Genres of romantic lyrics. Lyrics as a kind of literature: lyrical genres

One of the founders of Russian literary criticism was V.G. Belinsky. And although serious steps were taken in antiquity in developing the concept of literary gender (Aristotle), it was Belinsky who owned the scientifically based theory of three literary genera, which you can get acquainted with in detail by reading Belinsky’s article “The Division of Poetry into Genera and Types.”

There are three types of fiction: epic(from Greek Epos, narrative), lyrical(a lyre was a musical instrument, accompanied by chanting poems) and dramatic(from Greek Drama, action).

When presenting this or that subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:

First approach: in detail tell about the object, about the events associated with it, about the circumstances of the existence of this object, etc.; in this case, the author’s position will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; the main thing in such a work will be the story, narration about the subject, the leading type of speech will be narrative; this kind of literature is called epic;

The second approach: you can tell not so much about the events, but about the impressed, which they produced on the author, about those feelings which they called; image inner world, experiences, impressions and will relate to the lyrical genre of literature; exactly experience becomes the main event of the lyrics;

Third approach: you can depict item in action, show him on stage; present it to the reader and viewer surrounded by other phenomena; this kind of literature is dramatic; In a drama, the author's voice will be heard least often - in stage directions, that is, the author's explanations of the actions and remarks of the characters.

Look at the following table and try to remember its contents:

Types of fiction

EPOS	DRAMA	LYRICS
(Greek - narrative) story about events, the fate of heroes, their actions and adventures, image outside what is happening (even feelings are shown from their side external manifestation). The author can directly express his attitude to what is happening.	(Greek - action) image events and relationships between characters on the stage (special way text recording). Direct expression The author's point of view in the text is contained in the stage directions.	(from the name of the musical instrument) experience events; depiction of feelings, inner world, emotional state; the feeling becomes the main event.

Each type of literature in turn includes a number of genres.

GENRE is a historically established group of works united common features content and form. Such groups include novels, stories, poems, elegies, short stories, feuilletons, comedies, etc. In literary studies, the concept of literary type is often introduced; this is a broader concept than genre. In this case, the novel will be considered a type of fiction, and genres - different varieties novel, for example, adventure, detective, psychological, parable novel, dystopian novel, etc.

Examples genus-species relations in literature:

Gender: dramatic; type: comedy; Genre: sitcom.
Genus: epic; type: story; genre: fantasy story, etc.

Genres, being historical categories, appear, develop and, over time, “leave” from the “active stock” of artists depending on historical era: ancient lyricists did not know the sonnet; in our time, the ode, born in antiquity and popular in the 17th-18th centuries, has become an archaic genre; Romanticism of the 19th century gave rise to detective literature, etc.

Consider the following table, which presents the types and genres related to the various types of word art:

Genera, types and genres of artistic literature

EPOS		DRAMA		LYRICS
People's	Author's	Folk	Author's	Folk	Author's
Myth Poem (epic): Heroic Strogovoinskaya Fabulous- legendary Historical... Fairy tale Bylina Thought Legend Tradition Ballad Parable Small genres: proverbs sayings puzzles nursery rhymes...	EpicNovel: Historical Fantastic. Adventurous Psychological R.-parable Utopian Social... Small genres: Tale Story Novella Fable Parable Ballad Lit. fairy tale...	A game Ritual Folk drama Raek Nativity scene...	Tragedy Comedy: provisions, characters, masks... Drama: philosophical social historical social-philosophical Vaudeville Farce Tragifarce...	Song	Oh yeah Hymn Elegy Sonnet Message Madrigal Romance Rondo Epigram...

Modern literary criticism also highlights fourth, a related genre of literature that combines the features of the epic and lyrical genres: lyric-epic, which refers to poem. And indeed, by telling the reader a story, the poem manifests itself as an epic; revealing to the reader the depth of feelings, inner world person telling this story, the poem manifests itself as lyric poetry.

LYRICAL is a type of literature in which the author’s attention is paid to depicting the inner world, feelings, and experiences. An event in lyric poetry is important only insofar as it evokes an emotional response in the artist’s soul. It is the experience that becomes the main event in the lyrics. Lyrics as a type of literature arose in ancient times. The word "lyrics" is of Greek origin, but has no direct transfer. In Ancient Greece, poetic works depicting the inner world of feelings and experiences were performed to the accompaniment of the lyre, and this is how the word “lyrics” appeared.

The most important character in the lyrics is lyrical hero : it is his inner world that is shown in the lyrical work, on his behalf the lyricist speaks to the reader, and the external world is depicted in terms of the impressions it makes on the lyrical hero. Note! Do not confuse the lyrical hero with the epic one. Pushkin reproduced the inner world of Eugene Onegin in great detail, but this is an epic hero, a participant in the main events of the novel. The lyrical hero of Pushkin's novel is the Narrator, the one who is familiar with Onegin and tells his story, deeply experiencing it. Onegin becomes a lyrical hero only once in the novel - when he writes a letter to Tatyana, just as she becomes a lyrical heroine when she writes a letter to Onegin.

By creating the image of a lyrical hero, a poet can make him personally very close to himself (poems by Lermontov, Fet, Nekrasov, Mayakovsky, Tsvetaeva, Akhmatova, etc.). But sometimes the poet seems to be “hiding” behind the mask of a lyrical hero, completely far from the personality of the poet himself; for example, A. Blok makes the lyrical heroine Ophelia (2 poems entitled “Ophelia’s Song”) or the street actor Harlequin (“I was covered in colorful rags…”), M. Tsvetaev - Hamlet (“At the bottom is she, where is the mud?” ..."), V. Bryusov - Cleopatra ("Cleopatra"), S. Yesenin - a peasant boy from folk song or fairy tales (“Mother walked through the forest in her bathing suit…”). So, when discussing a lyrical work, it is more competent to talk about the expression in it of the feelings not of the author, but of the lyrical hero.

Like other types of literature, lyrics include a number of genres. Some of them arose in ancient times, others - in the Middle Ages, some - quite recently, one and a half to two centuries ago, or even in the last century.

Read about some LYRIC GENRES:
Oh yeah(Greek "Song") - a monumental solemn poem glorifying a great event or a great person; There are spiritual odes (arrangements of psalms), moralizing, philosophical, satirical, epistle odes, etc. An ode is tripartite: it must have a theme stated at the beginning of the work; development of the theme and arguments, as a rule, allegorical (second part); the final, didactic (instructive) part. Examples of ancient ancient odes are associated with the names of Horace and Pindar; The ode came to Russia in the 18th century, and M. Lomonosov’s odes became classic (“On the day of the accession to Russian throne Empress Elisaveta Petrovna"), V. Trediakovsky, A. Sumarokov, G. Derzhavin ("Felitsa", "God"), A. Radishchev ("Liberty"). A. Pushkin ("Liberty") paid tribute to the ode. To the middle In the 19th century, ode lost its relevance and gradually became an archaic genre.

Hymn- a poem of laudatory content; also came from ancient poetry, but if in ancient times hymns were composed in honor of gods and heroes, then in later times hymns were written in honor special events, festivities, often not only of a state, but also of a personal nature (A. Pushkin. “Feasting Students”).

Elegy(Phrygian "reed flute") - a genre of lyrics dedicated to reflection. Originated in ancient poetry; originally this was the name for crying over the dead. The elegy was based on the life ideal of the ancient Greeks, which was based on the harmony of the world, proportionality and balance of being, incomplete without sadness and contemplation; these categories passed into modern elegy. An elegy can embody both life-affirming ideas and disappointment. Poetry of the 19th century continued to develop elegy in its “pure” form; in the lyrics of the 20th century, elegy is found, rather, as a genre tradition, as a special mood. IN modern poetry An elegy is a plotless poem of a contemplative, philosophical and landscape nature.
A. Pushkin. "To sea"
N. Nekrasov. "Elegy"
A. Akhmatova. "March Elegy"

Read A. Blok's poem "From Autumn Elegy":

Epigram(Greek “inscription”) - a small poem of satirical content. Initially, in ancient times, epigrams were inscriptions on household objects, tombstones and statues. Subsequently, the content of the epigrams changed.
Examples of epigrams:

Yuri Olesha:

Sasha Cherny:

Epistle, or message - a poem, the content of which can be defined as a “letter in verse.” The genre also came from ancient lyrics.
A. Pushkin. Pushchin ("My first friend, my priceless friend...")
V. Mayakovsky. "To Sergei Yesenin"; "Lilichka! (Instead of a letter)"
S. Yesenin. "Letter to Mother"
M. Tsvetaeva. Poems to Blok

Sonnet- this is a poetic genre of the so-called rigid form: a poem consisting of 14 lines, specially organized into stanzas, having strict rhyming principles and stylistic laws. There are several types of sonnet based on their form:

Italian: consists of two quatrains (quatrains), in which the lines rhyme according to the scheme ABAB or ABBA, and two tercets (tercets) with the rhyme CDС DСD or CDE CDE;
English: consists of three quatrains and one couplet; the general rhyme scheme is ABAB CDCD EFEF GG;
sometimes French is distinguished: the stanza is similar to Italian, but the terzets have a different rhyme scheme: CCD EED or CCD EDE; he had a significant influence on the development of the next type of sonnet -
Russian: created by Anton Delvig: the stanza is also similar to the Italian, but the rhyme scheme in tercets is CDD CCD.

This lyrical genre was born in Italy in the 13th century. Its creator was the lawyer Jacopo da Lentini; a hundred years later Petrarch's sonnet masterpieces appeared. The sonnet came to Russia in the 18th century; a little later he receives serious development in the works of Anton Delvig, Ivan Kozlov, Alexander Pushkin. Poets of the “Silver Age” showed particular interest in the sonnet: K. Balmont, V. Bryusov, I. Annensky, V. Ivanov, I. Bunin, N. Gumilev, A. Blok, O. Mandelstam...
In the art of versification, the sonnet is considered one of the most difficult genres.
In the last 2 centuries, poets rarely adhered to any strict rhyme scheme, often offering a mixture of different schemes.

features of sonnet language

vocabulary and intonation should be sublime;
rhymes - accurate and, if possible, unusual, rare;
significant words should not be repeated with the same meaning, etc.

A particular difficulty - and therefore the pinnacle of poetic technique - is represented by wreath of sonnets: a cycle of 15 poems, the opening line of each being the last line of the previous one, and last line The 14th poem is the first line of the first. The fifteenth sonnet consists of the first lines of all 14 sonnets in the cycle. In Russian lyric poetry, the most famous are the wreaths of sonnets by V. Ivanov, M. Voloshin, K. Balmont.

Read “Sonnet” by A. Pushkin and see how the sonnet form is understood:

Text	Stanza	Rhyme	Contents(topic)
1 The stern Dante did not despise the sonnet; 2 In him Petrarch poured out the heat of love; 3 The creator of Macbeth 1 loved his game; 4 Camoes 2 clothed them with sorrowful thoughts.	quatrain 1	A B A B	History of the sonnet genre in the past, themes and tasks of the classic sonnet
5 And today it captivates the poet: 6 Wordsworth 3 chose him as his instrument, 7 When away from the vain world 8 He paints an ideal of nature.	quatrain 2	A B A IN	The meaning of the sonnet in modern Pushkin European poetry, expanding the range of topics
9 Under the shadow of the distant mountains of Tauris 10 Lithuanian singer 4 in the size of his cramped 11 He instantly concluded his dreams.	terzetto 1	C C B	Development of the theme of quatrain 2
12 Our virgins did not know him yet, 13 How Delvig forgot for him 14 Hexameters 5 sacred chants.	terzetto 2	D B D	The meaning of the sonnet in Russian poetry contemporary to Pushkin

In school literary criticism, this genre of lyricism is called lyric poem. In classical literary criticism such a genre does not exist. It was introduced into the school curriculum for some simplification complex system lyrical genres: if bright genre features of a work cannot be identified and the poem is not, in the strict sense, either an ode, a hymn, an elegy, a sonnet, etc., it will be defined as a lyrical poem. In this case, you should pay attention to individual characteristics poems: specifics of form, theme, image of the lyrical hero, mood, etc. Thus, lyric poems (in the school understanding) should include poems by Mayakovsky, Tsvetaeva, Blok, etc. Almost all lyric poetry of the 20th century falls under this definition, unless the authors specifically specified the genre of the works.

Satire(Latin “mixture, all sorts of things”) - as a poetic genre: a work whose content is an exposure of social phenomena, human vices or individuals- by ridicule. Satire in antiquity in Roman literature (satires of Juvenal, Martial, etc.). The genre received new development in the literature of classicism. The content of satire is characterized by ironic intonation, allegory, Aesopian language, and the technique of “speaking names” is often used. In Russian literature, A. Kantemir and K. Batyushkov (XVIII-XIX centuries) worked in the genre of satire; in the 20th century, Sasha Cherny and others became famous as the author of satires. Many poems from V. Mayakovsky’s “Poems about America” can also be called satires ( "Six Nuns", "Black and White", "Skyscraper in Section", etc.).

Ballad- lyric-epic plot poem of the fantastic, satirical, historical, fairy-tale, legendary, humorous, etc. character. The ballad arose in ancient times (presumably in the early Middle Ages) as a folk ritual dance and song genre, and this determines its genre features: strict rhythm, plot (in ancient ballads they told about heroes and gods), the presence of repetitions (entire lines or individual words were repeated as an independent stanza), called refrain. In the 18th century, the ballad became one of the most beloved poetic genres in Romantic literature. Ballads were created by F. Schiller ("Cup", "Glove"), I. Goethe ("The Forest Tsar"), V. Zhukovsky ("Lyudmila", "Svetlana"), A. Pushkin ("Anchar", "Groom") , M. Lermontov ("Borodino", "Three Palms"); at the turn of the 19th and 20th centuries, the ballad was revived again and became very popular, especially in revolutionary era, during the period of revolutionary romance. Among the poets of the 20th century, ballads were written by A. Blok (“Love” (“The Queen lived on high mountain..."), N. Gumilyov ("Captains", "Barbarians"), A. Akhmatova ("The Gray-Eyed King"), M. Svetlov ("Grenada"), etc.

Note! A work can combine the characteristics of some genres: a message with elements of elegy (A. Pushkin, “To *** (“I remember a wonderful moment ...”)), a lyrical poem of elegiac content (A. Blok. “Motherland”), an epigram-message, etc. .d.

The creator of Macbeth is William Shakespeare (tragedy "Macbeth").

Portuguese poet Luis de Camões (1524-1580).

Wordsworth - English romantic poet William Wordsworth (1770-1850).

The singer of Lithuania is the Polish romantic poet Adam Mickiewicz (1798-1855).

See the material on topic No. 12.

You should read those works of art, which can be considered within the framework of this topic, namely:

V.A. Zhukovsky. Poems: "Svetlana"; "Sea"; "Evening"; "Unspeakable"
A.S. Pushkin. Poems: "Village", "Demons", "Winter Evening", "Pushchina" ("My first friend, my priceless friend...", "Winter Road", "To Chaadaev", "In the depths of the Siberian ores...", "Anchar ", "The clouds are thinning flying ridge...”, “Prisoner”, “Conversation between a bookseller and a poet”, “Poet and the crowd”, “Autumn”, “...I visited again...”, “Am I wandering along the noisy streets...”, “A vain gift, an accidental gift...” , "October 19" (1825), "On the Hills of Georgia", "I loved you...", "To ***" ("I remember a wonderful moment..."), "Madonna", "Echo", "Prophet" ", "To the Poet", "To the Sea", "From Pindemonti" ("I value loud rights inexpensively..."), "I have erected a monument to myself..."
M.Yu. Lermontov. Poems: “The Death of a Poet”, “Poet”, “How often, surrounded by a motley crowd...”, “Thought”, “Both boring and sad...”, “Prayer” (“I, Mother of God, now with prayer...”) , “We parted, but your portrait...”, “I will not humiliate myself before you...”, “Motherland”, “Farewell, unwashed Russia...”, “When the yellowing field is agitated...”, “No, I’m not Byron, I’m different ...", "Leaf", "Three Palms", "From Under a Mysterious, Cold Half Mask...", "Captive Knight", "Neighbor", "Testament", "Clouds", "Cliff", "Borodino", "Clouds heavenly, eternal pages...", "Prisoner", "Prophet", "I go out alone on the road..."
N.A. Nekrasov. Poems: “I don’t like your irony...”, “Knight for an hour”, “I will soon die...”, “Prophet”, “Poet and Citizen”, “Troika”, “Elegy”, “Zine” (“You are still on you have the right to life..."); other poems of your choice
F.I. Tyutchev. Poems: " Autumn evening", "Silentium", "Not what you think, nature...", "The earth still looks sad...", "How good you are, O night sea...", "I met you...", "No matter what life brings us taught...", "Fountain", "These poor villages...", "Human tears, oh human tears...", "You can't understand Russia with your mind...", "I remember the golden time...", "What are you howling about, night wind? ", "The gray shadows have shifted...", "How sweetly the dark green garden slumbers..."; other poems of your choice
A.A.Fet. Poems: “I came to you with greetings...”, “More May night...”, “Whisper, timid breathing ...”, “This morning, this joy ...”, “Sevastopol rural cemetery”, “A wavy cloud ...”, “Learn from them - from the oak, from the birch ...”, “To the poets”, “ Autumn", "What a night, how clean the air...", "Village", "Swallows", "On the railway", "Fantasy", "The night was shining. The garden was full of the moon..."; other poems of your choice
I.A.Bunin. Poems: "The Last Bumblebee", "Evening", "Childhood", "It's Still Cold and Cheese...", "And Flowers, and Bumblebees, and Grass...", "The Word", "The Knight at the Crossroads", "The Bird Has a Nest" …", "Twilight"
A.A.Blok. Poems: "I enter dark temples...", "Stranger", "Solveig", "You are like the echo of a forgotten hymn...", "The earthly heart grows cold again...", "Oh, spring without end and without edge...", "About valor, about exploits, about glory ...", "On the Railway", cycles "On the Kulikovo Field" and "Carmen", "Rus", "Motherland", "Russia", "Morning in the Kremlin", "Oh, I want to live madly..."; other poems according to your choice
A.A.Akhmatova. Poems: “Song of the Last Meeting”, “You know, I’m languishing in captivity...”, “Before spring there are days like this...”, “Tear-stained autumn, like a widow...”, “I learned to live simply, wisely...”, “ Motherland"; "I have no need for odic armies...", "I am not with those who abandoned the earth...", "Courage"; other poems of your choice
S.A. Yesenin. Poems: “Go you, my dear Rus'...”, “Don’t wander, don’t crush in the crimson bushes...”, “I don’t regret, I don’t call, I don’t cry...”, “Now we are leaving little by little...”, “Letter to mother,” “ The golden grove dissuaded me...", "I left my home...", "To Kachalov's dog", "Soviet Rus'", "The hewn horns began to sing...", "Uncomfortable liquid moonlight...", "The feather grass is sleeping. The dear plain...", "Goodbye , my friend, goodbye..."; other poems of your choice
V.V. Mayakovsky. Poems: “Could you?”, “Listen!”, “Here!”, “To you!”, “Violin and a little nervously”, “Mom and the evening killed by the Germans”, “Cheap sale”, “Good attitude towards horses ", "Left March", "About rubbish", "To Sergei Yesenin", "Anniversary", "Letter to Tatyana Yakovleva"; other poems of your choice
10-15 poems each (of your choice): M. Tsvetaeva, B. Pasternak, N. Gumilyov.
A. Tvardovsky. Poems: “I was killed near Rzhev...”, “I know, it’s not my fault...”, “The whole point is in one single covenant...”, “In memory of the mother,” “To the bitter grievances of one’s own person...”; other poems of your choice
I. Brodsky. Poems: “I entered instead of a wild beast ...”, “Letters to a Roman friend”, “To Urania”, “Stanzas”, “You will ride in the darkness ...”, “To the death of Zhukov”, “From nowhere with love ...”, “Notes of a fern "

Try to read all the literary works that are named in the work in a book, and not in electronic form!
When completing tasks for work 7, pay attention Special attention on theoretical materials, since completing the tasks of this work by intuition means dooming yourself to error.
Do not forget to draw up a metrical diagram for each poetic passage you analyze, checking it many times.
The key to success when performing this complex work is attention and accuracy.

Recommended reading for work 7:

Kvyatkovsky I.A. Poetic dictionary. - M., 1966.
Literary encyclopedic dictionary. - M., 1987.
Literary studies: Reference materials. - M., 1988.
Lotman Yu.M. Analysis of poetic text. - L.: Education, 1972.
Gasparov M. Modern Russian verse. Metrics and rhythm. - M.: Nauka, 1974.
Zhirmunsky V.M. Theory of verse. - L.: Science, 1975.
Poetic structure of Russian lyrics. Sat. - L.: Science, 1973.
Skripov G.S. About Russian versification. A manual for students. - M.: Education, 1979.
Dictionary of literary terms. - M., 1974.
Encyclopedic dictionary of a young literary critic. - M., 1987.

Lyrics are a literary genre in which the poet’s feelings, thoughts, and moods, caused by the phenomena of life that excited him, are directly reproduced. L.I. Timofeev notes that “lyrics are a reflection of the entire diversity of reality in the mirror of the human soul, in all the subtlest nuances of the human psyche and in the fullness of speech expression that corresponds to them” *.

* (L. I. Timofeev. Fundamentals of Literary Theory, p. 108.)

Unlike all other literary genres, lyrics are primarily and most oriented towards the emotional perception of the reader. And this brings it closer to another area of art - music, which is also a figurative expression human experiences and affects precisely the feelings of a person. Even the very name of the literary genre (“lyre” - a musical instrument in ancient Greece) emphasizes its connection with music. This synthesis of words and music has survived to this day and has led to the identification of related genres, such as lyrical-vocal and musical-dramatic.

The genetic connection of poetry with music is manifested in its subordination to rhythm and many other things. specific features this art (up to the development of leitmotifs or compositional forms such as rondo or ballad). The musicality of poetry is recognized by both poets and composers. The development of lyrics has always been largely connected with the development of music.

A specific feature of the lyrics is the subjective reflection of experiences in images.

Subjective perception of reality manifests itself in poetry in different ways. An obvious exaggeration is the attempt of some literary scholars to reduce the content of any lyrical work only to the “self-expression” of the poet, only to the disclosure of his “I”, considered, moreover, in a narrow biographical plan. Even in the most intimate poems, such as, for example, “I loved you” by Pushkin, not only the author’s feelings are expressed, but also what is close, what is deeply understandable and dear to readers. In other words, through the concrete, uniquely individual experience of the poet, the general, essential, characteristic is conveyed, which constitutes the specificity of the figurative reproduction of life.

In many of the best works, the artist typifies those experiences that are either a concentration of his emotions, or become, as it were, their projection for transmission to a fictional character who is endowed with qualities that are not directly characteristic of the poet. In this regard, there arises important question about the lyrical hero. The introduction of this concept into literary criticism is justified by the theorists’ desire to distinguish between the author’s “I” and the typified “I” of a fictional character, whose feelings and thoughts are expressed in the work in the first person.

Even N.G. Chernyshevsky, in the article “Poems of Countess Rostopchina,” argued that “one should not assume that each “I” that expresses its feelings in a lyrical play is necessarily the “I” of the author himself, by whom the play was written” *.

* (N. G. Chernyshevsky. Poll. collection soch., vol. 3, pp. 455-456.)

Considering poems like Pushkin's "Black Shawl", one can only talk about a lyrical hero who was created creative imagination the author and who uniquely expresses the feelings and thoughts that excited him.

The concept of a lyrical hero should also not be interpreted too broadly, associating it with the image of the narrator in the epic. The lyrical hero is only one of the possibilities for expressing the poet’s personality in a work. The Soviet critic L. Ginzburg rightly asserts that “in lyric poetry, the author’s consciousness can be expressed in the most different forms- from a personified lyrical hero to an abstract image of a poet included in classical genres, and, on the other hand, to all sorts of “objective” plots, characters, objects that encrypt the lyrical subject precisely so that he continues to shine through them." *

* (L. Ginzburg. About the lyrics. M.-L., 1964, p. 6.)

This “encryption of the lyrical subject” is especially characteristic of epigrams and madrigals, in which specific characters are depicted, and the author’s subjective attitude towards them is manifested precisely in the assessment of certain of their qualities, deliberately exaggerated, and most importantly, one-sidedly selected and isolated from others, characterizing the appearance of the prototype person .

At the same time, we must recognize the conventions of distinguishing between the image of a lyrical hero and the image of a poet. Even N.V. Gogol rightly wrote that any work reflects, to a greater or lesser extent, the personality of the author himself. However, in poems like Pushkin’s “Monument”, the poet directly expresses his thoughts, feelings, thoughts about poetic work, the meaning of creativity, and the connection between literature and life. The poetic declaration expressed in the work completely coincides with the views of the author himself. Before us stands the image of a poet with his worries, anxieties, sympathies, and his philosophical thoughts.

In other poems, the image of the poet comes closer to the image of the narrator. In Nekrasov's "Reflections at the Front Entrance" all events are conveyed through the perception of the author, who acts as an eyewitness to the ominous injustice and cruel heartlessness of those in power, their disdainful attitude towards the hardships and needs of the people. The poet's image is revealed through his emotional attitude to the events depicted.

In many lyrical poems, the image of the poet appears along with the central characters in a real everyday situation (for example, in the poems “Schoolboy” by Nekrasov or “To Comrade Nette - a Steamship and a Man” by Mayakovsky).

In a lyrical poem, images-characters can also be reproduced, appearing quite objectively, regardless of the author. Such, for example, is the image of Katyusha in Isakovsky’s song of the same name. However, the feelings of these image-characters are colored by the likes and dislikes of the poet himself. In satirical poems, these author's emotions are expressed in the form of the artist's direct condemnation of the negative phenomena of reality.

The problem of plot in lyrics is very complex. Some researchers classify all or almost all lyric poems as plotless works due to the fact that they do not directly convey the development of events. Others consider this issue too broadly, without taking into account the specifics of the genus.

Of course, landscape poems do not have a plot. This also applies to those lyrical works that only describe certain emotional states (epitaphs, madrigals, etc.).

A peculiar, so-called lyrical plot can be discussed in relation to works that depict the complex development of the growth of feelings. In this sense, we can talk, for example, about A. S. Pushkin’s poem “I Loved You,” which reveals the history of the relationship between the lyrical hero and his beloved.

One can quite definitely talk about the plot in connection with the characteristics of those poems in which, in the form of memories or in the form of a response, events from the lives of the heroes, the history of their relationships, changes in their destinies are reflected.

In the 19th century began the process of rapprochement between lyric poetry and epic prose, which determined wide use elements of an epic plot even in such traditional lyrical genres as epistle or elegy.

In some poems the composition is directly determined by the plot, in others it is subordinated to the development of the central image. This image, which appears directly at first, can then be replaced by a metaphor, as, for example, in the poem “Ogonyok” by Isakovsky.

Often the compositional integrity of a work is achieved with the help of a repetition ring (sometimes modified) of the first lines (stanzas) at the beginning and at the end.

Classification of lyrical works

The classification of lyrical works by type and variety is very complex. A variety of lyrical poems expressing the most varied shades of feelings, moods, experiences; the more definite dependence of the genre on the features of composition and language, as well as on rhythm and stanza, than in works of other types - all this complicates systematization and makes it very difficult to differentiate according to any single principle.

There were different principles for the genre differentiation of lyrics.

In antiquity, and then in the era of classicism, they sought to clearly differentiate genres by form and content. The rationalistic views of the classicists determined the establishment of certain genre canons. Subsequently, many traditional types of lyric poetry did not receive their development (eclogue, epithalamus, pastoral), others changed their character, acquiring a different social meaning (elegy, message, epigram).

In poetry from the second half of the 19th century V. The distinctions between surviving species have become very arbitrary. The message, for example, often acquired the characteristics of an elegy or an ode.

The classification based on the differentiation of poems by stanza has almost become obsolete. All that remains of it in modern European poetry is the selection of sonnets, and in eastern poetry - octets, ghazals, rubais and some other stable strophic forms.

The most common classification now is based on the thematic principle. In accordance with it, lyrics are distinguished into patriotic (for example, “Poems about the Soviet “passport” by Mayakovsky), socio-political (” Communist Marseillaise” by Bedny), historical ( “Borodino” by Lermontov), philosophical ( “Man” by Mezhelaitis), intimate, (“Lines of Love” by Shchipachev), landscape (“Spring Thunderstorm” by Tyutchev).

Of course, this distinction is very arbitrary, and therefore the same poem can be classified as different types. Thus, Lermontov’s “Borodino” is both a historical and patriotic work. F. I. Tyutchev’s landscape poems express his philosophical ideas (for example, in “Fountain”). “Poems about the Soviet Passport” by Mayakovsky, usually classified as patriotic lyrics, can with no less justification be considered both as an example of a socio-political and as an example of an intimate poem. In this regard, when determining the type, it is necessary to take into account the relationship of various leitmotifs in a lyrical work, determining which of them plays a dominant role.

At the same time, lyric poems continue to appear in modern poetry that correspond to a greater or lesser extent to such traditional genre forms, as an epigram, message, elegy, ode.

Oh yeah

In modern literary criticism, an ode is usually defined as a lyric poem glorifying an important historical event or a prominent historical figure.

The origins of the ode are in ancient poetry. However, in ancient Greece, this name meant not only songs of praise, but also works of various contents, performed to the accompaniment of a musical instrument. The further development of this genre was particularly influenced by the “epinikia” (odes of praise) of the ancient Greek poet Pindar (518-442 BC), glorifying the heroes - winners of competitions in a solemn form, full of exquisite paths and figures. The odes of Pindar and Horace were considered as models by classicists who developed the main criteria for this genre. Already in the work of the founder of classicism in France, F. Malherbe (1555-1628), the ode emerged as the “highest” genre, most accurately and fully reflecting the principles of this literary movement. The ode served to praise the absolute monarchy and its adherents, glorifying the victories of kings and generals. The solemn sublimity of the content determined the originality of the composition and the peculiarities of the language.

Poets resorted to numerous tropes (especially metaphors and periphrases) and rhetorical figures in their odes. Words from the living spoken language, and even more so colloquialisms and vulgarisms, were expelled from the odes as alien to its sublime nature. The mandatory requirements for the ode included accuracy of strophic construction (the ten-line stanza was the most common), purity of the rhythmic structure (inadmissibility of pyrrhics), sonority of rhymes, inadmissibility of hyphenation, etc.

The theory and practice of French classicists had a strong influence on the development of this genre in the literature of other European countries up to late XVIII V.

Odes were intended to be delivered in a solemn, festive atmosphere, which brought them closer to the performances of orators.

In Russian poetry, solemn odes were created by M. V. Lomonosov, G. R. Derzhavin and other classicists. Lomonosov's "Ode on the Day of the Accession to the All-Russian Throne of Her Majesty the Empress Elizabeth Petrovna in 1747" by Lomonosov, which has become a textbook example, is a classic example of works of this genre. “Lomonosov’s ode,” wrote Yu. Tynyanov, “can be called oratorical not because or not only because it is thought to be pronounced, but mainly because the oratorical moment has become decisive, constructive for it. Oratory principles greatest impact and verbal development subordinated and transformed all elements of the word...".

The outstanding Russian poet G.R. Derzhavin, adhering to these classicist principles in his “Discussion “On Lyric Poetry or Ode”, significantly expanded the narrow boundaries of this genre in his creative practice. Thus, in Derzhavin’s “Felitsa” there are colloquialisms that are unacceptable according to the laws of the genre, depiction of everyday details, irony and even a satirical element.

Subsequently, both the content and form of the ode evolved. In the works of progressive poets of the 19th century V. criticism of tyrants was combined with glorification of freedom. Such are the ode “Liberty” by Radishchev, the poem of the same name by Pushkin, and a number of works by Decembrist poets. The creation of odes was turned to especially often during the years of growth revolutionary movement. However, this largely rhetorical, traditional genre did not correspond to the basic principles of progressive romanticism and critical realism. In the second half of the 19th century. ode gives way to hymns, cantatas, oratorios and other types of lyrical-vocal genre. In this one cannot help but notice a return to the origins of odic poetry, organically connected with music at the dawn of its development.

IN Soviet poetry"Ode to the Revolution" was created by V.V. Mayakovsky. Other poets also turned to creating works of this genre. Serious changes in the specifics of the ode that occurred during this period are expressed in a significant reduction in volume, in the updating of vocabulary, and in a more limited use of tropes and figures.

Elegy

Elegy has also undergone a significant evolution in the history of world poetry. It originates from an ancient vocal genre - a plaintive song (the term itself comes from the name of the ancient Greek instrument that accompanied this song).

However, later the term “elegy” began to designate works of various fields of art: in music - small instrumental works of a sad, mournful nature, in poetry - short lyrical poems expressing sadness. This genre became widespread among sentimentalists. Gray's "Elegy Written in a Rural Cemetery" had a strong impact not only on English poetry, but also on the work of German, French and Russian poets, in particular V. A. Zhukovsky.

The genre of elegy was addressed by I. Goethe, F. Schiller, A. S. Pushkin, M. Yu. Lermontov, who filled these poems with deep philosophical thoughts, sincere, excited feelings and experiences. Such, for example, is the elegy of A. S. Pushkin “The faded joy of crazy years...” (1830), imbued with the sadness of days gone by and heavy forebodings.

They are close to the genre of elegy (some works by N. A. Nekrasov and others. However, in the poetry of critical realism it gradually loses its specific specific features. The content of even the most mournful lyrical poems of these poets is not limited to only regret about personal losses, they reflect social contradictions. The elegy also takes on a social character. Such, for example, is the poem “In Memory of Dobrolyubov” by Nekrasov. In it, the bitterness about the untimely death of a young talented friend results in the poet’s civil grief about the loss of one of best sons Motherland.

In the literature of socialist realism, this genre in its classic look hardly develops. Very close in content to the elegy is the poem by V.V. Mayakovsky “To Comrade Nette - the Steamship and the Man.” It is filled with thoughts about the fate of a friend who died in the fight against enemies for Soviet power, and at the same time (imbued with optimism, faith in the immortality of heroes who gave their lives to the people. All this sharply contradicts the sad emotional mood that determined the specifics of this species.

During the Great Era Patriotic War in the intimate lyrics, those features were clearly manifested that allow many of the poems to be classified as elegies (“With you and without you” by Simonov, “I was killed near Rzhev” by Tvardovsky, etc.). “Sadness, sadness, the bitterness of loss, a heart-squeezing feeling of pity - this is their emotional content,” writes modern researcher Kuzmichev. “But not only sadness or a bitter feeling determines their tone... The great truth of feeling in them is associated with deep anxiety for the fate of the fatherland " * . The poems of Y. Smelyakov, N. Zabolotsky, M. Svetlov, written in the post-war years, are also characterized by optimism and an indissoluble connection between the personal and the public.

* (I. Kuzmichev. Genres of Russian literature of the war years. Gorky, 1962, p. 166.)

Message

An epistle is a poem written in the form of an appeal, most often to a famous person, directly named own name face. In it, poets express their thoughts and feelings caused by the events of the political, scientific, and literary struggle. In accordance with this, the main types of messages are distinguished: political ("To Chaadaev" by Pushkin), scientific (Lomonosov's message to Shuvalov "On the Benefits of Glass"), literary ("Epistole on Poetry" by Sumarokov). Also very common are humorous and satirical messages that are very close to epigrams and madrigals, but more extensive than them. (“Message to my servants” by Fonvizin). Poems of this genre are usually distinguished by their sincerity and wit.

The very form of address provides an opportunity to directly express views expressed to close friends and like-minded people. For all its specific “attachment” even to certain historical figures, each poetic message has a generalizing character. Many of them are so saturated with theoretical positions and polemics on scientific problems that they come close to treatises. This led to the classification of the message by some literary scholars as didactic poetry or journalism.

The emergence of the poetic message as an independent type of lyricism dates back to the time when Horace and Ovid appeared in Roman poetry with works of this genre. Poets of later literary eras (Voltaire, Rousseau, Goethe, etc.) also readily turned to him.

The flourishing of the message in Russian poetry is associated with the work of A. S. Pushkin and the Decembrist poets, who gave it an acute socio-political orientation, an agitational and propaganda character, and at the same time exceptional emotional intensity, a simple and elegant form. "Message to Siberia" by A. S. Pushkin and the response of the Decembrist A. I. Odoevsky ("The fiery sounds of prophetic strings...") belong to the masterpieces of this genre.

Researchers of Russian lyric poetry note a decline in interest in the message in the literature of the second half of the 19th century, believing that later poets used it mainly for the purpose of stylization. However, in Soviet poetry this genre received intensive development, acquiring a distinct concreteness and journalistic quality ("Message to the Proletarian Poets" by Mayakovsky, "Open Letter" by Simonov, etc.).

Epigram

In its volume, and most importantly in its content, the epigram differs sharply from odes, elegies and epistles. This is what is now called laconic satirical or humorous poems directed against a specific person or event. These works are distinguished by their unique composition. They usually consist of two parts - a premise that conveys the signs of the person or event mentioned in the poem, and a short final joke (French point), which, with its surprise, accuracy, and aphorism, determines the meaning of the epigram. Such, for example, is the famous epigram of A. S. Pushkin to Count M. S. Vorontsov (1824):

Half my lord, half merchant, Half sage, half ignorant, Half scoundrel, but there is hope That will be complete at last.

The epigram has a complex, centuries-old history. In ancient Greek poetry, this was the name for inscriptions on monuments to the dead or on any objects (the word “epigram” itself in Ancient Greek means "inscription").

Ancient epigrams were distinguished by a special rhythm: the first line was a hexameter, the second - a pentameter. Subsequently, epigrams in ancient poetry began to be called any poems corresponding to this poetic form (elegiac distich). From them come the so-called anthological epigrams, which are short poems philosophical in nature, written in elegiac distich. They were also created in Russian poetry of the 19th century. An example of an anthological epigram is a poem by A. S. Pushkin, addressed to N. I. Gnedich, the translator of Homer’s Iliad:

I hear the silenced sound of the divine Hellenic speech, I feel the shadow of the Great Elder with a confused soul *.

* (A. S. Pushkin, Poly. collection soch., vol. 3, p. 183.)

Another type of epigram - satirical - received more intensive development. Researchers consider the founders of this genre to be the Roman poets Martial and Catullus, creators of caustic and witty poems with unexpected endings. Many French and German poets of the 18th-19th centuries turned to this genre, including J. Lafontaine, I. Goethe, F. Schiller.

The heyday of this genre in Russian poetry dates back to the first third of the 19th century. Became widespread since the end of the 17th century. in our literature, varieties of epigrams - everyday, political, literary - during this period became a sharp weapon in the struggle of progressive poets against the reactionary phenomena of Russian reality. This is A. S. Pushkin’s sharply accusatory epigram on Tsar Alexander I.

In the middle and second half of the 19th century. The role of the epigram in the literary and political struggle in Russia begins to weaken in connection with the emergence and development of those satirical and journalistic genres (feuilletons, pamphlets, etc.), which made it possible to more definitely and purposefully expose the enemies of freedom. However, even during this period, witty epigrams were created by N. A. Nekrasov, N. P. Ogarev, M. Mikhailov and other representatives of revolutionary democracy. In recent decades XIX V. the epigram is “shredded”, responding only to minor everyday issues or insignificant phenomena of literary life.

The revival of the epigram in Russian poetry is associated with the work of poets of socialist realism. Even in the pre-October years, D. Bedny successfully used this genre to expose representatives of autocratic-bourgeois Russia. In Soviet poetry, the epigram was successfully developed by V. V. Mayakovsky, S. Ya. Marshak, M. Svetlov. A. Bezymensky, S. Smirnov, E. Krotky and other satirists turn to this genre.

In the literature of recent years, there has been a close convergence of the epigram with the caption of a friendly cartoon and with the so-called short fable.

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LYRICS- a type of literature in which the world is mastered aesthetically as a realm of subjectivity. The object is the inner world of a person. Content – experience (thoughts, feelings). Objective world in lyrics - a reason for experience or its external imprint. The main values are spiritual: nobility and strength of thought, culture of feelings, richness of emotions.

Carriers of lyrical experiences:

2) The hero of role-playing lyrics - the hero acts differently in relation to the author (a special speech manner different from literary norms)

3) Poetic world. Hood. reality is the visually visible embodiment of experience.

The subject of the image in the lyrics is the inner world of man. Content dominant: experiences (of some feeling, thought, mood). The form of verbal expression is a monologue. Functions of a word - expresses the state of the speaker. Emotional sphere human emotions, inner world, path of influence – suggestibility (suggestion). In epic and drama they try to reveal general patterns, in the lyrics – individual states of human consciousness.

Irrational feelings and aspirations. Uniqueness, although there is an element of generalization for conveying one’s thoughts to contemporaries. Consonance with the era, age, emotional experiences. As a form of literature, lyrics are always important.

Experiences are at the core. Lyrical plot– this is the development and shades of the author’s emotions. It is often said that lyrics have no plot, but this is not true.

The poet defends the right to write in a light, small genre. Small genres have been elevated to absolute status. Imitating other genres, playing with rhythms. Sometimes cycles of poems appear due to the background of life.

Lyrical hero - this concept is introduced by Yu. Tynyanov and L.Ya. Ginzburg "On Lyrics". There are synonyms “lyrical consciousness”, “lyrical subject” and “lyrical self”. Most often, this definition is the image of a poet in lyric poetry, the poet’s artistic double, growing out of the text of lyrical compositions. This is a carrier of experience, expression in lyrics. The term arose due to the fact that it is impossible to equate the poet with the bearer of consciousness. This gap appears at the beginning of the 20th century in Batyushkov’s lyrics.

There may be different media, so two types of lyrics : autopsychological and role-playing. Example: Blok “I am Hamlet...” and Pasternak “The hum has died down...”. The image is the same, but the lyrics are different. Blok plays in a play, it's an experience interpersonal relationships– autopsychological lyrics. Pasternak has a role-playing one, even included in the cycle of Yuri Zhivago. Most of it is in poetic form

Genres of lyricism arose in ancient times. Here are some examples of genre lyrical works: hymn (song of praise), ode (glorification of a person or event), epitaph (gravestone inscription, sometimes comic), epithalamus (poems for a wedding), epigram (satire on a person), dithyramb (sympathy for one person ), message (address to a person in the form of a letter). This division persisted for a long time, but around the middle of the 19th century and later, lyrical genres of large form began to appear, for example, lyric poem(Whitman “Leaves of Grass”, Block “The Nightingale Garden”). They replaced it with a short lyrical song - an elegy (Zhukovsky, Lermontov, Beranger). Such genres are related to the ballad genre (“Lyudmila” and “Svetlana” by V. Zhukovsky, “Knight for an Hour” by N. Nekrasov). Some lyrical genres, due to their musical design, are called romances.

TYPES (GENRES) OF LYRIC WORKS:

(ode, hymn, song, elegy, sonnet, epigram, message)

ODA (from Greek “song”) is a choral, solemn song.

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

EPIGRAM (from Greek “inscription”) – short satirical poem mocking character, which arose in the 3rd century BC. e.

ELEGY is a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness.

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

SONNET (from the Provencal sonette - “song”) is a poem of 14 lines, which has a certain rhyme system and strict stylistic laws.

Drama as a literary genre. Genres of dramatic works.

Drama - (ancient Greek action, action) is one of the literary movements. Drama as a type of literature, in contrast to lyrics and like epic, drama reproduces, first of all, the world external to the author - actions, relationships between people, conflicts. Unlike the epic, it has not a narrative, but a dialogical form. As a rule, there are no internal monologues, author's characteristics of characters and direct author's comments of the person depicted. In Aristotle's Poetics, drama is described as the imitation of action through action and not through telling. This provision is still not outdated. Dramatic works are characterized by acute conflict situations that prompt characters to verbal and physical actions. The author's speech can sometimes be in the drama, but it is of an auxiliary nature. Sometimes the author briefly comments on the remarks of his characters, points out their gestures and intonation.

Drama is closely related to theatrical art and must meet the needs of the theater.

Drama is seen as the crown of literary creativity. Examples of drama are the play “The Thunderstorm” by Ostrovsky and “At the Bottom” by Gorkov.

We need to talk about dramatic genres, not forgetting that drama itself is a genre that arose at the intersection of literature and theater. It is impossible to analyze them separately from each other. We have already talked about drama enough, however, we have not yet given the meaning of drama as a theatrical performance.

In order for any work to be called a drama, it must at least contain a conflict, or conflict situation. Conflict has the right to be both comical and tragic. Often drama contains a lot of both. This is probably why it is often interpreted in specialized literature as an intermediate genre.

Drama can be psychological (both on stage and in literature), social, philosophical, based on everyday or historical conflict, and a combination of the above types is also often found, this will be especially typical for literary drama. Drama can also be national, for example, Spanish drama can be distinguished - it is sometimes also called the “drama of honor” or “the comedy of the cloak and sword”, here everything entirely depends on what kind of conflict is developed in the drama. Drama genres can only appear in literature. There really aren't too many of them:

Play (a narrative in prose or poetic form, in which the characters, the author, and stage directions appear)

Comedy

Sideshow

Tragedy

Burlesque

Chronicle (historical, psychological, retrospective)

Scenario

Dramatic prose differs from ordinary prose primarily in that it contains many constantly changing events, while a large number of characters, much more than we say in a regular story, although the volume of the story may be the same. It is believed that the reader is able to remember no more than 5-7 active characters; drama often violates this law; the reader of a dramatic work always has the opportunity to look at the flyleaf and see who exactly the hero is that he completely forgot about.

Lyric epic works.

Lyric-epic genre of literature is a work of art in poetic form that combines epic and lyrical images of life.

In works of the lyric-epic kind, life is reflected, on the one hand, in a poetic narration about the actions and experiences of a person or people, about the events in which they take part; on the other hand, in the experiences of the poet-narrator caused by pictures of life, the behavior of the characters in his poetic story. These experiences of the poet-narrator are usually expressed in works of the lyric-epic kind in so-called lyrical digressions, sometimes not directly related to the course of events in the work; lyrical digressions are one of the types of author’s speech.

Such, for example, are the well-known lyrical digressions in A. S. Pushkin’s poetic novel “Eugene Onegin”, in his poems; These are the chapters “From the author”, “About myself” and lyrical digressions in other chapters of the poem in A. T. Tvardovsky’s poem “Vasily Terkin”.

LYROEPIC TYPES (GENRES): poem, ballad.

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

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

TYPES (GENRES) OF DRAMATIC WORKS:

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

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

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

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

VAUDEVILLE is a genre type of comedy; it is a light comedy with singing verses and dancing.

Each literary genre is divided into genres, which are characterized by common features for a group of works. There are epic, lyrical, lyric epic, and drama genres.

Epic genres

Fairy tale(literary) - a work in prose or poetic form, based on folklore traditions folk tale(one storyline, fiction, depiction of the struggle between good and evil, antithesis and repetition as the leading principles of composition). For example, satirical tales M.E. Saltykov-Shchedrin.
Parable(from the Greek parabole - “located (placed) behind”) - a minor genre of epic, a small narrative work of an edifying nature, containing moral or religious teaching based on broad generalization and the use of allegories. Russian writers often used the parable as an inserted episode in their works to fill the story with deep meaning. Let us remember the Kalmyk fairy tale told by Pugachev to Pyotr Grinev (A. Pushkin “The Captain’s Daughter”) - in fact, this is the culmination in revealing the image of Emelyan Pugachev: “Rather than feed on carrion for three hundred years, it is better to get drunk with living blood, and then what will God give!” The plot of the parable about the resurrection of Lazarus, which Sonechka Marmeladova read to Rodion Raskolnikov, prompts the reader to think about the possible spiritual rebirth of the main character of the novel F.M. Dostoevsky "Crime and Punishment". In M. Gorky’s play “At the Depth,” the wanderer Luke tells a parable “about the righteous land” to show how dangerous the truth can be for weak and desperate people.
Fable- small epic genre; complete in plot, having an allegorical meaning, the fable is an illustration of a well-known everyday or moral rule. A fable differs from a parable in the completeness of the plot; a fable is characterized by unity of action, conciseness of presentation, the absence of detailed characteristics and other elements of a non-narrative nature that hinder the development of the plot. Typically, a fable consists of 2 parts: 1) a story about an event that is specific but easily generalizable, 2) a moral lesson that follows or precedes the story.
Feature article- a genre whose distinctive feature is “writing from life.” The role of the plot is weakened in the essay, because... fiction is of little importance here. The author of an essay, as a rule, narrates in the first person, which allows him to include his thoughts in the text, make comparisons and analogies - i.e. use the means of journalism and science. An example of the use of the essay genre in literature is “Notes of a Hunter” by I.S. Turgenev.
Novella(Italian novella - news) is a type of story, an epic action-packed work with an unexpected outcome, characterized by brevity, a neutral style of presentation, and a lack of psychologism. Chance, the intervention of fate, plays a large role in the development of the action of the novella. A typical example of a Russian short story is the cycle of stories by I.A. Bunin's "Dark Alleys": the author does not psychologically draw the characters of his characters; a whim of fate, blind chance brings them together for a while and separates them forever.
Story- epic genre small volume with a small number of heroes and the short duration of the events depicted. At the center of the story is an image of some event or life phenomenon. In Russian classical literature, the recognized masters of the story were A.S. Pushkin, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, A.P. Chekhov, I.A. Bunin, M. Gorky, A.I. Kuprin et al.
Tale- a prose genre that does not have a stable volume and occupies an intermediate place between the novel, on the one hand, and the story and short story on the other, gravitating towards a chronicle plot that reproduces the natural course of life. A story differs from a short story and a novel in the volume of text, the number of characters and problems raised, the complexity of the conflict, etc. In a story, it is not so much the movement of the plot that is important, but the descriptions: characters, places of action, psychological state person. For example: “The Enchanted Wanderer” by N.S. Leskova, “Steppe” by A.P. Chekhov, “Village” by I.A. Bunina. In the story, episodes often follow one after another according to the principle of chronicle, there is no internal connection between them, or it is weakened, so the story is often structured as a biography or autobiography: “Childhood”, “Adolescence”, “Youth” by L.N. Tolstoy, “The Life of Arsenyev” by I.A. Bunin, etc. (Literature and language. Modern illustrated encyclopedia / edited by Prof. A.P. Gorkin. - M.: Rosman, 2006.)
Novel(French roman - a work written in one of the “living” Romance languages, and not in “dead” Latin) - an epic genre, the subject of the image in which is a certain period or whole life person; What is this novel? - a novel is characterized by the duration of the events described, the presence of several storylines and a system of characters, which includes groups of equal characters (for example: main characters, secondary, episodic); works of this genre cover a wide range of life phenomena and a wide range of socially significant problems. There are different approaches to classifying novels: 1) according to structural features (parable novel, myth novel, dystopian novel, travel novel, novel in verse, etc.); 2) on issues (family and everyday life, social and everyday life, socio-psychological, psychological, philosophical, historical, adventurous, fantastic, sentimental, satirical, etc.); 3) according to the era in which one or another type of novel dominated (knightly, enlightenment, Victorian, Gothic, modernist, etc.). It should be noted that the exact classification of genre varieties of the novel has not yet been established. There are works whose ideological and artistic originality does not fit into the framework of any one method of classification. For example, the work of M.A. Bulgakov’s “The Master and Margarita” contains both acute social and philosophical issues, events develop in parallel in it biblical history(in the author’s interpretation) and the author’s contemporary Moscow life of the 20-30s of the XX century, scenes full of drama are interspersed with satirical ones. Based on these features of the work, it can be classified as a socio-philosophical satirical myth novel.
Epic novel- this is a work in which the subject of the image is not the history of private life, but the fate of an entire people or a whole social group; the plot is built on the basis of nodes - key, turning point historical events. At the same time, in the destinies of the heroes, like in a drop of water, the fate of the people is reflected and, on the other hand, the picture of people’s life is made up of individual destinies, private life stories. An integral part of the epic are crowd scenes, thanks to which the author creates a generalized picture of the flow of people's life and the movement of history. When creating an epic, the artist is required to have the highest skill in connecting episodes (scenes of private life and public scenes), psychological authenticity in depicting characters, historicism of artistic thinking - all this makes the epic the pinnacle of literary creativity, which not every writer can climb. That is why only two works created in the epic genre are known in Russian literature: “War and Peace” by L.N. Tolstoy, " Quiet Don» M.A. Sholokhov.
Lyric genres
Song- a small poetic lyrical genre characterized by simplicity of musical and verbal construction.
Elegy(Greek elegeia, elegos - plaintive song) - a poem of meditative or emotional content, dedicated to philosophical thoughts caused by contemplation of nature or deeply personal experiences about life and death, about unrequited (as a rule) love; The prevailing mood of the elegy is sadness, light sadness. Elegy - favorite genre V.A. Zhukovsky (“Sea”, “Evening”, “Singer”, etc.).
Sonnet(Italian sonetto, from Italian sonare - to sound) is a lyric poem of 14 lines in the form of a complex stanza. The lines of a sonnet can be arranged in two ways: two quatrains and two tercets, or three quatrains and a distich. Quatrains can have only two rhymes, while terzettos can have two or three.
The Italian (Petrarccan) sonnet consists of two quatrains with the rhyme abba abba or abab abab and two tercets with the rhyme cdc dcd or cde cde, less often cde edc. French uniform sonnet: abba abba ccd eed. English (Shakespearean) - with rhyme scheme abab cdcd efef gg.
The classic sonnet assumes a certain sequence of thought development: thesis - antithesis - synthesis - denouement. As the name of this genre suggests, special meaning is given to the musicality of the sonnet, which is achieved by alternating male and female rhymes.
European poets developed many original types of sonnet, as well as the wreath of sonnets - one of the most difficult literary forms.
Russian poets turned to the sonnet genre: A.S. Pushkin (“Sonnet”, “To the Poet”, “Madonna”, etc.), A.A. Fet (“Sonnet”, “Rendezvous in the Forest”), poets of the Silver Age (V.Ya. Bryusov, K.D. Balmont, A.A. Blok, I.A. Bunin).
Message(Greek epistole - epistole) - a poetic letter, in the time of Horace - philosophical and didactic content, later - of any nature: narrative, satirical, love, friendly, etc. A mandatory feature of a message is the presence of an appeal to a specific addressee, motives for wishes, requests. For example: “My Penates” by K.N. Batyushkov, “Pushchina”, “Message to the Censor” by A.S. Pushkin, etc.
Epigram(Greek epgramma - inscription) - a short satirical poem that is a teaching, as well as a direct response to topical events, often political. For example: epigrams by A.S. Pushkin on A.A. Arakcheeva, F.V. Bulgarin, Sasha Cherny’s epigram “In the album to Bryusov”, etc.
Oh yeah(from Greek ōdḗ, Latin ode, oda - song) - a solemn, pathetic, glorifying lyrical work dedicated to the depiction of major historical events or persons, speaking about significant themes of religious and philosophical content. The ode genre was widespread in Russian literature of the 18th - early XIX centuries in the works of M.V. Lomonosov, G.R. Derzhavin, in the early works of V.A. Zhukovsky, A.S. Pushkina, F.I. Tyutchev, but at the end of the 20s of the XIX century. Ode was replaced by other genres. Some attempts by some authors to create an ode do not correspond to the canons of this genre (“Ode to the Revolution” by V.V. Mayakovsky, etc.).
Lyric poem- a small poetic work in which there is no plot; the author’s focus is on the inner world, intimate experiences, reflections, and moods of the lyrical hero (author lyric poem and the lyrical hero are not the same person).
Lyric epic genres
Ballad(Provençal ballada, from ballar - to dance; Italian - ballata) - a plot poem, that is, a story of a historical, mythical or heroic nature, set out in poetic form. Typically, a ballad is built on the basis of dialogue between characters, while the plot has no independent meaning - it is a means of creating a certain mood, subtext. Thus, “Song of prophetic Oleg» A.S. Pushkin has philosophical overtones, “Borodino” by M.Yu. Lermontov - socio-psychological.
Poem(Greek poiein - “to create”, “creation”) - a large or medium-sized poetic work with a narrative or lyrical plot (for example, “The Bronze Horseman” by A.S. Pushkin, “Mtsyri” by M.Yu. Lermontov, “The Twelve” by A. A. Blok, etc.), the system of images of the poem may include a lyrical hero (for example, “Requiem” by A. A. Akhmatova).
Prose poem- a small lyrical work in prose form, characterized by increased emotionality, expressing subjective experiences and impressions. For example: “Russian language” by I.S. Turgenev.
Genres of drama
Tragedy- a dramatic work, the main conflict of which is caused by exceptional circumstances and insoluble contradictions that lead the hero to death.
Drama- a play whose content is related to the depiction of everyday life; Despite the depth and seriousness, the conflict, as a rule, concerns private life and can be resolved without a tragic outcome.
Comedy- a dramatic work in which action and characters are presented in funny forms; comedy is different rapid development action, the presence of complex, intricate plot moves, a happy ending and simplicity of style. There are sitcoms based on cunning intrigue, a special set of circumstances, and comedies of manners (characters), based on ridicule of human vices and shortcomings, high comedy, everyday comedy, satirical comedy, etc. For example, “Woe from Wit” by A.S. Griboyedov - high comedy, “The Minor” by D.I. Fonvizina is satirical.