ADVENTURE NOVEL. The only poetic type that developed primarily on European soil, the novel - whatever stands at its center - love, a mystical idea or matters of honor - appears in the first centuries of our era (Hellenistic romance, for example, Iamblichus Babylonian stories, Chariton of Aphrodisias Highray and Collirhoy, famous Latin novel by Apuleius Golden donkey) and strengthened in the Middle Ages, mainly in the form of an adventure novel - a novel of adventure. Rooted in folk-oral arts, all early examples of the adventure novel appear to us in inseparable fusions with this latter. Hellenistic romance from all sides
entwine oriental tales and legends of the love-adventurous type, providing him not only with inexhaustible plot material, but also suggesting his basic scheme; chivalric novels (Breton cycle or novels " Round table"and the Carolingian cycle) grow entirely on the heroic epic of the Celts and Franks, there are for a long time exclusively in oral tradition. The “novels” of early medieval poets (the so-called Grail cycle, formed by the works of poets XII and beginning of XIII V. - Robert de Borron Joseph of Arimathea, Merlin and Parsifal; Walter Mapa Holy Grail, Chretien to Troyes, Perceval or the Tale of the Grail, Wolfram von Eschenbach Parzival- this, according to later researchers, is “the song of songs of chivalry”, containing about 25,000 verses; processing of the legend of Tristan and Isolde and some. etc.). All these works can be called novels in the proper sense of the word just as little as the epic poems of Ariosto, Boiardo, Tasso. However, they perfectly developed the apparatus of adventure, which was completely adopted by the later adventure novel. Somewhat closer to the novels proper are adaptations of stories about Trojan War(Benoit de Sept Mop Roman de Troi) and Alexander the Great (arranged by Lambert le Court and Alexandre de l'ernay, which formed the basis of numerous European Alexandrias), and a history carried through a wide variety of trials, but unchanged and, in the end, triumphant over all the obstacles of love - the motif of the famous short story by Apuleius Cupid and Psyche(Flos and Blancheflos, Aucassin and Nicoletta, etc.).
As an independent, isolated genre, the novel made its way into literature only towards the end of the Middle Ages.
not preserved in the original (the closest one is known spanish translation early XVI c.), but which determined all subsequent novels about knights errant (Chevaliers errants). All of these novels, which found particularly favorable soil for their development in Spain and from there spread throughout Europe, use the novels, which find such beneficial use in later novel travel (see) the motive of changing places, wanderings of one's hero. The time of the Amadis coincides with the period of decline knightly culture, alive only in the imagination of the authors of chivalric novels, magnetizing thousands of sympathetic readers. The era of the growth of cities, their accumulation of wealth, and the emergence of bourgeois society required more realistically minded heroes. Romances of chivalry heroize the memory of the passing feudal life, representatives of the new class hit it on the heels with the stick blows of satire.
In place of the heroic epic, the basis of newly emerging works is the epic about animals. The life of animals is depicted as an exact copy of feudal relations. The hero of novels of this kind (Isengrim, Nivardus from Rent, “The Adventures of Renard”, Pierre before Saint-Cloud, “Reynard”, Willema, etc.), cunning, inexhaustible in the tricks that accompany complete success, a triumphant realist - the Fox is an exact prototype of the future Spanish literary rogues - picaro. In the homeland of chivalric romance, in Spain, the realistic adventure novel, which was the natural antithesis of the sublime symbolism of the Amadis, flourishes with the greatest brilliance. The beginning of the Spanish picaresque novel (Novella picaresca or Schelmenroman) was laid in 1553 by a small book by an unknown author, “The Life of Lazarillo of Brakes and His Successes and Failures” (Russian translation by I. Glivenka, 1897), which became the most read book in Spain after Don Quixote , With huge success in dozens of translations, distributed throughout Europe (one of the English translations by Lasarillo
survived, for example, 20th edition) and gave rise to a number of imitations in Spain itself (the most remarkable are the novels of Aleman Gusman de Alfarache 1599, Leon, La picara Justina, the story of a rogue woman, 1605, Espinel - “The Life and Adventures of Obregon” 1618, Quevedo - “The History and Life of the Great Rogue Paul of Segovia” 1627, etc.); in England late XVI V. (a number of stories from the everyday life of conycatchers, rabbit catchers - savvy people, Green: “The Life of Jack Pilton”, “Ours”, etc.); in Germany (combining Spanish influence with the traditions of folk collections like the famous Till Eulenspiegel, Grimmelshausen’s soldier’s novel Simplicissimus, 1669 - this “Faust thirty years war", which in turn caused an infinite number of imitations), in France XVII V. (Sorel, La vraye histoire comique de Francion, Scarron, Roman comique, etc.). In France, from the beginning of the 18th century. estilo picaresco sparkled with renewed vigor in the work of Lesage (the novels “The Lame Devil” and especially the famous “Gilles Blas”), who assimilated the Spanish literary tradition to such an extent that he is still accused of plagiarism. “Gilles Blas”, in turn, spread a number of imitations into neighboring literatures (for example, in Russian literature, where in the 18th century “Gilles Blas” went through 8 editions and was one of the favorite books, novels by M. Chulkov Mockingbird, Pretty Cook, I. Krylova Nights, and etc.). This Leszhev stream ends in early XIX V. novels by Bulgarin and especially Narezhny: “Russian Gilles Blas” 1814, and some. others, who in turn influenced Gogol. It should be noted that in Russia the picaro type also has its own local tradition, rooted in a story from the 17th century. (about Frol Skobeev). All the heroes of picaresque novels necessarily belong to the lower class, go through all sorts of professions, find themselves in the most bizarre situations, as a result of which, as a rule, they achieve honor and wealth. All this allows the authors, leading readers after their hero - through huts and palaces - to produce, as it were, a transverse
a cross-section of the life of modern society, giving a bright and lively picture of morals and everyday life, which makes the picaresque novel a true forerunner of the later real novel. The sublime knightly ideology and the opposite, quirky morality of the hero-rogue, which remain two of its main themes throughout the development of the adventure novel, in early XVII V. united on Spanish soil into one of the most remarkable works of world literature, Cervantes' novel Don Quixote. In the realistic environment of the bourgeois XVI-XVII centuries. the symbolic idealism of chivalry, pursuing the world's evil under the fabulous forms of all these wizards and giants, seemed like a mad struggle with windmills. The pathos of the novel is the discrepancy between character and environment, a great spirit immersed in small days. However, the very form of the novel is built according to the type of picaresque short stories, which signifies final victory this genre. IN further development The European novel is subject to the most varied differentiation, but its basic compositional and plot scheme - a labyrinth of adventures - was accepted until the 18th century. by the majority of authors, completely regardless of what - psychological, everyday, social, satirical, etc. - thread runs through its convolutions. These are in the 17th century. French gallant-heroic novels by Gomberville, Calprened, Scuderi, didactic poem-novel by Fenolon, love-psychological novels by Prevost, satirical, simultaneously approaching the type of utopian novel: “Gargantua and Pantagruel”, Rabelais, in England - “Gulliver’s Travels”, Swift , in part, Defoe’s famous novel “Robinson Crusoe”, fed by contemporary political and economic theories, which laid the foundation for countless Robinsonades and formed new genre exotic adventure novel. During the 18th century. The psychological novel stands out as a completely special genre.
However, the adventurous tradition is maintained with the same vigor in English domestic novels only.
Fielding (“The History and Adventures of Joseph Andrew and His Friend Mr. Abraham Lincoln”, “The History of Tom Jones, a Foundling”) and Smollett (“Roderick Random”, “Peregrine Pickle”, etc.) and Voltaire’s satirical “Candide”, not only fills the once famous “mysterious” novels of Radcliffe (“The Mysteries of Udolf”, 1794, etc.) and the “robbery” novels of Shiis, Kramer, Zschocke, but also penetrates into Goethe’s psychological novel “The Student and Wandering Years of Wilhelm Meister.” This last one stands as an exemplary novel and a supreme achievement. modern literature canonized by the romantics, will give numerous reflections in their work “Heinrich von Ofterdingen”, Novalis, “The Wanderings of Franz Sternbald”, Tieck), on the other hand, with its motif of invisible patrons through the novel by Jean-Paul (Richter) “The Invisible Lodge”, 1793 and Georges Sand's typical adventure novels - "Consuelo" and "Countess Rudolstadt" - lay the foundation for the modern occult novel. In the 19th century in the evolution of the novel; the real novel comes decisively to the forefront. The forms of the adventure novel meet us in Hugo's "The Unfortunates" and in German public novels Gutskov, who applied a new scheme for the development of the adventure novel - instead of successive adventures (Roman des Nacheinander), adventures unfolding in parallel (Roman des Nebeneinander), in the historical novels of Walter Scott and later, G. Sienkiewicz, in the cheerful “Notes of the Pickwick Club” Dickens (see his crime novel "Oliver Twist") and "Tartareniad" by A. Daudet, in the social novel "Uncle Tom's Cabin" by Beecher Stowe, in our " Dead souls"Gogol, etc. However, pure adventure novels are against the historical background of A. Dumas the Father (1802-1870): the “cloak and sword” novel of the “Three Musketeers” type, the criminal adventure novel “The Count of Monte Cristo” - and Fenimore Cooper (1789-1851): novels from the life of the Redskins (the Leatherstocking cycle and the sea novel, which he began simultaneously with
cap. Marryat (1792-1848) - who enjoyed exceptional success and won a huge audience, still find themselves on the periphery literary development. Almost at the line fiction there are adventurous novels by E. Xu (“The Eternal Jew” 1844 and “Parisian Mysteries”, the prototype of “Petersburg Slums” by V. Krestovsky 1864-7), published in the form of feuilletons and giving impetus to the development of the so-called. tabloid-romantic literature (see tabloid novel), such as the criminal-pornographic novels of Xavier de Montepin (after 1848), etc. The beginning of the criminal novel was laid English novel ist Bulwer-Lytton (1803-73), who gave in his other novels Zanoni (1842) and " Strange story"(1862) examples of the occult novel, in "The Race of the Future", the novel resurrected the utopia of the 17th century. The tradition of the criminal novel continues in the work of Gaboriau (1835-73), the author of numerous novels with a mysterious crime and a detective solving it at the center of almost all of them (the famous Lecoq cycle). An encyclopedia of the criminal novel, which develops throughout the entire 19th century. almost on the other side of fiction (which did not, however, prevent the criminal-tabloid tradition from achieving the highest artistry under the hands of Dostoevsky), and in the 20th century. flared up with renewed vigor in the detective or detective (see this word) novel (Conan Doyle, whose “Sherlock Holmes” came from the brilliant criminal stories of E. Poe, in his “The Tale of Arthur Gordon Pym” who gave a brilliant example of a pure adventure novel, Maurice Leblond, “Pinkertonism,” etc.) was the sixteen-volume and yet unfinished work of the French novelist Ponson du Terrail, “The Adventures of Rocambole,” in the first half of the novel he is a tireless hero of all kinds of crimes and criminal adventures, and in the second (the Resurrected Rocambole), who repented and voluntarily took upon himself the task of fighting underworld. The second channel along which the development of the adventure novel went is
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so called novels of “adventures on land and sea”, the authors of which (Mine Reid, Rider Haggard, Gustav Aimard, Jacolliot, Boussenard, etc., for Lately Jack London, we have Green) followed the path outlined by Fenimore Cooper, and depict the strong, emphatically heroic characters of all kinds of gold and adventure seekers in a victorious struggle with people and nature taking place mostly in an exotic setting. This also includes scientific-utopian novels by Jules Verne, Wales, occult novels (the aforementioned Bulwer Lytton, we have V.S. Solovyov, Kryzhanovskaya (Rochester), subtle stylization of Gusto picaresco by Cagliostro, M. Kuzmin, etc., partly “Mysteries” by Hamsun ), a revolutionary adventure novel (for example, Voynich’s novel “The Gadfly”, etc.), etc. Recently (after the war) there has been a new surge of interest in the adventure novel from authors and readers. New works of this kind for the most part operate on traditional plots (in the acclaimed novel by Burroughs “Tarzan” we have the Robinson story of an Englishman brought up on desert island monkeys; the author of no less sensational novels “Atlantis”, “The Giant’s Road”, etc. P. Benoit, with amazing sleight of hand, throws away cards from the traditional deck of adventure novels: a journey to a utopian country, an exotic queen who rewards the death of her lovers, tracked down spies, etc. .). We have some refreshment of the plot only in Chesterton’s original novel “When I Was Thursday,” which appeared shortly before the war (a volume of provocation inspired by the Azefovshchina). In our country, the recent work of Ilya Ehrenburg “Julio Jurenito”, which responds in the form of an adventure novel to the most vibrant modernity, is devoted to the same theme with the characteristic glorification of a provocateur. See: Tiander - “Morphology of the Novel”, Issue. theory and psychology creativity, vol. II, and Sipovsky - “Essays from the history of the Russian novel.”
Adventure novel- a firmly established genre of literature characterized by rapid development plot, sharp plot twists, and real adventures. As a rule, adventure books are designed to entertain, but often such literature is not limited to this function. In this section you will find a variety of different and dissimilar books that will draw you in from the very first lines so that it will be difficult to put down.
Features of books in the Adventure novel genre
The best adventure novels captivate you from the first pages: the authors masterfully immerse us in the atmosphere of the book, and then the screws of the developing plot are tightened ever faster. The genre began with historical books filled with adventures: just remember books about Indians, Caribbean pirates, the banks of the Amazon, treasure islands, world travels, jungle and much more. Such works are based on real lively drive: chases and kidnappings, battles, battles, riddles and secrets. The heroes of the books are charismatic, strong personalities, capable of going against troubles and fate, and delight the reader with their actions. It could be the captains pirate ships, Indians, travelers, young guys - the main thing is that a rich series of adventurous adventures awaits them ahead.
Today, in addition to the fact that you can download adventure novels in the classic form, the genre has developed and began to intertwine with many areas of science fiction, fantasy, detective stories and even the young direction of LitRPG. After all, adventures have a place in any place, in any world, both in the distant fantastic future and in the early Middle Ages. In fact, the genre has no rigid established framework, and this is what continues to attract new readers.
Reading adventure novels (or adventure novel, as it is sometimes called) means enjoying interesting and impressive books.Why is it more convenient to read an Adventure novel online on Lit-Er?
Lit-Era is an advanced developing literary portal that allows you to download adventure literature or read it online. Every day, traffic to the site is growing, because readers here find works for every taste, and in large quantities. Of course - after all, here many authors publish their amazing books exclusively, and this is done both by long-established professional writers and by young and energetic newcomers who have already managed to captivate readers with their bright and exciting new releases.-------
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-------"Pourquot occuper le Tribunal
de ce chetif b… la” – cria une
voix de la Montagne…
La Revolution.
Louis MadelinKirdzhali was originally from the Bulgars.
A. PushkinThe driver drove with all his might, as he was ordered. The heavy car, buzzing like a giant bumblebee, overtook the endless line of cars returning to Paris.
The passengers - two mannequins of the Manel fashion house and the manager of the same house, Monsieur Bruneteau - were tensely silent.
The mannequin Natasha (commercial pseudonym of Marusya Dukina) was silent because she was angry at the unsuccessful trip, at the rain in Deauville, at boredom and at the mannequin Vera (commercial pseudonym for the Frenchwoman Lucy Pain), who began to stir up drama with Monsieur Bruneteau. Found the time too!
Vera pursed her lips and turned away from Bruneteau, who, as if guilty of something, was fawning over her, covering her legs with a blanket, and whispering something.
“They are quarreling,” thought Natasha. “She’s getting something out of him.”
Bruneteau apparently had a hard time. Approaching Paris, he took off his hat, and Natasha was surprised to see that his bald, combed forehead was completely wet.
“Dear Natasha,” he said. – Of course, we will all have lunch together. I just need to stop by for a minute... Vera will go with me... I need to settle it... generally calculate it. Dear Natasha, Vera and I will get out now, and the driver will take you to Montmartre, he knows where. Grab a bottle of champagne if you like, dance and wait for us. I beg you very much!
He addressed Natasha, but looked at Ver, and at the words “I beg you,” he bent down and pressed his face to Ver’s hand.
She silently closed her eyes.
He grabbed the phone and said to the driver:
- Avenue Montaigne. To me.
It was already ten o'clock when Natasha drove up to the restaurant.
“Go back to Avenue Montaigne,” she told the driver.
A tall young man entered the entrance at the same time as her. He hurriedly let her go ahead, with a quiet exclamation of reverent surprise.
Climbing the stairs, Natasha saw in the huge mirror a languid, graceful lady in a silver-white coat trimmed with black fox. On the long flexible neck are two strings of pink pearls. Large black curls tightly hugged the back of her head.
- God! How beautiful I am! How strange that the fool Bruneteau likes the plump Vera!
She sat down at the table, ordered wine and waited.
I felt calm, content, rich.The main thing is that it’s good that you’re calm. One can imagine the hysterics Vera is throwing at the unfortunate Bruneteau now. And on Monday, when Manelsha’s patroness finds out about all the little things (of course, the driver is gossiping!), such a storm will fall on his poor bald head, from which he will not be able to escape alive.
All this is boring, tedious.
Natasha drank wine in small sips, smoked, and listened to howling jazz.
- It's good to be free!
The same young man she met at the entrance sat down at the next table. The place, obviously, was not given to him in vain. He fussed about something for a long time and argued with the head waiter.
Natasha realized that this was being done because of her, and secretly watched her neighbor.
He was still very young, about twenty-five years old, no more. Blond, gray-eyed, with plump cheeks and a pouty upper lip, as children do when they are doing something very carefully. He slowly sipped the wine from the glass, throwing his head back and looking restlessly at Natasha. Apparently, he wanted to speak and did not know how to start it.
But then the red lights in the hall came on, the overhead lights went out and the “act” began. Two half-naked dark dancers, very similar to each other, danced a fantastic dance. They danced more on their hands than on their feet. Diamond heels sparkled in the air.
The audience applauded.
Wobbling their sides, the dancers made their way between the tables to the exit.
- Shurka! – Natasha screamed, catching the smaller dancer by the tulle skirt.
- Natasha! How did you get here?
- Quiet! Let them think I'm a rich Englishwoman. I'm waiting for mine. How long have you been dancing here?
- Second week. I have a new sister. She looks even more like me than last year. Is our number good? Well, I'm running. Come in!
She ran away. A young man with a pouting lip rushed after her, dropping chairs. We returned together. Shurka, out of breath, stammered in monstrous French:
- Madame, voisie monsieur ve presente...
She burst into tears and ran away.
The young man bowed in confusion, inviting them to dance.
He danced amazingly.
“Isn’t he a professional?” – thought Natasha.
And his face up close was absolutely glorious. Childish - cheerful and kind and slightly embarrassed.
He spoke French with an accent.
-Aren't you French? – Natasha asked.
- Guess! - he answered.
“You…” she began and stopped.
Who is he, really?
- And your name?
He paused, as if he was making it up.
- Gaston Luquet.
- So, after all, he’s French?
He again answered “guess” and added:
– And I immediately found out that you are English.
- Why?
– By your accent, by your appearance and by your pearls.
Natasha smiled.
- It's hereditary.
- Oh no! – he laughed. “Only the fake ones call it that.” And yours are real.
“Of course,” Natasha answered dryly.
How could one doubt it when Madame Manel sold this magnificent product for six hundred francs per thread, and then only to good clients for good dresses.
We danced a lot. The boy was not eloquent. He smiled more than he spoke. But he smiled so happily, and tiny pits appeared at the very corners of his mouth.
– Aren’t you going to your England? – he asked suddenly.
- Not yet. Not soon.
Then he blushed, laughed and said:
- I love you.
It was already about twelve, and Natasha began to worry about the absence of Vere and Bruneteau, when the driver unexpectedly appeared and handed her a letter.
Bruneteau wrote that he could not come, apologized profusely and thanked him in advance “for everything, for everything.” Natasha understood why. So that she doesn’t spill the beans to her patron. At the end of the letter it was said that she could have a car, and a five hundred franc ticket was pinned up.
“I’ll leave soon,” Natasha told the driver. - Wait a little.
The boy called again to spin.
“Last dance,” she said. - Time to go home.
He even stopped.
- Are you tired of it yet? Are you bored? Yes, I know it myself. It's cramped and stuffy here. Let's go to another place. Want to? I'll show you... near Paris. It's wonderful there. It's not too late... I beg you!
Natasha imagined her boring hotel room. Why not stay a “rich Englishwoman” for at least an hour, since it’s so funny? Another hour, another, and it’ll be over. Forever.
“Okay, let’s go,” she decided. - My driver is downstairs. You tell him the address.
He blushed with pleasure and began to fuss...
Natasha went to her table, paid for the wine and, throwing on her sparkling coat with a practiced graceful mannequin gesture, went down the stairs.Er war ein Dieb,
Sie war...
H. HeineThe restaurant to which Gaston Luquet brought Natasha turned out to be very close to the Seine. He occupied a small two-story house, all surrounded by a glass veranda, decorated with garlands and colored lanterns, all blazing like a Bengal fire, among the dark quiet houses of the suburbs.
The dull beats of an orchestral drum reached the square, which was lined with cars.
- It will be cozy here! - Gaston said when Natasha released the driver.
There was a bar downstairs. Upstairs they dined, drank and danced. There was barely a free table.
In the small space reserved for dancing, bare backs, bare shoulders, and steamed faces swayed, crushing each other with their legs and elbows.
The orchestra was led by a lady pianist, she conducted it masterfully. She laughed, shouted out English words, grimaced, and clapped the side of the piano. Her sleek, pointed head, with curls spilling out from under her ears, made her look like a cheerful greyhound.
In the crowd of dancers, a black man stood out, throwing out some special moves, not very beautiful, but always unexpected. The black man was dressed rather dirty, and Natasha was surprised that, looking intently in their direction, he blinked cheerfully at Gaston. A strange acquaintance.
“Do you know this black man?” – she asked.
“No,” he answered somewhat frightened.
“It seemed to me that he bowed to you.”
Gaston blushed:
- It seemed to you. It just breaks like that. He probably fell in love with you.
– Tell me, have you known Shura for a long time?
- Shura? Which one?
- A dancer.
- Yes... that is, I saw her very often... twice.
We tried to dance, but it was difficult to move in this crush.
The black man, craning his neck, watched them. He danced all the time with a young blonde, breaking her in different sides. And it was impossible to tell whether he was dancing or just fooling around.
“It’s terribly stuffy here,” Natasha said. - Time to go home.
Gaston was alarmed:
- Let's sit some more. I'll bring you a wonderful cocktail now. Local specialty. Just try it. I beg you! I'll bring it now...
He began to make his way between the dancers.
Natasha took out a mirror, powder, and tinted her lips. I noticed a wine stain on my dress and was very alarmed. The dress belonged to the “maison” and was put on her to show it off at Deauville during a dinner that did not take place because of Ware’s quarrel with Monsieur Bruneteau. This spot can cause trouble, especially if the patron is in a bad mood.
“Well, there’s no need to think about it now. We need to have fun."
It was “we need to have fun,” she thought, and immediately felt that she was not having fun at all, but only restless, anxious, and it was time to end it all. She did not feel like a rich Englishwoman; maintaining this misunderstanding was pointless and boring. Suspicious Gaston turned out to be stupid and not very funny.
She began to look for him with her eyes and saw him behind the door, near the stairs leading to the bar. A black man stood behind him and, squinting his eyes to the side, said something, leaning close, obviously whispering.
"So he is familiar with this black man?"
Then they both disappeared, probably went down to the bar.
The crowd of dancers thinned out a little. The whirring of engines starting up could be heard from the street.
Natasha opened her purse to take money for the taxi. The lining turned out to be wet: the bottle of perfume was uncorked, and the gloves, handkerchief and even the money were covered in green stains from the faded green silk of the powder compact.
- Well, try it! – Gaston’s voice rang out.
He carried, smiling with his dimples, two glasses of orange drink with straws sticking out of it. He placed one glass in front of Natasha, threw away the straw from the other, took a long sip, closed his eyes and laughed:
- Wonderful!
Natasha tried the cocktail. Yes, tasty and not even very strong.
The orchestra played “Ce n’est que votre main, madame.”
And suddenly Gaston, still laughing and looking into her face, began to sing along in a slightly hoarse, sensual and strange voice:
– “Madame, I love you!»
He leaned close, and Natasha could smell his perfume, stuffy, dull, completely unfamiliar and very restless.
“If you love him,” she thought, “then these perfumes will drive you crazy.”
- But you talked to the black man? – she said, moving away from him slightly.
– “And I will never in my life forget you”! – he hummed without answering.
Didn't you hear? Or didn't want to answer? And who cares?
- The cocktail is delicious. What is it called?
“I know a lot of tasty things,” Gaston answered. – Someday we will go with you to the same island... quite far away. One little girl there will show you something that they don’t know at all in England.
“You are a strange man, Gaston Luquet.” Tell me, what do you even do?
- By you. I'm taking care of you.
He took her hands and, laughing, brought them to his lips.
And then she noticed his fingers. They were rough, with small flat nails, well finished, but ugly in shape. But the main ugliness, frightening, like a vague memory of some scary story, – was far apart, disproportionately long thumb, almost reaching the first joint of the index.
“The hand of the strangler,” Natasha thought, and she kept looking and couldn’t take her eyes off, but she looked on the sly, as if if he noticed that he was “recognized,” then something terrible would happen, something she didn’t know and didn’t dare imagine.
He raised his glass and put a straw in her mouth:
- Well, more! Well, more! Tasty! Funny! Wonderful!
And the restless smell of his perfume entered her like chloroform, against which everyone who is put to sleep instinctively fights and to which he sweetly and weakly submits when he feels that there is no other breath for him in life except this, unwanted, unique, blissful one.
-You have strange hands! – Natasha said and for some reason laughed. - I'm very tired. I went to Deauville today.
She wanted to tell him everything so that she could laugh together at the misunderstanding with the “rich Englishwoman.” But I was too lazy to talk. The strong cocktail made my heart beat, made me dizzy and started to feel nauseous.
She remembered that she had not had dinner, that she had only drank champagne at the restaurant.
- We need to go home quickly.
She stood up, but immediately sank down onto a chair and almost fell. The colored lights swayed, my head began to ring... My eyes closed, nausea squeezed my throat.
“Hook! Hook! Hook! – something hummed dully, either the drum of the orchestra, or her heart. It must have been the heart, because there was pain in my chest...
- Well, what are you talking about! What do you! - said an excited voice.
This is Gaston. Cute boy!
- The lady feels a little ill. The cocktail was too strong.
Who did he tell?
Natasha hardly opened her eyes.
Black person!
The black man is standing near her table. Up close, he is small, with gray, disgustingly loose lips. Nondescript. Lackey!
He has Natasha's empty glass in his hands.
“Then you don’t need to drink anymore.” “I’ll take the cocktail away,” he says and takes away the empty glass.
“Try to get up,” says Gaston. - There is a room here. Just lie down for a minute and everything will pass.
He leads her. Her legs move strangely easily, but she doesn’t feel the floor. He doesn’t dare open his eyes: if he opens them a little, everything will ring, he will spin, and he will no longer be able to stay on his feet.
- The lady feels bad! – Gaston’s voice is heard.
“Here, here,” someone answers.
They are carrying her.
Then she feels an elastic, cool touch on the back of her head and right cheek, so familiar, simple, calm.
Bright yellow beads flashed in the eyes, falling in a long fringe from somewhere above, and an eerie, deathly pale, almost white woman's face with a square folded hard towel on his head.
Then a sharp, thin ringing.
Then... nothing.
Dreamless sleep...
And then - a rustle, a whisper.
Something tickled my neck a little...
Natasha opens her eyes with difficulty and does not quite understand the dream she suddenly sees.
She dreams of pink fog, dreams of a black man. He bent over something that was lying on the night table... And someone else had his back to her, and she couldn’t see his face. The black man spread his lips with a disgusted grimace, said something angrily, clinked something...
- Shute! – the other one whispered and quickly turned around. And suddenly he desperately, almost loudly exclaimed:
- She is looking!
Natasha did not see his face. The pink mist was not motionless. It floated, flickered... A dazzlingly pale female face flashed, with a white square towel on the crown of the head... A large warm hand lay over Natasha's eyes... But she still could not look anymore. Noise, ringing, splashing sparks filled the world, and the heavy eyelids dropped before this hand closed them. The last thing she felt was the smell of a strange perfume, as if already familiar, so stuffy, sweet, blissful that, losing consciousness, she smiled at it as happiness.– Qui est-ce votre père spirituel?
– Le chevalier de Casanova.
– Un gentilhomme espagnol?
- Non, un aventurier benitien.
Sonate de Printemps.
Valee InclanWhat happens wonderful life!
Two ladies in crimson dresses, long, firm, wide, dance, coyly picking up their skirts with their fingers. A raspberry shepherdess sits under a raspberry bush and plays the pipe...
Wonderful, curly, crimson clouds... And behind them is a crimson boat, and in it is a dreamy lady in a crimson dress. She put her hand in the water. And in front of her, a crimson gentleman in garters tied with bows is reading something from a book.
Which happy life!
Farther away on the island there are two rams... Even further away - magnificent ladies are again dancing to the shepherdess' pipe...
Close your eyes and then look more closely.
Now everything is clear. This is not life. It's just wallpaper.
Natasha turned her head and saw the face of tonight right in front of her: a dazzling white female face.
It was smaller than it appeared at night, and belonged to a plaster bust of an Italian woman, which adorned the fireplace of a small cozy room with pink curtains drawn, with a pink lampshade with yellow beads on the hanging lamp and on the night table lamp. Someone laughed behind the wall, and cheerfully female voice quickly muttered something.
A bell was heard and small steps outside the door. Live conversation. Everything was as simple as in all small hotels. Not creepy at all. Natasha stood up and saw that she was lying in a dress, in a sparkling evening dress, “creation” by Maison Manel.
This was the first thing she understood clearly. She is lying in an evening dress. She crumpled a wonderful evening dress, which she must return in perfect order.
From this professional shock, thoughts began to move in my tired, drugged head - I remembered the whole yesterday, the trip to Deauville, champagne in the restaurant, Gaston, evening, black man.
- Am I drunk?
And suddenly I remembered the night, the black man, the whisper:
"She is looking!"
Hand…
Natasha lowered her feet from the bed. My head was slightly dizzy.
What were they looking at on the table - the black man and the other one?
Her pink pearls and purse were on the table. Nothing else. Maybe the black man thought the pearls were real and wanted to rob her?
And suddenly she realized it.
Where is the coat?
The coat was wearing expensive fur!
Stolen!
She jumped up.
Ooo! That would really be terrible!
Almost crying, she walked around the room.
- God bless!
The coat fell between the bed and the wall.
There was a knock on the door, and, without waiting for an answer, a friendly, smiling elderly maid in a white headdress looked into the room.
– Madam is up already? Madam wants coffee?
She ran to the window and pulled back the curtains.
- I'll bring it now.
From the window one could see the square, the tram, the embankment. Everything is so simple and ordinary. And the maid smiled so welcomingly. Nothing special happened. And just one minute the thought flashed through her mind - maybe they had slipped something into her cocktail... Maybe even the black man hadn’t come at night... And it was all a dream.
The maid brought coffee and croissants.
– Do you have many tenants? – Natasha asked.
– Yes, from Saturday to Sunday many people spend the night here. They come to dance and stay.
Natasha calmly drank her coffee.
It's good that today is Sunday. She will have time to get her dress in order by tomorrow.
She went to the mirror and took out powder and pencils from her purse. In the other compartment, where she hid the perfume, handkerchief and money, there was only perfume and a handkerchief. Three hundred-franc notes remaining from the money sent by Monsieur Bruneteau to the restaurant were missing. She couldn’t lose them in the restaurant, because she remembered how here, in the dance hall, she noticed that the wet lining had tinted them with green spots. So they disappeared here.
She opened the compartment again, where there were pencils and powder, and found one hundred and fifty francs, crumpled into a lump. It was her own money, which she brought from Deauville.
So, after all, she was robbed. Who? Black person? Gaston? Or the other one, whose face she did not see? But it was, perhaps, Gaston...
It was a pity for the money.
So the “rich Englishwoman” had fun! This means life is hard for them too. It's good that they didn't strangle him. Someday I will have to deliberately go to Montmartre, to that restaurant, and look this Gaston straight in the eye.
She couldn’t clearly imagine what good this would do. I still won’t dare to ask about money...
An elegant young man jumped out of the tram and began to cross the square. Approaching the hotel, he raised his head and looked around the windows.
- Gaston!
Gaston. And he was obviously going here, to the hotel. How dare he?..
She put on her wonderful coat and went out into the corridor. Gaston walked up the stairs.Adventure novel
Adventure novel
Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .
Adventure novel
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .
Adventure novel
ADVENTURE NOVEL . The only poetic type that developed primarily on European soil, the novel - whatever stands at its center - love, a mystical idea or matters of honor - appears in the first centuries of our era (Hellenistic romance, for example, Iamblichus Babylonian stories, Chariton of Aphrodisias Highray and Collirhoy, famous Latin novel by Apuleius Golden donkey) and strengthened in the Middle Ages, mainly in the form of an adventure novel - a novel of adventure. Rooted in folklore, all early examples of the adventure novel appear to us in inseparable fusions with the latter. The Hellenistic novel is intertwined on all sides with oriental fairy tales and legends of the love-adventurous type, providing it not only with inexhaustible plot material, but also suggesting its basic scheme; chivalric novels (the Breton cycle or the novels of the Round Table and the Carolingian cycle) grow entirely on the heroic epic of the Celts and Franks and exist for a long time exclusively in the oral tradition. The “novels” of early medieval poets (the so-called Grail cycle, formed by the works of poets of the 12th and early 13th centuries - Robert de Borron) are just records of this oral tradition Joseph of Arimathea, Merlin and Parsifal; Walter Mapa Holy Grail, Chretien to Troyes, Perceval or the Tale of the Grail, Wolfram von Eschenbach Parzival- this, according to later researchers, is “the song of songs of chivalry”, containing about 25,000 verses; processing of the legend of Tristan and Isolde and some. etc.). All these works can be called novels in the proper sense of the word just as little as the epic poems of Ariosto, Boiardo, Tasso. However, they perfectly developed the apparatus of adventure, which was completely adopted by the later adventure novel. Somewhat closer to the novels themselves are adaptations of the Trojan War (Benoit de Sept Mop Roman de Troi) and Alexander the Great (arrangement by Lambert le Court and Alexandre de l'ernay, lightened by the basis of numerous European Alexandrias), and a story carried through a wide variety of trials, but unchanging and, in the end, triumphing over all obstacles of love - the motive of the famous inserted short story of Apuleius Cupid and Psyche(Flos and Blancheflos, Aucassin and Nicoletta, etc.).
As an independent, isolated genre, the novel made its way into literature only towards the end of the Middle Ages.
The author of the first such novel was the Portuguese knight Vasco de Lobeira, who wrote his famous Amadis of Gaul, which has not survived in the original (the closest Spanish translation of the early 16th century is known), but determined all subsequent novels about knights errant (Chevaliers errants). All of these novels, which found particularly favorable soil for their development in Spain and from there spread throughout Europe, use, as the main technique that makes it easy to string adventure upon adventure, the motif of changing places, which finds such beneficial use in the later travel novel (q.v.). , the wanderings of his hero. The time of the Amadis coincides with the period of decline of knightly culture, alive only in the imagination of the authors of knightly novels, attracting thousands of sympathetic readers. The era of the growth of cities, their accumulation of wealth, and the emergence of bourgeois society required more realistically minded heroes. Romances of chivalry heroize the memory of the passing feudal life, representatives of the new class hit it on the heels with the stick blows of satire.
In place of the heroic epic, the basis of newly emerging works is the epic about animals. The life of animals is depicted as an exact copy of feudal relations. The hero of novels of this kind (Isengrim, Nivardus from Rent, "The Adventures of Renard", Pierre before Saint-Cloud, "Reynard", Willem, etc.), cunning, inexhaustible in tricks accompanied by complete success, a triumphant realist - the Fox is an exact prototype of the future Spanish literary rogues - picaro. In the homeland of chivalric romance, in Spain, the realistic adventure novel, which was the natural antithesis of the sublime symbolism of the Amadis, flourishes with the greatest brilliance. The beginning of the Spanish picaresque novel (Novella picaresca or Schelmenroman) was laid in 1553 by a small book by an unknown author, “The Life of Lazarillo of Brakes and His Successes and Failures” (Russian translation by I. Glivenka, 1897), which became the most read book in Spain after Don Quixote , with great success in dozens of translations, distributed throughout Europe (one of the English translations of Lasarillo went through, for example, 20 editions) and gave rise to a number of imitations in Spain itself (the most remarkable are Aleman’s novels Gusman de Alfarache of 1599, Leon, La picara Justina , the story of a female rogue, 1605, Espinel - “The Life and Adventures of Obregon” 1618, Quevedo - “The History and Life of the Great Rogue Paul of Segovia” 1627, etc.); in England at the end of the 16th century. (a number of stories from the everyday life of conycatchers, rabbit catchers - savvy people, Green: “The Life of Jack Pilton”, “Ours”, etc.); in Germany (combining Spanish influence with the traditions of folk collections like the famous Till Eulenspiegel, Grimmelshausen’s soldier’s novel Simplicissimus, 1669 - this “Faust of the Thirty Years’ War”, which in turn caused an endless number of imitations), in France in the 17th century. (Sorel, La vraye histoire comique de Francion, Scarron, Roman comique, etc.). In France, from the beginning of the 18th century. estilo picaresco sparkled with renewed vigor in the work of Lesage (the novels “The Lame Devil” and especially the famous “Gilles Blas”), who assimilated the Spanish literary tradition to such an extent that he is still accused of plagiarism. “Gilles Blas”, in turn, spread a number of imitations into neighboring literatures (for example, in Russian literature, where in the 18th century “Gilles Blas” went through 8 editions and was one of the favorite books, novels by M. Chulkov Mockingbird, Pretty Cook, I. Krylova Nights , and etc.). This Lesage stream ends here at the beginning of the 19th century. novels by Bulgarin and especially Narezhny: “Russian Gilles Blas” 1814, and some. others, who in turn influenced Gogol. It should be noted that in Russia the picaro type also has its own local tradition, rooted in a story from the 17th century. (about Frol Skobeev). All the heroes of picaresque novels necessarily belong to the lower class, go through all sorts of professions, find themselves in the most bizarre situations, as a result of which, as a rule, they achieve honor and wealth. All this allows the authors, leading readers after their hero - through huts and palaces - to produce, as it were, a cross-section of the life of modern society, to give a bright and living picture of morals and life, which makes the picaresque novel a true forerunner of the later real novel. The sublime knightly ideology and the opposite, quirky morality of the hero-rogue, which remained its two main themes throughout the entire development of the adventure novel, at the beginning of the 17th century. united on Spanish soil into one of the most remarkable works of world literature, Cervantes' novel Don Quixote. In the realistic environment of the bourgeois XVI-XVII centuries. the symbolic idealism of chivalry pursuing the world's evil under the fairy-tale forms of all these wizards and giants seemed like a mad fight against windmills. The pathos of the novel is the discrepancy between character and environment, a great spirit immersed in small days. However, the very form of the novel is built on the type of picaresque short stories, which marks the final victory of this genre. In its further development, the European novel undergoes a wide variety of differentiation, but its main compositional and plot scheme - a labyrinth of adventures - was accepted until the 18th century. by the majority of authors, completely regardless of what - psychological, everyday, social, satirical, etc. - thread runs through its convolutions. These are in the 17th century. French gallant-heroic novels by Gomberville, Calprened, Scuderi, didactic poem-novel by Fenolon, love-psychological novels by Prevost, satirical, simultaneously approaching the type of utopian novel: “Gargantua and Pantagruel”, Rabelais, in England - “Gulliver’s Travels”, Swift , in part, Defoe’s famous novel Robinson Crusoe, fed by contemporary political and economic theories, which laid the foundation for countless Robinsonades and formed a new genre of exotic adventure novel. During the 18th century. The psychological novel stands out as a completely special genre.
However, the adventurous tradition is maintained with the same vigor in the only English domestic novels by Fielding (“The History and Adventures of Joseph Andrew and His Friend Mr. Abraham Lincoln”, “The History of Tom Jones, Foundling”) and Smollett (“Roderick Random”, “Peregrine Pickle” and etc.) and Voltaire’s satirical “Candide”, not only fills the famous “mysterious” novels of Radcliffe (“The Mysteries of Udolf”, 1794, etc.) and the “robber” novels of Shiis, Kramer, Zschocke, but also penetrates into the psychological Goethe's novel "The Student and Pilgrim Years of Wilhelm Meister." This latter, canonized by the romantics as an exemplary novel and the highest achievement of modern literature, will give numerous reflections in their work “Heinrich von Ofterdingen”, Novalis, “The Wanderings of Franz Sternbald”, Tieck), on the other hand, with its motif of invisible patrons through the novel Jean -Paul (Richter) “The Invisible Lodge”, 1793 and the typical adventure novels of Georges Sand - “Consuelo” and “Countess Rudolstadt” - lays the foundation for the modern occult novel. In the 19th century in the evolution of the novel; the real novel comes decisively to the forefront. The forms of the adventure novel meet us in “The Unfortunate” by Hugo, in the German social novels of Gutzkow, who applied a new scheme for the development of the adventure novel - instead of successive adventures (Roman des Nacheinander), adventures unfolding in parallel (Roman des Nebeneinander), in the historical novels of Walter Scott and later, G. Sienkiewicz, in Dickens’s “The Pickwick Papers,” splashing with fun (see his crime novel “Oliver Twist”) and “The Tartaraniade” by A. Daudet, in the social novel “Uncle Tom’s Cabin” by Beecher Stowe, in our “Dead Souls” by Gogol, etc. However, pure adventure novels are against the historical background of A. Dumas the Father (1802-1870): the “cloak and sword” novel of the “Three Musketeers” type, the criminal adventure novel “The Count of Monte- Christo" - and Fenimore Cooper (1789-1851): novels from the life of the Redskins (the Leatherstocking cycle and the sea novel, which he began simultaneously with Cap. Marryat (1792-1848) - enjoyed exceptional success and won a huge audience, still find themselves on the periphery of literary development. Almost at the turn of fiction are the adventurous novels of E. Xu (“The Eternal Jew” 1844 and “Parisian Secrets”, the prototype of “Petersburg Slums” by V. Krestovsky 1864-7), published in the form of feuilletons and giving impetus to the development of the so-called . tabloid-romantic literature (see tabloid novel), such as the criminal and pornographic novels of Xavier de Montepin (after 1848 ) etc. The beginning of the criminal novel was laid by the English novelist Bulwer-Lytton (1803-73), who gave examples of the occult novel in his other novels Zanoni (1842) and “Strange Case” (1862), and in “The Race of the Future”, he resurrected the utopia of the XVII novel V. The tradition of the criminal novel continues in the work of Gaboriau (1835-73), the author of numerous novels with a mysterious crime and a detective solving it at the center of almost all of them (the famous Lecoq cycle). An encyclopedia of the criminal novel, which develops throughout the entire 19th century. almost on the other side of fiction (which did not, however, prevent the criminal-tabloid tradition from achieving the highest artistry under the hands of Dostoevsky), and in the 20th century. flared up with renewed vigor in the detective or detective (see this word) novel (Conan Doyle, whose “Sherlock Holmes” came from the brilliant criminal stories of E. Poe, in his “The Tale of Arthur Gordon Pym” who gave a brilliant example of a pure adventure novel, Maurice Leblond, “Pinkertonism,” etc.) was the sixteen-volume and yet unfinished work of the French novelist Ponson du Terrail, “The Adventures of Rocambole,” in the first half of the novel he is a tireless hero of all kinds of crimes and criminal adventures, and in the second (the Resurrected Rocambole), who repented and voluntarily took on the task of fighting the criminal world. The second channel along which the development of the adventure novel went is the so-called. novels of “adventures on land and sea”, the authors of which (Mine Reid, Rider Haggard, Gustav Aimard, Jacolliot, Boussenaard, etc., most recently Jack London, we have Green) followed the path outlined by Fenimore Cooper, and portray strong, emphatic -heroic characters of all kinds of gold and adventure seekers in a victorious struggle with people and nature, taking place mostly in an exotic setting. This also includes scientific-utopian novels by Jules Verne, Wales, occult novels (the aforementioned Bulwer Lytton, we have V.S. Solovyov, Kryzhanovskaya (Rochester), subtle stylization of Gusto picaresco by Cagliostro, M. Kuzmin, etc., partly “Mysteries” by Hamsun ), a revolutionary adventure novel (for example, Voynich’s novel “The Gadfly”, etc.), etc. Recently (after the war) there has been a new surge of interest in the adventure novel from authors and readers. New works of this kind for the most part operate on traditional plots (in the acclaimed novel by Burroughs “Tarzan” we have Robinson’s story of an Englishman raised on a desert island by monkeys; the author of no less sensational novels “Atlantis”, “The Giant’s Road”, etc. P. Benoit, with amazing sleight of hand, throws out cards from the traditional deck of adventure novels: a journey to a utopian country, an exotic queen who rewards her lovers with death, spies tracked down, etc.). We have some refreshment of the plot only in Chesterton’s original novel “When I Was Thursday,” which appeared shortly before the war (a volume of provocation inspired by the Azefovshchina). In our country, the recent work of Ilya Ehrenburg “Julio Jurenito”, which responds in the form of an adventure novel to the most vibrant modernity, is devoted to the same theme with the characteristic glorification of a provocateur. See: Tiander - “Morphology of the Novel”, Issue. theory and psychology creativity, vol. II, and Sipovsky - “Essays from the history of the Russian novel.”
D. Blagoy. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
See what “Adventure novel” is in other dictionaries:
Adventure novel- ADVENTURE NOVEL. The only poetic type that developed primarily on European soil, the novel, no matter what its center is love, a mystical idea or matters of honor, appears in the first centuries of our era (Hellenistic novel, for example, ... ... Dictionary of literary terms
Adventure literature is typical and very recognizable literary genre; throughout storyline, the author places the hero in risky problematic situations, from which he gets out before the reader’s eyes; follows... ... Wikipedia
adventure novel- rich in adventures; adventure... Universal additional practical explanatory dictionary by I. Mostitsky
ADVENTURE NOVEL- ADVENTURE NOVEL, in Art. Adventure literature... Literary encyclopedic dictionary
Novel. History of the term. The problem of the novel. The emergence of the genre. From the history of the genre. Conclusions. The novel as a bourgeois epic. The fate of the theory of the novel. Specificity of the novel form. The birth of a novel. The novel's conquest of everyday reality... Literary encyclopedia
ADVENTURE NOVEL . The only poetic type that developed primarily on European soil, the novel - whatever stands at its center - love, a mystical idea or matters of honor - appears in the first centuries of our era (Hellenistic romance, for example, Iamblichus Babylonian stories, Chariton of Aphrodisias Highray and Collirhoy, famous Latin novel by Apuleius Golden donkey) and strengthened in the Middle Ages, mainly in the form of an adventure novel - a novel of adventure. Rooted in folklore, all early examples of the adventure novel appear to us in inseparable fusions with the latter. The Hellenistic novel is intertwined on all sides with oriental fairy tales and legends of the love-adventurous type, providing it not only with inexhaustible plot material, but also suggesting its basic scheme; chivalric novels (the Breton cycle or the novels of the Round Table and the Carolingian cycle) grow entirely on the heroic epic of the Celts and Franks and exist for a long time exclusively in the oral tradition. The “novels” of early medieval poets (the so-called Grail cycle, formed by the works of poets of the 12th and early 13th centuries - Robert de Borron) are just records of this oral tradition Joseph of Arimathea, Merlin and Parsifal; Walter Mapa Holy Grail, Chretien to Troyes, Perceval or the Tale of the Grail, Wolfram von Eschenbach Parzival- this, according to later researchers, is “the song of songs of chivalry”, containing about 25,000 verses; processing of the legend of Tristan and Isolde and some. etc.). All these works can be called novels in the proper sense of the word just as little as the epic poems of Ariosto, Boiardo, Tasso. However, they perfectly developed the apparatus of adventure, which was completely adopted by the later adventure novel. Somewhat closer to the novels themselves are adaptations of the Trojan War (Benoit de Sept Mop Roman de Troi) and Alexander the Great (arrangement by Lambert le Court and Alexandre de l'ernay, lightened by the basis of numerous European Alexandrias), and a story carried through a wide variety of trials, but unchanging and, in the end, triumphing over all obstacles of love - the motive of the famous inserted short story of Apuleius Cupid and Psyche(Flos and Blancheflos, Aucassin and Nicoletta, etc.).
As an independent, isolated genre, the novel made its way into literature only towards the end of the Middle Ages.
The author of the first such novel was the Portuguese knight Vasco de Lobeira, who wrote his famous Amadis of Gaul, which has not survived in the original (the closest Spanish translation of the early 16th century is known), but determined all subsequent novels about knights errant (Chevaliers errants). All of these novels, which found particularly favorable soil for their development in Spain and from there spread throughout Europe, use, as the main technique that makes it easy to string adventure upon adventure, the motif of changing places, which finds such beneficial use in the later travel novel (q.v.). , the wanderings of his hero. The time of the Amadis coincides with the period of decline of knightly culture, alive only in the imagination of the authors of knightly novels, attracting thousands of sympathetic readers. The era of the growth of cities, their accumulation of wealth, and the emergence of bourgeois society required more realistically minded heroes. Romances of chivalry heroize the memory of the passing feudal life, representatives of the new class hit it on the heels with the stick blows of satire.
In place of the heroic epic, the basis of newly emerging works is the epic about animals. The life of animals is depicted as an exact copy of feudal relations. The hero of novels of this kind (Isengrim, Nivardus from Rent, "The Adventures of Renard", Pierre before Saint-Cloud, "Reynard", Willem, etc.), cunning, inexhaustible in tricks accompanied by complete success, a triumphant realist - the Fox is an exact prototype of the future Spanish literary rogues - picaro. In the homeland of chivalric romance, in Spain, the realistic adventure novel, which was the natural antithesis of the sublime symbolism of the Amadis, flourishes with the greatest brilliance. The beginning of the Spanish picaresque novel (Novella picaresca or Schelmenroman) was laid in 1553 by a small book by an unknown author, “The Life of Lazarillo of Brakes and His Successes and Failures” (Russian translation by I. Glivenka, 1897), which became the most read book in Spain after Don Quixote , with great success in dozens of translations, distributed throughout Europe (one of the English translations of Lasarillo went through, for example, 20 editions) and gave rise to a number of imitations in Spain itself (the most remarkable are Aleman’s novels Gusman de Alfarache of 1599, Leon, La picara Justina , the story of a female rogue, 1605, Espinel - “The Life and Adventures of Obregon” 1618, Quevedo - “The History and Life of the Great Rogue Paul of Segovia” 1627, etc.); in England at the end of the 16th century. (a number of stories from the everyday life of conycatchers, rabbit catchers - savvy people, Green: “The Life of Jack Pilton”, “Ours”, etc.); in Germany (combining Spanish influence with the traditions of folk collections like the famous Till Eulenspiegel, Grimmelshausen’s soldier’s novel Simplicissimus, 1669 - this “Faust of the Thirty Years’ War”, which in turn caused an endless number of imitations), in France in the 17th century. (Sorel, La vraye histoire comique de Francion, Scarron, Roman comique, etc.). In France, from the beginning of the 18th century. estilo picaresco sparkled with renewed vigor in the work of Lesage (the novels “The Lame Devil” and especially the famous “Gilles Blas”), who assimilated the Spanish literary tradition to such an extent that he is still accused of plagiarism. “Gilles Blas”, in turn, spread a number of imitations into neighboring literatures (for example, in Russian literature, where in the 18th century “Gilles Blas” went through 8 editions and was one of the favorite books, novels by M. Chulkov Mockingbird, Pretty Cook, I. Krylova Nights , and etc.). This Lesage stream ends here at the beginning of the 19th century. novels by Bulgarin and especially Narezhny: “Russian Gilles Blas” 1814, and some. others, who in turn influenced Gogol. It should be noted that in Russia the picaro type also has its own local tradition, rooted in a story from the 17th century. (about Frol Skobeev). All the heroes of picaresque novels necessarily belong to the lower class, go through all sorts of professions, find themselves in the most bizarre situations, as a result of which, as a rule, they achieve honor and wealth. All this allows the authors, leading readers after their hero - through huts and palaces - to produce, as it were, a cross-section of the life of modern society, to give a bright and living picture of morals and life, which makes the picaresque novel a true forerunner of the later real novel. The sublime knightly ideology and the opposite, quirky morality of the hero-rogue, which remained its two main themes throughout the entire development of the adventure novel, at the beginning of the 17th century. united on Spanish soil into one of the most remarkable works of world literature, Cervantes' novel Don Quixote. In the realistic environment of the bourgeois XVI-XVII centuries. the symbolic idealism of chivalry pursuing the world's evil under the fairy-tale forms of all these wizards and giants seemed like a mad fight against windmills. The pathos of the novel is the discrepancy between character and environment, a great spirit immersed in small days. However, the very form of the novel is built on the type of picaresque short stories, which marks the final victory of this genre. In its further development, the European novel undergoes a wide variety of differentiation, but its main compositional and plot scheme - a labyrinth of adventures - was accepted until the 18th century. by the majority of authors, completely regardless of what - psychological, everyday, social, satirical, etc. - thread runs through its convolutions. These are in the 17th century. French gallant-heroic novels by Gomberville, Calprened, Scuderi, didactic poem-novel by Fenolon, love-psychological novels by Prevost, satirical, simultaneously approaching the type of utopian novel: “Gargantua and Pantagruel”, Rabelais, in England - “Gulliver’s Travels”, Swift , in part, Defoe’s famous novel Robinson Crusoe, fed by contemporary political and economic theories, which laid the foundation for countless Robinsonades and formed a new genre of exotic adventure novel. During the 18th century. The psychological novel stands out as a completely special genre.
However, the adventurous tradition is maintained with the same vigor in the only English domestic novels by Fielding (“The History and Adventures of Joseph Andrew and His Friend Mr. Abraham Lincoln”, “The History of Tom Jones, Foundling”) and Smollett (“Roderick Random”, “Peregrine Pickle” and etc.) and Voltaire’s satirical “Candide”, not only fills the famous “mysterious” novels of Radcliffe (“The Mysteries of Udolf”, 1794, etc.) and the “robber” novels of Shiis, Kramer, Zschocke, but also penetrates into the psychological Goethe's novel "The Student and Pilgrim Years of Wilhelm Meister." This latter, canonized by the romantics as an exemplary novel and the highest achievement of modern literature, will give numerous reflections in their work “Heinrich von Ofterdingen”, Novalis, “The Wanderings of Franz Sternbald”, Tieck), on the other hand, with its motif of invisible patrons through the novel Jean -Paul (Richter) “The Invisible Lodge”, 1793 and the typical adventure novels of Georges Sand - “Consuelo” and “Countess Rudolstadt” - lays the foundation for the modern occult novel. In the 19th century in the evolution of the novel; the real novel comes decisively to the forefront. The forms of the adventure novel meet us in “The Unfortunate” by Hugo, in the German social novels of Gutzkow, who applied a new scheme for the development of the adventure novel - instead of successive adventures (Roman des Nacheinander), adventures unfolding in parallel (Roman des Nebeneinander), in the historical novels of Walter Scott and later, G. Sienkiewicz, in Dickens’s “The Pickwick Papers,” splashing with fun (see his crime novel “Oliver Twist”) and “The Tartaraniade” by A. Daudet, in the social novel “Uncle Tom’s Cabin” by Beecher Stowe, in our “Dead Souls” by Gogol, etc. However, pure adventure novels are against the historical background of A. Dumas the Father (1802-1870): the “cloak and sword” novel of the “Three Musketeers” type, the criminal adventure novel “The Count of Monte- Christo" - and Fenimore Cooper (1789-1851): novels from the life of the Redskins (the Leatherstocking cycle and the sea novel, which he began simultaneously with Cap. Marryat (1792-1848) - enjoyed exceptional success and won a huge audience, still find themselves on the periphery of literary development. Almost at the turn of fiction are the adventurous novels of E. Xu (“The Eternal Jew” 1844 and “Parisian Secrets”, the prototype of “Petersburg Slums” by V. Krestovsky 1864-7), published in the form of feuilletons and giving impetus to the development of the so-called . tabloid-romantic literature (see tabloid novel), such as the criminal and pornographic novels of Xavier de Montepin (after 1848 ) etc. The beginning of the criminal novel was laid by the English novelist Bulwer-Lytton (1803-73), who gave examples of the occult novel in his other novels Zanoni (1842) and “Strange Case” (1862), and in “The Race of the Future”, he resurrected the utopia of the XVII novel V. The tradition of the criminal novel continues in the work of Gaboriau (1835-73), the author of numerous novels with a mysterious crime and a detective solving it at the center of almost all of them (the famous Lecoq cycle). An encyclopedia of the criminal novel, which develops throughout the entire 19th century. almost on the other side of fiction (which did not, however, prevent the criminal-tabloid tradition from achieving the highest artistry under the hands of Dostoevsky), and in the 20th century. flared up with renewed vigor in the detective or detective (see this word) novel (Conan Doyle, whose “Sherlock Holmes” came from the brilliant criminal stories of E. Poe, in his “The Tale of Arthur Gordon Pym” who gave a brilliant example of a pure adventure novel, Maurice Leblond, “Pinkertonism,” etc.) was the sixteen-volume and yet unfinished work of the French novelist Ponson du Terrail, “The Adventures of Rocambole,” in the first half of the novel he is a tireless hero of all kinds of crimes and criminal adventures, and in the second (the Resurrected Rocambole), who repented and voluntarily took on the task of fighting the criminal world. The second channel along which the development of the adventure novel went is the so-called. novels of “adventures on land and sea”, the authors of which (Mine Reid, Rider Haggard, Gustav Aimard, Jacolliot, Boussenaard, etc., most recently Jack London, we have Green) followed the path outlined by Fenimore Cooper, and portray strong, emphatic -heroic characters of all kinds of gold and adventure seekers in a victorious struggle with people and nature, taking place mostly in an exotic setting. This also includes scientific-utopian novels by Jules Verne, Wales, occult novels (the aforementioned Bulwer Lytton, we have V.S. Solovyov, Kryzhanovskaya (Rochester), subtle stylization of Gusto picaresco by Cagliostro, M. Kuzmin, etc., partly “Mysteries” by Hamsun ), a revolutionary adventure novel (for example, Voynich’s novel “The Gadfly”, etc.), etc. Recently (after the war) there has been a new surge of interest in the adventure novel from authors and readers. New works of this kind for the most part operate on traditional plots (in the acclaimed novel by Burroughs “Tarzan” we have Robinson’s story of an Englishman raised on a desert island by monkeys; the author of no less sensational novels “Atlantis”, “The Giant’s Road”, etc. P. Benoit, with amazing sleight of hand, throws out cards from the traditional deck of adventure novels: a journey to a utopian country, an exotic queen who rewards her lovers with death, spies tracked down, etc.). We have some refreshment of the plot only in Chesterton’s original novel “When I Was Thursday,” which appeared shortly before the war (a volume of provocation inspired by the Azefovshchina). In our country, the recent work of Ilya Ehrenburg “Julio Jurenito”, which responds in the form of an adventure novel to the most vibrant modernity, is devoted to the same theme with the characteristic glorification of a provocateur. See: Tiander - “Morphology of the Novel”, Issue. theory and psychology creativity, vol. II, and Sipovsky - “Essays from the history of the Russian novel.”
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orthographic dictionary Russian language
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- - ADVENTUROUS, -aya, -oe; -ren, -rna. 1. Risky and doubtful, being a gamble. An adventurous idea. 2. About literature: describing adventures. A. novel. | noun adventurousness, -and, female. ...
Dictionary Ozhegova
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- - ADVENTUROUS oh, oh; ren, rna, rno. adventure m. 1. Rel. to the adventure, based, built on it; adventure. BAS-2. Adventure novel. BAS-1. Adventure cinema. I. Kokorev 2001. 2...
Historical Dictionary Gallicisms of the Russian language
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Synonym dictionary
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Synonym dictionary
"Adventure novel" in books
Why the novel "Anna Karenina" is not only a family novel
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From the book Mass Literature Today author Nikolina Natalia Anatolevna4.4. Historical adventure novel
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Collection of stories, kaleidoscope novel, novel
From the book How to Write in the 21st Century? author Garber NatalyaA collection of stories, a kaleidoscope novel, a Mephistopheles novel. Let's bet! You will see with your own eyes, I will drive away the extravagance from you, taking a little into my training. But give me the authority to do this. Lord They are given to you. You can drive him over all the ledges while he is alive. Whoever is looking is forced
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Adventure novel of the 1920s and newspaper
From the book Mass Literature of the 20th Century [textbook] author Chernyak Maria AlexandrovnaAdventure novel of the 1920s and the newspaper M. Shaginyan wrote in the “Literary Diary”: “The newspaper is a product of our century, very young, very modern” [Shaginyan, 1923: 147], and V. Shklovsky and Vs. Ivanov in their joint adventure novel “Suppressor gas” noted: “Legends are now being made
Blessed Princes: Roman Ryazansky, Roman Uglitsky, Vasily and Vladimir Volynsky, Theodore, David and Konstantin Yaroslavsky, Dovmont Pskovsky, Mikhail Tverskoy and Anna Kashinskaya
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