What is a literary genre? What are literary genres?

Historically, three types of literature have developed in literature: epic, dramatic and lyrical. These are groups of genres that have similar structural features. If the epic in the story fixes the external reality (events, facts, etc.), then the drama does the same in the format of a conversation, not on behalf of the author, and the lyrics describe the inner reality of a person. Of course, the division is conditional and to a certain extent artificial, but, nevertheless, our acquaintance with the book begins with the fact that we see the genre, genus or combination of them on the cover and draw the first conclusions. For example, a person only likes to watch plays in the theater, which means that he does not need a volume of Molière and he will pass by him without wasting time. Knowledge of the basic foundations of literary criticism also helps while reading, when you want to understand the author, penetrate into his creative laboratory, unravel why his plan was embodied this way and not otherwise.

Each genre was given an example and theoretical justification, the most concise and simple.

The novel is a large form of the epic genre, a work with extended issues and many themes. As a rule, the classic novel depicts people involved in various life processes that give rise to external and internal conflicts. Events in the novel are not always described sequentially, for example, Lermontov in the novel "A Hero of Our Time" deliberately violates the sequence.

Thematically, novels are divided into autobiographical (Chudakov "Darkness Falls on the Old Steps"), philosophical (Dostoevsky's "Demons"), adventure (Defoe "Robinson Crusoe"), fantastic (Glukhovsky "Metro 2033"), satirical (Rotterdam's "Praise of Stupidity"), historical (Pikul "I have the honor"), adventurous (Merezhko "Sonka the Golden Hand"), etc.

Structurally, novels are divided into a novel in verse (Pushkin's "Eugene Onegin"), a pamphlet novel (Swift's "Gulliver's Travels"), a parable novel (Hemingway's "The Old Man and the Sea"), a feuilleton novel ("The Countess of Salisbury" by Dumas), an epistolary novel ( Rousseau "Julia or the new Eloise") and others.

The epic novel is a novel with a panoramic depiction of the life of the people at turning points in history (Tolstoy's "War and Peace").

The story is an epic work of average size (between a short story and a novel), in which the narrative of a particular event is presented in a natural sequence (Kuprin "The Pit"). How is a story different from a novel? At least by the fact that the material of the story is chronicled, and not for the sake of the action-packed composition of the novel. In addition, the story does not set tasks of a global historical nature. In the story, the author is more constrained, all his fabrications are subordinated to the main action, and in the novel the writer is fond of memories, digressions and analysis of the characters.

The story is small epic prose form. The work has a limited number of characters, one problem and one event (Turgenev "Mumu"). How is a novella different from a short story? The boundaries between these two genres are very arbitrary, but in the short story the finale most often develops unpredictably (O'Henry's "The Gift of the Magi").

The essay is small epic prose form (many refer to it as a kind of story). The essay usually touches on social issues and tends to be descriptive.

The parable is moral teaching in allegorical form. How is a parable different from a fable? The parable draws its material mainly from life, and the fable is based on fictional, sometimes fantastic stories (evangelical parables).

Lyric genres are...

The lyric poem is a small genre form of lyrics written on behalf of the author (Pushkin "I loved you") or on behalf of the lyrical hero (Tvardovsky "I was killed near Rzhev").

elegy is a small lyrical form, a poem that is imbued with a mood of sadness and melancholy. Sad thoughts, grief, sad reflections make up the repertoire of elegies (Pushkin's elegy "On the rocks, on the hills").

The message is poetic letter. According to the content of the message, it can be divided into friendly, satirical, lyrical, etc. They can be dedicated both to one person and to a group of people (Voltaire's "Message to Friedrich").

The epigram is a poem that makes fun of a specific person (from friendly mockery to sarcasm) (Gaft "Epigram on Oleg Dal"). Features: wit and brevity.

Oda is a poem distinguished by solemnity of tone and loftiness of content (Lomonosov "Ode on the day of the accession to the throne of Elizabeth Petrovna 1747").

The sonnet is a poem of 14 verses ("Twenty sonnets to Sasha Zapoeva" by Timur Kibirov). The sonnet is one of the strict forms. A sonnet usually consists of 14 lines, forming 2 quatrains-quatrains (for 2 rhymes) and 2 three-line tercetes (for 2 or 3 rhymes).

The poem is the average lyric-epic form, in which there is a detailed plot, and several experiences are embodied, that is, attention to the inner world of the lyrical hero (Lermontov's "Mtsyri").

The ballad is middle lyric-epic form, story in verse. Often the ballad has a tense storyline (Zhukovsky "Lyudmila").

Dramatic genres are...

Comedy is a type of drama in which the content is presented in a comical way, and the characters and circumstances are comical. What are comedies? Lyrical ("The Cherry Orchard" by Chekhov), lofty ("Woe from Wit" by Griboyedov), satirical ("Inspector General" by Gogol).

Tragedy is a type of drama based on an acute life conflict, which entails the suffering and death of heroes (Shakespeare's "Hamlet").

Drama is a play with a sharp conflict, which is common, not so lofty and resolvable (for example, Gorky's "At the bottom"). How is it different from tragedy or comedy? Firstly, the material used is modern, not from antiquity, and secondly, a new hero appears in the drama, rebelling against circumstances.

Tragifars - a dramatic work that combines tragic and comic elements (Ionesco, "The Bald Singer"). This is a postmodern genre that has appeared relatively recently.

Literary genres are groups of works collected according to formal and substantive features. Literary works are divided into separate categories according to the form of the narration, according to the content and according to the type of belonging to a particular style. Literary genres make it possible to systematize everything that has been written since the time of Aristotle and his "Poetics", first on "birch bark", dressed skins, stone walls, then on parchment paper and scrolls.

Literary genres and their definitions

Definition of genres by form:

A novel is an extensive narrative in prose, reflecting the events of a certain period of time, with a detailed description of the life of the main characters and all other characters who, to one degree or another, participate in the indicated events.

A story is a form of narration that does not have a definite volume. The work usually describes episodes from real life, and the characters are presented to the reader as an integral part of the ongoing events.

A short story (short story) is a widespread genre of short fiction, which is defined as "short stories". Since the short story format is limited in scope, the writer usually manages to unfold the narrative within a single event involving two or three characters. The exception to this rule was the great Russian writer Anton Pavlovich Chekhov, who could describe the events of an entire era with many characters on several pages.

The essay is a literary quintessence that combines the artistic style of narration and elements of journalism. Always presented in a concise manner with a high content of specifics. The subject of the essay, as a rule, is connected with social and social problems and is of an abstract nature, i.e. does not affect specific individuals.

A play is a special literary genre designed for a wide audience. Plays are written for the theatrical stage, television and radio performances. In their structural pattern, the plays are more like a story, since the duration of theatrical performances correlates perfectly with a story of average length. The genre of the play differs from other literary genres in that the narration is conducted on behalf of each character. Dialogues and monologues are marked in the text.

Ode is a lyrical literary genre, in all cases of positive or laudatory content. Dedicated to something or someone, it is often a verbal monument to heroic events or the exploits of patriotic citizens.

An epic is a narrative of an extensive nature, including several stages of state development that are of historical significance. The main features of this literary genre are global events of an epic nature. The epic can be written both in prose and in verse, an example of this is Homer's poems "Odyssey" and "Iliad".

An essay is a short essay in prose in which the author expresses his own thoughts and views in an absolutely free form. An essay is to some extent an abstract work that does not claim to be completely authentic. In some cases, essays are written with a share of philosophy, sometimes the work has a scientific connotation. But in any case, this literary genre deserves attention.

Detectives and fantasy

Detectives are a literary genre based on the eternal confrontation between policemen and criminals, novels and stories of this genre are action-packed, murders occur in almost every detective work, after which experienced detectives begin an investigation.

Fantasy is a special literary genre with fictional characters, events and an unpredictable ending. In most cases, the action takes place either in space or in the underwater depths. But at the same time, the heroes of the work are equipped with ultra-modern machines and devices of fantastic power and efficiency.

Is it possible to combine genres in literature

All of these types of literary genres have unique features of difference. However, often there is a mixture of several genres in one work. If this is done professionally, a rather interesting, unusual creation is born. Thus, the genres of literary creativity contain a significant potential for updating literature. But these opportunities should be used carefully and thoughtfully, since literature does not tolerate profanity.

Genres of literary works by content

Each literary work is classified according to its belonging to a certain type: drama, tragedy, comedy.

What are comedies

Comedies come in many types and styles:

1. Farce is a light comedy built on elementary comic tricks. It is found both in literature and on the theater stage. Farce as a special comedy style is used in circus clowning.
2. Vaudeville is a comedy play with many dance numbers and songs. In the USA, vaudeville became the prototype of the musical; in Russia, small comic operas were called vaudeville.
3. An interlude is a small comic scene that was played between the actions of the main performance, performance or opera.
4. Parody is a comedy technique based on the repetition of recognizable features of famous literary characters, texts or music in a deliberately altered form.

Modern genres in literature

Types of literary genres:

1. Epic - fable, myth, ballad, epic, fairy tale.
2. Lyrical - stanzas, elegy, epigram, message, poem.

Modern literary genres are periodically updated, and over the past decades, several new branches of literature have emerged, such as political detective story, the psychology of war, and paperback literature, which includes all literary genres.

Literary genres- groups of literary works united by a set of formal and content properties (in contrast to literary forms, the selection of which is based only on formal features).

If at the folklore stage the genre was determined from an extra-literary (cult) situation, then in literature the genre receives a characteristic of its essence from its own literary norms, codified by rhetoric. The entire nomenclature of ancient genres that had developed before this turn was then vigorously rethought under its influence.

Since the time of Aristotle, who gave the first systematization of literary genres in his Poetics, the idea has been strengthened that literary genres are a regular, once and for all fixed system, and the author’s task is only to achieve the most complete correspondence of his work to the essential properties of the chosen genre. Such an understanding of the genre - as a ready-made structure offered to the author - led to the emergence of a whole series of normative poetics, containing instructions for authors on how exactly 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 features of individual genres really remained unchanged for two thousand years - however, the changes (and very significant ones) were either not noticed by theorists, or they were interpreted by them as damage, deviation from the necessary patterns. And only by the end of the 18th century, the decomposition of the traditional genre system, connected, in accordance with the general principles of literary evolution, both with internal literary 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 off 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 rather short-lived (although it then gave an unexpected new surge in Russian poetry in the first half of the 20th century - for example, with Bagritsky and Nikolai Tikhonov) , then the hegemony of the novel - a genre that normative poetics 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 indefinite genre nature began to develop especially actively: plays about which it is difficult to say whether this is a comedy or a tragedy, poems that cannot be given any genre definition, except that it is a lyrical poem. The fall of clear genre identifications was also manifested in deliberate authorial gestures aimed at destroying genre expectations: from Lawrence Stern’s novel The Life and Opinions of Tristram Shandy, Gentleman, which breaks off 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 be knocked out of the rather familiar rut of a picaresque novel every now and then with lyrical (and sometimes epic) digressions.

In the 20th century, literary genres were especially strongly influenced by the separation of mass literature from literature oriented towards artistic search. Mass literature 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 it. Of course, the old genres were not suitable for mass literature, and it rather quickly formed a new system, which was based on the very plastic genre of the novel that had accumulated a lot of diverse experience. At the end of the 19th century and in the first half of the 20th, a detective story and a police novel, science fiction and a ladies' ("pink") novel are being drawn up. It is not surprising that contemporary literature, aimed at artistic search, strove to deviate as far as possible from mass literature and therefore moved as far as possible from genre specificity. But since the extremes converge, the desire to be farther from genre predestination 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 Sarrot, are clearly observed signs of a new genre. Thus, modern literary genres (and we already meet such an assumption in the reflections 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 set here and now by this circle of authors. A 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
• content
  • comedy
    • farce
    • vaudeville
    • sideshow
    • sketch
    • parody
    • sitcom
    • comedy of characters
  • tragedy
  • Drama
• By birth
  • epic
    • Fable
    • Bylina
    • Ballad
    • Novella
    • Tale
    • Story
    • Novel
    • epic novel
    • Fairy tale
    • fantasy
    • epic
  • Lyric
    • Oh yeah
    • Message
    • stanzas
    • Elegy
    • Epigram
  • Lyro 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 Epos), nameless and author's, which was composed either through the cyclization of lyric-epic songs and legends (the point of view of A. N. Veselovsky), or by "swelling" (A. Heusler) of one or several folk legends, or with the help of complex modifications of the most 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 (the Iliad, the Mahabharata, the Song of Roland, the Elder Edda, etc.).

Many genre varieties of the poem are known: heroic, didactic, satirical, burlesque, including heroic-comic, a poem with a romantic plot, lyrical-dramatic. For a long time, the leading branch of the genre was considered a poem on a national historical or world historical (religious) theme (Virgil's Aeneid, Dante's Divine Comedy, L. di Camões' Lusiades, T. Tasso's Jerusalem Liberated, Paradise Lost ” by J. Milton, “Henriad” by Voltaire, “Messiad” by F. G. Klopstock, “Rossiyada” by M. M. Kheraskov, etc.). At the same time, a very influential branch in the history of the genre was a poem with romantic features of the plot (“The Knight in a Leopard’s Skin” by Shota Rustaveli, “Shahnameh” by Ferdowsi, to a certain extent, “Furious Roland” by L. Ariosto), connected to one degree or another with the tradition of medieval , predominantly chivalric, novel. Gradually, personal, moral and philosophical problems come to the fore in the poems, lyrical and dramatic elements are strengthened, the folklore tradition is discovered and mastered - features that are already characteristic of pre-romantic poems (“Faust” by I. V. Goethe, poems by J. MacPherson, V. Scott). The heyday of the genre occurs in the era of romanticism, when the greatest poets of various countries turn to the creation of a poem. 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, “Dzyady” by A. Mickiewicz, “The Demon” by M. Yu. Lermontov, "Germany, a winter fairy tale" by G. Heine).

In the 2nd half of the XIX 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 are manifested that are characteristic of the development of the poem in realistic literature (a synthesis of moralistic and heroic principles).

In a 20th century poem the most intimate experiences correlate with great historical upheavals, they are imbued with them as if from the inside (“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!” Mayakovsky, “Nine Hundred and Fifth Year” by B. L. Pasternak, “Vasily Terkin” by A. T. Tvardovsky); lyric-psychological poems (“About this” by V. V. Mayakovsky, “Anna Snegina” by S. A. Yesenin), philosophical (N. A. Zabolotsky, E. Mezhelaitis), historical (“Tobolsk chronicler” L. Martynov) or combining moral and socio-historical issues ("The Middle of the Century" by V. Lugovsky).

The poem as a synthetic, lyrical 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: "Repairing the Wall" and "Into the Storm" by R. Frost, " Landmarks" by Saint-John Perse, "Hollow Men" by T. Eliot, "Universal Song" by P. Neruda, "Niobe" by K. I. Galchinsky, "Continuous Poetry" by P. Eluard, "Zoya" by Nazim Hikmet.

epic(ancient Greek έπος - “word”, “narration”) - a collection of works of a mostly epic kind, united by a common theme, era, national identity, etc. For example, the Homeric epic, the medieval epic, the animal epic.

The emergence of the epic is stadial in nature, but due to historical circumstances.

The origin of the epic is usually accompanied by the addition 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 use as the basis of their narrative. Panegyrics and laments are usually composed in the same style and size 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 in the composition of epic poems as decoration.

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

Novel- a literary genre, as a rule, prosaic, which involves a detailed narrative about the life and development of the personality of the protagonist (heroes) in 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 romance"in the (folk) Romance language"), as opposed to historiography in Latin. Contrary to popular belief, this name from the very beginning did not refer to any work in the vernacular (heroic songs or lyrics of the troubadours were never called novels), but to one that could be contrasted with the Latin model, even if very remote: 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 a reverse translation into Latin, the novel was called (liber) romanticus, from where the adjective “romantic” came from in European languages, which until the end of the 18th century 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 gave rise to the name of romanticism as a literary movement.

The name "roman" was preserved when, in the 13th century, the verse novel being performed was replaced by a prose novel for reading (with the complete preservation of the knightly topic and plot), and for all subsequent transformations of the knightly novel, up to the works of Ariosto and Edmund Spenser, which we called poems, and contemporaries considered novels. It persists even later, in the 17th-18th centuries, when the "adventure" novel is replaced by the "realistic" and "psychological" novels (which in itself problematizes the supposed break in continuity).

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

In Spain, by contrast, all varieties of the novel are called novela, and descended from the same romance word romance from the very beginning belonged to the poetic genre, which was also destined to have a long history - to the 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 since then have also come to be called novels.

visions

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

visions- narrative and didactic genre.

The plot is presented on behalf of the person to whom he allegedly revealed himself in a dream, hallucination or lethargic dream. The core is mostly made up of real dreams or hallucinations, but already in ancient times, fictional stories appeared, dressed in the form of visions (Plato, Plutarch, Cicero). The genre gets a special development in the Middle Ages and reaches its climax in Dante's Divine Comedy, which in form represents the most detailed vision. An authoritative sanction and a strong impetus to the development of the genre were given by the Dialogues of Miracles by Pope Gregory the Great (VI century), after which visions began to appear en masse in the church literature of all European countries.

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

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

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

The new content puts the “third estate” 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 unjust privileges of the aristocracy and against the "robber" royal power). Such are the "Hopes of the common people" by Jean Molinet. No less pronounced are the moods of the “third estate” in Langland’s famous “Vision of Peter the Ploughman,” which played an agitational 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 literatures 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 novel are primarily Latin exempla, as well as fablios, stories interspersed in the "Dialogue about Pope Gregory", apologists from the "Biographies of the Church Fathers", fables, folk tales. In 13th-century Occitan, the term nova.Hence - Italian novella(in the most popular collection of the end of the 13th century, Novellino, also known as the Hundred Ancient Novels), which has been distributed throughout Europe since the 15th century.

The genre was established after the appearance of the book by Giovanni Boccaccio "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, around 1462, the collection One Hundred New Novels appeared (however, the material was more indebted to the facets of Poggio Bracciolini), and Margarita Navarskaya, modeled on the Decameron, wrote the book Heptameron (1559).

In the era of romanticism, under the influence of Hoffmann, Novalis, Edgar Allan Poe, a short story with elements of mysticism, fantasy, 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, beginning with Washington Irving and Edgar Allan Poe, the novella or short story (eng. short story), is of particular importance - 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 short story is characterized by several important features: extreme brevity, a sharp, even paradoxical plot, a neutral style of presentation, a lack of psychologism and descriptiveness, and an unexpected denouement. The action of the novel takes place in the author's modern world. The plot structure of the novel is similar to the dramatic one, but usually simpler.

Goethe spoke about the action-packed nature of the short story, giving it the following definition: "an unheard-of event that has taken place."

The 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 whole novella is conceived as a denouement." Viktor Shklovsky wrote that the description of a happy mutual love does not create a short story; a short story needs love with obstacles: “A loves B, B does not love A; when B loves A, then A no longer loves B. He singled out a special type of denouement, which he called "false ending": it is usually made from a description of nature or weather.

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

Tale

Story

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

In Russia XVIII-XIX centuries. (and in most languages ​​of the world so far) the word "anecdote" had a slightly different meaning - it could just be an entertaining story about some famous person, not necessarily with the task of ridiculing him (cf. Pushkin: "Jokes of the past days"). Such “jokes” about Potemkin became classics of that time.

Oh yeah

epic

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

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

A separate complete semantic part of the 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 - classical, main (comedy, tragedy, drama), or author's (for example: My poor Marat, dialogues in three parts - A. Arbuzov; Let's wait and see, a pleasant play in four acts - B. Shaw, The Good Man from Sezuan, parabolic play - B. Brecht, etc.). The genre designation of the play not only performs the function of a "hint" to the director and actors in the stage interpretation of the play, but helps to enter the author's style, the figurative structure of the dramaturgy.

Essay(from fr. essai"attempt, trial, essay", from lat. exagium"weighing") - a literary genre of prose writing of a small volume and free composition. The essay expresses the author's individual impressions and thoughts on a particular occasion or subject and does not pretend to be an exhaustive or defining interpretation of the topic (in the parodic Russian tradition, "a look and something"). 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, aphoristic, often antithetical thinking, an attitude towards intimate frankness and colloquial intonation. Some theorists consider it as the fourth, along with the epic, lyrics and drama, kind of fiction.

Based on the experience of his predecessors, Michel Montaigne introduced it as a special genre form in his "Experiments" (1580). His works, published in book form in 1597, 1612 and 1625, Francis Bacon for the first time in English literature gave the name English. essays. The English poet and playwright Ben Jonson first used the word essayist (Eng. essayist) in 1609.

In the 18th-19th centuries, the essay was one of the leading genres in English and French journalism. The development of essays was promoted in England by J. Addison, Richard Steele, Henry Fielding, in France by Diderot and Voltaire, and in Germany by Lessing and Herder. The essay was the main form of philosophical and aesthetic controversy among 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. Beerbom, G. K. Chesterton (XX century). In the 20th century, essay writing is flourishing: 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. The book Smiles of God (lit. Dievo šypsenos, 1929) by Juozapas Albinas Gerbachiauskas and Gods and Troublemakers (lit. Dievai ir smūtkeliai", 1935) by Jonas Kossu-Aleksandravičius. Examples of essays include “poetic anti-commentaries” “Lyrical Etudes” (lit. “Lyriniai etiudai”, 1964) and “Antakalnis Baroque” (lit. “Antakalnio barokas”, 1971) by Eduardas Mezhelaitis, “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 Marcelijus Martinaitis. An anti-conformist moral position, conceptuality, accuracy and polemic characterize the essay of Thomas Venclova

For Russian literature, the essay genre was not typical. Samples 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, Andrey Bely, Lev Shestov, V. V. Rozanov turned to the essay genre, later - Ilya Erenburg, Yuri Olesha, Viktor Shklovsky, Konstantin Paustovsky. Literary and critical assessments of modern critics, as a rule, are embodied in a variety of the essay genre.

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

Sketch(English) sketch, literally - a sketch, sketch, sketch), in the XIX - early XX centuries. a short play with two, rarely three characters. The sketch has received the greatest distribution on the stage.

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

A.P. Chekhov was a famous creator of sketches.

Comedy(Greek κωliμωδία, from Greek κῶμος, kỗmos, "feast in honor of Dionysus" and Greek. ἀοιδή / Greek ᾠδή, aoidḗ / ōidḗ, "song") - 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 of antagonistic characters is specifically resolved.

Aristotle defined comedy as "imitation of the worst people, but not in all their viciousness, but in a ridiculous way" ("Poetics", ch. V).

The types of comedy include such genres as farce, vaudeville, sideshow, sketch, operetta, parody. Today, many comedy films are a model of such a primitive, built solely on external comedy, the comedy of situations into which the characters find themselves in the course of the development of the action.

Distinguish situation comedy And comedy of characters.

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

Comedy of characters (comedy of manners) is a comedy in which the source of the funny is the inner essence of characters (mores), 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 - a goat song, from tragos - a goat and öde - a 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 full of pathos; a form of drama that is the opposite of comedy.

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

Drama(Greek Δρα´μα) - one of the genres of literature (along with lyrics, epic, and lyre-epic). It differs from other types of literature in the way the plot is conveyed - not through narration or monologue, but through the dialogues of the characters. Any literary work built in a dialogical form, including comedy, tragedy, drama (as a genre), farce, vaudeville, etc., refers to drama in one way or another.

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

In Greek, the word "drama" reflects a sad, unpleasant event or situation of one particular person.

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

The fable is one of the oldest literary genres. In ancient Greece, Aesop (VI-V centuries BC) was famous for writing fables in prose. In Rome - Phaedrus (I century AD). In India, the Panchatantra collection of fables dates back to the 3rd century. The most prominent fabulist of modern times was the French poet J. Lafontaine (XVII century).

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

The fables of I. A. Krylov, 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 theories about 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, the story is primary in the fable, and morality is secondary; the fable comes from the animal tale, and the animal tale comes from the myth. According to the second concept, morality is primary in a fable; the fable is close to comparisons, proverbs and sayings; like them, the fable emerges as an aid to argumentation. The first point of view goes back to the romantic theory of Jacob Grimm, the second one revives Lessing's rationalistic concept.

Philologists of the 19th century were long occupied with the controversy about the priority of the Greek or Indian fable. Now it can be considered almost certain that the common source of the material of the Greek and Indian fable was the Sumero-Babylonian fable.

epics- Russian folk epic songs about the exploits of heroes. The basis of the epic plot is some heroic event, or a remarkable episode of Russian history (hence the popular name of the epic - “ antiquity”, “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, about the origin of all things, about gods and heroes; 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 singled out from mythology, they retain a number of mythological models that are uniquely rethought when included in new structures; myth is experiencing its second life. Of particular interest is their transformation in literary work.

Since mythology masters reality in the forms of figurative narration, it is close in its essence to fiction; historically, it anticipated many 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 foundations of the plot, but also to realistic and naturalistic 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) - a narrative prose genre, which is characterized by brevity, a sharp plot, a neutral style of presentation, a lack of psychologism, and an unexpected denouement. Sometimes it is used as a synonym for a story, sometimes it is called a kind of story.

Tale- a prose genre of unstable volume (mainly an average between a novel and a short story), gravitating towards a chronicle plot that reproduces the natural course of life. The plot, devoid of intrigue, is centered around the protagonist, whose personality and fate are revealed within a few events.

The story is an epic prose genre. The plot of the story tends to be more epic and chronicle plot and composition. Possible verse form. The story depicts a series of events. It is amorphous, events often simply join each other, and extra-fabule elements play a large independent role. It does not have a complex, tense and complete plot knot.

Story- a small form of epic prose, correlated with the story as a more detailed form of narration. Goes back to folklore genres (fairy tale, parable); how the genre became isolated in written literature; often indistinguishable from the novel, and from the 18th century. - and an essay. Sometimes the short story and the essay are considered as polar varieties of the 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 kind of narrative, mostly prose folklore ( fabulous prose), which includes works of different genres, in the content of which, from the point of view of folklore carriers, there is no strict reliability. Fairy-tale folklore is opposed to "rigorous" folklore narrative ( fairy tale prose) (see myth, epic, historical song, spiritual poems, legend, demonological stories, tale, blasphemer, tradition, bylichka).

2) genre of literary narration. A literary fairy tale either imitates a folklore one ( a literary 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” is attested in written sources no earlier than the 16th century. From the word " say". It mattered: 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 - blasphemer.

The word "fairy tale" suggests that they learn about it, "what it is" and find out "what" it, a fairy tale, is needed for. A fairy tale with a purpose is needed for the subconscious or conscious teaching of a child in the family the rules and purpose of life, the need to protect their "area" and a worthy attitude towards other communities. It is noteworthy that both the saga and the fairy tale carry a colossal informational component, passed down from generation to generation, faith in which is based on respect for one's ancestors.

There are different types of fairy tales.

fantasy(from English. fantasy- "fantasy") - a type of fantastic literature based on the use of mythological and fairy tale motifs. In its modern form, it was formed at the beginning of the 20th century.

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

Unlike science fiction, fantasy does not seek to explain the world in which the work takes place in terms of science. This world itself exists in the form of some kind of assumption (most often its location relative to our reality is not specified at all: whether 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 creatures can 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 operate systematically, like the laws of nature.

Nowadays, fantasy is also a genre in cinema, painting, computer and board games. Such genre versatility is especially characteristic of 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 in mythology and folklore. In the 19th century an epic novel appears (“War and Peace” by L.N. Tolstoy)
2. A complex, long history of something, including a number of major events.

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

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

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

Since the Renaissance and in the Baroque era (XVI-XVII centuries), odes began to be called lyric works in a pathetically high style, focusing on antique samples, in classicism the ode became the canonical genre of high lyrics.

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

A poem with the character of thoughtful sadness. In this sense, it can be said that most of Russian poetry is tuned to 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. meant a poem written in a stanza of a certain size, namely, a couplet - a 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, militant in Callinus and Tyrtheus, political in Mimnerm. One of the best Greek authors E. - Callimachus. Among the Romans, E. became more definite in character, but also freer in form. The significance of amorous E. has greatly increased. The famous Roman authors of E. - Propertius, Tibull, Ovid, Catullus (they were translated by Fet, Batyushkov, and others). 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 caused numerous imitations and translations in almost all European languages. The revolution produced by this E. is defined as the onset in literature of the period of sentimentalism, which replaced false classicism. In essence, this was the inclination of poetry from rational mastery in once established forms to the true sources of inner artistic experiences. In Russian poetry, Zhukovsky's translation of Gray's elegy ("Rural Cemetery"; 1802) definitely marked the beginning of a new era that finally went beyond rhetoric and turned to sincerity, intimacy and depth. This inner change was also reflected in the new methods of versification introduced by Zhukovsky, who is thus the founder of the 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 Kor. Wirtembergskaya". His “Theon and Aeschylus” 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 XIX century. it was common to give their poems the names of elegies, especially often their works were called elegies by Batyushkov, Boratynsky, Yazykov, etc. ; subsequently, however, it fell out of fashion. Nevertheless, many poems of 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" (translated by Zhukovsky's "Dreams"), "Resignation", "Walk". Much belongs to elegies in Mathisson (Batyushkov translated it "On the ruins of castles in Sweden"), Heine, Lenau, Herweg, Platen, Freiligrath, Schlegel and many others. others. The French wrote elegies: Milvois, Debord-Valmor, Kaz. Delavigne, A. Chenier (M. Chenier, the brother of the previous one, translated Gray's elegy), Lamartine, A. Musset, Hugo, and others. In English poetry, apart from Gray, there are Spencer, Jung, Sydney, later Shelley and Byron. In Italy, the main representatives of elegiac poetry are Alamanni, Castaldi, Filican, Guarini, Pindemonte. In Spain: Boscan Almogaver, Gars de les Vega. In Portugal - Camões, Ferreira, Rodrigue Lobo, de Miranda.

Before Zhukovsky, attempts to write elegies in Russia 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 lyrical epic work, that is, a story presented 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 main genres of literature are groups of works that are identical formally and in style of presentation. Even in the time of Aristotle, there was a division of literature into genres, evidence of this is the "Poetics" of the Greek philosopher, a treatise on literary evolution, written three hundred years before the birth of Christ.

in literature?

Literature originates from biblical times, people have always written and read. containing at least some text - this is already literature, because what is written is the thoughts of a person, a reflection of his desires and aspirations. Reporting, petitions, church texts were written in a multitude, and thus the first literary genre appeared - birch bark. With the development of writing, the genre of chronicle arose. Most often, what was written already bore some literary features, elegant turns of speech, and figurative allegories.

The next genre of literature was epics, epic tales about heroes and other heroes of historical plots. Religious literature, descriptions of biblical events, lives of the higher clergy can be considered separate.

The advent of printing in the 16th century marked the beginning of the rapid development of literature. Throughout the 17th century, styles and genres were formed.

18th century literature

To the question of what genres are in one can answer unequivocally that the literature of that time is conditionally divided into three main areas: drama, narrative and poetic verses. Dramatic works often took the form of tragedy, when the heroes of the plot died, and the struggle between good and evil became more and more deadly. Alas, the conjuncture of the literary market dictated its conditions even then. The genre of calm narrative also found its reader. Novels, novellas and short stories were considered "middle", while tragedies, poems and odes belonged to the "high" genre of literature, and satirical works, fables and comedies - to the "low".

Verse is a primitive form of poetry that was in use at balls, social events and other events of the highest metropolitan nobility. Poems in the verse genre had signs of syllogistic, the verse was divided into rhythmic segments. The mechanical style, deadly for real poetry, dictated fashion for a long time.

Literature19-20 centuries

Literature of the 19th century and the first half of the 20th is distinguished by several genres, most in demand in the golden age of Pushkin and Gogol, and then in the silver age of Alexander Blok and Sergei Yesenin. Drama, epic and lyrics - that's what genres are in the literature of the past and the century before last.

The lyrics had to have an emotional coloring, be meaningful and purposeful. Its categories were ode and elegy, and ode - with enthusiastic surprise, chanting and elevation to the rank of heroes.

The lyrical elegy was built on the principle of the sad tone of the verse, sadness, as a result of the hero's experiences, regardless of what was the cause - or the disharmony of the universe.

What are genres in contemporary literature?

There are a lot of genres in modern literature, among them we can distinguish the most popular, in demand by a wide readership:

• Tragedy is a kind of literary genre of drama, characterized by extreme emotional stress, with the obligatory death of heroes.
• Comedy is another variation of the drama genre, the opposite of tragedy, with a hilarious plot and a happy ending.
• The fairy tale genre is a literary direction for children, their creative development. There are many literary masterpieces in the genre.
• The epic is a literary genre of a historical nature, it describes individual events of past times in the style of heroism, it is distinguished by a large number of characters.
• The genre of the novel is an extensive narrative, with several storylines, describing in detail the life of each character individually and all together, it is distinguished by a penchant for analyzing current events.
• The story is a genre of medium form, written according to the same scheme as the novel, but in a more concise context. In the story, one character is usually singled out as the main one, the rest are described in "binding" to him.
• Story - a genre of short-form narrative, a summary of one event. Its plot cannot be continued, it represents the quintessence of the author's thought, it always has a finished form.
• A short story is a genre similar to a short story, the difference is only in the sharpness of the plot. The novel has an unexpected, unpredictable ending. This genre is well suited to thrillers.
• The genre of the essay is the same story, but in a non-artistic manner of presentation. There are no flowery turns of speech, grandiloquent phrases and pathos in the essay.
• Satire as a literary genre is not common, its accusatory focus does not contribute to popularity, although satirical plays in theatrical production are well received.
• The detective genre is the most demanded literary trend of recent times. Millions of paperback books by popular authors such as Alexandra Marinina, Daria Dontsova, Polina Dashkova and dozens of others have become desktops for many Russian readers.

Conclusion

Diverse, each contains the potential for further creative development, which will certainly be used by modern writers and poets.

literary genre- this is a form, an abstract model on which the text of a literary work is built. A genre is a set of certain features that make it possible to classify a literary work as an epic, lyric or drama. Genres were not invented. They have existed and continue to exist in the very nature of human thought.

The main types of literary genres

Literary genres are divided into three types: epic, lyrical and dramatic. Epic genres include: a fairy tale, an epic, an epic, an epic novel, a novel, a story, an essay, a story, an anecdote. Lyrical genres are called ode, elegy, ballad, message, epigram, madrigal. Dramatic genres are tragedy, comedy, drama, melodrama, vaudeville and farce.

Literary genres have certain characteristics, which are divided into genre-forming and additional. Genre-forming features determine the specifics of a particular genre. For example, the genre-forming feature of a fairy tale is an attitude towards fiction. The events of the fairy tale are obviously perceived by the listener as magical, fictional, not directly related to reality. The genre-forming feature of the novel is its connection with objective reality, the coverage of a large number of events that happened in reality or could happen, a lot of acting characters, and a focus on the inner world of the characters.