Literary genres- groups of literary works united by a set of formal and content properties (unlike 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, one traditional genres began to rapidly die off or become marginalized, others, on the contrary, moved from the literary periphery to the very center 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. Particularly actively began to develop works of hybrid or indefinite genre nature: 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 this is a lyric 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 new system, which was based on a very plastic genre of the novel that has 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 predetermination sometimes led to a new genre formation: for example, the French anti-novel did not want to be a novel so much that the main works of this literary movement, presented by such original authors as Michel Butor and Nathalie Sarraute, there are clearly 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
- comedy
- By birth
- epic
- Fable
- Bylina
- Ballad
- Novella
- Tale
- Story
- Novel
- epic novel
- Story
- fantasy
- epic
- Lyric
- Oh yeah
- Message
- stanzas
- Elegy
- Epigram
- Lyro epic
- Ballad
- Poem
- dramatic
- Drama
- Comedy
- Tragedy
- epic
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.).
There are many genre varieties of the poem: heroic, didactic, satirical, burlesque, including heroic-comic, poem with romantic plot, lyric-drama. Leading branch of the genre long time was considered a poem on a national-historical or world-historical (religious) theme (“Aeneid” by Virgil, “Divine Comedy” by Dante, “Lusiades” by L. di Camões, “Liberated Jerusalem” by T. Tasso, “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. "Peak" in the evolution of the genre romantic poem works 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, "Demon" by M. Yu. Lermontov, "Germany, winter fairy tale» 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 are correlated with great historical upheavals, 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 ("Middle of the Century" by V. Lugovsky).
The poem as a synthetic, lyrical 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 what wise people the ancients considered 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" originated in middle of XII century, together 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 title from the very beginning did not refer to any composition in the vernacular ( heroic songs or the lyrics of the troubadours were never called novels), but to one that could be opposed to the Latin model, even if very distant: 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 to European languages and the adjective “romantic” was taken, which until the end of the 18th century meant “ novelistic”, “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 trend.
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 is preserved later XVII-XVIII centuries when the “adventurous” novel is replaced by the “realistic” and “psychological” novels (which in itself problematizes the alleged gap 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 Long story, - to the romance.
Bishop of Yue late XVII century, in search of the predecessors of the novel, he first applied this term to a number of phenomena of ancient narrative prose, which since then have also become known as 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 lethargy. 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). Genre receives 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 begin to appear in masses in church literature all European countries.
Until the 12th century, all visions (except Scandinavian ones) were written in Latin, from the 12th century translations appeared, and from the 13th century - original visions in vernacular languages. The most complete form of visions is presented in the Latin poetry of the clergy: this genre, in its origins, is closely connected with canonical and apocryphal religious literature and is close to church preaching.
Vision editors (they are always from the clergy and must be distinguished from the "clairvoyant" himself) took the opportunity on behalf of " higher power", who sent a vision, to propagate their Political Views or fall on 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 refined 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" royalty). 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 late 13th century Novellino, also known as the Hundred Ancient Novels), which has been spreading 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(English) 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, etc. In most cases, the authors of the jokes are unknown.
In Russia XVIII-XIX centuries. (and in most languages of the world still) the word "joke" had a slightly different meaning - it could simply be entertaining story about some famous person, not necessarily with the task of ridiculing him (cf. Pushkin: “Anecdotes of the past days”). Such “jokes” about Potemkin became classics of that time.
Oh yeah
epic
Play(French pièce) - a dramatic work, usually classical style, created for staging any 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 place of 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 scientific article and a literary essay (with which an essay is often confused), on the other hand, with 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.
As a special genre form introduced, based on the experience of his predecessors, Michel Montaigne in his "Experiments" (1580). His writings, published in book form in 1597, 1612 and 1625, Francis Bacon for the first time in English literature gave the English name. essays. The English poet and playwright Ben Jonson first used the word essayist (Eng. essayist) in 1609.
AT XVIII-XIX centuries essay is one of the leading genres of 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. characteristic features The essays marked the books “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-critical evaluations contemporary 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 prime 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 "the imitation the worst people, but not in all their depravity, 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 in 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 French poet J. La Fontaine (XVII century).
In Russia, the development of the fable genre refers to mid-eighteenth- the beginning of the 19th century and is associated with the names of A.P. Sumarokov, I.I. Khemnitser, A.E. Izmailov, I.I. floor. 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. AT Soviet time 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 fables 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 vernacular name 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 are isolated from mythology public consciousness, like art, literature, science, religion, political ideology, etc., they retain a number of mythological models that are uniquely rethought when included in new structures; myth is experiencing its second life. Special interest represents their transformation in literary creativity.
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. It 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.
Story: 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 " story” is attested in written sources no earlier than the 16th century. From the word " say". It mattered: a list, a list, an exact description. Modern meaning acquires from the XVII-XIX 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 fairy tales.
fantasy(from English. fantasy- "fantasy") - view fantasy 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 a certain assumption (most often its location relative to our reality is not specified at all: is it 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. 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)
- An extensive narrative in verse or prose about prominent 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)
- 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 lyrical 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; classical genre 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 Batyushkov, Boratynsky, Yazykov, and others called their works elegies; 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 a poetic form, historical, mythical or heroic character. The plot of the ballad is usually borrowed from folklore. Ballads are often set to music.
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literary genre This is the model by which the text of any 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.
The main types of literary genres
Literary genres are divided into: epic, lyrical and dramatic. Epic genres: fairy tale, epic, epic, epic novel, story, novel, essay, short story, anecdote. Lyrical genres: ode, ballad, elegy, epigram, message, madrigal. Dramatic genres: tragedy, drama, comedy, melodrama, farce and vaudeville.
Genres in literature have a number of specific features, divided into: genre-forming and additional. Genre-forming features serve to determine the specifics of a particular genre. For example, the genre-forming feature of a fairy tale is an orientation towards fiction. The listener perceives the events that take place in a fairy tale as magical, fictional, not directly related to reality. The genre-forming feature of the novel is its connection with objective reality, the coverage of events that took place in reality or those that could happen, a large number of acting characters, and special attention is paid to the inner world of the characters.
Development of literary genres
Literary genres do not tend to stand still. They are constantly evolving and never stop changing. When forming or changing literary genres, attention is paid to real historical reality, in the aura of which the creation of literary works takes place.
What is a literary genre?
We figured out what a genre in literature is, but it would not be superfluous to consider why a literary genre is needed - what function does it perform?
The genre is able to give the reader a fairly holistic view of the work. That is, if the word “novel” is present in the title of the work, then the reader immediately begins to tune in to a significant amount of text, in contrast, for example, to a small “story”, which causes a corresponding association with the approximate number of pages in the book.
Also, the genre can give the reader an idea about the content of the work. For example, if it is defined as “drama”, then we can imagine in advance that the person in the work will be shown in dramatic relations with society and, most likely, we will observe tragic events at the end of the book.
Together with the article "What is a genre in literature?" read:
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, coverage a large number events that happened in reality or could happen, a lot of acting characters, a focus on the inner world of the characters.
Instruction
Study the epic genre of literature. It includes the following: - story: relatively small in volume prose work(from 1 to 20 pages), describing a case, a small incident or an acute dramatic situation in which the hero finds himself. The action of the story usually takes no more than one or two days in duration. The scene may not change throughout the story;
- a story: a work is enough (an average of 100 pages), where from 1 to 10 characters are considered. The location may change. The duration of action can cover a significant period, from one month to a year or more. The story in the story unfolds vividly in time and space. Significant changes can occur in the lives of heroes - moving, and meetings;
- novel: large epic form from 200 pages. The novel can trace the life of the characters from the very beginning. Includes an extensive system of storylines. Time can affect past epochs and be carried far into the future;
- an epic novel can consider the life of several generations.
Familiarize yourself with the lyrical genre of literature. It includes the following genres:
- ode: a poetic form, the theme of which is the glorification of a person or event;
- satire: a poetic form that aims to ridicule some vice, situation or person worthy of ridicule
- sonnet: a poetic form that has a strict compositional structure. For example, the English model of a sonnet, which ends with two obligatory stanzas containing some kind of aphorism;
- the following are also known poetic genres- elegy, epigram, free verse, haiku, etc.
The following genres belong to the dramatic genre of literature: - tragedy: a dramatic work, in the final of which there is the death of the hero. Such an ending for the tragedy is the only possible solution to the dramatic situation;
- : a dramatic work in which the main meaning and essence is laughter. It can be satirical or more kind, but every incident causes the viewer / reader to laugh;
- drama: a dramatic work, in the center of which is the inner world of a person, the problem of choice, the search for truth. Drama is the most widespread genre in our time.
note
In some cases, genres may be mixed. This is especially true in drama. You have probably heard such definitions of movie genres as comedy melodrama, action comedy, satirical drama etc. The same processes are possible in the literature.
Helpful advice
Check out the works of Aristotle "Poetics", M.M. Bakhtin "Aesthetics and Theory of Literature" and other works, devoted to the problem genera and genres in literature.
AT contemporary literature many different genres each one is unique and distinctive. But if tragedy or comedy is easy enough to identify, then give precise definition drama genre is not always possible. So what does it represent dramatic work and how not to confuse it with something else?
Unlike, the drama shows life experiences and various intricacies of fate. Of course, people's lives, their morals and characters can be quite vivid in comedy works, but the drama is not so inherent in ridiculing vices and comically exposing any actions of characters. Here the life of the hero, his thoughts and feelings, is put on. Dramatic works are very realistic, because they show a person exactly as he is without allegories, grotesques and embellishments. That is why the drama is considered the most complex and, at the same time, one of the most interesting literature. Sometimes the drama is very much like a tragedy, because sharp corners are exposed here and light is shed on many unpleasant details of the characters' lives. Often the drama becomes so tense and heavy that it is almost impossible to distinguish it from. But tragic works are no longer so popular and never have a chance for a successful denouement. But the drama can end well, despite all the intricacies of the plot and the difficult fate of the characters. In our language, the word “drama” itself has become firmly combined with a tragic plot or life drama of the characters, while historically the meaning of this word does not have such a meaning at all. Any dramatic the work, regardless of its content, shows the real life of ordinary people, their sorrows, joys, experiences and bright moments. It is not at all necessary that the reader will have fun in the course of the plot, but the drama should not intimidate or make you cry. It is just a part of life, not at all scarier or uglier than reality. It is interesting that the very concept of drama, as in works of art, dates back to the 18th century. She was very much among enlightened pundits, politicians and philosophers. Initially, dramatic works were strongly associated with tragedies, tragicomedies, farce, and even masked costume performances. But centuries later, the drama became part of artistic reproduction and received its own, separate from others. genres, place. Dramatic works amaze with their realism and genuineness of the plot. There are few places where you can meet a fate that is not fictional, but similar to your own, like two drops of water. In dramas, of course, there are also, but such dramas are necessary, because they teach us goodness and faith in the best and brightest. Love drama, because it is based on life.
Related videos
Sources:
- drama as a genre
To identify a person by laughter You don't have to be a professional psychologist. The power of laughter, its intensity, as well as the actions that accompany it - all this can tell a lot about a person.
Instruction
Laughter from the heart speaks of a cheerful disposition and complaisant character e. Laughter to the point of wheezing, to tears relieves any nervous tension.
Quiet, soft laughter are people with a weak will.
A quiet short laugh is evidence of strength, great intelligence, will. Such people are often excellent storytellers. They can easily handle heavy loads.
Silent laughter is a sign of secrecy, caution, prudence and cunning.
A jerky laugh is usually distinguished nervous people with restless character ohm.
Rough laughter is a sign of dominance, selfishness, animal nature. Often these people laugh in private.
Laughter ending in a sigh indicates a tendency to hysteria, susceptibility to sudden mood swings, weak will.
A person who laughs openly and loudly is self-confident and knows how to enjoy life. True, sometimes these people show rudeness and sarcasm. They love to make fun of others.
If a person laughs quietly, tilting his head slightly, he is not too confident in himself. People with such a laugh are trying to adapt to the situation and please others.
A person who squints his eyelids is balanced and self-confident. He is stubborn and persistent, always achieves his goal.
If during laughter your interlocutor wrinkles his nose, then he is prone to frequent changes of views. Such people are emotional, capricious, act depending on their mood.
A person covering his mouth with his hand is shy and timid. He doesn't like being the center of attention. People with such a laugh are quite stiff and cannot open up to an unfamiliar person.
Laughter accompanied by touching the face character examines its owner as a dreamer and visionary. Such a person is emotional, sometimes even unnecessarily. He has difficulty navigating the real world.
If a person often holds back laughter, he is reliable and self-confident. Such people are balanced, do not exchange for trifles, firmly go to the goal.
Your interlocutor does not smile, but smirks, twisting his mouth to the right. Be careful! Before you is a rough, thick-skinned and unreliable person, prone to deceit and cruelty.
Related videos
Until now, people who are far from literary criticism as a science believe that “romance” and “romantic” are close concepts, which means that novels are about love. Of course, this is far from true. The novel is an ancient, complex and ambiguous literary genre, which includes Dostoevsky's Crime and Punishment, Palahniuk's Fight Club, and Apuleius' Golden Ass. But these are, of course, very, very different novels.
But the emergence of the novel as a genre dates back to antiquity. For example, such are the works of "Metamorphoses, or the Golden Ass" by Apuleius, "Daphnis and Chloe" by Long, "Satyricon" by Petronius.
The novel received its second birth in the Middle Ages, it is like that - or a chivalric novel. These include, for example, about King Arthur, about Tristan and Iseult, etc.
What can be called a novel
The novel is a very complex and ambiguous genre, the study of which is still difficult for literary critics. According to researcher M.M. Bakhtin, this happens because all others, except for the novel, have already become established, have their own specific canons and distinctive ones, while the novel is still a very mobile, constantly changing genre, which has been in its infancy for many hundreds of years.
The distinctive features of the novel can only be distinguished very roughly. As a rule, this is an epic work of a large form, in the center of which - separate person. Most often, this person is depicted at a turning point, a crisis moment in his life. Depending on the literary trend to which the novel belongs, a person can develop (for example, the well-known technique of “dialectics of the soul” by L.N. Tolstoy), get into unusual situations and experience adventures (in an adventure or adventure novel), experience love ups and downs ( in love story).
The novel should be built on conflict - interpersonal, intrapersonal, social, etc.
A unified classification of the types of the novel does not exist to this day, but they are different. For example, according to the content most often distinguish:
Social,
- descriptive
- cultural and historical,
- psychological,
- a novel of ideas,
- adventure.
Recently, more and more new types of novels have appeared, for example, novel-. Many of the novels combine features of both.
Some literary works, which are essentially novels, are classified by authors as short stories, and novels and short stories are often written down as novels.
Literature is called works of human thought, enshrined in the written word and having a social meaning. Any literary work, depending on HOW the writer depicts reality in it, is attributed to one of three literary genera: epic, lyric or drama.
epic (from the Greek. "narration") - a generalized name for works in which events external to the author are depicted.
Lyrics (from the Greek "performed to the lyre") - the generalized name of works - as a rule, poetic, in which there is no plot, but the thoughts, feelings, experiences of the author (lyrical hero) are reflected.
Drama (from Greek "action") - a generalized name for works in which life is shown through conflicts and clashes of heroes. Dramatic works are intended not so much for reading as for staging. In drama, it is not external action that is important, but the experience of a conflict situation. In drama, epic (narration) and lyrics are merged into one.
Within each type of literature, there are genres- historically established types of works, characterized by certain structural and content features (see table of genres).
| EPOS | LYRICS | DRAMA |
| epic | Oh yeah | tragedy |
| novel | elegy | comedy |
| story | hymn | drama |
| story | sonnet | tragicomedy |
| story | message | vaudeville |
| fable | epigram | melodrama |
Tragedy (from the Greek "goat song") - a dramatic work with an insurmountable conflict, which depicts a tense struggle strong characters and passions, ending with the death of the hero.
Comedy (from the Greek. "fun song") - a dramatic work with a cheerful, funny plot, usually ridiculing social or domestic vices.
Drama is a literary work in the form of a dialogue with a serious plot, depicting a personality in its dramatic relationship with society.
Vaudeville – light comedy with singing couplets and dancing.
Farce - a theatrical play of a light, playful nature with external comic effects, designed for a rude taste.
Oh yeah (from Greek “song”) - a choral, solemn song, a work that glorifies, praises any significant event or heroic person.
Hymn (from Greek “praise”) - a solemn song to verses of a programmatic nature. Initially, hymns were dedicated to the gods. The anthem is currently one of the national symbols states.
Epigram (from the Greek. "Inscription") - a short satirical poem of a mocking nature, which arose in the 3rd century BC. e.
Elegy - a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness. Belinsky called an elegy "a song of sad content." The word "elegy" is translated as "reed flute" or "mournful song". The elegy originated in ancient Greece in the 7th century BC. e.
Message - a poetic letter, an appeal to a specific person, a request, a wish.
Sonnet (from Provence. "song") - a poem of 14 lines, which has a certain rhyming system and strict stylistic laws. The sonnet originated in Italy in the 13th century (the creator is the poet Jacopo da Lentini), appeared in England in the first half of the 16th century (G. Sarri), and in Russia in the 18th century. The main types of the sonnet are Italian (from 2 quatrains and 2 tercets) and English (from 3 quatrains and the final couplet).
Poem (from the Greek “I do, I create”) - a lyrical-epic genre, a large poetic work with a narrative or lyrical plot, usually on a historical or legendary theme.
Ballad - lyrical-epic genre, plot song of dramatic content.
epic - large piece of art narrating significant historical events. In ancient times - a narrative poem of heroic content. In the literature of the 19th and 20th centuries, the epic novel genre appears - this is a work in which the formation of the characters of the main characters occurs in the course of their participation in historical events.
Novel - a large narrative work of art with a complex plot, in the center of which is the fate of the individual.
Tale - a work of art that occupies a middle position between a novel and a short story in terms of volume and complexity of the plot. In ancient times, any narrative work was called a story.
Story - a work of art of a small size, based on an episode, an incident from the life of a hero.
Story - a work about fictional events and heroes, usually with the participation of magical, fantastic forces.
Fable - This is a narrative work in poetic form, of a small size, moralizing or satirical nature.
