Difference between novel and short story. What is a story

The story is a large literary form of written information in literary and artistic design. When recording oral retellings, the story stood apart as an independent genre in written literature.

The story as an epic genre

Distinctive features of the story are a small number of characters, little content, one storyline. The story does not have interweaving in events and it cannot contain the diversity of artistic colors.

Thus, the story is a narrative work, which is characterized by a small volume, a small number of characters and the short duration of the events depicted. This type of epic genre goes back to folklore genres of oral retelling, to allegories and parables.

In the 18th century, the difference between essays and stories was not yet defined, but over time, the story began to be distinguished from the essay by the conflict of the plot. There is a difference between the story of "large forms" and the story of "small forms", but this distinction is often arbitrary.

There are stories in which the characteristic features of the novel are traced, and there are also small-scale works with one storyline, which are still called a novel, and not a story, despite the fact that all signs point to this type of genre.

The novel as an epic genre

Many people think that a short story is a certain kind of short story. But still, the definition of a short story sounds like a kind of small prose work. The short story differs from the story in the plot, which is often sharp and centripetal, in the severity of the composition and volume.

The novel most often reveals an acute problem or question through one event. As an example of a literary genre, the short story arose during the Renaissance - the most famous example is Boccaccio's Decameron. Over time, the short story began to depict paradoxical and unusual incidents.

The heyday of the short story, as a genre, is considered the period of romanticism. Famous writers P. Merimee, E.T.A. Hoffman, Gogol wrote short stories, the central line of which was to destroy the impression of familiar everyday life.

Novels that depicted fateful events and the game of fate with a person appeared at the beginning of the 20th century. Such writers as O. Henry, S. Zweig, A. Chekhov, I. Bunin paid considerable attention to the short story genre in their work.

The story as an epic genre

Such a prose genre as a story is an intermediate place between a short story and a novel. Initially, the story was a source of narration about any real, historical events ("The Tale of Bygone Years", "The Tale of the Battle of Kalka"), but later it became a separate genre for reproducing the natural course of life.

A feature of the story is that the main character and his life are always in the center of her plot - the disclosure of his personality and the path of his fate. The story is characterized by a sequence of events in which the harsh reality is revealed.

And such a theme is extremely relevant for such an epic genre. Famous stories are "The Stationmaster" by A. Pushkin, "Poor Liza" by N. Karamzin, "The Life of Arseniev" by I. Bunin, "The Steppe" by A. Chekhov.

The value of artistic detail in the story

For the full disclosure of the writer's intention and for a complete understanding of the meaning of a literary work, an artistic detail is very important. It can be a detail of an interior, landscape or portrait, the key here is that the writer emphasizes this detail, thereby drawing the attention of readers to it.

This serves as a way to highlight some kind of psychological trait of the protagonist or mood that is characteristic of the work. It is noteworthy that the important role of the artistic detail lies in the fact that it alone can replace many narrative details. Thus, the author of the work emphasizes his attitude to the situation or to the person.

Need help with your studies?

Previous topic: O'Henry's The Last Leaf: Reflections on the Purpose of the Artist and Art
Next topic: Krylov's fables: "Crow and Fox", "Cuckoo and Rooster", "Wolf and Lamb", etc.

Everyday short story tales introduced a new quality into narrative folklore: interest in the inner world of a person. The plot began to refract through psychological collisions. The theme of short stories is personal life, and the characters are people related to each other by premarital, marital or other family relationships. In their depiction, it is not so much class affiliation that is important (although tsars, kings, merchants, peasants appear in these tales), but shaken or disturbed natural foundations of feudal life. This makes the characters suffer and the listeners empathize.
Heroes of novelistic fairy tales - separated lovers, a slandered girl, a son expelled by his mother, an innocently persecuted wife, a sister slandered and cruelly punished by her brother, an unrecognized husband at his wife's wedding, a wife disguised as a man who helps her husband out of trouble.
According to the content in this genre, such groups of plots are distinguished : about marriage or marriage("Signs of the princess", "Unsolved riddles"); about testing women("Dispute about true, sir, wives", "Seven Year Plan"); about robbers("Groom-robber "); about the predetermination of the predicted fate("Marko the Rich", "Truth and Falsehood"). Often the plots are "wandering", developed at different times and among many peoples.
Novelistic tales get by without the miraculous- there is almost none here. Their poetics demands an unexpected combination of the really possible, but situationally unusual. The plot is made up of love adventures, dangerous journeys, alternation of successes and failures. The fast and abrupt change of contrasting events makes the story exciting and enjoyable.
Short stories have a structure similar to fairy tales: they also consist of a chain of motifs with different content. However, unlike fairy tales, short stories depict not the whole life of the hero, but only some episode from it.

14. Tales about animals.
see 13

15. Historical roots of a fairy tale. Mythological and family conflict. Traditional style of fairy tales.
see 13

16. Characters of fairy tales (the main character, his opponents and helpers). The origin and mythological basis of the characters are Baba Yaga, Kashchei, the Serpent Gorynych.
see 13.
baba yaga- the mistress of the forest, the mistress of animals and birds, the omnipotent prophetic old woman, the guardian of the borders of the "other kingdom", the kingdom of Death. According to this version, Baba Yaga is a guide (of the souls of the dead) to the other world and she has one bone leg in order to stand in the world of the dead. The female image of Baba Yaga is associated with matriarchal ideas about the structure of the social world. The mistress of the forest, Baba Yaga is the result of anthropomorphism. A hint at the once animal appearance of Baba Yaga, according to V. Ya. Propp, is the description of the house as a hut on chicken legs.
Zabylin: " Under this name, the Slavs revered the infernal goddess, depicted as a monster in an iron mortar, having an iron staff. They made a bloody sacrifice to her, thinking that she was feeding her two granddaughters, who were attributed to her, and enjoying the shedding of blood.
Kashchei- (probably from bone, the original meaning is “thin, skinny”), in East Slavic mythology, an evil sorcerer whose death is hidden in several magical animals and objects nested in each other: “There is an island in the sea on the ocean, on that island there is an oak, a chest is buried under the oak, in in the chest - a hare, in a hare - a duck, in a duck - an egg, ”in an egg - the death of Koshchei.

A king, a sorcerer, sometimes a rider on a magical talking horse. Often acts as the kidnapper of the protagonist's bride. Depicted as a thin tall old man or a living skeleton, often appears stingy and stingy.
Dragon- a fire-breathing dragon with several heads, a representative of the evil inclination in Russian folk tales and epics. In Slavic mythology, it is found as zmok or smok, serpent, serpent, serpent.

17. Household fairy tales (anecdotal and novelistic).
see 13

18. Folk non-fairytale prose (traditions, legends, demonological stories): difference in themes and poetics of genres.
The works of folklore non-fairytale prose, from the point of view of the people, are important as a source information, and in some cases also as a warning, edification. Therefore, in non-fairytale prose cognitive and didactic functions prevail over art. Non-fairytale prose has a different modality than fairy tales: its works are confined to real time, real terrain, real people. Non-fairytale prose is characterized by non-separation from the flow of everyday speech, the absence of special genre and style canons.

The genres of non-fairytale prose do not have the stability of the poetic form that is inherent in fairy tales, therefore they are usually determined by the nature of the content of the works. Early traditional folklore was characterized by myths. Traditions, legends, demonological stories are known in classical folklore.

Tradition- this is story about the past sometimes very distant. Tradition depicts reality in everyday forms, although it is necessarily used fiction, and sometimes even fantasy. The main purpose of legends is to preserve the memory of national history. Traditions began to be recorded before many folklore genres, as they were an important source for chroniclers. In a large number of legends exist in the oral tradition and in our days.

Traditions are an "oral chronicle", a genre of non-fairytale prose with an emphasis on historical accuracy. The very word "tradition" means "to transmit, to preserve." Traditions are characterized by references to old people, ancestors. The events of the legends are concentrated around historical figures, who, regardless of their social position (be it the king or the leader of the peasant uprising), most often appear in an ideal light.

Any legend is historical in its essence, because the impetus for its creation is always a true fact: a war with foreign invaders, a peasant revolt, large-scale construction, a crowning of the kingdom, and so on. However, tradition is not identical with reality. As a folklore genre, it has the right to fiction, offers its own interpretation of history. Plot fiction arises on the basis of a historical fact (for example, after the hero of a legend stays at a given point). Fiction does not contradict historical truth, but, on the contrary, contributes to its revelation.

There are two main ways to create legends:

1) generalization of memories;

2) generalization of memories and their design using ready-made plot schemes

The portrait (appearance) of the hero was rarely portrayed. If the portrait appeared, it was laconic (for example: robbers - strong men, handsome men, stately fellows in red shirts). A portrait detail (for example, a costume) could be connected with the development of the plot: an unrecognized tsar walks around dressed in a simple dress; the robber comes to the feast in the uniform of a general

legends are prose works which events are fantastically comprehended associated with the phenomena of inanimate nature, with the world of plants, animals, as well as people (tribes, peoples, individuals); with supernatural beings (God, saints, angels, unclean spirits). Main functions of legends - explanatory and instructive. The legends are associated with Christian ideas, but they also have a pagan basis. In legends, a person turns out to be immeasurably higher than evil spirits.

Legends existed both in oral and written form.

- Etiological legends are educational. They fantastically explain the origin of the surrounding world, man, as well as objects and phenomena.

- To religious and instructive legends includes a large number of works, diverse in content and form. These are stories about God the Father, about Christ, about angels and saints; plot interpretations of the church calendar, the names of saints; stories that warn against violating church prohibitions.

- Socio-utopian legends expressed the passionate but unrealizable dream of the oppressed peasantry of a just social order. Such ideas and illusions are embodied in the Bible - perhaps that is why they are known among many peoples.

Folk demonological stories- this is superstitious stories associated with characters from the category of lower mythology.

Demonological stories are turned to the present, what happened in them is unbelievable, the narrator experiences a feeling of fear. The main goal pursued by the bylichka or byvalitsina is to convince the listeners of the truth of what is being reported, to emotionally influence them, to inspire fear of a demonic being. The plots of bylicheks and bylytsin are usually small in size, one-motif. The characters are a human and a demonic being. The devil (devil) - a universal image denoting any "evil spirit" - was very popular. Different characters of the bylichek could be called devils.

The time, the place of the event, the image of the demonic being (his portrait and behavior) are characteristic. Demons appear at the "unclean", borderline time of the year and day: at Christmas time, on the Kupala night, at noon, at midnight, before dawn, after sunset. Everything happens at dusk, on a hopeless night, in fog, in the light of the moon.

19. Origin and periodization of epics. Features of displaying history in epics.
Epics artistically summarized the historical reality XI-XVI centuries., however, they grew out of the archaic epic tradition, inheriting many features from it. The monumental images of heroes, their extraordinary feats poetically connected the real life basis with fantastic fiction. As in fairy tales, epics feature mythological images of enemies, characters are reincarnated, animals help heroes. Nevertheless, fantasy in the epic turned out to be subordinated to the historicism of vision and reflection of reality. From the point of view of the people, the significance of epics was to preserve historical memory, so they authenticity was not questioned..

Epics were recorded mainly in 19th and 20th centuries. in the Russian North - their main keeper: in the former Arkhangelsk province, in Karelia (the former Olonets province), on the Mezen, Pechora, Pinega rivers, on the coast of the White Sea, in the Vologda region.
In addition, starting from XVIII in. epics were recorded among the old-timers of Siberia, in the Urals, on the Volga (Nizhny Novgorod, Saratov, Simbirsk, Samara provinces) and in the central Russian provinces (Novgorod, Vladimir, Moscow, Petersburg, Smolensk, Kaluga, Tula, Oryol, Voronezh). Echoes of epics preserved Cossack songs on the Don, Terek, Lower Volga, Urals.
The content of the epics varied. About 100 stories are known to science (in total, more than 3,000 texts have been recorded with variants and versions, a significant part of which has been published). Usually epics have a heroic or novelistic character. The idea of heroic epics - glorification of the unity and independence of the Russian land; in novelistic epics marital fidelity, true friendship were glorified, personal vices were condemned(bragging, arrogance). Epics condemned social injustice, the arbitrariness of princely power. The aim of the epic was to glorify the national, social, moral and ethical ideals of the people.

V. P. Anikin identifies four periods, each of which gave the epic its own heroes.

1) mythological: it ends by the 9th century. ("the time of the emergence and initial development of epic songs").

2) Kyiv: IX - the middle of the XII century. ("The epic songs of the previous time in this new period of history focused their action around Kyiv and the capital Kyiv prince").

3) Vladimir-Suzdal: from the middle of the XII to the second half of the XIV century. ("At this time, the cycle of epics took place with Ilya Muromets at the head," and also "a specific group of Novgorod epics was formed"). It was a period of state and ethnic development of North-Eastern Rus'.

4) creative processing period previously created epics in relation to the historical conditions of Muscovite Rus': from the second half of the XIV century. to the beginning of the 17th century.

20. Epics of mythological content (themes, plots, images). Poetics of epics.
see 19

epics reflected many historical realities. As noted by D. F. Hilferding, northern singers conveyed unfamiliar geography and landscape of Kievan Rus (split clear field), depicted the real struggle of the ancient Russian state against the nomadic steppe. Individual details of everyday life were preserved with amazing accuracy.

Singing in epics certain events, storytellers never became like chroniclers. They did not seek to convey the chronicle sequence of history, but depicted only its central moments, which were embodied in the central episodes of epics. The singers were attracted not by the exact recording of history, but by the expression of its people's assessments, the display of people's ideals.

POETICS - see 23

21. Heroes of the Russian epic (Dobrynya Nikitich, Ilya Muromets and Alyosha Popovich): prototypes, stable features of images, main feats and main plots with their participation.
1) Nikitich.
a) prototype: maternal uncle of Vladimir I, lived in the X-beginning of the XI century. There are chronicles about him, similar to epic stories. For example, the epic Dobrynya is the matchmaker of Prince Vladimir. Historical Dobrynya played this role in 980, when Vladimir I decided to marry Princess Rogneda of Polotsk.

b) feat: The heroic feat of Dobrynya Nikitich depicts the epic "Dobrynya and the Serpent". Dobrynya went to the blue sea to hunt, but he did not find either a goose or a swan, and not even a small gray duckling. Frustrated, he decided to go to a dangerous place: to the Beam River. When Dobrynya arrived at the river, he was overwhelmed by the heat and exorbitant heat, he undressed and began to bathe. Suddenly the sky darkened - a fierce snake flew in. The young servant of Dobrynya, frightened, stole his horse, took away all his clothes and equipment - he left only a hat of the Greek land. With this hat, Dobrynya fought off the snake, knocking off her three trunks. The snake prayed, offered to make peace. Dobrynya on you lyasy ... he took a liking, let go of the snake. However, later he saw how the snake flies through the air and carries the royal daughter, the royal daughter of the prince, the young Marfida Vseslavievna. At the behest of Prince Vladimir, Dobrynya went to the Tugy-mountains, a fierce snake - to rescue the princess. His mother gave him a silk handkerchief to wipe his face during a fight, and a silk whip to whip a snake. This time, Dobrynya's fight with the snake was long: it lasted one, then another day until evening. Then Dobrynya in the caves killed ... all the serpents, freed the prince's daughter and brought her to Vladimir.

2) Alyosha Popovich
a) prototype: presumably Alexander Popovich is a Rostov warrior of the early 13th century, a participant in the battle between the Rostov-Suzdal and Novgorod troops on the river. Lipice (1216). He died in 1223 on the river. Kalka. Bylinny Alyosha Popovich is assigned to an earlier time. He is a hero during the reign of Vladimir Monomakh, he fights with the Polovtsy

b) The heroic feat of Alyosha Popovich is that he defeated the foreign enemy Tugarin Zmeevich. The story is presented in two versions.

According to one version, Alyosha left Slavnov Rostov, the red city, and, like Ilya Muromets, chose the road to Kyiv, the gentle prince Vladimir. A friend, Ekim Ivanovich, is traveling with him. Not far from Kyiv, they met a richly dressed wanderer, who had colic. Kalika said that he saw a terrible monster - a huge Tugarin Zmeevich. Alyosha had a plan of action. He changed clothes with Kalika and went across the Safat River.

Tugarin decided that a Kalika was coming; he began to ask if he had seen Alyosha Popovich (“And I would have stabbed Alyosha with a spear, stabbed him with a spear and burned with fire”). Alyosha pretended not to hear, called Tugarin closer, and then smashed his violent head and finished the job already on the ground: not succumbing to the persuasion of the enemy, he cut off his head away. Entering into enthusiasm, Alyosha decided to play a trick on Ekim Ivanovich and Kalika. He changed into Tugarin's dress, mounted his horse, and in this form appeared to his white tents. Frightened comrades rushed away, Alyosha followed them. Then Ekim Ivanovich threw back a thirty-pound battle club, and it hit the white Alyosha Popovich in the chest. Alyosha was barely revived.
- According to another version, Tugarin is a foreigner, impudently hosting in Kiev. At the feast of Prince Vladimir, he sits in a place of honor - next to Princess Apraksevna, greedily devours sugar and copper drinks.<медвяные >, the princess puts her hands in her bosom. The princess likes it, she cannot take her eyes off Tugarin, she even cut off her hand. Prince Vladimir silently suffers disgrace. Alyosha Popovich stands up for his honor. Alyosha makes caustic jokes about Tugarin. He tells how the old dog died from gluttony, "then the old cow. Then they gather for a duel on the Safat River. Before the battle, Alyosha did not sleep all night, praying to God with tears. He asked to send a cloud with rain and hail, so that Tugarin's paper wings got wet. God sent a cloud. Tugarin fell to the ground like a dog. Alyosha rode out into the field, taking one sharp saber. Amazed, Tugarin looked back at himself - Alyosha just needed that. He jumped up and cut off Tugarin's head. And fell head on damp ground like a beer cauldron.

Alyosha Popovich remained to live in Kyiv, began to serve Prince Vladimir faithfully

3) Ilya Muromets
a) prototype: in Russian written sources it is mentioned in the 16th century, and in the German oral tradition it has been known since the 13th century. (in the German poem of this time "Ortnid", among other characters, the Russian Ilya, endowed with extraordinary physical strength, acts - Ilias von Riuzen; Ilias Konig von Riuzen). Toponymic legends are connected with the name of Ilya Muromets (he filled up the Oka - he moved the mountain; a healing spring flows out of the trace from the hoof of his horse).
According to some evidence, in the Kiev-Pechersk Lavra there was a tomb with the heroic relics of Ilya Muromets. Ilya's rise above other heroes was facilitated by the fact that he came from North-Eastern Rus', which from the 12th century. among the ancient Russian lands began to play a leading role.

b) Ilya is a peasant son, he comes from the village of Karacharova near the city of Murom. Until the age of thirty, he was sick - he could not control his arms or legs. The poor wanderers (kaliks) gave Ilya a cup of honey drink, from which he not only recovered, but also gained heroic strength. First of all, Ilya helped his parents to clear the fall from the dubya-kolodya (that is, he prepared a place in a scorched forest for arable land). However, the power was not given to him for peasant affairs. Ilya brought up a horse for himself, received a parental blessing and went to the expanse of open fields.

The enormous strength of Ilya Muromets should benefit all of Rus', so the hero rushed to Kyiv. Along the way, he made his first exploits: defeated the enemy troops near Chernigov, and then freed the straight path from the fantastic Nightingale the Robber ("Ilya and the Nightingale"). With the captive Nightingale, Ilya appeared in Kyiv and introduced himself to Prince Vladimir.

An international "wandering" story about a duel between a father and an unrecognized son was attached to the image of Ilya Muromets. In the epic "Ilya Muromets and Sokolnik" the son of Ilya is depicted as an enemy of Rus', a Tatar. Defeated by Ilya in a fair duel, Sokolnik tried to kill his father while he was sleeping in a white tent. Ilya was protected from a mortal blow by a chest golden cross. The bylina ends with Ilya killing his son. Epics about Ilya Muromets most fully developed the heroic theme in the Russian epic. They also influenced epics about other heroes. One of the most significant works about the tragic era of the invasion of nomads is the epic "Ilya Muromets and Kalin-Tsar". Mortal danger hung over Russia: enemy troops, led by Tsar Kalin, approached Kyiv. The Tatar force is overtaken by many.

22. Kyiv epics of novelistic content (themes, plots, images). Poetics of epics.
Epic Kyiv is a symbol of the unity and state independence of the Russian land. Here, at the court of Prince Vladimir, the events of many epics take place.

1) An international novelistic plot was included in the Russian epic "Husband at his wife's wedding" and attached to the images of Dobrynya Nikitich and Alyosha Popovich (epic "Dobrynya and Alyosha"). Dobrynya Nikitich is forced to leave home to serve in the army at the outpost. Leaving his young wife Katerina Mikulichna, Dobrynya punishes him to wait exactly nine years, after which she can again marry someone who is in her mind, but not Alyosha Popovich - after all, Alyosha Dobrynya is a cross brother. Katerina Mikulichna is faithfully waiting for Dobrynya. Six years have passed. Alyosha Popovich appeared with false news that Dobrynya had been killed. Alyosha asks Prince Vladimir to bless his marriage to Katerina Mikulichnaya. She refuses. Then Vladimir allowed Alyosha to take her by force and heroic, Prince Yazhenetsky's thunderstorm.

Dobrynya learns about what is happening in Kyiv, and is unrecognized at her wife's wedding, in a buffoon dress. He modestly sits down on the pole and begins to play the harp. For a good game, Vladimir invited the buffoon to choose any place of honor at the table, Dobrynya sat opposite Katerina Mikulichna. In a spell of green wine, he gave her his wedding ring, telling her to drink to the bottom. She drank to the bottom and saw her husband's ring. Turning to Vladimir, Katerina Mikulichna publicly announced who her true husband was. After that, Dobrynya Nikitich beat Alyosha Popovich hard - but only Olesha was married.

2) The theme of the inviolability of the family clearly runs through most of the epics of the novelistic type. In the epic "Danila Lovchanin" she received a tragic refraction.

Prince Vladimir knows that the Chernigov boyar Danila Lovchanin has a young wife, Vasilisa Nikulichna. Yielding to the persuasion of one of his close associates, Vladimir set out to take his wife away from her living husband. He tried to stop the old Cossack Ilya Muromets. Vladimir did not heed the voice of reason, planted Ilya Muromets in the cellar. But the hero was right. In a hopeless situation, Danila Lovchanin committed suicide. On the way to Kyiv, at the body of her husband, Vasilisa Nikulichna flung herself breastily on a damask knife.

3) The epic can be called the most poetic " About Salovy Budimerovich". It sings of the matchmaking of the overseas guest Nightingale Budimirovich to the niece of Prince Vladimir Zabava Putyatichna. The marriage is concluded for mutual love, therefore the epic is permeated with solemn major intonation (it was not overshadowed even by the unsuccessful claim to Zabava of the naked schap Davyd Popov).

In the spirit of wedding poetry, the epic fantastically idealizes the groom's wealth and the environment in which he won the girl's love. Nightingale sailed to Kyiv on thirty ships. An attic was made on the ship, in the attic there was a conversation-expensive fish tooth, covered with dug velvet, and there Nightingale Budimirovich himself sat.

He presented precious gifts to the Kievan prince and his wife: furs, gold, silver, white-cut damask with Constantinople patterns. Then, in the green garden of Zabava Putyatichna, in a cherry, in a hazel, Nightingale's servants erected three golden-topped towers overnight. The towers were adorned with heavenly bodies and all the beauty of the heavenly. Fun goes around the tower and sees: in the first there is a treasury of gold; in the second, Mother Nightingale prays with honest, wise widows; in the third, music sounds - the Nightingale himself sits there and plays the sonorous harp.
The basis for this epic was the marriages of Russian princesses, who were passed off as noble foreigners. This increased the prestige and strengthened the international ties of the ancient Russian state.

Thus, the novelistic epics of the Kyiv cycle, like the heroic ones, reflected the historical reality of Ancient Rus'.

POETICS - see 23

23. Novgorod epics (themes, plots, images). Poetics of epics.
Novgorod epics did not develop military themes. They expressed something else: the merchant's ideal of wealth and luxury, the spirit of bold travel, enterprise, sweeping prowess, courage. In these epics, Novgorod is exalted, their heroes are merchants.

Purely Novgorod hero is Vasily Buslaev. According to V. I. Dahl, "buslay" is "a riotous spendthrift, a reveler, a broken fellow." This is what a hero looks like. Two epics are dedicated to him: "About Vasily Buslaev" (or "Vasily Buslaev and Novgorodians") and " The trip of Vasily Buslaev.

1) The first epic reflected the inner life of independent Novgorod in the 13th-14th centuries. It is assumed that it reproduced the struggle of the Novgorod political parties.
Born of elderly and pious parents, left without a father early, Vasily easily learned to read and write and became famous in church singing. However, he showed another quality: unbridled riot of nature. Together with drunkards, he began to get drunk and mutilate people. Rich townspeople complained to his mother - mother widow Amelfa Timofeevna. Mother began to scold Vasily, but he did not like it. Buslaev recruited a squad of the same fine fellows as he was. Further, a massacre is depicted, which on a holiday was staged in Novgorod by the drunk squad of Buslaev. In this situation, Vasily offered to strike a big bet: if Novgorod will beat him with a retinue, then every year he will pay tribute-outputs of three thousand; if he beats, then the men of Novgorod will pay him the same tribute. The contract was signed, after which Vasily and his retinue beat ... many to death. Rich men of Novgorod rushed with expensive gifts to Amelfa Timofeevna and began to ask her to appease Vasily. With the help of a black-haired girl, Vaska was taken to a wide courtyard, planted in deep cellars and tightly locked. Meanwhile, the squad continued the battle that had begun, but could not resist the whole city and began to weaken. Then the black-haired girl undertook to help Vasily's squad - she beat a lot to death with a yoke. Then she released Buslaev. He grabbed the cart axle and ran along the wide Novgorod streets. Along the way, he came across an old pilgrim. But even he could not stop Vasily, who, having entered the fervor, hit the old man and killed him. Then Buslaev joined his squad: He fights and fights day and night. Buslaev defeated the Novgorodians. The peasant peasants submitted and reconciled, brought expensive gifts to his mother and pledged to pay for every

three thousand a year. Vasily won a bet with Novgorod.
2) Bylina " Vasily Buslaev's trip"narrates about the hero's journey to Jerusalem-city in order to atone for sins. However, his indomitability was manifested here as well ("But I, Vasyunka, do not believe in sleep or chokh, but I believe in my scarlet elm"). On Mount Sorochin Basil blasphemously kicked a human skull out of the way. In Jerusalem, despite the warning of a forest woman, he swam in the Yerdan River with all his retinue. On the way back, he kicked a human skull again, and also neglected the inscription on some mystical stone. Vasily jumped along the stone - and died.Thus, he could not fulfill pious intentions, remained true to himself, died a sinner.
3) Another type of hero is represented by Sadko. Three stories are known about Sadko: a miraculous acquisition of wealth, a dispute with Novgorod, and being at the bottom of the sea king. Usually two or all three plots were performed in a contaminated form, like one epic (for example: "Sadko").
- The first story has two versions. One by one, the merchant Sadko came from the Volga and conveyed greetings from her to the lacrimal lake Ilmen. Ilmen gifted Sadko: he turned three cellars of the fish he caught into coins. According to another version, Sadko is a poor gusler. He was no longer invited to feasts. With grief, he plays the gusli of the spring on the shore of Lake Ilmen. The king of water came out of the lake and, in gratitude for the game, taught Sadko how to get rich: Sadko must hit the great pledge, claiming that there is a fish-golden feathers in Ilmen Lake. Ilmen gave three such fish in the net, and Sadko became a rich merchant.

The second story also has two versions. Enraged at the feast, Sadko wagers with Novgorod that he can redeem all Novgorod goods with his innumerable gold treasury. According to one version, this is exactly what happens: the hero buys even shards from broken pots. According to another version, more and more new goods arrive in Novgorod every day: either Moscow or overseas. Goods from all over the world cannot be redeemed; no matter how rich Sadko is, Novgorod is richer.
- In the third plot, Sadko's ships sail on the sea. The wind blows, but the ships stop. Sadko guesses that the sea king demands tribute. The king does not need red gold, or pure silver, or small scat pearls - he requires a living head. Thrice cast lots convinces that the choice fell on Sadko. The hero takes with him the gooselets of the yarovchata and, once on the seabed, amuses the king with music. From the dance of the sea king, the whole blue sea shook, ships began to crash, people began to drown. The drowning people offered prayers to Nikola Mozhaisky, the patron saint of the waters. He came to Sadko, taught him how to break the harp to stop the dance of the sea king, and also suggested how Sadko could get out of the blue sea. According to some options, the rescued Sadko erects a cathedral church in honor of St. Nicholas.

It is difficult to see real historical features in the image of Sadko. At the same time, the epic emphasizes his prowess, which truly reflects the color of the era. The brave merchants who crossed the expanses of water were patronized by the deities of rivers and lakes, and the fantastic sea king sympathized.
4) V. F. Miller attributed to Novgorod - according to a number of everyday and geographical features - an epic "Volga and Mikula". The regional orientation of this work was reflected in the fact that the Novgorodian Mikula is depicted as stronger than the nephew of the Kyiv prince Volga with his retinue.

Volga went to the three cities granted to him by the Kyiv prince to collect tribute. Having gone out into the field, he heard the work of the oratay: the oratay urges, the bipod creaks, the omeshiki scratches on the pebbles. But Volga managed to approach the plowman only two days later. Having learned that in the cities where he was going, peasants live ... robbers, the prince invited the yelling with him. He agreed: unharnessed the filly, sat on it and rode off. However, he soon remembered that he had left the bipod in the furrow - it must be pulled out, shaken off the land and thrown behind the willow bush. Volga sends warriors three times to remove the bipod, but neither five, nor ten good fellows, nor even the whole good fellow, can lift it. Plowman Mikula pulls out a bipod with one hand. The opposition also extends to horses: Volga's horse cannot keep up with Mikula Selyaninovich's filly.

The image of Volga was somewhat influenced by the image of the mythical Volkh: in the beginning it is reported that Volga can turn into a wolf, a falcon, a pike-fish.

POETICS BYLIN

Epics have a special artistic world. Everything they sing about is different from ordinary life. The poetic language of epics is subordinated to the task of depicting the grandiose and significant.

The poeticization of the steppe will, valiant prowess, the whole appearance of the hero and his horse transferred listeners to the imaginary world of Ancient Rus', majestically elevated above ordinary reality.

The compositional basis of the plots of many epics is antithesis: the hero is sharply opposed to his opponent ("Ilya Muromets and Kalin Tsar", "Dobrynya Nikitich and the Serpent", "Alyosha Popovich and Tugarin"). Another main method of depicting the hero's feat and epic situations in general is, as in fairy tales, tripling. Unlike fairy tales, epic plots can unfold not only following the actions of the protagonist: the storyline can consistently move from one character to another ("Ilya Muromets in a quarrel with Prince Vladimir", "Vasily Buslaev and the Novgorodians").

Epic stories are built according to the usual, universal principle of building epic works: they have a beginning, an outset of action, its development, a climax and a denouement.

The narration in the epic is conducted slowly, majestically. In the deployment of the plot, there are necessarily various and numerous repetition which have both compositional and stylistic significance.

slow action, or retardation, is achieved by tripling episodes, repeating common places, speeches of heroes (sometimes with consistent denial of what was said). So, in the epic "Volga and Mikula" three attempts are depicted by the prince's squad to pull the bipod from the dugout, Shake out the dugout from the omeshikov, Throw the bipod behind the willow bush; in the epic "Three trips of Ilya Muromets" the hero's test of three roads is shown. When common places began to be repeated within one epic, they were included in the system of slowing down the action.

24. Definition of historical songs. Features of displaying historical time in them. The content of historical songs of the XVI-XVIII centuries.
In their totality, historical songs reflect history in its movement - in the way that the people realized it. In the plots of the songs, we are confronted with the results of the selection of events, as well as with different aspects of their coverage.

In the XVI century. classical samples of historical songs appeared.

1) Cycle of songs about Ivan the Terrible developed the theme of the fight against external and internal enemies for the strengthening and unification of the Russian land around Moscow. The songs used the old epic traditions: the organization of their plots, narrative techniques, and style were largely borrowed from epics.

At the same time, the song image of Ivan the Terrible, unlike the heroes of the epic, is psychologically complex and contradictory. Comprehending the essence of royal power, the people portrayed Grozny as the organizer of the state, a wise ruler. But, as it was in reality, the king is quick-tempered, angry and recklessly cruel in anger. He is opposed to any reasonable person who bravely pacifies the anger of the king and prevents his irreparable act.

Song "The capture of the Kazan kingdom" quite close to reality sets out the events of 1552. The people correctly realized and displayed the general political and state meaning of the conquest of Kazan: this major victory of the Russian people over the Tatars put an end to their domination. The campaign was organized by the king. Having laid siege to Kazan, the Russians made a dig under the city wall and laid barrels of gunpowder. At the estimated time, there was no explosion, and Grozny became inflamed, suspected treason and conceived gunners to be executed here. But a young gunner came out of their midst, who explained to the king why the explosion of the fortress wall was delayed: the candle left on the powder kegs underground had not yet burned out (That the candle burns faster in the wind, And the candle goes quieter in the earth). Indeed, an explosion soon thundered, which raised a high mountain and scattered the white-stone chambers. It should be noted that the documents do not say anything about the clash between Grozny and the gunner - perhaps this is a folk fiction.

The fight against treason became the main theme of the song about Grozny's anger at his son (see " Terrible Tsar Ivan Vasilievich"). As you know, in 1581 the tsar killed his eldest son Ivan in a fit of anger. In the song, the tsar's anger falls on his youngest son, Fedor, accused by his brother Ivan of treason.

This work reveals the dramatic era of the reign of Ivan IV. It talks about his reprisals against the population of entire cities (those where he brought treason), depicts the cruel deeds of the oprichnina, terrible pictures of the mass persecution of people

Regarding the marriage of Grozny to the Circassian princess Maria Temryukovna, a parody was composed "Song about Kostryuka". Kostryuk, the brother-in-law of the tsar, is depicted hyperbolically, in an epic style. He boasts of his strength, demands a duel. But in fact he is an imaginary hero. Moscow wrestlers not only defeat Kostryuk, but, having removed his dress, expose him to ridicule. The song is composed in the style of a cheerful buffoon, its plot is most likely fictitious, since there is no historical evidence of the struggle of the tsar's brother-in-law with Russian fist fighters.

There are a number of other historical songs about Ivan the Terrible and his time, varied in subject matter: "The Raid of the Crimean Khan", "Ivan the Terrible near Serpukhov", "Defense of Pskov from Stefan Batory", "Ivan the Terrible and a good fellow", "Terek Cossacks and Ivan Terrible."

2 ) Cycle of songs about Yermak- the second large cycle of historical songs of the 16th century.

Ermak Timofeevich - the Don Cossack ataman - deserved the wrath of Ivan the Terrible. Fleeing, he goes to the Urals. At first, Yermak guarded the possessions of the Stroganov breeders from the attacks of the Siberian Khan Kuchum, then he began a campaign into the depths of Siberia. In 1582, Yermak defeated the main forces of Kuchum on the banks of the Irtysh.

- "Song about Yermak" depicts the difficult and long journey of his detachment along unknown rivers, the fierce struggle with the Kuchum horde, the courage and resourcefulness of the Russian people. In another song - "Ermak Timofeevich and Ivan the Terrible"- Yermak came to the king with a confession. However, the royal princes-boyars, Duma senators persuade Grozny to execute Yermak. The king did not listen to them.

Yermak is a truly folk hero, his image is deeply embedded in folklore. Violating the chronological framework, later historical songs attribute campaigns to Kazan and Astrakhan to Yermak, turn him into a contemporary and accomplice of the actions of Razin and Pugachev.

So, the main idea of the historical songs of the XVI century. - unification, strengthening and expansion of Muscovite Rus'.

In the 17th century song cycles about the Time of Troubles and about Stepan Razin were composed.

1 )Cycle of songs about "Time of Troubles" reflected the acute social and national struggle of the late 16th - early 17th centuries.

After the death of Ivan the Terrible (1584), his young son Tsarevich Dimitri (born in 1582), together with his mother Maria Naga and her relatives, was sent by the boyar council from Moscow to Uglich. In 1591, the prince died in Uglich. After the death of Tsar Fyodor Ivanovich in 1598, Boris Godunov became Tsar.

In 1605 Boris Godunov died. In the summer of the same year, False Dmitry I (Grishka Otrepyev) entered Moscow.
- Folklore has preserved two lamentations of the daughter of Tsar Boris Ksenia Godunova, whom the impostor tonsured to a monastery: she was taken through all of Moscow, and she lamented (see " Lamentation of Ksenia Godunova"). The fact that Xenia is the daughter of the king hated by the people did not matter for the idea of \u200b\u200bthe work; the only important thing was that she was cruelly and unfairly offended. Sympathy for the sad fate of the princess was at the same time a condemnation of the impostor.

2) Cycle of songs about Stepan Razin- one of the largest. These songs were widespread in folklore - much wider than those places where the movement of 1667-1671 unfolded. They lived in popular memory for several centuries. Many, having lost their confinement to the name of Razin, entered a wide circle of robber songs.

The songs of the Razin cycle are diverse in content. They go through all stages of the movement: Razin's robbery voyage with the Cossacks along the Caspian (Khvalynsk) Sea; peasant war; songs about the suppression of the uprising and the execution of Stepan Razin; songs of the Razintsy, hiding in the forests after the defeat. However, almost all of them by genre type lyric, plotless. Only two songs can be named lyrical epic: "" Son of Razin in Astrakhan" and "Astrakhan governor (governor) killed".

The songs of the Razin cycle were created mainly in the Cossack environment and in many ways expressed the ideals of struggle and freedom inherent in Cossack creativity. They are deeply poetic. Stepan Razin is portrayed in them by means of folk lyrics: he is not an individualized, but a generalized hero, embodying traditional ideas about male strength and beauty. There are many images from the natural world in the songs, which emphasizes their general poetic atmosphere and emotional intensity. This is especially evident in the songs about the defeat of the uprising, filled with lyrical repetitions and appeals to nature.

Starting from the XVIII century. historical songs were created mainly among soldiers and Cossacks.

1) Cycle songs about Petrovsky time tells about various events of this period.
- Songs related to wars and military victories of the Russian army. Songs were composed about the capture of the fortress of Azov, the cities of Oreshka (Shlisselburg), Riga, Vyborg, and so on. They expressed a sense of pride in the successes achieved by the Russian state, glorified the courage of Russian soldiers. New images appeared in the songs of this period - ordinary soldiers, direct participants in the battles.

It should be noted that in most of the songs the soldiers speak of military leaders with respect and even admiration. Field Marshal B.P. Sheremetev was especially popular among the soldiers (" Sheremetev and the Swedish Major" and etc.). Heroic romance is fanned by the song image of the ataman of the Don Cossack army I. M. Krasnoshchekov ("Red-cheeked in captivity").

In the songs of Petrovsky time, an important place is occupied by theme of the battle of Poltava. The people understood its significance for Russia, but at the same time they realized at what cost the victory over the army of Charles XII was won.

The idealized image of Peter I himself occupies a large place in historical songs. Here, as in the legends, his active nature, closeness to ordinary warriors, and justice are emphasized. For example, in the song "Peter I and the Young Dragoon" the tsar agrees to compete with a young dragoon about fifteen years old.

2) Cycle of songs about the Pugachev uprising is a relatively small number of texts written down in the Urals, in the Orenburg steppes and in the Volga region from the descendants of participants or eyewitnesses of the events of 1773-1775. It is necessary to emphasize its connection with the Razin cycle (for example, the song about the "son" of Stepan Razin was completely dedicated to the name of Pugachev). However, in general, the attitude towards Pugachev in the songs is contradictory: he is considered either as a tsar, or as a rebel.

During the Pugachev uprising, General-in-Chief Count P.I. Panin was appointed commander-in-chief of the troops in the Orenburg and Volga regions. On October 2, 1774, in Simbirsk, he met with Pugachev, who had been captured and brought there.

The popular response to this event was the song "Trial of Pugachev". The song gives its own interpretation of the meeting, filling it with a sharp social meaning. Like the heroes of robber folklore, Pugachev speaks to Panin proudly and courageously, threatens him and this terrifies him (Count and Panin emitted, knocked his hands together). Even chained, Pugachev is so dangerous that all Moscow senators cannot judge him.

Songs about the Pugachev uprising are known among different peoples of the Volga region: Bashkirs, Mordovians, Chuvashs, Tatars, Udmurts.

25. Folk ballads: definition, content, poetics.
Folk ballads- this is lyric epic songs about a tragic event. Ballads are characterized by personal, family and household themes. The ideological orientation of the ballads is associated with folk humanistic morality. Moral problems are at the center of the ballads: love and hate, loyalty and betrayal, catharsis brightening the soul (from the Greek katharsis - "purification"): evil wins, innocently persecuted heroes die, but when they die, they win a moral victory.

The manner of performing ballad songs - both solo, and choral, and recitative, and sung, - depending on the local tradition. The classical ballad has a tonic verse, no chorus and no strophic rhyme. In form it is close to historical songs and spiritual poems.

Ballads have many features that bring them closer to other song genres, so the question of selecting the texts of folk ballads is difficult. In the oral tradition, some lyrical-epic songs or their variants form a peripheral zone, i.e., according to their characteristics, they can be attributed to different genres. In many cases, the same works can be classified as a ballad, as well as a historical song, a spiritual verse, even an epic.

mythological ballad - classical ballad - new ballad.

Plots of mythological ballads were built on an archaic worldview basis. classical ballad firmly linked its content with feudal life. The period of serfdom is especially richly represented; it can be considered that the 17th and 18th centuries were the period of the most intensive composition and design of ballads; the second half of the 19th century (especially the end of the century) was already turning ballads into romances.

The content of the folk classical ballad is always drawn to the theme of the family. The ballad is concerned about the moral side of the relationship between fathers and children, husband and wife, brother and sister, daughter-in-law and mother-in-law, stepmother and stepdaughter. The mutual love of a guy and a girl must also have a moral basis: the desire to create a family. Encroachment on the honor of a girl, abuse of her feelings is immoral.

In the plot of the ballad, evil triumphs, but the theme of repentance, an awakened conscience, is important. The ballad always condemns the atrocity, sympathetically portrays the innocent persecuted, laments the dead.

The power of the artistic impact of ballads lies in the art of depicting the tragic. The plot is focused on the conflict, freed from details. It can have an open course of action (immediately begin with a message about the fact of a crime), or it can be built as a predicted fatal outcome or as a tragic recognition. The narrative motifs of the ballads poetically reproduced events that took place or could take place in reality. Along with this, motifs with a miraculous content are known - a trace of a mythological ballad (the artistic function of the miraculous was to expose a crime, to affirm justice).
The peculiarity of the ballad is the rapid development of the plot and much less than in the past. No, the use of means of slowing down the action. The ballad is characterized by discontinuity of presentation. Often the ballad uses increasing repetition, which exacerbates the tension, bringing the dramatic denouement closer. Sometimes the ballad consists almost entirely of dialogue (for example, the children's questions about the missing mother and the father's evasive answers).

Ballads use epithets, symbols, allegory, hyperbole and other stylistic means.

26. The content and poetics of peasant lyrical non-ritual songs.
Lyrics- a poetic kind of oral art. In folk lyrics, word and melody (singing) are inseparable. The main purpose of lyrical songs is to reveal the attitude of the people through the direct expression of their feelings, thoughts, impressions, moods.

Any person knew lyrical non-ritual songs - one more, the other less - and performed them in moments of joy or sadness. Singing without musical accompaniment was traditional. There were solo and polyphonic songs.

Since ancient times, Russians have developed a tradition of singing in chorus - at gatherings, at parties, at a wedding, in a round dance. The choirs were female, male and mixed, of the elderly and youth. Each choir, each age group had its own repertoire. It could change due to a change in the situation (for example: the end of a peaceful life - the beginning of a war, a period of war, again peace). Often, thanks to the choir, the songs were widely disseminated.

In any choir, the most gifted singers stood out, who were the main guardians, performers, and sometimes songwriters.

Extra-ceremonial lyrics reflected everyday the atmosphere of the people's life in the era of feudalism. It was significantly different from ritual poetry with its ancient mythological content, it was more realistic.

Peasant lyrics captured the most important aspects of people's life. A significant part of the repertoire was love songs. Their heroes - a red maiden and a good fellow - are depicted in different typical relationships. The situation of the song could be happy, joyful (dating scene) or sad (separation, quarrel, betrayal). The experiences of the characters were conveyed through external images.

Dramatic collisions of family life received detente in humorous and satirical songs. Their heroes are a fastidious bride, a lazy wife, a negligent cook, a woman who cannot spin and weave (Dunya the fine spinner), as well as her mother-in-law and her sons-in-law, stupid and incapable of doing men's work Foma and Yerema ... In comic songs, the young woman is self-willed: goes out into the street to amuse the young man; she spends the night in a meadow, under a crayfish bush, where two daring young men amuse her with their songs.

Separate comic songs could be lasa, if their fast, perky melody contributed to this ("Oh, you, canopy, my canopy ..."). However, the most famous dance songs - "Lady" and "Kamarinskaya" - had a short, undeveloped text

Unusually poetic folk songs of social content - robbers and soldiers.

Robber songs appeared in the XVI-XVII centuries, during the peasant uprisings against serfdom. Those who managed to escape from their masters created gangs and began to lead a life of robbers. The songs created in their environment revealed the image of a daring robber - a man of courage, freedom-loving and devoted. He can accept death, but will not betray his comrades.

Soldier songs began to be created at the end of the 17th century, when Peter I introduced compulsory military service, first for life, and then for a period of 25 years. Soldiers' songs came into contact with historical songs, depicting the wars of the 18th-19th centuries, in which Russia participated. These songs express the patriotism of Russian soldiers, complete renunciation of personal life. The main thing in soldiers' songs is the depiction of the psychology of a simple soldier. The songs summarized his entire life path: recruiting; service to the sovereign and deep longing for home, for his father, mother and young wife; finally, death from wounds in an open field.

Poetics of peasant lyric songs is common to all thematic groups.

Psychological parallelism- this is a comparison of the human image and the image from the natural world on the basis of an action or state.

The composition of the song text was subject to the disclosure of its meaning, which was to convey the state of mind of a person.

Song endings, and sometimes beginnings, could express a generalizing judgment. In the composition of folk lyric songs, it was sometimes used chain building technique based on poetic associations between images. Diverse repeats occupied a large place in folk lyrics, manifesting itself at all levels: in composition, in verse, in vocabulary. Song vocabulary knows repetitions autological(a dark dungeon, a wonderful miracle, the paths are trailing, the stream is streaming, you live, you live) and synonymous(path-path; sadness-sadness-longing;).

Very expressive double epithets: young-gray eagle, sweet-kind friend, young-clear falcon, grief-bitter gray cuckoo, new-high tower.

The songs used comparisons(The chip is equipped, like an arrow, it flies); hyperbole(With bitter tears I will drown the whole garden, With heavy sighs I will dry the whole garden), diminutive suffixes.
Dance, comic and satirical songs had special artistic means.

The poetics of traditional peasant lyrics is rich and varied. However, in each particular song, the use of techniques and means was strictly regulated by the principle of sufficiency. There are no poetic excesses in folk songs, everything in them is subject to artistic harmony, a sense of proportion and proportion, corresponding to simple, but sincere and deep movements of the soul.

27. Folklore theater, its types (booth, rayok, Petrushka theater, nativity scene).
folklore theater- traditional dramatic art of the people. The types of folk entertainment and play culture are diverse: rituals, round dances, dressing up, clowning, etc.

In the history of folklore theater, it is customary to consider pre-theatre and theater stages folk drama.

Pre-theatrical forms include theatrical elements in calendar and family rituals.

In the calendar rituals - the symbolic figures of Maslenitsa, Mermaid, Kupala, Yarila, Kostroma, etc., playing scenes with them, dressing up. A prominent role was played by agricultural magic, magical actions and songs designed to promote the well-being of the family. For example, at winter Christmas time, a plow was pulled through the village, "sowed" in the hut with grain, etc. With the loss of magical significance, the rite turned into fun.

The wedding ceremony was also a theatrical game: the distribution of "roles", the sequence of "scenes", the transformation of the performers of songs and lamentations into the protagonist of the ceremony (the bride, her mother). A complex psychological game was a change in the internal state of the bride, who in the house of her parents had to cry and lament, and in the house of her husband to portray happiness and contentment. However, the wedding ceremony was not perceived by the people as a theatrical performance.

Specific features of folklore theater - absence of a stage, separation of performers and audience, action as a form of reflection of reality, transformation of the performer into a different objectified image, aesthetic orientation of the performance. Plays were often distributed in written form, pre-rehearsed, which did not exclude improvisation.

To designate a story created on some newly processed traditional material, the word nova. Hence the Italian novella(in the most popular collection of the end of the 13th century, Novellino, also known as the Hundred Ancient Novels), which has been distributed throughout Europe since the 15th century.

The genre was established after the appearance of the book Decameron by Giovanni Boccaccio (c.), the plot of which was that several people, fleeing the plague outside the city, tell each other short stories. Boccaccio in his book created the classic type of Italian short story, which was developed by his many followers in Italy itself and in other countries. In France, under the influence of the translation of the Decameron, around 1462, the collection One Hundred New Novels appeared (however, the material was more due to the facets of Poggio Bracciolini), and Margarita Navarskaya, modeled on the Decameron, wrote the book Heptameron ().

Description of the novel

The short story is characterized by several important features: extreme brevity, a sharp, even paradoxical plot, a neutral style of presentation, a lack of psychologism and descriptiveness, and an unexpected denouement. The plot structure of the novel is similar to the dramatic one, but usually simpler.

Goethe spoke about the action-packed nature of the novel, giving it the following definition: “an unheard-of event that has taken place”.

The story emphasizes the meaning of the denouement, which contains an unexpected turn (pointe, "falcon turn"). According to the French researcher, "ultimately, one can even say that the whole short story is conceived as a denouement". Viktor Shklovsky wrote that the description of a happy mutual love does not create a short story; a short story needs love with obstacles: “A loves B, B does not love A; when B loves A, then A no longer loves B. He singled out a special type of denouement, which he called "false ending": it is usually made from a description of nature or weather.

Among the predecessors of Boccaccio, the short story had a moralizing attitude. Boccaccio retained this motif, but his morality followed from the short story not logically, but psychologically, and often was only a pretext and a device. The later short story convinces the reader of the relativity of moral criteria.

novella, short story, short story

Quite often the short story is identified with the story and even the story. In the 19th century, these genres were difficult to distinguish: for example, A. S. Pushkin's Belkin's Tale is, rather, five short stories.

The story is similar to the short story in volume, but differs in structure: the emphasis on the figurative and verbal texture of the narrative and the inclination towards detailed psychological characteristics.

The story is distinguished by the fact that in it the plot focuses not on one central event, but on a whole series of events covering a significant part of the hero's life, and often several heroes. The story is more calm and unhurried.

Novella and novel

The collection of short stories was the forerunner of the novel.

Novella in Chinese literature

China is a classic country of the novel, which developed here on the basis of the constant interaction of literature and folklore from the 3rd to the 19th century: in the 3rd-6th centuries. mythological bylichki were widespread, mixed with excerpts from historical prose and partly designed according to its canons (later, in the 16th century, they were called the term "zhiguai xiaosho", that is, stories about miracles). They were the most important source of the classic literary novel of the Tang and Song era (8th-13th centuries), the so-called "chuanqi", written in the classical literary language. Since the Song era, information has appeared about the folk tale "huaben" (literally, "the basis of the story"), which widely used both the legacy of the classical Tang Chuanqi and the folklore sources proper, democratizing the genre of the short story both in language and in subject matter. Huaben gradually moved completely from folklore to literature and reached its highest development in writing ("imitative huaben") in the late 16th-early 17th century

Thomas Hardy is considered to be the oldest of the English novelists (although he was neither the very first nor the oldest). Hardy was closely associated with the realist tradition of the Dickensian school. Another great English novelist - Oscar Wilde - was more of an aesthete, denied realism. His short stories were alien to the problems of sociology, politics, social struggle, etc. A separate place in English short stories is occupied by such a trend as naturalism. A characteristic trend of naturalism was the so-called "literature of the slums" (Arthur Morrison's collection of short stories "Tales of the Slums", 1894; George Moore's short story "Theater in the Wilderness", etc.). Another trend in English literature that opposed itself to aesthetes and naturalists is considered "neo-romanticism". The English novelists of the "late romantics" were Robert Stevenson, and later Joseph Conrad and Conan Doyle. At the beginning of the 20th century, the English short story becomes more "psychological". It is worth noting here Katherine Mansfield, whose novels were often almost "plotless". All attention in them was riveted to the inner experiences of a person, his feelings, thoughts, mood. In the first half of the 20th century, the English short story was characterized by psychologism, aestheticism and "stream of consciousness". The most prominent representatives of English literature of the era of modernism were Virginia Woolf, Thomas Eliot, James Joyce, Aldous Huxley.

Among the English writers who at various times created works in the genre of short stories are such remarkable authors as Jerome K. Jerome, John Galsworthy, Somerset Maugham, Dylan Thomas, John Sommerfield, Doris Lessing, James Aldridge and others.

Notes

Wikimedia Foundation. 2010 .

See what "Novella (literature)" is in other dictionaries:

- (Italian novella, Spanish novela, French nouvelle, German Novelle) a term denoting one of the forms of narrative art in the history and theory of literature. Along with the name N., which has become international, ... ... Literary Encyclopedia

1. NOVELLA, s; and. [ital. novella] A short story that is characterized by a clear composition, intense action and a dramatic plot that gravitates towards the unusual. ◁ Novelistic, oh, oh. New literature. N. genre. N th composition. 2. NOVELLA, ... ... encyclopedic Dictionary

- (in Bologna, date unknown, died in 1333) Italian jurist and professor of law at the University of Bologna. As the daughter of Giovanni di Andrea, she received a good education at home and often lectured instead of her father. According to Christine... Wikipedia

Literature grade 5. Textbook-reader for schools with in-depth study of literature. Part 2 Team of authors

Novella (story)

Story is one of the most popular literary genres. Over the long history of literature, many stories have been written. They were created by writers of all countries, at all times, on a variety of topics. That is why the genre of the story is very difficult to describe.

First, there are two terms that define this genre: short story and short story And secondly, most often they try to distinguish it by the volume of the work, saying that this is a “small epic genre”. Such a definition is difficult to use, because it is not entirely clear what the difference in volume between the “large” and “small” genres should be, and besides, a fairy tale is the same “small epic genre”.

You see, even wizards have their serious problems. The magic of the word is a very complex science, and there are still disputes between some scientists about how to name a phenomenon in literature and what is meant by this or that term.

You will have to learn how to solve such problems. First, let's try to find out whether one or two different genres are called the words "story" and "novella".

It is useful to see how things are in other countries. I must tell you that in foreign languages (English, French, Italian, Spanish) there is only one term that the inhabitants of this or that country get along well, although they read the same literature as you and I.

But that doesn't say anything yet. After all, the magic of the word in our country has many terms for which there are simply no parallels in other languages, because in some ways our language is richer, and science is more precise.

True, Russian wizards of the word also did not always have two terms to denote the genre of interest to us. Writers of the 19th century got along well with one word - story. Only at the very end of the century did the term "short story" appear.

It is almost impossible to establish an exact distinction between the genre characteristics of these works, and that is why I think that we have only one genre that should be designated by one term. I also think it's better to use the term novella. Firstly, we use the word “story” not only to describe the genre, but also the way of narration (“to hear a story about some events”), and secondly, it is more convenient to call writers who create their works in this genre short story writers, and not storytellers (the second definition involves the opposition of oral and written speech).

I don't know if I managed to convince you, but in any case, I began to acquaint you with questions that have not yet found a clear answer from our wizards.

What is a novella? (I will use this term in the future.) The short story differs from other genres by no means in its volume. We know both very short and very long short stories. The novella is different in that it is based on the description of one complete, completed case. The artistic world of the novel is grouped around a specific, exhaustively depicted incident. In the short story there is only that which is directly related to the incident described.

In a fairy tale, the artistic world is much more extensive and almost always includes several incidents, a series of events.

I have already had occasion to notice that the short stories are quite different. Some really depict a single brief event, described concisely and accurately. In others, in order to understand what happened and how it could have ended, the author has to resort to lengthy arguments and descriptions, to attract additional material. But all this is subordinated to the explanation of one single main event. For example, in this book, among others, you will read B. Zhitkov's short story "The Mechanic of Salerno". It seems to contain a lot of various information and many episodes. It is no coincidence that the short story is divided by the author into chapters. But everything that is told by B. Zhitkov is directly related to one important event - a fire on a steamer, and there is nothing in the short story that would not be related to this incident.

From Pushkin's book. Tyutchev: The experience of immanent considerations author Chumakov Yuri Nikolaevich

"Tatyana's Dream" as a poetic short story The text of "Eugene Onegin" has the quality of unity: its polysyllabic structures are both connected and independent. The latter explains the research attention at home and abroad to isolated components

From the book Style Exercises by Keno Raimon

16. Narrative One afternoon near Parc Monceau, in the back of an almost full bus of line S (now 84), I noticed a man with a very long neck, who was wearing soft felt wrapped with braid instead of a ribbon. Suddenly this individual called out to his neighbor,

From the book Calendar. Talk about the main author Bykov Dmitry Lvovich

From the book Volume 3. Muddle-grass. Satire in prose. 1904-1932 the author Black Sasha

COUNT'S NEGLIGENCE* (SMENOVEKHOVSKAYA NOVELLA) Demyan Bedny, an honorary handicraftsman of the Krasno-Krylovsky shop in the USSR, squinted at the dense author of "Walking through the torments" striding in front of him and laughed loudly: - What, Alyoshka, has you evaporated?

From the book Dead Yes author Steiger Anatoly Sergeevich

THE NIGHTINGALING * (MODERN NOVELLA) A lady came to Paris from Moscow. A lady like a lady: a brocade-lined cat coat, a short dress, baby-colored stockings. She got into a taxi with apprehension - isn't a Soviet spy sitting on the driver's pillow? - and rolled into

From the book Prose as Poetry. Pushkin, Dostoevsky, Chekhov, avant-garde author Schmid Wolf

From the book of the Southern Urals, No. 27 the author Ryabinin Boris

THE QUEEN OF SPADES AS A METATEXTUAL NOVEL Genre rules the world. It is not being that determines our consciousness, but the genres of this being. VN Turbin Science Fiction and Psychology The Queen of Spades is a challenge to interpreters. There are few works in Russian literature that

From the book Tales of Literature author Sarnov Benedikt Mikhailovich

A Lumberjack's Tale He always gets up early, Meeting the sunrise. Pima will put on an earflap, Put on a quilted jacket and - on a hike. He doesn't have much to go: Through a spoon, obliquely... It's still dark. And a little blue snow falls on the road. And now the familiar is swimming towards

From the book History of foreign literature of the XIX century. Romanticism: study guide author Modina Galina Ivanovna

Story and novella
(essay, to help young authors)

A novice writer must remember that his finished work falls into a certain group of works that has already developed historically. Without even thinking, without racking his brains, the writer determines its Genre by the construction and volume of his work, because any text of a future book has common features of the form and content of its literary Genre. The only thing that can bring confusion is the creative mixing of genres. And the writer can end up with a love-detective novel, or a love-psychedelic one, or a mystical-adventure one, etc. The same applies to small forms - stories and short stories.

There is still a problem of differences between the Story and the Novella.
In fact, these two genres are brother and sister. In some classifications of genres, the genus Epos includes both a short story and a short story. And in some, the short story is hushed up, assuming that between it and the usual story there is no significant difference worthy of a genre distinction.

Indeed, both the Story and the Novella are short narrative works where heroes and characters (there are few of them, from one to several people) live and act in real time, or in the not too distant past.

The story, in comparison with the short story, is more diverse in terms of "stuffing". Most of the stories - including modern ones - tell about people who came to the attention of writers. And in these stories, emphasis can be placed on the psychology of the character (for example, the stories of A.P. Chekhov "Ionych", "The Man in the Case"). In addition, stories can be animalistic (where the characters are animals), or floristic (where trees, flowers, vegetables, fruits, etc. act as characters). Moreover, such stories are not fairy tales, but artistic narratives about the life of animals and plants, their fate, life and death, the impact on the life and fate of people, and vice versa. For some writers and readers, the life of animals and plants is as interesting as the life of people.

The novella always gravitates towards human characters doing intriguing deeds and actions. And in the short story there is always human morality, understandable to the contemporary of the written short story. In the short story, as in the story, there can be satire, humor, drama, tragedy. In the novel, the strictness of the plot is required. No incomprehensibility, reticence, paradoxes. A short story is life in a funny, satirical, romantic, tragic form. The novel is absolutely close to reality, even if it is an absolute fiction of a writer. All of the above makes the Novella look like a Story. But ... There is a fundamental difference from the story. This is the style of writing - "smear technique".

If you put a group of artists in front of a still life composition and give each of them something different: oil, watercolor, felt-tip pens, graphite pencil or charcoal, they will depict the same still life, but in a different writing technique. And all the works of artists will look different.
Novella, - from the Italian novella, - news, new. Once upon a time, in good and old Itilia, in the behind-the-scenes communication of noble ladies and gentlemen, there was always a storyteller capable of telling a new story about someone in an intriguing and colorful language. It must be said that in the old days good storytellers were valued in society in the same way as good writers are now. Probably, Italian prose writers adopted this method of attracting listeners, deciding that readers would also be interested in reading a story in the "novella" style. And Giovanni Boccaccio left us as a legacy a unique collection of short stories, under the general name "Decameron" - ("Ten Days").

As an example, I cite excerpts from various works written in the Novella style. Please read them carefully, and try (as an exercise) to rewrite any of your stories in the same literary style.

Giovanni Boccaccio. "Decameron"
A book containing one hundred short stories told in ten days by seven ladies and three young men.
(Day one. An excerpt from the fourth short story.)

"There was in Lunigian, a region not far from here, a monastery richer in holiness and in the number of monks than now; among others there was a young monk, whose strength and freshness could not be weakened by either fasting or vigils. Once at noon, when all the others the monks were sleeping, and he wandered alone around his church, which was in a very secluded place, he happened to see a very beautiful girl, perhaps the daughter of some peasant, who walked through the fields, gathering herbs. lust, therefore, approaching her, he entered into conversation with her, and so things went from one to another, that he took her to his cell, so that no one noticed it. it happened, not being particularly wary of it, that the abbot, rising from his sleep and passing quietly past the cell, heard the noise that the two of them were making. that there was a woman inside, and he was tempted to tell him to open it for himself; but then he devised another course of action and, returning to his room, began to wait until the monk came out ... ".

A. S. Pushkin. "Tales of the late Ivan Petrovich Belkin"
An excerpt from the short story "Shot".

“Only one person belonged to our society, not being a military man. He was about thirty-five years old, and for that we considered him an old man. on our young minds. Some mystery surrounded his fate; he seemed Russian, but bore a foreign name. Once he served in the hussars, and even happily; no one knew the reason that prompted him to retire and settle in a poor place where he lived he was both poor and extravagant: he always went about on foot, in a worn-out black frock coat, and kept an open table for all the officers of our regiment. True, his dinner consisted of two or three dishes prepared by a retired soldier, but champagne flowed like a river. knew neither his fortune nor his income, and no one dared to ask him about it.

He had books, mostly military ones, and novels. He willingly gave them to read, never demanding them back; for that he never returned to the owner of the book he occupied. His main exercise consisted in shooting from a pistol. The walls of his room were all riddled with bullet holes, all bored like a honeycomb. A rich collection of pistols was the only luxury of the poor hut where he lived. The skill he achieved was incredible, and if he volunteered to knock a pear off someone's cap with a bullet, no one in our regiment would hesitate to turn his head to him. The conversation between us often touched on fights; Silvio (that's what I'll call him) never interfered with him. When asked if he had ever fought, he answered dryly that he did, but he did not go into details, and it was clear that such questions were unpleasant to him. We believed that some unfortunate victim of his terrible art lay on his conscience. However, it never crossed our minds to suspect anything resembling timidity in him. There are people whose appearance alone removes such suspicions. The accident surprised us all...

N. V. Gogol. "Dead Souls", volume two. An excerpt from the first chapter.

“Two hours before dinner, he went to his office in order to seriously engage in an essay that was supposed to embrace all of Russia from all points - from civil, political, religious, philosophical, to resolve difficult tasks and questions posed to her by time, and to clearly define her great future; in a word, everything is as it is, and in the form that modern man likes to ask himself. However, the colossal undertaking was more limited to one reflection: the pen was gnawed, drawings appeared on paper, and then all this was pushed aside, a book was taken instead and was not published until dinnertime. This book was read with soup, sauce, roast, and even cake, so that some dishes became cold, while others were taken completely untouched. Then followed a pipe of coffee, a game of chess with oneself; that and then it was done until the very supper - really, it's hard to say. It seems that nothing was done.

And so he spent his time, alone in the whole world, a young thirty-two-year-old man, sitting in his seat, in a dressing gown and without a tie. He did not walk, did not walk, did not even want to climb up, did not even want to open the windows in order to take fresh air into the room, and the beautiful view of the village, which no visitor could indifferently admire, did not exist for the owner himself.

From this, the reader can see that Andrey Ivanovich Tentennikov belonged to a family of those people who are not translated in Rus', who used to have names: goofs, couch potatoes, bobaki, and whom now, really, I don’t know what to call. Are such characters already born, or are they formed later, as a product of sad circumstances that severely surround a person? Instead of answering this, it is better to tell the story of his upbringing and childhood ... ".

M. Yu. Lermontov. Hero of our time. An excerpt from the short story "Princess Mary".

“Going down to the middle of the city, I went along the boulevard, where I met several sad groups slowly rising up the hill; they were most of the family of steppe landowners; this could be immediately guessed from the worn, old-fashioned frock coats of husbands and from the exquisite outfits of wives and daughters; it can be seen , they had all the water youth already on the count, because they looked at me with tender curiosity: the Petersburg cut of the frock coat misled them, but, soon recognizing army epaulettes, they turned away indignantly.

The wives of the local authorities, mistresses of the waters, so to speak, were more benevolent; they have lorgnettes, they pay less attention to their uniforms, they are accustomed in the Caucasus to meet an ardent heart under a numbered button and an educated mind under a white cap. These ladies are very sweet; and long cute! Every year their admirers are replaced by new ones, and this, perhaps, is the secret of their indefatigable courtesy. Climbing up the narrow path to the Elizabethan spring, I overtook a crowd of men, civilians and military men, who, as I later learned, constitute a special class of people between those who yearn for the movement of water. They drink - but not water, walk a little, drag only in passing; they play and complain of boredom. They are dandies: lowering their braided glass into a well of sour water, they assume academic poses: civilians wear light blue ties, the military let out a ruff from behind the collar. They profess a deep contempt for provincial houses and sigh for the aristocratic living rooms of the capital, where they are not allowed. Finally, here is the well...

An ancient work of Korean prose. "Dream in the Jade Pavilion"
(novel-tale, novel-legend, novel-dream)
Excerpt.

"Twelve pavilions in the Jade Capital, and in one of them, Jade, poets ascended to heaven live. From this wonderful architecture of the pavilion, the view opens magnificent: from the west side - to the Palace of Knowledge, from the east - to the Palace of Space and Frost, and, where Light pavilions and multi-tiered towers please the eye with the perfection of form and color. Once the Jade Lord ordered to decorate the pavilion and arranged a feast for his subjects in it. Heavenly music began to play, the clothes of the celestials were full of colors. poet, Star Prince Wen-chang, and asked him to compose a poem about the Jade Pavilion.

When like pearls dew
And maple amber is golden,
The Lord of Heaven commanded
“Remove the pavilion for the feast.
“From the rainbow, a bright outfit ...”
Played like old
divine fragrance
He delighted the feasting army.
Where the Purple Palace is
I'm flying on Luana at night.
cinnamon tree shadow
She lay down on Jade City.
Wind by starlight
Shakes the sky brocade,
Sometimes from blue clouds
Thunder rumble is heard.
Accepting jade as a gift,
green dragon me
Takes you to Red Hill
From sleepy palace chambers.
I cling to the beaded screen,
Autumn haze beckoning
ground far below
My eyes will be attracted to you.

The lord liked Wen-chan's poems so much that he ordered them to be immortalized on the wall of the pavilion and read them aloud once, and twice, and a third... But suddenly he grew gloomy, turned to Tai-i, the Lord of the North, and said:
– Wen-chan composed good poems, but why did he remember people? Such an annoyance! The youngest and most beloved subject upset us today!
Tai-i in response:
– I saw Wen-chan looking at the ground, and his face glowed with joy, as if an earthly person who had reached wealth and nobility. Maybe send him to the world of people for a while, so that he would recognize him and no longer want to hear about the earth?..."

French fairy tale. An excerpt from the fairy tale "Bluebeard"

“Once upon a time there lived a man who had beautiful houses both in the city and in the countryside, gold and silver dishes, armchairs decorated with embroidery, and gilded carriages. But, unfortunately, this man had a blue beard, and she gave him such an ugly and terrible sight, that there was not a woman or a girl who would not run away when she saw him.

One of the neighbors, a noble lady, had two daughters of wondrous beauty. He asked to marry one of them and left his mother to choose the one she would agree to give for him. Both did not want to go for him and refused him one in favor of the other, unable to choose as a husband a man whose beard is blue. They were also disgusted by the fact that this man had already been married several times, and no one knew what had become of his wives.
In order to make a closer acquaintance, Bluebeard invited them, along with his mother and three or four best friends, as well as several young people, their neighbors, to one of his country houses, where the guests stayed for a whole week. All the time was occupied with walks, hunting and fishing trips, dancing, feasting, breakfasts and suppers; no one thought to sleep, and every night without a break the guests excelled in all sorts of jokes - in a word, everything worked out so well that it began to seem to the youngest daughter that the owner of the house did not have such a blue beard and that he himself was a very decent person. As soon as they returned to the city, the wedding was decided ... "

Arabian tales. An excerpt from the fairy tale "Ali Baba and the Forty Thieves"

"Ali Baba entered the cave, and as soon as he crossed the threshold, the door slammed behind him again. Ali Baba became a little scared: what if the door would not open again and he would not be able to go out? But he nevertheless went forward, looking around in surprise sides. He saw that he was in a large room and there were many tables lined with golden dishes under silver covers by the walls. Ali Baba smelled the delicious smell of food and remembered that he had not eaten anything since morning. He went to one table, removed the covers from dishes, and his mouth watered: on the dishes lay all the dishes you could wish for: fried chicken, rice pilaf, pancakes with jam, halva, apples and many other delicious things.

Ali Baba grabbed the chicken and ate it instantly. Then he set to work on the pilaf, and having finished with it, he broke off the halva, but he could no longer eat a single piece - he was so full before. After resting a little, he looked around and saw the entrance to another room. Ali Baba entered there and closed his eyes. The whole room sparkled and shone - there was so much gold and jewelry in it. Golden dinars and silver dirhams lay in heaps right on the ground, like stones on the seashore. Precious dishes - cups, trays, dishes decorated with expensive stones - stood in all corners. Bales of silk and fabrics—Chinese, Indian, Syrian, Egyptian— lay in the middle of the room; sharp swords and long spears hung on the walls, which would be enough for a whole army ... "

*** *** ***
(End)