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GRADUATE WORK

Peculiarities of the English Detective Genre in Literature (on the Material of English and American Detectives)

annotation

The thesis examines the features of the English language detective genre.

The work consists of an introduction, two chapters, a conclusion and a list of sources.

The first chapter of the thesis is devoted to the history of the development of the detective genre, as well as the work of researchers in this area.

The second chapter presents the features of the detective genre in English literature, analysis of works and comparison of English and American detective stories.

The work was printed on 69 sheets using 59 sources, contains 1 table.

Introduction………………………………………………………………………………6

1 Detective genre in English literature…………………………………..8

1.1 Formation of the detective genre in literature…………………………...9

1.2 History of the detective genre………………………………………………...10

1.2.1 Detective works before the twentieth century (1838 - 1889)……………10

1.2.2 Detective works of 1890 - 1901…………………………...13

1.2.3 Detective works of the twentieth century (1902 - 1929)……………......15

1.3 Researchers of the detective genre………………………………………....18

2 Features of the detective genre……………………………………………..23

2.1 Features of English-language detective works………………….25

2.1.1 Realization of the image of the detective pair "detective - his companion"……….28

2.1.2 Intrigue and two-plot construction of works……………………36

2.1.3 Detective story and fairy tale………………………………………………………………43

2.1.4 Elements of reality in detective stories…………………….46

2.2 Children's detective……………………………………………………………...51

2.3 Ironic detective as a special kind of genre……………………………....54

2.4 Implementation of the rules of the genre in various types of detective story…………………...59

Conclusion………………………………………………………………………...63

List of used literature………………………………………………….65

Introduction

Mysteries and mysteries have always attracted mankind and the English-speaking society in particular. Ever since Edgar Allan Poe wrote the first detective story on English language, interest in this literary genre does not dry out.

The relevance of this study lies in an attempt to highlight what researchers of the detective genre have not touched before, namely: a comparison of the genres of the English and American detective stories.

The object of research is the detective genre in literature.

The subject is the genre features of the English detective story.

The purpose of this WRC is to highlight the features of the detective genre in English-language literature.

Tasks - to compare the English and American detective stories, to trace the genesis of the genre in English-language literature, to highlight genre features.

The material of the study was the works of English-speaking authors: Edgar Allan Poe, Agatha Christie, Gilbert Keith Chesterton, Dorothy Sayers, Arthur Conan Doyle, Rex Stout, Dashiell Hammett, Earl Gardner.

In this work, we relied on the studies of such authors as N. N. Volsky, Ya. K. Markulan, A. Z. Vulis, A. G. Adamov, G. A. Anjaparidze, T. dictionaries.

The structure of the work: the thesis consists of an introduction, two chapters and a conclusion, as well as a bibliographic list.

The introduction outlines the purpose and objectives of the work, its relevance and novelty, as well as the material and methods of research.

The first chapter "The Detective Genre in English Literature" examines in detail the formation and history of the detective genre, the direction of the work of researchers in this direction.

The second chapter "Features of the detective genre" is devoted to the study of the works of English-speaking authors in order to identify the features of the genre in them.

The conclusion contains conclusions about the work done.

The practical significance of the study lies in the possibility of using its results at seminars on foreign literature at school and at the university.

The methodological basis of the study in this work was the organizational methods of scientific knowledge and data processing. The study used such general scientific methods like literature analysis, comparison and classification of data.

The novelty of the work lies in the simultaneous consideration and analysis of detective works by English and American authors.

1 The detective genre in English-language literature

Detective - the very name of the genre (translated from English detective - "detective") says a lot. Firstly, it coincides with the profession of its main character - a detective, that is, a detective, the one who is investigating. Secondly, this profession is a reminder that the detective genre is one of the variants of the widespread crime literature. Thirdly, there is also a way plot construction, in which the mystery of the crime remains unsolved to the end, keeps the reader in suspense.

The mysterious has always attracted a person, but a professional investigation of a crime could not become a plot in literature before it arose as a phenomenon of social reality. In the XVIII-XIX centuries, in the most developed bourgeois countries, a police apparatus began to form, including for the suppression and detection of crimes. One of the first detective offices was created with the participation of the great English novelist Henry Fielding, and almost a century later, Charles Dickens followed with interest the first steps of the later famous Scotland Yard. For the writer, a crime is a sign of social ill-being, and the process of revealing it makes it possible to lift the veil of secrecy over the very mechanism of social ties. Thus, an element of detective intrigue appears in the works and the figure of a detective is introduced, at first as an episodic person in E. J. Bulwer-Lytton, C. Dickens, Honore de Balzac, F. M. Dostoevsky. The literary debut of the detective does not yet give rise to talk about the birth of the detective genre. The crime and its disclosure is just one of the plot motifs, which, even becoming the leading one in F. M. Dostoevsky's "Crime and Punishment", in C. Dickens's "The Secret of Edwin Drood" (incomplete), does not subordinate interest to the only question - who killed? It is more important than this to find out what kind of person becomes a criminal and what pushes him to it.

1.1 Formation of the detective genre in literature

The ancestor of the detective genre is Edgar Allan Poe, who shifted the main focus from the personality of the criminal to the personality of the one who investigates the crime. Thus appears the first famous detective in literature, Dupin, whose extraordinary analytical abilities enable the author to raise a philosophical question about the unrealized powers of the human mind. The path to the detective story as an independent genre lies through bringing to the fore the very intrigue of the investigation. It ensures the success of the work, and its dignity is determined by the degree of ingenuity of the solution, the effectiveness of unraveling the mystery of the crime. Perhaps the first sign of the birth of a detective is in William Wilkie Collins' definition of his novels (The Woman in White and The Moonstone) as sensational. The detective as a genre will take on its classic form in the stories and short stories of Arthur Conan Doyle, under whose pen it becomes a "purely analytical exercise", which, however, "as such can be a perfect work of art within its completely conventional limits" . These words, spoken by another well-known English writer in this genre, Dorothy Sayers, may mean that the author of the detective story is aware of the limitations of her genre form and is not going to compete with C. Dickens or F. M. Dostoevsky. His goal is more modest - to interest, but on the way to this goal, he can achieve a certain perfection. The key to success is the complexity of the unexpectedly solved logical problem, as well as the originality of the personality of the one who solves it. That is why the names of the most famous heroes, such as Sherlock Holmes in Conan Doyle, Father Brown in Gilbert Chesterton, Maigret in Georges Simenon, Hercule Poirot and Miss Marple in Agatha Christie, are not inferior in fame to the names of their creators. If we are used to judging fiction by the richness and mastery of the word, then in the detective story this criterion disappears: “The style in the detective story is as inappropriate as in the crossword puzzle.” So rigidly formulates one of the rules of the genre Stephen Van Dyne. Among authors, many share this conviction, although not with such ease: after all, the literary dignity of the genre is being questioned.

1.2 History of the detective genre

1.2.1 Detective works beforeXX century. (1838 - 1889)

The first, fully matured detective story is considered to be the story published in Philadelphia in 1841, in the April issue of Graham's Magazine - Edgar Allan Poe's story "Murder in the Rue Morgue". This view has been repeatedly challenged. "Murder in the Rue Morgue" is not the first work in which there are all the components of a detective story: a detective plus a confidant (a couple that later became known as "Holmes-Watson"), a crime and a solution to the problem by inference. But this is the first work about the "impossible crime in a locked room." The problem facing the detective is that after a murder, there is no obvious way to leave the room in which the crime was committed. All doors and windows are securely closed from the inside and the keys to the doors are in the door locks. Even the chimney is blocked by the victim's body. And, despite the fact that the crime seemed impossible, Dupin finds a solution to the problem. However, it was not Edgar Allan Poe who introduced the concept of the "mystery of the locked room" into the detective story. It was first used by the famous Irish writer Joseph Sheridan le Fanu (Joseph Sheridan Le Fanu). In November 1838, "A Passage in the Secret History of an Irish Countess" appeared in the Dublin University Magazine. This story, which has been reprinted in a collection called The Purcell Papers, begins with a description of a previously unsolved murder in a locked room. The following lines contain the message that the heroine of the story almost suffered the same fate. But the heroine survived and managed to explain the secret. The solution is completely different from E.A.Poe's idea. Aware of the novelty of this plot device, Le Fanu used it with other characters in the story "The Murdered Cousin" ("The Cousin's Murder"), as well as in his fifth novel "Uncle Silas" ("Uncle Silas").

Since then, the theme of the "locked room" has been used by many writers, and at least three of them, published between 1852 and 1868, were authors of a fairly high level. In the February issue of Household Words, published by C. Dickens, Wilkie Collins' story "A Terribly Strange Bed" was published, in which the hero escapes a terrible death in a locked room and points out to the gendarmerie "the devil in the car", who almost managed to kill him. The story was published in the anthology After Dark in 1856. Subsequently, it was reprinted many times and was used by at least two plagiarists. The first, "An Odd Tale" by H. Barton Baker, appeared in the Christmas Annual in 1883, and the story was very popular in the days of publication. The second was the short story "The Inn of the Two Witches" by Joseph Conrad.

Thomas Bailey Aldrich included a hero detective in 1862. Out of His Head is an episodic novel that introduces arguably the first truly eccentric detective, Paul Lynde. It became the last English language novel of the period with a "locked room" theme. Calm has come. But the genre of "impossible crime" having taken the start, forever took its place in detective literature.

However, in Europe the picture was different. In Germany, in 1858, a book called "Nena Sahib" was published. The author was a German by nationality, Hermann O. F. Goedsche, who wrote under the pseudonym Sir John Retcliffe. This long and not always interesting story is full of strong criticism of the British colonial policy in India, and there is very little detective content. But, nevertheless, the novel contains a detailed description of the murder in a locked room with a solution so simple and attractive that the real perpetrator took advantage of it in 1881. (But this did not help him, and he fell into the hands of the police).

France has always given the world writers with love and a knack for impossible crime stories. In those early days of the detective story, two French authors had the opportunity to set the bar. The first was Eugene Chavette with his novel La Chambre du Crime (1875). The long, wordy narrative, of typically Victorian complexity, has not been translated into any other language in the world. Later, in 1888, the short story "The Black Pearl" by the famous writer Victorien Sardoy was published. In it, the detective is confronted with a theft from a locked room instead of a murder that is almost mandatory for a detective story. The story is told in good language from the perspective of Detective Cornelius Pump. The proposed solution, although very ingenious, is hardly realistic. The story can be found in The Three Romances (The Romances by Brentanos, 1888) and The Lion's Skin (Vizetelly, 1889).

1.2.2 Detective works of 1890 - 1901

Up until the 1990s, art magazines were filled with many "sensational" stories of brutal deaths in traps, supernatural poisonings, and devilish machines. But in last decade XIX century, the detective component of the "mystery of the locked room" again comes to the fore. The initiative was laid by Israel Zangwill. He came up with a completely new way of explaining the mysterious crime in the locked room. It was The Big Bow Mystery, written in 1891. The events in this work take place in East London, which the author knew well. The word "Bow" refers to the name of the district of the British capital and is in no way connected with archery. The second was Arthur Conan Doyle's 1892 short story The Motley Ribbon, in which the great detective faces the problem of the "locked room" and the sinister Dr. Grimsby Roylot. The Sherlock Holmes stories were very popular and published by The Strand Magazine.

Impossible crimes have attracted the attention of the writer more than once. An example is the unpublished account of the disappearance of a certain Mr. Philimore. In the future, the maestro of the "locked room" John Dixon Carr, in collaboration with the son of Arthur Conan Doyle, Adrian Conan Doyle, will write several stories - a continuation of the adventures of the great detective.

In August 1898, The Story of the Lost Special was published in The Strand Magazine. The mystery was the disappearance of the train on a short stretch of track between two stations. Moreover, the ordinary train following the “special” one arrived at the destination station strictly on schedule, and none of its passengers noticed anything unusual along the way. "This is madness. Can a train disappear in broad daylight in England in clear weather? A locomotive, a tender, two passenger cars, five people - and all this disappeared on a direct railway line. Interestingly, the detective is not named in this story. However, it quotes a letter from a certain “amateur logician” who believed that if various impossible options are discarded, then the one that remains, although it is incredible, is the true one. Subsequently, the idea of ​​a "disappearing train" was used by Leslie Lynwood, Melville Davisson Post, August Derleth and Ellery Queen. Moreover, the latter went further, in his story "The Divine Lamp" the whole house disappears.

Of the female writers, only Ada Cambridge can be distinguished (Ada Cambridge), which in the story "At Midnight" ("At Midnight"), written in 1897, describes the terrible story of the disappearance of a man.

We can say that two novels complete the era, each of which is unusual in its own way. The first, The Justification of Andrew Lebrun (1894), written by Frank Barrett, combined mystery, drama, investigation, and even scientific fact. This is one of the early examples of a disappearance from a locked and guarded laboratory room. The victim is the beautiful daughter of a strange scientist who worked there. The second, the impossible crime described by Louis Zangwill in A Nineteenth Miracle (1897), is also very unusual. A man is washed away in front of witnesses from the side of a canal ferry and almost simultaneously his body falls through the top window of a certain studio in London.

1.2.3 Detective works of the twentieth century. (1902 - 1929)

The Strand Magazine in 1903 published a story that opened a new stage in detective fiction about impossible crimes. Samuel Hopkins Adams (Samuel Hopkins Adams) created the effect of a "locked room" in an open space, without any reference to doors and windows closed from the inside. Strictly speaking, the scene of the story "The Flying Death" is a beach. The detective does not have a problem, as the criminal left the locked room. She's just not there. The effect of "impossibility" is achieved by the fact that there is no way to leave the crime scene without leaving footprints in the sand. But that's exactly what happened. Soon other authors took up this idea. In 1906, two works were published, which, by a strange coincidence, were even called almost identically “The Flying Man” and “The Man Who Could Fly”. They were written by Alfred Henry Lewis with "The Man Who Flew" (U.S) and Oswald Crawfurd "The Flying Man". In both works we are talking about the murder and the subsequent disappearance of the criminal from the scene of the crime. Both there and there the action takes place in winter on a snow-covered site, and the killer leaves no traces in the snow.

Another main character of this period was an American journalist who revered the work of Le Fanu and therefore took the French name Jacques Futrelle (Jacques Futrell). He is one of the most prolific writers of impossible crime stories. With its main character, Professor August Van Dasen, whom the author calls Thinking Machine ("Thinking Machine"), the reader gets acquainted in the story "The Problem of Cell 13" ("Mystery of the camera No. detectives. "The Thinking Machine" was able to explain with what trick a person was able to get out of a guarded prison cell. The author's brilliant fantasy was expressed in many other stories, where he described more and more new types of impossible crimes or made changes to previously invented methods. In " In The Case of the Mysterious Weapon, he sucked all the air out of the bodies of the victims, in The House That Was, roads and houses disappeared, in The Kidnapping of the Baby of the Millionaire Blais ("Kidnapped Baby Blace, Millionaire") footprints in the snow, suddenly broke off - as if the unfortunate child had vanished into thin air. In one of his best stories, "The Phantom Motor" ("The Phantom Motor") Futrell described the disappearance of a car from a protected section of the road with one single exit.

In 1911, the collection “Ignorance of Father Brown” (“Innocence of Father Brown”), already famous at that time, G. K. Chesterton, was published. The Adventures of Father Brown has been collected into five collections. The detective priest often encounters impossible crimes. The next author to contribute to the development of the impossible crime literature was Carolyn Wells. Her first detective novel with private detective Fleming Stone (Fleming Stone) called "The Clue" was released in 1909. She wrote about a hundred works and about twenty of them - about impossible crimes. Never before has a female writer paid so much attention to this genre.

The First World War ended in 1918, and in the same year a new star of literary investigation was born in the United States. In the novel by Melville Davisson Post, Uncle Abner, a sort of village detective of the American hinterland, was bred. Uncle Abner is quite rightly regarded as one of the members of the Big Four, along with A. Dupin, S. Holmes and Father Brown.

In 1926, Willard Huntington Wright's first book, The Benson Murder Case, was published in the United States. The author signed the novel Stephen Van Dine (S.Van Dine). The work was a success and was hailed as a "masterpiece of detective literature". Its publication marked the beginning of the "golden age of the detective" (1920-1940). This novel included a set of characters that became the standard in the detective:

1 Sleuth is Philo Vance's lover, snob, polymath, and fine arts lover;

2 Stephen Van Dyne - a kind of virtual, invisible Dr. Watson;

3 John Marhley - District Attorney of New York, a very weak intellectual in a professional sense;

4 Sergeant Has is a mute, almost comically mute, police officer.

This period ends with the release of the first part of the novels by Anthony Wynne (Anthony Wynne) about the detective, Dr. Eustace Hailey (Eustace Hailey). The first book, The Room with the Iron Shutters (1929), dealt with the already standard locked room problem. But then the author established himself as a master of another form of impossible crime: murder with an invisible weapon.

The researchers call the next period in the development of the detective genre the “golden age”. It was the years after the Second World War that can be called the heyday of the detective as a mass phenomenon that captured all segments of the population of society. Countless short stories, short stories and novels were written by different authors - both who later became classics of the genre, and who no longer left any memory of themselves. To date, the detective is the most readable genre in almost all countries. Some of its types also took shape in independent genres - a police novel, a children's detective story, a feminine, ironic one. Therefore, it is safe to call the detective genre the most diverse in literature.

1.3 Investigators of the detective genre

The detective genre belongs to the kind of literature that for a long time remained without the attention of serious criticism. The general availability and popularity of works of this genre raised doubts about their artistic merit. Perhaps the first theorist of the detective as a special genre was Gilbert Keith Chesterton, who appeared in 1902 with an article "In Defense of Detective Literature". Since then, a lot of reflections on this topic have been published, and they belonged mainly to practitioners of the detective genre. In our country, the impulse to a theoretical understanding of detective literature arose relatively recently. Among the authors who wrote on this topic, one should remember Ya. K. Markulan, A. Z. Vulis, A. G. Adamov, G. A. Andzhaparidze. The works of these authors are of a review nature. This is explained by the fact that many do not consider the detective genre to be serious literature: they treat it with some disdain, classify it as mass literature and do not consider it worthy of research. Apparently, therefore, in Russia there is neither a tradition nor a school of critical analysis of the detective. However, in our opinion, grassroots, mass literature is also worthy of study. J. Khankish expressed this idea at one time: “More and more love of today's readers falls to the lot of literature, which seems to be “outside the law” and has one foot bogged down in waste paper. Criticism proclaiming the monopoly dominance of a high artistic style does not deal with "low genres", and yet the study of "popular literature" promises many literary, cultural, historical and psychological discoveries. The history of literature cannot be the history of only writers: in part, it should also be the history of readers ”Meanwhile, reader interest in detective literature is striking in its stability: the genre is one of the most widespread and widely read in modern society. But, as the Hungarian researcher of the detective genre T. Keszthely rightly notes, “the popularity of the genre cannot compromise it, just as it cannot be a sign of perfection.” detective" by Tibor Keszthely from Hungarian. In these works, the history of the genre is traced, its morphology is analyzed, and contact and typological similarities in the works of different authors are studied. Literary and art critics are trying to unravel the mystery of the century and a half popularity of the detective genre. All of the above studies have one thing in common: they consider the detective story as a phenomenon associated mainly with fiction (mass, or formulaic, literature). One of the first to talk about formulaic literature was John Cavelty, who devoted a serious and voluminous monograph to such fiction genres as melodrama, western, detective story. Under the literary formula, he proposes to understand certain plot blocks that go back to the same archetypes (for example, “love story”). Their existence is not limited to any one cultural epoch. Thus, the first feature of formulaic literature is its standard character. The second feature of formulaic literature, its main function, is escape and rela-xation. Cavelty explains the unusually wide distribution of formulaic literature in our time: “The fact that the formula is a frequently repeated narrative and plot model makes it a kind of stabilizing beginning in culture. The evolution of formulas is the process by which new values, new interests are assimilated, assimilated by ordinary consciousness. Tracing the traditions of the detective genre, the accumulation of elements necessary for its formation, researchers name the names of Shakespeare, Voltaire, Beaumarchais, Godwin, Dickens, Balzac. Perhaps Ernst Theodor Amadeus Hoffmann came closest to creating a sample of the detective genre in his short story Mademoiselle de Scudery (1818), where there is both a mystery and an investigation of a crime, but “the character of a detective is missing.” Almost all researchers count the true history of the detective from the time of the appearance of Edgar Allan Poe's "logical stories" (or "rationalizations") "Murders on the Rue Morgue" (1841), "The Secret of Marie Roger" (1843), "The Stolen Letter" (1844). ), whose common hero was the first famous detective Auguste Dupin. Sometimes Poe's two more short stories are considered examples of the detective genre: "The Golden Bug" (1843) and "You are the husband who created this!" (1844). However, having created the genre, Poe did not become the creator of the term "detective". It was first introduced by Ann Katherine Green, a compatriot of Poe, who defined the genre of her Leavenworth Case (1871) in this way. So, all researchers of Poe's work, as well as detective theorists, consider the American romantic to be the ancestor of this genre, or rather, the detective story. The first who in the domestic literary criticism gave holistic analysis the works of Edgar Allan Poe and brought out the genre features of his short stories, was Yu. V. Kovalev. In the section "Detective stories" of his monograph, the scientist analyzes Poe's "logical stories" in detail, indicating that this concept is "wider than the concept of a detective story." The genre of the detective story remains faithful to a certain rigid set of rules, the canon, throughout its history. "The author of the modern detective story faces the eternal task of being original within the framework of the canon". Here one can trace the similarity with the literature of the era of antiquity and the Middle Ages, where the subordination of art to the canon was determined by the peculiarities of the mythological or theocentric consciousness. The detective, as it were, carries the remnants of such consciousness, the memories of humanity about the time when faith in the triumph of justice was unshakable. This detective, with his subordination to the canon, impresses modern man with his craving for stability. From the point of view of a writer of the 20th century, the detective story is a “closed structure”, where the plot does not allow semantic fluctuations and the solution is the only possible one. It is precisely because of its normative nature that the aesthetics of the detective genre so often translates into rulebooks. It is no coincidence that this genre received its final form precisely in the work of Poe, whose aesthetic views were distinguished by analyticity, rationalism, and a certain normativity.

The most important genre feature short story is its scope. "Aeticising the case, the short story reveals to the utmost the core of the plot - the central twists and turns, reduces life material into the focus of one event" . This event turns out, as a rule, surprising, often paradoxical. “The novella is an unheard-of event that has taken place,” said Goethe. G.K. Chesterton in the article "On detective novels" wrote: "A detective novel should be built on the model of a short story, not a novel." The long detective novel “faces certain difficulties. The main problem is that the detective novel is a drama of masks, not faces. It owes its existence not to the true, but to the false selves of the characters. Until the very last chapter, the author is deprived of the right to tell us the most interesting things about his heroes. And until we read the novel to the end, there can be no question of its philosophy, psychology, morality and religion. Therefore, it is best if its first chapter is the last at the same time. A detective drama based on a misunderstanding should last exactly as long as a short story should.

A short story and a novel built on the principle of a short story are the most suitable for the process of solving a detective riddle. The combination of implausibility with realistic details remains the most important structural element of the detective genre. On the one hand, "until the end of the detective story, there can be no question of any plausibility." On the other hand, "the detective story is saturated with the so-called realistic ideology, where each object has one single meaning." A modern theorist of the detective genre writes: “A successful balance of the real and the unreal is created when the whole situation, although absurd, is nevertheless reliable in the details. The action of the detective is straightforward, but scrolled back: from the present, from the riddle shown in the exposition, we go to the past, into the unknown, in order to reconstruct the events that have already played out” [Cit. on 11, 210-211].

Thus, since many researchers and literary critics often did not take the detective genre seriously, practitioners became the theoreticians of the genre. They studied the first detective stories, studied the classic examples of the genre, in order to later create their own works based on them, not inferior in artistic value to world-famous novels, short stories and short stories.

2 Features of the detective genre

An important property of a classic detective story is the completeness of facts. The solution of the mystery cannot be based on information that was not provided to the reader during the description of the investigation. By the time the investigation is completed, the reader should have enough information to base their own decision on it. Only a few minor details can be hidden that do not affect the possibility of revealing the secret. Upon completion of the investigation, all riddles must be solved, all questions must be answered.

A few more signs of a classic detective story were collectively called by N. N. Volsky the hyperdetermination of the world of the detective - “the world of the detective is much more ordered than the life around us”:

1) Ordinary environment. The conditions under which the events of the detective story take place are generally common and well known to the reader (in any case, the reader himself believes that he is confidently orientated in them). Thanks to this reader, it is initially obvious what is ordinary from what is being described, and what is strange, beyond the scope.

2) Stereotypical character behavior. The characters are largely devoid of originality, their psychology and behavioral patterns are quite transparent, predictable, and if they have any prominent features, then those become known to the reader. The motives of actions (including the motives of the crime) of the characters are also stereotyped.

3) The existence of a priori rules for constructing a plot that do not always correspond to real life. So, for example, in a classic detective story, the narrator and the detective, in principle, cannot turn out to be criminals.

This set of features narrows the field of possible logical constructions based on known facts, making it easier for the reader to analyze them. However, not all detective subgenres follow these rules exactly.

Another restriction is noted, which is almost always followed by a classic detective story - the inadmissibility of random errors and undetectable matches. For example, in real life, a witness may tell the truth, may lie, may be mistaken or misled, or may simply make an unmotivated mistake (accidentally mix up dates, amounts, names). In the detective story, the last possibility is excluded - the witness is either accurate, or lying, or his mistake has a logical justification.

One of the most interesting things for all lovers of the detective genre is Van Dyne's "Twenty Rules for Writing Detectives". Ronald Knox, one of the founders of the Detective Club, also proposed his own rules for writing detective stories. However, the modern picture of detective stories has long ruled out the existence of some points, so we consider only some of the named rules that are still implemented in detective stories.

1) It is necessary to provide the reader with equal opportunities with the detective to unravel the secrets, for which it is clear and accurate to report all incriminating traces;

2) The detective cannot be missing a detective who methodically searches for incriminating evidence, as a result of which he comes to solve the riddle;

3) Mandatory Crime in the detective - murder;

4) Only one detective can act in the story - the reader cannot compete with three or four members of the relay team at once;

5) Secret or criminal communities have no place in the detective story;

6) The perpetrator must be someone mentioned at the beginning of the novel, but it must not be the person whose train of thought the reader has been allowed to follow.

7) The detective's foolish friend, Watson in one form or another, should not hide any of the considerations that come to his mind; in terms of his mental abilities, he should be slightly inferior - but only very slightly - to the average reader.

Each of the above features is precedent, the canons and rules of the genre appeared gradually, after the publication of the first works. Trying to understand the success of novels of the new genre, writers created their own works in the image and likeness of the previous ones. However, at the same time, everyone tried to bring something of their own, different from the others, something memorable and interesting. That is why we will never find strict adherence to all the rules of the genre in one work, and this is useless, because very soon it would have outlived its usefulness, not even providing an opportunity for further development.

2.1 Features of English-language detective works

The classic English detective was based on the values ​​of a stable society, consisting of law-abiding people. One of the most important motives for reading such detective novels is the experience of the restoration of the normative order and, as a result, the stabilization of one's own position (including social status). This basic outline of the detective novel underwent significant changes in the 1930s. in the American detective, first of all in D. Hammett and R. Chandler and their numerous followers. The reality of that time invades the narrative with its problems, conflicts and dramas - alcohol smuggling, corruption, economic crime, the mafia, etc. crime novels". Detective literature, and in particular the classic detective story, due to its specificity, is more focused on thinking and logic than traditional fiction. In a classic detective story, the narration is not from the 1st or 3rd person, but from the perspective of the detective's assistant.

The detective genre, of course, was in vogue in other countries - in France and America, but only in England was the "classical" school of detective fiction founded. Here the literary form has undergone the most careful and complete processing. “The main difficulty in writing detective novels stems from the fact that the reader learns and is educated in the process of reading. If you have shown the reader how to consider the traces left by the criminal at the scene of the crime, then you will no longer surprise him with footprints.

The English detective story deals primarily with England and almost always with the English (Hercule Poirot does not count). England, on the other hand, has long-standing traditions - national, social, literary. The English detective explores some of these traditions and draws on others. The well-known British critic and literary scholar Walter Allen in his work "Tradition and Dream" noted the specifics of the English novel in comparison with the American one. “U.S. writers gravitate toward portraying an unusual, lonely personality who, by her very nature, is forced out of society, the environment, and even her own microcosm, to which she opposes. British novelists, distinguished by adherence to tradition, thoroughness and balance, on the contrary, tend to take the character in the fullness of his social connections, environment and motivations; revealing the relationship between man and society, they do not oppose them to each other, but consider them in unity. This observation seems to hold true for the detective genre as well. In the American detective, lone criminals, lone victims, lone truth-seekers and detectives act as if there is no society for them, as if they are alone in the world, as if crime is their own business, and the vicissitudes of their destinies are dictated not only by the cruel laws of the American social order, but by a certain fate, higher powers. In the English detective, it is quite the opposite. Even when this or that character goes back to the American literary prototype, he is closely connected with the English reality. “Sherlock Holmes, Lord Peter Wimsey (the novels by D. Sayers) are figures close to Dupin, and try to wrest them from the environment, from the system of their personal and social ties! And these characters are moderately conditional, and they were written out not without a touch of romanticism, but it still won’t be possible to pull them out. ”

The element of national difference penetrates even into intrigue. In the American detective story, the emphasis is usually on action or description. judicial trial. English authors prefer unhurried and thorough intellectual-psychological inquiry. Another thing is also very important for them - who exactly carries out this inquiry. “Professionals, especially employees of Scotland Yard, in a word, the police act in the English detective on the sidelines; Sometimes it doesn't show up at all. And if she conducts an investigation, then, as it were, in her unofficial capacity, involved in the case not on her direct duty, but through an acquaintance - through relatives, friends, to help "without publicity", to help out, to assist. The place of professionals with the light hand of Conan Doyle was taken by amateurs who became such by vocation, by their mindset or cultivating the investigation of crimes as a hobby, or even simply involved in the investigation by force of circumstances.

The point here, apparently, is not the author's whim, but the historically established way of life. In contrast to France and even the United States in England, the line between private and public life of a person runs quite sharply. Not just anyone, but the British came up with the famous formula "My home is my fortress." The police are still allowed into this fortress extremely reluctantly. The police, in turn, rightfully complain that this attitude prevents them from working. In the eyes of the English public, a policeman cannot become a heroic, let alone a romantic figure, therefore, he is hardly suitable for the role of a literary hero. In England, there have never been conditions for the flourishing of the so-called "police" novel, so popular in France since the 19th century, and in the 20th century gave Georges Simenon a multi-volume epic. A hero like Commissar Maigret could not have arisen in an English detective story. It is inconceivable that Holmes or Poirot could have said something like this:

"... our main task is to protect the state, its governments of all times, institutions, then the protection of money, public goods, private property, and only then human life... Did it ever occur to you to look through the criminal code? One would have to go to page 177 to find words referring to crimes against a person... Paragraph 274 on begging precedes paragraph 295, which refers to the deliberate killing of a person..." .

2.1.1 Realization of the image of the detective pair "detective - his companion"

Poe's most important contribution to the development of the detective genre was the creation of an inseparable pair of main characters: an intellectual detective and his close friend, who plays the role of a chronicler of the events described. This compositional-narrative technique is used by many of Poe's followers, including A. Conan Doyle and A. Christie. We can say that Edgar Allan Poe in his logical short stories created a certain model of the hero of the detective genre. One of the famous writers, the master of the detective genre, Dorothy Sayers, wrote: "Dupin is an eccentric person, and eccentricity has been held in high esteem by writers of detective stories for several generations."

According to many researchers and theorists of the detective genre, in order to write a good classic detective story, it is necessary to follow some of the laws of this genre, as an example, Stephen Van Dyne's "Twenty Rules for Writing Detectives" or Ronald Knox's Ten Commandments. These principles were formed after studying detective novels and stories of writers whose works we now call classics of the genre. One of the conditions includes the presence of an assistant detective who is present during the investigation of the crime. In a classic detective story, such an assistant is most often also a narrator and a friend of the detective. We owe the appearance of this tandem in detective stories to Edgar Allan Poe, but the Holmes-Watson pair of Arthur Conan Doyle won the greatest world fame. Also not less famous were the heroes of Agatha Christie - Poirot-Hastings and Rex Stout - Wolf-Goodwin. If we separate these pairs, it becomes obvious that the presence of an assistant hardly affects the talents of famous detectives. What are these companions of the great detectives and what are they for? Firstly, according to the same written and unwritten rules of the genre, the detective himself cannot act as a narrator, but someone is needed who will be next to the detective, describe the course of the investigation and present the reader with facts, evidence, suspects, as well as his own inferences. Secondly, characters like Watson, Hastings or Goodwin are the best contrast with their eminent friends. Great detectives look even more great against their background, which means that the companion is needed, first of all, by the author of the detective story, in order to emphasize the importance of the protagonist of the work. And thirdly, as Ronald Knox's ninth commandment says:

"The detective's foolish friend, Watson in one form or another, must not hide any of the considerations that come to his mind; in terms of his mental abilities, he must be slightly inferior - but only very slightly - to the average reader".

From this we can conclude that the detective's assistant is the quintessence of all readers at once, their reflection on the pages of the work. This is the character that draws the reader into the action, giving him a personal place in the plot of the detective story. However, despite the same role, each character "plays" it in their own way. If Christie and Conan Doyle can trace some similarity of secondary characters, then Archie Goodwin Stout is strikingly different from his colleagues. Readers will learn about the circumstances of the acquaintance of Captain Hastings and Dr. Watson with their companions in the very first works of their creators. The position of both heroes is also quite similar. Here is what Christy writes:

"I had been invalided home from the Front; and, after spending some months in a rather depressing Convalescent Home, was given a month"s sick leave. having

no near relations or friends, I was trying to make up my mind what to do, when I ran across John Cavendish" .

This is a quote from Conan Doyle:

"I was struck on the shoulder by a Jezail bullet, which shattered the bone and grazed the subclavian artery. (…)For months my life was despaired of, and when at last I came to myself and became convalescent, I was so weak and emaciated that a medical board determined that not a day should be lost in sending me back to England. sixpence a day will permit a man to be" .

Stout has a different picture - at the time of the events described, Goodwin has been living with Wolf in the mansion for 7 years, but there is no information about how they met and what brought them together:

"In seven years, I've only seen Woolf surprised three times." Or "- Archie! It is absolutely pointless in this case to listen to the opinion of Mr. Kremer. It seemed to me that in seven years you have learned this" .

If we talk about the position occupied by these three heroes, there are also some similarities and differences. What they have in common is that each of the characters lives or lived for some time with his detective friend, as well as the fact that each of the couples has really friendly relations, and not professional ones. But even here Archie Goodwin is out of the picture. He is not just a friend and assistant to the detective, but works for him:

"I told you a long time ago, Mr. Wolfe, that I get half my salary for day work, and the other half for listening to your boasting."

"I used it as a case for documents: a police ID, a firearms permit and an operative license" .

We have no such information about Hastings or Watson, and we do not know if the great detectives shared their salaries with them. However, both of them have a military past, respectively, everyone knows how to handle weapons and, if necessary, can use them.

It should also be noted the attitude of the detectives themselves to their friends and vice versa. The most harmonious relationship, in our opinion, is formed by Sherlock Holmes and Watson. Naturally, Watson admires, and deserves to admire, Holmes' talents:

"I confess that I was considerably startedled by this fresh proof of the practical nature of my companion"s theories. My respect for his powers of analysis increased wondrously".

"You have brought detection as near an exact science as it ever will be brought in this world. My companion flushed up with pleasure at my words, and the earnest way in which I uttered them. I had already observed that he was as sensitive to flattery on the score of his art as any girl could be of her beauty" .

Holmes, however, does not treat his friend with disdain. In each case, he strongly emphasizes how significant Watson's presence is for him, praises him for his ability to capture the essence of events and their accurate presentation.

"It is really very good of you to come, Watson," he said. "It makes a considerable difference to me, having someone with me on whom I can thoroughly rely" .

"Watson, if you can spare the time, I should be very glad of your company".

"I am glad to have a friend with whom I can discuss my results" .

In Agatha Christie, we see a completely different picture: Hercule Poirot does not miss an opportunity to speak unflatteringly about the mental abilities of his friend and exalt himself.

"Then," I said, "what do you deduce?" To which my friend only made a rather irritating reply, urging me to use my own natural faculties" .

"You have a wonderful heart, my friend, but you do not know how to move your brains properly" .

At the same time, Hastings himself often doubts the talents of the famous detective and allows himself to express his doubts to his face:

"I had a great respect for Poirot"s sagacity - except on the occasions when he was what I described to myself as "foolishly pig-headed" .

"Sometimes you remind me of a peacock with a loose tail," I remarked caustically. .

Nero Wolfe's relationship with Archie Goodwin cannot be called unequivocal - on the one hand, they are undoubtedly friends who are ready for anything for each other in a moment of danger. On the other hand, more dissimilar and unsuitable for living together people cannot be imagined. This effect is only enhanced by the fact that all the novels and stories about Nero Wolfe are written in an ironic manner, which cannot but affect the boss's communication with his subordinate. Goodwin is a man of action, he cannot sit in one place for a long time, while Wolfe is discouraged even by the need to get up from his favorite chair.

"Archie, understand this: as a man of action you are acceptable, you are even competent. But, not for one minute could I reconcile with you as a psychologist" .

"How are you?" Wulf asked politely. "Forgive me for not getting up, I rarely do it at all." .

Goodwin, while recognizing the genius of his friend, is still dissatisfied with the methods of his work or his role in the investigation:

"When we were investigating a case, I wanted to kick him a thousand times, watching him lazily move to the elevator, heading upstairs to the greenhouse to play with his plants, or read a book, weighing every phrase, or discuss with Fritz the most rational way to store dried herbs when I'm running around like a dog waiting for him to tell her where the right hole is.

"I feel like I'm some kind of stylish furniture or lap dog" .

In the classic detective story, it is generally accepted that the detective always works for an idea, not a reward. The motives that drive him to do this or that business are different, whether it is the justification of an unjustly accused person or the desire to solve an extremely difficult puzzle in which he sees some kind of challenge thrown to his abilities. Either way, it's not money. Conan Doyle fully agrees with this stereotype, and therefore Watson characterizes Holmes in this way:

"Holmes, however, like all great artists, lived for his art" s sake, and, save in the case of the Duke of Holdernesse, I have seldom known him claim any large reward for his inestimable services. So unworldly was he - or so capricious - that he frequently refused his help to the powerful and wealthy where the problem made no appeal to his sympathies, while he would devote weeks of most intense application to the affairs of some humble client whose case presented those strange and dramatic qualities which appealed to his imagination and challenged his ingenuity" .

Hercule Poirot, by and large, also fits the image of a disinterested lover of mysterious stories. He is interested in the process of solving the crime. And if family dramas or love secrets, he does not always make them public. Nero Wolfe differs somewhat in his judgments:

"I have other ways to deal with boredom, but the fight against criminals is my job. And I will hunt anyone if I get paid for it" .

However, it cannot be said that Wulf takes on every case that he hears about; he, like other detectives, is primarily attracted by the mystery and how interesting and exciting this very case can be.

A separate item is the question of the relationship of private investigators with law enforcement officers. According to the typical set of heroes of a classic detective story, it is necessary to have an official representative of the law in the novel or story. Otherwise, an amateur detective investigating "for the love of art" would not have the right to exist. Another important function of the image of a policeman is to re-emphasize the merits of the protagonist. Deriving this image, the authors most often use irony, sometimes grotesque or sarcasm, and this choice is quite justified. When Watson or Hastings make mistakes in conclusions, reasoning and actions, we can forgive them for this and understand, because, as already mentioned above, we ourselves are reflected in them. But when the same mistakes are made by the police, and even against the background of the impeccable logic of an amateur detective, one cannot do without irony, especially since the detective himself, with all his talent, cannot do without a policeman. Nevertheless, every detective realizes that the laurels of the next solved case will not go to him, and therefore those notes of neglect and unflattering epithets that sometimes come out of the mouths of the main characters of detective novels are not surprising.

“It will bring you new glory,” I remarked. “Pas du tout,” objected Poirot calmly. “Japp and the local inspector will share the glory between themselves.” .

"That's all I wanted to find out, madam. But don't worry - your English policemen, not in the least possessing the outstanding abilities of Hercule Poirot, will not be able to do such a task " .

"And supposing the Coroner"s jury returns a verdict of Wilful Murder against Alfred Inglethorp. What becomes of your theories, then?-They would not be shaken because twelve stupid men had happened to make a mistake! But that will not occur. For one thing, a country jury is not anxious to take responsibility upon itself, and Mr. Inglethorp stands practically in the position of local squire. Also," he added placidly, "I should not allow it!" .

"I "m not sure about whether I shall go. I am the most incurably lazy devil that ever stood in shoe leather - that is, when the fit is on me, for I can be spry enough at times."

"Why, it is just such a chance as you have been longing for."

"My dear fellow, what does it matter to me? Supposing I unravel the whole matter, you may be sure that Gregson, Lestrade, and Co. will pocket all the credit. Thatcomesofbeinganunofficialcharacter" .

Officials, in turn, dislike private investigators for their great insight and ability to see what was beyond their own understanding. However, this does not prevent them from admitting defeat and sometimes admiring the work of a private investigator:

“Do you remember the Altara case? That was a rogue! Half of the European police chased him, and all to no avail. In the end, we grabbed him in Antwerp, and then only thanks to the efforts of Monsieur Poirot” .

Summing up all of the above, it can be noted that, despite the difference in styles, methods of describing the investigation, as well as our own interpretation of the image of the obligatory “detective-assistant” pair, we find some similarities in this image, which emphasizes the limitations of the genre. However, the differences in the vision of this image prove the skill of the authors who created it within the framework of a detective novel.

2.1.2 Intrigue and two-plot construction of works

The detective attracts the researcher with such genre properties as the stability of compositional schemes, the stability of stereotypes, and the repetition of basic structures. This certainty of signs makes it possible to consider the detective as "the simplest cell." In the detective genre, a certain standard for plot construction has developed. At the very beginning, a crime is committed. The first victim appears. From this epicenter of future events, three rays-questions diverge: who? as? why? Detective intrigue comes down to a simple scheme: a crime, a consequence, the solution of a mystery. This scheme develops into a chain of events that form a dramatic action. The variability here is minimal. The plot looks different. The choice of life material, the specific nature of the detective, the scene of action, the method of investigation, the definition of the motives for the crime create a plurality of plot constructions within the boundaries of one genre. The possibilities for variation increase dramatically here. The proportion of the author's personality also increases. His moral, social and aesthetic positions, no matter how hidden they may seem, will reveal themselves in the character of the plot design of the material.

From the point of view of intrigue in the detective story, two types of works can be distinguished: those that captivate with intense action, and those that captivate with the intensity of intellectual search. Psychological motivations, persuasiveness of fictitious characters are obligatory in both cases. The most striking example of an adventurous detective story is the work of the American author Dashiell Hammett. The instantaneous change of events, their alternation create the effect of continuous action, through which the characters are revealed, the social atmosphere is shown and, most importantly, the crime is revealed. Detective novels of this type create a kind of picture in front of the reader's eyes, a film showing what is written.

"I phoned Panburn and told him that Exford had vouched for him."

"The only noteworthy thing I learned in Ashbury Street was that the girl's suitcases had been taken away in a green van."

"I found out in the luggage room that the suitcases were sent to Baltimore. I sent another telegram to Baltimore, in which I gave the numbers of the luggage receipts."

"In the afternoon I received photocopies of the picture and the girl's letters, sent one copy of each original to Baltimore. Then I returned to the taxi companies. In two of them there was nothing for me. Only the third informed me of two calls from the girl's apartment."

"A young man with shiny blond hair brought them at lightning speed - a rather thick folder,-and Exford hurriedly found among them the one I mentioned."

"Our appeal to the press brought results. Already the next morning, information began to come in from all directions from many people who saw the disappeared poet in dozens of places" .

These quotes from Hammett's story "The Woman with Silver Eyes" perfectly reflect the style of the American detective. Each of the actions of the detective is not described in detail. All examples illustrate the events of one day. Dialogues are most often replaced by indirect speech.

Samples of intellectual psychological detective - the best novels of Agatha Christie, Conan Doyle, Gilbert Chesterton and many others. The works of these authors captivate, as it captivates the solution of a chess problem, a puzzle or a mathematical equation. Here the reader is not an outside observer of events, worried about the heroes, but a full-fledged participant in the inquiry. The fewer characters, the deeper one can penetrate into the character of each of them, to study the personality shaped by time and environment. The most striking example is Agatha Christie's story "The Four Suspects". From the title it is clear that the circle of persons involved in this case is very limited.

"But there"s the other aspect of the case - the one I was speaking about. You see, there were four people who might have done the trick. One "s guilty, but the other three are innocent. And unless the truth is found out, those three are going to remain under the terrible shadow of doubt".

"Dr. Rosen fell down the stairs one morning and was found dead about half an hour later. At the time the accident must have taken place, Gertrud was in her kitchen with the door closed and heard nothing - so she says. Fraulein Greta was in the garden, planting some bulbs - again, so she says.-so he says; and the secretary was out for a walk, and once more there is only his own word for it. No one had an alibi - no one can corroborate anyone else "s story. But one thing is certain. No one from outside could have done it, for a stranger in the little village of King"s Gnaton would be noticed without fail" .

This is the main intrigue of such works - there are suspects and there are not so many of them, there is a crime and a possible alibi for each character. Now the reader is given the opportunity to unravel the mystery on a par with the heroes of the work. To compete in the ability to draw conclusions or to be content with the author's explanation is a purely individual matter.

A talented detective story fulfills all three of its functions: it condemns the crime, provides knowledge of some new aspects of life, and “packs” all this into a well-coordinated plot that can capture the reader’s attention. That is why the classic detective genre is no less popular in our time. In the classic English detective story, we will not find any naturalism and depiction of bloody scenes. The crime appears as a purely intellectual riddle. The French detective, unlike the English one, is open, the number of suspects is not determined in advance, anyone can be among them. Unlike English, it paints crime as a product of circumstance rather than character. Such is Simenon's detective, containing a huge amount of pictorial detail, replete with descriptions of localities and customs. America, unlike England and France combined, prefers the rapid development of events. There is even an opinion that in America there is no detective, there is only an action movie. This is not entirely true, although in general heroes value decisive action in the first place, and legality only in the second. Perhaps for a country like the United States, this kind of work provides the reader with the necessary opportunity to blow off steam. Enterprise, readiness to circumvent the law in case of emergency, or at least use it at one's own discretion - such are the virtues of American heroes.

It turns out that in each country there was a distribution of priorities, and hence the functions of a detective. In England, it takes first place moral function- the offender must be punished, family secrets preserved, and tarnished honor restored. In France, the authors gravitate towards the cognitive function - the image of the detective's psychology, the actions of people in certain circumstances, the causes and motives of the crime are described as carefully as the investigation process itself. American detectives, on the other hand, prefer to give the reader the opportunity to relax, distract from Everyday life, respectively, the entertaining or entertaining function becomes paramount for them.

Researchers of the detective genre point to a special "two-plot construction" of the detective. It includes "the plot of the investigation and the plot of the crime, each of which has its own composition, its own content, its own set of characters" . For the authors of the latest detective stories, the investigation of a crime will become an end in itself, it will acquire an independent artistic value. In classic English detective stories, the plot of a crime is usually presented in the form of a story. The reader almost never witnesses a murder or theft, often does not "visit" the crime scene, but learns all the details from a third party. A textbook example - the stories of Agatha Christie from the series "Miss Marple" - a great example of the fact that a crime can be solved while sitting at home.

"When I was here last year, we used to discuss various mysterious cases. There were five or six of us. All this was an invention of Raymond West. He is a writer! Well, each in turn told some mysterious story, the solution of which he alone knew.Competed, so to speak, in deductive reasoning: who will be closest to the truth.

- And what?

“We didn't expect Miss Marple to want to join us, but out of courtesy, of course, we offered. And then something unexpected happened. The venerable lady outdid us all!

- Yes you!

- Pure truth. And, believe me, without much effort.

- Can't be. She had hardly ever left St. Mary Meade.

“But, as she says, there she had unlimited opportunities to study human nature, as if under a microscope.” .

At Conan Doyle, most often Holmes receives a letter or a note describing the crime, or the client tells himself why he needed the services of a detective.

"It was a few weeks before my own marriage, during the days when I was still sharing rooms with Holmes in Baker Street, that he came home from an afternoon stroll to find a letter on the table waiting for him" .

"By the way, since you are interested in these little problems, and since you are good enough to chronicle one or two of my trifling experiences, you may be interested in this." He threw over a sheet of thick, pink-tinted notepaper which had been lying open upon the table. “It came by the last post,” he said. “Read it aloud”

In the American detective story, more attention is paid to the plot of the crime. A murder can happen quite unexpectedly in a building full of people, as, for example, by Rex Stout in the story "The Black Orchids", and the author will certainly pay attention to the description of the corpse, its unnaturally twisted leg or the trickle of blood on the forehead. It cannot be said that in the English detective there are no such descriptions at all, but they are presented without much detail and rather resemble a police report - only facts and no emotions. If we talk about the heroes of the plot of crimes, then here you can find some differences. In the English detective, people are reluctant to kill: the detectives are under the pressure of circumstances, the criminals, weighed down by social injustice. In the American - easily.

"Fag was in favor of immediately killing both Bark and Ray. I tried to knock this thought out of my head: it would not work. I circled Ray around my finger. He was ready to throw himself into the fire for me. It seemed to me that I convinced Faga, but... In the end, we decided that Bark and I would take the car and drive away, and Rey would play the fool in front of you, show you some pair and say that he mistook them for us. I went for a raincoat and gloves and Bark went to the car. And Fag shot him. I didn't know he wanted to do this! I wouldn't let him! Trust me! I wouldn't let Bark get hurt." .

The content of the plot of the investigation in each detective comes down to one thing - the detective investigates the crime, finds the culprit, reveals the secret. Naturally, this is only the basis on which the rest of the plot and the skill of the author are superimposed. One point becomes common to all detective stories of any author in any country - the disclosure of secrets always occurs at the very end of the work. Otherwise, the authors find their own ways to portray the methods of the detective, his character and actions. The English detective is a detective of thoughts, the American detective is action. No wonder Holmes's statement "This is a three-pipe case, Watson" has become an aphorism that reflects the main essence of the English detective novel - the main skill of any detective lies in the ability to think outside the box and reason logically.

One way or another, the detective genre today has a myriad of works that can please any reader. People who are turned to their inner lives and have an analytical mindset gravitate towards classic English detective stories. Realists, on the other hand, prefer French authors. Usually, such people are attentive to the little things in life. Anyone who reads the works of Dashiell Hammett, Raymond Chandler or Rex Stout has a determined and unbalanced character, prone to unrestrained manifestation of feelings. The concentrated unraveling of intellectual riddles does not interest him. However, all detective lovers are attracted by one thing - a mystery that needs to be solved.

2.1.3 Detective and fairy tale

A very interesting thought was expressed by Tibor Keszthely in his Anatomy of a Detective: “The godparents of the detective seriously underestimated the newborn child of literature. They called it a novel or a short story and condemned it as such, although it is a fairy tale.

The main figure in the detective story is the detective, a man of exceptional abilities, an urban folklore hero, similar to the hero of a fairy tale. Both of them perform inimitable deeds that no one has ever seen, never heard of, and in the process of this they are sometimes exposed to mortal danger. They fight riddles, secrets, puzzling mysteries. They fight witches and wizards, scary brilliant villains. In adventures and struggles, they are led and beckoned by the hope of a successful search for treasures, of enrichment, but in most cases a more noble goal is the salvation of a person, the destruction of evil. The detective must justify the innocently convicted, the suspect, must expose the murderer. And he, like a fairy-tale hero, is driven by faith in his vocation, fueled by a passion for the search for truth.

Both of them need witty thinking and physical courage to solve the problem. “The prince on a white horse must give a cunning answer to three tricky questions or fight to the death with a seven-headed dragon to get the hand of the princess. To the famous detective - to conduct a brilliant investigation in order to uncover the mystery and, it may happen, with the help of weapons, to neutralize the dangerous villain ready for anything, backed up against the wall ”- the words of Keszthely only confirm the fact that the fairy tale and the detective equally show the chain of events around only sketchy images . Neither the fairy tale nor the detective story provide developed characters. The characters in a detective story are just as static, unchanging, as in the eternal world of a fairy tale. The reader receives them ready-made, in a certain state. They don't change, they don't improve, they don't develop.

remains unchanged and marital status detective-master, time stops for him, as for a sleeping beauty, waking up in a hundred years fresh, cheerful and young. Hercule Poirot retired from the Brussels police in 1904, and only then in London began to re-engage in his craft as a private detective. Since then, he has been investigating with unflagging energy for decades, without losing either physical vigor or freshness of spirit. If we assume that he retired at sixty, then in 1974 he should have been exactly one hundred and thirty years old. The old maid, the famous detective Jane Marple was introduced to the general public in 1928 in a short story, and over the past more than half a century since then, she has aged only twenty years. The faces around them don't age either. Sherlock Holmes' housekeeper, Dr. Watson, Jane Marple's nephew, and others appear again and again before readers.

Innocent suspects are the villains of Cinderella and the princess of a detective story given over to the power. Both there and here events are replete with repetitions, constant motifs. The younger prince is always accompanied by happiness. Having solved all three problems, he wins the award. The detective is also full of stereotypical twists and turns. Sherlock Holmes usually selects interesting cases from his correspondence. Perry Mason's adventures of the American writer Earl Gardner invariably begin with the fact that someone wants to use the services of a famous lawyer in some strange or suspiciously trifling case.

"My secretary," said Perry Mason, in a calm tone of voice, "told me that you wanted to see me about a dog and about a will." The man nodded. "A dog and a will," he repeated mechanically.

"Well," said Perry Mason, "let's talk about the will first." I don't know much about dogs .

"I"m going to begin at the beginning and give you the whole business. I won "t take much of your time. Do you know anything about glass eyes?"

Perry Mason shook his head.

"All right, I"ll tell you something. Making a glass eye is an art. There aren't over thirteen or fourteen people in the United States who can make them. A good glass eye can't be distinguished from a natural eye, if the socket isn't damaged."

Mason, watching him closely, said, "You"re moving both eyes."

"Of course I"m moving both eyes. My eye socket wasn't injured. I've got about ninety per cent of natural motion. "I"ve got a set of half a dozen eyes - duplicates for some, and some for wear under different conditions. I had one eye that was made bloodshot. It was a swell job. I used it when I"d been out on a binge the night before."

The lawyer slowly nodded. "Go on," he said.

"Someone stole it and left a counterfeit in its place" .

Both in the first and in the second case, the cases begin rather strangely and unusually, the howling of a dog and the theft of a glass eye can hardly be called serious offenses, but subsequently, in both cases, the detective has to deal with murders. After the discovery of the crime, a series of obligatory episodes follows: interrogations, conversations. An exposition is usually followed by an explanation. Both here and there, the presence of persons hiding their true name, rank, profession is supposed. Therefore, both here and there the motive of recognition-denunciation is characteristic. In both actions, rhythm matters: slowing down events, intervening in them exactly at midnight.

The Industrial Revolution dealt a death blow to feudalism. The city absorbs the village, transforms human relations. folk art gives way to popular culture. Enthralling with miracles and surprises, this time the fairy tale itself was transformed into a detective story, and by the second half of the 20th century it had changed again, turning into science fiction. However, the structure remains the same. The compositions of a fairy tale and a detective story are equally bipolar: they are divided into a problem and a solution. A study of the compositions of all sorts of fairy tales has shown that a simple structure of this kind can sustain at most two storylines and at most ten episodes. The detective doesn't overstep the bounds either: the murders are rarely serialized (in this case, they are also strung together on the same storyline), and the number of suspects is always expressed as single digit. V. Ya. Propp in his book "The Morphology of a Fairy Tale" derives a simple formula for the structure of the division of roles: enemy - hero - giver, helper. The same formula can be successfully applied to a detective: a murderer - a detective - a witness, a suspect, respectively.

It is impossible to say for sure how legitimate this theory is, but it is interesting that the detective genre has spread to children's literature.

2.1.4 Elements of reality in detective stories

Nevertheless, the detective story still remains a realistic genre, despite the elements of the game and the similarity with a fairy tale. The reader is reliably informed of the facts of reality and real events of the described century.

In Conan Doyle, the seemingly unshakable order of the Victorian era, with its calmness and stability, seems to be absorbed into the personality of Sherlock Holmes, his cold analysis, superiority, self-confident gesticulation. Even the intense interest in the crime also testifies to the secret desire of a person of that time to hear an amazing sensation that saves from the boredom of life. "The imperial authority of England was at its zenith, the whole world at her feet, it seemed to her, as well as to Sherlock Holmes, who, with condescending insight, again and again restored the Victorian order, exposing the criminals destroying it." Street pictures of the outskirts of London, descriptions of carriages, estates, suburbs - all these are real images against which the plot unfolds.

"It was a cold morning of the early spring, and we sat after breakfast on either side of a cheery fire in the old room at Baker Street. A thick fog rolled down between the lines of dun-coloured houses, and the opposing windows loomed like dark, shapeless blurs through the heavy yellow wreaths" .

Upper Swandam Lane is a vile alley lurking behind the high wharves which line the north side of the river to the east of London Bridge. Between a slop-shop and a gin-shop, approached by a steep flight of steps leading down to a black gap like the mouth of a cave, I found the den of which I was in search" .

In Agatha Christie, the composition, the simple formula of the plot, the isolation of the scene, the limited circle of suspects, the rationally constructed plot reproduce another historically characteristic geographical unity - the “peaceful” mood of the twenties and thirties. The English countryside with all its boredom, gossip, superstitions, ancient castles with fireplaces, five o'clock tea, library rooms, family secrets, written and unwritten wills, tired colonels and retired majors, provincial aristocrats living surrounded by family.

"It does remind me a little of Annie Poultny," she admitted. "Of course the letter is perfectly plain - both to Mrs. Bantry and myself. I don't mean the church-social letter, but the other one. You living so much in London and not being a gardener, Sir Henry, would not have been likely to notice."

"My sister and I had a German governess - a Fraulein. A very sentimental creature. She taught us the language of flowers - a forgotten study nowadays, but most charming".

In the end he selected a village in Somerset - King"s Gnaton, which was seven miles from a railway station and singularly untouched by civilization" .

American detectives have a different natural background. There, reality presents a different kind of scene. From the stories of Earl S. Gardner, the reader learns about the power of the press, which is manipulated, about the environment of large American cities, airplanes as a common means of transportation within the country, the order of litigation.

"Have you located Patton? - Mason asked.

Yes, we"ve located him, and we"re pretty certain that he"s in his apartment. We"ve got quite a bit of dope on the racket he runs, perhaps enough to make it look as though we could start a criminal prosecution. He "s living at the Holliday Apartments out on Maple Avenue, 3508 is the number. He" s got apartment 302.

I "ve looked the place up. It"s an apartment house that pretends to have a hotel service, but doesn't have very much. There"s an automatic elevator and a desk in the lobby. Sometimes there's some one on duty at the desk, but not very often. I have an idea we won't have any trouble getting up there unannounced. We can give him a third degree, and we can probably get a confession out of him" .

Despite this, Gardner's famous hero detective lawyer Perry Mason did not become a model of an American detective. His image is quite different - it is more of a sheriff, in behavior, gestures, methods of investigation, whose adventures feel that his main law is still physical superiority or weapons. Neither intellectual reasoning nor psychological reflection suits him. He is characterized rather by self-confidence, based on excellent physical fitness and a loaded revolver, laconicism, monotonous severity and coldness, perseverance, vigilant readiness for decisive action. A straight line from here leads to the American detective hero of the twenties and thirties, who instead of a tuxedo wears an ordinary street jacket, exchanges the fragrant cigar of an English "gentleman detective" for a strong cigarette or tobacco. For the legacy of the "wild west" already then permeated new social phenomena, the gangster romance of America in the twenties, the energetic pace of life. In a word, the most characteristic American representative of the detective is Dashiell Hammett. Among his followers, the detective master is becoming more and more deformed, distorted, becomes rude, cruel. Pictures of the life of American crime are accurately reflected from within.

"It's a hangout. It's run by Joplin Tinstar, a former safecracker who put his money into it. Prohibition has made running motels profitable. He's making more money now than he did when he gutted the cash registers. The restaurant is just a front." White Shack "is a transshipment base for liquor, which then spreads through Halfmoon Bay throughout the country; from this Joplin makes a huge profit" .

In England, the genre actually tangibly reflects the life of the middle and upper strata. This is also revealed by the social environment that is traditional for the English detective - an elegant world located at a safe distance from small people, from the street, professional criminals, foreign crooks, ordinary places of action, objects, events. Sherlock Holmes investigations often involve people and objects from exotic lands. Australia, South America, Latin and Slavic Europe, Norway, Switzerland, North America, India - in the eyes of the citizens of the island country, all this is some kind of distant and exciting world.

"From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland" .

The stories of Dorothy Sayers featured solid, decent, well-bred young people with good manners and rosy-cheeked young ladies. The impressive army of guests invited to the weekend either always changed for lunch, dinner, for walks, or was investigating the disappeared daggers. They strictly observed the time of eating even if the owner of the house was stabbed or strangled in his room. “Of course, they never killed in the dining room. Night hours were not meant for love, but - in accordance with the code of decency of the genre - for sleeping or killing.

"My dear Charles," said the young man with the monocle, "it doesn't do for people, especially doctors, to go about "thinking" things. They may get into frightful trouble. In Pritchard's case, I consider Dr. Paterson did all he reasonably could by refusing a certificate for Mrs. Taylor and sending that uncommonly disquieting letter to the registrar. been frightened off and left his wife alone. After all, Paterson hadn't a spark of real evidence. And suppose he'd been quite wrong- what a dustup there'd have been!"

The flip side of this approach is the depiction of servants. The chauffeur, footman, maid, maid, cook, gardener, valet - they are all comic figures or dubious personalities. Agatha Christie makes them speak in jargon, thus emphasizing their primitiveness. For some reason, chauffeurs are traditionally described most unkindly. This approach is well felt in England, where there was a manifestation of the arrogance of the upper and middle classes in relation to the large stratum of domestic servants at that time.

"Instead he asked what the mysterious Zarida was like. Mrs Pritchard entered with gusto upon a description.

Black hair in coiled knobs over her ears - her eyes were half closed - great black rims round them - she had a black veil over her mouth and chin - and she spoke in a kind of singing voice with a marked foreign accent - Spanish, I think-

In fact all the usual stock-in-trade, said George cheerfully" .

"What vile hints! They suspect that I have robbed Madame! Everyone knows that the police are unbearably stupid! But you, monsieur, are like a Frenchman ...

"Belgian," Poirot corrected her, to which Celestine paid no attention.

- Monsieur should not remain indifferent when such a monstrous slander is erected on her. Why is no one paying attention to the maid? Why should she suffer because of this sassy red-cheeked girl, no doubt a born thief. She knew from the very beginning that this was a dishonorable person! She was watching her all the time. Why didn't those idiot police officers search the thief! She wouldn't be at all surprised if Madame's pearls were found in that wretched girl!"

Thus, no matter how fancy the author of detective stories has, when inventing the plot of his works, he builds them on a solid foundation of the surrounding reality, reflecting the spirit and mood of his era.

2.2 Children's detective

Speaking of the detective genre, one cannot fail to mention such a phenomenon as a children's detective story. It is believed that this genre came to children's books at the beginning of the 20th century in the wake of a general fascination with stories about famous detectives. However, back in 1896, Mark Twain's story "Tom Sawyer the Detective" was published, where a crime that baffled all adults is revealed by world-famous boys. In 1928, a story for children by the German writer Erich Köstner appeared under the title "Emil and the Detectives". Also of note are the stories Swedish writer Astrid Lindgren about the "famous detective Kalle Blomkvist." In Russia, the first detective work for children was Anatoly Naumovich Rybakov's novel "Kortik".

Most likely, it was these works that became the forerunner for the design of the children's detective story into a separate genre. One of the first to work in this genre was the English writer Enid Mary Blyton, the author of the most famous series of 15 books, The Five Find-Outers. Books in this series were published from 1941 to 1960. In the same years, many other authors appeared in the United States and Western Europe, writing detective stories for children in series. Since the late nineties, this genre has taken shape in Russia, giving rise to its own authors and heroes.

In whatever country such works are written, we find much in common in them. In almost all books, the action takes place in real cities and countries, the names of streets and places of interest are not fictitious. In the Enid Blyton books, the action takes place in the fictional town of Peterswood, but all the surrounding cities and areas are real. And Wilmer Green, and Farring, and many other cities, including London, can be found not only on the pages of books, but also on the map of Great Britain.

"So now Pip and Daisy and I are going on our bikes to Wilmer Green," said Larry. "It"s only about five miles. At least, we"ll have tea first and then go" .

"Fatty had to go and get his bicycle, and so had Bets and Pip. To her joy Bets was allowed to come, as Farring was not a great distance away. Thechildrenrodeoffgaily" .

The protagonist never acts alone, there is always a company of friends, brother or sister. This can be seen even from the titles of series of children's detective stories: "The Five Find-Outers" by the English writer Enid Blyton, "Company with Bolshaya Spasskaya" by Russian authors A. Ivanov, A. Ustinova, "The Hardy Boys" by the American writer Franklin Dixon.

It is also necessary to have a police friend or a relative working in law enforcement. Heroes of children's detectives very rarely encounter murders. If in “adult” detective stories this is almost the most observed rule of the genre, then in detective stories for children, a mystery often appears in the title. "The Mystery of the Burnt Cottage", "The Mystery of the Disappearing Cat", "The Mystery of the Secret Room", "The Mystery of the Spiteful Letters", "The Mystery of the Missing Necklace", "The Mystery of the Hidden House" are the titles of books by the already mentioned writer Enid Blyton. Comparing with the titles of novels and stories, for example, Agatha Christie - "Murder on the Links", "The Murder of Roger Ackroyd", "The Murder at the Vicarage", "Murder on the Orient Express", "Murder in Mesopotamia", " Murder in the Mews", "Murder is Easy", "A Murder is Announced" - and this is not a complete list, we can confidently say that the children's detective story is also psychological. No matter how serious the investigation would be, it is always presented in the form of a game, therefore, the authors have to observe some restrictions in choosing a plot, because the collision of children and adolescents with murder directly in real life cannot be called a game.

A children's detective story gives adults the opportunity to speak the same language with teenagers, allows them to be carried away into the world of reading and adventure, as well as to instill moral values ​​necessary for the development of a harmonious personality. He can sometimes teach, perhaps even more than a serious book written by a recognized author. Strong friendship, the ability to work in a team, the struggle between good and evil - these are the main values ​​of a detective story written about children and for children.

2.3 Ironic detective as a special kind of genre

It is impossible to imagine a modern picture of the detective genre without an ironic detective story, perhaps the most common type of literature among today's readers. As an independent genre, the ironic detective story was finally formed only in the 20th century, but almost immediately gained unimaginable popularity. Most likely, the first parodies of classic detective stories served as the basis for the birth of such a subgenre in literature. Among the authors of literature of this kind, one can also meet recognized classics - Mark Twain, O. Henry, James Barry. The parody detective genre is still popular today. One of the most striking examples is the work "Sherlock Holmes and all-all-all" by the Russian author Sergei Uliev, published under the pseudonym Jack Kent. A parody of "Ten Little Indians" by Agatha Christie, which brought together ten famous detectives on the island in the castle. Irony, grotesquely written images and all this is based on a classic English detective story.

"Ah," sighed Miss Marple dreamily, "the old castle, the cold walls, and the swamps, swamps for hundreds of miles around ... What a magnificent scenery for a murder! A prim, mysterious, purely English murder ...

- Oh, Miss Marple, it's insanely interesting when someone is constantly being killed! Della Street exclaimed, clasping her hands to her chest.

“Of course,” said Sherlock Holmes. - Unless they kill you.

“But excuse me,” Juve intervened, waving her hands in front of his nose, “Miss Marple could not have talked about the murder!”

"It's out of the question," Goodwin said. - I suspect that her head is full of murders alone.

"Unfortunately, you are right, monsieur," sighed Poirot. - Oh, this is our craving for great art ... " .

However, we cannot say that before the appearance of such works, fans of the detective genre were not familiar with such a phenomenon as irony. On the contrary, in almost every author, the reader finds its manifestations to one degree or another. An ironic approach to affairs, sarcasm in dialogues or descriptions, even the ironic attitude of the author himself towards the main character.

In classic French detective stories, irony is almost not expressed. Perhaps this is due to the fact that most of the detective heroes are official representatives of the law - commissioners Juve and Maigret, an agent of the detective police Lecoq. The authors of English-language detective novels are less biased in this matter - they easily expose the police in an unfavorable light, make fun of clients, victims or detectives. In the American detective story, irony is obvious, most often manifested in the description of the course of the investigation and in the dialogues. Any work of Rex Stout is filled with caustic remarks or sarcastic epithets that can equally belong to both the main character, Nero Wolfe or his assistant Archie Goodwin, and any other hero of the work, even if it will be his only remark.

"I didn't particularly resent when Nero Wolfe sent me [Archie Goodwin] there. I kind of expected this. After the hype raised by the Sunday newspapers around the exhibition, it was clear that someone from our family would have to go look at these orchids. And since Fritz Brenner could not be separated from the kitchen for that long, and Wulff himself, as you know, is most suitable for the nickname of the Resting Body, like those bodies that are talked about in physics textbooks, it seemed that the choice would fall on me. I was chosen" .

The authors of the English classic detective story, although they do not go beyond the rules and canons of style, still use irony in its various manifestations. In the stories of the recognized classic Arthur Conan Doyle, readers feel, oddly enough, the author's ironic attitude towards his hero. Doyle himself never attached importance to his detective work in the way that Holmes' admirers did. Considering his stories as something of a kind of entertainment, he did not consider it necessary to deeply respect the famous detective, which is felt in his later works. Since the image of Holmes was sufficiently defined from the very beginning, the author could not "destroy" him later. Sherlock Holmes is well aware of all the phenomena and things that could be useful in the investigation of crimes, every little thing is carefully studied. When employees of Scotland Yard or companion Watson argue whether it is worth paying so much attention to this or that piece of evidence, it turns out that famous detective has extensive knowledge in this subject and is even the author of a number of articles, monographs or manuals. He wrote an article on the types of encryption (story "Dancing Men"), a book on the practical breeding of bees ("The Second Spot"), a work called "Identification of tobacco varieties by ashes" ("The Sign of Four"), as well as a number of articles on footprints and tires, about the influence of the profession on the shape of the hand, and many others. Sometimes the author allows himself to express irony towards Holmes by putting it into the characters' lines:

"Perhaps you will explain what you are talking about.

My client grinned mischievously. - I had got into the way of supposing that you knew everything without being told, - said he" .

You can also note the similarity in the use of this technique by Agatha Christie in a series of works about Miss Marple and Gilbert Chesterton in stories about Father Brown. By themselves, the stories and stories in terms of the style of narration correspond to the rules of the detective genre, however, the authors put ironic remarks into the mouths of the main characters and, most often, at the end of the work. This final remark with some kind of subtext is often the conclusion or the main artistic idea of ​​the whole work.

"The judge leaned back in his chair with a luxuriance in which it was hard to separate the cynicism and the admiration. "And can you tell us why," he asked, "you should know your own figure in a looking-glass, when two such distinguished men don't?"

Father Brown blinked even more painfully than before; then he stammered: "Really, my lord, I don't know unless it's because I don't look at it so often" .

"Why do you say," called himself the gardener, "Aunt Jane?" asked Raymond curiously.

"Well, he can"t have been a real gardener, can he?" said Miss Marple."Gardeners don"t work on Whit Monday. Everybody knows that." She smiled and folded up her knitting. "It was really that little fact that put me on the right scent," she said. She looked across at Raymond. "When you are a householder, dear, and have a garden of your own, you will know these little things" .

Subsequently, as noted above, all these ironic intentions and allusions in classic detective stories formed into a separate genre, which became extremely popular in almost every country. An interesting fact is that in Russia the majority of authors writing in the ironic detective genre are women, in England the name Georgette Heyer is on the list of the founders of this direction, while in France there are simply no ironic detective stories written by a female hand.

Researchers and theorists of the genre believe that the ironic detective is a phenomenon of mass literature, and it cannot be classified as a serious work, and in some ways they are right. In the works of this genre, the entertaining function is put forward in the first place. Subtle humor, "light" dialogues and atypical main characters allow you to escape from reality for some time, without going into reflections about what the author wanted to convey, and how deeply psychological his images are. Then, I think, comes the cognitive function - the more information in life can be gleaned from a detective story, and the more diverse this information is, the more valuable the work itself is. In this regard, modern ironic detective stories are superior to classical ones, since the main characters are ordinary people who are not associated with the work of official representatives of the law. And, finally, the third function is moral. Depiction of crime, violence, bloodshed automatically deprives the author of the right to the high title of a writer. Unfortunately, in modern detective stories such scenes are not uncommon. However, the harmonious combination of all three functions generates a work of high level, which cannot be called only entertaining reading material aimed at the mass reader. If we talk about modern English-language ironic detective stories, we can single out several writers who managed to create just such works. These are English writers Stephen Fry and Hugh Laurie and their American colleague Lawrence Block. The works of these authors are distinguished by the embodiment of all functions, multiplied by a humorous style. Also, despite the different mentality of the authors, their books have a lot in common:

1) each novel is based on a detective story, built according to a certain scheme, aimed at creating a comic effect;

2) unlucky heroes, as a rule, find themselves in an unusual, alien environment and are forced to act in a world completely incomprehensible to them;

3) the absurdity of the situation, the complete inconsistency of the main characters with the circumstances in which they have to act by chance, give rise to a lot of misunderstandings and funny scenes; the text is presented in the form of a detailed monologue of the protagonist, who, as it were, talks with readers, talks about his adventures, quotes funny judgments of his companions, often interrupts the course of the story to talk about life, laugh with readers at the absurdity of various situations; to complain about the sad fate of people living in a badly arranged world;

4) eloquent titles of books that are built according to certain models, and which are based on a language game;

5) all novels certainly have a happy ending.

Thus, given the above, we can conclude that the ironic and parodic detective genre appeared due to the rules and canons of the classical detective. It was the framework in which the classics of the genre tried to fit their works that gave rise to the desire to "liberate" detective novels and stories, making them more accessible to most readers.

2.4 Implementation of the rules in different types of detective.

As already noted in the first chapter of this work, the detective genre has a set of different rules and canons, but not all of them are implemented in the works. As an illustrative example, we have compiled a table with different types of detective stories to demonstrate the presence or absence of one or another genre rule in them. For comparison, we took such types of detective story as classic English, ironic, children's and "cool" American, because, in our opinion, these types more fully reflect the diversity of the genre and, in some ways, even contradict each other.

Table 1 - Implementation of genre rules in different types of detective works

Type of detective / rule number
Classic English
Ironic
"Cool" American

1) It is necessary to provide the reader with equal opportunities with the detective to unravel the mysteries, for which purpose it is necessary to clearly and accurately report all incriminating traces.

2) A detective cannot be without a detective who methodically searches for incriminating evidence, as a result of which he comes to solve the riddle. As can be seen from the table, the first two rules are fully implemented in each type of detective story, so they can be called fundamental for any work of this genre.

3) Mandatory crime in detective - murder. This rule applies not only to the genre of the "cool" American detective story, but also to the ironic one. As an example, we can cite the works of D. Hammett, one of the collections of short stories is called The Murders of Dashiell Hammett. Probably, the code of the American detective, which is often equated with an action movie, does not allow authors to abandon the most common theme in a detective novel. Since the ironic detective belongs to the mass type of literature, the authors use every means to keep the attention of readers longer. In the modern world, the most attractive and exciting crime for a detective lover is murder. In the classic detective story, writers are more loyal to this rule. Having studied all the works of Conan Doyle about Sherlock Holmes, we found that out of fifty-six stories and four novellas, only twenty-one works describe the murder, while the rest of the crimes such as fraud, theft and robbery, forgery and criminal intentions are evenly distributed. for inheritance. In a children's detective story, the name itself makes it clear that it is too early to involve young readers in this area of ​​the detective world, so the most serious offense in such detective stories can only be kidnapping, but not deprivation of life.

4) Only one detective can act in a story - the reader cannot compete with three or four members of the relay team at once. From the proposed table, it becomes clear that the authors of detective stories for adults adhere to such a law. In a children's detective, a group of friends, consisting of at least 3-4 people, is most often involved in the investigation. Moreover, each hero has his own characteristics and distinctive features. And all of them together make it possible for a company of children to uncover the criminal plans of scammers, which adults cannot always cope with. For example, let's turn to the titles of famous children's detective series: "The Five Find-Outers" by the English writer Enid Blyton, "Company with Bolshaya Spasskaya" by Russian authors A. Ivanov, A. Ustinova, "The Hardy Boys" by the American writer Franklin Dixon.

5) Secret or criminal communities have no place in the detective story. In a classic detective story, this rule is not always respected. The already mentioned Conan Doyle in the story "Five Orange Seeds" describes the activities of the Ku Klux Klan, as well as in the stories "A Study in Scarlet" and "Valley of Terror" the reader encounters a description of the actions of Masonic organizations. In a children's detective story, young detectives may well encounter the activities of a criminal gang or group.

6) The perpetrator must be someone mentioned at the beginning of the novel, but it must not be the person whose train of thought the reader has been allowed to follow. This rule applies only to the classic detective story. The most striking example is the works of Agatha Christie from the Miss Marple series. However, the second part of the rule concerning the impossibility to follow the train of thought of the criminal is implemented in all types of detective story.

7) The detective's foolish friend, Watson in one form or another, should not hide any of the considerations that come to his mind; in terms of his mental abilities, he should be slightly inferior - but only very slightly - to the average reader. This law of the genre is again characteristic only of the samples of the classic detective story, since it is its feature. It is in the classical detective story that there is a pair, conventionally called "Holmes - Watson", in other types this rule cannot be realized.

Thus, comparing the results obtained in the study of the declared types of detective stories, we came to the conclusion that the detective genre in literature is still a developing and changing genre, but it retains the features and characteristics of classical samples and some canons.

Conclusion

This work is devoted to the consideration of the features of the detective genre in English-language literature on the example of the works of English and American authors.

To achieve this goal, in the first chapter of our study, we covered a detailed history of the genre and its development from its inception to the present day. The second chapter presents the results of studies of English-language detective stories in order to identify genre features in them. The main criterion for selecting works for our study was the rules and canons of the genre developed by Stephen Van Dyne and Ronald Knox. Their direct implementation in works is presented in one of the paragraphs in the form of a table.

We have analyzed more than a hundred detective stories, novels and short stories by English-speaking authors to present the most accurate picture implementation of genre features in them.

In the course of our research, we came to the conclusion that the element of national difference is also manifested in detective literature, so American and English authors present each of the features of the genre differently. In this work, more attention is paid to such features as the realization of the image of the detective pair detective - his companion, the expression of intrigue and irony in the detective story, the features of the two-plot structure of the work. We also separately considered special types of detective - children's detective and ironic - and highlighted their features.

A comparative analysis of American and English detective works made it possible to clearly show that the codex of the English detective novel is the richest and most closed. The American detective has weaker schemes. Today, the detective novel can be safely attributed to a flourishing literary industry. The reason for the success and popularity of the detective genre lies in the fact that the reader seeks in the detective story not only to reinforce ideas about the rational structure of the world around him, but also to experience his own feeling of insecurity in it.

Thus, in our work, we tried to more thoroughly explore the features of English-language detective stories, having simultaneously examined the works of English and American authors, highlight similarities and differences, and also identify the implementation of the rules of the detective genre in its various forms.

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18 Epstein, M. N. Literary Encyclopedic Dictionary / M. N. Epstein- M. 1987. - 248 p.

19 Eckerman, P. P. Conversations with Goethe / P. P. Eckerman. - M, 1981. - 215 p.

20 Chesterton, G.K. In defense of detective literature / G.K. Chesterton. - Access mode: http://fantlab.ru/work107784.

21 Carr, J.D. Locked Room Lecture // How to Make a Detective. - M.: NPO "Rainbow", 1990. - 317 p.

22 Volsky, N. N. Mysterious logic. Detective as a model of dialectical thinking / N. N. Volsky. - Novosibirsk, 1996. - 216 p.

23 Vulis, A.V. Poetics of the detective / A.V. Vulis // "New World", - No. 1 1978. - S. 244-258

24 Sayers, D. English detective novel / D. Sayers // British Ally Nick, - No. 38, 1944. - Access mode: http://litstudent.ucoz.com/publ/literaturnye_zhanry_i_temy/doroti_sehjers_anglijskij_detektivnyj_roman/6-1-0- 21.

25 Allen, W. Tradition and Dream / W. Allen - M.: Progress, 1970. - 423 p.

26 Snow, Charles P. English detective / Gr. Green, D. Francis - M .: Pravda, 1983. - S. 3-16.

27 Georges Simenon Maigret and the lazy burglar. - Access mode: http://detektivi.net/avtor/zhorzh_simenon.php.

28 Rex Stout, The League of Frightened Men. - Access mode: http://detektivi.net/avtor/reks_staut.php.

29 Agatha Christie "Visit of a stranger". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

30 Agatha Christie Theft at the Grand Hotel. - Access mode: http://detektivi.net/avtor/agata_kristi.php.

31 Agatha Christie "The Mysterious Affair at Styles" - Access mode: http://detektivi.net/avtor/agata_kristi.php.

32 Jack Kent "Sherlock Holmes and all-all-all". - Access mode: http://www.livelib.ru/book/1000289479.

33 Rex Stout "Black Orchids". - Access mode: http://detektivi.net/avtor/reks_staut.php.

34 Dashiell Hammett "The Woman with the Silver Eyes". - Access mode: http://detektivi.net/avtor/dyeshil_hyemmet.php.

35 Antsyferova O. Yu. Detective genre and romantic art system // National specificity of works of foreign literature of the XIX - XX centuries / O. Yu. Antsyferova. - Ivanovo, 1994. - S. 21-36.

36 Agatha Christie "Blue Geranium". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

37 The Strand Magazine. - Access mode: http://www.acdoyle.ru/originals/magazines/strand/my_strands.htm#1930.

38 Cawelty J.G. Adventure, Mystery and Romance: Formula Stories as Art and Popular Culture / J. G. Cawelty. - Chicago, 1976. - 470 s

39 Agatha Christie "The Mysterious Affair at Styles". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

40 Arthur Conan Doyle "A Study in scarlet". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

41 Arthur Conan Doyle "The Boscombe Valley Mystery". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

42 Arthur Conan Doyle "The adventure of the black Peter". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

43 Arthur Conan Doyle "The Adventure of the Blue Carbuncle". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

44 Agatha Christie "The King of Clubs". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

45 Arthur Conan Doyle "The Adventure of the Blanched Soldier". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

46 Gilbert Keith Chesterton "The Man in the Passage". - Access mode: http://detektivi.net/avtor/gilbert_chesterton.php.

47 Agatha Christie "Ingots of gold". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

48 Agatha Christie "The four suspects". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

49 Arthur Conan Doyle "The adventure of the noble bachelor". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

50 Arthur Conan Doyle "A scandal in Bohemia". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

51 Erle Stanley Gardner, "The Case of the Howling Dog". - Access mode: http://detektivi.net/avtor/yerl_gardner.php.

52 Erle Stanley Gardner, "The Case of the Counterfeit Eye". - Access mode: http://detektivi.net/avtor/yerl_gardner.php.

53 Enid Mary Blyton "The mystery of the burnt cottage". - Access mode: http://www.litmir.net/bd/?b=111865.

54 Enid Mary Blyton "The mystery of the disappearing cat". - Access mode: http://www.litmir.net/bd/?b=125784.

55 Arthur Conan Doyle "The adventure of the copper beeches". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

56 Arthur Conan Doyle "The man with the twisted lip". - Access mode: http://detektivi.net/avtor/konan_doyl__artur.php.

57 Erle Stanley Gardner, "The Case of the Lucky Legs". - Access mode: http://detektivi.net/avtor/yerl_gardner.php.

58 Dorothy Leigh Sayers "Unnatural death". - Access mode: http://detektivi.net/avtor/doroti_syeyers.php.

59 Agatha Christie "The blue geranium". - Access mode: http://detektivi.net/avtor/agata_kristi.php.

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The main feature of the detective as a genre is the presence in the work of some mysterious incident, the circumstances of which are unknown and must be clarified. The most frequently described incident is a crime, although there are detective stories in which events that are not criminal are investigated (for example, in Notes on Sherlock Holmes, which certainly belongs to the detective genre, there are no crimes in five stories out of eighteen).

An essential feature of the detective is that the actual circumstances of the incident are not communicated to the reader, at least in their entirety, until the investigation is completed. Instead, the reader is led by the author through the process of investigation, having the opportunity at each stage to build their own versions and evaluate known facts. If the work initially describes all the details of the incident, or the incident does not contain anything unusual, mysterious, then it should already be attributed not to a pure detective story, but to related genres (action movie, police novel, etc.).

Genre features

An important property of a classic detective story is the completeness of facts. The solution of the mystery cannot be based on information that was not provided to the reader during the description of the investigation. By the time the investigation is completed, the reader should have enough information to base their own decision on it. Only a few minor details can be hidden that do not affect the possibility of revealing the secret. Upon completion of the investigation, all riddles must be solved, all questions must be answered.

A few more signs of a classic detective story were collectively named by N. N. Volsky hyperdeterminism of the detective's world(“the world of the detective is much more orderly than the life around us”):

• Ordinary environment. The conditions under which the events of the detective story take place are generally common and well known to the reader (in any case, the reader himself believes that he is confidently orientated in them). Thanks to this reader, it is initially obvious what is ordinary from what is being described, and what is strange, beyond the scope.
• Stereotypical character behavior. The characters are largely devoid of originality, their psychology and behavioral patterns are quite transparent, predictable, and if they have any prominent features, then those become known to the reader. The motives of actions (including the motives of the crime) of the characters are also stereotyped.
• The existence of a priori rules for constructing a plot that do not always correspond to real life. So, for example, in a classic detective story, the narrator and the detective, in principle, cannot turn out to be criminals.

This set of features narrows the field of possible logical constructions based on known facts, making it easier for the reader to analyze them. However, not all detective subgenres follow these rules exactly.

Another restriction is noted, which is almost always followed by a classic detective story - the inadmissibility of random errors and undetectable matches. For example, in real life, a witness may tell the truth, may lie, may be mistaken or misled, or may simply make an unmotivated mistake (accidentally mix up dates, amounts, names). In the detective story, the last possibility is excluded - the witness is either accurate, or lying, or his mistake has a logical justification.

Eremey Parnov points out the following features of the classic detective genre:

Typical characters

• Detective - directly involved in the investigation. The most different people: law enforcement officers, private detectives, relatives, friends, acquaintances of the victims, sometimes - completely random people. The detective cannot be a criminal. The figure of the detective is central in the detective story.
  • A professional detective is a law enforcement officer. He may be a very high-level expert, or he may be an ordinary, of which there are many, police officers. In the second case, in difficult situations, sometimes he turns to a consultant for advice (see below).
  • A private detective - for him, investigating crimes is the main job, but he does not serve in the police, although he may be a retired policeman. As a rule, he is extremely highly qualified, active and energetic. Most often, a private detective becomes a central figure, and to emphasize his qualities, professional detectives can be put into action, who constantly make mistakes, succumb to the provocations of a criminal, get on the wrong track and suspect the innocent. The opposition “a lone hero against a bureaucratic organization and its officials” is used, in which the sympathies of the author and the reader are on the side of the hero.
  • An amateur detective is the same as a private detective, with the only difference that investigating crimes for him is not a profession, but a hobby that he turns to only from time to time. A separate subspecies of an amateur detective is a random person who has never engaged in such activities, but is forced to conduct an investigation due to urgent need, for example, to save an unjustly accused loved one or to avert suspicion from himself (these are the main characters of all Dick Francis novels). The amateur sleuth brings the investigation closer to the reader, allows him to give him the impression that "I could figure it out too." One of the conventions of a series of detectives with amateur detectives (like Miss Marple) is that in real life a person, if he does not professionally investigate crimes, is unlikely to encounter such a number of crimes and mysterious incidents.
• Criminal - commits a crime, covers his tracks, tries to counteract the investigation. In the classic detective story, the figure of the criminal is clearly indicated only at the end of the investigation, until this moment the criminal can be a witness, a suspect or a victim. Sometimes the actions of the criminal are described in the course of the main action, but in such a way as not to reveal his identity and not to inform the reader of information that could not be obtained during the investigation from other sources.
• The victim is the one against whom the crime is directed or the one who suffered as a result of a mysterious incident. One of the standard versions of the detective's denouement - the victim himself turns out to be a criminal.
• Witness - a person who has any information about the subject of the investigation. The perpetrator is often shown for the first time in the description of the investigation as one of the witnesses.
• A detective's companion is a person who is constantly in contact with the detective, participating in the investigation, but does not have the abilities and knowledge of the detective. He can provide technical assistance in the investigation, but his main task is to more prominently show the outstanding abilities of the detective against the background of the average level of an ordinary person. In addition, a companion is needed to ask the sleuth questions and listen to his explanations, giving the reader the opportunity to follow the sleuth's thoughts and drawing attention to certain points that the reader himself might miss. Classic examples of such companions are Dr. Watson in Conan Doyle and Arthur Hastings in Agatha Christie.
• A consultant is a person who has a pronounced ability to conduct an investigation, but is not directly involved in it himself. In detective stories, where a separate figure of a consultant stands out, she may be the main one (for example, the journalist Ksenofontov in the detective stories of Viktor Pronin), or may turn out to be just an occasional adviser (for example, the detective's teacher, whom he turns to for help).
• Assistant - does not conduct the investigation himself, but provides the detective and / or consultant with information that he obtains himself. For example, a forensic expert.
• Suspect - in the course of the investigation, there is an assumption that it was he who committed the crime. Authors deal with suspects differently, one of the frequently practiced principles is “none of those immediately suspected is a real criminal”, that is, everyone who falls under suspicion turns out to be innocent, and the real criminal is the one who was not suspected of anything. . However, not all authors follow this principle. In Agatha Christie's detective stories, for example, Miss Marple repeatedly says that "in life it is usually the one who is suspected first who is the culprit."

Detective Story

Edgar Allan Allan Poe stories written in the 1840s are usually considered the first works of the detective genre, but elements of the detective story were used by many authors earlier. For example, in the novel by William Godwin (-) "The Adventures of Caleb Williams" (), one of the central characters is an amateur detective. A great influence on the development of detective literature was also made by E. Vidocq's "Notes", published in. However, it was Edgar Poe who, according to Yeremey Parnov, created the first Great Detective - the amateur detective Dupin from the story "Murder on Morgue Street". Dupin subsequently fathered Sherlock Holmes and Father Brown (Chesterton), Lecoq (Gaboriau) and Mr Cuff (Wilkie Collins). It was Edgar Allan Poe who introduced into the plot of the detective story the idea of ​​rivalry in solving a crime between a private investigator and the official police, in which the private investigator, as a rule, takes over.

The detective genre becomes popular in England after the release of W. Collins' novels The Woman in White () and The Moonstone (). In the novels Wilder's Hand () and Checkmate () by the Irish writer C. Le Fanu, the detective story is combined with the gothic novel. The golden age of the detective in England is considered to be the 30s - 70s. 20th century. It was at this time that the classic detective novels by Agatha Christie, F. Biding and other authors were published, which influenced the development of the genre as a whole.

The founder of the French detective is E. Gaborio - the author of a series of novels about the detective Lecoq. Stevenson imitated Gaboriau in his detective stories (especially in "The Diamond of the Rajah").

Twenty rules for writing detective stories

In 1928, the English writer Willard Hattington, better known by his pseudonym Stephen Van Dyne, published his set of literary rules, calling it "20 Rules for Writing Detectives":

1. It is necessary to provide the reader with equal opportunities with the detective to unravel the mysteries, for which purpose it is necessary to clearly and accurately report all incriminating traces.

2. With regard to the reader, only such tricks and deceit are allowed that a criminal can use in relation to a detective.

3. Love is forbidden. The story should be a game of tag, not between lovers, but between a detective and a criminal.

4. Neither a detective nor any other person professionally involved in the investigation can be a criminal.

5. Logical conclusions should lead to exposure. Random or unsubstantiated confessions are not allowed.

6. A detective cannot be absent in a detective who methodically searches for incriminating evidence, as a result of which he comes to solve the riddle.

7. Mandatory crime in detective - murder.

8. In solving a given mystery, all supernatural forces and circumstances must be excluded.

9. Only one detective can act in a story - the reader cannot compete with three or four members of the relay team at once.

10. The perpetrator must be one of the more or less significant characters well known to the reader.

11. An impermissibly cheap solution in which one of the servants is the culprit.

12. Although the perpetrator may have an accomplice, the main story should be about the capture of one person.

13. Secret or criminal communities have no place in the detective.

14. The method of committing the murder and the methodology of the investigation must be reasonable and justified from a scientific point of view.

15. For a smart reader, the clue should be obvious.

16. In a detective story there is no place for literature, descriptions of painstakingly developed characters, coloring the situation by means of fiction.

17. The criminal can never be a professional villain.

19. The motive for a crime is always of a private nature, it cannot be a spy action seasoned with any international intrigues, motives of secret services.

The decade that followed the promulgation of the terms of the Van Dyne Convention finally discredited the detective story as a genre of literature. It is no coincidence that we know the detectives of previous eras well and each time we turn to their experience. But we can hardly, without getting into reference books, name the figures from the Twenty Rules clan. The modern Western detective has evolved in spite of Van Dyne, refuting point by point, overcoming the limitations that have been sucked from the finger. One paragraph (the detective must not be a criminal!), however, survived, although it was violated several times by the cinema. This is a reasonable prohibition, because it protects the very specifics of the detective, his core line ... In the modern novel, we will not see even traces of the "Rules" ...

The Ten Commandments of a detective novel by Ronald Knox

Ronald Knox, one of the founders of the Detective Club, also proposed his own rules for writing detective stories:

I. The perpetrator must be someone mentioned at the beginning of the novel, but it must not be the person whose thought the reader has been allowed to follow.

II. As a matter of course, the action of supernatural or otherworldly forces is excluded.

III. It is not allowed to use more than one secret room or secret passage.

IV. It is unacceptable to use hitherto unknown poisons, as well as devices that require a long scientific explanation at the end of the book.

V. A Chinese person must not appear in the work.

VI. A detective should never be helped by a lucky break; nor should he be guided by an unaccountable but sure intuition.

VII. The detective doesn't have to turn out to be a criminal himself.

VIII. Having come across this or that clue, the detective must immediately present it to the reader for study.

IX. The detective's foolish friend, Watson in one form or another, must not hide any of the considerations that cross his mind; in terms of his mental abilities, he should be slightly inferior - but only very slightly - to the average reader.

X. Indistinguishable twin brothers and doubles in general cannot appear in a novel unless the reader is properly prepared for it.

Some types of detectives

Closed Detective

A subgenre usually most closely aligned with the canons of the classic detective story. The plot is based on the investigation of a crime committed in a secluded place, where there is a strictly limited set of characters. There can be no stranger in this place, so the crime could only be committed by one of those present. The investigation is conducted by one of those at the scene of the crime with the help of other heroes.

This type of detective is different in that the plot basically eliminates the need to search for an unknown criminal. There are suspects, and the detective's job is to get as much information as possible about the participants in the events, on the basis of which it will be possible to identify the criminal. Additional psychological stress is created by the fact that the perpetrator must be one of the well-known, nearby people, none of whom, usually, looks like a criminal. Sometimes in a closed detective there is a whole series of crimes (usually murders), as a result of which the number of suspects is constantly decreasing. Examples of closed type detectives:

• Cyril Hare, "Purely English Murder".
• Agatha Christie, Ten Little Indians, Murder on the Orient Express.
• Boris Akunin, "Leviathan" (signed by the author as "sealed detective").
• Leonid Slovin, "The Extra Arrives on the Second Track".

Psychological detective

This type of detective story may somewhat deviate from the classical canons in terms of the requirement of stereotypical behavior and the typical psychology of heroes. Usually, a crime committed for personal reasons (envy, revenge) is investigated, and the main element of the investigation is the study of the personality characteristics of the suspects, their attachments, pain points, beliefs, prejudices, clarifying the past. There is a school of French psychological detective.

• Dostoevsky, Fyodor, Crime and Punishment.
• Boileau - Narsezhak, "She-wolves", "The one that was gone", "Sea Gate", "Outlining the Heart".
• Japrisot, Sebastien, "Lady with glasses and a gun in a car".
• Calef, Noel, "Elevator to the scaffold".
• Ball, John, "A Stuffy Night in the Carolinas".

historical detective

Main article: historical detective

Historical work with detective intrigue. The action takes place in the past, or an ancient crime is being investigated in the present.

• Boileau-Narcejac "In the Enchanted Forest"
• Quinn, Ellery "The Unknown Manuscript of Dr. Watson"
• Boris Akunin, Literary project "The Adventures of Erast Fandorin"
• Leonid Yuzefovich, Literary project about detective Putilin
• Alexander Bushkov, The Adventures of Alexei Bestuzhev

Ironic detective

The detective investigation is described from a humorous point of view. Often, works written in this vein parody and ridicule the clichés of a detective novel.

• Varshavsky, Ilya, "The robbery will take place at midnight"
• Kaganov, Leonid, "Major Bogdamir saves money"
• Kozachinsky, Alexander, "The Green Van"
• Westlake, Donald, "The Cursed Emerald" ( hot stone), "Bank that gurgled"
• Joanna Khmelevskaya (most works)
• Daria Dontsova (all works)
• Yene Reite (all works)

fantasy detective

Works at the intersection of fantasy and detective. The action can take place in the future, an alternative present or past, as well as in a completely fictional world.

• Lem, Stanislav, "Investigation", "Inquiry"
• Russell, Eric Frank, "The Daily Job", "The Wasp"
• Holm van Zaychik, "There are no bad people" cycle
• Kir Bulychev, cycle "Intergalactic Police" ("Intergpol")
• Isaac Asimov, Lucky Starr cycles - space ranger, Detective Elijah Bailey and robot Daniel Olivo
• John Brunner, Chess City Squares The Squares of the City, ; Russian translation - )
• Brothers Strugatsky, Hotel "At the Dead Alpinist"
• Cook, Glenn, fantasy detective series about detective Garrett
• Randall Garrett, a series of fantasy detectives about the detective Lord Darcy
• Boris Akunin "Children's book"
• Kluger, Daniel, Fantasy Detective Series "Cases of Magic"
• Harry Tortledove - The Case of the Toxic Spell Dump

political detective

One of the genres quite far from the classic detective. The main intrigue is built around political events and rivalry between various political or business figures and forces. It also often happens that the protagonist himself is far from politics, however, while investigating the case, he stumbles upon an obstacle to the investigation on the part of the "powers that be" or reveals some kind of conspiracy. A distinctive feature of the political detective is (although not necessarily) the possible absence of completely positive characters, except for the main one. This genre is rare in pure form, however, may be an integral part of the work.

• Levashov, Victor, "Conspiracy of Patriots"
• Adam Hall, "Berlin Memorandum" (Quiller Memorandum)
• Fletcher Niebel, "Seven Days in May"
• Nikolai Svechin, "The Hunt for the Tsar", "Demon of the Underworld"

Spy detective

Based on the narrative of the activities of intelligence officers, spies and saboteurs both in wartime and in peacetime on the "invisible front". In terms of stylistic boundaries, it is very close to political and conspiracy detectives, often combined in the same work. The main difference between a spy detective and a political one is that in a political detective the most important position is occupied by the political basis of the case under investigation and antagonistic conflicts, while in espionage the attention is focused on intelligence work (surveillance, sabotage, etc.). Conspiracy detective can be considered a variety of both espionage and political detective

• Agatha Christie, "Cat Among the Pigeons"
• John Boynton Priestley, "Mist over Gretley" (1942)
• James Grady, Six Days of the Condor
• Dmitry Medvedev, "It was near Rovno"
• Nikolai Dalekiy, "The Practice of Sergei Rubtsov"

police detective

Describes the work of a team of professionals. In works of this type, the protagonist-detective is either absent or only slightly higher in importance in comparison with the rest of the team. In terms of the reliability of the plot, it is closest to reality and, accordingly, deviates to the greatest extent from the canons of the pure detective genre (the professional routine is described in detail with details that are not directly related to the plot, there is a significant proportion of accidents and coincidences, the presence of informants in criminal and near-criminal environment, the perpetrator often remains unnamed and unknown until the very end of the investigation, and may also escape punishment due to the negligence of the investigation or lack of direct evidence).

• Schöwall and Vale, a series of novels about members of the homicide department led by Martin Beck
• Yulian Semyonov, "Petrovka, 38", "Ogaryova, 6"
• Kivinov, Andrei Vladimirovich, "A Nightmare on Stachek Street" and subsequent works.

"Cool" detective

It is described most often by a lone detective, a man of thirty-five or forty, or a small detective agency. In works of this type, the protagonist confronts almost the whole world: organized crime, corrupt politicians, corrupt police. The main features are the maximum action of the hero, his "coolness", the vile surrounding world and the honesty of the protagonist. The best examples of the genre are psychological and contain signs of serious literature - for example, the works of Raymond Chandler.

• Dashiell Hammett, a series about the Continental Detective Agency, "Blood Harvest" - is considered the founder of the genre.
• Raymond Chandler, "Goodbye Darling", "High Window", "The Woman in the Lake".
• Ross Macdonald - many works.
• Chester Hayims, "Run, Negro, run."

Crime detective

Events are described from the point of view of the criminal, and not the people looking for him. Classic example: Jim Thompson "The Killer in Me"

• James Hadley Chase - "All the World in Your Pocket"

Movie detective

Detective focuses on the actions of a detective, a private investigator, or a novice investigator studying mysterious circumstances crimes by finding clues, investigations, and clever deductions. A successful detective film often hides the identity of the perpetrator until the end of the story, and then adds an element of surprise to the process of arresting the suspect. However, the opposite is also possible. So, the hallmark of the Colombo series was the demonstration of events from the point of view of both the detective and the criminal.

The suspense is often retained as an important part of the plot. This can be done with soundtrack, camera angles, shadow play and unexpected plot twists. Alfred Hitchcock used all these techniques, occasionally allowing the viewer to enter into a state of foreboding threat and then choosing the most opportune moment for dramatic effect.

Detective stories have proven to be a good choice for a movie script. The detective is often a strong character with strong leadership qualities, and the plot may include elements of drama, suspense, personal growth, ambiguity and unexpected distinctive features character.

Until at least the 1980s, women in detective stories often played a dual role, having a relationship with the detective and often playing the role of "woman in danger". The women in those films are often resourceful personalities, being opinionated, determined and often duplicitous. They can serve as an element of suspense as helpless victims.

Aphorisms about the detective

• Thanks to criminals, the world culture has been enriched by the detective genre.
• If you do not know what to write, write: "A man entered with a revolver in his hand." (

As an independent genre of literature, the detective has more than a century and a half history, and all these one and a half centuries it has been very popular. Him main secret The fact is that the reader not only follows the adventures of the protagonist, but solves the crime on a par with the detective - speculates, singles out suspects, thinks through motives. The most important feature of any detective story is the game between the reader and the author, so if you don’t know how to write a detective story and build an interesting game with your audience, then this article will help you figure it all out.

Think over the crime

A crime is where to start writing a detective story, its basis, so the crime must be worked out as carefully as possible. Most of the stories are about murder, but not always - the story can be built on an attempted murder, on threats received by the victim, on a robbery committed under strange circumstances, or on other extraordinary events. In fact, the case that will form the basis of your story or comic, does not necessarily have to violate the criminal code- it just has to represent some kind of mystery, which the heroes and readers will come to unravel at the end. However, for simplicity, we will call such a secret a crime, respectively, its "culprit" - a criminal, and the one who tries to find a clue - an investigator or a detective.

If you want to write a high-level detective story, then it is desirable that the crime be intriguing, however, even a “simple” murder in a dark alley can be the beginning of a great detective story. Already at this stage, it is important not only to come up with some kind of mysterious event, but also to immediately identify a guess for yourself and at least dottedly outline how events will develop.

Answer questions that will help you come up with a plot for the detective: what evidence and clues will the investigator get, what theories will he build, how will the investigation progress? Are there any witnesses? Who will be the first suspect, who will be the second, etc.? What will the offender do, will he commit other crimes and for what reasons (covers his tracks or achieves some goal)?

File the crime nicely

The “introduction” of the crime is one of the most important scenes in a detective story: it is the beginning of your game with the reader, and it is necessary that this game draws him in. You can show directly the commission of a crime (murder on dinner party), give a story about him (the client came to a private detective for advice) or, for example, give the scene. It is important that the reader, like the investigator, after the "input" has some clues - starting points, on the basis of which he will build his guesses. Give enough details, include a few witnesses and/or suspects.

Illustration from "Blacksad"

Make the story engaging, but not overbearing

For those who decide to write a detective novel, it is important to feel for a fairly thin line that separates an exciting plot from an implausible plot. Events, clues and clues should not be forced and far-fetched, and the reader should not stand in the pose of Stanislavsky and repeat to himself "I do not believe." Of course, don't make the crime too simple, as well as use templates or a lot of details borrowed from other detective stories - this makes the story predictable.

Talking about detective comics, then at one time they fought with them no worse than with real crime. The content of such books was strictly controlled, for example, villains were always to be detained before committing a crime, and their craft was in no case to be shown as something attractive. Thus, detective comics turned out to be boring and lifeless. Fortunately, now the situation has changed, and you can give free rein to your imagination.

Complete your story

Whatever your secret is, at the end you must definitely give a guess, explain the motives of the criminal and answer all the questions that the characters (that is, the reader) have accumulated in the course of the action. The reverse is permissible only for David Fincher in the film "Zodiac" (including because in this case the perpetrator was not found). Basically detective is not a genre where an open ending is welcomed and the mystery may remain undiscovered. Think for yourself: your game with the reader must end, and if you do not give answers, your “opponent” will not know if his guesses are correct, respectively, from the game he will have a feeling of dissatisfaction that you absolutely do not need.

Illustration from Daredevil

Also, the reader should not be left disappointed, and therefore never explain everything by a combination of circumstances or a fatal accident. If the story is based on suicide, it must be forced - and in the end it will turn out who and why forced the unfortunate victim to jump from the roof. Do not attribute the crime to the action of higher / otherworldly forces, if earlier the work did not imply anything mystical. The reader solves the riddle, starting from the data that you gave him. How was he to know that in your universe, demons kidnap people in broad daylight?

In any case, it is better to let the ending be slightly predictable than to cause sincere bewilderment and disappointment. It is difficult to say in advance which of the readers will immediately guess your riddle, and who will remain intrigued to the end. However, almost a hundred years ago it was determined that the goal of a real detective is to challenge the audience, but at the same time allow you to guess the rebus a little earlier than the detective. It is believed that by the time the cards are opened, the reader should have all the information in order to figure out who the criminal is.

Choose the right criminal

As we have already said, you should know who exactly committed the crime at the beginning of work on the detective. Who is better to choose? As a rule, Mr. or Mrs. X becomes one of the most prominent characters, or, on the contrary, less prominent ones. The first option is preferable, as it poses a greater challenge to the reader - you seem to show that here he is, the criminal, was in sight all the time. In any case, your intruder should not go unnoticed in the text - give the reader a chance to catch on to him.

The move that turns out to be the main villain in all respects is used quite often, so we would not advise resorting to it, especially several times.

In at least four books by Dan Brown, the killer turned out to be the most positive character, which, of course, is already perceived ambiguously with the second story.

On the other hand, identification of the offender - a wide area for playing with the reader: as an author, you can hint at one person several times in the course of the plot, make another one the main suspect of the investigator, and make the third the actual killer. The main thing is that all this logically fits into the text.

Illustration from "Gotham PD"

Create an interesting detective

Whether your detective is a professional investigator or a novice, a private investigator, a merry fellow or a victim suspected of a crime, the work will impress the reader much more if you create a living person who is curious to observe. Therefore, in addition to the crime, think over the image of the one who will solve it. If your story involves a confrontation between a detective and a criminal, also carefully consider the image of the antagonist. At the same time, it is believed that the detective story is not the genre where it is necessary to carefully, in detail think through the characters in the spirit of Tolstoy and prescribe mental anguish, as Dostoevsky did.

One of the simple tricks on how to make the character noticeable - give the hero some interesting feature, select a few features and rest on them. It is not necessary to create characters as eccentric as Sherlock Holmes or Nero Wolfe, who never leaves the house and devotes 4 hours a day exclusively to orchids. Make the hero an eternally scoffing merry fellow or, on the contrary, a gloomy melancholic; a connoisseur of fine wines and the fair sex or classical music and literature; a person with an IQ of 180, or someone who imagines every crime as a chess game and loses various combinations at home.

Check details

Always carefully check the facts mentioned, including the correspondence between the calibers and models of weapons (as well as sizes - it is very difficult to hide an AK-47 in a jeans pocket), the effect of selected poisons (some substances cease to be poisonous when mixed with a particular food, while others You have to take too much to really get poisoned).

If you are writing about a specific time period, such as the 1920s in the United States with their Chicago gangsters, then try to learn as much information about that time as possible.

You should be very careful with "high-tech" evidence, for example, with how the braking distance from tires on asphalt really looks; what is the difference between a trace and a rope around the neck of a hanged and strangled person; how a three-day stay in water affects a corpse, etc. You cannot do without such subtleties if you want to write a really good detective story. Remember: a detective is a competition of minds, and a reader who senses a catch will not want to compete with you in quick wits and may lose all interest in history.

A good detective story will have charming characters, an exciting intrigue and a puzzle that will not let you stop reading. But writing a really worthwhile detective story, especially if you haven't done it before, can be difficult. With the right preparation, brainstorming, planning and editing, and character development, you can write a detective story that will be read to.

Steps

Part 1

Getting ready to write

Understand the difference between the detective genre and the thriller. Detectives always start with a murder. The main question in detective story or a novel - who committed the crime. Thrillers usually start with a situation that leads to a major disaster, such as a terrorist attack, a bank robbery, nuclear explosion And so on. The main question in the thriller is whether the main character will be able to prevent a catastrophe.

• In detective stories, the reader does not know who committed the murder until the end of the novel. Detectives are built on logical chains of searching for crime targets or on a puzzle.
• Detective stories are written in the first person, while thrillers are usually written in the third person and cover multiple points of view. In detective stories, the passage of time is usually more measured, as the protagonist/detective tries to solve the crime. Also, detective stories tend to have less action sequences than thrillers.
• Due to the slower pace of time in detective stories, characters tend to be more deeply written and versatile in detective stories than in thrillers.

1. Read examples of detectives. There are many great detective stories and novels that you can learn how to write a detective story with a good plot and well-developed characters.

   Identify the main character in the presented stories and novels. Think about how the author introduces the main character and how he describes him.

2. Determine the place and setting of the story-example. Think about how the author shows the place and time of the story.

   • For example, in the second paragraph of the first page deep sleep Marlow places the reader in the place and time of the narrative: "The main hall of the Sternwoods had two floors."
   • The reader understands that Marlowe is in front of the Sternwood house, and that it is a large house, most likely rich.

3. Think over a crime or a puzzle that the main character has to solve. What crime or puzzle will the protagonist have to deal with? It could be a murder, a missing person, or a suspicious suicide.

   • AT deep sleep General Sternwood hires Marlowe to "take care" of a photographer who blackmails the general with scandalous photographs of his daughter.

4. Determine the obstacles and problems that the main character may have. A good detective will captivate the reader with the difficulties that the protagonist will face while fulfilling his mission (crime detection).

   • AT big dream Chandler complicates Detective Marlowe's pursuit of the photographer by killing the photographer in the early chapters, as well as by the suspicious suicide of the General's chauffeur. So Chandler introduces two murders into the story for Marlowe to solve.

5. Consider solving the crime. Think about how the crime is solved at the end of the detective story. The disclosure of a crime should not be too obvious or far-fetched, but it should also not be implausible or come from nowhere.

   • The disclosure of a crime should surprise the reader without confusing him. One of the perks of the detective genre is that you can build the pace of your story so that the revelation comes gradually rather than in a rushed manner.

6. View the first draft copy. Once you've drafted your detective story, go through the story, looking for key points such as:

   • Plot. Make sure your story goes according to plan and has a clear beginning, middle, and end. You should also note the changes in your main character at the end of the story.
   • Heroes. Are your characters, including the main one, unique and bright? Do all your characters behave in a similar way or are they different? Are your characters original and charming?
   • The pace of history. The pace of a story is how quickly or slowly the events in your story unfold. A good pace will be invisible to the reader. If everything seems to be moving too fast, pay more attention to the sensations to highlight the emotions of the characters. If you seem to be bogged down in details, cut the scenes down to the most essential information. A good rule of thumb is to always end an episode earlier than you think you should. This will help keep the tension from episode to episode, allowing the story to progress at the right pace.
   • Turn. A turn can either destroy or make the whole detective story. This is left to the discretion of the writer, but many good detectives have a turn at the end. Make sure your turn isn't too cheap. The more unique the twist, the easier it will be to describe. When you write a hackneyed twist, like "and here they woke up," you have to be a great writer for that twist to work. A good twist can make a fool of not only the reader, but the hero himself. Hint at a twist throughout episode scenes so that when the reader starts to remember previous parts of the story, they are surprised how they could have missed it. However, try not to make the turn explicit too soon.

Definition

Detective - the meaning and definition of the concept of the term, a dictionary of literary terms:: Textologia.ru

DETECTIVE(English - detective; from lat. - disclosure) - a work of art with a special type of plot associated with the disclosure of mysterious crimes, the confrontation between good and evil, where, as a rule, good triumphs over evil. The detective as a genre is characterized by the following main restrictive features: 1) the presence of a mystery of the crime (most often murder); 2) a moral and physical clash on this ground between a professional or amateur detective and a criminal; 3) the process of investigation, in which various versions of what happened are checked and worked out, various suspects and the investigator himself are tested; 4) identification of the offender; 5) restoration of all circumstances of the crime.

This literary genre has a long history in European literature. Its initiator is considered to be the American writer Edgar Alan Poe, who in the short story "Murder in the Rue Morgue" (1841) first brought out the image of an amateur detective endowed with outstanding abilities for logical analysis.

 D.N. Ushakov, Big explanatory dictionary of the modern Russian language (online version)

DETECTIVE death, detective, ·husband. (English detective). Detective, detective police agent.

Etymological dictionary of the Russian language. M.: Russian language from A to Z. Publishing house<ЮНВЕС>. Moscow. 2003.

DETECTIVEEnglish - detective (detective).

Latin - detego (detect).

The word "detective" was borrowed from English in the second half of the 19th century. It has two meanings. The first is a “detective”, the second is a “genre of literarywork or film.

Derivative: detective.

From Wikipedia, the free encyclopedia

Detective(English)detective , from lat.detego - reveal, expose) - predominantly literary and cinematic genre, whose works describe the process of investigating a mysterious incident in order to clarify its circumstances and solve the riddle. Usually a crime acts as such an incident, and the detective describes its investigation and identification of the perpetrators, in which case the conflict is built on a clash of justice with lawlessness, ending with the victory of justice.

Genre features of the detective

The main feature of the detective as a genre is the presence in the work of some mysterious incident, the circumstances of which are unknown and must be clarified. The most frequently described incident is a crime, although there are detective stories in which events that are not criminal are investigated (for example, in Notes on Sherlock Holmes, which certainly belongs to the detective genre, there are no crimes in five stories out of eighteen).

An essential feature of the detective is that the actual circumstances of the incident are not communicated to the reader, at least in their entirety, until the investigation is completed. Instead, the reader is led by the author through the process of investigation, having the opportunity at each stage to build their own versions and evaluate known facts. If the work initially describes all the details of the incident, or the incident does not contain anything unusual, mysterious, then it should already be attributed not to a pure detective story, but to related genres.

An important property of a classic detective story is the completeness of facts. The solution of the mystery cannot be based on information that was not provided to the reader during the description of the investigation. By the time the investigation is completed, the reader should have enough information to base their own decision on it. Only a few minor details can be hidden that do not affect the possibility of revealing the secret. Upon completion of the investigation, all riddles must be solved, all questions must be answered.

Several Yet signs of a classic detective collectively were named N. N. Volsky hyperdeterminism of the detective's world(“the world of the detective is much more orderly than the life around us”):

• Ordinary environment. The conditions under which the events of the detective story take place are generally common and well known to the reader (in any case, the reader himself believes that he is confidently orientated in them). Thanks to this reader, it is initially obvious what is ordinary from what is being described, and what is strange, beyond the scope.
• Stereotypical character behavior. The characters are largely devoid of originality, their psychology and behavioral patterns are quite transparent, predictable, and if they have any prominent features, then those become known to the reader. The motives of actions (including the motives of the crime) of the characters are also stereotyped.
• The existence of a priori rules for constructing a plot that do not always correspond to real life. So, for example, in a classic detective story, the narrator and the detective, in principle, cannot turn out to be criminals.

This set of features narrows the field of possible logical constructions based on known facts, making it easier for the reader to analyze them. However, not all detective subgenres follow these rules exactly.

Another restriction is noted, which is almost always followed by a classic detective story - the inadmissibility of random errors and undetectable matches. For example, in real life, a witness may tell the truth, may lie, may be mistaken or misled, or may simply make an unmotivated mistake (accidentally mix up dates, amounts, names). In the detective story, the last possibility is excluded - the witness is either accurate, or lying, or his mistake has a logical justification.

Eremey Parnov points out the following features of the classic detective genre:

• the reader of the detective story is invited to participate in a kind of game - solving the mystery or the name of the criminal;
• « gothic exotic» -

From Edgar Allan Poe's infernal ape, the founder of both genres (fiction and detective), to Conan Doyle's blue carbuncle and tropical viper, Wilkie Collins' Indian moonstone, to Agatha Christie's secluded castles and Charles Snow's corpse in a boat, the Western detective is incorrigibly exotic. In addition, he is pathologically committed to the Gothic novel (a medieval castle is a favorite stage on which bloody dramas are played out).

• sketchiness -

Unlike science fiction, detective stories are often written just for the sake of the detective, that is, the detective! In other words, the criminal adjusts his bloody activity to the detective, just as an experienced playwright adjusts the roles to specific actors.

Typical characters

• Detective - directly involved in the investigation. A variety of people can act as a detective: law enforcement officers, private detectives, relatives, friends, acquaintances of the victims, sometimes completely random people. The detective cannot be a criminal. The figure of the detective is central in the detective story.
• A professional detective is a law enforcement officer. He may be a very high-level expert, or he may be an ordinary, of which there are many, police officers. In the second case, in difficult situations, sometimes he turns to a consultant for advice.
• A private detective - for him, investigating crimes is the main job, but he does not serve in the police, although he may be a retired policeman. As a rule, he is extremely highly qualified, active and energetic. Most often, a private detective becomes a central figure, and to emphasize his qualities, professional detectives can be put into action, who constantly make mistakes, succumb to the provocations of a criminal, get on the wrong track and suspect the innocent. The opposition “a lone hero against a bureaucratic organization and its officials” is used, in which the sympathies of the author and the reader are on the side of the hero.
• 
  An amateur detective is the same as a private detective, with the only difference that investigating crimes for him is not a profession, but a hobby that he turns to only from time to time. A separate subspecies of an amateur detective is a random person who has never engaged in such activities, but is forced to conduct an investigation due to urgent need, for example, to save an unjustly accused loved one or to divert suspicion from himself. The amateur sleuth brings the investigation closer to the reader, allows him to give him the impression that "I could figure it out too." One of the conventions of a series of detectives with amateur detectives (like Miss Marple) is that in real life a person, if he does not professionally investigate crimes, is unlikely to encounter such a number of crimes and mysterious incidents.
• Criminal - commits a crime, covers his tracks, tries to counteract the investigation. In the classic detective story, the figure of the criminal is clearly indicated only at the end of the investigation, until this moment the criminal can be a witness, a suspect or a victim. Sometimes the actions of the criminal are described in the course of the main action, but in such a way as not to reveal his identity and not to inform the reader of information that could not be obtained during the investigation from other sources.
• The victim is the one against whom the crime is directed or the one who suffered as a result of a mysterious incident. One of the standard versions of the detective's denouement - the victim himself turns out to be a criminal.
• Witness - a person who has any information about the subject of the investigation. The perpetrator is often shown for the first time in the description of the investigation as one of the witnesses.
• 
  A detective's companion is a person who is constantly in contact with the detective, participating in the investigation, but does not have the abilities and knowledge of the detective. He can provide technical assistance in the investigation, but his main task is to more prominently show the outstanding abilities of the detective against the background of the average level of an ordinary person. In addition, a companion is needed to ask the sleuth questions and listen to his explanations, giving the reader the opportunity to follow the sleuth's thoughts and drawing attention to certain points that the reader himself might miss. Classic examples of such companions are Dr. Watson in Conan Doyle and Arthur Hastings in Agatha Christie.
• A consultant is a person who has a pronounced ability to conduct an investigation, but is not directly involved in it himself. In detective stories where a separate figure of a consultant stands out, she can be the main one (for example, the journalist Ksenofontov in detective stories