SMALL LITERARY GENRES

Genre (from the French genre - genus, type) is a historically emerging and developing type of work of art.

Small literary genres are distinguished:

By shape

Novella
Oh yeah
Opus
Feature article
Story
Sketch
Essay
Etude
sketch

Parable
Farce
Vaudeville
Sideshow
Parody

By birth:
epic
Fable
Bylina
Ballad
Myth
lyrical

lyric poem
Elegy
Message
Epigram
Sonnet
stanzas

Romance
Madrigal

Small poetic forms of other peoples:
Haiku
Gazella
Airens
Rubaiyat (quatrain)
Tanka
Limerick (limrick)

Story
Song

Small genres of folklore
Mystery
Proverb
Proverb
Patter
Chastushka

DIFFERENCE IN FORM

NOVELLA

Novella (Italian novella - news), like a story, belongs to the genre of short fiction.
As a literary genre, the short story was approved by Boccaccio in the 14th century. This suggests that the short story is much older than the story in age. That is, a more or less clear concept that defines what a “story” is, arose in Russian literature in the 18th century. But there are no obvious boundaries between the story and the short story, except that the latter, at its very beginning, looked more like an anecdote, that is, a short funny sketch of life. Some of the features inherent in it in the Middle Ages, the short story has retained to this day.
It differs from the story only in that it always has an unexpected ending (O "Henry" Gifts of the Magi), although in general the boundaries between these two genres are very arbitrary.
Unlike the story, the plot in the short story is sharp, centripetal, often paradoxical, there is no descriptiveness and compositional rigor. In any short story, chance dominates in the center of the narrative; here, life material is enclosed in the framework of one event (the early stories of A. Chekhov and N. Gogol can be attributed to the genre of the short story).
It goes back to the folklore genres of oral retelling in the form of legends or instructive allegory and parable. Compared to more extended narrative forms, the novel has few characters, one storyline (rarely several) and one problem.
The representative of the school of formalism, B. M. Eikhenbaum, distinguished between the concepts of a short story and a story, saying that a short story is plot-driven, and a story is more psychological and close to a plotless essay. Goethe also pointed out the action-packed nature of the short story, who believed that the short story was “an unheard-of event that has taken place”.
On the example of the work of O. Henry, Eichenbaum singled out the following features of the novel in its purest, “uncomplicated” form: brevity, sharp plot, neutral style of presentation, lack of psychologism, unexpected denouement. The story, in Eikhenbaum's understanding, does not differ from the short story in volume, but differs in structure: the characters or events are given detailed psychological characteristics, and the visual and verbal texture comes to the fore.
For Edgar Poe, a novella is a fictional story that can be read in one sitting; for HG Wells, less than an hour.

OH YEAH
An ode is a poetic work that is written in a sublime style. Usually this genre of literature is dedicated to one or another event or a certain hero. Answering the question of what an ode is, we can say that it is a laudatory song or a laudatory poem that elevates a certain person above the rest of the world.

In ancient times, the term "ode" (Latin oda) did not define any poetic genre, denoting in general "song", "poem". Ancient authors used this term in relation to various kinds of lyric poems and subdivided odes into “laudatory”, “deplorable”, “dance”, etc. Of the ancient lyric formations, the odes of Pindar are of the greatest importance for the ode as a genre of European literature (see. ) and Horace (see).
Ode in ancient Greece was usually performed by a dancing choir, accompanied by complex music. It is characterized by rich verbal ornamentation, which was supposed to aggravate the impression of solemnity, emphasized grandiloquence, weak connection of parts.
The Middle Ages did not know the ode genre as such at all. It arose in European literatures during the Renaissance, in the 16th century. In France, the founder of the ode was the poet Ronsard, who owns the introduction of the term itself.
At this time, the plot of the ode was bound to have an important "state" significance (victories over external and internal enemies, restoration of "order", etc.). The main feeling that inspires her is delight. The main tone is the praise of the leaders and heroes of the monarchy: the king and persons of the royal house. Hence - the general solemn elation of the style, rhetorical both by its nature and by its very speech function (the ode was intended, first of all, for solemn pronunciation), built on the incessant alternations of exclamatory and interrogative intonations, the grandeur of the image, the abstract "highness" of the language, equipped with mythological terms, personifications, etc.
The first attempts to introduce the genre of the ode into Russian poetry belong to Kantemir, but the very term was first introduced by Tredyakovsky in his “Solemn Ode on the Surrender of the City of Gdansk”. Later, Tredyakovsky composed a number of "odes laudable and divine."
However, the true founder of the Russian ode, who established it as the main lyrical genre of the feudal-noble literature of the 18th century, was Lomonosov. The purpose of Lomonosov's odes is to serve to exalt the feudal-noble monarchy of the 18th century. in the face of its leaders and heroes. Because of this, the main type cultivated by Lomonosov was the solemn pindaric ode; all elements of the style of which should serve to reveal the main feeling - enthusiastic surprise, mixed with reverent horror at the greatness and power of state power and its bearers.
In the late 18th and early 19th century, the ode became the second main genre in Russian literature. Derzhavin's work, which marked the highest flowering of the ode genre on Russian soil, is distinguished by exceptional diversity. Of particular importance are his denunciatory odes (“Nobleman”, “To Rulers and Judges”, etc.).
Solemn odes were written by Dmitriev. It was with solemn odes that the activities of Zhukovsky, Tyutchev, and the young Pushkin began.
But over time, the ode in literature lost its former meaning, and it was replaced by ballads and elegies. Today, few people use this genre in order to exalt a hero or an event, it, as a genre, has become unpopular, but the best odes have forever remained in the history of literature.

OPUS (Latin opus - literally, work, composition) - the term used for the serial numbering of the composer's works. (Example: Beethoven sonata, opus 57).
Throughout the world, this word means a literary or musical work. However, in Russia, for some reason, this term has acquired a derisive meaning. So they say when they want to mock or disparage the work of some author.
Examples: "What a thick opus he wrote." "Let me present you with my first opus."

An essay is one of all varieties of a small form of epic literature - a story, which differs from its other form, a short story, by the absence of a single, sharp and quickly resolved conflict and a greater development of a descriptive image. Both differences depend on the features of the problematics of the essay. Essay literature does not touch upon the problems of the formation of the character of a personality in its conflicts with the established social environment, as is inherent in the short story (and the novel), but the problems of the civil and moral state of the "environment" (usually embodied in individuals) - "moral descriptive" problems; it has great educational diversity. Essay literature usually combines features of fiction and journalism.
Types of essays:

Portrait essay. The author explores the personality of the hero, his inner world. Through this description, the reader guesses about the socio-psychological background of the committed acts. It is necessary to indicate the details that make the character of this person dramatic, elevate him above all other heroes. In modern Russian editions, the portrait sketch looks different. Most often this is a summary of the biography, a set of classic human qualities. Therefore, a portrait essay is more of a literary genre than a journalistic one.

Problem essay. The main task of the author is publicistic coverage of the problem. He enters into a dialogue with the reader. First, it indicates a problematic situation, and then considerations on this matter, reinforcing them with their own knowledge, official data, and artistic and visual means. This genre is more popular in magazine periodicals, as it surpasses newspaper analytical articles in size and depth.

Travel essay. It took shape much earlier than other types of essay. At the heart of the author's story about the journey, about everything seen and heard. Many Russian writers turned to this genre: A. S. Pushkin, A. N. Radishchev (“Journey from St. Petersburg to Moscow”), A. A. Bestuzhev, A. P. Chekhov and others. May include elements of other essays. For example, portraiture is used to describe people and their customs that the author met during his travels. Or elements of a problem essay can be used to analyze the situation in different cities and villages.

Historical essay. Chronological, evidence-based presentation of the history of the subject of research. For example, "Historical sketch of the Vyatka region", 1870. The essay presents and analyzes the real facts and phenomena of social life, usually accompanied by a direct interpretation of their author.

The story is a small epic genre form of fiction with a focus on a small volume and on the unity of an artistic event.
As a rule, the story is dedicated to a specific fate, speaks of a separate event in a person's life, and is grouped around a specific episode. This is its difference from the story, as a more detailed form of narration and where several episodes are usually described, a segment of the hero's life. But the point is not in the number of pages (there are short stories and relatively long stories), and not even in the number of plot events, but in the author's attitude to the utmost brevity. So, Chekhov's story "Ionych" in content is close not even to a story, but to a novel (almost the entire life of the hero is traced). But all the episodes are presented as briefly as possible, the author's goal is the same - to show the spiritual degradation of Dr. Startsev. In the words of Jack London, "a story is ... a unity of mood, situation, action."
The small volume of the story also determines its stylistic unity. The story is usually told from one person. It can be the author, and the narrator, and the hero. But in the story, much more often than in the "major" genres, the pen is, as it were, transferred to the hero, who himself tells his story. Often we have before us - a tale: a story of some fictional person with his own, pronounced speech style (the stories of Leskov, in the 20th century - Remizov, Zoshchenko, Bazhov, etc.).

A synonym for the word "sketch" is the word "sketch". Actually, translated from English "sketch" is a sketch. A sketch can be called a sketch, a sketch, a template. The word "sketch" has another definition.
A sketch is a short presentation of light, playful content, designed for external effect and usually given on open stages, in circuses, music halls (theatre). Acrobatic sketch of eccentrics.

An essay (from French essai “an attempt, a test, an experience”) is a literary genre, a prose essay of a small volume and free composition. Therefore, in foreign schools, an essay is a common exercise that allows students not only to show the level of their knowledge, but also to express themselves. On the other hand, an essay is a full-fledged genre, in the arsenal of which there are a lot of brilliant works belonging to writers, scientists, doctors, teachers and ordinary people.
The essay expresses the individual impressions and thoughts of the author on a particular occasion or subject and does not claim to be an exhaustive or defining interpretation of the topic. In terms of volume and function, it borders, on the one hand, on a scientific article and a literary essay (with which essays are often confused), on the other hand, on a philosophical treatise.
The essayistic style is characterized by figurativeness, mobility of associations, aphorism, an attitude towards intimate frankness and colloquial intonation. The main goals of the essay are: informing, persuading and entertaining the reader, self-expression of the author, or a combination of one or more goals. The topic of the essay should contain a question, a problem, motivate reflection. When writing an essay, the author must completely liberate his thoughts and feelings, without thinking about authorities and not looking back at them.
Three simple rules that Viktor Krotov brought out for novice writers will help to write an essay.

First, you need to write about what you are really interested in, that is, choose an interesting TOPIC.
Secondly, you need to write about what you really feel and think, that is, decide
with THOUGHTS.
Thirdly, you need to write the way you want, without relying on existing examples and patterns, that is
you need to choose your own INTONATION.

The essay has many varieties. It can be presented in the form of reflection, sketch, story, study, essay or research.
For Russian literature, the essay genre was not typical. Examples of the essayistic style are found in A. N. Radishchev (“Journey from St. Petersburg to Moscow”), 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, Andrey Bely, Lev Shestov, V. V. Rozanov turned to the essay genre, later - Ilya Erenburg, Yuri Olesha, Viktor Shklovsky, Konstantin Paustovsky, Joseph Brodsky. Literary and critical assessments of modern critics, as a rule, are embodied in a variety of the essay genre.

An etude is a work of fine art made from nature for the purpose of studying it and usually serves as a preliminary development of a work or part of it, as well as the process of creating such a work.

Etude - in fine arts - a preparatory sketch for a future work.
An etude is a piece of music.
Etude is one of the types of chess composition.
Etude - in theatrical pedagogy - an exercise to improve acting technique.

sketch

What is not finished is only outlined in general terms (about a work of literature, a report, a drawing or a picture).

DIFFERENCE IN CONTENT

A parable is a short story in verse or prose in an allegorical, instructive form. The reality in the parable is given outside of chronological and territorial signs, without indicating the specific historical names of the characters. The parable necessarily includes an explanation of the allegory so that the meaning of the allegory is clear to the reader. A parable differs from a fable in that it draws its artistic material from human life (Gospel parables, Solomon's parables).

Farce
The word "farce" (according to Efremova's dictionary) has the following meanings:
1.
- A theatrical play of light, playful, often frivolous content with extensive use of external comic effects.
- Acting, in which the comic effect is achieved only by external methods, as well as external methods, with the help of which comedy is achieved.

2. Obscene, shameful, cynical spectacle.
3. A rude joke, a buffoon's trick.

Explanatory Dictionary of the Living Great Russian Language by V. Dahl:
Farce - (French) a joke, a funny prank, a funny prank of a joker. Farsi, break down, fool around, mimic, laugh, throw out jokes or tricks.

Vaudeville

Vaudeville - (French vaudeville), a genre of a light comedy play or performance with an entertaining intrigue or anecdotal plot, accompanied by music, verses, dances.
Vaudeville originated and formed in France. In the 16th century "Vaudevilles" were called derisive city street songs-couplets, as a rule, ridiculing the feudal lords, who became the main enemies of monarchical power in the era of absolutism. By the middle of the 18th century. vaudeville emerged as a separate theatrical genre.
French vaudeville gave impetus to the development of the genre in many countries and had a significant impact on the development of European comedy in the 19th century. The main principles of the genre structure are rapid rhythm, ease of dialogue, live communication with the audience, brightness and expressiveness of characters, vocal and dance numbers.
In Russia, vaudeville appeared at the beginning of the 19th century as a genre that developed on the basis of the comic opera. A. Griboyedov, A. Pisarev, N. Nekrasov, F. Koni, D. Lensky, V. Sollogub and others contributed to the formation of the Russian dramatic school of vaudeville. However, by the end of the 19th century. vaudeville practically disappears from the Russian stage, supplanted both by the rapid development of the realistic theater and, on the other hand, by the no less rapid development of the operetta. At the turn of the 19th and 20th centuries, perhaps the only notable phenomenon in this genre were ten one-act plays by A. Chekhov (Bear, Proposal, Jubilee, Wedding, etc.).
In our time, the genre of vaudeville has not received development. Now the most popular are other, more complex comedy genres - comedy and tragicomedy.

Sideshow

Intermedia - (from lat. intermedius - located in the middle), insert scene (comic, musical, dance, etc.), not directly related to the main action of the play. Interludes can be played both during the interlude, which separates parts of the main performance, or directly included in the action in the form of a kind of digression, both thematic (within the same genre) and genre (clownish inserts in Shakespeare's tragedies).
The interlude gained great popularity during the Renaissance, especially in comedies built on improvisation. This genre was widely used in their work by Moliere, Shakespeare, Cervantes, Lope de Vega, Goldoni, Gozzi and other great playwrights.
In Russia, the interlude appeared in the 16th century in the Russian court theater, and was usually played by jesters, "stupid people."
In modern theatrical and pop art, interludes often take on the character of a kind of "skit", are built on direct communication with the audience and have a topical focus.

A parody is a work of art that aims to create a comic effect for the reader (viewer, listener) by intentionally repeating the unique features of an already known work, in a specially modified form. In other words, a parody is a “mocking work” based on an already existing well-known work. Parodies can be created in various genres and areas of art, including literature (in prose and poetry), music, cinema, pop art and others. One specific work, the works of a certain author, works of a certain genre or style, the manner of performance and the characteristic external features of the performer (if we are talking about an actor or a variety artist) can be parodied.
In a figurative sense, parody is also called inept imitation (implying that when you try to create a semblance of something worthy, something that can only make you laugh) turned out to be parody.
Parody originated in ancient literature. The first known example of the genre is Batrachomyomachia ("The War of Mice and Frogs"), which parodies the high poetic style of Homer's Iliad. When writing "The War of Mice and Frogs", a travesty technique was used - a low subject (mice and frogs) is narrated in a high style.
The genre of parody has survived the centuries and has survived to this day.
The comedy of parody is usually achieved using a combination of fairly standard methods, the most common of which are:

Violation of the unity of style and subject matter. Typical examples are travesty and burlesque, when comedy is achieved by changing the traditionally accepted “high” or “low” style of presentation for the topics described to the opposite style. This may include, for example, a parody performance of poetry, when gloomy and solemn texts, suggesting a serious, solemn reading, are read in the manner of nursery rhymes at a matinee.

Hyperbole. The characteristic features of the parodied work or genre, the clichés widely used in it, are strongly, to the point of absurdity, accentuated and repeated many times.

- "Flipping" the work. The characteristic features of the work are replaced in a parody with directly opposite ones (Example: the book by Zhvalevsky and Mytko "Porry Gutter and the Stone Philosopher", parodying the books about Harry Potter).

Context offset. The context changes in such a way that exactly repeated features of the original work become ridiculous and ridiculous.

DIFFERENCE BY GENERAL:

1. SMALL EPIC GENRES

A fable is a short, most often poetic, moralizing story. The heroes of fables can be not only people, but also animals, plants, objects endowed with certain human qualities. The fable narrative is usually allegorical, however, its moralizing character is always preserved. For any fable, a moral is characteristic, which can be given at the beginning or at the end of the work. Usually for the sake of this morality the fable is written.
The first fables were known in ancient times. It is believed that the first ancient Greek fabulists were Hesiod (late 9th–8th centuries BC) and Stesichorus (6th century BC).
The most famous fabulist of antiquity is Aesop, who lived in the 6th century BC. His works have become classics and have been translated into many languages ​​of the world. Aesop is a semi-legendary personality, about whose life there were many stories that mixed truth and fiction. Phrygia, a region in Asia Minor, is traditionally called his homeland. It is believed that he was a slave who passed from one owner to another several times and suffered many misadventures.
Aesop's fables were written in prose, witty, clear and simple. The works of the Phrygian slave or those attributed to him were compiled into collections called Aesop's Fables. They were copied, studied in schools, learned by heart. Aesop's fables became one of the most popular works in the ancient world. Their stories have influenced Syrian, Armenian, Arabic, Jewish, Indian literature.
It is with the name of the Greek fabulist that the concept of "Aesopian language" is associated, which began to be widely used in Russia from the end of the 18th century. Aesopian language was used by authors who wanted to hide their ideas from censorship, but at the same time convey them to readers in a fairly accessible and understandable form.
The most famous of the Western European fabulists is Jean de La Fontaine (1621-1695). This French poet spent most of his life in Paris. Despite his popularity in court circles, La Fontaine never gained access to the court, as Louis 14 was annoyed by his carefree nature and complete disregard for both official and family responsibilities. In addition, the first patron of La Fontaine was Nicolas Fouquet, the commissary of finance, and the disgrace that befell this all-powerful minister damaged the poet in the eyes of the king.
In Russia, the development of the fable genre took place in the post-Petrine era. The first man of letters in the 18th century who wrote six imitations of Aesop was Antioch Cantemir (1708–1744). At the same time, V. K. Trediakovsky (1703–1769) published several Aesopian fables written in hexameter. After Kantemir and Trediakovsky, the fable became one of the favorite genres of poets of the 18th century. Many fables were written by A.P. Sumarokov (1718–1777), who called them fables-parables. In total, he created 334 fables, some of which are a free translation of La Fontaine, but most are original works.
But all the fabulists of the 18th-19th centuries. eclipsed I.A. Krylov (1768–1844). Krylov's fables are written in a bright and well-aimed folk language, they captivate with their imagery and surprise. Despite the fact that Krylov translated Aesop and La Fontaine, most of his works are completely original. Some of his fables were written for one reason or another, associated with a specific political or social event, but have long gone beyond the scope of works "on the topic of the day."
Beginning in the middle - second half of the 19th century. the fable genre is becoming less and less common, both in Russia and in Western Europe. Moral-ironic narratives, allegorical images, morality that completes the story - all these features of the fable genre begin to seem outdated and satirical works began to take on completely different forms.
In our time, Soviet satirical poets, for example, Demyan Bedny or S.V. Mikhalkov, tried to revive the fable genre.

For the first time the term "epic" was introduced by Ivan Sakharov in the collection "Songs of the Russian people" in 1839. The popular name for these works is old, old, old. This is the word used by the storytellers. In ancient times, antiquities were performed to the accompaniment of the harp, but over time, this tradition has become a thing of the past.
According to the classification, epics are traditionally divided into two large cycles: Kyiv and Novgorod. At the same time, a significantly larger number of characters and plots are associated with the first. The events of the epics of the Kyiv cycle are timed to the capital city of Kyiv and the court of Prince Vladimir. The heroes of these antiquities: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, and others. The Novgorod cycle includes stories about Sadko and Vasily Buslaev. There is also a division into "senior" and "junior" heroes. The "elder" - Svyatogor and Volga (sometimes also Mikula Selyaninovich), are the remains of the epic of the times of the tribal system, personify the ancient gods and the forces of nature - powerful and often destructive. When the time of these giants passes, they are replaced by "younger" heroes. Symbolically, this is reflected in the epic "Ilya Muromets and Svyatogor": the ancient warrior dies and Ilya, having buried him, goes to the service of Prince Vladimir.
In the 19th and 20th centuries epics have completely disappeared from our literature and are now only a majestic cultural heritage of the bygone past. Already in Soviet times, attempts were made to adapt the epic genre to the conditions and requirements of our time. This is how, for example, the lament about Lenin “Stone Moscow cried all over,” recorded from the storyteller Marfa Semyonovna Kryukova, appeared. But such an amazing combination of an old form and a new topical content did not take root in folk art.

A ballad (from the French ballade, - to dance) is a lyrical-epic work, that is, a story told in poetic form, of a historical, mythical or heroic nature. The plot of the ballad is usually borrowed from folklore. Ballads are often set to music.
The ballad appeared among the southern Roman peoples, approximately from the 12th century. This is a small lyrical poem, consisting of four stanzas, eight, ten or twelve stanzas, interspersed with a chorus (refrain), and usually contained a love complaint. It was originally sung to accompany dances.
In Italy, ballads were composed by Petrarch and Dante.
In France, Provence is considered the birthplace of the ballad. This form of short epic poem was favored by the Provençal troubadours. Under Charles VI, Alain Chartier and the Duke Charles of Orleans became famous for composing ballads. Around 1390, a group of noble poets from the entourage of Louis of Orleans compiled the Book of a Hundred Ballads based on the first collection of Seneschal Jean d'E.
In the 17th century, the famous fabulist Lafontaine wrote ballads. Under his pen, B. was distinguished by simplicity and wit.
In England, the ballad has long been known. In the 19th century, there were reasons to believe that the ballad was brought by the Norman conquerors, but here it received only the flavor of gloomy mystery. The very nature of England, especially in Scotland, inspired the bards of these countries with a mood that was reflected in the depiction of bloody battles and terrible storms. The bards in their ballads sang of the battles and feasts of Odin and his companions; later poets of this kind sang the exploits of Douglas, Percy and other heroes of Scotland. There are also ballads about Robin Hood, about the beautiful Rosamund, about King Edward IV. Many of the ballads were given literary adaptations by Robert Burns. He masterfully reproduced old Scottish traditions. Burns' exemplary work of this kind is recognized as "The Song of the Beggars".
Walter Scott, Southey, Campbell and some other first-class English writers also used the poetic form of the ballad. Walter Scott owns the ballad "Castle Smalholm", translated by V. A. Zhukovsky, which captivated Russian lovers of romanticism.
The first Russian ballad, and, moreover, original in both content and form, was G. P. Kamenev’s “Thunderbolt”. But the main representative of this kind of poetry in Russian literature was V. A. Zhukovsky, who was given the nickname “ballade player” (Batyushkov) by his contemporaries . His first ballad "Lyudmila" (1808) was remade from Burger ("Lenore"). She made a strong impression on her contemporaries. Zhukovsky also translated into Russian the best ballads of Schiller, Goethe, Moore, W. Scott. His original ballad "Svetlana" (1813) was recognized as his best work, so critics and philologists of that time called him "Svetlana's singer".
After Zhukovsky, the ballad was represented by such samples as "The Song of the Prophetic Oleg", "Demons" and "The Drowned Man" (A.S. Pushkin), "Airship" (M.Yu. Lermontov), ​​"The Sun and the Moon", "Forest ”(Polonsky), etc. We find entire sections of ballads in the poems of Count A. K. Tolstoy (mainly on ancient Russian topics) and A. A. Fet.

Myth (from Greek mythos - legend).

Myth is a story. This is a symbolic expression of certain events that took place among certain peoples at a certain time, at the dawn of their history.
In myths, events are considered in time sequence, but often the specific time of the event does not matter, only the starting point for the beginning of the story is important. Myths have served for a very long time as the most important source of information about the past, making up the bulk of some of the historical works of antiquity (for example, Herodotus and Titus Livius).
Since mythology reflects reality in the forms of figurative narrative, it is close in its meaning to fiction and historically had a great influence on its early development.
The development of the art of creating myths is most easily traced on the material of ancient literature. As you know, Greek mythology was not only the arsenal of Greek art, but also its "soil". This can be attributed, first of all, to the Homeric epic ("Iliad", "Odyssey"). Later, "Vedas", "Mahabhara-ta", "Ramayana", "Puranas" in India, "Avesta" in Iran, "Edda" in the German-Scandinavian world and other myths appeared.
Roman poetry gives new types of attitude to myths. Virgil connects myths with the philosophical understanding of history, creating a new structure of the mythological image associated with religion. Ovid, on the other hand, separates mythology from religious content.
Medieval poetry continued Virgil's attitude to myths, the Renaissance - Ovid's.
Starting from the late Renaissance, non-antique images of the Christian religion and the chivalric romance are translated into the figurative system of ancient mythology, understood as a universal language (“The Liberated Jerusalem” by T. Tasso, the idylls of F. Shpe, glorifying Christ under the name of Daphnis). Allegorism and the cult of conventionality reach their apogee by the 18th century.
In the 17th century, the English philosopher Francis Bacon in his essay “On the Wisdom of the Ancients” stated that “myths in poetic form store the most ancient philosophy, moral maxims or scientific truths, the meaning of which is hidden under the cover of symbols and allegories.”
Modern writers are characterized not by a deliberate and lofty admiration for myths (as in the later romantics and symbolists), but by a free attitude towards them, which is complemented by irony, parody and analysis, and myth schemes are sometimes found in simple and everyday objects.

2. SMALL LYRICAL GENRES

A lyrical poem is a small genre form of lyrics written either on behalf of the author (“I loved you” by Pushkin) or on behalf of a fictional lyrical hero (“I was killed near Rzhev ...” by Tvardovsky).
Lyric poetry (from the Greek ;;;;;;; - “performed to the sounds of the lyre, sensitive, lyrical”) - reproduces the subjective personal feeling or mood of the author. According to Ozhegov's dictionary, lyricism means sensitivity in feelings, in moods, softness and subtlety of the emotional principle.
Throughout the ages, people have sought to express their feelings and emotions through various forms of art. Majestic statues, luxurious buildings, bewitching paintings... The list of masterpieces created by man is endless. Unfortunately, not every creation of art has survived to our times. But poems created even several centuries ago have been preserved. Rhyming lines, created by the talents of their time, were passed from mouth to mouth. Over time, any poem combined with music could become a romance or a song that we still know.

In the first period of ancient Greek, lyrical poems were sung mainly to the accompaniment of a flute, later - a guitar.
European lyrics are especially developed in Italy in the XIV century. As early as the 13th century, under the influence of the Provencals, Italian troubadours began to appear; there were especially many of them at the court of the emperor-poet Frederick II.
The poets of the so-called Sicilian school prepared the future flourishing of Italian lyric poetry and developed its two main forms: the canzone and the sonnet. At the same time, spiritual lyrics developed in Central Italy - laude, songs of praise to God, imbued with extreme mysticism.

Elegy (from the Greek eleos - a mournful song) is a small lyrical form, a poem imbued with a mood of sadness and sadness. As a rule, the content of elegies is philosophical reflections, sad reflections, grief.
In early ancient poetry, a poem written in elegiac distich, regardless of content; later (Callimach, Ovid) - a poem with the character of thoughtful sadness. In modern European poetry, the elegy retains stable features: intimacy, motives of disappointment, unhappy love, loneliness, and the frailty of earthly existence.
In Russian poetry, Zhukovsky was the first to introduce the genre of elegy into literature. He also introduced new methods of versification and became the founder of Russian sentimental poetry and one of its great representatives. In the spirit and form of an elegy, he wrote many poems filled with mournful reflection.
These are “Evening”, “Slavyanka”, “On the death of Kor. Wirtembergskaya". His “Theon and Aeschines” are also considered elegies (more precisely, this is an elegy-ballad). Zhukovsky called his poem "The Sea" an elegy.
In the first half of the 19th century, it became fashionable to give the names of elegies to your poems. Especially often Batyushkov, Baratynsky, Yazykov and others called their works elegies. Subsequently, however, this went out of fashion. Nevertheless, the verses of many Russian poets are imbued with an elegiac tone.
Before Zhukovsky, attempts to write elegies in Russia were made by such authors as Pavel Fonvizin, Bogdanovich, Ablesimov, Naryshkin, Nartov, Davydov and others.

The message (from the Greek epistole - letter) is a small lyrical form, a poetic genre that was widespread in the first half of the 19th century. This is a letter in verse.
Its content is very diverse - from philosophical reflections to satirical paintings and epic narratives. Addressing a known or imaginary person, the author of the message speaks to him in the usual epistolary style, which sometimes rises to solemnity and pathos, sometimes - which is more characteristic of the message - drops to a simple and friendly tone, in accordance with the person to whom it is addressed.
The old poetics considered elegance, wit, and lightness of verse to be especially characteristic of the style of the epistle. The most common sizes are hexameter and Alexandrian verse, but others are allowed. Pushkin often used the original iambic trimeter in his messages.
In Russian literature of the 18th century, the form of epistles (also called "letter, epistole, verse") was very common; hardly during this time there will be at least one outstanding poet who did not write epistles.
Especially noteworthy are the messages of Zhukovsky, who left a lot of them; between them there are real messages in the old style, and inspired, and artless playful little notes in verse.
Messages were also written by Karamzin (“To Pleshcheev”, “To Women”, “To a Poor Poet”), Gnedich (“A Peruvian to a Spaniard”) and others.
Pushkin's epistles are excellent examples of this literary form; they are deeply sincere, free and simple, like ordinary writing, elegant and witty, far from the conventional style of classical messages; the message to Delvig ("Skull") is interspersed in a simple letter and interspersed with prose; other messages were also originally intended not for printing, but only for the addressee. In Pushkin's lyrics, messages occupy a prominent place, especially the message to Batyushkov, Galich, Pushchin, Delvig, Gorchakov, V. Pushkin Zhukovsky, Chaadaev, Yazykov, Rodzianko. The messages "To Siberia" and "Ovid" have a special character.
In further development, the epistles lose in essence any difference from ordinary lyric poems. "Valerik" Lermontov - a letter in verse - has nothing to do with the template of the classical message. The messages of Tyutchev (“To A. N. Muravyov”, “To Ganka”, “Prince A. A. Suvorov”), Nekrasov (“To Turgenev” and “Saltykov”), Maykov, Polonsky, Nadson (“ Letter to M.V.V.).

Epigram (from the Greek epigramma - inscription) - a small lyrical form, a poem that makes fun of a specific person. The emotional range of the epigram is very large - from friendly mockery to angry denunciation. Characteristic features - wit and brevity.
An example is one of Derzhavin's epigrams:

Donkey stays donkey
Though you shower him with stars,
Where should the mind act,
He just flaps his ears.

Sonnet (from the Italian soneto - song) - a small lyrical form. A lyric poem consisting of fourteen verses arranged and arranged in a special order. Strict form, requiring the fulfillment of many conditions. The sonnet is written mainly in iambic - pentameter or six-foot; rarely used iambic tetrameter. The 14 verses of the sonnet are grouped into two quatrains and two three-verses (tercet). In two quatrains - in the first half of a sonnet - as a general rule, there should be two rhymes: one feminine, the other masculine. In the two three-verses of the second half of the sonnet, there are other rhymes, which can be two or three.
The sonnet is a solid poetic form. William Shakespeare made a particularly great contribution to the development of this genre. Below is one of his sonnets.

When your forehead is furrowed
Deep traces of forty winters,
Who will remember the regal attire,
Disdaining your miserable rags?

And to the question: "Where are they hiding now
Remnants of the beauty of merry years?" -
What do you say? At the bottom of dead eyes?
But your answer will be an evil mockery.

The words would be better:
"Look at my children.
My former freshness is alive in them,
They are the justification for my old age."

Let the blood run cold over the years
In your heir it burns again!

Stanzas are a lyrical-epic work, consisting of compositionally complete stanzas, isolated from each other. This is expressed in the prohibition of semantic transfers from one stanza to another and in the obligatory nature of independent rhymes that are not repeated in other stanzas.

In a closer sense, a traditional stanza in the form of an eight-line stanza of 5 or 6 foot iambics, otherwise an octave, was called stanzas. Stanzas are a classic form of epic poetry (Ariosto, Tasso, Camões), Byron gave them incomparable brilliance ("Don Juan", "Childe Harold"). Russian octaves: "Aul Bastunji" by Lermontov, "House in Kolomna" by Pushkin.

Monostih (one-line, one-liner)

Literary form: a poem consisting of one line. It is generally accepted that one-line poems arose already in ancient poetry, although there is no absolutely reliable evidence for this: most of the one-line texts of ancient Greek and Roman authors that have come down to us are, apparently, fragments of poems that have not been completely preserved.
In Russia, such different authors as Konstantin Balmont, Daniil Kharms, Ilya Selvinsky, Lev Ozerov, and others turned to monostikha. the poet Vladimir Vishnevsky even created his own author's genre on the basis of monostich, which brought wide popularity to both the author and the form he used.
Examples:
- young Bryusov "O close your pale legs" famous monostych (one-line poem) by Valery Bryusov. The only line of the poem ends with a dot, there is no comma after "O".

One-line text by Vladimir Vishnevsky "And for a long time I will be kind to this and that ...".

Some specialists prefer the term "one-line" to the term "monostich". Outside the scientific literature, a monostich is also called a one-liner; in poetic terminology, however, this word is more often used to denote an isolated (separated from the rest of the text by spacing) verse in a multi-line poem.

The term "romance", which originated in medieval Spain, originally meant an ordinary song in Spanish (Romance) language. Romance is in Spanish. The content of a poem set to music was usually love, lyrical. This term then spread to other countries.
A romance is like a song. But its difference from the song is in its special melodiousness and clear relief melody. The romance usually lacks a chorus (refrain), although there are exceptions. In the music of a romance, unlike a song, more attention is paid to the mood (and not to the rhythm, for example), the essence of the romance is in the content of the verses and in the melody, and not in the accompaniment. Usually romances are chamber music (singing with the accompaniment of one instrument, more often the piano). But here, of course, there are exceptions - the accompaniment of the orchestra.

Features of the romance genre:
- In a romance, words, music, and vocals are important at the same time.

A romance is more intimate than a song, so it can only be lyrical, while a song can be patriotic, heroic, etc.

Due to the fact that a romance usually expresses a love feeling, the addressee is always present or implied in it, i.e. a romance in a certain sense must have a dialogue, even if it is an internal one.

The instrumental works “songs without words” are close to the romance, in which the melodic line prevails. The most famous are "Songs without Words" by F. Mendelssohn. Romance verses are usually melodic, melodious, touching and tender or tragic in themselves.
Russian romance was formed as a genre in the first half of the 19th century, this was associated with the flourishing of romanticism in world, including Russian, literature. Composers A. Alyabyev, A. Varlamov and A. Gurilev played an important role in the formation of the Russian romance. Among the best and most famous works of Alyabyev can be called the romance "The Nightingale" (1826) to the words of A. Delvig, "Winter Road", "Two Crows" to the verses of A. Pushkin, "Evening Bells" to the words of I. Kozlov.
Many Russian romances had a gypsy flavor both in content and in music. We know from classical Russian literature that the singing of gypsies was the favorite pastime of the Russian nobility.
Early 20th century called the "golden age" of Russian romance. Then the audience was captivated by the talent of A. Vertinsky, V. Panina, A. Vyaltseva, N. Plevitskaya, and later - Pyotr Leshchenko, Isabella Yuryeva, Tamara Tsereteli and Vadim Kozin.
In Soviet times, especially since the late 1930s, romance was persecuted as a relic of the tsarist era, harmful to the builders of the socialist future. Many famous performers fell silent, some were repressed. The revival of Russian romance began only in the 1970s. At this time, Valentin Baglaenko, Nikolai Slichenko, Valentina Ponomareva, Nani Bregvadze, Boris Shtokolov and others became prominent performers of romances.

MADRIGAL - (French madrigal, from the Greek mandra herd, because before the madrigal was a shepherd's song).
Madrigal in classical poetry is a small lyric poem-compliment, a poem of laudatory content.
Originally a musical and poetic genre of the Renaissance. In the XIV-XVI centuries, poetic madrigals were created, as a rule, for musical embodiment. Later, the literary madrigal was not associated with music and was a genre of salon and album poetry.
Samples of madrigals in Russian poetry are represented by the works of A. P. Sumarokov, I. I. Dmitriev, V. L. Pushkin, and later - K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov. The names of real recipients, as a rule, were replaced by conditionally poetic Alina, Laisa, Selina, Leela and the like. An example of a madrigal by V.I. Tumansky:

You all have what tender sex is proud of
Pleasure, beauty and freshness of youth
Who knows your mind - marvels,
Who knows the heart - he gives his to you.

Often, the form of the madrigal was rethought in a parody, and the epigram was designated as such a genre definition. An example of such a “madrigal” is “Madrigal for a Regimental Lady” by N. S. Gumilyov:

Like a houri in Mohammedan
Eden, in roses and silk
So you are in the Life Guards Lancers
Her Majesty's regiment.

SMALL POETIC FORMS OF OTHER PEOPLES

Traditional haiku is three lines, 5+7+5=17 syllables. Most haiku have two sentence parts, 12+5 or 5+12. These parts are separated by a special separating word that plays the role of a punctuation mark. Often there are no dividing words at all, and the haiku themselves are usually written in Japanese as a single vertical column. In this case, the breakdown is simply implied according to the classical pattern 5 + 7 + 5 (in much the same way as when writing Russian poetry in a line, one can assume that rhymed words are at the ends of lines). In general, being "initial stanzas" in origin, haiku often have an "incomplete form", i.e. are not grammatically complete sentences.

Examples:
White Night -
how long does the phone ring
at the neighbor's house

Alexey Andreev

Above me are clear stars
the whole world is sleeping
we both look up.

Gazelle (gazelle)

A special verse form in which the end of each even-numbered verse is a repetition of the end of the first verse.
This is a poetic form, which is a small lyrical poem (often love or landscape) in the poetry of the peoples of the East.
The ghazal originated in the seventh century and was performed to the accompaniment of a stringed instrument.

A ghazal consists of a number of bayts (a bayt is a couplet, consisting of two poetic lines connected by a single complete thought), of which there are usually no more than 12, with only one rhyme for the entire poem.
Along with the rhyme, the ghazal also uses redif (redif is a word or a series of words that repeat after the rhyme and close the line).

This form reached particular perfection with the 12th century poet Nizami (1141-1203).

In the soul, a market is always ready for a sweetheart,
From sighs I wove a veil for the sweetheart.

By sugar lalam, like sugar, I melt,
I'm ready to drag a load of shackles for my dear.

The unfaithful broke vows,
I don't have words for my dear...

The Persian poets Saadi (1184-1291) and Hafiz were also recognized masters of this kind of poetry. (1300-1389).

Airens are a monostrophic poetic form of medieval Armenian poetry. Consists of four 15-complex verses. In medieval Armenia, airens were performed in song form.

Airens are the pinnacle of Armenian love lyrics of the 14th to 16th centuries, rooted in folklore. Love, the bitter fate of a wanderer - pandukhta, philosophical reflections are the main motives of the airens, mostly one-line verses, which are the functional Armenian equivalent of a sonnet. The Airens are characterized by the cult of the feeling of love, the worship of the beloved as a shrine. Sometimes biblical images and motifs are used, but they are included in the image of real love. In many airens, there is a departure from the traditionally magnificent description of female beauty and the finest artistic taste of the author is revealed.

With their psychological depth and versatility, the Airens noticeably enriched the Armenian love lyrics. The strongest airens are poems about suffering, bitterness, separation. All the humanism of the poets was reflected in the love airens. So deep was the faith of the poets in man that even in their thoughts they did not allow betrayal in love, which was compared with snowfall in the middle of summer. Such views on love were in conflict with the customs of feudal society, trampling on the free feelings of man.

Airen consists, as a rule, of four fifteen-syllable lines (occasionally five). Each line is clearly divided by a caesura into two half-lines. Two-complex and three-complex foot strictly alternate. Thus, the 2nd, 5th, 7th, 10th, 12th, 15th syllables are stressed in each line. The rhyme is masculine, usually through (the endings of all four lines are consonant). Sometimes there is an additional rhyme: some middle lines, indicated by a caesura, rhyme with each other, or with the end of their own or adjacent line. In accordance with these features, some Russian translators (for example, V.Ya. Bryusov, P.G. Antokolsky, V.K. Zvyagintseva) conveyed airens in quatrains, and some in octets.

Examples:

1 You said: "I'm yours!" Is this really a lie?
You repented to love! Or will you find another?
I will be so sad that you cling to another
And you will press his lips to the traces of my kisses!

2. "You walk high - say hello, dear, moon!"
- "I'll say hello dear, but I don't know where she is."
- "Do you see the tree in the garden, where is the high wall?
She drinks from a blue cup there under the tree
And Armenian speech glorifies the sweetness of affection and wine.

Nahapet Kuchak
(XVI century)

Rubaiyat (quatrain)

Rubaiyat is a Persian quatrain. A special genre of poetry is the quatrain with the AABA rhyming scheme. In each of them - at least a grain of humor and (or) wisdom.
Rubaiyat is an exclusively Persian poetic genre, primordially folk, not borrowed from Arabic literature.
Apparently, Rudaki was the first to introduce such quatrains into written poetry. Omar Khayyam approved the internal laws of the rubaiyat, cut and transformed this form into a new philosophical and aphoristic poetic genre. Each of his quatrains is a small poem. Later, under the influence of Persian culture, this genre was adapted and used in other countries.

Examples:
1

Here again the day has disappeared, like a light moan of the wind,
From our life, friend, he fell out forever.
But as long as I'm alive, I won't worry
About the day that departed, and the day that was not born.

Where did we come from? Where are we heading our way?
What is the meaning of our life? He is incomprehensible to us.
How many pure souls under the azure wheel
It burns to ashes, to dust, but where, tell me, is the smoke?

Omar Khayyam (1048-1123).

According to the classical canon, a tanka should consist of two stanzas. The first stanza contains three lines of 5-7-5 syllables, respectively, and the second - two lines of 7-7 syllables. The result is a five-line 31 syllable. This is about form. We must not forget that a line and a stanza are two different things.
The content should be like this. The first stanza represents the natural image, the second - the feeling or sensation that this image evokes. Or vice versa.

Oh don't fall asleep
Alone on a cold bed.
And then this rain
It knocks so that even for a moment
You can't close your eyes.

Akazome-emon
translator: T. Sokolova-Delyusina

I thought all about him
And I forgot myself in an accidental nap.
And then I saw him.
Oh, to comprehend that this is a dream,
Would I wake up?!

Wasted away
Passed cherry blossom, -
Oh, my age is short!
Age without adjoining, I look
A look as long as rain.
Tanka of the poetess Ono no Komachi.
Translator V. Sanovich

Limerick (limrick)

This genre first appeared in England in the 18th century. But already in the 20th century, the original limericks spread throughout Europe.
In Russia, the limerick genre is actively developing thanks to poets - ironists, in particular, Anatoly Belkin, Igor Irteniev, Sergei Satin, Sergei Shorgin, Olga Arefieva and many others.

Traditionally, a limerick has five lines built according to the AABBA scheme, and in the canonical form the end of the last line repeats the end of the first. The plot of a limerick is built something like this: the first line says who and where, the second - what he did, and then - what came of it. Most often, the limerick is written in anapaest (1st, 2nd and 5th lines - three-foot, 3rd and 4th - two-foot), less often amphibrach, even more rarely - dactyl.

Examples of limericks:

Edward Lear (1872)

There was a young person of Ayr
Whose head was remarkably square:
On the top, in fine weather, whoever meets her
She wore a gold feather; From the bottom of my heart I admired:
Which dazzled the people of Ayr. “How nice this lady is!”
Translation by Grigory Kruzhkov (1993)

Anatoly Belkin:

Member of the Folketing from Denmark
Succeeded in Kabbalah and Divination
And friends from parliament
Through the pages of the regulation
predicts the outcome of the meeting.

Folklore genres of oral folk art

Story
An epic narrative, predominantly prosaic, with an emphasis on fiction; reflects the ancient ideas of the people about life and death, about good and evil; designed for oral transmission, so the same plot has several options (Gingerbread Man, Lime Leg, Vasilisa the Wise, Fox and Crane, Zayushkina Hut).

Song
Musical and poetic art form; expresses a certain ideological and emotional attitude to human life (Songs about S. Razin, E. Pugachev)

Small genres of folklore
Mystery
A poetic description of an object or phenomenon, based on similarity or contiguity with another object, characterized by brevity, compositional clarity. "A sieve is hanging, not twisted by hands" (web).

Proverb
A short figurative, rhythmically organized folk expression that has the ability to be used in speech on the principle of analogy ("Seven do not wait for one").

Proverb
An expression that figuratively defines the essence of any life phenomenon and gives it an emotional assessment; does not contain a complete thought ("Light in sight").

Patter
A joking expression deliberately built on a combination of words that are difficult to pronounce together
("The Greek rode across the river, sees the Greek in the river cancer, put the Greek's hand into the river: cancer by the Greek's hand").

Chastushka
A short rhymed song performed at a fast pace, a quick poetic response to an event of a domestic or social nature.

"I'm going to dance
Nothing to eat at home
Rusks and crusts,
And on the legs of the support.
Heinrich Uzhegov

Types of Literature- this is a commonality of verbal and artistic works according to the type of the author's attitude to the artistic whole.

There are three genres in literature: drama, epic, lyric.

epic- (translated from ancient Greek - word, narration) - an objective image of reality, a story about events, the fate of heroes, their actions and adventures, an image of the external side of what is happening. The text has a mostly descriptive-narrative structure. The author directly expresses his attitude to the events depicted.

Drama- (from the ancient Greek - action) - the image of events and relationships between the characters on the stage in actions, clashes, conflicts; features are: the expression of the author's position through remarks (explanations), characters are created due to the replicas of the characters, monologue and dialogic speech.

Lyrics(from the ancient Greek “performed to the sounds of a lyre, sensitive”) experiencing events; depiction of feelings, inner world, emotional state; feeling becomes the main event; external life is presented subjectively, through the perception of the lyrical hero. The lyrics have a special language organization (rhythm, rhyme, size).

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

Genre- characteristic of a particular genus. This is a historically established group of works, united by common features of content and form. Literary genres are divided into epic, dramatic and lyrical.

Epic genres:

• epic novel - a comprehensive depiction of people's life in a critical historical era;
• the novel is a depiction of life in all its fullness and diversity;
• a story is a depiction of events in their natural sequence;
• essay - a documentary depiction of the events of one person's life;
• short story - an action-packed story with an unexpected ending;
• story - a short work with a limited number of characters;
• a parable is a moral teaching in allegorical form.

Drama genres:

• tragedy - literal translation - a goat's song, an insoluble conflict that causes suffering and death of the heroes in the finale;
• drama - connects the tragic and the comic. At the core is a sharp but solvable conflict.

Lyric genres:

• ode - (genre of classicism) a poem, a song of praise, praising the achievements, dignity of an outstanding person, hero;
• elegy - a sad, sad poem containing philosophical reflections on the meaning of life;
• sonnet - a lyrical poem of a strict form (14 lines);
• song - a poem consisting of several verses and a chorus;
• message - a poetic letter addressed to one person;
• epigram, epithalama, madrigal, epitaph, etc. - small forms of well-aimed short verses dedicated to specific goals of the writer.

Lyric-epic genres: works that combine elements of poetry and epic:

• ballad - a plot poem on a legendary, historical theme;
• a poem is a voluminous poem with a detailed plot, with a large number of characters, which has lyrical digressions;
• a novel in verse is a novel in poetic form.

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

Genre is a type of literary work. There are epic, lyrical, dramatic genres. Lyroepic genres are also distinguished. Genres are also divided by volume into large (including rum and epic novel), medium (literary works of “medium size” - novels and poems), small (story, short story, essay). They have genres and thematic divisions: adventure novel, psychological novel, sentimental, philosophical, etc. The main division is connected with the genres of literature. We present to your attention the genres of literature in the table.

Thematic division of genres is rather conditional. There is no strict classification of genres by topic. For example, if they talk about the genre-thematic diversity of lyrics, they usually single out love, philosophical, landscape lyrics. But, as you understand, the variety of lyrics is not exhausted by this set.

If you set out to study the theory of literature, it is worth mastering the groups of genres:

• epic, that is, genres of prose (epic novel, novel, story, short story, short story, parable, fairy tale);
• lyrical, that is, poetic genres (lyric poem, elegy, message, ode, epigram, epitaph),
• dramatic - types of plays (comedy, tragedy, drama, tragicomedy),
• lyrical epic (ballad, poem).

Literary genres in tables

epic genres

• epic novel

  epic novel- a novel depicting folk life in critical historical eras. "War and Peace" by Tolstoy, "Quiet Flows the Don" by Sholokhov.

• Novel

  Novel- a multi-problem work depicting a person in the process of his formation and development. The action in the novel is full of external or internal conflicts. By subject, there are: historical, satirical, fantastic, philosophical, etc. By structure: a novel in verse, an epistolary novel, etc.

• Tale

  Tale- an epic work of medium or large form, built in the form of a narrative of events in their natural sequence. In contrast to the novel, in P. the material is chronicled, there is no sharp plot, there is no blue analysis of the feelings of the characters. P. does not pose problems of a global historical nature.

• Story

  Story- a small epic form, a small work with a limited number of characters. R. most often poses one problem or describes one event. The short story differs from R. in an unexpected ending.

• Parable

  Parable- moral teaching in allegorical form. A parable differs from a fable in that it draws its artistic material from human life. Example: Gospel parables, the parable of the righteous land, told by Luke in the play "At the Bottom".

Lyric genres

• lyric poem

  lyric poem- a small form of lyrics written either on behalf of the author, or on behalf of a fictional lyrical hero. Description of the inner world of the lyric hero, his feelings, emotions.

• Elegy

  Elegy- a poem imbued with moods of sadness and sadness. As a rule, the content of elegies is philosophical reflections, sad reflections, grief.

• Message

  Message- a letter of poetry addressed to a person. According to the content of the message, there are friendly, lyrical, satirical, etc. The message can be. addressed to one person or group of people.

• Epigram

  Epigram- a poem that makes fun of a specific person. Characteristic features are wit and brevity.

• Oh yeah

  Oh yeah- a poem, distinguished by the solemnity of style and sublimity of content. Praise in verse.

• Sonnet

  Sonnet- a solid poetic form, usually consisting of 14 verses (lines): 2 quatrains-quatrains (for 2 rhymes) and 2 three-line tercetes

Dramatic genres

• Comedy

  Comedy- a type of drama in which characters, situations and actions are presented in funny forms or imbued with the comic. There are satirical comedies (“Undergrowth”, “Inspector General”), high (“Woe from Wit”) and lyrical (“The Cherry Orchard”).

• Tragedy

  Tragedy- a work based on an irreconcilable life conflict, leading to the suffering and death of heroes. William Shakespeare's play Hamlet.

• Drama

  Drama- a play with a sharp conflict, which, unlike the tragic, is not so elevated, more mundane, ordinary and somehow resolved. The drama is built on modern rather than ancient material and establishes a new hero who rebelled against circumstances.

Lyric epic genres

(intermediate between epic and lyric)

• Poem

  Poem- the average lyrical-epic form, a work with a plot-narrative organization, in which not one, but a whole series of experiences is embodied. Features: the presence of a detailed plot and at the same time close attention to the inner world of the lyrical hero - or an abundance of lyrical digressions. The poem "Dead Souls" by N.V. Gogol

• Ballad

  Ballad- an average lyrical-epic form, a work with an unusual, tense plot. This is a story in verse. A story told in poetic form, historical, mythical, or heroic. The plot of the ballad is usually borrowed from folklore. Ballads "Svetlana", "Lyudmila" V.A. Zhukovsky

As you know, all literary works, depending on the nature of the depicted, belong to one of the three genera: epic, lyric or drama .

1 ) Joke2) Apocrypha3) Ballad a4) Fable5) Bylina

6) Drama7) Life 8) Riddle9) Historical songs

10) Comedy11) Legend12) Lyric13) Novella

14) Ode 15) Essay16) Pamphlet17) Tale

18) Proverbs and sayings 19) Poems 20) Story21) Romance

22) Fairy tale23) Word 24) Tragedy25) Chastushka26) Elegy

27) Epigram 28) Epic29) Epic

Video lesson "Literary types and genres"

EPOS(from the Greek "narrative") is a generalized name for works depicting events external to the author.

LYRICS(from the Greek. "performed to the lyre") - this 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") - a generalized name of works intended for staging on stage; the drama is dominated by the dialogue of the characters, the author's beginning is minimized.

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

Type and genre - concepts in literary criticism very close.

Genres are variations in the type of literary work. For example, the genre of a story may be a fantasy or historical story, and the genre of a comedy may be a vaudeville, and so on. Strictly speaking, a literary genre is a historically established type of work of art containing certain structural features and aesthetic quality characteristic of this group of works.

TYPES (GENRES) OF EPIC WORKS:

epic, novel, story, short story, fairy tale, fable, legend.

EPIC is a major work of art that tells about significant historical events. In ancient times - a narrative poem of heroic content. In the literature of the 19th and 20th centuries, the epic novel genre appears - this is a work in which the formation of the characters of the main characters occurs in the course of their participation in historical events.

ROMAN is a large narrative work of art with a complex plot, in the center of which is the fate of the individual.

A STORY is a work of art that occupies a middle position between a novel and a short story in terms of the volume and complexity of the plot. In ancient times, any narrative work was called a story.

STORY - a work of art of a small size, based on an episode, an incident from the life of a hero.

FAIRY TALE - a work about fictional events and heroes, usually with the participation of magical, fantastic forces.

FABLE (from “bayat” - to tell) is a narrative work in poetic form, small in size, moralizing or satirical in nature.

TYPES (GENRES) OF LYRICAL WORKS:

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

ODA (from the 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 - a genre of lyrics dedicated to sad thoughts or a lyrical poem imbued with sadness. Belinsky called an elegy "a song of sad content." The word "elegy" is translated as "reed flute" or "mournful song". The 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") - a poem of 14 lines, which has a certain rhyming system and strict stylistic laws. The sonnet originated in Italy in the 13th century (the creator is the poet Jacopo da Lentini), appeared in England in the first half of the 16th century (G. Sarri), and in Russia in the 18th century. The main types of the sonnet are Italian (from 2 quatrains and 2 tercetes) and English (from 3 quatrains and the final couplet).

LYROEPIC TYPES (GENRES):

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There are quite a lot of literary genres. Each of them differs in a set of formal and substantive properties inherent only to it. Even Aristotle, who lived in the 4th century BC. presented their first systematization. According to her, literary genres were a specific system that was fixed once and for all. The task of the author was only to find a correspondence between his work and the properties of the genre he had chosen. And over the next two millennia, any changes in the classification created by Aristotle were perceived as deviations from the standards. It was only at the end of the 18th century that literary evolution and the associated disintegration of the entrenched genre system, as well as the influence of completely new cultural and social circumstances, nullified the influence of normative poetics and allowed literary thought to develop, move forward and expand. The prevailing conditions were the reason that some genres simply sank into oblivion, others were at the center of the literary process, and some began to appear. The results of this process (certainly not final) we can see today - a lot of literary genres that differ in gender (epic, lyrical, dramatic), content (comedy, tragedy, drama) and other criteria. In this article we will talk about what genres are in form.

Literary genres by form

In form, literary genres are as follows: essay, epic, epic, sketch, novel, short story (novella), play, story, essay, opus, ode and visions. Below is a detailed description of each of them.

Essay

An essay is a prose essay characterized by a small volume and free composition. It is recognized to reflect the personal impressions or thoughts of the author on any occasion, but is not obliged to give an exhaustive answer to the question posed or to fully disclose the topic. The style of the essay is characterized by associativity, aphorism, figurativeness and maximum proximity to the reader. Some researchers classify essay as a type of fiction. In the 18th and 19th centuries, the essay as a genre dominated French and English journalism. And in the 20th century, the essay was recognized and actively used by the world's largest philosophers, prose writers and poets.

epic

The epic is a heroic narrative about the events of the past, reflecting the life of the people and representing the epic reality of heroes-heroes. Usually, the epic tells about a person, about the events in which he took part, about how he behaved and what he felt, and also talks about his attitude to the world around him and the phenomena in it. The ancient Greek folk poems-songs are considered to be the ancestors of the epic.

epic

Epics are large works of an epic nature and similar to them. The epic, as a rule, is expressed in two forms: it can be either a narrative of significant historical events in prose or verse, or a long story about something that includes descriptions of various events. The epic owes its emergence as a literary genre to the epic songs composed in honor of the exploits of various heroes. It is worth noting that a special kind of epic stands out - the so-called "moral epic", which is distinguished by its prosaic orientation and description of the comic state of any national society.

Sketch

A sketch is a short play, the main characters of which are two (sometimes three) characters. The sketch is most common on the stage in the form of sketch shows, which are several comedy miniatures (“sketches”) lasting up to 10 minutes each. Most of all, sketch shows are popular on television, especially in the US and the UK. However, a small number of such humorous TV programs are also on Russian air (“Our Russia”, “Give Youth!” and others).

Novel

A novel is a special literary genre, characterized by a detailed narrative about the life and development of the main characters (or one character) in the most non-standard and critical periods of their lives. The variety of novels is so great that there are many independent branches of this genre. Novels are psychological, moral, chivalric, classical Chinese, French, Spanish, American, English, German, Russian and others.

Story

A short story (also known as a short story) is the main genre in short narrative prose and is smaller in volume than a novel or short story. The roots of the novel go back to folklore genres (oral retellings, legends and parables). The story is characterized by the presence of a small number of characters and one storyline. Often the stories of one author make up a cycle of stories. The authors themselves are often referred to as novelists, and collections of stories are often referred to as novelistics.

Play

A play is a name for dramaturgical works that are intended for stage performance, as well as radio and television performances. Usually the structure of the play includes monologues and dialogues of characters and various author's notes indicating the places where events take place, and sometimes describing the interiors of the premises, the appearance of the characters, their characters, manners, etc. In most cases, the play is preceded by a list of characters and their characteristics. The play consists of several acts, including smaller parts - pictures, episodes, actions.

Tale

The story is a literary genre of prose character. It does not have any specific volume, but is located between the novel and the short story (short story), which it was considered to be until the 19th century. The plot of the story is most often chronological - it reflects the natural course of life, has no intrigue, is focused on the main character and the features of his nature. Moreover, there is only one storyline. In foreign literature, the very term "story" is synonymous with the term "short novel".

Feature article

An essay is considered to be a small artistic description of the totality of any phenomena of reality, comprehended by the author. The basis of the essay is almost always a direct study by the author of the object of his observation. Therefore, the main feature is "writing from nature." It is important to say that if fiction can play the leading role in other literary genres, it is practically absent in the essay. Essays are of several types: portrait (about the personality of the hero and his inner world), problematic (about a specific problem), travel (about travel and wanderings) and historical (about historical events).

Opus

An opus in its broadest sense is any piece of music (instrumental, folk) characterized by internal completeness, motivation of the whole, individualization of form and content, in which the personality of the author is clearly traced. In the literary sense, an opus is any literary work or scientific work of an author.

Oh yeah

Ode - a lyrical genre, expressed in the form of a solemn poem dedicated to a certain hero or event, or a separate work of the same direction. Initially (in Ancient Greece), any poetic lyrics (even choral singing) that accompanied music was called an ode. But since the Renaissance, grandiloquent lyrical works began to be called odes, in which samples of antiquity serve as a guide.

visions

Visions belong to the genre of medieval (Hebrew, Gnostic, Muslim, Old Russian, etc.) literature. In the center of the narrative is usually a "clairvoyant", and the content is saturated with otherworldly, afterlife visual images that appear to the clairvoyant. The plot is presented by a visionary - a person to whom he revealed himself in hallucinations or dreams. Some authors refer to visions as journalism and narrative didactics, because in the era of the Middle Ages, the interaction of a person with the world of the unknown was precisely the way to convey any didactic content.

These are the main types of literary genres that differ in form. Their diversity tells us that literary creativity has always been deeply appreciated by people, but the process of formation of these genres has always been long and complex. Each of the genres as such bears the imprint of a certain era and individual consciousness, each expressed in their own ideas about the world and its manifestations, people and their personality traits. It is precisely due to the fact that there are so many genres and they are all different that any creative person had and has the opportunity to express himself in exactly the form that more accurately reflects his mental organization.