather in the capture of many destinies, the horizon of vision and the vertical of thought.” In the last third of the 20th century there were writers who distinguished themselves primarily in the short story genre, partly because the medium genre attracted less ideological pretension than the large one. This is the mature Yu.V.Trifonov, the early Ch.T.Aitmatov, V.G.Rasputin, V.V.Bykov. Western literatures still often leave medium-length prose works without a clear label. For example, “The Old Man and the Sea” (1952) by E. Hemingway is usually called both a story and a story (short story).
Historical poetics is the brainchild of Russian philological science, although the origins of this discipline were not only Russians, but also European scientists of the 19th century, who were engaged in a comparative typological study of the phenomena of world literature and on this basis made conclusions about the evolution of individual forms verbal creativity and whole artistic systems. Its origin is associated with scientific activities Academician A.N. Veselovsky (1838–1906), the creator of “new”, “inductive poetics”, who first defined the subject, developed a study methodology and formulated the tasks of historical poetics. By updating the principle of historicism in scientific knowledge, this outstanding scientist fundamentally updated the theory of literature, knowledge about the genesis of poetic genres and genera, plots and motifs, and the patterns of development of world literature. He contrasted normative theory and literary history with the idea of “genetic” poetics, based on an understanding of the role of aesthetic and extra-aesthetic factors themselves. literary development. The goal of this scientific discipline is A.N. Veselovsky considered the study of “the evolution of poetic consciousness and its forms,” while emphasizing that “the method of new poetics will be comparative.”
Considering the history of literature as “the history of social thought in figurative and poetic experience and the forms expressing it,” the scientist in 1870 said in the introductory lecture to the course of general literature, which he taught at St. Petersburg University: “The history of literature, in in a broad sense this word is the history of social thought, as far as it is expressed in the philosophical, religious and poetic movement and consolidated in words. If... in the history of literature special attention should be paid to poetry, then the comparative method will open up completely new task- to trace how the new content of life, this element of freedom, which flows with each new generation, penetrates the old images, these forms of necessity, into which every previous development was inevitably cast."
A.N. Veselovsky considered “inductive poetics” within the framework of the “methodology of the history of literature”, created with the goal of “clarifying the essence of poetry - from its history,” and considered it in the paradigm of the content of forms, the relationship of the typological and historical. Warning against “speculative constructions” in this area, he drew attention to the importance of studying nature aesthetic activity and the specifics of perception: “The task of historical poetics... is to determine the role and boundaries of legend in the process of personal creativity.” At the same time, in the context of overcoming empiricism in scientific knowledge, he formulated a question, the essence of which was the need to “distract the laws of poetic creativity and abstract the criterion for assessing its phenomena from the historical evolution of poetry.”
“Distraction”, “removal” of the data of the evolution of poetic systems, historically formed community, integrity on different levels aesthetic reality in order to determine the patterns of development of artistic consciousness, the forms of its expression determines close connection between the problems of history and literary theory when studying the subject of “inductive poetics”. All experts in historical poetics agree on this. In the understanding of A.N. himself. Veselovsky, as well as his contemporary, the German literary critic W. Scherer, “ historical poetics simply meant a literary theory based on the principles of historicism." Developing the ideas of A.N. Veselovsky, modern scientists attach to the synthesis of theory and history of literature - as an essential side of historical poetics - special meaning. I.K. Gorsky argues that “poetics in true meaning this term is applied literary theory." M.B. Khrapchenko considered historical poetics as “a link between the common theoretical poetics and the history of literature." A.V. Mikhailov sees the task of historical poetics as “bringing together, mediating and combining theoretical and historical knowledge about literature.” S.N. Broitman emphasized that “related to the history of literature, historical poetics is nevertheless a theoretical discipline that has its own subject of study.”
But the subject of this scientific discipline is understood differently, which is explained by its synthetic, complex nature, as well as by the fact that after A.N. Veselovsky, who for a number of reasons did not complete the work of creating a unified universal poetics, this direction scientific knowledge was not developed as intensively as other sections of poetics (theoretical, systematic and private, descriptive poetics). Let's give the most meaningful definitions the subject of historical poetics, giving an idea of the current state of its study.
M.B. Khrapchenko wrote that “the content, the subject of historical poetics, should be characterized as a study of the evolution of methods and means of imaginative exploration of the world, their social and aesthetic functioning, a study of the fate of artistic discoveries.” “The construction of historical poetics is unfolding...” believes A.V. Mikhailov, - in the interpenetration of literary theory and literary history - and, moreover, certainly in such a way that this process of interpenetration and merging of theory and literary history extends into the breadth of cultural history and in it, in its development, in its diverse materials, draws its internal logic"
End of introductory fragment.
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