Every literary gender is divided into genres, which are characterized by features common to a group of works. There are epic, lyrical, lyrical epic genres, genres of dramaturgy.
epic genres
Fairy tale(literary) - a work in prose or poetic form, based on folk traditions folk tale(one story line, fiction, depiction of the struggle between good and evil, antithesis and repetition as the leading principles of composition). For example, satirical tales M.E. Saltykov-Shchedrin.
Parable(from the Greek parabole - "located (placed) behind") - a small epic genre, a small narrative work instructive nature, containing moral or religious teaching, based on a broad generalization and use of allegories. Russian writers often used the parable as an interstitial episode in their works to fill the narrative. deep meaning. Let us recall the Kalmyk fairy tale told by Pugachev to Pyotr Grinev (A. Pushkin " Captain's daughter”) - in fact, this is the culmination in the disclosure of the image of Emelyan Pugachev: “How to eat carrion for three hundred years, better times drink living blood, and then what God will give! The plot of the parable about the resurrection of Lazarus, which Sonechka Marmeladova read to Rodion Raskolnikov, suggests to the reader the idea of a possible spiritual revival of the protagonist of the novel, F.M. Dostoevsky "Crime and Punishment". In M. Gorky's play "At the Bottom", the wanderer Luka tells a parable "about the righteous land" to show how dangerous the truth can be for weak and desperate people.
Fable- a small genre of epic; plot-complete, having an allegorical meaning, the fable is an illustration of a well-known worldly or moral rule. A fable differs from a parable in the completeness of the plot; a fable is characterized by unity of action, brevity of presentation, the absence of detailed characteristics and other elements of a non-narrative nature that hinder the development of the plot. Usually a fable consists of 2 parts: 1) a story about an event, specific, but easily generalizable, 2) moralizing following or preceding the story.
Feature article- genre, hallmark which is "writing from nature." In the essay, the role of the plot is weakened, because fiction is irrelevant here. The author of the essay, as a rule, narrates in the first person, which allows him to include his thoughts in the text, draw comparisons and analogies - i.e. use the means of journalism and science. An example of the use of the essay genre in literature is “Notes of a Hunter” by I.S. Turgenev.
Novella(Italian novella - news) is a kind of story, an epic action-packed work with an unexpected denouement, characterized by brevity, a neutral style of presentation, and a lack of psychologism. Big role in the development of the action of the novel, chance plays, the intervention of fate. A typical example of a Russian short story is the cycle of stories by I.A. Bunin " Dark alleys”: the author does not psychologically draw the characters of his heroes; a whim of fate, blind chance brings them together for a while and separates them forever.
Story— epic genre small volume with a small number of characters and the short duration of the depicted events. In the center of the narrative is an image of an event or life phenomenon. In Russian classical literature, the recognized masters of the story were A.S. Pushkin, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, A.P. Chekhov, I.A. Bunin, M. Gorky, A.I. Kuprin and others.
Tale— prose genre, which does not have a stable volume and occupies an intermediate place between the novel, on the one hand, and the short story and short story, on the other, gravitating towards newsreel reproducing the natural course of life. The story differs from the story and the novel in the volume of text, the number of characters and issues raised, the complexity of the conflict, etc. In the story, it is important not so much the movement of the plot as descriptions: heroes, scenes, psychological state person. For example: "The Enchanted Wanderer" by N.S. Leskov, "Steppe" by A.P. Chekhov, "Village" by I.A. Bunin. In the story, the episodes often follow one after the other according to the principle of a chronicle, intercom there is no between them, or it is weakened, so the story is often built as a biography or autobiography: “Childhood”, “Boyhood”, “Youth” by L.N. Tolstoy, "The Life of Arseniev" by I.A. Bunin, etc. (Literature and language. Modern illustrated encyclopedia / edited by Prof. A.P. Gorkin. - M.: Rosmen, 2006.)
Novel(French roman - a work written on one of the "living" Romance languages, and not in “dead” Latin) is an epic genre in which the subject of the image is certain period or whole life person; Roman what is it? - the novel is characterized by the duration of the events described, the presence of several storylines and a system actors, which includes groups of equivalent characters (for example: main characters, secondary, episodic); this genre covers big circle life phenomena and a wide range of socially significant problems. Exist different approaches to the classification of novels: 1) according to structural features(novel-parable, novel-myth, novel-dystopia, novel-journey, novel in verse, etc.); 2) on issues (family, social, social, psychological, psychological, philosophical, historical, adventurous, fantastic, sentimental, satirical, etc.); 3) according to the era in which this or that type of novel dominated (knightly, enlightenment, Victorian, Gothic, modernist, etc.). It should be noted that the exact classification of genre varieties of the novel has not yet been established. There are works whose ideological and artistic originality does not fit into the framework of any one method of classification. For example, the work of M.A. Bulgakov's "Master and Margarita" contains both acute social and philosophical problems, events are developing in parallel biblical history(in the author's interpretation) and modern author of Moscow life in the 20-30s of the 20th century, scenes full of drama are interspersed with satirical ones. Based on these features of the work, it can be classified as a socio-philosophical satirical novel-myth.
epic novel- this is a work in which the subject of the image is not a story privacy, but the fate of the whole people or an entire social group; the plot is built on the basis of nodes - key, turning points historical events. At the same time, the fate of the people is reflected in the fate of the heroes, as in a drop of water, and, on the other hand, the picture folk life is made up of separate destinies, private life stories. An integral part of the epic are mass scenes, thanks to which the author creates a generalized picture of the flow of people's life, the movement of history. When creating an epic, the artist is required to have the highest skill in linking episodes (scenes of private life and crowd scenes), psychological authenticity in drawing characters, historicism artistic thinking- all this makes the epic the pinnacle literary creativity, which not every writer can climb. That is why in Russian literature only two works created in the epic genre are known: “War and Peace” by L.N. Tolstoy, "Quiet Flows the Don" by M.A. Sholokhov. Lyric genres
Song- small poetry lyrical genre, characterized by the simplicity of musical and verbal construction.
Elegy(Greek elegeia, elegos - a mournful song) - a poem of meditative or emotional content, dedicated to philosophical reflections caused by the contemplation of nature or deeply personal feelings about life and death, about unrequited (usually) love; the prevailing moods of the elegy are sadness, light sadness. Elegy is a favorite genre of V.A. Zhukovsky ("Sea", "Evening", "Singer", etc.).
Sonnet(Italian sonetto, from Italian sonare - to sound) - a lyrical poem of 14 lines in the form of a complex stanza. The lines of a sonnet can be arranged in two ways: two quatrains and two tercetes, or three quatrains and distich. In quatrains there can be only two rhymes, and in terzets - two or three.
The Italian (Petrarchian) sonnet consists of two quatrains with the rhyme abba abba or abab abab and two tercetes with the rhyme cdc dcd or cde cde, less often cde edc. French form sonnet: abba abba ccd eed. English (Shakespearean) - with rhyming scheme abab cdcd efef gg.
The classical sonnet presupposes a certain sequence of thought development: thesis - antithesis - synthesis - denouement. As the name of this genre suggests, special meaning given the musicality of the sonnet, which is achieved by alternating male and female rhymes.
European poets developed many original views sonnet, as well as a wreath of sonnets - one of the most difficult literary forms.
Russian poets turned to the sonnet genre: A.S. Pushkin (“Sonnet”, “To the Poet”, “Madonna”, etc.), A.A. Fet (“Sonnet”, “Date in the Forest”), poets of the Silver Age (V.Ya. Bryusov, K.D. Balmont, A.A. Blok, I.A. Bunin).
Message(Greek epistole - epistole) - a poetic letter, in the time of Horace - philosophical and didactic content, later - of any nature: narrative, satirical, love, friendship, etc. A mandatory feature of the message is the presence of an appeal to a specific addressee, motives for wishes, requests. For example: “My Penates” by K.N. Batyushkov, "Pushchin", "Message to the Censor" by A.S. Pushkin and others.
Epigram(Greek epgramma - inscription) - a short satirical poem, which is a lesson, as well as a direct response to topical events, often political. For example: epigrams of A.S. Pushkin on A.A. Arakcheeva, F.V. Bulgarin, Sasha Cherny's epigram "To Bryusov's album", etc.
Oh yeah(from Greek ōdḗ, Latin ode, oda - song) - a solemn, pathetic, glorifying lyrical work dedicated to the depiction of major historical events or persons, talking about significant topics of religious and philosophical content. The ode genre was common in Russian literature XVIII — early XIX centuries in the work of M.V. Lomonosov, G.R. Derzhavin, in early work V.A. Zhukovsky, A.S. Pushkin, F.I. Tyutchev, but in the late 20s of the XIX century. other genres have come to replace the ode. Separate attempts by some authors to create an ode do not correspond to the canons of this genre (“Ode to the Revolution” by V.V. Mayakovsky and others).
lyric poem- small poetic work, in which there is no plot; author's focus inner world, intimate experiences, reflections, moods of the lyrical hero (author lyric poem And lyrical hero are not the same person). Lyric epic genres
Ballad(Provencal ballada, from ballar - to dance; Italian - ballata) - a plot poem, that is, a story of a historical, mythical or heroic character expressed in poetic form. Usually a ballad is built on the basis of the dialogue of the characters, while the plot does not have independent value is a means of creating a certain mood, subtext. So, "Song of prophetic Oleg» A.S. Pushkin has philosophical overtones, "Borodino" M.Yu. Lermontov - socio-psychological.
Poem(Greek poiein - "create", "creation") - a large or medium-sized poetic work with a narrative or lyrical plot (for example, " Bronze Horseman» A.S. Pushkin, "Mtsyri" M.Yu. Lermontov, "The Twelve" by A.A. Blok, etc.), the system of images of the poem may include a lyrical hero (for example, "Requiem" by A.A. Akhmatova).
Poem in prose- a short lyric prose form, characterized by increased emotionality, expressing subjective experiences, impressions. For example: "Russian language" I.S. Turgenev. Drama genres
Tragedy- a dramatic work, the main conflict of which is caused by exceptional circumstances and insoluble contradictions that lead the hero to death.
Drama- a play, the content of which is associated with the image everyday life; despite the depth and seriousness, the conflict, as a rule, concerns private life and can be resolved without a tragic outcome.
Comedy- a dramatic work in which the action and characters are presented in funny forms; comedy is distinguished by the rapid development of action, the presence of complex, intricate plot moves, a happy ending and simplicity of style. There are sitcoms based on cunning intrigue, a special set of circumstances, and comedies of manners (characters) based on ridicule. human vices and shortcomings, high comedy, everyday, satirical, etc. For example, "Woe from Wit" by A.S. Griboyedov - high comedy, "Undergrowth" D.I. Fonvizina is satirical.
PROSE is the antonym of verse and poetry, formally it is ordinary speech, not divided into dedicated commensurate segments - poetry, in terms of emotional and semantic - something mundane, ordinary, ordinary. In fact, the dominant form in the literature of the two, and in Western Europe - the last three centuries.
Back in the 19th century all fiction, including prose, was called poetry. Now poetry is called only poetic literature.
The ancient Greeks believed that poetry uses a special speech, decorated according to the rules set out by its theory - poetics. The verse was one of the elements of this decoration, the difference between the speech of poetry and everyday speech. Decorated speech, but according to other rules - not poetics, but rhetoric - was different and oratory (Russian word“eloquence” literally conveys this feature of him), as well as historiography, geographical descriptions And philosophical writings. The ancient novel as the least “correct” was the lowest in this hierarchy, was not taken seriously and was not recognized as a special layer of literature - prose. In the Middle Ages, religious literature was too separated from secular, strictly artistic, for prose in both to be recognized as something unified. Medieval entertaining and even instructive works in prose were considered incomparable with poetry as such, still poetic. The Greatest Romance of the Renaissance - “Gargantua and Pantagruel” by Francois Rabelais (1494-1553) - belonged more to the grassroots literature associated with folk laughter culture than to official literature. M. Cervantes created his "Don Quixote" (1605, 1615) as a parody novel, but the implementation of the plan turned out to be much more serious and significant. In fact, this is the first prose novel (the chivalric novels parodied in it were mostly in verse), which was recognized as a work of high literature and influenced the flourishing of Western European novel more than a century later - in the XVIII century.
In Russia, non-translated novels appeared late, from 1763. They did not belong to high literature, a serious person had to read odes. IN Pushkin era 18th century foreign novels young provincial noblewomen like Tatyana Larina were fond of, and even more undemanding public were fond of domestic ones. Ho sentimentalist N.M. Karamzin in the 1790s already introduced prose into high literature- in the neutral and non-regulated genre of the story, which, like the novel, was not included in the system of recognized classicist genres, but also not burdened, like it, with unprofitable associations. Karamzin's stories became poetry in prose. A.S. Pushkin even in 1822 wrote in a note on prose: “The question is, whose prose is the best in our literature? - Answer: Karamzin. Ho added: “This is still not a big praise ...” On September 1 of the same year, in a letter, he advised Prince P.A. Vyazemsky to seriously engage in prose. “Summers tend to prose ...” - Pushkin remarked, anticipating his poems in the sixth chapter of “Eugene Onegin”: “Summers tend to harsh prose, / Summers drive naughty rhyme ...” romantic stories A.A. Bestuzhev (Marlinsky) in letters of 1825, he twice calls to take up the novel, as later N.V. Gogol - go from stories to great work. And although he himself made his printed debut in prose only in 1831, simultaneously with Gogol (“Evenings on a Farm near Dikanka”) and, like him, anonymously - “The Tales of the Late Ivan Petrovich Belkin”, thanks primarily to the two of them in the 1830s gg. in Russian literature, an epochal change occurred, which has already occurred in the West: from predominantly poetic, it becomes predominantly prosaic. This process was completed in the early 1840s, when Lermontov’s “A Hero of Our Time” (1840) (who bore extensive ideas in prose) and “ Dead Souls” (1842) Gogol. Nekrasov then “prosaises” the style of poetic poetry.
For a relatively long period, poems regained their leadership only for turn of XIX-XX centuries (“Silver Age” - in contrast to the “golden” age of Pushkin), and then only in modernism. Modernists were opposed by strong realist prose writers: M. Gorky, I.A. Bunin,
A.I. Kuprin, I.S. Shmelev, A.N. Tolstoy and others; for their part, the symbolists D.S. Merezhkovsky, Fedor Sologub, V.Ya. Bryusov, Andrei Bely, in addition to poetry, created in principle new prose. True, and in silver age(N.S. Gumilyov), and much later (I.A. Brodsky), some poets put poetry much higher than prose. However, in the classics of the 19th-20th centuries, both Russian and Western, there are more prose writers than poets. Poems are almost completely ousted from the drama and epic, even from the lyric epic: in the second half of the 20th century. the only Russian poem of the classical level is Akhmatov's "Poem Without a Hero", predominantly lyrical and begun by the author as early as 1940. Poems remained mainly for lyrics, and modern lyrics by the end of the century, as in the West, had lost a mass, even a wide readership, left for a few fans. Instead of a theoretically clear division of the genres of literature - epic, lyric, drama - a fuzzy but familiar one was fixed in the language: prose, poetry, dramaturgy (although lyrical miniatures in prose, strained poems and completely ridiculous dramas in verse are still being created).
The triumphal victory of prose is natural. Poetic speech is frankly conditional. Already L.N. Tolstoy considered it completely artificial, although he admired the lyrics of Tyutchev and Fet. In a small space intense in thought and feeling lyrical work verses look more natural than in lengthy texts. The verse has a lot of additional means of expression compared to prose, but these "props" are archaic in origin. In many countries of the West and East modern poetry uses almost exclusively vers libre (free verse), which does not have a size and rhymes.
Prose has its structural advantages. Much less capable than verse to influence the reader “musically”, it is more free in the choice of semantic nuances, shades of speech, in the transmission of “voices” different people. “Controversy”, according to M.M. Bakhtin, prose is inherent to a greater extent than poetry (see: Artistic Speech). The form of prose is similar to other properties of both the content and the form of modern literature. “In prose, unity crystallizes from diversity. In poetry, on the other hand, diversity develops from a clearly proclaimed and directly expressed unity. Ho for modern man unequivocal clarity, statements "on the forehead" in art is akin to banality. Literature XIX and even more than the 20th century. prefers as a basic principle a complex and dynamic unity, a unity of dynamic diversity. This also applies to poetry. By by and large one pattern determines the unity of femininity and masculinity in A.A. Akhmatova, tragedy and mockery in the prose of A.P. Platonov, it would seem, completely incompatible plot-content layers - satirical, demonic, “evangelical” and love connecting them - in “The Master and Margarita” by M.A. Bulgakov, novel and epic in “The Quiet Don” by M.A. Sholokhov, the absurdity and touchingness of the hero of the story V.M. Shukshin "Crank", etc. With this complexity of literature, prose reveals its own complexity in comparison with poetry. That is why Yu.M. Lotman built the following sequence from simple to complex: “ Speaking- song (text + motive) - “classical poetry” - fiction". At advanced culture speech, the “similarity” of the language of literature to everyday language is more difficult than the clear, straightforward “dissimilarity” that poetic speech was originally. So it is more difficult for a student to draw to draw a nature similar than unlike. So realism demanded more experience from humanity than pre-realist trends in art.
One should not think that only verse has rhythm. Conversational speech is quite rhythmic, as are normal human movements - it is regulated by the rhythm of breathing. Rhythm is the regularity of some repetitions in time. Of course, the rhythm of ordinary prose is not as ordered as that of poetry, it is unstable and unpredictable. There is more rhythmic (in Turgenev) and less rhythmic (in Dostoevsky, L.N. Tolstoy) prose, but it is never completely unordered. Syntactically distinguished short segments of the text do not differ extremely in length, often they begin or end rhythmically the same way two or more times in a row. Noticeably rhythmic is the phrase about the girls at the beginning of Gorky's "Old Woman Izergil": "Their hair, / silk and black, / were loose, / the wind, warm and light, / playing with them, / tinkled with coins / woven into them." The syntagmas here are short, commensurate. Of the seven syntagmas, the first four and the sixth begin with stressed syllables, the first three and the sixth end with two unstressed (“dactylic” endings), inside the phrase two adjacent syntagmas end in the same way - with one unstressed syllable: “wind, warm and light” (all three words are rhythmically the same, consist of two syllables and are stressed on the first) and “playing with them” (both words end in one unstressed syllable). The only, last syntagma ends with an accent, which energetically ends the whole phrase.
The writer can also play on rhythmic contrasts. In Bunin's story "The Gentleman from San Francisco," the fourth paragraph ("It was the end of November...") contains three phrases. The first is small, it consists of the words “but they sailed quite safely”. The next one is huge, half a page long, describing the pastime on the famous “Atlantis”. In fact, it consists of many phrases, separated, however, not by a period, but mainly by a semicolon. They are like sea waves overlap one another continuously. Thus, everything that is said is practically equalized: the structure of the ship, the daily routine, the occupations of passengers - everything, living and inanimate. The final part of the gigantic phrase - “at seven they announced with trumpet signals about what was main goal of all this existence, the crown of it...” Only here the writer pauses, expressed by a punctuation. And finally, the last, final phrase, short, but as if equated to the previous one, so rich in information: “And then the gentleman from San Francisco hurried to his rich cabin to get dressed.” Such an “equating” strengthens the subtle irony about the “crown” of this entire existence, i.e., of course, dinner, although it is not consciously named, but only implied. It is no coincidence that later Bunin will describe in such detail the preparation of his hero for dinner and his dressing in a hotel on Capri: “And then he again began to prepare, as if for a crown ...” Even the word “crown” is repeated. After the gong (analogous to the “trumpet signals” on “Atlantis”), the gentleman goes to the reading room to wait for his wife and daughter, who are not yet quite ready. There, a blow happens to him, from which he dies. Instead of the "crown" of existence - non-existence. In the same way, rhythm, failures of rhythm, and similar rhythmic semantic “roll calls” (with some reservations we can also talk about the rhythm of imagery) contribute to the fusion of all elements of the text into a harmonious artistic whole.
Sometimes, since late XVIII century, and most of all in the first third of the 20th century, writers even metricize prose: they introduce the same sequence of stresses into syntagmas as in syllabo-tonic verses, but do not divide the text into poetic lines, the boundaries between syntagmas remain unpredictable. Andrei Bely tried to make metrized prose almost a universal form, he used it not only in novels, but also in articles and memoirs, which greatly annoyed many readers. IN contemporary literature metrized prose is used in some lyrical miniatures and as separate inserts in more major works. When, in a continuous text, rhythmic pauses are constant and the metrized segments are equal in length, in sound such a text is indistinguishable from a poetic one, like Gorky's "Songs" about the Falcon and the Petrel.
Prose is around us. It is in life and in books. Prose is our everyday language.
Artistic prose is a non-rhyming narrative that does not have a size (a special form of organization of sounding speech).
A prose work is a work written without rhyme, which is its main difference from poetry. Prose works are both artistic and non-fiction, sometimes they are intertwined, as, for example, in biographies or memoirs.
How did the prose, or epic, work come about?
Prose entered the world of literature from Ancient Greece. It was there that poetry first appeared, and then prose as a term. The first prose works were myths, traditions, legends, fairy tales. These genres were defined by the Greeks as non-artistic, mundane. These were religious, domestic or historical narratives, which received the definition of "prosaic".
In the first place was highly artistic poetry, prose was in second place, as a kind of opposition. The situation began to change only in the second half. Prose genres began to develop and expand. Novels, short stories and short stories appeared.
In the 19th century, the prose writer pushed the poet into the background. Novel, short story became the main art forms in literature. Finally, the prose work took its rightful place.
Prose is classified by size: small and large. Consider the main artistic genres.
A work in prose of a large volume: types
A novel is a prose work that is distinguished by the length of the narrative and complex plot, fully developed in the work, and the novel may also have side storylines, in addition to the main one.
The novelists were Honoré de Balzac, Daniel Defoe, Emily and Charlotte Bronte, Erich Maria Remarque and many others.
Examples of prose works by Russian novelists can make up a separate book-list. These are works that have become classics. For example, such as "Crime and Punishment" and "The Idiot" by Fyodor Mikhailovich Dostoevsky, "The Gift" and "Lolita" by Vladimir Vladimirovich Nabokov, "Doctor Zhivago" by Boris Leonidovich Pasternak, "Fathers and Sons" by Ivan Sergeevich Turgenev, "A Hero of Our Time" Mikhail Yurievich Lermontov and so on.
An epic is larger in volume than a novel, and describes major historical events or responds to popular issues, more often both.
The most significant and famous epics in Russian literature are "War and Peace" by Leo Tolstoy, "Quiet Don" by Mikhail Alexandrovich Sholokhov and "Peter the Great" by Alexei Nikolayevich Tolstoy.
Prose work of a small volume: types
Novella - short work, comparable to the story, but having a greater saturation of events. The story of the novel begins in oral folklore in parables and tales.
The novelists were Edgar Poe, H. G. Wells; Guy de Maupassant and Alexander Sergeevich Pushkin also wrote short stories.
The story is a short prose work, characterized by a small number of characters, one storyline and detailed description details.
Bunin and Paustovsky are rich in stories.
An essay is a prose work that is easily confused with a story. But still there are significant differences: the description is only real events, lack of fiction, a combination of fiction and non-fiction, as a rule, affecting social problems and the presence of more descriptiveness than in the story.
Essays are portrait and historical, problematic and travel. They can also mix with each other. For example, historical sketch may also contain portrait or problem.
Essays are some impressions or reasoning of the author in connection with a specific topic. It has free composition. This type of prose combines the functions of a literary essay and a journalistic article. It may also have something in common with a philosophical treatise.
Medium prose genre - short story
The story is on the border between the short story and the novel. In terms of volume, it cannot be attributed to either small or large prose works.
IN Western literature The story is called a "short novel". Unlike the novel, the story always has one storyline, but it also develops fully and fully, so it cannot be attributed to the genre of the story.
There are many examples of short stories in Russian literature. Here are just a few: Poor Lisa» Karamzin, Chekhov’s Steppe, Dostoyevsky’s Netochka Nezvanov, Zamyatin’s Uyezdnoe, Bunin’s Life of Arseniev, Stationmaster» Pushkin.
IN foreign literature one can name, for example, Chateaubriand's René, Conan Doyle's The Hound of the Baskervilles, Suskind's The Tale of Monsieur Sommer.
Prose(lat. prōsa) - oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic constructions (periods, sentences).
So what is prose?
It would seem that this is such a simple concept that everyone knows. But, this is precisely the difficulty of its description. It is easier to define what poetry is. Poetic speech is subject to strict laws and rules.
- This is a clear rhythm or meter. As in a march: one - two, one - two, or as in a dance: one - two - three, one - two - three.
- Although an optional condition: Rhyme, i.e. words consonant in their pronunciation. For example, love is a carrot or prose is a rose, etc.
- A certain number of lines. Two stanzas are a couplet, four are a quatrain, there are eight stanzas, as well as their various combinations.
All other written or oral speech that does not obey these laws is prose. In it, words flow like a full-flowing river, smoothly, freely and independently, obeying only the thoughts and imagination of the author. Prose is description in simple terms. in plain language everything that is around.
There is such a thing as the prose of life. These are everyday, ordinary events that occur in people's lives. Writers who describe these events in their works. Writers are called prose writers. You don't have to look far for examples.
The whole world classic literature, and not only classical. F.M. Dostoevsky, L.N. Tolstoy. M. Gorky, N.V. Gogol are great prose writers. Open any of their books and you will immediately understand what prose is, if you didn't already know it.
But there are still people in the wide, vast expanses of our Motherland who seriously believe that prose writers are the people who write about ZAEK. Someone considers them illiterate and uneducated, someone, on the contrary, is original and creative. You choose.
So what is prose? Look carefully, before you is an example of a simple prose work. This article. And if someone still doesn’t understand what prose is, then read it again.
