Which of the Russian poets of the 19th-20th centuries. created ironic variations on classical subjects and how they can be compared with Vysotsky’s poem
Or maybe, when he came to his department, he casually mentioned that he met a friend on the street yesterday, he works in the address bureau, and he told me that there are as many as sixteen K. Samsonas in Lithuania? No, one hundred and sixty! Or drag and place fourteen volumes of Balzac on your desk? What if you make peace with your fourth or second wife now? No! It's better to head into the water! The last thought seemed to him the most successful, especially since a river flows not far from the house...
With enormous effort, so that his vertebrae even crunch, Samsonas rises from the table, pulls on a baggy consumer goods jacket... Own body, which he always treated with love and respect, now truly seems to him to be a “foreign entity.” “But the day after tomorrow is Saturday,” Katinelis suddenly thinks, “what am I going to do with this alien pile of bones and meat? Oh yes... The bridge..."
He pushes the “foreign formation” onto the stairs, goes down, stops and looks at the blue mailbox with bitter reproach. But then he feels for a pencil in his pocket. Eh, no, the river is not going anywhere! Better yet, wait for a new magazine survey... And then... And then!..
WHY DO I NO LONGER WANT TO WRITE HUMORESKS
Why don't you write humoresques anymore? - some unfamiliar person asked me and, without waiting for an answer, he waved his hand and went on his way.
Why don’t I write humorous stories anymore?.. Why?.. Do you want to be honest? Do you want it, hand on heart?
...At the end of that cloudy day, a plot for a humoresque began to form in my head - and what a plot! I quickened my pace to quickly get home and get to the typewriter. I could already hear the grateful and cheerful laughter of the readers. Oh, what a plot! But…
But suddenly a crowd blocked my way. Something happened on the street: an accident, a hit-and-run? What exactly is impossible to see through the backs of the crowded curious people. I tried to cling tighter to my plot (oh, what a plot!) and began, as expected, to elbow my way through. Accompanied by curses and pushing, she somehow made her way into the front rows of spectators. So what?.. A rather banal picture opened before me: a passenger car was standing right next to the sidewalk, its hood buried in the side of the truck. By the way, she was still completely new - even without a number. A stuffed monkey swayed behind the broken windshield. What a smart guy, he hasn’t received his number yet, but he’s already hung up the amulet! This amulet helped him, you can’t say anything!.. The unfortunate owner of the car felt his cut eyebrow and, as if in a dream, looked first at his dented car, then at the truck driver spewing abuse, then at the monkey...
That's all I saw that cloudy evening, having made my way to the front rows of the curious. Now, of course, you will ask why I quit writing humoresques... Do you think it was because of this accident?.. What are you saying! I have witnessed such accidents, in comparison with which this one is a child’s prank...
The fact is that, having satiated my eyes and ears with the spectacle of a traffic accident, I again remembered my plot and the fact that I should rush to the typewriter as soon as possible. I looked back at the living wall - I had to break through it again in order to find freedom. She looked back and - like Lot's wife - turned into a pillar of salt. Yes Yes! She remained standing there, unable to take her eyes off the crowd. However, no, this was not a crowd, not a random gathering of people; a monolithic, almost single-celled organism was huddled in front of me - with one elongated neck, one greedily open mouth, one eye burning with curiosity. And only one feeling overwhelmed him: boundless gratitude to fate, which gave him such a bright, joyful sight on this dull, cloudy day! When, for example, the injured private owner tried in vain to lift the lid of the dented hood, a single joyful laugh escaped from one chest, which immediately turned into a mighty waterfall of laughter when a hefty guy climbed out of the cab of the truck and thrust his hairy fist under the victim’s nose...
It was then, listening to the heartfelt, sparkling laughter, seeing the eyes of the crowd sparkling with joy and bliss, that I realized: never, never - even if I were the great Cervantes himself or Mark Twain - never any of my humoresques could evoke such a powerful, joyful, infectious laughter!..
I didn’t even feel how my palm spontaneously opened and the plot (oh, what a plot!) fell onto the pavement, trembled slightly and gave up the ghost... Why creative torment, why single combat with a capricious muse, why exhausting work sleepless nights? Isn't it easier to jump on a bicycle - or even better, a motorcycle - and crash into an excavator, or even better, into a pole... That will be a laugh!..
HOW TO BAKE BREAD
PAINTING
“I would like to buy a painting from you,” I told the artist, entering his studio. - I dream of hanging a valuable work of art on the wall.
The artist, apparently, was completely immersed in his work, however, upon hearing my words, he immediately threw the brush aside and offered me a chair, having previously brushed off the dust from it with his sleeve. I liked this: real artists should have such sleeves and such dust. She sat down, put her purse on her lap and looked around the studio. Dirty, paint-stained walls, a ceiling hung with cobwebs, a window patched with an old palette - you can’t say anything: everything a real artist should have! The owner himself made a good impression: although he was still young, there were gray strands in his beard, a long cigarette holder protruding from his breast pocket, and soft accordion boots with cuffs on his feet... But for some reason, without a black velvet jacket. And I must admit, I was simply not able to imagine a real artist without a black velvet or at least a brown suede jacket. In addition, I always believed that a true artist should not live and work in some low room with radiators and a window overlooking the courtyard kindergarten, and in the high attic, where a bohemian stove-stove crackles cheerfully, and from the window there is a unique view of the embankments of the Seine, that is, I beg your pardon, the Neris River...
What do you like? - the artist asked, setting up an empty easel in front of me. - Landscape, still life, figurative composition?
The question didn't take me by surprise. Before coming here, I consulted with a certain representative of the creative world, a real authority: he wore not only a suede jacket, but also a black velvet beret, pulled down, as it should be in their art world, over the eardrum of his right ear. It was he who gave me the idea to decorate my interior with an original canvas. Once, when my company and I ran in to drink coffee, I, as if on purpose, did not find a single grain! - He critically examined my apartment and began to explain to his retinue: “You see a typical bourgeois interior. Four gray walls - and not a single original touch!” - “What other touch?” - I was surprised. “An original work of art,” they told me. “With such bare walls, it’s now a shame to show yourself to people.” Keep in mind, coffee is in abundance in every store these days, and valuable paintings are snapped up in an instant!” - “If so,” I answer, “then, probably, in your own interior there is a hell of a lot of this coffee, that is, original touches, I should run over to you with my company and take a look.” - "In my? - He frowned and pulled his beret over his eyes like a bathing cap. “I’m constantly wandering around the world of art, why do I need my own touches?.. But for you,” he added benevolently, “I’ll recommend you a young, but devilishly promising artist.” Run to him before it's too late and grab the original canvas. Something that is artistically valuable. And only characteristic of his brush. And also extremely necessary for your interior!”
Plots of world literature (36 plots)
Literature is, first of all, art, but at the same time it is information, albeit very specific. And the information volume of world literary literature is constantly increasing, growing to ever more impressive proportions. But, unlike science and technology, or ideology, in fiction new information does not cancel or supplant the previous one. (All the masterpieces of world literature in summary. Plots and characters. Russian literature XIX century: Encyclopedic edition. - M.: Olimp; ACT Publishing House, 1996. - 832 pp., p. 11)
Thus, the volume of world literature, growing over time, does not change in its essence - repeating plots are used that reflect the main plot lines of people's lives.
Each new era adds only an update in style and some characteristic features of that era, including minor changes in the use of language and preferences.
Systematization, schematization, cataloging of the world's book wealth occupied analysts of all eras... back in the 9th century, it was begun by the Patriarch of Constantinople Photius, who compiled the “Myriobiblion” (translated as “Many Books” or as “Library”) - a collection brief descriptions works of Greek and Byzantine authors, including ecclesiastical, secular, historical, and medical literature. It is noteworthy that the idea of such a universal, all-encompassing library became relevant again one thousand one hundred years later. In the works of Hermann Hesse and especially in the short stories of Jorge Luis Borges, the image of “the world as a library” appears.(All the masterpieces of world literature in a brief summary. Plots and characters. Russian literature of the 19th century: Encyclopedic edition. - M.: Olimp; ACT Publishing House, 1996. - 832 pp. 12)
Famous writer Jorge Luis Borges stated that there is everything four plot and, accordingly, four heroes, whom he described in his short story “Four Cycles”.
1. The oldest story is the story of a besieged city, which is stormed and defended by heroes. The defenders know that the city is doomed and resistance is futile. This is the story of Troy, and main character- Achilles knows that he will die without seeing victory. A rebel hero, the very fact of whose existence is a challenge to the surrounding reality. In addition to Achilles, the heroes of this plot are Siegfried, Hercules, Sigurd and others.
2. The second story is about return. The story of Odysseus, who wandered the seas for ten years in an attempt to return home. The hero of these stories is a man rejected by society, endlessly wandering in an attempt to find himself - Don Quixote, Beowulf.
3. The third story is about search. This story is somewhat similar to the second, but in this case the hero is not an outcast and does not oppose himself to society. The most famous example of such a hero is Jason, sailing for the Golden Fleece.
4. The fourth story is about the suicide of God. Atis maims and kills himself, Odin sacrifices himself to Odin, himself, hanging on a tree for nine days, nailed by a spear, Roman legionnaires crucify Christ. The hero of the “death of the gods” - losing or gaining faith, in search of faith - Zarathustra, Bulgakov’s Master, Bolkonsky.
Another famous author Christopher Booker
in his book "The Seven Basic Plots: Why We Tell Stories" described seven basic plots, on the basis of which, in his opinion, all the books in the world are written.
1. “From rags to riches” - the name speaks for itself, the most striking example, familiar to everyone from childhood, is Cinderella. Heroes - ordinary people who discover something unusual in themselves, thanks to their own efforts or by coincidence, find themselves “at the top”.
2. “Adventure” - a difficult journey in search of an elusive goal. According to Booker, both Odysseus and Jason fall into this category, and also King Solomon's Mines and Around the World in Eighty Days fall into this category.
3. "There and back." The plot is based on the hero’s attempt, torn out from his usual world, to return home. This includes “Robinson Crusoe”, and “Alice Through the Looking Glass”, and many others.
4. “Comedy” - It’s not easy general term, this is a certain type of plot that develops according to its own rules. All Jane Austen novels fall into this category.
5. “Tragedy” - the culmination is the death of the main character due to some character flaws, usually love passion or thirst for power. These are, first of all, Macbeth, King Lear and Faust.
6. “Resurrection” - the hero is under the power of a curse or dark forces, and a miracle brings him out of this state. A striking example This plot is also familiar to everyone from childhood - Sleeping Beauty, awakened by the kiss of the prince.
7. “Victory over the Monster” - from the title it is clear what the plot is - the hero fights the monster, defeats him and receives a “prize” - treasures or love. Examples: Dracula, David and Goliath.
About a hundred years ago, playwright Georges Polti compiled his liststories of thirty-six points (by the way, the first number is thirty six were proposed by Aristotle and much later supported by Victor Hugo). Polti's thirty-six plots and themes cover mainly drama and tragedy. There was controversy around this list, it was repeatedly criticized, but no one tried to protest the number 36 itself.
1. PRAYER. Elements of the situation: 1) the pursuer, 2) the persecuted and begging for protection, help, shelter, forgiveness, etc., 3) the force on which it depends to provide protection, etc., while the force does not immediately decide to protect , hesitant, unsure of herself, which is why you have to beg her (thereby increasing the emotional impact of the situation), the more she hesitates and does not dare to provide help. Examples: 1) a person fleeing begs someone who can save him from his enemies, 2) begs for shelter in order to die in it, 3) a shipwrecked person asks for shelter, 4) asks those in power for dear, close people, 5) asks for one a relative for another relative, etc.
2. THE RESCUE. Elements of the situation: 1) unfortunate, 2) threatening, persecuting, 3) savior. This situation differs from the previous one in that there the persecuted person resorted to hesitant force, which had to be begged, but here the savior appears unexpectedly and saves the unfortunate man without hesitation. Examples: 1) interchange famous fairy tale about Bluebeard. 2) saving a person sentenced to death or generally in prison mortal danger etc.
3. REVENGE FOLLOWING CRIME. Elements of the situation: 1) avenger, 2) guilty, 3) crime. Examples: 1) blood feud, 2) revenge on a rival or rival or lover, or mistress out of jealousy.
4. REVENGE OF A CLOSE PERSON FOR ANOTHER CLOSE PERSON OR CLOSE PEOPLE. Elements of the situation: 1) living memory of the insult, harm inflicted on another loved one, the sacrifices he made for the sake of his loved ones, 2) an avenging relative, 3) the relative guilty of these insults, harm, etc. Examples: 1) revenge on a father for his mother or mother on his father, 2) revenge on his brothers for his son, 3) on his father for his husband, 4) on his husband for his son, etc. Classic example: Hamlet’s revenge on his stepfather and mother for his murdered father .
5. PURSUED. Elements of the situation: 1) a crime committed or a fatal mistake and the expected punishment, retribution, 2) hiding from punishment, retribution for a crime or mistake. Examples: 1) persecuted by the authorities for politics (for example, “The Robbers” by Schiller, the history of the revolutionary struggle in the underground), 2) persecuted for robbery (detective stories), 3) persecuted for a mistake in love (“Don Juan” by Moliere, alimony stories and etc.), 4) a hero pursued by a force superior to him (“Chained Prometheus” by Aeschylus, etc.).
6. SUDDEN DISASTER. Elements of the situation: 1) the victorious enemy, appearing in person; or a messenger bringing terrible news of defeat, collapse, etc., 2) a defeated ruler, a powerful banker, an industrial king, etc., defeated by a winner or struck down by the news. Examples: 1) the fall of Napoleon, 2) “Money” by Zola, 3 ) “The End of Tartarin” by Anfons Daudet, etc.
7. VICTIM (i.e. someone, a victim of some other person or people, or a victim of some circumstances, some misfortune). Elements of the situation: 1) one who can influence the fate of another person in the sense of his oppression or some kind of misfortune. 2) weak, being a victim of another person or misfortune. Examples: 1) ruined or exploited by someone who was supposed to care and protect, 2) a previously loved one or loved one who finds themselves forgotten, 3) unfortunate ones who have lost all hope, etc.
8. OUTRAGE, REVOLT, REBELLION. Elements of the situation: 1) tyrant, 2) conspirator. Examples: 1) a conspiracy of one (“The Fiesco Conspiracy” by Schiller), 2) a conspiracy of several, 3) the indignation of one (“Egmond” by Goethe), 4) the indignation of many (“William Tell” by Schiller, “Germinal” by Zola)
9. A BOLD ATTEMPT. Elements of the situation: 1) the daring person, 2) the object, i.e., what the daring person decides to do, 3) the opponent, the opposing person. Examples: 1) theft of an object (“Prometheus - the Thief of Fire” by Aeschylus). 2) enterprises associated with dangers and adventures (novels by Jules Verne, and adventure stories in general), 3) a dangerous enterprise in connection with the desire to achieve the woman he loves, etc.
10. ABDUCTION. Elements of the situation: 1) the kidnapper, 2) the kidnapped, 3) protecting the kidnapped and being an obstacle to the kidnapping or opposing the kidnapping. Examples: 1) abduction of a woman without her consent, 2) abduction of a woman with her consent, 3) abduction of a friend, comrade from captivity, prison, etc. 4) abduction of a child.
11. RIDDLE (i.e., on the one hand, asking a riddle, and on the other, asking, striving to solve the riddle). Elements of the situation: 1) asking a riddle, hiding something, 2) trying to solve a riddle, find out something, 3) the subject of a riddle or ignorance (mysterious) Examples: 1) under pain of death, you need to find some person or object, 2 ) to find the lost, lost, 3) to solve the riddle under pain of death (Oedipus and the Sphinx), 4) to force a person with all sorts of tricks to reveal what he wants to hide (name, gender, state of mind, etc.)
12. ACHIEVEMENT OF SOMETHING. Elements of the situation: 1) someone striving to achieve something, seeking something, 2) someone on whom the achievement of something depends for consent or help, refusing or helping, mediating, 3) there may be a third party - a party opposing the achievement. Examples: 1) try to get from the owner a thing or some other benefit in life, consent to marriage, position, money, etc. by cunning or force, 2) try to get something or achieve something with the help of eloquence (directly addressed to the owner of the thing or to the judge, arbitrators on whom the award of the thing depends)
13. HATE FOR YOUR FAMILY. Elements of the situation: 1) the hater, 2) the hated, 3) the cause of hatred. Examples: 1) hatred between loved ones (for example, brothers) out of envy, 2) hatred between loved ones (for example, a son hating his father) for reasons of material gain, 3) hatred of a mother-in-law for a future daughter-in-law, 4) mother-in-law for a son-in-law, 5) stepmothers to stepdaughter, etc.
14. RIVALRY OF CLOSES. Elements of the situation: 1) one of the close ones is preferred, 2) the other is neglected or abandoned, 3) an object of rivalry (in this case, apparently, a twist is possible: at first the preferred one is then neglected and vice versa) Examples: 1) rivalry between brothers (“Pierre and Jean” by Maupassant), 2) rivalry between sisters, 3) father and son - because of a woman, 4) mother and daughter, 5) rivalry between friends (“The Two Gentlemen of Verona” by Shakespeare)
15. ADULTURE (i.e. adultery, adultery), LEADING TO MURDER. Elements of the situation: 1) one of the spouses who violates marital fidelity, 2) the other spouse is deceived, 3) violation of marital fidelity (i.e., someone else is a lover or mistress). Examples: 1) kill or allow her lover to kill her husband (“Lady Macbeth Mtsensk district"Leskova, "Therese Raquin" by Zola, "The Power of Darkness" by Tolstoy) 2) kill a lover who entrusted his secret ("Samson and Delilah"), etc.
16. MADNESS. Elements of the situation: 1) a person who has fallen into madness (mad), 2) a victim of a person who has fallen into madness, 3) a real or imaginary reason for madness. Examples: 1) in a fit of madness, kill your lover (“The Prostitute Elisa” by Goncourt), a child, 2) in a fit of madness, burn, destroy your or someone else’s work, a work of art, 3) while drunk, reveal a secret or commit a crime.
17. FATAL NEGLIGENCE. The elements of the situation are: 1) a careless person, 2) a victim of carelessness or a lost object, sometimes accompanied by 3) a good adviser warning against carelessness, or 4) an instigator, or both. Examples: 1) through carelessness, be the cause of your own misfortune, dishonor yourself (“Money” by Zola), 2) through carelessness or gullibility, cause misfortune or the death of another person close to you (Biblical Eve)
18. INVOLVED (ignorant) CRIME OF LOVE (in particular incest). Elements of the situation: 1) lover (husband), mistress (wife), 3) recognition (in the case of incest) that they are in a close degree of relationship that does not allow love relationship according to the law and current morality. Examples: 1) find out that he married his mother (“Oedipus” by Aeschylus, Sophocles, Corneille, Voltaire), 2) find out that his mistress is his sister (“The Bride of Messina” by Schiller), 3) a very commonplace case: find out that his mistress - Married.
19. INVOLVED (OUT OF IGNORANCE) KILLING OF A CLOSE ONE. Elements of the situation: 1) killer, 2) unrecognized victim, 3) exposure, recognition. Examples: 1) unwittingly contribute to the murder of his daughter, out of hatred for her lover (“The King is Having Fun” by Hugo, the play on which the opera “Rigoletto” was made), 2) without knowing his father, kill him (“Freeloader” by Turgenev with the fact that murder replaced by an insult), etc.
20. SELF-SACRIFICE IN THE NAME OF AN IDEAL. Elements of the situation: 1) a hero sacrificing himself, 2) an ideal (word, duty, faith, conviction, etc.), 3) a sacrifice made. Examples: 1) sacrifice your well-being for the sake of duty (“Resurrection” by Tolstoy), 2) sacrifice your life in the name of faith, belief...
21. SELF-SACRIFICE FOR THE SAKE OF LOVED ONES. Elements of the situation: 1) the hero sacrificing himself, 2) the loved one for whom the hero sacrifices himself, 3) what the hero sacrifices. Examples: 1) sacrifice your ambition and success in life for the sake of loved one(“The Zemgano Brothers” by Goncourt), 2) to sacrifice one’s love for the sake of a child, for the life of a loved one, 3) to sacrifice one’s chastity for the sake of the life of a loved one or loved one (“Tosca” by Sordu), 4) to sacrifice one’s life for the sake of the life of a loved one or loved one, etc. d.
22. SACRIFICE EVERYTHING FOR PASSION. Elements of the situation: 1) a lover, 2) an object of fatal passion, 3) something that is sacrificed. Examples: 1) passion that destroys the vow of religious chastity (“The Mistake of Abbé Mouret” by Zola), 2) passion that destroys power, authority (“Antony and Cleopatra” by Shakespeare), 3) passion quenched at the cost of life (“Egyptian Nights” by Pushkin) . But not only a passion for a woman, or a woman for a man, but also a passion for racing, card game, guilt, etc.
23. TO SACRIFICE A CLOSE PERSON DUE TO NECESSITY, INEVITABILITY. Elements of the situation: 1) a hero sacrificing a loved one, 2) a loved one who is being sacrificed. Examples: 1) the need to sacrifice a daughter for the sake of public interest (“Iphigenia” by Aeschylus and Sophocles, “Iphigenia in Tauris” by Euripides and Racine), 2) the need to sacrifice loved ones or one’s followers for the sake of one’s faith, belief (“93” by Hugo), etc. .d.
24. RIVALRY OF INEQUAL (as well as almost equal or equal). Elements of the situation: 1) one rival (in case of unequal rivalry - lower, weaker), 2) another rival (higher, stronger), 3) the subject of rivalry. Examples: 1) the rivalry between the winner and her prisoner (“Mary Stuart” by Schiller), 2) the rivalry between the rich and the poor. 3) rivalry between a person who is loved and a person who does not have the right to love (“Esmeralda” by V. Hugo), etc.
25. ADULTERY (adultery, adultery). Elements of the situation: the same as in adultery leading to murder. Not considering adultery to be capable of creating a situation in itself, Polti considers it as a special case of theft, aggravated by betrayal, while pointing out three possible cases: 1) the lover is more pleasant than firm than the deceived spouse ), 2) the lover is less attractive than the deceived spouse, 3) the deceived spouse takes revenge. Examples: 1) “Madame Bovary” by Flaubert, “The Kreutzer Sonata” by L. Tolstoy.
26. CRIME OF LOVE. Elements of the situation: 1) lover, 2) beloved. Examples: 1) a woman in love with her daughter’s husband (“Phaedra” by Sophocles and Racine, “Hippolytus” by Euripides and Seneca), 2) the incestuous passion of Doctor Pascal (in novel of the same name Zola), etc.
27. LEARNING ABOUT THE DISHONOR OF A LOVED OR RELATIVE (sometimes associated with the fact that the learner is forced to pronounce a sentence, punish a loved one or loved one). Elements of the situation: 1) the person who recognizes, 2) the guilty loved one or loved one, 3) guilt. Examples: 1) learn about the dishonor of your mother, daughter, wife, 2) discover that your brother or son is a murderer, a traitor to the motherland and be forced to punish him, 3) be forced by virtue of an oath to kill a tyrant - to kill your father, etc. .
28. OBSTACLE OF LOVE. Elements of the situation: 1) lover, 2) mistress, 3) obstacle. Examples: 1) a marriage upset by social or wealth inequality, 2) a marriage upset by enemies or random circumstances, 3) a marriage upset by enmity between parents on both sides, 4) a marriage upset by dissimilarities in the characters of lovers, etc.
29. LOVE FOR THE ENEMY. Elements of the situation: 1) the enemy who aroused love, 2) the loving enemy, 3) the reason why the beloved is the enemy. Examples: 1) the beloved is an opponent of the party to which the lover belongs, 2) the beloved is the killer of the father, husband or relative of the one who loves him (“Romeo and Juliette,”), etc.
30. AMBITION AND LOVE OF POWER. Elements of the situation: 1) an ambitious person, 2) what he wants, 3) an opponent or rival, i.e. a person opposing. Examples: 1) ambition, greed, leading to crimes (“Macbeth” and “Richard 3” by Shakespeare, “The Rougons’ Career” and “Earth” by Zola), 2) ambition, leading to rebellion, 3) ambition, which is opposed by a loved one, friend, relative, own supporters, etc.
31. FIGHTING GOD (struggle against God). Elements of the situation: 1) man, 2) god, 3) the reason or subject of struggle. Examples: 1) fighting with God, arguing with him, 2) fighting with those faithful to God (Julian the Apostate), etc.
32. UNCONSCIOUS JEALOUSY, ENVY. Elements of the situation: 1) the jealous person, the envious person, 2) the object of his jealousy and envy, 3) the alleged rival, challenger, 4) the reason for the error or the culprit (traitor). Examples: 1) jealousy is caused by a traitor who is motivated by hatred (“Othello”) 2) the traitor acts out of profit or jealousy (“Cunning and Love” by Schiller), etc.
33. JUDGEMENT MISTAKE. Elements of the situation: 1) the one who is mistaken, 2) the victim of the mistake, 3) the subject of the mistake, 4) the true criminal Examples: 1) a miscarriage of justice is provoked by an enemy (“The Belly of Paris” by Zola), 2) a miscarriage of justice is provoked by a loved one, the brother of the victim (“The Robbers” by Schiller), etc.
34. REMORSE. Elements of the situation: 1) the culprit, 2) the victim of the culprit (or his mistake), 3) looking for the culprit, trying to expose him. Examples: 1) remorse of a murderer (“Crime and Punishment”), 2) remorse due to a mistake in love (“Madeleine” by Zola), etc.
35. LOST AND FOUND. Elements of the situation: 1) lost 2) found, 2) found. Examples: 1) “Children of Captain Grant”, etc.
36. LOSS OF LOVED ONES. Elements of the situation: 1) a deceased loved one, 2) a lost loved one, 3) the perpetrator of the death of a loved one. Examples: 1) powerless to do anything (save his loved ones) - a witness to their death, 2) being bound by a professional secret (medical or secret confession, etc.) he sees the misfortune of loved ones, 3) to anticipate the death of a loved one, 4) to find out about the death of an ally, 5) in despair from the death of a loved one, lose all interest in life, become depressed, etc.
Disputes about how many and what kinds of plots exist in literature are still ongoing. Offered different variants, different numbers, but researchers cannot come to a consensus. In principle, each person can find his own versions of this list and, with due desire, getting rid of everything unnecessary, leaving only the “skeleton”, find confirmation of his version in all works of world literature.
In our research using factor analysis out of 36 stories, only 5 were highlighted:
1. Adultery (adultery, betrayal) with revenge
2. Restoring justice
3. Search, achievement.
4. Sacrifice in the family and for the sake of the family
5. Sacrifice for the sake of an idea.
At least 4 of them are very similar to the stories proposed by Borges.
From the point of view of psychology, the preference or choice of a particular plot in literature or cinema seems to be a reflection of the minimum state of a person and the maximum of his psychological (values, goals, norms, interests, abilities) and psychophysiological (peculiarities of perception, information processing depending on the physiological type functioning, the type of leading nervous system, the method of reaction) the type of person, the continuation of which is his worldview, which includes a “predilection” for certain storylines of life, and literature in particular. In addition, it is interesting to consider the plots that are repeated in all works, as a symbolic reflection of genetic programs embedded and evaluated in a non-specific department of the nervous system.
Therefore, your preference for plots in connection with psychophysiological data seems interesting.
Analysis.
In this case, you should consider this questionnaire as a reflection of your interests in the storylines. Your task is to consider the plots that are closest to you and those that are most rejected by you in connection with your type of activation. In the data analysis, when describing your type, include a description of subjects that do not interest you and those that interest you with clarification possible reasons this and the connections between them, and also try to summarize the storylines and connect them with your type of activation and other psychological data, that is, explain these relationships.
) to several tens (32 variations in Beethoven's - minor).
Variation classification criteria:
1) by the number of topics - single, double, triple;
2) according to the degree of freedom to vary the theme - strict (the structure of the theme, tonality, harmonic plan is preserved) and free (any transformation of the theme is possible);
3) by the method of variation - polyphonic, figurative, textured, genre, timbre;
4) historical types variation forms:
Variations on basso ostinato;
Figurative variations;
Variations on soprano ostinato;
Free variations (characteristic);
Variant form.
Variations on basso ostinato (basso ostinato - persistent bass) appeared in the 16th-17th centuries. They are based on the constant repetition of the same melodic turn in the bass. The appearance of variations on the basso ostinato was preceded by a polyphonic form, which had an unchanged cantus firmus (Gregorian chant in which the tenor part did not change). In the XVI-XVII centuries. variations on the basso ostinato were widely used in dance music. Some ancient dances– passacaglia, chaconne, English ground and others were variations on basso ostinato.
Passacaglia(from Spanish - to pass, street) - a Spanish procession dance, performed when guests were leaving.
Chaconne(from Spanish - always the same) - Spanish dance of folk origin, but more lively and active.
Typical for these genres are: majestic character, unhurried development of form, slow tempo, 3-beat size, minor scale ( major scale occurs less frequently and is more typical for operatic basso ostinato).
Main differences. Passacaglia is a more monumental, solemn genre (for organ or instrumental ensemble). The main theme (4-8 volumes) begins with the 3rd beat, monophonic. Chaconne is a more chamber genre, performed by a solo instrument - clavier or violin, begins with the 2nd beat, and is presented in the form of a harmonic sequence.
The form of variations on the basso ostinato was preserved even after the passacaglia and chaconne lost their dance significance. The principle of basso ostinato also penetrated into the arias and choruses of operas, oratorios and cantatas of the 16th-17th centuries. Classic examples of chaconne and passacaglia in the music of the 18th century. represented in works by Bach (for example, the chorus “Crucifixus” from the Mass in B minor) and Handel (passacaglia from the Suite in G minor for clavier). Beethoven used variations on the basso ostinato as an element of a large form (coda Vivace of the 7th symphony) and as the basis of a variation-cyclic form (finale of the 3rd symphony).
The theme of variations on the basso ostinato can be:
Chordova (Bach. Chaconne in d-moll for solo violin);
In variations on basso ostinato, variation usually occurs in the upper voices, but changes can also concern the theme itself: various kinds of figurations, transposition, transfer to the upper voice.
There are two types of theme variations on basso ostinato:
1) a closed theme that begins and ends with a tonic; in this case, the support remains the descending diatonic tetrachord (from the 1st degree to the 5th degree);
2) an open theme ends on a dominant, the moment of resolution of which coincides with the beginning of a new variation. The structure of a theme is often a period of 4-16 volumes. (“Chaconne in d minor” by Bach). The theme, as a rule, is presented first in one voice, the variations are organized according to the principle of increasing the number of voices, changing the modal mood in the group of “average” variations.
Polyphonic: imitation, canon, vertically mobile counterpoint;
Diminution (proportional decrease in duration);
Reharmonization of the theme.
There are 2 ways to organize the form of variations on basso ostinato:
1) the form is divided into variations if the boundaries of the ostinato bass and upper voices coincide;
2) the form is stratified into 2 independent layers - ostinato bass and upper voices, the caesuras of which do not coincide. As a result, 2 independent forms are simultaneously formed - one in the lower voice, the other in the upper voices.
The form as a whole was characterized by education subvariations(variations on variation), combining variations into groups based on any one principle.
In the XIX-XX centuries. the significance of the variations on the basso ostinato increases (Brahms. Finale of Symphony No. 4). Going beyond variations on the basso ostinato, ostinato gradually becomes one of the important principles of formation in the music of the 19th-20th centuries. and manifests itself in the area of rhythm, harmony, melodic chants (Ravel, Stravinsky, Shostakovich, Khachaturian, Kabalevsky, Britten, Orff).
basis strict (classical) variations is a theme presented mostly in a 2-part reprise form, and a number of variations. Variations are called strict because the theme in them is basically preserved: the structure, harmonic movement, and melodic basis remain unchanged. Rhythm, texture, registration and dynamics remain to be varied. The theme of the variations has an emphatically song-like (song-dance) character, is diatonic, has a small range, and a clear cadence (these features of the theme are of folk origin). Preference in structure is given to a simple 2-part form (usually a reprise), the latter variation is often written in a simple 3-part form or a simple 2-part with a coda.
All variations are presented in the main key. Around the middle of the cycle, a variation (or group of variations) occurs in tonality of the same name. This is a means of creating contrast in the development of one theme song and gives the variations the features of a 3-part composition. In variations, another form of the second plan may appear, for example, rondo. Sometimes in strict variations one can detect features of sonata form. The “sonatiness” of the variations is expressed not in tonal terms, but in the alternation of variations (groups of variations) with different principles of variation.
Classical variations have become widespread in the works of Haydn, Mozart, and Beethoven. Some cycles are small in size, consisting of 5-6 variations (I part of Beethoven's 12th sonata, I part of Mozart's 11th sonata). Sometimes there are works with big amount variations, for example: 32 variations with - moll by Beethoven.
So, strict (classical, ornamental, figurative) variations appeared in Western European instrumental music of the 17th-18th centuries.
Their distinctive features are:
♦ theme – original or borrowed; homophonic-harmonic nature, with a clear diatonic melody and accompaniment; calm pace, simple rhythm; middle case; form simple 2-part (Beethoven. Sonata No. 23, II movement; No. 12, I movement) or 3-part (Mozart. 12 variations. KV 265), form, period or (rarely) large sentence (Beethoven. 32 variations) ;
♦ in figurative variations, all types of figurations are used: melodic, harmonic, mixed; diminution (XVI century) - rhythmic fragmentation, reduction of durations in melody and other voices;
♦ combining variations into groups based on any principle of variation - rhythmic, tonal, textural, based on diminution; by tone;
♦ completion of the variation cycle: carrying out the theme in its original form or the final variation at a fast tempo with the shortest durations (performs the function of a coda or includes a coda).
Strict variations include the type variations on soprano ostinato , which arose in the work of Glinka (hence another name - Glinka variations). In this type of variation, the theme (melody) remains the same. Variation is carried out mainly by means of harmony (Persian chorus from the opera “Ruslan and Lyudmila” by Glinka). The primary source of the new type of variation form was the couplet structure of the Russian folk song. In choral form, this form is called verse-variation.
In the 20th century the form of variations on soprano ostinato was transferred to instrumental music(“Bolero” by Ravel, invasion episode from Part I of Shostakovich’s 7th Symphony).
The theme of variations on soprano ostinato can be original or borrowed (“The baby was leaving” - Marfa’s song from the opera “Khovanshchina” by Mussorgsky). Theme form is a large sentence or period (Rimsky-Korsakov. Sadko’s song “Oh, you, dark oak tree” from the 2nd chapter), a simple 2-part non-reprising (Rimsky-Korsakov. 3rd song of Lelya from the 3rd chapter, “Cloud with thunder” conspired"), a simple 2-part reprise (Glinka. Persian chorus from the 3rd movement of the opera “Ruslan and Lyudmila”), rarely a simple 3-part (Grieg. “In the Cave of the Mountain King” from the suite “Peer Gynt”).
Plot analysis– one of the most common and fruitful ways of interpretation literary text. At a primitive level, it is accessible to almost any reader. When, for example, we try to retell a book we liked to a friend, we actually begin to isolate the main plot links. However professional analysis plot is a task of a completely different level of complexity. A philologist, armed with special knowledge and mastering methods of analysis, will see much more in the same plot than an ordinary reader.
The purpose of this chapter is to introduce students to the basics of a professional approach to plotting.
Classic plot theory. Plot elements.
Plot and plot. Terminological apparatus
Classical plot theory , in general terms formed back in Ancient Greece, proceeds from the fact that the main components of plot composition are events And actions. Events woven into actions, as Aristotle believed, constitute plot- the basis of any epic and dramatic work. Let us immediately note that the term plot does not occur in Aristotle, this is the result Latin translation. Aristotle's original myth. This nuance then played a cruel joke with literary terminology, since the differently translated “myth” led to modern times to terminological confusion. Below we will dwell in more detail on the modern meanings of the terms. plot And plot.
Aristotle associated the unity of the plot with unity and completeness actions, but not hero, in other words, the integrity of the plot is ensured not by the fact that we meet one character everywhere (if we talk about Russian literature, then, for example, Chichikov), but by the fact that all the characters are drawn into single action. Insisting on the unity of action, Aristotle singled out the beginning And denouement as necessary elements of the plot. The tension of action, in his opinion, is maintained by several special techniques: peripeteia(sharp turn from bad to good and vice versa), recognition(in the very in a broad sense words) and related words misrecognition errors, which Aristotle considered an integral part of tragedy. For example, in Sophocles’ tragedy “Oedipus the King,” the intrigue of the plot is maintained misrecognition Oedipus of father and mother.
Besides, ancient literature as the most important technique for constructing a plot, I often used metamorphosis(transformations). The plots of Greek myths are filled with metamorphoses; this is the name of one of the most significant works of ancient culture - a cycle of poems by the famous Roman poet Ovid, which is a poetic adaptation of many plots of Greek mythology. Metamorphoses retain their significance in plots latest literature. It is enough to recall N.V. Gogol’s stories “The Overcoat” and “The Nose”, M.A. Bulgakov’s novel “The Master and Margarita”, etc. Fans of modern literature may recall V. Pelevin’s novel “The Life of Insects”. In all these works, the moment of transformation plays a fundamental role.
The classical theory of plot, developed and refined by the aesthetics of modern times, remains relevant today. Another thing is that time, naturally, has made its own adjustments to it. In particular, the term is widely used collision, introduced in the 19th century by G. Hegel. Collision– this is not just an event; This is an event that violates some established order. “At the basis of a collision,” writes Hegel, “is a violation that cannot be preserved as a violation, but must be eliminated.” Hegel astutely noted that for the formation of a plot and the development of plot dynamics it is necessary violation. This thesis, as we will see later, plays an important role in the latest theories plot.
The Aristotelian scheme of “commence – denouement” was further developed in German literary criticism of the 19th century (primarily, this is associated with the name of the writer and playwright Gustav Freitag) and, after going through a series of clarifications and terminological treatments, it received the classical scheme of plot structure, known to many from school: exposition(background for starting the action) – plot(start of main action) – action development – climax(highest voltage) – denouement.
Today, any teacher uses these terms, called plot elements. The name is not very good, because with other approaches in as plot elements I act completely different concepts. However, this is generally accepted in the Russian tradition, so there is hardly any point in dramatizing the situation. We just have to remember that when we talk plot elements, then depending on the general concept of the plot we mean different things. This point will become clearer as we look at alternative theories of plot.
It is customary to distinguish (quite conventionally) mandatory and optional elements. TO compulsory include those without which a classic plot is completely impossible: plot - development of action - climax - denouement. TO optional– those that are not found in a number of works (or many). This often includes exposition(although not all authors think so), prologue, epilogue, afterword and etc. Prologue- This is a story about events that ended before the main action began and shed light on everything that happens. Classical Russian literature did not actively use prologues, so it is difficult to find an example that is well-known to everyone. For example, “Faust” by I. Goethe begins with a prologue. The main action is related to the fact that Mephistopheles leads Faust through life, achieving the famous phrase “Stop, just a moment, you are beautiful.” In the prologue we're talking about about another: God and Mephistopheles make a bet about a person. Is it possible to have a person who will not give up his soul for any temptation? The honest and talented Faust is chosen as the subject of this bet. After this prologue, the reader understands why Mephistopheles knocked on Faust’s closet, why he needs the soul of this particular person.
Much more familiar to us epilogue- a narration about the fate of the characters after the denouement of the main action and / or the author’s reflections on the problems of the work. Let us remember “Fathers and Sons” by I. S. Turgenev, “War and Peace” by L. N. Tolstoy - there we will find classic examples epilogues.
The role is not entirely clear insert episodes, author's digressions, etc. Sometimes (for example, in textbook O.I. Fedotov) they are included in the concept of plot, but are often taken beyond its boundaries.
In general, it should be admitted that the given plot scheme, despite its popularity, has many flaws. Firstly, not all works built according to this scheme; secondly, she doesn't exhausts the plot analysis. Famous philologist N.D.
Tamarchenko remarked, not without irony: “In reality, these kinds of plot “elements” can only be isolated in crime fiction.” At the same time, within reasonable limits, the use of this scheme is justified; it represents, as it were, a first look at the development
storyline
. For many dramatic plots, where the development of the conflict is fundamentally important, this scheme is even more applicable.
This is an important change of emphasis, changing the angle of view in the study of the plot. To feel this, let’s ask a simple question: “What is the main spring of the development of action, for example, in “Crime and Punishment” by F. M. Dostoevsky? Interest in the crime event is brought to life by the character of Raskolnikov or, on the contrary, the character of Raskolnikov requires precisely such a plot disclosure?
According to Aristotle, the first answer dominates; modern scientists are more likely to agree with the second. The literature of modern times often “hides” external events, shifting the center of gravity to psychological nuances. The same V. E. Khalizev in another work, analyzing Pushkin’s “Feast during the Plague,” noted that in Pushkin, instead of the dynamics of events, internal action dominates.
In addition, the question of what the plot is made up of, and where is the minimum “piece of action” that is subject to plot analysis, remains debatable. A more traditional point of view is that the actions and actions of the characters should be at the center of plot analysis. In its extreme form, it was once expressed by A. M. Gorky in “Conversation with the Young” (1934), where the author identifies three most important foundations of the work: language, theme/idea and plot. Gorky interpreted the latter as “connections, contradictions, sympathies, antipathies and, in general, relationships between people, the history of growth and organization of one nature or another.” Here the emphasis is clearly placed on the fact that the plot is based on character development, therefore, plot analysis turns, in essence, into an analysis of the supporting links in the development of the hero’s character. Gorky's pathos is quite understandable and historically explainable, but theoretically such a definition is incorrect. Such an interpretation of the plot is applicable only to a very narrow range of literary works.
The opposite point of view was formulated in the academic publication of the theory of literature by V. V. Kozhinov. His concept took into account many of the latest theories of that time and was that the plot is “a sequence of external and internal movements of people and things.” There is a plot wherever there is a sense of movement and development. In this case, the smallest “piece” of the plot becomes gesture, and the study of the plot is the interpretation of the system of gestures.
The attitude towards this theory is ambiguous, since, on the one hand, the theory of gestures allows you to see the non-obvious, on the other hand, there is always a danger of “pulling down” the plot too much, losing the boundaries of big and small. With this approach, it is very difficult to separate plot analysis from stylistic analysis itself, since we are actually talking about the analysis of the verbal fabric of the work.
At the same time, studying the gestural structure of a work can be very useful. Under gesture it should be understood any manifestation of character in action. A spoken word, an action, a physical gesture - all this becomes subject to interpretation. Gestures can be dynamic (that is, the action itself) or static
(that is, the absence of action against some changing background). In many cases, it is the static gesture that is most expressive. Let us recall, for example, Akhmatova’s famous poem “Requiem”. As you know, the biographical background of the poem is the arrest of the son of the poetess L. N. Gumilyov. However, this tragic fact of biography is rethought by Akhmatova on a much larger scale: socio-historical (as an accusation against the Stalinist regime) and moral-philosophical (as an eternal repetition of the motive of an unjust trial and maternal grief). Therefore, the poem always has a background: the drama of the thirties of the twentieth century is “shine through” with the motive of the execution of Christ and the grief of Mary. And then the famous lines are born:
Magdalena struggled and sobbed.
The beloved student turned to stone.
And where Mother stood silently,
So no one dared to look.
The dynamics here are created by the contrast of gestures, of which the most expressive is the silence and immobility of the Mother. Akhmatova here plays on the paradox of the Bible: none of the Gospels describe the behavior of Mary during the torture and execution of Christ, although it is known that she was present at this. According to Akhmatova, Maria stood silently and watched as her son was tortured. But her silence was so expressive and creepy that everyone was afraid to look in her direction. Therefore, the authors of the Gospels, having described in detail the torment of Christ, do not mention his mother - this would be even more terrible.
Akhmatova’s lines are a brilliant example of how deep, intense and expressive a static gesture can be for a talented artist. So, modern modifications of the plot, one way or another, they recognize the connection between the plot and the character, while the question remains open about the “elementary level” of the plot - whether it is an event/action or a gesture. Obviously, you shouldn’t look for definitions “for all occasions.” In some cases, it is more correct to interpret the plot through a gestural structure; in others, where the gestural structure is less expressive, it can be abstracted to one degree or another, focusing on larger plot units.
Another not very clear point in the assimilation of the classical tradition is the relationship between the meanings of the terms plot And plot. At the beginning of our conversation about the plot, we already said that this problem is historically connected with errors in the translation of Aristotle’s Poetics. As a result, the terminological “dual power” arose. At one time (approximately until the end of the 19th century) these terms were used as synonyms. Then, as the plot analysis became more nuanced, the situation changed. Under plot began to understand events as such, as plot– their real representation in the work. That is, the plot began to be understood as a “realized plot.” The same plot could be produced into different plots. It is enough to remember how many works, for example, are built around the plot of the Gospels.
This tradition is associated primarily with the theoretical quests of Russian formalists of the 10s - 20s of the twentieth century (V. Shklovsky, B. Eikhenbaum, B. Tomashevsky, etc.). However, it must be admitted that their work did not differ in theoretical clarity, so the terms plot And plot They often changed places, which completely confused the situation.
The formalist traditions were directly or indirectly adopted by Western European literary criticism, so today in different manuals we find different, sometimes opposing, understandings of the meaning of these terms.
Let's focus only on the most basic ones.
1. Plot and plot- synonymous concepts, any attempts to separate them only unnecessarily complicate the analysis.
As a rule, it is recommended to abandon one of the terms, most often the plot. This point of view was popular among some Soviet theorists (A. I. Revyakin, L. I. Timofeev, etc.). In the later period, one of the “troublemakers”, V. Shklovsky, came to similar conclusions, who at one time insisted on separation of plot and plot. However, among modern specialistsBut this point of view is not dominant.
2. Fable– these are “pure” events, without fixing any connection between them. As soon as events become connected in the author’s mind, the plot becomes a plot. “The king died and then the queen died” is a plot. “The king died and the queen died of grief” is the plot. This point of view is not the most popular, but is found in a number of sources. The disadvantage of this approach is the non-functionality of the term “plot”. In fact, the plot seems to be simply a chronicle of events.
3. Plot – the main event series of the work, the plot - its artistic treatment. By expression Ya. Zundelovich, “the plot is the outline, the plot is the pattern.” This point of view is very widespread both in Russia and abroad, which is reflected in a number of encyclopedic publications. Historically such a point vision goes back to the ideas of A. N. Veselovsky (late 19th century), although Veselovsky himself did not dramatize terminological nuances, and his understanding of the plot, as we will see below, differed from the classical one. From the school of formalists, this concept was adhered to primarily by J. Zundelovich and M. Petrovsky, in whose works plot And plot became different terms.
At the same time, despite its solid history and authoritative origins, such an understanding of the term in both Russian and Western European literary criticism is not decisive. The opposite point of view is more popular.
4. Fable- This the main event series of the work in its conditionally life-like sequence(that is, the hero at first is born Then something happens to him finally, the hero dies). Plot- This the entire series of events in the sequence as they are presented in the work. After all, the author (especially after the 18th century) may well begin the work, for example, with the death of the hero, and then talk about his birth. Lovers of English literature may recall famous novel R. Aldington's "Death of a Hero", which is constructed exactly like this.
Historically, this concept goes back to the most famous and authoritative theorists of Russian formalism (V. Shklovsky, B. Tomashevsky, B. Eikhenbaum, R. Yakobson, etc.), it was reflected in the first edition of “ Literary Encyclopedia" ; It is this point of view that is presented in the already discussed article by V.V. Kozhinov, it is adhered to by many authors of modern textbooks, and it is most often found in Western European dictionaries.
In fact, the difference between this tradition and the one we described before it is not fundamental, but formal. The terms simply change their meaning. It is more important to understand that both concepts capture plot-plot discrepancies, which gives the philologist a tool for interpretation. It is enough to recall, for example, how M. Yu. Lermontov’s novel “A Hero of Our Time” was structured. The plot arrangement of the parts clearly does not coincide with the plot, which immediately raises questions: why is that? What does the author achieve with this? and so on.
In addition, B. Tomashevsky noted that there are events in the work, without which the logic of the plot collapses ( related motives- in his terminology), but there are those that “can be eliminated without violating the integrity of the causal and temporal course of events” ( free motives). For the plot, according to Tomashevsky, only related motives are important. The plot, on the contrary, actively uses free motives; in the literature of modern times they sometimes play a decisive role. If we remember the already mentioned story by I. A. Bunin “The Gentleman from San Francisco,” we will easily feel that there are few plot events (arrived - died - taken away), and the tension is supported by nuances, episodes that, as it may seem, are not play a decisive role in the logic of the narrative.
Which of the Russians poets XIX-XX centuries created ironic variations on classical plots and how can they be compared with the poem by V. S. Vysotsky?
Reflecting on the stated problem, as literary context attract the works of K.S. Aksakova, N.A. Nekrasova, T. Yu. Kibirova.
Emphasize that parodies and ironic variations occupy a special place among comic genres.
Note that parodies of Pushkin and Lermontov’s works were in great fashion among the poets’ contemporaries. Earlier, A.S. Pushkin and K.N. Batyushkov himself made parodies of the work of V.A. Zhukovsky "Singer in the camp of Russian warriors." Derzhavin's odes were subject to parodic re-interpretation. K. S. Aksakov became the author of a dramatic parody of Pushkin’s poem “Oleg near Constantinople.”
V.N. Almazov created rehashes of A.S. Pushkin (“Grooms”), N.A. Nekrasova (“Storm”). Contemporary N.A. Dobrolyubov D. Minaev parodied the poems of N.F. Shcherbiny, N.P. Ogareva, L.A. Meya, A.A. Maykova. Ogarev himself is known for his variation of Pushkin’s work “Once upon a time there lived a poor knight...” (for Ogarev it is fashionable). As the creator of verbal parodies, Kozma Prutkov should also be mentioned - the “brainchild” of Alexei Konstantinovich Tolstoy and the Zhemchuzhnikov brothers.
Remember the famous rehash of “Cossack Lullaby” by M. Yu. Lermontov, written by N.A. Nekrasov (“Lullaby”), in which a grotesque image of an official was created. Unlike Vysotsky’s ironic variation, poet XIX centuries chooses a different image for ridicule, giving it a satirical edge. Genre and compositional features are comically transformed. Vysotsky’s legendary heroes receive a different assessment, in contrast to Pushkin’s ballad. The focus is now not on the tragedy of the prince, but on the eternal conflict between man and the state.
Point out that the representative of conceptualism T. Yu. Kibirov, unlike Vysotsky, creates parodies based on quotation. His arsenal includes parodies of Pushkin’s poems, “Summer Reflections on the Fates of Fine Literature,” verbal, syntactic, rhythmic, and conceptual imitations of B.L. Pasternak, A.A. Voznesensky, S.V. Mikhalkov, A.P. Mezhirov, V.V. Nabokov, Yu.K. Olesha.
In your conclusions, explain the difference between parody variations and rehashes, reveal the originality of the ironic poem by V. S. Vysotsky.
