Nikolaev A. I

Who is Russian poets XIX-XX centuries created ironic variations on classic stories and in what way can they be compared with the poem of V. S. Vysotsky?

Reflecting on the stated problem, use the works of K.S. Aksakova, N.A. Nekrasov, T. Yu. Kibirova.

Emphasize that parodies and ironic variations occupy a special place among comic genres.

Note that parodies of Pushkin's and Lermontov's works were in great vogue among the poets' contemporaries. Earlier, A.S. Pushkin himself and K.N. Batyushkov made parodies of the work of V.A. Zhukovsky "A singer in the camp of Russian soldiers". Derzhavin's odes were subjected to parodic rethinking. K. S. Aksakov became the author of a dramatic parody of Pushkin's poem "Oleg near Constantinople."

V. N. Almazov created rehashings of A. S. Pushkin (“Grooms”), N.A. Nekrasov ("The Storm"). A contemporary of N.A. Dobrolyubov D. Minaev parodied the poems of N.F. Shcherbina, N.P. Ogaryova, L.A. Meya, A.A. Maykov. Ogaryov himself is known for his variation of Pushkin's work "There once was a poor knight in the world ..." (at Ogaryov - fashionable). As the creator of verbal parodies, one should also mention Kozma Prutkov - the "brainchild" of Alexei Konstantinovich Tolstoy and the Zhemchuzhnikov brothers.

Remember the famous rehash of the “Cossack lullaby” by M. Yu. Lermontov, written by N.A. Nekrasov (" Lullaby”), in which a grotesque image of an official is created. Unlike the ironic variation of Vysotsky, 19th poet century chooses a different image for ridicule, giving it a satirical sharpness. Genre and compositional features are comically transformed. Vysotsky's legendary heroes receive a different assessment, in contrast to Pushkin's ballad. The focus is now not on the tragedy of the prince, but on the eternal conflict between man and the state.

Point out that the representative of conceptualism T. Yu. Kibirov creates, unlike Vysotsky, parodies based on citation. There are in his arsenal parodies of Pushkin's poems, "Summer reflections on the fate of fine literature", verbal, syntactic, rhythmic, conceptual imitations of B.L. Pasternak, A.A. Voznesensky, S. V. Mikhalkov, A. P. Mezhirov, V. V. Nabokov, Yu. K. Olesha.

In the conclusions, explain the difference between parodic variations and rehashes, reveal the originality of the ironic poem by V. S. Vysotsky.

8 chose

Classical literary plots often inspire young writers, and on this basis they create their novels. 203 years ago, on January 28, 1813, Jane Austen's novel was published. "Pride and Prejudice", which has been avidly read by girls all over the world for two centuries now. But the writer Helen Fielding not only read this book, but also wrote her own based on it - "The Diary of Bridget Jones". Let's see what other writers enjoy playing with classic plots.

Novel by James Joyce "Ulysses"- a recognized classic and one of the best works on the English language written in the 20th century. The protagonist is Dublin Jew Leopold Bloom, who for one day walks hometown, gets acquainted with different people, worries about his wife's infidelity, but does nothing to prevent it. At the same time, it is incredibly difficult to briefly retell the plot of the book, since it often resembles a stream of consciousness.

Joyce's novel contains many references to "Odyssey" Homer, the analysis of which is devoted to a huge amount scientific works and dissertations. Already the title of the book "Ulysses" is the Latin form of the name Odysseus. Initially, the episodes of the novel had names corresponding to the ancient Greek epic (for example, the scene in the cemetery - Hades, newspaper editoring - aeolus). But in his address to the epic, Joyce ironically emphasized the inconsistencies between ancient Greek heroes And own characters. Odysseus traveled for many years and visited different countries, and Leopold Bloom walked around the city for one day. Odysseus tried his best to prevent his wife from cheating, and Bloom does nothing for this. Homer's Penelope is a symbol of female fidelity, and Bloom's wife Molly is a symbol of infidelity. Such is the strange "Odyssey" of the XX century.

In Ireland, there was even a holiday in honor of this novel - Bloom Day, which is celebrated on June 16 (it was on this day that Joyce's hero traveled around Dublin).

Helen Fielding never made a secret of the fact that "Pride and Prejudice" is one of her favorite books. And to write her novel, as the writer admitted, she was inspired by the television series of the same name, in which Colin Firth played Mr. Darcy. Later, when it came to film adaptation "The Diary of Bridget Jones" Fielding insisted that the same actor play her Mr. Darcy.

The writer specifically emphasized the similarity of the lawyer Mark Darcy and his literary predecessor. Both are rich and cold, which makes them seem arrogant to others. Here is how Bridget perceives Mark during the first meeting: "Rich, divorced-with-an-evil-wife Mark - rather tall - stood with his back to the room, carefully examining the contents bookshelves Alconbury: Basically a series of leather-bound books about the Third Reich that Geoffrey subscribes to through Reader's Digest. It seemed rather amusing to me to call myself Mr. Darcy, and yet stand aside, glancing arrogantly at the other guests. It's like having the last name Heathcliff and therefore spending the whole evening in the garden shouting "Kathy!" and bang your head against a tree.

Bridget's boss Daniel Cleaver, the same charming scoundrel, has become the modern Wickham. The plots of the novels are similar: girls at a "critical" age (if in the 19th century it was 21, in our time it is about 30) dream of finding their love and getting married. And both are hindered in this "Pride and Prejudice"- a misconception about the people with whom they communicate. Two centuries have passed, and people have about the same problems.

True, the eccentric Bridget is not at all like the reasonable Elizabeth Bennet. She has a whole bunch bad habits, there is no willpower, and she constantly makes the wrong decisions. But it was precisely such a charming loser that readers fell in love with. After all, we are all far from ideal.

Boris Akunin loves too "play classic", interpreting the plots of Russian literature in his own way. He even wrote The Seagull, continuing Anton Chekhov's play in a detective vein. In Akunin's work, the death of Konstantin Treplev is investigated, and Dr. Dorn takes on the role of an investigator.

In the book "F.M." Akunin decided to "play" with the most important work Russian literature - a novel by Dostoevsky "Crime and Punishment". According to the plot, Nicholas Fandorin (of course, a descendant of the beloved Akunin hero) is looking for the original version of Dostoevsky's novel. According to Akunin, in this version, the killer was not Raskolnikov, but a completely different person. Thus, in the novel there are two detective stories: one from a recovered 19th-century manuscript, and another set to modern times as the investigation progresses, and there are many overlaps between these parallel stories.

) up to several tens (32 variations with Beethoven's moll).

Variation Classification Criteria:

1) by the number of topics - single, double, triple;

2) according to the degree of freedom of variation of the theme - strict (the structure of the theme, tonality, harmonic plan is preserved) and free (any transformation of the theme is possible);

3) according to the method of variation - polyphonic, figurative, textured, genre, timbre;

4) historical types variation forms:

Variations on basso ostinato;

figurative variations;

Variations on soprano ostinato;

Free variations (characteristic);

Variant form.

Variations on basso ostinato(basso ostinato - stubborn bass) appeared in the XVI-XVII centuries. They are based on the constant repetition of the same melodic turn in the bass. The appearance of variations on the basso ostinato was preceded by a polyphonic form, which had an unchanged cantus firmus (Gregorian chant in which the tenor part did not change). In the XVI-XVII centuries. variations on the basso ostinato were widely used in dance music. Some vintage dances- passacaglia, chaconne, English ground and others were variations on basso ostinato.

Passacaglia(from Spanish - to pass, street) - a Spanish dance procession, performed at the departure of guests.

Chaconne(from Spanish - always the same) - a Spanish dance of folk origin, but more lively and active.

Typical for these genres are: majestic character, unhurried unfolding of form, slow tempo, 3 beats, minor scale (major scale less common and more characteristic of operatic basso ostinato).

Main differences. Passacaglia is a more monumental, solemn genre (for organ or instrumental ensemble). main topic(4-8 vols.) begins with the 3rd beat, unanimously. Chaconne - more chamber genre, is performed by a solo instrument - clavier or violin, begins with the 2nd beat, is presented in the form of a harmonic sequence.

The shape of the variations on the basso ostinato survived even after the passacaglia and chaconne lost their dancing significance. The principle of basso ostinato also penetrated into the arias and choruses of operas, oratorios and cantatas of the 16th-17th centuries. Classic examples of chaconne and passacaglia in music XVIII V. are presented in works by Bach (for example, the Crucifixus chorus from the Mass in b minor) and Handel (passacaglia from the suite in g minor for clavier). Beethoven used variations on the basso ostinato as an element of the major form (the coda Vivace of the 7th symphony) and as the basis of the variation-cyclic form (the finale of the 3rd symphony).

The theme of variations on the basso ostinato can be:

Chord (Bach. Chaconne d-moll for violin solo);

In variations on basso ostinato, variation usually occurs in the upper voices, but changes can also concern the theme itself: various kinds of figurations, transposition, transfer to the upper voice.

There are two types of variation themes on basso ostinato:

1) a closed theme that begins and ends with the tonic; while the descending diatonic tetrachord remains the support (from the I degree to the V degree);

2) an open topic ends on a dominant, the moment of resolution of which coincides with the beginning new variation. In structure, the theme is often a period of 4-16 vols. ("Chaconne in d-moll" by Bach). The theme, as a rule, is stated at first in one voice, the variation is organized according to the principle of increasing the number of voices, changing the modal mood in the group of "middle" variations.

Polyphonic: imitation, canon, vertically movable counterpoint;

Diminution (proportional decrease in durations);

Re-harmonization of the theme.

There are 2 ways to organize the form of variations on the basso ostinato:

1) the form is divided into variations if the boundaries of the ostinato bass and upper voices coincide;

2) the form is stratified into 2 independent layers - ostinato bass and upper voices, in which the caesuras do not coincide. As a result, 2 independent forms are simultaneously formed - one in the lower voice, the other in the upper voices.

The form as a whole was characterized by education subvariations(variations per variation), combining variations into groups based on any one principle.

In the XIX-XX centuries. the importance of variations on basso ostinato increases (Brahms. Finale of Symphony No. 4). Going beyond variations on basso ostinato, ostinato gradually becomes one of the important principles of shaping in the music of the 19th-20th centuries. and manifests itself in the field of rhythm, harmony, melodic tunes (Ravel, Stravinsky, Shostakovich, Khachaturian, Kabalevsky, Britten, Orff).

basis strict (classical) variations is the theme for the most part in 2-part reprise form, and a number of variations. Strict variations are called because the theme in them is basically preserved: the structure, harmonic movement, and melodic basis remain unchanged. Rhythm, texture, registration and dynamics remain on the share of variation. The theme of variations has an emphatically song (song and dance) character, is diatonic, has a small range, a clear cadence (these features of the theme are of folk origin). Preference in the structure is given to a simple 2-part form (often reprise), the latter variation is often written in a simple 3-part form or a simple 2-part with a coda.

All variations are presented in the main key. Approximately in the middle of the cycle, a variation (or group of variations) appears in same key. This is a means of creating contrast in the development of one musical theme and gives the variations the features of a 3-part composition. In variations, another form of the second plan may also arise, for example, a rondo. Sometimes in strict variations you can find features sonata form. The "sonata" of variations is expressed not in tonal terms, but in the alternation of variations (groups of variations) with different principles of variation.

Classical variations are widely used in the works of Haydn, Mozart, Beethoven. Some cycles are small, consisting of 5-6 variations (I part of the 12th sonata of Beethoven, I part of the 11th sonata of Mozart). Sometimes there are works with a large number of variations, for example: Beethoven's 32 variations with - moll.

So, strict (classical, ornamental, figurative) variations appeared in the Western European instrumental music XVII-XVIII centuries

Their hallmarks are:

♦ theme – original or borrowed; homophonic-harmonic warehouse, with a clear diatonic melody and accompaniment; calm pace, simple rhythm; middle register; simple 2-part form (Beethoven. Sonata No. 23, II movement; No. 12, I movement) or 3-part (Mozart. 12 variations. KV 265), form, period or (rarely) long sentence (Beethoven. 32 variations) ;

♦ all types of figurations are used in figurative variations: melodic, harmonic, mixed; diminutia (XVI century) - rhythmic fragmentation, reduction of durations in a melody and other voices;

♦ association of variations into groups based on any principle of variation – rhythmic, tonal, textural, on the basis of diminution; by tone;

♦ completion of the variation cycle: carrying out the theme in its original form or the final variation at a fast pace with the smallest durations (performs the function of a coda or includes a coda).

Strict variations include the type variations on soprano ostinato, which arose in the work of Glinka (hence another name - Glinka variations). In this type of variation, the theme (melody) remains unchanged. Variation is carried out mainly by means of harmony (Persian choir from the opera "Ruslan and Lyudmila" by Glinka). The primary source of a new type of variational form was the couplet structure of a Russian folk song. In choral form, this form is called couplet-variation.

In the twentieth century the form of variations on soprano ostinato was carried over to instrumental music("Bolero" by Ravel, episode of the invasion from the I part of the 7th symphony by Shostakovich).

The theme of variations on soprano ostinato can be original or borrowed (“A Baby Came Out” - Martha's song from Mussorgsky's opera “Khovanshchina”). The form of the theme is a big sentence or a period (Rimsky-Korsakov. Sadko's song “Oh you, dark oak tree” from II k.), Simple 2-part non-reprise (Rimsky-Korsakov. 3rd song by Lel from III d. “A cloud with thunder colluded"), simple 2-part reprise (Glinka. Persian choir from the third act of the opera Ruslan and Lyudmila), rarely simple 3-part (Grig. "In the cave of the mountain king" from the suite "Peer Gynt").

Theme with variations

If you've ever watched the movie Groundhog Day with Bill Murray (or Beware the Doors Are Closing!, The Butterfly Effect, Back to the Future...), then you already know what a theme with variations is.

In these films, with each twist in the plot, the images of the characters or the circumstances in which these characters find themselves are modified, but at the same time something always remains unchanged.

Wherever the action takes place - in the present, past or future - a trailer with manure still overturns on Marty McFly's enemies; the heroine Gwyneth Paltrow in both scenarios meets her future boyfriend; weather reporter Phil Connors wakes up again and again in his hotel room in Punxsutawney on Groundhog Day, February 2, and most of the events that await him on this day, he has already learned by heart, although thanks to his intervention they “sound” every time in a new way.

Approximately according to the same principle (not literally, of course :) musical variations, only in them undergoes transformations musical theme. In each variant (=variation), it is colored with new colors, and ideally, it also turns with new facets, acquires new features (in this case, it is not possible to follow its metamorphoses).

Pieces written in the form of a theme with variations are just a godsend for i-virtuosos, who find it profitable to shine by presenting to the listener everything they are capable of at once (, various brilliant ...)

Although, of course, the task before the performer here is not only technical. After all, good variations also imply a variety of artistic, images, characters, moods: here you need to be a violinist, an artist and an artist at the same time, to be able to transform.

Variations of Paganini, Ernst, Khandoshkin

Paganini was very fond of variations. Already in its first solo concert, which he gave at the age of 11, he played, among other things, his own variations on the revolutionary song "Carmagnola". Later, Paganini composed many variations on romantic themes: among them are “The Witch” on a theme from the ballet “The Wedding of Benevento” by Süssmayr, “Prayer” on one string on a theme from the opera “Moses” by Rossini, “At the hearth I no longer feel sad” on a theme from the opera “Cinderella” by Rossini, “ Trembling of the Heart" on a theme from the opera "Tancred" by Rossini, "How the Heart Stops" on a theme from the opera "The Beautiful Miller's Woman" by Paisiello. The most “armor-piercing” Paganinian variations in terms of technique are on the theme of the English anthem “God Save the Queen!”

The famous 24th Paganini, by the way, also consists entirely of variations. The theme of the caprice - impudent, rebellious - undoubtedly should have been to the taste of the Carbonari at one time. It is followed by variations that reveal the potential of the theme with different parties. The first - sparkling volatile beads fall in cascades, the second - a gloomy minor lace with sharp ones is woven, the third - a lyrical sad melody performed by deep ones. And then seven more variations, including variations, and with the left hand, and the final of and broken lines, forming, as it were, several “terraces”. All this should not just be played, but so that the listener feels as if he is being led through the enfilades of the same building: there must be development, forward movement and a convincing conclusion.

Another famous virtuoso of past eras, Heinrich Ernst, also could not pass by the genre of theme with variations. He left us the "Last Rose of Summer", which now (together with "God Save the Queen!") scare beginner violinists, and the audience at the same time. This piece, which is extremely difficult to perform, is based on the theme of the Scottish song of the same name, with lyrics by Thomas More. Those who are not enthusiastic about the technical "bells and whistles" of "Rose" vindictively call her stupid in content and poor in music. But they are unfair to Rosa. After all, the main thing for variations in it is - lovely theme. There is also a plot that is quite capable of fueling the imagination. If you read carefully, and then work on the image, phrasing, while listening to the same song in other traditions (performed by Clannad eg... or opera diva Lily Pons, or Deanna Durbin...) - then the game with this piece will be completely different. But in order for it to give pleasure, it is necessary, of course, to emphasize the theme, to play it with a beautiful sound, despite all the and wrapped around it. That is, you still need it sing…

The "Russian Paganini" Khandoshkin was also a fan of virtuoso variations. He took Russians as a topic folk songs, which acquired under his fingers a new, seemingly unusual brilliance and color. The song “There was a birch in the field” sounded temperamentally and almost rebelliously - we probably would not have guessed about its nature without Khandoshkin.

Philosophical variations

Not only the most virtuosic, but also the deepest in content violin works (Corelli's Folia, Bach's Chaconne) are written in the form of variations.

The philosophical potential of variations is great because, after all, life itself is multivariate. And although in reality we have to choose only one of the existing options (that is, we are deprived of the opportunity to see life in all its diversity), in music you can do otherwise. Watching how the same topic develops in different planes, we can come to a lot of interesting thoughts and even - who knows? - perhaps it is better to understand the structure of all living things.

The number of stories in world literature is limited. This fact is faced by almost every person who once decided to take up writing. And this number is not only limited, but also counted! There are several typologies that give a fairly convincing answer to the question: “How many plots are there in total?”
For the first time, the Byzantine writer (and part-time patriarch of Constantinople) Photius became interested in this problem, who in the 9th century compiled the Myriobiblion - a collection short descriptions works of ancient Greek and Byzantine authors, including ecclesiastical, secular, historical literature.
A thousand years later, interest in this problem flared up with new force, and now the list of subjects sought to be as short as possible!

Jorge Luis Borges stated that there are only four plots and, accordingly, four heroes, whom he described in his novel Four Cycles.
1. Most old story- a story about a city under siege, which is being stormed and defended by heroes. The defenders know that the city is doomed and resistance is futile. (This is the story of Troy, and main character- Achilles knows that he will die without seeing victory. A rebel hero, the very fact of whose existence is a challenge to the surrounding reality.
2. The second story is about the return. The story of Odysseus, who wandered the seas for ten years in an attempt to return home. The hero of these stories is a man rejected by society, endlessly wandering in an attempt to find himself - Don Quixote, Beowulf.
3. The third story is about the search. This story is somewhat similar to the second, but in this case the hero is not an outcast and does not oppose himself to society. Most famous example such a hero is Jason, sailing for the Golden Fleece.
4. The fourth story is about the suicide of God. Atys maims and kills himself, Odin sacrifices himself to Odin, to himself, hanging on a tree for nine days, nailed with a spear, Roman legionnaires crucify Christ. The hero of the "death of the gods" - losing or gaining faith, in search of faith - Zarathustra, Bulgakov's Master, Bolkonsky.

* * *
Christopher Booker, in his book The Seven Basic Plots: Why We Tell Stories, described, as you might guess, the seven basic plots that he believes all the books in the world are based on. the world.
1. "From rags to riches" - the name speaks for itself, the most striking example, familiar to everyone since childhood - Cinderella. Heroes - ordinary people, discovering something unusual in themselves, thanks to their own efforts or by coincidence, they find themselves “on top”.
2. "Adventure" - a difficult journey in search of an elusive goal. According to Booker, both Odysseus and Jason fall into this category, in addition, both "King Solomon's Mines" and "Around the World in Eighty Days" fall into this category.
3. "There and back." At the heart of the plot is the attempt of the hero, torn from the familiar world, to return home. In Booker's interpretation, this is Robinson Crusoe, and Alice Through the Looking-Glass, and many others.
4. "Comedy" - A certain type of plot that develops according to its own rules. All Jane Austen novels fall into this category.
5. "Tragedy" - the climax is the death of the protagonist due to any character flaws, usually love passion or a thirst for power. These are, first of all, "Macbeth", "King Lear" and "Faust".
6. "Resurrection" - the hero is under the power of a curse or dark forces, and a miracle brings him out of this state. A striking example of this story - Sleeping Beauty, awakened by the kiss of the prince.
7. "Victory over the monster" - from the name it is clear what the plot is - the hero fights the monster, defeats him and receives a "prize" - treasures or love. Examples: Dracula, David and Goliath

* * *
But the most sensational was the list of plots compiled by the playwright Georges Polti, which included thirty-six items (by the way, the first number thirty-six was proposed by Aristotle and much later supported by Victor Hugo). Thirty-six plots and themes of Polti cover mainly dramaturgy and tragedies. There were disputes around this list, it was repeatedly criticized, but almost no one tried to protest the number 36 itself.

1. PLEASE. Elements of the situation: 1) the persecutor, 2) the persecuted and begging for protection, help, shelter, forgiveness, etc., 3) the force on which it depends to provide protection, etc., while the force that does not immediately decide to defend , hesitant, unsure of herself, which is why she has to beg (thus increasing the emotional impact of the situation), the more she hesitates and does not dare to help. Examples: 1) a fleeing person begs someone who can save him from enemies, 2) begs for shelter in order to die in it, 3) a shipwrecked person asks for shelter, 4) asks for someone in power for dear, close people, 5) asks for one relative for another relative, etc.
2. SALVATION. Elements of the situation: 1) unhappy, 2) threatening, persecuting, 3) savior. This situation differs from the previous one in that there the persecuted resorted to the hesitant power, which had to be pleaded, but here the savior appears unexpectedly and saves the unfortunate without hesitation. Examples: 1) decoupling famous fairy tale about Bluebeard. 2) saving the condemned to death penalty or generally in mortal danger, etc.
3. REVENGE PURSUING CRIME. Elements of the situation: 1) avenger, 2) guilty, 3) crime. Examples: 1) blood feud, 2) revenge on a rival or rival or lover, or mistress on the basis of jealousy.
4. REVENGE OF A CLOSE PERSON FOR ANOTHER CLOSE PERSON OR RELATED PEOPLE. Elements of the situation: 1) living memory about the offense inflicted on another close person, harm, about the victims suffered by him for the sake of his loved ones, 2) a vengeful relative, 3) guilty of these insults, harm, etc. - a relative. Examples: 1) revenge on the father for the mother or mother for the father, 2) revenge on the brothers for their son, 3) father for the husband, 4) husband for the son, etc. A classic example: Hamlet's revenge on his stepfather and mother for his murdered father .
5. Haunted. Elements of the situation: 1) the crime committed or fatal mistake and expected punishment, retribution, 2) hiding from punishment, retribution for a crime or mistake. Examples: 1) persecuted by the authorities for politics (for example, Schiller's "Robbers", the history of the revolutionary struggle in the underground), 2) persecuted for robbery (detective stories), 3) persecuted for a mistake in love ("Don Juan" by Moliere, alimentary stories and etc.), 4) a hero pursued by a superior force (“Chained Prometheus” by Aeschylus, etc.).
6. SUDDEN DISASTER. Elements of the situation: 1) the victorious enemy, appearing personally; or a messenger bringing terrible news of defeat, collapse, etc., 2) a ruler defeated by a winner or slain by news, a powerful banker, an industrial king, etc. Examples: 1) the fall of Napoleon, 2) Zola's "Money", 3 ) "The End of Tartarin" by Anphonse Daudet, etc.
7. Victim (i.e., someone, the victim of some other person or people, or the victim of some circumstances, some kind of misfortune). Elements of the situation: 1) one who can influence the fate of another person in the sense of his oppression or some kind of misfortune. 2) weak, being a victim of another person or misfortune. Examples: 1) ruined or exploited by someone who was supposed to care and protect, 2) previously loved or close, convinced that he was forgotten, 3) unfortunate, who have lost all hope, etc.
8. REBELLION, REBELLION, REBELLION. Elements of the situation: 1) tyrant, 2) conspirator. Examples: 1) the conspiracy of one (“The Fiesco Conspiracy” by Schiller), 2) the conspiracy of several, 3) the indignation of one (“Egmond” by Goethe), 4) the indignation of many (“William Tell” by Schiller, “Germinal” by Zola)
9. A BOLD ATTEMPT. Elements of the situation: 1) the daring one, 2) the object, that is, what the daring one decides on, 3) the opponent, the opposing person. Examples: 1) the abduction of an object ("Prometheus - the thief of fire" by Aeschylus). 2) enterprises associated with dangers and adventures (Jules Verne's novels, and adventure stories in general), 3) a dangerous enterprise in connection with the desire to achieve a beloved woman, etc.
10. KIDNAPPING. Elements of the situation: 1) the kidnapper, 2) the kidnapped person, 3) protecting the kidnapped person and being an obstacle to the kidnapping or counteracting the kidnapping. Examples: 1) abduction of a woman without her consent, 2) abduction of a woman with her consent, 3) abduction of a friend, comrade from captivity, prison, etc. 4) abduction of a child.
11. MYSTERY (i.e., on the one hand, asking a riddle, and on the other, asking, striving to solve the riddle). Elements of the situation: 1) asking a riddle, hiding something, 2) trying to solve the riddle, find out something, 3) the subject of a riddle or ignorance (mysterious) Examples: 1) under pain of death, you need to find some person or object, 2 ) to find the lost, lost, 3) under pain of death to solve the riddle (Oedipus and the Sphinx), 4) to force a person to reveal by all sorts of tricks what he wants to hide (name, gender, state of mind etc.)
12. ACHIEVING SOMETHING. Elements of the situation: 1) striving to achieve something, pursuing something, 2) the one on which the achievement of something depends on consent or help, refusing or helping, mediating, 3) there may be a third party that opposes the achievement. Examples: 1) try to get from the owner a thing or some other blessing in life, consent to marriage, position, money, etc. by cunning or force, 2) try to get something or achieve something with the help of eloquence (directly addressed to the owner of the thing or - to the judge, arbitrators, on whom the award of the thing depends)
13. HATE TO RELATED. Elements of the situation: 1) hater, 2) hated, 3) cause of hatred. Examples: 1) hatred between relatives (for example, brothers) out of envy, 2) hatred between relatives (for example, a son who hates his father) for reasons of material gain, 3) hatred of a mother-in-law for a future daughter-in-law, 4) mother-in-law for a son-in-law, 5) stepmothers to the stepdaughter, etc.
14. COMPETITION OF RELATED. Elements of the situation: 1) one of the relatives is preferred, 2) the other is neglected or abandoned, 3) the subject of rivalry (at the same time, apparently, ups and downs are possible at first, the preferred one turns out to be neglected and vice versa) Examples: 1) rivalry between brothers (“Pierre and Jean "Maupassant), 2) rivalry of sisters, 3) father and son - because of a woman, 4) mother and daughter, 5) rivalry of friends ("Two Veronets" by Shakespeare)
15. ADULTER (i.e., adultery, adultery), LEADING TO MURDER. Elements of the situation: 1) one of the spouses who violates marital fidelity, 2) the other of the spouses is deceived, 3) adultery (that is, someone else is a lover or mistress). Examples: 1) kill or let your lover kill her husband ("Lady Macbeth Mtsensk district" Leskov, "Teresa Raquin" Zola, "The Power of Darkness" Tolstoy) 2) kill a lover who entrusted his secret ("Samson and Delilah"), etc.
16. MADNESS. Elements of the situation: 1) a person who has fallen into madness (insane), 2) a victim of a person who has fallen into madness, 3) a real or imaginary reason for madness. Examples: 1) in a fit of madness, kill your lover (Elise the Prostitute by Goncourt), a child, 2) in a fit of madness, burn, destroy your own or someone else's work, a work of art, 3) in a drunken state, betray a secret or commit a crime.
17. FATAL NEGLIGENCE. Elements of the situation: 1) careless, 2) a victim of carelessness or a lost object, this is sometimes joined by 3) a good adviser warning against carelessness, or 4) an instigator, or both. Examples: 1) due to negligence, be the cause of one’s own misfortune, dishonor oneself (“Money” by Zola), 2) due to negligence or gullibility, cause misfortune or death of another person close ( Biblical Eve)
18. INWITNESS (out of ignorance) CRIME OF LOVE (in particular, incest). Elements of the situation: 1) lover (husband), mistress (wife), 3) recognition (in case of incest) that they are in a close degree of kinship, which does not allow love relationships according to the law and current morality. Examples: 1) find out that he married his mother (“Oedipus” by Aeschylus, Sophocles, Corneille, Voltaire), 2) find out that his mistress is a sister (“Messinian bride” by Schiller), 3) a very banal case: find out that the mistress - Married.
19. UNWINNING (out of ignorance) KILLING OF A RELATED. Elements of the situation: 1) killer, 2) unrecognized victim, 3) exposure, recognition. Examples: 1) involuntarily contribute to the murder of his daughter, out of hatred for her lover ("The King is having fun" Hugo, a play based on which the opera "Rigoletto" was made, 2) not knowing his father, kill him ("The freeloader" by Turgenev with the fact that the murder replaced by an insult), etc.
20. SELF-SACRIFICE IN THE NAME OF THE IDEAL. Elements of the situation: 1) a hero sacrificing himself, 2) an ideal (word, duty, faith, conviction, etc.), 3) a sacrifice. Examples: 1) sacrifice your well-being for the sake of duty (“Resurrection” by Tolstoy), 2) sacrifice your life in the name of faith, conviction ...
21. SELF-SACRIFICE FOR THE RELATED. Elements of the situation: 1) the hero sacrificing himself, 2) the loved one for whom the hero sacrifices himself, 3) what the hero sacrifices. Examples: 1) sacrifice your ambition and success in life for the sake of loved one(“The Zemgano Brothers” by Goncourt), 2) to sacrifice your love for the sake of the child, for the sake of life native person, 3) to sacrifice one's chastity for the sake of the life of a loved one or loved one ("Tosca" to Sordu), 4) to sacrifice one's life for the sake of the life of a loved one, etc.
22. SACRIFICE EVERYTHING - FOR THE SAKE OF PASSION. Elements of the situation: 1) a lover, 2) an object of fatal passion, 3) something that is sacrificed. Examples: 1) a passion that destroys the vow of religious chastity (“Mistake of Abbé Mouret” by Zola), 2) a passion that destroys power, power (“Antony and Cleopatra” by Shakespeare), 3) a passion quenched at the cost of life (“Egyptian Nights” by Pushkin) . But not only a passion for a woman, or a woman for a man, but also a passion for running, card game, guilt, etc.
23. SACRIFICE A LOVED PERSON BECAUSE OF NECESSITY, INEVITABILITY. Elements of the situation: 1) a hero who sacrifices a loved one, 2) a loved one who is sacrificed. Examples: 1) the need to sacrifice a daughter for the sake of public interest (“Iphigenia” by Aeschylus and Sophocles, “Iphigenia in Tauris” by Euripides and Racine), 2) the need to sacrifice loved ones or their adherents for the sake of their faith, conviction (“93 year” Hugo), etc. d.
24. COMPETITION OF UNEQUAL (and also almost equal or equal). Elements of the situation: 1) one opponent (in case of unequal rivalry - inferior, weaker), 2) another opponent (higher, stronger), 3) the subject of rivalry. Examples: 1) the rivalry between the winner and her prisoner (Mary Stuart by Schiller), 2) the rivalry between the rich and the poor. 3) rivalry between a person who is loved and a person who does not have the right to love (“Esmeralda” by V. Hugo), etc.
25. ADULTER (adultery, adultery). Elements of the situation: the same as in adultery leading to murder. Not considering adultery capable of creating a situation - by itself, Polti considers it as a special case of theft aggravated by betrayal, while pointing out three possible cases: 1) the lover (tsa) is more pleasant than firm than the deceived spouse ), 2) the lover is less attractive than the deceived spouse, 3) the deceived spouse takes revenge. Examples: 1) Madame Bovary by Flaubert, Kreutzer Sonata by L. Tolstoy.
26. CRIME OF LOVE. Elements of the situation: 1) in love (th), 2) beloved (th). Examples: 1) a woman in love with her daughter's husband ("Phaedra" by Sophocles and Racine, "Hippolytus" by Euripides and Seneca), 2) the incestuous passion of Dr. Pascal (in Zola's novel of the same name), etc.
27. LEARNING ABOUT THE DISHONOR OF A LOVED OR RELATED (sometimes associated with the fact that the one who found out is forced to pronounce a sentence, punish a loved one or a loved one). Elements of the situation: 1) recognizer, 2) guilty loved one or close, 3) guilt. Examples: 1) learn about the dishonor of his mother, daughter, wife, 2) discover that a brother or son is a murderer, a traitor to the motherland and be forced to punish him, 3) be forced by virtue of an oath to kill a tyrant - to kill his father, etc. .
28. OBSTACLE OF LOVE. Elements of the situation: 1) lover, 2) mistress, 3) obstacle. Examples: 1) a marriage frustrated by social or property inequality, 2) a marriage frustrated by enemies or accidental circumstances, 3) a marriage frustrated by enmity between parents on both sides, 4) a marriage frustrated by dissimilarities in the characters of lovers, etc.
29. LOVE FOR THE ENEMY. Elements of the situation: 1) the enemy who aroused love, 2) the one who loves the enemy, 3) the reason why the beloved is the enemy. Examples: 1) the beloved is an opponent of the party to which the lover belongs, 2) the beloved is the murderer of the father, husband or relative of the one who loves him (“Romeo and Juliet”,), etc.
30. AMBITION AND LOVE OF POWER. Elements of the situation: 1) an ambitious person, 2) what he wants, 3) an adversary or rival, i.e., a counteracting person. Examples: 1) ambition, greed leading to crimes (“Macbeth” and “Richard 3” by Shakespeare, “The Rougon Career” and “Earth” by Zola), 2) ambition leading to rebellion, 3) ambition that is opposed by a loved one, friend, relative, own supporters, etc.
31. FIGHTING THE GOD (fight against God). Elements of the situation: 1) man, 2) god, 3) reason or subject of struggle. Examples: 1) fighting with God, arguing with him, 2) fighting with those who are faithful to God (Julian the Apostate), etc.
32. UNCONSCIOUS JEYALY, ENVY. Elements of the situation: 1) jealous, envious, 2) the object of his jealousy and envy, 3) the alleged rival, applicant, 4) a reason for delusion or his culprit (traitor). Examples: 1) jealousy is caused by a traitor who is motivated by hatred (“Othello”) 2) a traitor acts out of profit or jealousy (“Cunning and Love” by Schiller), etc.
33. JUDICIAL MISTAKE. Elements of the situation: 1) the one who makes a mistake, 2) the victim of the mistake, 3) the object of the mistake, 4) the true criminal Examples: 1) judgement mistake provoked by an enemy (“The Womb of Paris” by Zola), 2) a miscarriage of justice provoked by a loved one, the brother of the victim (“Robbers” by Schiller), etc.
34. CONCUSES OF CONSCIENCE. Elements of the situation: 1) the guilty, 2) the victim of the guilty (or his mistake), 3) looking for the guilty, trying to expose him. Examples: 1) remorse of the killer (“Crime and Punishment”), 2) remorse due to a mistake of love (“Madeleine” by Zola), etc.
35. LOST AND FOUND. Elements of the situation: 1) lost 2) found, 2) found. Examples: 1) "Children of Captain Grant", etc.
36. LOSS OF LOVED ONES. Elements of the situation: 1) deceased loved one, 2) lost loved one, 3) responsible for the death of a loved one. Examples: 1) powerless to do something (save his loved ones) - a witness to their death, 2) being bound by a professional secret (medical or secret confession, etc.), he sees the misfortune of loved ones, 3) foresee the death of a loved one, 4) find out about the death of an ally, 5) in despair at the death of a loved one, lose all interest in life, sink, etc.

* * *
To be honest, it seems to me that Polti compiled his list too broadly, too broadly, and although I have studied this list more than once, I was interested in it, but I cannot say that it suits me completely and completely. I agree with the idea that the number of topics in world literature is limited, but from the typologies and lists that existed before, none seems completely adequate to me.
And therefore, I am ready to offer my typology, or rather my list, and in order not to repeat my older comrades, I will define the circle of the most frequently encountered plots, the most popular, to which, however, most works of literature, dramaturgy and cinematography are reduced. Moreover, I will describe basic themes, not in general terms, but to be specific.
So, the main plots, according to Max Akimov, are twelve:

FIRST plot, the most hackneyed - Cinderella. It is very stable, all variations fit into a clear plot outline"reference". The plot is loved by the authors of women's literature, often used by screenwriters of melodramas. There are a huge number of examples.
SECOND Plot - The Count of Monte Cristo is a secret hero who becomes apparent towards the end of the play, gaining wealth or opportunities from somewhere. His mission is to take revenge, or to do justice! The plot is very fond of the authors of adventure novels and detective stories. It appeared long before Alexandre Dumas, but this novelist most successfully “lit up” this plot, and after him, many used and used the above-named plot.
THIRD plot - Odyssey. This story can be called the first, it is extremely popular. Variations based on it can be different, but you just have to take a closer look, and the ears stick out quite clearly. Science fiction writers, fantasy writers, authors of adventure literature, travel novels and some other genres are very fond of this ancient story, and sometimes copy even the details. ancient Greek history, which can be conditionally considered the starting, reference.
FOURTH plot - Anna Karenina. Tragic love triangle. It has roots in ancient Greek tragedies, but Lev Nikolayevich managed to write it out most vividly and in detail. In the twentieth century, especially at the beginning and middle of the century, this plot was one of the most popular (even ordinary copies copied from Tolstoy, when skilled authors change only first names, historical scenery and other surroundings, I saw several). But there are many talented variations on this theme.
FIFTH plot - Hamlet. Strong personality with a moving mind. A broken hero, reflective and bright, fighting for justice, having tasted the betrayal of loved ones and other delights. Nothing, in the end, not achieving, only able to torture himself, but to achieve some spiritual enlightenment and purification, which encourages the viewer. Interesting as hell.
There is nothing to comment here. The plot is stable, very popular, there is a lot of Dostoevism in it, (native and close to the Russian heart, and to me in particular). At the present moment this plot popular as ever.
SIXTH plot - Romeo and Juliet. Story happy love. Total the number of repetitions of this plot exceeds the number of repetitions of all other plots, but for some reason there are very few talented works, you can literally count them on the fingers. However, in current serials, in fiction (especially women's), in dramaturgy and songwriting, the plot is unusually popular.
The plot, again, is extremely stable, as it has gone from antiquity to the present day, there are few special variations.
SEVENTH plot - Fathers and sons. Its origins are ancient Greek, the plot is complex, and now there is a lot of room for variations in it. This can also be conditionally attributed to the story of the bride of Jason, who is forced to choose between her father and the groom, to sacrifice one of them. In short, the whole variety of parental selfishness colliding with the selfishness of children describes this ancient tangle of plots, similar friend on a friend. There is also altruism of parents, and even less often altruism of children, but usually this ends in tragedy (as if someone has jinxed our entire human race. Ask King Lear, he will tell you).
EIGHTH plot - Robinson. It partly echoes Hamlet, primarily in the sound of the theme of loneliness, and a little with Odysseus, but the story of Robinson can still be called a separate big plot of world literature. Current writers and screenwriters often copy, word for word, the work of Daniel Defoe. But there are many talented and original variations. The hero, most often, is absolutely alone on the island, but this is not required condition, it happens that several heroes find themselves in some kind of isolation from big world trying to survive and remain individuals in order to eventually be saved. My favorite variation is the story of Saltykov-Shchedrin "How one man fed two generals."
NINTH story - Trojan theme, the theme of war. Confrontation of two systems, enmity and hatred, flip side which is nobility and self-denial. This plot, as a rule, is superimposed on other plots, or they are superimposed on it, but classic military novels, descriptions of wars in detail, with varying degrees of artistry, are also not uncommon. An organic part of this category of plots is the plot "Spartacus" - a story about a fighter, about a hero, whose personality is sometimes the opposite of the characteristics of reflective heroes, since the essence of Spartacus is a tough struggle as an image of salvation, as a way of life and way of thinking, a struggle intense, obvious, throwing call.
TENTH plot - Catastrophe and its consequences. Classic antique story. At the present time, he was dragged so that it is reluctant to speak. There are a lot of mediocre copies, but occasionally there are also curious ones. The plot is very narrow in terms of semantic variations, but very broad in terms of descriptive possibilities, surroundings and details. But, to be honest, almost every next novel repeats the previous one, even if you don’t go to a fortune teller!
ELEVENTH plot - Ostap Bender - a picaresque novel, an adventurous novel. Sources and classic examples - in the literature of France of the New Time. Extremely popular these days, most often comedic. The tangle of plots is quite bright, and successful variations often come across, but all of them, one way or another, copy a couple of templates created at the beginning of the twentieth century.
Numerous novels, novellas and stories that exploit the image of an ironic private detective (or investigator) who acts as “Ostap Bender in reverse” can be conditionally attributed to the similarity of the same plot. Nowadays, a certain “picaresque detective” (sometimes a “picaresque action movie”) is popular and in demand, the main character of which solves crimes or scams (and sometimes secrets of the past).
This plot is often supplemented by a literary device, which can be conditionally called a “rebus story”, most television series (detective format) are built on it, as well as many book series, which are laid out in abundance on store shelves.
TWELVE plot - Time machine, journey into the future. His mirror reflection- stylization of travel to the past, historical novels. However this species works, as a rule, uses “journey into the past” only as an entourage, and the plot is one of those that I listed above, while “journey into the future” is often a “pure plot”, that is, its essence boils down precisely to the description Togo, how it all works there in this unknown future.

Well, this is sample list the most frequently used, frequently touched upon plots by writers. Often plots come across in a standard form, but the writer who is smarter, who has read a lot, he, before sitting down at his desk, tries to find a synthesis of plots for himself, that is, to combine several basic plots in one work, and also to modify the original idea as much as possible. plot.
There is also such a phenomenon as plotless prose, something like a story-sketches, a novel-sketches (these genres can be defined in different ways). The literary merits of such texts are different, sometimes not bad, they can sound philosophical motives, imitation of Ovid, etc.
But still, there are often quite distinct modifications of the twelve plots that I have listed.