All genres of literature definition list. Literary genres and genera: characteristics and classification. Types and genres of literature

4. As you know, all literary works, depending on the nature of what is depicted, belong to one of three GENERS: epic, lyric or drama. A literary genre is a generalized name for a group of works depending on the nature of the reflection of reality.

EPOS (from the Greek “narration”;-) is a generalized name for works depicting events external to the author.

LYRICS (from the Greek “performed to the lyre”;-) is a generalized name for works in which there is no plot, but the feelings, thoughts, experiences of the author or his lyrical hero are depicted.

DRAMA (from the Greek “action”;-) is a generalized name for works intended for production on stage; The drama is dominated by character dialogues, and the author's input is kept to a minimum.

The types of epic, lyrical and dramatic works are called types of literary works.

Type and genre are very close concepts in literary criticism.

Genres are variations of a type of literary work. For example, a genre variety of a story can be a fantasy or historical story, and a genre variety of a comedy can be vaudeville, etc. Strictly speaking, a literary genre is a historically established type of artistic work that contains certain structural features and aesthetic quality characteristic of a given group of works.

TYPES (GENRES) OF EPIC WORKS:

Epic, novel, story, story, fairy tale, fable, legend.

EPIC is a major work of fiction telling about significant historical events. In ancient times - a narrative poem of heroic content. In the literature of the 19th and 20th centuries, the genre of the epic novel appeared - this is a work in which the formation of the characters of the main characters occurs during their participation in historical events.
A NOVEL is a large narrative work of art with a complex plot, in the center of which is the fate of an individual.
A STORY is a work of art that occupies a middle position between a novel and a short story in terms of volume and complexity of the plot. In ancient times, any narrative work was called a story.
STORY is a small work of fiction based on an episode, an incident from the life of the hero.
TALE - a work about fictional events and characters, usually involving magical, fantastic forces.
A FABLE (from “bayat” - to tell) is a narrative work in poetic form, small in size, of a moralizing or satirical nature.

TYPES (GENRES) OF LYRIC WORKS:

Ode, hymn, song, elegy, sonnet, epigram, message.

ODA (from Greek “song”) is a choral, solemn song.
HYMN (from Greek “praise”) is a solemn song based on programmatic verses.
EPIGRAM (from Greek “inscription”) is a short satirical poem of a mocking nature that arose in the 3rd century BC. e.
ELEGY is a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness. Belinsky called elegy “a song of sad content.” The word "elegy" is translated as "reed flute" or "plaintive song." Elegy originated in Ancient Greece in the 7th century BC. e.
MESSAGE - a poetic letter, an appeal to a specific person, a request, a wish, a confession.
SONNET (from the Provencal sonette - “song”) is a poem of 14 lines, which has a certain rhyme system and strict stylistic laws. The sonnet originated in Italy in the 13th century (the creator was the poet Jacopo da Lentini), in England it appeared in the first half of the 16th century (G. Sarri), and in Russia in the 18th century. The main types of sonnet are Italian (from 2 quatrains and 2 tercets) and English (from 3 quatrains and a final couplet).

LYROEPIC TYPES (GENRES):

Poem, ballad.

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

TYPES (GENRES) OF DRAMATIC WORKS:

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

TRAGEDY (from Greek tragos ode - “goat song”) is a dramatic work depicting an intense struggle of strong characters and passions, which usually ends with the death of the hero.
COMEDY (from Greek komos ode - “funny song”) is a dramatic work with a cheerful, funny plot, usually ridiculing social or everyday vices.
DRAMA (“action”) is a literary work in the form of dialogue with a serious plot, depicting an individual in his dramatic relationship with society. Varieties of drama can be tragicomedy or melodrama.
VAUDEVILLE is a genre type of comedy; it is a light comedy with singing verses and dancing.
Farce is a genre variety of comedy; it is a theatrical play of a light, playful nature with external comic effects, designed for rough tastes.

Hello, dear readers of the blog site. The question of genre as a variety of one or another is quite complex. This term is found in music, painting, architecture, theater, cinema, and literature.

Determining the genre of a work is a task that not every student can cope with. Why is genre division necessary at all? Where are the boundaries separating a novel from a poem, and a short story from a story? Let's try to figure it out together.

Genre in literature - what is it?

The word "genre" comes from the Latin genus ( species, genus). Literary reference books report that:

A genre is a historically established variety, united by a certain set of formal and substantive features.

From the definition it is clear that in the process of genre evolution it is important to highlight three points:

1. each genre of literature is formed over a long period of time (each of them has its own history);
2. the main reason for its appearance is the need to express new ideas in an original way (substantive criterion);
3. distinguish one type of work is distinguished from another by external signs: volume, plot, structure (formal criterion).

All genres of literature can be represented this way:

These are three typology options that help classify a work into a particular genre.

The history of the emergence of literary genres in Rus'

The literature of European countries was formed according to the principle of movement from the general to the particular, from the anonymous to the author. Artistic creativity both abroad and in Russia was nourished by two sources:

1. spiritual culture, the center of which was monasteries;
2. in folk speech.

If you look closely at the history of literature in Ancient Rus', you will notice how new ones are gradually coming to the patericons, lives of saints and patristic works.

At the turn of the XIV-XV centuries such genres of ancient Russian literature, as a word, walking (the ancestor of the travel novel), (everyday “splinter” of a moral parable), heroic poem, spiritual verse. Based on the material of oral traditions, it stood out separately during the period of the collapse of the ancient myth into a fairy-tale epic and a realistic military story.

By interacting with foreign written traditions, Russian literature is enriched new genre forms: a novel, a secular philosophical story, an author's fairy tale, and - a lyrical poem, a ballad.

The realistic canon brings to life a problematic novel, story, story. At the turn of the 19th and 20th centuries, genres with blurred boundaries became popular again: essay (), sketch, short poem, symbolist. Old forms are filled with original meaning, transform into each other, and destroy given standards.

Dramatic art has a powerful influence on the formation of the genre system. Installation for theatricality changes the appearance of such genres familiar to the average reader as a poem, a story, a short story, and even a small lyric poem (in the era of the “sixties” poets).

In modern literature remains open. There is a prospect of interaction not only within individual genres, but also within various types of art. Every year a new genre appears in literature.

Literature by genus and species

The most popular classification breaks down works “by type” (all of its components are shown in the third column in the figure shown at the beginning of this publication).

To understand this genre classification, you need to remember that literature, like music, is worth on “three pillars”. These whales, called genera, are in turn divided into species. For clarity, let's present this structure in the form of a diagram:

1. The most ancient “whale” is considered. Its progenitor, who split into legend and tale.
2. appeared when humanity stepped beyond the stage of collective thinking and turned to the individual experiences of each member of the community. The nature of the lyrics is the author’s personal experience.
3. older than epic and lyric poetry. Its appearance is associated with the era of antiquity and the emergence of religious cults - mysteries. Drama became the art of the streets, a means of releasing collective energy and influencing masses of people.

Epic genres and examples of such works

The largest epic forms known to modern times are the epic and the epic novel. The ancestors of the epic can be considered a saga, widespread in the past among the peoples of Scandinavia, and a legend (for example, the Indian “The Tale of Gilgamesh”).

Epic is a multi-volume narrative about the fate of several generations of heroes in historically established circumstances and fixed by cultural tradition.

A rich socio-historical background is required against which the events of the characters’ private lives unfold. For an epic, such features as a multi-component plot, connections between generations, and the presence of heroes and anti-heroes are important.

Because it depicts large-scale events over the course of centuries, it rarely exhibits careful psychological detail, but the epics created in the last few centuries combine these attitudes with the achievements of modern art. “The Forsyte Saga” by J. Galsworthy not only describes the history of several generations of the Forsyte family, but also gives subtle, vivid images of individual characters.

Unlike the epic epic novel covers a shorter period of time (no more than a hundred years) and tells the story of 2-3 generations of heroes.

In Russia, this genre is represented by the novels “War and Peace” by L.N. Tolstoy, “Quiet Don” by M.A. Sholokhov, “Walking through torment” by A.N. Tolstoy.

To medium forms Epic includes novel and story.

The term " novel" comes from the word "Roman" (Roman) and is reminiscent of antiquity, which gave birth to this genre.

The Satyricon of Petronius is considered an example of an ancient novel. In medieval Europe, the picaresque novel became widespread. gives the world a travel novel. Realists develop the genre and fill it with classical content.

At the turn of the 19th and 20th centuries the following appeared types of novels:

1. philosophical;
2. psychological;
3. social;
4. intellectual;
5. historical;
6. love;
7. detective;
8. adventure novel.

There are many novels in the school curriculum. Giving examples, name the books by I.A. Goncharov “Ordinary History”, “Oblomov”, “Cliff”, works by I.S. Turgenev “Fathers and Sons”, “Noble Nest”, “On the Eve”, “Smoke”, “New”. The genre of “Crime and Punishment”, “The Idiot”, “The Brothers Karamazov” by F. M. Dostoevsky is also a novel.

Tale does not affect the fate of generations, but has several storylines developing against the backdrop of one historical event.

"The Captain's Daughter" A. S. Pushkin and “The Overcoat” by N.V. Gogol. V.G. Belinsky spoke about the primacy of narrative literature in the culture of the 19th century.

Small epic forms(story, essay, short story, essay) have one plot line, a limited number of characters and are distinguished by a compressed volume.

Examples include stories by A. Gaidar or Y. Kazakov, short stories by E. Poe, essays by V.G. Korolenko or essay by W. Wulf. Let’s make a reservation: sometimes it “works” as a genre of scientific style or journalism, but has artistic imagery.

Lyrical genres

Large lyrical forms represented by a poem and a wreath of sonnets. The first is more plot-driven, which makes it similar to the epic. The second one is static. The wreath of sonnets, consisting of 15 14-verse lines, describes a topic and the author’s impressions of it.

In Russia, poems have a socio-historical character. “The Bronze Horseman” and “Poltava” by A.S. Pushkin, “Mtsyri” by M.Yu. Lermontov, “Who Lives Well in Rus'” N.A. Nekrasov, “Requiem” by A.A. Akhmatova - all these poems lyrically describe Russian life and national characters.

Small forms of lyrics numerous. This is a poem, canzona, sonnet, epitaph, fable, madrigal, rondo, triolet. Some forms originated in medieval Europe (the sonnet genre was especially loved by lyricists in Russia), others (for example, the ballad) became the legacy of the German romantics.

Traditionally small Poetic works are usually divided into 3 types:

1. philosophical lyrics;
2. love lyrics;
3. landscape lyrics.

Recently, urban lyrics have also emerged as a separate subtype.

Dramatic genres

Drama gives us three classic genres:

1. comedy;
2. tragedy;
3. actual drama.

All three types of performing arts originated in Ancient Greece.

Comedy was initially associated with religious cults of purification, mysteries, during which carnival action unfolded on the streets. The sacrificial goat “comos” walking through the streets along with the artists, later called the “scapegoat”, symbolized all human vices. According to the canon, they are what comedy should make fun of.

Comedy is the genre of “Woe from Wit” by A.S. Griboyedov and “Nedoroslya” D.I. Fonvizina.

There are 2 types of comedy: comedy provisions and comedy characters. The first played with circumstances, passed off one hero as another, and had an unexpected ending. The second pitted the characters against each other in the face of an idea or task, generating a theatrical conflict on which the intrigue rested.

If during a comedy the playwright expected the healing laughter of the crowd, then tragedy I set out to bring tears to my eyes. It was bound to end with the death of the hero. Empathizing with the characters, the viewer or purification.

“Romeo and Juliet” and also “Hamlet” by W. Shakespeare were written in the tragedy genre.

Actually drama- This is a later invention of dramaturgy, removing therapeutic tasks and focusing on subtle psychologism, objectivity, and play.

Determining the genre of a literary work

How was the poem "Eugene Onegin" called a novel? Why did Gogol define the novel “Dead Souls” as a poem? And why is Chekhov’s “The Cherry Orchard” a comedy? Genre designations are clues that remind you that in the world of art there are right directions, but, fortunately, there are no forever beaten paths.

Just above is a video that helps determine the genre of a particular literary work.

Good luck to you! See you soon on the pages of the blog site

You might be interested

What is a story What is an epic and what genres of epic works exist? What is prose What is a novel What are lyrics What is satire in general and in literature in particular? What is folklore and what genres does it include? What is fiction What is a libretto

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  Since the time of Aristotle, who gave the first systematization of literary genres in his “Poetics,” the idea has become stronger that literary genres represent a natural, once and for all fixed system, and the author’s task is only to achieve the most complete compliance of his work with the essential properties of the chosen genre. This understanding of the genre - as a ready-made structure presented to the author - led to the emergence of a whole series of normative poetics containing instructions for authors regarding exactly how an ode or tragedy should be written; The pinnacle of this type of work is Boileau’s treatise “Poetic Art” (). This does not mean, of course, that the system of genres as a whole and the characteristics of individual genres really remained unchanged for two thousand years - however, changes (and very significant ones) were either not noticed by theorists, or were interpreted by them as damage, a deviation from the necessary models. And only by the end of the 18th century, the decomposition of the traditional genre system, associated, in accordance with the general principles of literary evolution, both with intraliterary processes and with the influence of completely new social and cultural circumstances, went so far that normative poetics could no longer describe and curb literary reality.

  Under these conditions, some traditional genres began to rapidly die out or become marginalized, while others, on the contrary, moved from the literary periphery to the very center of the literary process. And if, for example, the rise of the ballad at the turn of the 18th-19th centuries, associated in Russia with the name of Zhukovsky, turned out to be quite short-lived (although in Russian poetry it then gave an unexpected new surge in the first half of the 20th century - for example, in Bagritsky and Nikolai Tikhonov, - and then at the beginning of the 21st century with Maria Stepanova, Fyodor Swarovsky and Andrei Rodionov), then the hegemony of the novel - a genre that normative poets for centuries did not want to notice as something low and insignificant - dragged on in European literature for at least a century. Works of a hybrid or undefined genre nature began to develop especially actively: plays about which it is difficult to say whether they are a comedy or a tragedy, poems for which it is impossible to give any genre definition, except that it is a lyrical poem. The decline of clear genre identifications was also manifested in deliberate authorial gestures aimed at destroying genre expectations: from Laurence Sterne’s novel “The Life and Opinions of Tristram Shandy, Gentleman,” which ends in mid-sentence, to N. V. Gogol’s “Dead Souls,” where the subtitle is paradoxical for a prose text the poem can hardly fully prepare the reader for the fact that he will now and then be knocked out of the rather familiar rut of a picaresque novel by lyrical (and sometimes epic) digressions.

  In the 20th century, literary genres were particularly strongly influenced by the separation of mass literature from literature focused on artistic exploration. Mass literature has once again felt an urgent need for clear genre prescriptions that significantly increase the predictability of the text for the reader, making it easy to navigate through it. Of course, the previous genres were not suitable for mass literature, and it quite quickly formed a new system, which was based on the genre of the novel, which was very flexible and had accumulated a lot of varied experience. At the end of the 19th century and in the first half of the 20th, the detective and police novels, science fiction and ladies' (“pink”) novels took shape. It is not surprising that contemporary literature, aimed at artistic search, sought to deviate as far as possible from the mass literature and therefore moved away from genre definition quite consciously. But since the extremes converge, the desire to be further from genre predetermination sometimes led to new genre formation: for example, the French anti-novel did not want to be a novel so much that the main works of this literary movement, represented by such original authors as Michel Butor and Nathalie Sarraute, are clearly observed signs of a new genre. Thus, modern literary genres (and we already encounter this assumption in the thoughts of M. M. Bakhtin) are not elements of any predetermined system: on the contrary, they arise as points of concentration of tension in one place or another of the literary space in accordance with artistic tasks , here and now put forward by this circle of authors, and can be defined as “a stable thematically, compositionally and stylistically type of statement.” Special study of such new genres remains a matter for tomorrow.

  Typology of literary genres

  A literary work can be classified as one or another genre according to various criteria. Below are some of these criteria and examples of genres.

  Hierarchy of genres in classicism

  Classicism, for example, also establishes a strict hierarchy of genres, which are divided into high(ode, tragedy, epic) and low(comedy, satire, fable). Each genre has strictly defined characteristics, the mixing of which is not allowed.

  see also

  Notes

  Literature

  • Darwin M. N., Magomedova D. M., Tyupa V. I., Tamarchenko N. D. Theory of literary genres / Tamarchenko N.D. - M.: Academy, 2011. - 256 p. - (Higher professional education. Bachelor's degree). - ISBN 978-5-7695-6936-4.
  • Genre as a reading tool / Kozlov V.I. - Rostov-on-Don: Innovative humanitarian projects, 2012. - 234 p. - ISBN 978-5-4376-0073-3.
  • Lozinskaya E. V. Genre // Western literary criticism of the 20th century. Encyclopedia / Tsurganova E. A. - INION RAS: Intrada, 2004. - P. 145-148. - 560 s. - ISBN 5-87604-064-9.
  • Leiderman N. L. Genre theory. 
  • Research and analysis / Lipovetsky M. N., Ermolenko S. I. - Ekaterinburg: Ural State Pedagogical University, 2010. - 904 p. - ISBN 978-5-9042-0504-1. Smirnov I. P.
  • Literary time. (Hypo) theory of literary genres. - M.: Publishing House of the Russian Christian Humanitarian Academy, 2008. - 264 p. - ISBN 978-5-88812-256-3. Tamarchenko N. D.
  • Genre // Literary encyclopedia of terms and concepts / Nikolyukin A. N. - INION RAS: Intelvac, 2001. - pp. 263-265. - 1596 p. - ISBN 5-93264-026-Х. Todorov Ts.
  • Introduction to fantastic literature. - M.: House of Intellectual Books, 1999. - 144 p. - ISBN 5-7333-0435-9. Freidenberg O. M.
  • Poetics of plot and genre. - M.: Labyrinth, 1997. - 450 p. - ISBN 5-8760-4108-4. Schaeffer J.-M.
  • What is a literary genre? - M.: Editorial URSS, 2010. - ISBN 9785354013241. Chernets L.V.
  • Literary genres (problems of typology and poetics). - M.: MSU Publishing House, 1982. Chernyak V. D., Chernyak M. A. Genres of mass literature, Formula of mass literature

  // Mass literature in concepts and terms. - Science, Flint, 2015. - P. 50, 173-174. - 193 p. - Literary genres

  - groups of literary works united by a set of formal and substantive properties (in contrast to literary forms, the identification of which is based only on formal characteristics).

  Since the time of Aristotle, who gave the first systematization of literary genres in his “Poetics,” the idea has become stronger that literary genres represent a natural, once and for all fixed system, and the author’s task is only to achieve the most complete compliance of his work with the essential properties of the chosen genre. This understanding of the genre - as a ready-made structure presented to the author - led to the emergence of a whole series of normative poetics containing instructions for authors regarding exactly how an ode or tragedy should be written; The pinnacle of this type of writing is Boileau’s treatise “The Poetic Art” (1674). This does not mean, of course, that the system of genres as a whole and the characteristics of individual genres really remained unchanged for two thousand years - however, changes (and very significant ones) were either not noticed by theorists, or were interpreted by them as damage, a deviation from the necessary models. And only by the end of the 18th century, the decomposition of the traditional genre system, associated, in accordance with the general principles of literary evolution, both with intraliterary processes and with the influence of completely new social and cultural circumstances, went so far that normative poetics could no longer describe and curb literary reality.

  Under these conditions, some traditional genres began to rapidly die out or become marginalized, while others, on the contrary, moved from the literary periphery to the very center of the literary process. And if, for example, the rise of the ballad at the turn of the 18th-19th centuries, associated in Russia with the name of Zhukovsky, turned out to be quite short-lived (although in Russian poetry it then gave an unexpected new surge in the first half of the 20th century - for example, in Bagritsky and Nikolai Tikhonov) , then the hegemony of the novel - a genre that normative poets for centuries did not want to notice as something low and insignificant - lasted in European literature for at least a century. Works of a hybrid or undefined genre nature began to develop especially actively: plays about which it is difficult to say whether they are a comedy or a tragedy, poems for which it is impossible to give any genre definition, except that it is a lyric poem. The decline of clear genre identifications was also manifested in deliberate authorial gestures aimed at destroying genre expectations: from Laurence Sterne’s novel “The Life and Opinions of Tristram Shandy, Gentleman,” which ends mid-sentence, to N. V. Gogol’s “Dead Souls,” where the subtitle is paradoxical for a prose text the poem can hardly fully prepare the reader for the fact that he will now and then be knocked out of the fairly familiar rut of a picaresque novel by lyrical (and sometimes epic) digressions.

  In the 20th century, literary genres were particularly strongly influenced by the separation of mass literature from literature focused on artistic exploration. Mass literature has once again felt an urgent need for clear genre prescriptions that significantly increase the predictability of the text for the reader, making it easy to navigate through it. Of course, the previous genres were not suitable for mass literature, and it quite quickly formed a new system, which was based on the genre of the novel, which was very flexible and had accumulated a lot of varied experience. At the end of the 19th century and in the first half of the 20th, the detective and police novels, science fiction and the ladies' (“pink”) novel took shape. It is not surprising that contemporary literature, aimed at artistic search, sought to deviate as far as possible from the mass literature and therefore moved away from genre definition as far as possible. But since the extremes converge, the desire to be further from the genre predetermination sometimes led to a new genre formation: for example, the French anti-novel did not want to be a novel so much that the main works of this literary movement, represented by such original authors as Michel Butor and Nathalie Sarraute, are clearly observed signs of a new genre. Thus, modern literary genres (and we already encounter such an assumption in the thoughts of M. M. Bakhtin) are not elements of any predetermined system: on the contrary, they arise as points of concentration of tension in one place or another of the literary space, in accordance with artistic tasks posed here and now by this circle of authors. Special study of such new genres remains a matter for tomorrow.

  List of literary genres:

  • By shape
    • Visions
    • Novella
    • Tale
    • Story
    • joke
    • novel
    • epic
    • play
    • sketch
  • by content
    • comedy
      • farce
      • vaudeville
      • interlude
      • sketch
      • parody
      • sitcom
      • comedy of characters
    • tragedy
    • Drama
  • By birth
    • Epic
      • Fable
      • Bylina
      • Ballad
      • Novella
      • Tale
      • Story
      • Novel
      • Epic novel
      • Fairy tale
      • Fantasy
      • Epic
    • Lyrical
      • Oh yeah
      • Message
      • Stanzas
      • Elegy
      • Epigram
    • Lyric-epic
      • Ballad
      • Poem
    • Dramatic
      • Drama
      • Comedy
      • Tragedy

  Poem- (Greek póiema), a large poetic work with a narrative or lyrical plot. A poem is also called an ancient and medieval epic (see also Epic), nameless and authored, which was composed either through the cyclization of lyric-epic songs and tales (the point of view of A. N. Veselovsky), or through the “swelling” (A. Heusler) of one or several folk legends, or with the help of complex modifications of ancient plots in the process of the historical existence of folklore (A. Lord, M. Parry). The poem developed from an epic depicting an event of national historical significance (“Iliad”, “Mahabharata”, “Song of Roland”, “Elder Edda”, etc.).

  There are many genre varieties of the poem: heroic, didactic, satirical, burlesque, including heroic-comic, poem with a romantic plot, lyrical-dramatic. The leading branch of the genre has long been considered a poem on a national historical or world historical (religious) theme (“The Aeneid” by Virgil, “The Divine Comedy” by Dante, “The Lusiads” by L. di Camoens, “Jerusalem Liberated” by T. Tasso, “Paradise Lost” "J. Milton, "Henriad" by Voltaire, "Messiad" by F. G. Klopstock, "Rossiyad" by M. M. Kheraskov, etc.). At the same time, a very influential branch in the history of the genre was the poem with romantic plot features (“The Knight in the Leopard’s Skin” by Shota Rustaveli, “Shahname” by Ferdowsi, to a certain extent “Furious Roland” by L. Ariosto), connected to one degree or another with the tradition of the medieval , predominantly a chivalric novel. Gradually, personal, moral and philosophical issues come to the fore in the poems, lyrical-dramatic elements are strengthened, the folklore tradition is opened and mastered - features already characteristic of pre-romantic poems (Faust by J. V. Goethe, poems by J. Macpherson, V. Scott). The genre flourished in the era of romanticism, when the greatest poets of various countries turned to creating poems. The “peak” works in the evolution of the romantic poem genre acquire a socio-philosophical or symbolic-philosophical character (“Childe Harold’s Pilgrimage” by J. Byron, “The Bronze Horseman” by A. S. Pushkin, “Dziady” by A. Mickiewicz, “The Demon” by M. Y. Lermontov, “Germany, a winter's tale” by G. Heine).

  In the 2nd half of the 19th century. the decline of the genre is obvious, which does not exclude the appearance of individual outstanding works (“The Song of Hiawatha” by G. Longfellow). In the poems of N. A. Nekrasov (“Frost, Red Nose,” “Who Lives Well in Rus'”), genre tendencies characteristic of the development of the poem in realistic literature (synthesis of moral descriptive and heroic principles) are manifested.

  In a poem of the 20th century. the most intimate experiences are correlated with great historical upheavals, imbued with them as if from within (“Cloud in Pants” by V. V. Mayakovsky, “The Twelve (poem)” by A. A. Blok, “First Date” by A. Bely).

  In Soviet poetry, there are various genre varieties of the poem: reviving the heroic principle (“Vladimir Ilyich Lenin” and “Good!” by Mayakovsky, “Nine Hundred and Fifth” by B. L. Pasternak, “Vasily Terkin” by A. T. Tvardovsky); lyrical-psychological poems (“About this” by V.V. Mayakovsky, “Anna Snegina” by S.A. Yesenin), philosophical (N.A. Zabolotsky, E. Mezhelaitis), historical (“Tobolsk Chronicler” by L. Martynov) or combining moral and socio-historical issues (“Mid-Century” by V. Lugovsky).

  The poem as a synthetic, lyric-epic and monumental genre that allows you to combine the epic of the heart and “music”, the “element” of world upheavals, innermost feelings and historical concept, remains a productive genre of world poetry: “Breaking the Wall” and “Into the Storm” by R. Frost, “ Landmarks" by Saint-John Perse, "The Hollow People" by T. Eliot, "The General Song" by P. Neruda, "Niobe" by K. I. Galczynski, "Continuous Poetry" by P. Eluard, "Zoe" by Nazim Hikmet.

  Epic(Ancient Greek έπος - “word”, “narration”) - a set of works, mainly of an epic kind, united by a common theme, era, nationality, etc. For example, Homeric epic, medieval epic, animal epic.

  The emergence of the epic has a gradual character, but is conditioned by historical circumstances.

  The birth of the epic is usually accompanied by the composition of panegyrics and laments, close to the heroic worldview. The great deeds immortalized in them often turn out to be the material that heroic poets base their narratives on. Panegyrics and laments are usually composed in the same style and meter as the heroic epic: in Russian and Turkic literature, both types have almost the same manner of expression and lexical composition. Lamentations and panegyrics are preserved as part of epic poems as decoration.

  The epic claims not only objectivity, but also the truthfulness of its story, and its claims, as a rule, are accepted by listeners. In his Prologue to The Earthly Circle, Snorri Sturluson explained that among his sources were “ancient poems and songs that were sung for people’s amusement,” and added: “Although we ourselves do not know whether these stories are true, we know for sure that that the wise men of old believed them to be true.”

  Novel- a literary genre, usually prose, which involves a detailed narrative about the life and development of the personality of the main character (heroes) during a crisis/non-standard period of his life.

  The name “Roman” arose in the middle of the 12th century along with the genre of chivalric romance (Old French. romanz from late Latin dialect romanice"in the (vernacular) Romance language"), as opposed to historiography in Latin. Contrary to popular belief, from the very beginning this name did not refer to any work in the vernacular (heroic songs or troubadour lyrics were never called novels), but to one that could be contrasted with a Latin model, even a very distant one: historiography, fable ( "The Romance of Renard"), vision ("The Romance of the Rose"). However, in the XII-XIII centuries, if not later, the words roman And estoire(the latter also means “image”, “illustration”) are interchangeable. In reverse translation into Latin, the novel was called (liber) romanticus, where in European languages ​​the adjective “romantic” came from, until the end of the 18th century it meant “inherent in novels”, “such as in novels”, and only later the meaning on the one hand was simplified to “love”, but on the other hand it gave rise to the name of romanticism as a literary movement.

  The name “novel” was preserved when, in the 13th century, the performed poetic novel was replaced by a prose novel for reading (with full preservation of the knightly topic and plot), and for all subsequent transformations of the knightly novel, right up to the works of Ariosto and Edmund Spenser, which we we call them poems, but contemporaries considered them novels. It persists even later, in the 17th-18th centuries, when the “adventurous” novel is replaced by the “realistic” and “psychological” novel (which in itself problematizes the supposed gap in continuity).

  However, in England the name of the genre is also changing: the “old” novels retain the name romance, and the name “new” novels from the middle of the 17th century was assigned novel(from Italian novella - “short story”). Dichotomy novel/romance means a lot for English-language criticism, but adds additional uncertainty to their actual historical relationships rather than clarifies them. Generally romance is considered rather a kind of structural-plot type of genre novel.

  In Spain, on the contrary, all varieties of the novel are called novela, and what happened from the same romanice word romance from the very beginning it belonged to the poetic genre, which was also destined to have a long history - romance.

  Bishop Yue at the end of the 17th century, in search of the predecessors of the novel, first applied this term to a number of phenomena of ancient narrative prose, which have since also come to be called novels.

  Visions

  Fabliau dou dieu d'Amour"(The Tale of the God of Love), " Venus la déesse d'amors

  Visions- narrative and didactic genre.

  The plot is told on behalf of the person to whom it was allegedly revealed in a dream, hallucination or lethargic sleep. The core mostly consists of actual dreams or hallucinations, but already in ancient times fictional stories appeared, clothed in the form of visions (Plato, Plutarch, Cicero). The genre received special development in the Middle Ages and reached its apogee in Dante's Divine Comedy, which represents the most developed vision in form. The authoritative sanction and the strongest impetus for the development of the genre were given by the “Dialogues of Miracles” of Pope Gregory the Great (VI century), after which visions began to appear en masse in church literature in all European countries.

  Until the 12th century, all visions (except the Scandinavian ones) were written in Latin; from the 12th century, translations appeared, and from the 13th century, original visions appeared in vernacular languages. The most complete form of visions is presented in the Latin poetry of the clergy: this genre, in its origins, is closely related to canonical and apocryphal religious literature and is close to church sermons.

  The editors of the visions (they are always from among the clergy and they must be distinguished from the “clairvoyant” himself) took the opportunity on behalf of the “higher power” that sent the vision to promote their political views or attack personal enemies. Purely fictitious visions also appear - topical pamphlets (for example, the vision of Charlemagne, Charles III, etc.).

  However, since the 10th century, the form and content of the visions have caused protest, often coming from the declassed layers of the clergy themselves (poor clergy and goliard scholars). This protest results in parodic visions. On the other hand, courtly knightly poetry in folk languages ​​takes over the form of visions: visions here acquire new content, becoming the frame of a love-didactic allegory, such as, for example, “ Fabliau dou dieu d'Amour"(The Tale of the God of Love), " Venus la déesse d'amors"(Venus is the goddess of love) and finally - the encyclopedia of courtly love - the famous "Roman de la Rose" (Romance of the Rose) by Guillaume de Lorris.

  The “third estate” puts new content into the form of visions. Thus, the successor to the unfinished novel by Guillaume de Lorris, Jean de Meun, turns the exquisite allegory of his predecessor into a ponderous combination of didactics and satire, the edge of which is directed against the lack of “equality”, against the unfair privileges of the aristocracy and against the “robber” royal power). The same is true of Jean Molyneux’s “The Hopes of the Common People.” The sentiments of the “third estate” are no less clearly expressed in Langland’s famous “Vision of Peter the Plowman,” which played a propaganda role in the English peasant revolution of the 14th century. But unlike Jean de Meun, a representative of the urban part of the “third estate,” Langland, the ideologist of the peasantry, turns his gaze to the idealized past, dreaming of the destruction of capitalist usurers.

  As a complete independent genre, visions are characteristic of medieval literature. But as a motif, the form of visions continues to exist in the literature of modern times, being especially favorable for the introduction of satire and didactics, on the one hand, and fantasy, on the other (for example, Byron’s “Darkness”).

  Novella

  The sources of the novella are primarily Latin example, as well as fabliaux, stories interspersed in the “Dialogue about Pope Gregory”, apologists from the “Lives of the Church Fathers”, fables, folk tales. In the 13th century Occitan language, the word appeared to denote a story created on some newly processed traditional material nova.Hence - Italian novella(in the most popular collection of the late 13th century “Novellino”, also known as “One Hundred Ancient Novels”), which has been spreading throughout Europe since the 15th century.

  The genre was established after the appearance of Giovanni Boccaccio’s book “The Decameron” (c. 1353), 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, a collection of One Hundred New Novels appeared around 1462 (however, the material owed more to the facets of Poggio Bracciolini), and Margarita Navarskaya, based on the Decameron, wrote the book Heptameron (1559).

  In the era of romanticism, under the influence of Hoffmann, Novalis, Edgar Allan Poe, short stories with elements of mysticism, fantasy, and fabulousness spread. Later, in the works of Prosper Mérimée and Guy de Maupassant, this term began to be used to refer to realistic stories.

  For American literature, starting with Washington Irving and Edgar Poe, the novella, or short story (English. short story), has special significance as one of the most characteristic genres.

  In the second half of the 19th-20th centuries, the traditions of the short story were continued by such different writers as Ambrose Bierce, O. Henry, H. G. Wells, Arthur Conan Doyle, Gilbert Chesterton, Ryunosuke Akutagawa, Karel Capek, Jorge Luis Borges.

  The novella is characterized by several important features: extreme brevity, a sharp, even paradoxical plot, a neutral style of presentation, lack of psychologism and descriptiveness, and an unexpected denouement. The action of the novel takes place in the author's contemporary world. The plot structure of a novella is similar to a dramatic one, but usually simpler.

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

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

  Among Boccaccio's predecessors, the novella had a moralizing attitude. Boccaccio retained this motif, but for him the morality flowed from the story not logically, but psychologically, and was often only a pretext and device. The later novella convinces the reader of the relativity of moral criteria.

  Tale

  Story

  Joke(fr. anecdote- fable, fable; from Greek τὸ ἀνέκδοτоν - unpublished, lit. “not issued”) - folklore genre - a short funny story. Most often, a joke has an unexpected semantic resolution at the very end, which gives rise to laughter. This could be a play on words, different meanings of words, modern associations that require additional knowledge: social, literary, historical, geographical, etc. Anecdotes cover almost all areas of human activity. There are jokes about family life, politics, sex, etc. In most cases, the authors of the jokes are unknown.

  In Russia XVIII-XIX centuries. (and in most languages ​​of the world to this day) the word “anecdote” had a slightly different meaning - it could simply be an entertaining story about some famous person, not necessarily with the goal of ridiculing him (cf. Pushkin: “Anecdotes of days gone by”). Such “anecdotes” about Potemkin became classics of that time.

  Oh yeah

  Epic

  Play(French pièce) - a dramatic work, usually in a classical style, created to stage some action in the theater. This is a general specific name for works of drama intended for performance on stage.

  The structure of the play includes the text of the characters (dialogues and monologues) and functional author's remarks (notes containing the designation of the location of the action, interior features, appearance of the characters, their manner of behavior, etc.). As a rule, the play is preceded by a list of characters, sometimes indicating their age, profession, titles, family ties, etc.

  A separate complete semantic part of a play is called an act or action, which may include smaller components - phenomena, episodes, pictures.

  The very concept of a play is purely formal; it does not include any emotional or stylistic meaning. Therefore, in most cases, the play is accompanied by a subtitle that defines its genre - classic, main (comedy, tragedy, drama), or author's (for example: My poor Marat, dialogues in three parts - A. Arbuzov; We'll wait and see, a pleasant play in four acts - B. Shaw; The Good Man from Szechwan, parabolic play - B. Brecht, etc.). The genre designation of the play not only serves as a “hint” to the director and actors during the stage interpretation of the play, but helps to enter into the author’s style and the figurative structure of the dramaturgy.

  Essay(from fr. essai“attempt, trial, sketch”, from Lat. exagium“weighing”) is a literary genre of prose composition of small volume and free composition. The essay expresses the author’s individual impressions and considerations on a specific occasion or subject and does not pretend to be an exhaustive or definitive interpretation of the topic (in the parodic Russian tradition of “a look and something”). In terms of volume and function, it borders, on the one hand, with a scientific article and a literary essay (with which an essay is often confused), and on the other, with a philosophical treatise. The essayistic style is characterized by imagery, fluidity of associations, aphoristic, often antithetical thinking, an emphasis on intimate frankness and conversational intonation. Some theorists consider it as the fourth, along with epic, lyricism and drama, type of fiction.

  Michel Montaigne introduced it as a special genre form, based on the experience of his predecessors, in his “Essays” (1580). For the first time in English literature, Francis Bacon gave his works, published in book form in 1597, 1612 and 1625, the title English. essays. The English poet and playwright Ben Jonson first used the word essayist. essayist) in 1609.

  In the 18th-19th centuries, the essay was one of the leading genres of English and French journalism. The development of essayism was promoted in England by J. Addison, Richard Steele, and Henry Fielding, in France by Diderot and Voltaire, and in Germany by Lessing and Herder. The essay was the main form of philosophical-aesthetic polemic among the romantics and romantic philosophers (G. Heine, R. W. Emerson, G. D. Thoreau)..

  The essay genre is deeply rooted in English literature: T. Carlyle, W. Hazlitt, M. Arnold (19th century); M. Beerbohm, G. K. Chesterton (XX century). In the 20th century, essayism experienced its heyday: major philosophers, prose writers, and poets turned to the essay genre (R. Rolland, B. Shaw, G. Wells, J. Orwell, T. Mann, A. Maurois, J. P. Sartre).

  In Lithuanian criticism, the term essay (lit. esė) was first used by Balis Sruoga in 1923. Characteristic features of essays are noted in the books “Smiles of God” (lit. “Dievo šypsenos”, 1929) by Juozapas Albinas Gerbachiauskas and “Gods and Smutkyalis” (lit. “Dievai”) ir smūtkeliai", 1935) by Jonas Kossu-Alexandravičius. Examples of essays include “poetic anti-commentaries” “Lyrical Etudes” (lit. “Lyriniai etiudai”, 1964) and “Antakalnis Baroque” (lit. “Antakalnio barokas”, 1971) by Eduardas Meželaitis, “Diary without dates” (lit. “Dienoraštis be datų", 1981) by Justinas Marcinkevičius, "Poetry and the Word" (lit. "Poezija ir žodis", 1977) and Papyri from the graves of the dead (lit. "Papirusai iš mirusiųjų kapų", 1991) by Marcelius Martinaitis. An anti-conformist moral position, conceptuality, precision and polemic characterizes the essay by Tomas Venclova

  The essay genre was not typical for Russian literature. Examples of the essayistic style are found in A. S. Pushkin (“Journey from Moscow to St. Petersburg”), A. I. Herzen (“From the Other Shore”), F. M. Dostoevsky (“A Writer’s Diary”). At the beginning of the 20th century, V. I. Ivanov, D. S. Merezhkovsky, Andrei Bely, Lev Shestov, V. V. Rozanov turned to the essay genre, and later - Ilya Erenburg, Yuri Olesha, Viktor Shklovsky, Konstantin Paustovsky. Literary critical assessments of modern critics, as a rule, are embodied in a variation of the essay genre.

  In musical art, the term piece is usually used as a specific name for works of instrumental music.

  Sketch(English) sketch, literally - sketch, draft, sketch), in the 19th - early 20th centuries. a short play with two, rarely three characters. The sketch became most widespread on the stage.

  In the UK, television sketch shows are very popular. Similar programs have recently begun to appear on Russian television (“Our Russia”, “Six Frames”, “Give You Youth!”, “Dear Program”, “Gentleman Show”, “Town”, etc.) A striking example The sketch show is the television series Monty Python's Flying Circus.

  A famous sketch creator was A.P. Chekhov.

  Comedy(Greek κωliμωδία, from Greek κῶμος, kỗmos, “festival in honor of Dionysus” and Greek. ἀοιδή/Greek. ᾠδή, aoidḗ / ōidḗ, “song”) is a genre of fiction characterized by a humorous or satirical approach, as well as a type of drama in which the moment of effective conflict or struggle between antagonistic characters is specifically resolved.

  Aristotle defined comedy as “the imitation of the worst people, but not in all their depravity, but in a funny way” (“Poetics”, Chapter V).

  Types of comedy include genres such as farce, vaudeville, sideshow, sketch, operetta, and parody. Nowadays, examples of such primitiveness are many comedy films, built solely on external comedy, the comedy of situations in which the characters find themselves in the process of developing the action.

  Distinguish sitcom And comedy of characters.

  Sitcom (situation comedy, situational comedy) is a comedy in which the source of humor is events and circumstances.

  Comedy of characters (comedy of manners) - a comedy in which the source of the funny is the inner essence of the characters (morals), funny and ugly one-sidedness, an exaggerated trait or passion (vice, flaw). Very often, a comedy of manners is a satirical comedy that makes fun of all these human qualities.

  Tragedy(Greek τραγωδία, tragōdía, literally - goat song, from trаgos - goat and öde - song), a dramatic genre based on the development of events, which, as a rule, is inevitable and necessarily leads to a catastrophic outcome for the characters, often filled with pathos; a type of drama that is the opposite of comedy.

  The tragedy is marked by stern seriousness, depicts reality in the most pointed way, as a clot of internal contradictions, reveals the deepest conflicts of reality in an extremely intense and rich form, acquiring the meaning of an artistic symbol; It is no coincidence that most tragedies are written in verse.

  Drama(Greek Δρα´μα) - one of the types of literature (along with lyric poetry, epic, and lyric epic). It differs from other types of literature in the way it conveys the plot - not through narration or monologue, but through character dialogues. Drama in one way or another includes any literary work constructed in a dialogical form, including comedy, tragedy, drama (as a genre), farce, vaudeville, etc.

  Since ancient times, it has existed in folklore or literary form among various peoples; The ancient Greeks, ancient Indians, Chinese, Japanese, and American Indians created their own dramatic traditions independently of each other.

  In Greek, the word drama depicts a sad, unpleasant event or situation of one specific person.

  Fable- a poetic or prose literary work of a moralizing, satirical nature. At the end of the fable there is a short moralizing conclusion - the so-called morality. The characters are usually animals, plants, things. The fable ridicules the vices of people.

  Fable is one of the oldest literary genres. In Ancient Greece, Aesop (VI-V centuries BC) was famous, who wrote fables in prose. In Rome - Phaedrus (1st century AD). In India, the collection of fables “Panchatantra” dates back to the 3rd century. The most prominent fabulist of modern times was the French poet J. Lafontaine (17th century).

  In Russia, the development of the fable genre dates back to the mid-18th - early 19th centuries and is associated with the names of A.P. Sumarokov, I.I. Khemnitser, A.E. Izmailov, I.I. Dmitriev, although the first experiments in poetic fables were back in the 17th century with Simeon of Polotsk and in the 1st half. XVIII century by A.D. Kantemir, V.K. Trediakovsky. In Russian poetry, fable free verse is developed, conveying the intonations of a relaxed and crafty tale.

  I. A. Krylov's fables, with their realistic liveliness, sensible humor and excellent language, marked the heyday of this genre in Russia. In Soviet times, the fables of Demyan Bedny, S. Mikhalkov and others gained popularity.

  There are two concepts of the origin of the fable. The first is represented by the German school of Otto Crusius, A. Hausrath and others, the second by the American scientist B. E. Perry. According to the first concept, in a fable the narrative is primary, and the moral is secondary; The fable comes from an animal tale, and the animal tale comes from a myth. According to the second concept, morality is primary in the fable; the fable is close to comparisons, proverbs and sayings; like them, the fable arises as an auxiliary means of argumentation. The first point of view goes back to the romantic theory of Jacob Grimm, the second revives the rationalistic concept of Lessing.

  Philologists of the 19th century were long occupied with the debate about the priority of the Greek or Indian fable. It can now be considered almost certain that the common source of the material of the Greek and Indian fables was the Sumerian-Babylonian fable.

  Epics- Russian folk epic songs about the exploits of heroes. The basis of the plot of the epic is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic - “ old man", "old lady", implying that the action in question took place in the past).

  Epics are usually written in tonic verse with two to four stresses.

  The term “epics” was first introduced by Ivan Sakharov in the collection “Songs of the Russian People” in 1839; he proposed it based on the expression “according to epics” in “The Tale of Igor’s Campaign,” which meant “according to the facts.”

  Ballad

  Myth(ancient Greek μῦθος) in literature - a legend that conveys people’s ideas about the world, man’s place in it, the origin of all things, about gods and heroes; a certain idea of ​​the world.

  The specificity of myths appears most clearly in primitive culture, where myths are the equivalent of science, an integral system in terms of which the whole world is perceived and described. Later, when such forms of social consciousness as art, literature, science, religion, political ideology, etc. are isolated from mythology, they retain a number of mythological models, which are peculiarly rethought when included in new structures; the myth is experiencing its second life. Of particular interest is their transformation in literary creativity.

  Since mythology masters reality in the forms of figurative storytelling, it is close in essence to fiction; historically, it anticipated many of the possibilities of literature and had a comprehensive influence on its early development. Naturally, literature does not part with mythological foundations even later, which applies not only to works with mythological basis of the plot, but also to realistic and naturalistic everyday life writing of the 19th and 20th centuries (it is enough to name “Oliver Twist” by C. Dickens, “Nana” by E. Zola, “The Magic Mountain” by T. Mann).

  Novella(Italian novella - news) is a narrative prose genre characterized by brevity, a sharp plot, a neutral style of presentation, lack of psychologism, and an unexpected ending. Sometimes used as a synonym for story, sometimes called a type of story.

  Tale- a prose genre of unstable volume (mostly intermediate between a novel and a story), gravitating towards a chronicle plot that reproduces the natural course of life. The plot, devoid of intrigue, is centered around the main character, whose identity and fate are revealed within a few events.

  The story is an epic prose genre. The plot of the story tends more towards epic and chronicle plot and composition. Possible verse form. The story depicts a series of events. It is amorphous, events are often simply added to each other, extra-plot elements play a large independent role. Does not have a complex, intense and complete plot point.

  Story- a small form of epic prose, correlated with the story as a more developed form of storytelling. Goes back to folklore genres (fairy tales, parables); how the genre became isolated in written literature; often indistinguishable from a short story, and since the 18th century. - and an essay. Sometimes a short story and an essay are considered as polar varieties of a story.

  A story is a work of small volume, containing a small number of characters, and also, most often, having one storyline.

  Fairy tale: 1) a type of narrative, mostly prosaic folklore ( fairy tale prose), which includes works of different genres, the content of which, from the point of view of folklore bearers, lacks strict authenticity. Fairy-tale folklore is opposed to the “strictly reliable” folklore narrative ( non-fairy prose) (see myth, epic, historical song, spiritual poems, legend, demonological stories, tale, blasphemy, legend, epic).

  2) genre of literary storytelling. A literary fairy tale either imitates a folklore one ( literary fairy tale written in folk poetic style), or creates a didactic work (see didactic literature) based on non-folklore stories. The folk tale historically precedes the literary one.

  Word " fairy tale"attested in written sources no earlier than the 16th century. From the word " say" What mattered was: a list, a list, an exact description. It acquires modern significance from the 17th-19th centuries. Previously, the word fable was used, until the 11th century - blasphemy.

  The word “fairy tale” suggests that people will learn about it, “what it is” and find out “what” it, a fairy tale, is needed for. The purpose of a fairy tale is to subconsciously or consciously teach a child in the family the rules and purpose of life, the need to protect one’s “area” and a worthy attitude towards other communities. It is noteworthy that both the saga and the fairy tale carry a colossal information component, passed on from generation to generation, the belief in which is based on respect for one’s ancestors.

  There are different types of fairy tales.

  Fantasy(from English fantasy- “fantasy”) is a type of fantastic literature based on the use of mythological and fairy-tale motifs. It was formed in its modern form at the beginning of the 20th century.

  Fantasy works most often resemble a historical adventure novel, the action of which takes place in a fictional world close to the real Middle Ages, the heroes of which encounter supernatural phenomena and creatures. Fantasy is often built on archetypal plots.

  Unlike science fiction, fantasy does not seek to explain the world in which the work takes place in scientific terms. This world itself exists in the form of a certain assumption (most often its location relative to our reality is not specified at all: either it is a parallel world, or another planet), and its physical laws may differ from the realities of our world. In such a world, the existence of gods, witchcraft, mythical creatures (dragons, gnomes, trolls), ghosts and any other fantastic entities may be real. At the same time, the fundamental difference between the “miracles” of fantasy and their fairy-tale counterparts is that they are the norm of the described world and act systematically, like the laws of nature.

  Nowadays, fantasy is also a genre in cinema, painting, computer and board games. Such genre versatility especially distinguishes Chinese fantasy with elements of martial arts.

  Epic(from epic and Greek poieo - I create)

  1. An extensive narrative in verse or prose about outstanding national historical events (“Iliad”, “Mahabharata”). The roots of the epic are in mythology and folklore. In the 19th century an epic novel arises (“War and Peace” by L.N. Tolstoy)
  2. A complex, long history of something, including a number of major events.

  Oh yeah- a poetic, as well as musical and poetic work, distinguished by solemnity and sublimity.

  Initially, in Ancient Greece, any form of poetic lyric intended to accompany music was called an ode, including choral singing. Since the time of Pindar, an ode has been a choral song-epinic in honor of the winner in the sports competitions of sacred games with a three-part composition and emphasized solemnity and grandiloquence.

  In Roman literature, the most famous are the odes of Horace, who used the dimensions of Aeolian lyric poetry, primarily the Alcaean stanza, adapting them to the Latin language; a collection of these works in Latin is called Carmina - songs; they were later called odes.

  Since the Renaissance and in the Baroque era (XVI-XVII centuries), odes began to be called lyrical works in a pathetically high style, focusing on ancient examples; in classicism, ode became the canonical genre of high lyricism.

  Elegy(Greek ελεγεια) - genre of lyric poetry; in early ancient poetry - a poem written in elegiac distich, regardless of content; later (Callimachus, Ovid) - a poem of sad content. In modern European poetry, elegy retains stable features: intimacy, motives of disappointment, unhappy love, loneliness, the frailty of earthly existence, determines rhetoric in the depiction of emotions; the classic genre of sentimentalism and romanticism (“Confession” by E. Baratynsky).

  A poem with the character of thoughtful sadness. In this sense, we can say that most of Russian poetry is in an elegiac mood, at least up to the poetry of modern times. This, of course, does not deny that in Russian poetry there are excellent poems of a different, non-elegiac mood. Initially, in ancient Greek poetry, E. denoted a poem written in a stanza of a certain size, namely a couplet - hexameter-pentameter. Having the general character of lyrical reflection, E. among the ancient Greeks was very diverse in content, for example, sad and accusatory in Archilochus and Simonides, philosophical in Solon or Theognis, warlike in Callinus and Tyrtaeus, political in Mimnermus. One of the best Greek authors E. is Callimachus. Among the Romans, E. became more defined in character, but also freer in form. The importance of love letters has greatly increased. Famous Roman authors of love stories include Propertius, Tibullus, Ovid, Catullus (they were translated by Fet, Batyushkov, etc.). Subsequently, there was, perhaps, only one period in the development of European literature when the word E. began to mean poems with a more or less stable form. And it began under the influence of the famous elegy of the English poet Thomas Gray, written in 1750 and causing numerous imitations and translations in almost all European languages. The revolution brought about by this era is defined as the onset of a period of sentimentalism in literature, which replaced false classicism. In essence, this was the decline of poetry from rational mastery in once established forms to the true sources of internal artistic experiences. In Russian poetry, Zhukovsky's translation of Gray's elegy (Rural Cemetery; 1802) definitely marked the beginning of a new era, which finally went beyond rhetoric and turned to sincerity, intimacy and depth. This internal change was reflected in the new methods of versification introduced by Zhukovsky, who is thus the founder of new Russian sentimental poetry and one of its great representatives. In the general spirit and form of Gray's elegy, i.e. in the form of large poems filled with mournful reflection, such poems by Zhukovsky were written, which he himself called elegies, such as “Evening”, “Slavyanka”, “On the death of Cor. Wirtembergskaya". His “Theon and Aeschylus” is also considered an elegy (more precisely, it is an elegy-ballad). Zhukovsky called his poem “The Sea” an elegy. In the first half of the 19th century. It was common to give their poems the title of elegies; Batyushkov, Boratynsky, Yazykov and others especially often called their works elegies. ; subsequently, however, it went out of fashion. Nevertheless, many poems by Russian poets are imbued with an elegiac tone. And in world poetry there is hardly an author who does not have elegiac poems. Goethe's Roman Elegies are famous in German poetry. Elegies are Schiller’s poems: “Ideals” (in Zhukovsky’s translation of “Dreams”), “Resignation”, “Walk”. Much of Matisson belongs to elegies (Batyushkov translated it “On the ruins of castles in Sweden”), Heine, Lenau, Herwegh, Platen, Freiligrath, Schlegel and many others. etc. The French wrote elegies: Millvois, Debord-Valmore, Kaz. Delavigne, A. Chenier (M. Chenier, the brother of the previous one, translated Gray's elegy), Lamartine, A. Musset, Hugo, etc. In English poetry, besides Gray, there are Spencer, Jung, Sidney, and later Shelley and Byron. In Italy, the main representatives of elegiac poetry are Alamanni, Castaldi, Filicana, Guarini, Pindemonte. In Spain: Boscan Almogaver, Gars de le Vega. In Portugal - Camoes, Ferreira, Rodrigue Lobo, de Miranda.

  Attempts to write elegies in Russia before Zhukovsky were made by such authors as Pavel Fonvizin, the author of “Darling” Bogdanovich, Ablesimov, Naryshkin, Nartov and others.

  Epigram(Greek επίγραμμα “inscription”) - a small satirical poem ridiculing a person or social phenomenon.

  Ballad- a lyric epic work, that is, a story told in poetic form, of a historical, mythical or heroic nature. The plot of a ballad is usually borrowed from folklore. Ballads are often set to music.

  
  

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  All literary genres are unique, each of which has a set of qualities and characteristics unique to it. The first known classification of them was proposed by Aristotle, an ancient Greek philosopher and naturalist. In accordance with it, basic literary genres can be compiled into a small list that is not subject to any changes. An author working on any work must simply find similarities between his creation and the parameters of the specified genres. Over the next two millennia, any changes in the classifier developed by Aristotle were met with hostility and were considered a deviation from the norm.

  In the 18th century, a large-scale literary restructuring began. The established types of the genre and their system began to undergo major modifications. The current conditions became the main prerequisite for the fact that some genres of literature have sunk into oblivion, others have gained incredible popularity, and others have only just begun to take shape. We can personally observe the results of this transformation, which continues now, with our own eyes - types of genres that are dissimilar in meaning, gender and many other criteria. Let's try to figure out what genres there are in literature and what their features are.

  A genre in literature is a historically established set of literary creations, united by a set of similar parameters and formal characteristics.

  All existing types and genres of literature can be visually represented in a table, in which large groups will appear in one part, and its typical representatives in the other. There are 4 main groups of genres by genre:

  • epic (mostly prose);
  • lyrical (mostly poetry);
  • dramatic (plays);
  • lyroepic (something between lyric and epic).

  Also, types of literary works can be classified according to content:

  • comedy;
  • tragedy;
  • drama.

  But it will become much easier to understand what types of literature there are if you understand their forms. The form of a work is the method of presenting the author’s ideas that form the basis of the work. There are external and internal forms. The first, in essence, is the language of the work, the second is the system of artistic methods, images and means with which it was created.

  What are the genres of books by form: essay, vision, short story, epic, ode, play, epic, sketch, sketch, opus, novel, story. Let's look at each in detail.

  Essay

  An essay is a short prose composition with a free composition. Its main purpose is to show the author’s personal opinion and concepts on a specific issue. In this case, the essay does not have to fully disclose the problem of presentation or clearly answer the questions. Basic properties:

  • figurativeness;
  • closeness to the reader;
  • aphorism;
  • associativity.

  There is an opinion that essays are a separate type of artistic work. This genre dominated in the 18th-19th centuries in British and Western European journalism. Famous representatives of that time: J. Addison, O. Goldsmith, J. Wharton, W. Godwin.

  Epic

  Epic is simultaneously a genus, type and genre of literature. It is a heroic tale of the past, showing the life of people at that time and the reality of the characters from an epic perspective. Often the epic talks in detail about a certain person, about an adventure with his participation, about his feelings and experiences. It also talks about the hero's attitude towards what is happening around him. Representatives of the genre:

  • "Iliad", "Odyssey" Homer;
  • "The Song of Roland" Turold;
  • "The Song of the Nibelungs", author unknown.

  The ancestors of the epic are the traditional poem-songs of the ancient Greeks.

  Epic

  Epic - large works with heroic overtones and those that are similar to them. What kind of literature is there in this genre?

  • narration of important historical moments in poetry or prose;
  • a story about something, including several descriptions of various significant events.

  There is also a moral epic. This is a special type of storytelling in literature, distinguished by its prosaic nature and ridicule of the comical state of society. It includes “Gargantua and Pantagruel” by Rabelais.

  Sketch

  A sketch is a short play in which there are only two (rarely three) main characters. Today, the sketch is used on the stage in the form of a comedy show with miniatures lasting no more than 10 minutes. Such shows regularly appear on television in Britain, the USA and Russia. Well-known example programs on TV are “Unreal Story”, “6 Frames”, “Our Russia”.

  Novel

  The novel is a separate literary genre. It presents a detailed account of the development and life of key characters (or one hero) in the most crisis and difficult periods. The main types of novels in literature are those belonging to a specific era or country, psychological, chivalric, classical, moral, and many others. Known examples:

  • "Eugene Onegin" Pushkin;
  • "Doctor Zhivago" Pasternak;
  • "The Master and Margarita" Bulgakov."

  Novella

  A short story or short story is a key genre of fiction, having a smaller volume than a story or novel. The main properties of the work include:

  • the presence of a small number of heroes;
  • the plot has only one line;
  • cyclicality.

  The creator of the stories is a short story writer, and the collection of stories is a short story.

  Play

  The play is a representative of dramaturgy. It is intended for display on the theater stage and in other performances. The play consists of:

  • speeches of the main characters;
  • author's notes;
  • descriptions of the places where the main actions take place;
  • characteristics of the appearance of the persons involved, their behavior and character.

  The play includes several acts, which consist of episodes, actions, and pictures.

  Tale

  The story is a work of prosaic nature. It has no special limitations in terms of volume, but is located between a short story and a novel. Usually the plot of a story has a clear chronology and shows the natural course of the character’s life without intrigue. All attention belongs to the main person and the specifics of his nature. It is worth noting that there is only one plot line. Famous representatives of the genre:

  • “The Hound of the Baskervilles” by A. Conan Doyle;
  • “Poor Liza” by N. M. Karamzin;
  • “The Steppe” by A.P. Chekhov.

  In foreign literature, the concept of “story” is equal to the concept of “short novel”.

  Feature article

  An essay is a condensed, truthful artistic tale about several events and phenomena thought out by the author. The basis of the essay is an accurate understanding of the subject of observation directly by the writer. Types of such descriptions:

  • portraits;
  • problematic;
  • travel;
  • historical.

  Opus

  An opus in the general sense is a play accompanied by music. Main characteristics:

  • internal completeness;
  • individuality of form;
  • thoroughness.

  In the literary sense, an opus is any scientific work or creation of an author.

  Oh yeah

  Ode is a poem (usually solemn) dedicated to a specific event or person. At the same time, an ode can be a separate work with a similar theme. In Ancient Greece, all poetic lyrics, even the singing of the choir, were considered odes. Since the Renaissance, this name began to be given to exclusively high-flown lyrical poems, focusing on the images of antiquity.

  Vision

  Vision is a genre of literature of the Middle Ages, which is based on a “clairvoyant” who talks about the afterlife and unreal images that appear to him. Many modern researchers attribute visions to narrative didactics and journalism, since in the Middle Ages a person could convey his thoughts about the unknown in this way.

  These are the main types of literature in form and what their variations are. Unfortunately, it is difficult to fit all genres of literature and their definitions into a short article - there are really a lot of them. In any case, everyone understands the need and importance of reading a wide variety of works, because they are real vitamins for the brain. With the help of books, you can increase your level of intelligence, expand your vocabulary, improve memory and attentiveness. BrainApps is a resource that will help you develop in this direction. The service offers more than 100 effective exercise machines that will easily pump up your gray matter.