ADVENTURE NOVEL . The only poetic type that developed primarily in European soil, the novel - whatever is at its center - love, a mystical idea or matters of honor - appears in the first centuries of our era (Hellenistic novel, 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. The Hellenistic romance is entwined on all sides oriental tales and legends of the love-adventure 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, Chrétien 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 modern knightly morals that date back to the same time and spread throughout Europe. Trojan War(Benoit de Sept Mop Roman de Troi) and Alexander the Great (arrangement by Lambert le Court and Alexandre de l'ernay, which formed the basis of numerous European Alexandrias), and 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.
The author of the first such novel is the Portuguese knight Vasco de Lobeira, who wrote his famous Amadis of Gaul, the original of which has not survived (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 replica 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 romances, 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 English translations Lasarillo survived, for example, 20 editions) and gave rise to a number of imitations in Spain itself (the most remarkable are the novels of Aleman Gusman de Alfarache in 1599, Leon, La picara Justina, the story of a rogue woman, 1605, Espinel - “The Life and Adventures of Obregón "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 infinite number imitations), in France XVII V. (Sorel, La vraye histoire comique de Francion, Scarron, Roman comique, etc.). In France, with early XVIII V. estilo picaresco flashed with new strength in the works 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 life modern society, give a bright and lively picture of morals and everyday life, which makes the picaresque novel a genuine 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 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 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 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 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 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 used new scheme development of an adventure novel - instead of next friend behind a friend of adventures (Roman des Nacheinander) adventures unfolding in parallel (Roman des Nebeneinander), in historical novels Walter Scott and later, G. Sienkiewicz, in Dickens’s splashing with fun “The Pickwick Papers” (see his crime novel “Oliver Twist”) and “Tartaraniad” by A. Daudet, in the social novel “Uncle Tom’s Cabin” by Beecher Stowe, in us in Gogol’s “Dead Souls”, 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 “Count Monte Cristo" - and Fenimore Cooper (1789-1851): novels from the life of the Redskins (the "Leatherstocking" cycle and a 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 literary development. Almost at the line fiction there are adventure novels by E. Xiu (“The Eternal Jew” 1844 and “ Parisian secrets”, the prototype of “Petersburg slums” by V. Krestovsky 1864-7), published in the form of feuilletons and gave impetus to the development of the so-called. tabloid-romance 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 by the English novelist Bulwer-Lytton (1803-73), who gave Zanoni in his other novels ( 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 the 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, Ilya Ehrenburg’s recent work “Julio Jurenito”, which responds in the form of an adventurous 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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- - 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. ...
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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 of Gallicisms of the Russian Language
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The adventure novel is a firmly established genre of literature, characterized by rapid development plot, sharp plot twists, and real adventures. Usually, adventure books are intended 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 started with history books filled with adventures: remember only 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, fights, riddles and secrets. The heroes of the books are charismatic, strong personalities, capable of going against troubles and fate, and their actions delight the reader. 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 early middle ages. In fact, the genre has no strictly established boundaries, and this is precisely why it 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.
Adventurous in literature is concept associated with adventure, describing adventure, adventurous. The adventurous in literature as a prototype of consciousness has long been an important component of works of world literature from heroic epics to adventure epics and narratives.
History of adventure literature
In the history of literature adventure genre Particularly significant is the “Greek novel” (I-IV centuries), which, according to the famous Russian philosopher and researcher M. M. Bakhtin, shows a perfect and fully created type of adventurous time, including all its features and details. The scientist believes that further development The adventure novel did not significantly influence the technique of using adventurous time.
M. M. Bakhtin defines the most appropriate parameters of adventurous time - “suddenness” and “chance”, because it operates where the normal series of events ends and is replaced by non-standard pure chance.
Therefore, the plot of an adventurous work unfolds independently of stable social and family principles, and is determined by open, unexpected, not predetermined events, because an adventure is circumstances that can happen to absolutely anyone.
Adventurous and motivated
Passing different periods history of the development of literature, the interpretation of adventure was different, which was determined by the social and cultural contexts of each stage.
IN initial period development - from the oldest literary work, “The Epic of Gilgamesh,” or the poem “On Who Has Seen Everything,” created during the 18th-17th centuries BC. e. before the poems “Shahnameh” or “Book of Kings”, written during the period 976-1011, “The Song of the Nibelungs” - XII-XIII centuries - adventurousness is closely interconnected with fairy tales and fantasy.
With time fairy tale motifs adventurous are replaced by the real meaning inherent in such works of art such as: a chivalric romance, medieval works, a picaresque novel, precious literature, as well as the work of Francois Fenelon (the novel “The Adventures of Telemachus” 1692-1695), in which the fantastic and mythical play a secondary role.
The concept of adventure is fully revealed in the literature of the Enlightenment (late 17th-early 19th centuries), during which the genre of the adventure novel emerged. The period is rich in famous world works by the first proponent of the novel as a genre, the brilliant adventure writer Daniel Defoe: “Robinson Crusoe” in 1719, “The Life and Pirate Adventures of the Glorious Captain Singleton” in 1720, “The Joys and Sorrows of the Famous Moll Flanders”, published in 1722 . Voltaire’s cynical story “Candide, or Optimism” of 1759 is not without adventure.
Consistently, adventurous becomes part of a psychological novel, present in the novel of education of Johann Wolfgang Goethe “The Teaching Years of Wilhelm Meister” 1795-1796. and its continuation “The Years of Wanderings of Wilhelm Meister, or the Forsaken” 1821-1829.
The adventure genre is reflected in the literature of representatives of the Romantic era ( late XVIII centuries - early XIX century), penetrating into the works of the classics of world adventure literature: Walter Scott, George Gordon Byron, James Fenimore Cooper, whose creative views are aimed at interest in folklore, myths, fairy tales, nature, and the actual knowledge of the world through heroics and adventures (adventures).
Having received aesthetic formation during the period of romanticism and neo-romanticism, the adventurous creates a separate round of literature in the adventure genre, the assets of which are the creative fruits of Alexandre Dumas, Thomas Main Reid, Robert Louis Stevens, Joseph Conrad. The emergence of a separate adventurous direction gives rise to the emergence of new genres of fantastic literature: fantasy, detective, science fiction and others.
Besides, adventurous is an important component of the literary classics of the 19th-20th centuries: poetry of A. S. Pushkin, prose of N. V. Gogol, works of F. M. Dostoevsky, I. Ilf and E. Petrov, as well as English and French word masters: Charles Dickens and Honore de Balzac, respectively, William Cuthbert Faulkner, James Joyce.
The original satirical version of the adventurous is practiced by postmodernism of the 2nd half of the twentieth century, the list of representatives of which includes: John Fowles, Peter Ackroyd, Michel Tournier, Umberto Eco, Victor Pelevin, Vladimir Sorokin.
Adventure literature - characteristic, easily recognizable adventurous genre literature, which provides for a clear demarcation of the participants in the work into heroic and villainous characters, the speed of development of events, sudden change and the severity of circumstances, excessive emotional impulses, motives for kidnapping, secrets and deep secrets.
The plot of adventurous works is filled with exciting events and dangerous events described in detail by the author. problematic situations, from which the hero emerges before the reader’s eyes, reflecting the era, traditions, literary vision of the author, possessing inventive abilities and risk.
The main task of adventure literature is not only to create a creative reality, but also to entertain the reader.
The word adventurous comes from French “aventure”, which means adventure.