Theory of literature

The division of labor in the literature. Origin of literary genres. Epos as the story of the characters. Theories of ancient times on literary types. Stream of consciousness. Special concept of the individual as the basis of essays by M.N. Epstein.
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Introduction

Verbal and artistic works have long accepted merge into three large groups, called literary birth. This is epic, drama and poetry. Although not all created by writers (especially in XX c.) Fits into this triad, it still retains its relevance and credibility in the literature.

In the epic kind of literature (al-oz. Epos - word, speech) organizing principle of the work is the story of the characters (active persons), their lives, actions, mindset, the events in their lives that make up the plot. This is - a chain of verbal messages, or, more simply, the story of what happened before. Narratives have a time gap between speech and conduct of the subject of verbal signs. It (remember Aristotle: the poet says, "about the event as something separate from themselves") is the part and, as a rule, has the grammatical form of the past tense. For narrating (telling) is typical position of a man, recalled had taken place earlier. The distance between the time and the time of the depicted narrative of it is perhaps the most significant feature of the epic form.

Dramatic works (dr.-gr. drama-action), and the epic, to recreate the event-series behavior of people and their relationships. Like the author of an epic work, the playwright is subject to the "law of the emerging". But a detailed narrative, descriptive image in the drama is missing.

The lyrics (dr.-gr. lyra-musical instrument, the sound of which is sung poetry), front unit of the human condition soznaniya: emotive reflections, volitional impulses, impressions, feelings and aspirations of the non-rational. If the lyrical composition and denoted a series of events (which is not always), it is very sparingly, without any meticulous detail (remember Pushkin's "I remember a wonderful moment ...").

In literary XX century repeatedly made attempts to supplement the traditional "triad" (epic, lyric, drama) and validate the concept of the fourth (or even fifth, etc.) kind of literature. Beside the three "old" set and a novel (VD Dnipro), and satire (JE Ellsberg, YB Borev), and the script (some film theorists). In this kind of judgment much disputed, but literature does know a group of works that do not fully possess the properties of epic poetry or drama, and even denied them altogether. They rightly called vnerodovymi forms.

On the birth of poetry Socrates says in the third book of Plato's treatise "The State". Therefore, says there could first speak directly to his face, which is a "predominantly dithyrambs" (in fact it is the most important property of the lyrics), and secondly, to build a product in the form of "exchange of speeches" characters, which Do not mix the words of the poet, which is typical of tragedies and comedies (such drama as a kind of poetry), and thirdly, to connect the words with the words of other people belonging to the actors (which is inherent in the epic): "And when he (poet-V.X.) leads foreign language, and when it is in between acting on its behalf, it will be a story. "1 Isolation of Socrates and Plato third, epic kind of poetry (as mixed) is based on the division of the story of what happened without the involvement of the speech of actors (al-oz. Diegesis) and imitation by deeds, actions, spoken words (dr.-gr. mimesis).

Similar judgments about the birth of poetry expressed in the third chapter, "Poetics," Aristotle. Briefly described here are three ways to follow in poetry (verbal art), which are characteristics of epic poetry and drama, "to imitate the same, and the same may be, describing the event as something separate from himself, as Homer does, or is it that mimics is by itself, without changing your face, or representing all persons depicted as active and energetic".

In a similar spirit - as the types of relationships proposed ("carrier of speech") to the artistic whole - childbirth literature repeatedly considered and later, up to the present. However, in the XIX century. (Initially - in the aesthetics of romanticism) strengthened a different understanding of the epic, lyric and drama, not as verbal art forms, as well as some of intelligible essences, recorded philosophical categories: literary generations are thought of as a type of artistic content. Thus their review has been rejected by the poetics (the doctrine is of literary art.) Thus, Schelling lyrics correlated with infinity and the spirit of freedom, epics - with pure necessity, the drama also saw a kind of synthesis of both: the struggle of freedom and neobhodimosti.

In the XX century labor literature repeatedly correlated with the various phenomena of psychology (memory, performance, power), linguistics (the first, second, third grammatical person), as well as the category of time (past, present, future).

The division of labor in the literature does not coincide with its division into poetry and prose. In everyday speech lyrical works are often identified with poetry, and epic - with prose. Such usage is incorrect. Each of the literary genres include both poetry (poetry) and prose (nestihotvornye) works. Epic early art was often poetic (epic antiquity, French songs about the exploits, Russian epics and historical songs, etc.). Epic in its generic basis of works written in verse, often in modern literature ("Don Giovanni" John N. Byron, "Eugene Onegin" by Alexander Pushkin, "Who Lives Well in" NA Nekrasov). In a dramatic kind of literature are also used as poetry and prose, sometimes connects in the same work (many of Shakespeare's plays). And the lyrics, for the most poetic, sometimes mundane (think Turgenev's "Poems in Prose").

In the theory of literary genres there are more serious problems of terminology. The word "epic" ("epic"), "dramatic" ("drama"), "lyrical" ("lyricism") refers not only generic features works, which were discussed, but other properties. Epic called majestic calm, unhurried contemplation of life in its complexity and diversity of the breadth of view of the world and its acceptance as a sort of integrity. In this regard, it is often said the "epic world view", art incarnate in the Homeric poems, and several recent works ("War and Peace" Leo Tolstoy). Epic as the ideological and emotional disposition can occur in all sorts of literature - not only in epic (narrative) works, but in the drama ("Boris Godunov" by Alexander Pushkin) and lyrics (cycle "On the field of Kulikovo" AA unit). Drama called mentality associated with an intense experience of some controversy, with emotion and anxiety. Finally, the lyricism - is sublime emotions expressed in a speech the author, narrator and characters. Drama and lyricism can also be present in all literary labor. So, full of drama romance LN Tolstoy's "Anna Karenina", a poem, MI Tsvetaeva's "Nostalgia." Lyricism infused novel IS Turgenev's "Noble Nest" plays AP Chekhov's "Three Sisters" and "The Cherry Orchard", stories and novels Bunin. Epic poetry and drama, so free from the uniquely-rigid attachment to the epic, and dramatic lyricism both types of emotional meaning "sound" works.



Origin of literary genres

Epic poetry and drama were formed in the very early stages of the company, in a primitive syncretic creativity. Origin of literary genres devoted the first three chapters of his "Historical Poetics" AN Veselovsky, one of the largest Russian historians and literary theorists of the XIX century. Scholars have argued that literary labor arose from the ritual chorus of primitive peoples, which can act as a ritual dance games where imitative movements were accompanied by singing - cries of joy or sorrow. Epic, lyric and drama Veselovsky interpreted as evolved from the "protoplasm" ritual "horicheskih action."

Exclamations of the most active members of the choir (sang, luminaries) rose lyric-epic songs (cantilenas), which eventually split from the ceremony: "Song lyric-epic character is the first natural evolution of communication and the chorus Rite." the original form of the poetry itself was, therefore, lyric-epic song. On the basis of these songs later formed the epic tales. A chorus of cheers as such rose lyrics (originally a group or collective), in time, too, separated from the ceremony. Epic and lyric poetry, so Veselovsky construed as "a consequence of the expansion of the ancient ritual choir." Drama, the scientist, there was exchange of remarks choir and sang. And it is (in contrast to the epic and lyric) and gained independence, along with the "Save all <...> syncretism" ritual choir and was certain it podobiem.

The theory of the origin of literary genres, advanced Veselovsky, confirmed by many well-known to modern science facts about the life of primitive peoples. This is certainly the origin of the ritual drama performances: dance and pantomime gradually increasingly accompanied by the words of the participants in the ritual. However, in theory Veselovsky not taken into account, that the epic and lyric could be formed and regardless of ritual actions. Thus, the mythological tales on which subsequently strengthened prose legends (saga) and fairy tales, is outside the choir. They are not sung mass ceremony participants, and were told by one of the representatives of the tribe (and probably not in all cases such storytelling was drawn to a large number of people). The lyrics, too, could be formed out of the rite. Lyrical expression occurred in the production (labor) and domestic relations of primitive peoples. There were, thus, different ways of formation of literary genres. And the ritual choir was one of them.

Epos

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