Question # 1. The concept of myth. The evolution of mythological ideas, as a movement from chaos to space. Olympic mythology.

Definitions of myth (according to workshop):

oral (in motion-variation) form expressing human attitude to anything

mastering the world at the initial stage of history

The culture of the people begins with the myth according to the archeology of consciousness, since each people undergoes the stage of mythological consciousness, whose features are:

Weak sense of a person from the surrounding world

Weak development of abstract concept \u003d\u003e antinomy

! Characteristic feature of myths metamorphosis (Transformation of the living in a non-living and vice versa).

Ancient Greek mythology, main features:

Htontism (early stage) - a person thinks herself consisting of the earth and its origin. Fetishism (living in the subject, was not separated from the item itself, and worshiped him)

Animism (mixantropy - connection of man and animal traits)

Olympic (heroic) -localization (Olympus), more faith in their strength, sustainability, wealth, harmony, beauty (space), orderly (from xs to KSMS), the desire of Zeus to establish order, the power is divided together

early heroism (transition to Patriarchate, heroes that are painted with monsters, saving people from dangerous creatures (Victory Ch. Above nature))

late heroism (the influence of literary processing, loses fear of gods)

The Mythology of the Greeks remained abundantly due to the appeal of ancient culture to it, for example, inserting myths in the works of Homer.

Movement from chaos to space

The evolution of mythological ideas has played an important role in the development of civilization. Movement to space was the first stage of the transition to the scientific knowledge of the world. Space is a nonymifological world in which there are natural, independent processes and gods. It is worth paying attention to the late theo-cosmogonic myths in which social, communal-generic, blood-born relations between people are transferred to natural processes. The question of the origin of the world was interpreted from the standpoint of the origin of the community, the kind, tribe, the people, the ideas about the change of generations within the genus, about family-household relations in it. And images of gods, heroes, other personifications generalized individual parties to the life of the generic community (first matrilinene, and then patrilation). The content of the coocymogonic myths performed the paintings of origin of the gods, change of generations of gods and their struggle among themselves, their natural-certain relationships and relations with mortal persons, etc. Theocommogonic myths are the highest form of myth-making, which already contains the primitives of the scientific reflection of the world. These myths rationalized mythology through its historicization (the improvement of the concepts reproducing the history of the world) and systematization.

Thus, the historical merit of the ancient Greek theocommogonic mythologies was to develop a general understanding of space, which served as an important prerequisite for the emergence of scientific knowledge of the world.

Olympic mythology

Myths of this cycle tell about the life of the Olympic gods (pantheon of the gods).

The composition of the Pantheon changed over the centuries, so the gods are greater than 12.

List: Aid, Apollo, Ares, Artemis, Athena, Aphrodite, Gera, Hermes, Gestiya, Ghefest, Demeter, Dionysis, Zeus, Poseidon. All myths about these gods belong to the cycle of Olympic mythology.

Ticket # 2. Poetry Katulla. Poems to lesbia.

Poetry Katulla

Guy Valery Katull (born in the 80s. I. I, died about 54) was from Verona. The part of the "Tsizalpinian Gaul", to which Verona belonged to Verona, was not even part of Italy and was considered the "province", but the father of Katullah was a wealthy person with connections in Rome, and the Son got access to a noble Roman society. For political issues, the young "provincial" treated first completely indifferent, spending his time among the injurous youth, in communicating with representatives of literary circles.

He was one of the judgers. Anomicatics performed with a literary program repeating the principles of Callimakh (an ancient Greek poet, who lived at about this time: 310-240. BC. I wrote mainly anthem, Elegia, epigram). They abandoned large forms, epic and drama and developed small genres - epilly, epigram, an elegge. Pretending to "learning", they chose rare myths, little-known options, satisfied their works by dark hints, hidden quotes and borrowings from other authors; Such quotes were considered as a literary compliment, as recognition of the stylistic skill of the cited writer, but to understand and evaluate all this could only be a very sophisticated reader, well acquainted with both literature - both Greek and Roman. Anomicatics often expressed confidence that their works will "survive the century"; In fact, this fate fell out only one of them, which and contemporaries recognized the most talented representative of the school. This is Guy Valery Katull.

The literary heritage of the Katulla consists of three parts. This, on the one hand, big works in the "scientist" style, on the other - small poems, "jokes", disintegrating, in turn, into two categories close in content, but excellent in style and metric form, - on poems compiled In Elegic Distife (epigrams, elegances), and the so-called "polymetras", i.e., poems such a metric structure that does not allow verses to the same type or meters. The prevailing place among the "polymer" occupies the "eleventh computers" (verse from 11 syllables) or "Falekiev verse":

We will live and love, my girlfriend!

In the closed to us, the collection of the poem of the Katulla is located in such a way that the beginning of it is "travelers", and the end of the epigram; Big poems are placed in the center. The author attached, of course, great importance to his "scientists" works, but his subsequent glory was founded mainly on the poems of small form.

Polymetters of Katulla are distinguished by a sharply pronounced subjective color: the outside world is interested in the poet not by itself, but only as a pathogen of subjective emotions. The lyric poem is most often served as a dynamic reaction to a small, even the smallest event of household or biographical order, real or fictitious, but allegedly experienced by the author. Friend returned to his homeland: amazement from surprise, joy, anticipation of the meeting, babysitting. The drinking calorie rained the raincoat: selected brands, refund requirement, threats with violence. The main thing is the noisy vibration of feelings, the physical joy of life. In accordance with the ancient lyrical tradition of "polymetters" of Katulla, almost always addressed to someone: to friends or enemies, to her beloved, to an inanimate subject, finally, to the author himself.

Small poems in elegic size, epigrams and short elegances are sustained in more relaxed colors. In the image of subjective feelings, the difference from the "polymetrov" is noticeable: there were instantaneous reactions in their immediate formation, while the center of gravity was transferred to long mental states, which the poet passively states and which he can already think about.

Poems to lesbian

A significant event of the Katulla's personal life was conjugate with heavy experiences love for a woman who appears in his verses under the fictional name "lesbia". One of the most important topics lyrics are love; This is, first of all, the poems of love for lesbia. In the preserved collection, they are placed ahead with other poems and without a certain order, but they could form a finished cycle. The pseudonym elected by Katull for his beloved must be reminded about Sappo. And indeed, the cycle opens with the translation of the Sappo famous in the antiquity, in which the symptoms of love madness are depicted. The sensations that Sappo experienced at the sight of his beloved, married a girlfriend, Katull transfers to their experiences at the sight of lesbia. There is no reliable information about it, except for the one that can be found in the poems of the Katulla. The image of the lesbian is given only by separate strokes that are not forming a holistic drawing: the poet is engaged mainly and its feelings. Poems demonstrate the widest range of feelings that the poet is experiencing to their beloved: from tender love through sadness and disappointment to the bitter sarcamum. The most famous poem of the Katulla dedicated to the lesbian - "hate and love" ("ODI ET AMO"):

I hate and love. You ask why I do that.

I do not know, but I feel that it is so accomplished, and emerge in the torment.

Question # 3. The concept of epic. Achil and Hector as epic heroes.

1.Epos (dr. Greek. ἔπος - "Word", "narration") - the heroic story about the past, containing a holistic picture of the people's life and representing a certain epic world and heroes-heroes in harmonic unity

Epic style essence. The most important thing in the entire problem of the epic style is the relationship of general and individual. Epic style is such an artistic style that draws us the life of a particular human team subordinating to itself with its own laws resolutely all personal lifeAnd therefore, any individual personal life will receive interest for us only in connection with the overall life of its team. Any personal life in the epic receives its meaning and its natural development only on the collective to which it belongs. This personal life can be full of the deepest, most burning feelings. But these feelings, if we are talking about the epic, caused by the vital tasks of the team and receive their satisfaction only in connection with the life of this team. Not collectivistic feelings and behavior are for an epic subject with something secondary and third suspected and do not play any decisive role in his life, although they can make a very diverse content.

The middle position of the epic.

a) between primitive wildness and civilization. Socially historical place of epic style.

Strictly speaking, all in general the art of communal-generic formation has an epic style, since it is a primitive spontaneously unshaven collectivism in which each individual person is sinking. On the other hand, you can talk about the epic in a narrower sense of the word, understanding the heroic songs and other adjacent genres under it.

b) ascending patriarchy .

Genuine place of epic is the ascending patriarchy when a person is so mastered by the forces of nature, which can heroically fight with them and heroically subjugate to them. In this era, the generic community became somewhat alive and here it, rationally using natural wealth, begins to realize itself as something in one, begins to remember its history And those great heroes who created it and organized, who were guarded and moved forward. This is where the epic hero appears, which is no longer dissolved entirely in the generic community, but already aware of its strength and its organizing power, although realizing himself, he still remains in complete unity with his generic community and continues to live only in it and Only for her.

2. Objectivity of the epic.

a) characteristic .

The first principle arising from the essence of the epic style is it objectivity . In fact, Epos is a primacy over individual. Epic artist as if at all uses his fantasy at all. Gods, even demons, even any miracles and incredible events, - all of this thinks in the epic really existing, and not at all the result of creative fantasy or enjoying the poet's fiction.

b) narration . What we now call the objectivity of the epic is usually called the narrative.

The narrative genus of poetry is characterized by the main position of the poet, by virtue of which he directs his attention to the image of the facts and events as if the poet himself was here at any reason and as if his own inner life was completely uninteresting him. Of course, the exclusion of own interests of the poet is fictitious, as objectivity and narration is also a certain position of the creative person and, therefore, in one way or another expresses his subjective mood. Homer was neither indifferent, nor apolitated, and his epic objectivity, as an art method, he does not always withstand.

c) the birth of subjectivism . Of course, this refers to the advantage of a strict epic style. And such, objectively depicted events from Homer as much as you like. They are filled with the poetry of Homer to the advantage. But Homer is not only a strict Epos. It not only depicts us those or other events associated with the Trojan War, which mental quite real historically. Homer undoubtedly introduces a mass of herself, creates a different kind of decoracing parts and often creates simply on the basis of its own fantasy. Examples of this non-epic style in the future we will find in large quantities.

Now we indicate only one reception in Homer, usually ignored in the characteristics of its style. This technique is that Homer does not simply give an objective picture of life, but very often it commented on himself, expressing a different kind of explanation, feelings, retro identities, etc.

3. Painting and plastic epic. This infinite love viewing of external things also led to the fact that in these things it was always fixed everything bright for sensation and all acute and expressive for ordinary sensual perception.

a) light and sun . Homer's world is Polon. sveta And the events in it are played with the biggest part with bright sunlight. The sun and his rays are true joy for the Homer Greek. When Zeus began to help the Trojans and frightened the darkness on the battlefield, then Ajax prays Zeus, so that he dispersed the darkness, and if they could die, then they died at the light of the day (Il., XVII.644-647). Achille, of course, compared with the Sun (Il., XXII.134 Sl.); Heather's headband is also compared with the Sun (Il., Xiv.184 Sl.); Wonderful Koni Resa is also compared with the Sun (Il., X.547). It is clear that the sun and the light from Homer is some kind of universal criterion for life and beauty.

Often this lighting is given in contrast with dimming elements. Hector (IL., XV.604-610) Compared with forest fire on the mountains; His eyes are also glowing angry fire. From his mouth, he has a foam, over his head swinging terrible, also a sparkling helmet, and Hector itself flies through the battle, like a storm. From the shield of Achilla, too, there is a wonderful light like a lighthouse for those who die in the waves (Il., XIX.375-381). Fires, flashes of lightning, glitter of weapons - these are ordinary images of Homer.

b) colors and paints . But not only everything is full of light in Homer. Everything is also full and krasok . In the "robust" dawn - "Saffron" Peplos. Aphrodite has a "golden" robe. Apollo - Golden-Light Hair. Demetra - "dark blue" covered. Laton - "Golden" Kudri. Irida is also "cereal". Fetida - "Srebarogaya". Zeus - "dark steel" eyebrows and the same hair at Poseidon. Drink the gods nectar "Red Color".

We give another example, but not from Homer's poems, but from Homer's hymns, from which many go back to Homeric Starne. In the VII Homer Hymn, the God of Dionysus with his "dark steel" or "dark blue" eyes and with the same hair in the "purple" raincoat, sitting among the "win-colored" sea, on the ship. And the ships of Homer and Black (Il., I.300), and with a "dark blue" nose (Il., XXIII.878), and "Bagry" (OD., XI.124), and "Carminnica "(Il., II.637), Sails -" White "(OD., II.425, XV.291). In all such images, no doubt also affects the childhood of mankind, as children, as you know, love bright paints, motley and glitter objects. Also, the Gomeov Greeks found in the surrounding nature and life exceptionally bright, motley and brilliant paints.

c) plastic . From this painting, we turn to plastic. And Homer and Greeks are generally always praised for the plastic nature of the artistic images created by them. However, this plastic was very rarely understood specifically, and the greater part of it understood it too wide, expanding it to something in general and generally expressive.

5. Periods of plastic worldview in Homer.Already the nearest analysis discovers that Homer does not all plasticly, as most critics think. The problem of plastic in Homer turns out to be extremely difficult. Apparently, here, as well as in general, Homer, we must find a reflection of the centuries-old evolution of human thinking and perception, starting from complete inability to portray the three-dimensional space and ending with the most real plastic and image sculpture.

a) the law of chronological incompatibility or the law of a plane . If you have a question about the most ancient way to submit an image in Homer, it will probably be the fact that F. F. Zelinsky called the law of chronological incompatibility in its article "The Law of Chronological incompatibility and the composition of the Iliad". 4) Zelinsky himself draws conclusions only for the composition "Iliad". However, it may be even more important to analyze the image and space in Homer.

2 . And Hector, and Achilles are the best of the best among the participants of the Trojan War. Both strong, courageous, hardy, true warriors are perfectly owned by all kinds of weapons. It is not by chance that Homer alternately calls them "worst". But the main difference is the extraordinary humanity of the decency of the heaker and excessive angry and the cruelty of Achilla.

Explorers of the ancient Greek epic have long paid attention to the fact that with the name of the heaker, any other events of the Trojan War, except those depicted in "Iliad". Hector's grave was not shown in the Troada, but in the philas (PAUS. IX 18, 5); This makes it possible to assume that by the origin of Hector - the Beotic Hero, and his battle with Achille originally took place on Greek soil. Only relatively late the image of the hector was included in the circle of legends about the Trojan War, in which Hector is more than any other hero, personifies the idea of \u200b\u200bpatriotic debt. It is probably why the image of the heaker enjoys a big sympathy of the author "Iliad". With a special warmth, Hector is depicted in the famous farewell scene with Androma's wife (VI 370-502).

Question # 4. "Message to the pisoms" or "science of poetry" Horace. Gondings Horace for poetry and creativity.

The book "Messages" is a significant step forward in the sense of art image of the internal life of the individual; Hoorchie himself was unlikely to realize the whole meaning of his collection, which he did not even count to the sphere of poetry.

The most complete seizure of theoretical views of the Horace on the literature and the principles that he followed in his poetic practice, we find in the third letter, in the "Epistle to Pisons", which later received - still in the ancient times - the name of "science of poetry". The poetic Message of Horace is not a theoretical research, which at one time was the "poetics" of Aristotle, and does not rest on any deep philosophical foundations. The work of Horace refers to the type of "regulatory" poetic containing dogmatic "prescriptions" from the standpoint of a certain literary direction.

According to the ancient commentator, the theoretical source Horace was the treatise of neopochema from Parion, to which it follows the location of the material and in the main aesthetic ideas. Poetry in general, the poetic work, the poet - this course of the definition is preserved by Horace. But the Roman poet does not aim to give an exhaustive treatise. The free form of "Messages" allows him to stop only on some issues, more or less relevant, from the point of view of the struggle of literary directions in Rome. "Science of poetry" - as if theoretical manifesto of the Roman classicism of the time of August.

Aesthetics "Science of poetry" is classicistic. The work should be simple, holistic and harmonious. Asymmetry, retreat, descriptive excursions, manners - all these are violations of the canon beauty. Without calling names and directions, Horace simultaneously draws its controversy and against jubilants (by this name, Cicero denoted a group of young Roman poets I centuries. BC, who, breaking with the traditions of a large historical epic (Annia and Lucilia), took the Hellenistic sample Poet, confessing the poetic principles of Callimah.), And against the Aisiansky-declamation style arising in Roman poetry, and against the archaizer attics. For the regulatory poetics of European classicism "Message to Pisons" had no less canonical significance than the "poetics" of Aristotle. Code of Classicism, "Poetic Art" (L "Art Poetique, 1674) Baual reproduces not only the traditional title of the Golden Epistle, but also the entire course of the presentation, with the same location of the material and with numerous borrowing of parts, which are often given in almost the literal translation. Horace Very soon he was recognized as "classic"; as he himself foresaw ("Messages" I, 20), his works were made by the subject of reading and commenting in the Roman school.

Question # 5. Features of the Homerovsky style.

Epic style: early (strict) and later (free). The poems of Homer are present as signs of the first and second.

The originality of the Homer style is:

Objectivity. Homer gives an objective picture of the world without chasing the details and details of the image. It is only important that this event actually happened, everything else has only secondary meaning. Even all the wonderful and fantastic (gods and demons) are depicted in Homer as if it really really existed.

"Real" image of life. Homer focuses on the outside of the events depicted. Spectating, auditory and motor sensations, as a result of which the psychology of heroes often only have to guess.

Traditional. Homer depicts everything constant, sustainable, century, for everyone is obvious and all recognized in the past, in the present for all mandatory.

Monumentality those. Hills, solemnity. The epic work always wakes up high, noble feelings, raises the heroic will, does not tolerate anything low.

Comparison method to which Homer resorts, wanting to clarify less understandable with something more understandable (for example, "Illiade", in which almost all paintings from the military region are compared with worldly life).

Image of heroes, which are not exhausted by epic "hero." Almost every of the main characters you can see the origin of an individual characteristic. At the heart of the uniqueness of the appearance of the epic hero lies gradation, degree of one or another quality. So, for example, Agamemnon surpasses all the authority of power assigned to him, Paris - Genebly, Odyssey - wit, etc. It can be said that none of the heroes are deprived of, standing out by one of some kind of quality and yielding in other properties.

The image of the gods, which occupy an important role. The development of events is carried out in 2 parallel plans: on Olympus and on Earth. The first plan is the highest, because there is often a predetermined course of events, then unfolding on Earth . Originality Homerovsky gods In the fact that they endowed with many human properties and weaknesses : quarrel, get married, build each other Kozny, etc. Homer often depicts them in reduced, humorous situations (for example, the Ares and Aphrodite, overastyled during a date and covered by the network of Gefesta.

Anti-war pathos. Homer transfers the process of destruction and destruction of human bodies with pain and amazement, longing the soul flying to Aid. None of the warring parties receives the moral elevation over the other. Author road thought of human community lots , difficult and sad, depending on the highest strength.

The presence of several epic genres . "Iliad" and "Odyssey" are generally heroic poems. But the Epos of Homer is characteristic of both the recent epic genres, for example:

Fairy tale elements. The fairy tale belongs to the depicted skeptical, considering it as a thing of a fun and entertaining story. "Odyssey" --Scake about the transformation of the sea god of a flow in different animals and how Meneli caught him at that moment when a protein was a man, and made the future

Elements of the novel : The story about the search for the telemach of his father in Odyssey contains the elements of the novel adventure, and the whole second part of the same poem, starting with the XIII songs, is the elements of the family novel.

Elements of lyrics : "Iliad" - a scene of the goodbye heaker with his wife Androma in front of the battle.

Elements and tragedies and comedies With all the dramatic conflicts peculiar to them. Tragic almost all the basic heroes of both poems. Tragic ahill. Doomed on death in young years, and he knows about this my doom. Tragic death of Patrole. Tragic fate and all Trojan leaders whose death is also predetermined over.

Elements of Commission - Draga Odyssey with a poor Irome on the threshold of the palace where the grooms are sang. This comic reaches the degree of burlesque when the sublime is depicted as lowlands. Olympic scenes are almost always given by Homer in the style of burlesque. The well-known example of this is a song "Iliad", where the married jealousy is depicted. Zeus wants to beat his spouse, and the Krivo-legged Ghefesta is trying to laugh the gods with jokes.

Elements of humor . Humorous filed by Aphrodite, when she enters the battle and gets wound from the death hero of the Diyeda, about which her gods on Olympus appeared by ridicule.

Elements of irony gomer's poems are very noticeable. Agamemenon in "Iliad" orders his army to go home, and in fact the army of this again has to take on the weapon and fight.

Satire elements. Cyclops are depicted as caricature and satire on people living without any laws. Fercite depicted by a freedom as a parody of a citizen, a soldier and an aristocrat. Satiric traits a lot in Agamemnon, which surprises with its greed, despotism, cowardice and many other vices

Question # 6. Theme Didona and Aneu in "Enievid" Vergilia

The legend of the Didon and Ether first was described by Neviy in the III-II century BC. Later, it turned on Vergil to his ENEIDA EPOS (written in about 29 g. BC). The work of Virgil was so popular that the inhabitants of Pompei decorated their houses from it. Russian authors often appealed to this topic (A. Akhmatova "Do not scare - I still like"; Brodsky "The Great Man looked out the window ...")

After the terrible storm, the Enai ship (the widow who lost his wife in the last three) approaches the shores of Africa (the storm and direction of the ship are arranged by the gods), where the rules of Didon (also lost his spouse and who did not know family happiness, but constantly refuses woven grooms). Eney tells about the war, adventures and travels, and Didona falls in love with a brave man and maternal love loves his son from the first wife. She gained female happiness and partly even forgot about the state, she is based on it. Evening's response is not so much expressed, and the artistic expressiveness of the image of Didona is such that in the fourth book she is like a character practically overshadowed the main character. In this book, there is a temporary stop in the way of Enai, "apostasy", which they are overcome (the moon of Jupiter predicts him: he will have a kingdom and a third wife) and he, something explained with his beloved, continues his way, but the price of life is the last that could not survive the separation and committed suicide, from which in the soul of the hero remains pain (as evidenced by their meeting in the kingdom of the dead).

Didona entered the circle of world female images embodying the heroism and the sacrifice of love, and the history of love with Eneem in the history of culture acquired a famous self-effort (for example, the Opel Persell "Didona and Eney", Marlow "Tragedy Didona")

The topic Didona and Eney is the topic of sacrificial love, finding female happiness and bitter disappointment (the death of the first husband, the escape of the second), the topic of confrontation of the desire, the dreams, what I want (Didona) and the fate of what is needed (Eney). This is the most dramatically stressful part of the poem, and the artistic is the strongest. From the point of view of the ideological depression of the epic, it is also important: in the tragic break, Enai and Didona, the Romans saw the modests of the deadly hostility of Rome and Carthage, which ended with three punic wars and the destruction of the latter.

P.. S..: The character and action of the Enai will correlate with the question 12: Eneta as a man of fate.

The following genres related to the declamation lyrics:

1. epigram,

1 The international genre was considered elegy . This is a poem

medium length, moral and political, later loving content, without

distinct composition. Ancientary species of Elegy is considered

military heroic which is very close to Epos. Hero of this Elegia

makes feats consciously, not for the good of the kind, but for the state (Callin, Tirti). Another type of Elegy - elegy personal destiny . These elegances are reflections about themselves, about the place of a person in the world, about moral norms (archives). Third species of Elegy - philosophical and political elegtion. It is an expression of political thoughts in semi-digital form. In this form of Elegy dominated reflections the author about the state policy of the policy, about the interaction of various Solv State.

2.Eepigram - short poem of arbitrary content,

ascending to the ancient inscriptions. Epigrams were written by Elegy Distich, differed in brevity and accuracy.

3.Gal - This is a brief poems of instructive philosophical content. Gnomes formulate generally accepted positions and are close to aphorism. Gnome also distinguished brevity and accuracy. The thought of the gnomes concerns the main issues of human life. This type of poetry was very popular among the ancient Greeks.

4.Amb. - the genre of ancient Greek poetry is mainly accusatory

character. A peculiarity of Yambic poetry is laughter as well

a certain size and foot with an emphasis on the second syllable. Greeks believed in

the cleansing force of laughter, so everything was dried.

Two types of Yamba have highlighted:

personal ridicule;

riddling public relations.

The jamb differed in an extraordinary liberty, there were no restrictions for them.

Jamb archiloch.

Yamba poetry is not an invention of archille, as many thought: it arose much earlier - probably, even in connection with the cult of Demeters (the servant of the Eleusinsky king, named Yamba, decided to make faded demeters with obscene jokes)., I.e. goes back to folk roots. As the Homeric Hymn, the servant of the Eleusinsky king Keley, named Yamba, launched the sorrowful demeter with obscene jokes. The jamb was used to the well-known moments of the festive procession from Athens in Edvexin, when according to customs, the expressions of a mocking and humorous character were required.

With the word "Yamb" in the Greeks, generally speaking, the idea of \u200b\u200bthe comic nature of the work was connected, while in the new literature, the Yamb is a concept exclusively metric. Jamb - connection of a short syllable with long. Archiromes (AR.) The most frankly expressed individualistic trends of the era: the individual who dropped the close bonds of the ancient genital morality, here it clearly opposes itself to the team as a self-sufficient free personality, not subject to any opinions and any laws. Ar. He lived at the beginning of the 7th century, became famous for his jambami. In his jambah, he told us how as a mercenary threw a shield in battle with Thracian barbarians. His romance is known with the absence, the daughter of Likamba, who opposed to this marriage. Ar. I revenge on the yambami and brought to suicide (!). In his jamba, ar. Also expressed his love for challenge, there are also jamb dedicated to friends discussing the vital philosophy of the AR. (optimism philosophy). In the jambahi ar. We find morality, devoid of any boredom, clear, calm trust in the flow of life, ranging from Ares, God of war, and ending with muses, goddess of art; Starting from humor about her own treason and ending with a formidable curse to a friend. Ar.-Warrior, Lovers of wine, a monastery and a meno-naughty, poet, "Celebrated", morally unstable and passionate life, even a philosopher, reminding the frequency of life, but also the consisting of us by the teachings about her eternal return.

Question # 8. Comedy Float Art.

Tit McC on nicknamed Float ("Floor") is a prominent Roman comedian (mid 3 V.- 184 BC). The plant was attributed to about 130 comedies, but the genuine was considered 21, among which "treasure", "Parasita's tricks", "boastful warrior", "slave - deceiver." The Float worked in the field of "Palliates", comedy with the Greek plot, reworking the Greek places for the Roman scene.

The Float is mostly depicting young merchants in his comedies, often leading trade in the overseas parts, shows the conflicts of children with their fathers that interfere with their personal life, conflicts with pivots, from the hands of which you need to pull out your favorite girls, with the denders who have to take money. In the comedies, the hatred of the Float to Roshovshchikov, Summists, is felt everywhere. The brightest images are smart, deft, energetic slaves. They help their young owners to arrange their personal life. Language, close viewers. The main characters of grotesque, their features are hyperbolic. The six-star spoken yack is replaced by a semi-strong choree or an eight-stranded anapest. Choir, as in the newatical comedy there.

The plander knew Greek Lit-Ru, Greek dramaturgy, and he used the plots of a newly catalized household comedy, as in his time when the Aristocratic Senate stood at the head of the State-Wa, the poet could not not give plots from Italian life, satirically depicts his directly contemporaries.

The FLAUT used the plots of the newlyantic comedy of the Diffil, Demofila, Philena and Menandra, but not the plots of Aristophan, because the comedies of Aristophan were too politically the sharp, and the problems set in them were not relevant for Rome. The plots of the same household newly assertive Comedy were successfully used and, discovering them, could resolve the issues of their contemporaries that interest. One of the most sharp comedies - "boastful warrior"

The ratomanization of the Greek plots is that the Float often contributes to their comedy features of the Roman lifestyle, Roman culture, the Roman court, Roman self-government. So, he talks a lot about the pretoras, and these are Rome officials, about the Senate. Making the names of Roman cities and the image of Nats. customs. He took the plots from the Greek comedies, consonant with Roman life and allowed problems in them, relevant to his society.

The favorite Float figure - the slave - is the most dynamic mask of the comedy, the least constrained in his actions, words and gestures with the requirements of the power and decentship, which are free. The slave is not only intrigue carrier, but also the focus of the buffon element. He swears the audience to the junciation and a parody of a high style, "philosophizing" and a fallen, running around the scene and frantic televisions, finally, the fact that it can be sprinkled or every minute. From the height of more stringent aesthetic requirements, the later Roman criticism (for example, Horace) strengthened the Float in the caricature and unbeatable images. The purpose of the Float is to continuously excite laugh by each scene, phrase, gesture.

Ticket # 9. Makarova Catherine.

Origin of lyrics and its types. Sappo as a representative of the monodium lyrics.

Lyrics -the birth of literature, where the poet's voice is well heard, transmitting his feelings and thoughts in small poems. It happens from the Greek word "Lirios", which means "executable on the lyre" or "singing under LIRA". The Greeks called this word at all, not poems, but songs that sang under Lira.

The appearance of works of the lyrical genre belong to the VII-VI centuries. BC. And they are determined primarily by significant changes that occurred in the life of most Greek communities.

Greek lyrics accepted for three genres:elegy, Jamb and Melik (song lyrics).Not all of these genres were performed under the sounds of the Lyra: For Elegy and Yambov, musical accompaniment was not necessary; Sometimes, the jamb was accompanied by the sounds of flutes, and the melic works could be performed under the sounds of both the lira and flutes.

The lyrics are based on mainly a cult and ritual folklore song. Each type of lyrics, as for every genre of Greek poetry, a certain poetic size was enshrined; Only melic poets could use various sizes even inside one verse.

The main feature of the lyrical genre , Meliki, It is its connection with the musical accompaniment, which was viewed brighter than in Elegia and the Yambah. But gradually Melika lost an organic connection with music and became a purely literary genre. Her main difference from Yambov and Elegia, where the poems or two-oful verses alternated, is that meliac poems were built mainly on alternating stanza, complex and diverse in size.

Melic poetry in ancient Greece is customary to share on solo (monodic) and choral.

Solo Lyrics received special development on the island of Lesbos, the birthplace of two major poets - alkey and Sappo.

Sappo(The end of the VII-first half of the VI century. BC) belonged to the generic aristocracy, lived for a long time in exile (on Sicily Island), but at the end of life returned to his homeland, where he died, rushing, by legend, from the rock In the sea due to unrequited love for the young man. This legend reflects the character of the Sappo lyrics, the main topic of which was love.

Most Sappo poems are devoted to girlfriends, many of which, as we know, also wrote poems. It would be impossible if they lived, for example, in Athens, where the woman was a gate, and her classes would cause only condemnation.

Sappo briefly peered into the world of the human soul. She came up with three ways talk about it. The first is to convey the mental confusion through the image of bodily states, psychology - through physiology.

Another reception is more complex and thin. Sappo describes a deity that is satisfied with love - Eros(Erote). But it is interesting that she elects such epithets that can be attributed to both a person, or rather, to the state in which he is, falling in love. He is also nice, and sadly at the same time, he is in confusion, like trees under the gust of the wind: "Eros again tormented me fucking - / bitterly sweet ..."; "Like the wind, from the mountains on the oaks, flushing, / Eros Souls shook us ..."

Sappo and third way to tell about your feeling. Her confusionin the "Hymn of Aphrodite" was seen with her eyes and described the mouth of her goddess.

In the work of Sappo, many ritual songs. This increases the value of her heritage, as the Greek folklore "in its pure form" did not reach us, and we can judge it only in poems of those poets that voluntarily or involuntarily imitated folk art.

Ticket # 10. Roman novel.

It depends on the Greek, but differs from it and technology and structure, and its life-witting; (Pondronia and Apulela are historically reliable and details of the background, and characters.)

Lutions of Apuli (approx. 125 AD - after 170 N.E.) - Ancient Roman writer, philosopher Platonic, Ritor, author of the famous novel "Golden Donkey".

The style of "ZO" is emphasized by ironicheni-axiscentric, abundance oflaburas, healing themselves

Roman is a veiled esoteric flow: the first 10 books are full of feelings. The pleasures and temptations of life leading to degradation and the transition to the "Skotsk" condition, and the latter demonstrates the elevation of a person through an introduction to the divine secrets.

In the novel "encrypted" the life of the Apulean himself, the cat. was devoted to various mystical teachings and was convicted on charges of witchcraft.

The work is a satire for all the features of the Late Rome's life, including religion. Ironich-E notes in the description of the initiation rites, through which the louches passes, speak of the religious skepticism of Apuleua.

Speech all the time talking about transformations - including spiritual

Hero of the novel of the louches (coincidence with the name of the author!) Travels through the Fessiona. - became like the Motherland of Magic Art, Lutions are convinced of this in his own sad experience.

In the thirst to join the mysterious magic, the Luchi comes into contact with the maid, involved in the IS-Wu of Mrs., but that mistaken turns it instead of birds in the donkey. The person Mind and the people of tastes retains. He knows the means of liberation from Char: it is enough to unwind roses for this. But the opposite transformation is delayed for a long time. "Osla" on the same night kidnapped the robbers, he is experiencing various adventures, falls from one owner to another, everywhere tolerates beatings and repeatedly turns out to be the edge of death. When the riche animal draws attention, it is intended for a shameful public presentation. All this constitutes the content of the first ten books of the novel.

At the last moment, Luke manages to escape to the seashore, and in the final 11th book he draws a prayer to the goddess Isis. The goddess is in a dream, promises salvation, but so that his future life is devoted to serving her. Indeed, on the day of the day, the donkey meets the sacred procession of Isis, chews roses from a wreath of her priests and becomes a man. Now the regenerated Luch acquires the features of Apulela himself: he turns out to be a native of Madaur, takes a dedication to the sacraments of Isides and goes on the divine suggestion in Rome, where the highest degrees of initiation is honored

11 Books, Plutovskaya Roman, "ZO" - gave the name Augustine.

transformation of a person in an animal international

a number of stamped novels, with the plot of non-related and introduced as stories about the seen and heard before turning and after it

different and ending: Isis intervention, religious solemn ending

objectives A. - Entertain and moral

plug-in (4.5 kN) - a fairy tale "Amur and Psyche"

11 kN - strange, religious, some believe that belongs not a .. invention:

donkey moving\u003e sees all the time new

with it, everyone says everything, they are not "shy" unexpected, folk, neologisms, fascinated words, a lot of Greek borrowing.

Known high score of the book by Augustine BlessedCot. Also reports its second name - "Golden Donet" epithet "Golden", indicated the admiration of readers.

A possible source-satirical story "Luch, or died - perhaps imitation. This is the story of a young man, a cat. Because of the passionate desire, to know the secrets of magic mistakenly turned into a donkey instead of a bird.

In the present time is recognized as the most likely that the "metamorphosis" of Luke from the pits served as a common model for the work of Pseudo-Lukian and for the Apulean's novel. One of the indirect evidence of the immediate coupling of Apulean with Lukee is also seen in the fact that the product of Apulean is the same name as the work of Luki from the Patra.

Question # 11. The device of the Greek theater and theater representations.

The theater representation in the heyday of Greek society was part of the part in the cult of Dionysus and took place exclusively during the festivities dedicated to this God.

The order set about 501 - 500 GG. For the "Great Dionysius," provided for three authors in the tragic contest, of which each represented three tragedies and the drama of satirs. On comedy competitions from poets was required to provide one play. The poet was not only the text, but also the musical and ballet part of the drama, he was a director, a balletmaster and often, especially at earlier time, an actor. The assumption of the poet to the competition depended on the archon (member of the government), headed by the festival; This method also carried out ideological control over the plays. The costs of making the drams of each poet The state has peased on a wealthy citizen who was appointed ferret(Head of Choir). The fermented chorus, a number of 12, and later, in 15 people for the tragedy, at 24 for the comedy, paid the participants of the choir, the room in which the choir was preparing, rehearsals, costumes, etc. The puff of the production was dependent on generosity of Khorega. The costs of the ferrers were very significant, and victories in the competition were awarded the cumulative Khorogo and the director-poet. With an increase in the number of actors and the actor's department from the poet, the third, independent participant of the competition was the chief actor ("Protagonist"), who selected assistants: one for the second, the other for third roles ("DevereGonist" and "Titagonist"). The appointment of History of his poet and the poet of his main actor took place in the Folk Meeting, chaired by Archont. In the IV century, when the choir lost its importance in the drama and the center of gravity moved to the acting game, this order was recognized as inconvenient, since he put the success of Khiga and the poet in excessive dependence on the game that got the actor and the success of the actor from the quality of the play and setting . Then it was established that each protagonist performed for each poet in one of his tragedies. Caring for the room for spectators and performers, first about the device of temporary wooden structures, and subsequently on the maintenance and repair of the Permanent Theater, the Athenian state ordered private entrepreneurs, passing the room to the spill. Therefore, the entrance to the theater was paid. However, in order to provide all citizens, regardless of their material situation, the opportunity to visit the theater, democracy since the time of the pericles provided every concerned subsidy in the amount of fee for the entrance for one day, and in IV century. And for all three days of theatrical ideas.

One of the most important differences between the Greek theater from the modern was that the game took place in the open air, in daylight. The absence of the roof and the use of natural lights were associated, by the way, and with the huge size of Greek theaters, significantly exceeding even the largest modern theaters. With the rarity of theatrical representations, the antique theatrical premises were to be built on the mass of the clernts of the holiday of citizens.

In connection with the choral origin of the attic drama, one of the main parts of the theater is orhestra("Playground for dance"), on which dramatic and lyrical choirs performed. The ancient Orhestra of the Athenian Theater was a round raven plate, a diameter of 24 meters, with two side inputs; The audience passed through them, and then took the choir. In the midst of the orchestra was altar Dionysisa. With the introduction of an actor speaking in different roles, it took a dressing room. The room is the so-called skena ("scene", i.e. tent),it was temporary and first there were those fields of vision of the public; Soon it began to build behind the orchestra and artistically draw up as a decorative background for the game. Skna has now portrayed the facade of the building, most often the Palace of El Temple, before the walls of which the action is deployed (in the Greek drama, the action never happens inside the house). Before her erected colonnade(prospects); Between the columns, painted boards were set, which served as if conditional decorations: they were portrayed by something, resembling the situation of the play. At the same time, the device remains unclear one very essential for theatrical matter: Where did the actors play? Exact information about this is available only for late antiquity; The actors performed then on stage, Highly rising above Orhestra, and were thus separated from the choir. The third component of the theater, except for the orchestra and Schen were places for viewers. In V c. These were wooden benches, which were subsequently replaced by stone seats. Mechanical devices in the V c theater. It was very few. When it was necessary to show the viewer what happened inside the house, the platform on the wooden wheels was rolled out of the doors. (Ekakelem),together with the actors or dolls placed on it, and then arrived back. To raise actors (for example, gods) in the air, the so-called "car" served, something like a lifting crane.

The participants of the game performed in mask. The Greek Theater of the classic period completely retained this heritage of the ritual drama, although it no longer had the magic value. The mask answered the installation of Greek art for the supply of generalized images, while not ordinary, but heroic, towering over the household level, or grotesque comic. With a sharp change in the mental state, the actor in different cameras put on various masks. Thanks to the mask, the actor could easily perform for one play in several roles. In the representation of the Greeks, mythical heroes exceeded ordinary people with tall and widths of shoulders. Therefore, the tragic actors wore custra(Shoes with high inventive soles), a high headdress from which long curls descended, and put the pillows for suit. They performed in the solemn long clothes, the old closure of the kings, which only priests continued to wear.

Question # 12. "Eneida" Vergilia. Enei as a man of fate (ax)

Enida "- unfinished patriotic epic Vergil, consists of 12 books written between 29-19. After the death of Vergil "Eniida" was published by his friends beolate and flea without any changes, but with some abbreviations.

Vergili took up this plot at the request of Augustus to excite the national pride in the Romans to the legends about the great fate of their progenitors and, on the other hand, to protect the dynastic interests of August, as if the descendant of Enai through his son Yula, or Askania. Virgil in the "Aneida" closely adjoins to Homer; In Iliad, Eney is the hero of the future. The poem begins the last part of the wandering of Enai, his stay in Carthagin, and then he already tells episodically former events, the destruction of Ilion (II), the wandering of the Enai after that (III p.), Arrival in Carthage (I and IV p.), Travel Through Sicily (V p.) In Italy (VI p.), where a new number of adventures of a novel and militant begins. The most execution of the plot suffers from the general disadvantage of Vergil's works - the lack of original creativity and strong characters. Particularly unsuccessful hero, "pious Eney" deprived of any initiative, managed by the fate and decisions of the gods, which patronize him as the founder of a noble family and the executor of the Divine Mission - the transfer of LAR to a new homeland. In addition, the "Aneid" lies an imprint of artificiality; In contrast to the Homerovsky epic, published from the people, "Aneida" was created in the mind of the poet, without relationships with the folk life and beliefs; Greek elements are confused with Itali, mythical legends - with history, and the reader constantly feels that the mythical world serves only by the poetic expression of the national idea. But Vergili used all the power of his verse on the decoration of psychological and purely poetic episodes, which constitute the immortal glory of the epic.

"ENEY as a man of fate" on ax(Vladimir Nikolaevich Toporov (July 5, 1928, Moscow - December 5, 2005, Ibid) - Russian philologist) : "The meaning of the life of the Enai is the higher that he himself created himself and prepared his future with a loaf, of course, on all those signs that fate sent him and who could notice and the meaning of them to learn only such a person who was Eney, and only in Such circumstances that fell out to his share. Virgil Eney is taken mainly in the middle of his way, in the most indefinite and unstable period of his life, among the wanders resembling rather chaotic throwing, rather than the way, although the remote and at first there is a completely unclear goal is still present, but the reality itself is not yet Completed consciousness. Eney is blood-connected with its past, but really this past is no longer there, and he can only touch him only in memory. The memory of three is both comforting and bitter sadness. She is painful and acting decomposingly, if you see in three real support, and in my personal Trojan experience a certain closed, self-sufficient, completed and, therefore, after her death, the exhausted space. But this memory and is creative, if this experience is comprehended to the level of the idea and it will be seen that resource that takes on the road and in a certain sense this path controls. But the past, whatever it was, entered into memory and enriched the Enai experience. With the future even worse: he doesn't have it (or rather, in his circumstances, he has no one to see this future, nor even reflecting him there is no possibility), it cannot become part of integral experience and life resource. There is only a threatening effect of real, and it is, in fact, not life. Locked and past and real in the space of death, Eney, at least theoretically, can wait for salvation only by the future, which, fortunately, Enai, discovers himself in front of him, notifying him about himself with different signs, and he finds himself in the circumstances experienced In myself a certain last reserve, allowing him to notice these signs and respond to them, in other words, to enter into salvary contact with the future - and it is with its future. The memory of the past and attention to the signs of the future, the deposit of hope - these are those two gifts, which they define the path of Enai to the future and at the same time control it.

If not to enter in particular, the Enai on this path has to face three rows of factors, on which the success of the path depends and, therefore, a positive decision of the task, which is in line with his destiny. These three circles of factors - the case, the will of the gods and fate - by nature of their external in relation to man. Their role in the development of the strategy of the behavior of Eney is different as the nature of these factors is different. The case, indeed, "case", and this is important in that it practically coincides with his own sign both in time and materially, real. It follows from this that the iconic aspect of the case plays a minimal role, since the "victim" from the case deals with the case itself as such and only; The sign of the case before the case of the case itself is usually not fixed, and therefore it is practically useless to change behavior in order to prepare for the very case. For the same reasons, it is meaningless, more precisely, deprived of practical expediency. Search for the cause of the case: the reason and the consequence of how they coincide with each other in the unity of the very case, just as they coincide in it meaning and meaning. Finally, most often the case has not too significant "disturbing" power: Rather, it is like a footboard, which causes stubbing and delay, a rayma failure and deviations, but not by canceling the path selected by the traveler. But in a short minute, the fascinating "cases" on the previous segment of the way can make an inhibitory effect, cause a crushed reaction, despondency even in harshly controlling their emotions and not inclined to relax Enea.

Fate in this triple acts in "Aneida" as a macro-factor. As the highest and last trial of "impersonal" about a person. Here it does not depend on a person, and his behavior cannot change her last words, although the man himself like Magomet to grief, can go towards fate. Since fate detects themselves with an eye only in his last word about a person, and (Vergilia, at least), she does not accumulate their decision, does not develop gradually, consistently, summarizing, - it is fixed and also detects themselves at once and entirely, in one Point chronotope. In this sense and fate it turns out, in fact, outside of causal dependence (in another embodiment, the situation is reminded by what is described by the third postulate of boron), but at the same time fate - a person's testator, and on how it will endure this test, It does not depend on the word of fate, but the willingness of a person to meet her. In the limiting case (and the example of Enai from this category), such a readiness makes a person from his congenial destiny, allows him to enter her contact and creates a fundamentally new situation: the last word of the fate of a person is no longer a sentence, not an act of tough determination, subordination, essentially violence or - careful - not only the verdict, but the provision of human rights and the possibility of free choice of its destiny. "

Question # 13. Eschil as "Father Tragedy". The contribution of Eschil to the development of drama.

Eschil, the poet of the era of the formation of the Athens State and Greek-Persian Wars, is the founder of the ancient tragedy in its established forms. Eschil, who introduced the second actor, was realized as the "Father of the tragedy". The playwright, standing at the origins of the genre managed to create creations, survived the centuries. Ancient scientists were numbered in the literary heritage of Eschil 90 dramatic works (tragedies and drams of satirs); The entirely preserved only seven tragedies, including one full trilogy. In addition, 72 plays are known to us along the title, of which it is usually seen what mythological material in the play was developed; Fragments of them, however, are few and small in size. Eschil elements of traditional worldview are closely intertwined with installations generated by democratic statehood. He believes in the real existence of the divine forces acting on a person and often insidiously by the network. Eschil adheres to an old idea of hereditary generic responsibility: The ancestors' wines falls on the descendants, entangle them with their fatal consequences and entails the inevitable death. On the other hand, the gods of Eschil become obsceneers of the legal foundations of the new government, and he pulls out moment of person's personal responsibility For freely chosen behavior. In this regard, traditional religious performances are upgraded. Developing the thoughts scheduled for Solon, Eschil paints how the divine retribution is being introduced into the natural course of things. The ratio of between The divine effects and conscious behavior of people, the meaning of ways and objectives of this impact, the issue of his justice and goodness is the main problem of Eschil, which he deploys on the image of human destiny and human suffering. The material for Eschil on his own admission is the heroic legends (for example, Homer). The fate of the hero or the heroic kind of eschyl most often depicts in three consecutive tragediesconstituting plot and ideologous holistic trilogy; It follows the drama of satirs to the plot of the same mythological cycle to which the trilogy believed. However, borrowing the plots from the epic, Eschil not only dramatizes the legends, but also rethinks them, permeates with its own problems. In the light of this problem, the direction of the dramatic innovation of Eshil is becoming understandable. Aristotle in the already cited 4th chapter of "poetics" summarizes them as follows: "Eschil first increased the number of actors from one to two, reduced the parties of the choir and gave the championship to the dialogue." In other words, the tragedy stopped being cantata, one of the industries of the Mimic Choir Lyrics, and began to turn into a drama. In the Dashchilov tragedy, the story of the only actor about what is happening behind the scene and his dialogue with the cornea served only by the reason for the lyrical outpouring of the choir. Thanks to the introduction of the second actor, it became possible to strengthen the dramatic effect., opposing the fighting forces to each other, and characterize one acting face by his reaction to messages or actions of another. However, Eschil came to widespread use of these opportunities only in the later period of his creativity; in the early works of the party, the choir also dominate the dialogue actors.

Saturated with dramatic movement and bright images, "Orestea" is extremely rich as well and ideological content. This trilogy is extremely important to clarify the worldview of Eschil. The poet of the era of the growth of Athenian democracy, Eschil is convinced of the meaning and good of the world order. In the mouth of the choir in Agamemnon, he travelers against the idea, as if happiness and misfortune mechanically alternate in the lives of people and proclaims the inviolability of the law of fair retribution. Suffering is represented by him one of the instruments of the fair direction of the world: "Heading is acquired by the suffering." Clearly expressed in Orestee and the political views of Eschil. He exalted the Areopag, an old aristocratic institution, around the functions of which the political struggle was deployed around these years, and believes "nonsense" no less dangerous than despotism. Eschil occupies thus conservative position in relation to democratic reformsconducted by the pericla group, but conservatism is also addressed and against the parties to the Athenian democracy, which are its wrong. The power of money, inhuman attitude to the slaves, the conciliatory wars - all this meets the unconditional condemnation by the artist, the harsh world of which is based on a deep sympathy to human suffering. The preserved tragedies make it possible to schedule three stages in the works of Eschil, which at the same time are the stages of the formation of the tragedy as a dramatic genre. For early plays ("Supils", "Persians") are characterized by the predominance of choral parties, the small use of the second actor and the weak development of the dialogue, the abstractness of images. The average period includes such works as "seven against purge" and "chained Prometheus". Here the central image of the hero appears, characterized by several main features; gains greater development dialogue, coprols are created; The images of episodic figures (Prometheus) become clearer. The third stage is represented by "Orestee", with its more complex composition, an increase in drama, numerous secondary images and the use of three actors.

Many teachings of Eschil already soon after his death seemed archaic and little dramatic; They include, for example, a dull sorrow, a long silence of actors. So, Prometheus is silent when it is caught; Long silent and Cassandra in Agamemnon, despite the speech addressed to it: as the most bright example, antique sources lead the "nioba" tragedy, the heroine of which continued to a significant part of the action remained real-solen to the grave of his children. The art of conducting a dramatic dialogue is located in Eschil still in the process of becoming, developing from drama to drama, and Lurism remains one of the most important means of artistic impact. Choir prevailed in the "senders" and "Persians", plays a big role in later tragedies like a mood carrier ("Agamemnon", "Hoăofors"), and sometimes as a valid person ("Eurmenda").

The emotional power of the tragedy of Eschil is supported by both a powerful pathos of its language, it is characterized by well-known solemnity and magnifier, especially in lyrical parts, which, together with a low dynamism, already at the end of V c. It seemed somewhat archaic. Late antiquity appealed to Eschil less often than to Sofokla and Eurypid; Eschil read less and quoted less. The same took place in the XVI - XVIII centuries. The impact of Eschil on world literature was much more indirect, through the ancient successors of Aeshil, than directly. From the images created by Aeshil, had the most important importance, but not all the authors who developed the myth of Prometheus appealed to Eschil. The power and greatness of the tragedies of Eschila received due rating only from the end of the XVIII century; However, bourgeois researchers and today distort the image of the founder of the tragedy, emphasizing the exclusively conservative, religious and mythological side of his work and ignoring his deeply progressive essence.

Question # 14. "Idyll" of Foocrit and "bucolic" Vergilia.

The creator of idyll was a poet Foocrit (Theocritters) Poet III century. BC e. The term idyll means according to one interpretation, "picture", and otherwise, more believable, "Song". Thus called in antiquity of a small poem of a small size, not stacked in any of the usual genres.

Wrote bucolic idylls - shepherd songs. The bucolic genre had a support in Greek folklore. Antique sources report the songs of shepherds playing on the swirls, about their ritual competitions during the "cleansing" of herd and pounds, as well as at the festivities of the "Lady of the Beasts" of Artemis. The contest in the shepherd songs ("buoy"), as it is represented in the poeocrites, has a typical structure that close resembles the "competition" scene in ancientathical comedy. Two shepherds meet and hardened a pass, which ends with the challenge to the contest in singing; Choose a judge, he determines the order of the contest and pronounces its sentence at the end. The most contest is that rivals either consistently perform along a large connected song, or are transferred to short songs, which should be close on the topic and are imposed by magnitude.

Foocritus against urban civilization. Comes to natural. His idylls - scenes with wolpas, which compete in songs (more often love). Foocritus belongs to them with irony - he is a resident of the city, the nonsense, leads the game with the reader. With a sentimental style, it is mixed, often within the same poem, ironic style, sometimes even parody, sketches of household traits and superstitions.

Idyll I. Tirscis

"Tirscis" - a typical sample of rural shepherd idyll in which

a beautiful shepherd song about the death of the mythical shepherd Dafnis is inserted. We have an example of the literary design of the people's shepherd song as a genre. Shepherd with a beast. Shepherd Tirscis tells Kozopasu, which sings well. The goat says that he has a very beautiful cup and asks to sing. For the song gives the cup.

A comfortable landscape appears, has a great influence on all further literature. Foocrita has a wonderful weather. Tomny Lone Love is an area, in the image of which foccite \u200b\u200bis a master.

Idyll XV. Syracusyanka, or Women at the Adonis Holiday

We have a bright real -ative scene; In this genre, Foocrita shows great art. A place of action - Alexandria, in Egypt; Active persons are two urban chatter coupons. Two provincial (from Sicily) women came to a holiday, around a crowd of zooak, soldiers, cavalry. They make their way to the palace, where the singer performs. After an exquisite solemn anthem, King Ptolemy, a household ending: one of the friends recalls that her griming husband has not yet had breakfast and it's time to go home.

Idyll XI Kikop

Erotic red thread passes through all the work of Foocrit. Love is a disease; The best medicine from her is to pour out your passion in the song. In this idyll, such a love song of Foocrit, in accordance with the main genre of his poetry, invests in the mouth of the mythical shepherd cyclopa polyfem. Extremely comic one one-eyed giant shepherd, pouring his love for Nymph Galatee,

offering her to fall, if he seems to her too much, and ready to give even his only eye for his beloved.

Publi Virgil Maron (70 – 19 ) In essence, he writes all three poems by order of August. "Bulk" - shepherds poems, "Georgiki" - agricultural. "Eneida" - heroic epic. Unites them all the idea other than Greek, Virgil renounced the past and called to revive in the future.

"Buculates"

1. shepherds Poetry

2. includes 10 poems - eclogy

3. the past is always happy, the present sad

4. sources - idyllic poetry of feocrite, almost retelling

Differences from Foocrita:

1. Heroes wear conditional masks of shepherds, in fact educated poets, foccrites emphasized the external coarseness and the well-known primitiveness of the spiritual world of his heroes and described household details of rural life with hobbies. Vergiliya also creates the perfect world in his "buculates" inhabited by morally clean and at the same time who are thinly felt and poetically gifted people wearing, in essence, only pastech masks.

2. The world of nature is not just a background, it is filled with a mysterious life

3. Images are ambiguous, as in Hellenistic poetry

4. Nonflowing composition - Eclogs echogs

The "buculates", which were made in one of the most acute moments of the Civil War, marked the flight from reality in the perfect world.

Question # 15. Didactic Epos Hesiod.

The generic community was quickly decomposed, and if Homer was a eve of a class society, then Hesiod already reflects the orientation of a person within the class society.

Gesiod-writer 8-7 centuries D.N.E.The didactism of its writings is caused by the needs of the time, the end of the epic era, when the heroic ideals dried in their bright immediacy and turned into a teaching, instruction, morality. In the class society of people united this or that attitude towards work. People wondered about their ideals, but because It has not yet been ripe for purely trade and industrial relations and the old home-related, the consciousness of people has turned the latter in morality, the system of teaching, instructions. The class society has divided people on imumbers and the poor. Hesiod is a singer of the population of a ruined, which is not coming up on the collapse of the ancient community. Hence the abundance of gloomy colors.

"Proceedings and days" are written in the instruction of a brother of Perse, who from the wrong judges took away the land from the Gesiod belonging to him, but in the future it was broken. The poem-sample of the didactic epic develops a few topics. First theme Built on sermons of truth, with plug-in episodes about Promethea and myth about five centuries. The second is dedicated Fieldworks, agricultural tools, cattle, clothing, food, etc. Attributes of life. The poem is transferred with a variety of instructions drawing the image of a peasant who knows how and when it is advantageous to arrange your affairs, a rapid, far-sighted and calculating. Hesiod also want to be rich, because "The gaze of rich bold." Moral Hesiod always boils down to divine authorities and does not go further to the dispensing of economic affairs. Hesiod is very conservative and most narrow in its mental horizon. The style of the Gesiod is the opposite of luxury, verbosity and latitude of the Gomeov epic. He is striking his dryness and brevity. In general, the Epos style with all its distinguishing features (hekzameter, standard expressions, ionic dialect). But the epos is not heroic, but didactic, even the epic story is interrupted by an unknown gomer with drama of mythological episodes, and the tongue is shot by hundreds of industrial expressions, traditional formulas oracles and quite prose morality. Moralist is so strong and intense, which produces a very boring and monotonous impression. But Hesiod is observed and sometimes draws very live pictures of ancient life. He also meets the features of some poetry, but poetry is overwhelmed by moral and economic instructions.

On the example of his creativity, social shifts and contradictions can be observed. The poems of Gesiod affect the abundance of various kinds of contradictions, which, however, do not interfere with the perception of his Epos as a certain organic whole. Hesiod after the occurrence of a slave-owned building on one side of the poor, on the other, his ideals are associated with enrichment in the old way, then in a new sense. His assessment is full of pessimism, but at the same time and labor optimism, hopes that thanks to a permanent activity will come happy life. Nature for him primarily the source of benefits, but Hesiod is a big lover of her beauty. In general, Hesiod was the first historically real poet of ancient Greece, reflected the stormy era of the collapse of the generic community.

Question # 16. Basnie Fedra. Esop and Fedr.

Aside with the literary flows of the top, the activity of the Basinist Fedra, the slave, and then the freedman of the emperor of Augustus. The native of the province of Macedonia, half a quarter, Fedr has entered into contact with Roman culture and Latin. Starting from the 20th year. I century, he produces five collectors of Ezopova Basen. As an independent genre, the fable until that time was presented in Roman literature, although the writers (especially satyriki) sometimes introduced the fasteners of the compounds of the poet Horace, the historian of Plutarch, a friend of the "masters of the conversational genre" Dion Chrysostomom Lukiana, Joseph Flavia, Appiana and Eliana, Achille Tatia). The term "fable" should not, however, understand in too narrow sense; Fedr includes not only the "Basni", but also entertaining anecdical stories.

Greek fables appeared under the name "Ezopa" (the language that the Basini of the Ezopovsky Collection was written is the usual spoken language of the Greeks I-II V.V. N.E.-, but the compiler did not care about literary skills: he thought only about simplicity, clarity. , and publicly available), which at the same time was the hero of numerous jokes; Fedr has been following this material in Latin poems. At first, limited to the borrowed plots, he later tries to go to the original creativity. The title "Esopova Basni", according to the author, serves in later books only genre characteristic, and not an indication of the stories of the scenes Ezopu. The versa form of Basen Fedra is an ancient Jambic size of the republican drama, somewhat deviating from Greek type and has already released from use in the "high" literature, but the usual for the mass visitor of the Roman theater.

Fedr - Plebee poet. Choosing "Ezopov" genre, he is aware of his "lower" character. Basnya, Fedr believes, created by slaves who did not dare to freely express their feelings, and found for them an allequulant form of a joking fiction. An element of social satire is especially noticeable in the first two collections, which prevail the traditional type of animal fable. The choice of plots (albeit traditional), the nature of their treatment, the formulation of morals - everything indicates the direction of Fedra's Basni against "strong".

The first book opens with "Wolf and a lamb". Cooperation with "strong" is impossible ("cow, goat, sheep and lion"). Disagreements between "strong" bring "low" new suffering ("frogs, frightened by the fight of bulls"). The only consolation is that power and wealth more often lead to the dangers than poverty ("two mules and robbers"). In improving the position of the poor Fedre does not believe; With the change in state managers, "the poor does not change anything, except for the name of Mr." ("Donkey - old shepherd"). This is already a bass with a political tint. Political interpretation receives Fedra also a fable about the "frogs, asking the king"; It is true, however, to the tyranny of the piscistrate in Athens, but is drawn up in expressions that are much more applicable to the loss of republican freedom in Rome. Bass is ends with a call to humility: "Citizens, tolerate this evil so that the worst does not come." In some poems, contemporaries could probably see current hints, although the poet also assures that his satire is not directed against individuals. For example: Helios (Sun) wants to marry; The frogs scream: "He and so dries all the swamps, what will happen when he eats children?".

After leaving the first two collections, the author suffered for his courage: he became a victim of the persecution of sown, the Team of Emperor Tiberius, and fell into a difficult situation. In its following books, he is looking for the patronage of influential freeders. Satire becomes much more innocent. "To publicly frown - a crime for the plebei," Fedr Annia quotes. Increasingly appear fables of an abstract type, anecdotes - historical I am from modern life, household novels, like the plot about the "disadvantaged widow" ("Ephesus Matron" Petronia,), Arethadhiya, even the basal poems of descriptive or instructive content, and the author exhibits a big tendency to Popular philosophical moralization.

Fedr puts himself in the merit "brevity". The narrative is not delayed on the details and is accompanied by only a few illosant explanations of a moral and psychological nature. Characters are expressed by compressed and clear formulas. Language is simple and clean. As a result, there is still some dryness, and sometimes insufficient concreteness of the presentation. Mragling does not always follow from the story. Already contemporaries reproached the Basinist in the "excessive brevity and darkness"; touchy author sharply elegate with these "envious" and slap very highly regarding his literary merit as the creator of a new genre of Roman poetry.

"Glory", whom Fedr expected, did not come soon. The literature of the tops ignored him. Seneca in the 40s. still calls the fastener "genre, not tried by Roman dating"; Fedra he or does not know or does not recognize. In the late antiquity of Fedra's Basini, the prose, became part of the fastened collection (the so-called "Romulus"), which served for centuries for centuries and was one of the most important sources for medieval fables. Genuine Fedre became widely known only from the end of the XVI century. Both genuine and recycled FedR was a link between the Greek "Esop" and the New European Basney. Such well-known plots like "Wolf and Lamb", "Frogs, King", "Crow and Fox", "Wolf and Zhuravl", "Frog and Vol", "Rooster and Pearl Grain" and many others who found in Russian literature Classical poems in the Krylov, borrowed by the French Basinopian Lafontaine, directly used by Fedra's column.

Note: In Greek literature already GEZID (SC. 800 l. To R. X.) and Stainachor (VI century. Before R. X.) attributed to the authorship of several fables, but the most famous Basinople will be heard by Ezop, by origin of the FRYGET; His fables (all are preplanted) are distinguished by an unusually discriminant, clarity, simplicity, calm and wit, so it is not surprising that they have already widely spread widely throughout the current civilized world, altered into the continuation of many centuries until our time and now in alterations and translations. Make up the heritage of each, at least very little developed literature.

Examples of Bassen (I think, it will be useful):

Aesop (here http://lib.ru/poeeast/ezop/aesop.txt - more).

Lask and Aphrodite

Lask fell in love with a wonderful young man and prayed to Aphrodite, so that she turned her into a woman. The goddess was compressed over her suffering and transformed her into a beautiful girl. And the young man from one glance fell in love with her, which immediately led her to his house. And so, when they were in complete, Aphrodite wanted to find out if she was catching with her body and temper, and she let the mouse on the middle of their room. Here sheas, forgetting where she and who she is, right from bed rushed to the mouse to devour it. It was angry with her goddess and returned her former appearance.

So people, evil from nature, no matter what they change the case, can not change in the wrong.

Man with a smarter and his mistress.

A person with a smarter had two mistresses, one young, the other old woman.

The elderly was consformed to live with a man younger it, and therefore whenever

he came to her, she pulled his black hair from him. And the young wanted

hide that her lover is an old man, and pulled her gray. So plucky

its one, then the other, and in the end he remained lys.

So everywhere inequality is pernicious.

Fedr. (More here: http://grigam.narod.ru/verseh/vers1/vers19.htm)

Prologue

Ezop for Basen picked up the subject, and I polished with poems with six-star. Double in the book of use: excites laughter and teaches living with reasonable tips. And if I reproached me for the fact that there are not only animals, but the trees are speaking, let them remember: it's all-funny only fiction.

Works of artistic literature is made to unite in three large groups, called the name of literary delivery - Epos, drama and lyrics.

The concept of literary sorts arose in ancient aesthetics, in the writings of Plato and Aristotle. In the third chapter of Aristotelian "poetics", the existence of three "ways of imitation" is referred to the existence of three "ways to imitate": "Imagine in the same and the same and the same, telling about the event, as something separate From himself, as Homer does, or so that the imitative remains itself, without changing his face, or representing all the individuals depicted as acting and active. " These "ways of imitation" subsequently began to call literary rhodas.

Theory of origin Veselovsky: Literary childbirth arose from the ritual choir of primitive peoples. Choir - Lyrics, performances of Korifeev - Laro-epic songs (Cantilen), from them - Epopes (heroic poems). Exchange of the replicas of participants - drama.

Theory of the textbook: Mythological legends, which subsequently developed prosaic legends (sagas and fairy tales), appeared out of ritual choir. They were told to each other representatives of the tribe. Lyrics could also arise outside the rite. Lyrical expression took place in the production and consumer relations of primitive peoples.

Epos and drama have a number of common properties that distinguish them from lyrics. Events flowing in space and time are recreated in epic and dramatic works. Here are concrete faces (characters), their relationships, intentions and actions, experiences and statements. And although the reproduction of life in Epos and Drama certainly expresses the author's understanding and assessment of characters characteristics, readers often seem to have the pictures of the events occurred regardless of the author's will. In other words, the works are epic, and in particular dramatic, can create an illusion of their full objectivity.

The authors of epic and dramatic works can draw bright, detailed diverse patterns of being, in its variability, conflict, multifacetedness and at the same time penetrate into the depths of people's consciousness. In this case, both literary clauses are able to capture a variety of characters and their ratios with life circumstances. Drama and Epos act in the widely substantive sphere, they are available. any Topics, problems and types of pathos.

Organizing the formal beginning of the epic - narration About events in the life of characters and their actions. Hence the name of this kind of literature (gr. Epos - Word, speech).

In Belinsky: the epic works were contacted with an idea of \u200b\u200bthe object. "Epic poetry is the advantage of poetry objective, external, both in relation to himself and to the poet, and his reader. Here is not visible to the poet; The world, plasticly defined, develops himself, and the poet is only like a simple narrative of what happened by itself. "

At first, the epos appeared as a genre of people's heroic legend: Sagi, parables, epic, epic songs, legends, heroic fairy tales, People's Heroic Tale. There was a revival before the era. In the past 3th century, when a turn towards a person as a person (primacy of the team above the team), an epos is begregated as a birth of literature in our modern understanding. The speech medium reports the past action or recalls. A temporary distance remains between conducting speech and the event. It is conducted from the narrator, which may become a storyteller (Grine in Pushkin). Epos is maximum free from the development of space and time. It characterizes not only the hero, but also the speech carrier (artistic speech develops: author's narration, author's description, copyright, monologues and dialogues of actors). Epos is the only birth of literature, showing not only what the hero does, but and how he thinks. Internal monologues - the consciousness of the hero. Of great importance is the portrait and landscape - detailing. Does not insist on the conventions of what happened. The volume of the epic work is unlimited. In the narrow sense of Epos - the heroic narration of the past. Reached in the form of epideus ("Iliad" and "Odyssey"), Sagi - Scandinavian epic, short epic songs - Russian epics.

At the early stage of the development of the epic in it arose national Historical GenresIn which the personality is shown in its participation in the events of national life (participation in national liberation wars, revolutionary movements, which are the basis of the plot of such works).

Heroic folk songbelongs to the ancient genres of this group. The main character is still the best representative of the team (Achill and Hector in Iliad, etc.).

National and historical issues reveals primarily in posesreflective real historical events ("Word about Igor's regiment").

2. Mravo-writable genresappeared later - they depict the state of society and social sorties. And this state is estimated by the author. Heroes in moralopising - representatives of their social resources. The pholklore arise the pholklore.

One of the early representatives of N.Zh. There were "Proceedings and Days" Gesiod.

A new genre appears in Renaissance Lit-Re Utopia, where he was portrayed, according to the authors, the perfect society ("City of the Sun" T. Campanella).

3 . IN romanic genrethe image of the SOC. Certificates is only a background on which the main thing for the author is revealed - the development of the nature of the person in relation to this environment.

Novel- Prosaic genre, large on the scale of the plot. The word "novel" appeared in medieval Europe, when the works in Romance languages \u200b\u200bnarrated.

First emerged antique Roman. And in medieval Europe were popular Knight's novels.

A new type of nomanic story appears in the Renaissance Epoch - a story with a dynamic plot, sharp plot turns and a junction - novella ("Decameron" J. Bokachcho). Starting from the 18th century, the novel becomes one of the leading litezhanrov. In the Epoch of Realism, the novel acquires a deeper plot diversity.

Tale Differs from novel little scale sceneand a simpler organization. To the peculiarities of the story can be attributed: the chronological start in the plot and the sense of voice of the narrator.

Story - Small epic shape. Detail capacity and depth of subtext- The main principles of the story.

The story is developing intensively during the Renaissance (J. Bokacho).

Feature article - a descriptive-narrative story, based on moralizing issues. The plot in the sketch plays a smaller role than dialogues, a description of the situation, etc.

Folk heroic Epos.it originated in the era of the decomposition of the primitive-general system and developed in the ancient and feudal society, under the conditions of partial preservation of patriarchal relations and ideas, in which the image of social relations typical of the heroic image could not be a conscious artistic reception.

In classic forms Epos. Bogati-leaders and warriors represent a historical nationality, and their opponents are often identical to historical "invaders", ingenic and innovative oppressors (for example, Turks and Tatars in Slav. Epos.). "Epic Time" here is already not the mythical epoch of the first award, but a glorious historical past at the dawn of national history. The most ancient government political entities (for example, Mixes - "Iliad", Kiev state of Prince Vladimir - epics, the state of four Oirotov - "Dzhangar") act as facing the past national and social utopia. In classic forms Epos. Historical (or pseudo-historical) faces and events are chanting, although the image of historical realities is subordinate to traditional plot schemes; Sometimes ritual-mythological models are used. The epic background is usually the struggle of two epic tribes or nationalities (more or less correlated with a real history). The center often stands the military event - the historical (Trojan war in Iliad, the battle on Kurukhetra in Mahabharata, on the Kosovo field - in Serbian Unitary Songs), less often - the mythical (struggle for Sampo in Kalevale). Power is usually focused in the hands of the epic prince (Vladimir - in the eponymies, Karl Great - in the song about Roland), but the carriers of active action are heroic, whose heroic characters are, as a rule, noted not only courage, but also independence, incision, even Firdness (Achilles - in "Iliad", Ilya Muromets - in the eponymies). The rafter leads them sometimes to the conflict with the authorities (in an archaic epic - to the gogglelessness), but the social character of the heroic act and the community of patriotic goals mostly ensures the harmonic resolution of the conflict. IN Epos. Preferably the actions (actions) of heroes are drawn, and not their mental experiences, but its own storyline is complemented by numerous static descriptions and ceremonial dialogues. Sustainable and relatively homogeneous world Epos. corresponds to a constant epic background and often measured verse; The integrity of the epic narration is maintained when focusing on individual episodes.

The main features of the ancient epic

1) in the center of the narration - a person, his fate and participation in the fate of the state (city, etc.);

2) the form of the narrative - a trip with the adventures and the performance of the feats;

3) The image of the hero is the image of a warrior: a winner, a heroic man;

4) the mandatory presence of the heroes of a special plan - supreme (in Greece and Rome, the gods are the gods);

5) language and style are very heavy, cumbersome; slow development plots, many author's retreats;

6) The author in the course of the story takes different positions: then the observer, the participant of events, the historical cover (but in the medieval epic, the copyright is weakened due to the existence of the majority of works orally).

4. The origin and formation of an ancient Greek historical epic. Homer and "Homer's question"

The monuments of the heroic epic constitute the most valuable part of the cultural heritage and the subject of the national pride of the peoples. The history of national literature begins with the epic,
And the book heroic epic takes rise to the oral-poetic samples of this genre. Folklore is a cradle of verbal art. If the clarification of Genesis
One or another epic monument is extremely important for understanding ways to form
national literature, then research of origin
and early forms of heroic epic as a whole - the most important
Aspect in the study of the "prehistory" of world literature.
In this regard, in the present work
The oldest heroes and the plots of archaic
epic monuments.
In the history of literature, you can allocate the whole "epic
»Epoch deserving a special study
In the folkloristic and theoretical and literary plan.
Analysis of archaic epic monuments in comparison
With folklore culturally backward nations gives you the opportunity
In turn, to allocate in this "epic"
The era of the oldest stage on which Promethevsky
Paphos protection of the first conquests of civilization of humanity
(naively identified with his tribe) in
The fight against the natural forces of nature has not yet retreated
before military heroic heroic in his own
The meaning of the word. This stage is characteristic of the well-known limitations.
worldview and primitiveness of poetic
funds, but at the same time, as always in art, it is inherent
peculiar unique beauty.
Let us turn to a brief review of the main concepts.
The origin of the epic in modern science.
In the spirit of the historic school interpret the origin
Heroic eposa K. and M. Chancia, the authors of multi-volume
Labor on the Epos "Formation of Literature" 1. Central
Thesis of Chanters - historical accuracy, chronic
NO epic. As an example, they indicate
What "Beowulf" more accurately defines Higelak
As the king of geatov (and not given) than the Frankish chronicle.
Chancs do not doubt that Irish Epos,
Iliad or the Bible can be a reliable source
To establish the personality of Konhobar, Agamemnon or
David. Literally all epic heroes authors compare
with persons mentioned in the chronicles and chronicles,
And in particular, all hypotheses are taken without a shadow of doubt
Sun. Miller about Russian heroes. Even for my
Kula Selyaninovich they find a historical prototype
In the face of some Mikula from Pskov.
Non-historical elements of the epic, according to Chanitsov,
serve as artistic purposes and do not question
His historical accuracy. Chanters find
that many elements lose historicism due to the gradual
obliging one or another event that leads
to chronological confusion (Ermanarich, theodorich,
Attila is drawn in the German epic as contemporaries);
Similar historical names and events are mixed.
(Vladimir Svyatoslavich and Vladimir Monomakh; murder
son of John IV and Peter I), exploits less famous
The historical person is attributed to the more famous
Finally, wonderful birth stories appear
Hero.
Deviation from the initial historical fact and development
Poetic fiction marks, according to views
Chanters, transition to myth, i.e. myth is not
The first, and the last stage of the formation of the epic.
Rectilinear comparison of epic with messages
chronicle of events and faces, consideration of myth as
stage decomposition of the epic and approval of the aristocratic
The origin of the epic is the whole set of ideas
fully coincides with the installations of Russian historical
Schools.

The Homerovsky question is a set of problems relating to the authorship of the ancient Greek epic poems "Iliad" and "Odyssey" and the personality of Homer. The sharp statement of these problems was made to the published book of Friedrich Augustus Wolf "Personed to Homer."

Many scientists called "pluralists" argued that "Iliad" and "Odyssey" in the present form are not the creations of Homer (many even believed that Homer did not exist at all), and created in the VI century. BC E. Probably in Athens, when they were collected and recorded transmitted from generation to generation of different authors. The so-called "Unitaria" defended the composite unity of the poem, and thereby the uniqueness of its author.

New information about the ancient world, comparative studies of South Slavic folk epos and a detailed analysis of metrics and style provided enough arguments against the original version of pluralists, but complicated and the view of the toilet. Historical and geographical and language analysis of "Iliad" and "Odyssey" allowed them to date them approximately the VIII century. BC e., although there are attempts to attribute them to IX or VII century. BC e. They, apparently, were folded on the lowland coast of Greece, intense by Ionian tribes, or on one of the adjacent islands.

Different scientists are evaluated differently how great the role of creative individuality was in the final design of these poems, but prevails the opinion that homer is not only empty (or collective) name. The question remained unresolved whether one poet created "or" Odyssey "or is the works of two different authors, although the modern computer analysis of the text of both poems has shown that they have one author.

This poet (or poets) was probably one of the raids, which, at least from the Miknah era (XV-XII centuries. BC) were transferred from generation to generation a memory of the mythical and heroic past. There were, however, not pra-oriad or pu-odyssey, but a set of well-established plots and techniques of addition and performance of songs. It is these songs that became material for the author (or authors) of both epics. New in the work of Homer was the free processing of many epic traditions and the formation of one whole with a thoroughly thought out composition. Many modern scientists adhere to the opinions that this whole could be created only in writing.

5. Illiade and her heroes. The features of the epic in the poem.

Iliad - an epic poem at 15,700 hekzameters, attributed to the Homer, the oldest of the preserved monuments of ancient Greek literature. The poem describes the events of the Trojan War. In addition, the poem is probably the folklore legends about the exploits of the ancient heroes.

Iliad begins with a conflict in the village of precipitating the Troy Ahetsev (also called Danaires). Tsar AgamemnonpoKhitil Daughter of the Priest Apollo, for which the coarse begins by the sea. Achille appears with the criticism of Agamemnon. But he agrees to replace one prisoner on Briceid, which belongs to Achillu. 9-year-old siege (I, 259) on the verge of breakdown, but the situation corrected Odyssey.

In the second song, Homer describes the forces of the opposing parties. Under the leadership of Agamemnon, 1186 ships sailed to the walls of Troy, and the army had over 130 thousand soldiers. The various areas of Eldlats were sent their detachments: Argos (under the start of the Diomeda), Arkady (under the start of Agapenor), Athens and Lokrida (under the leadership of Ajax Great), Ithaca and Epirus (under the above Meal), Mycenae, Rhodes (under the top of the Tlebhema), Foxalia (Mirmidonian Achilla), Fokhid, Evie, Elida, Etolia, etc. On the side of the Trojans, under the leadership of Hector, the militia of Dardanians were fighting (under the beginning of Eney), Kariytsev, Lyctev, Meonov, Mise , Pafulantsev (under the start of Piblin), Pelasgov, Thracians and Frigians.

Since the Trojan War began with the abduction of Helena, then in the third song in martial arts, her legal husband Meali with actual - Paris is entering. In the duel, Meneli wins, but the goddess of Aphrodite saves Paris and wounded with the battlefield. Due to the fact that the fight did not end with the death of one of the opponents, it is considered invalid. War continues. However, neither the aheitsa nor the Trojans can be over. The mortal helps the immortal gods. AHEYTSEM patronizes Athena Pallada, Trojans Apollo, Ares and Aphrodite. However, the fifth songs as in cruel, even immortal Ares and Aphrodite are injured by the hands of Aheitsa Diomeda. Seeing the strength of Athena Pallades, the leader of Trojans Hector returns to Troy and demands to bring the goddess rich victims. At the same time, the Hector shakes hiding in the rear of Paris and encouraging his wife Andromaha.

Returning to the battlefield, Hector causes the strongest of the strongest of Aheyan and his challenge in the seventh song takes Ajax the Great. Heroes are fighting until late night, but none of them can win. Then they are broken, exchange gifts and diverge. Meanwhile, the will of Zeus leans towards the Trojans and onlyosadeon remains true to them. The Ahasey Embassy goes to Achille, whose army is inactive because of the quarrels of their leader with Agamemnon. However, the story of the disasters of the Ahetsey, pressed by the Trojans to the sea, touches only the Patrole - Achille's friend. Counterattacking, the Trojans are barely burn the Ahasey fleet, but the goddess of Gera supported to the Ahetians and shifts her husband's husband Zeus to save their favorites. Seeing the carfaced by the Trojans, Achilles sends his soldiers to battle (2500 people) under the control of Patrole, but himself evades the battle, keeping anger on Agamemnon. However, Patrolets dies in the battle. First, he is hit by a spear in his back, and then Hector inflicts him a fatal blow to the peak in the groin. The desire to take revenge on a friend returns to the game of Achilla, who, in turn, kills Hecter, having hit him in the neck. At the end of Iliad, litigation is unfolded for the Hector's body, which Achille originally refused to extract the deceased for the burial.

Gods oriada

The sacred value in Iliad has the Mount Olympus, on which the Supreme God Zeus Son of Kronosa sends. His honor of both the aheitsa and the Trojans. It towers over the opposing parties. Zeus mentioned Brother Chernovskaya Poseidon, who unequivocally supports the Ahaseians (XIII, 351). Zeus has a Hera's wife (also the daughter of the Kronos, who and the ocean honors the father - XIV, 201) and the divine children: Apollo (the inheritance of which is named Pergam), Ares, Lottle Athena Pallada, Aphrodite, Hephaest. Gera and Athena appear on the side of the Ahetsey, and Apollo and Aphrodite - on the side of the Trojans.

Epic style. Poles features an epic style. Its defining features: strictly decorated narrative tone; a leopard circumstance in the development of the plot; Objectivity in the outfit of events and persons. A similar objective manner, impartiality, almost exclusive subjectivism, is so consistently withstanding that, it seems, the author does not give himself anywhere, does not show off his emotions.

In Iliad, we often see how Zeus is not able to dispose of the hero's fate itself, takes the scales and throws the lot Heroes on them - Hector (XXII, 209-213) and Achilla and two troops - Trojan and Ahasey (VIII, 69 -72, cf. XVI, 658); The fate of Sarpedon and Patrole (XVI, 435-449; 786-800) is also solved. Often the gods accept direct participation in the battles:

the aheitsi could successfully act against the Trojans, Hera shifts Zeus (XIV). And in the last battle, Zeus himself allows the gods to take part (XX). In Odyssey, the participation of the gods is more formal: Athena finds and equipped the ship for telemace (II, 382-387), illuminates the hall in front of it (XIX, 33 SL), etc. The promise of Zeus to shiver Agamemnon, given in The beginning of "Iliad" (I) is carried out only for a long time later. Even the wrath of the gods - Zeus and Apollo in Iliad, Poseidon in Odyssey - does not have organic significance during the action of the poems. In his narration, the poet maintains great calm, and very rare places such as a scene with the Fercite in the II oriadi songs, where the author clearly conducts its tendency. In general, the presentation is distinguished by objectivity, he does not reveal his face anywhere and does not mean himself.

6. Odyssey heroic poem wanderings.

"Odyssey" - later from the two great poems of the ancient Greek heroic epic. Like "Iliad", with which "Odyssey" is connected and thematically and ideas, "Odyssey" arose no earlier than the VIII century. BC E., Her homeland is the Ionian cities of the coast of Malaya Asia, the author, if conditionally apply this word to the folk response, - by legend, the blind singer Homer.

Heroes and heroes of Homer's poems are one and intertwined, multilateral and complex, as a holistic and multilateral life, seen by the eyes of a teacher, wisely experienced the entire preceding tradition of the epic knowledge of the world.

About taking with the help of tricks, Troy, told in one of Odyssey songs. The blind singer of Demodok, hacked the cunning king Odyssey, expounded the whole story of the construction of a huge wooden horse, inside which the brave from the Ahaseians hid. At night, after the Trojans secured a monstrous horse inside the fortress walls, the Ahase warriors came out of the horse womb, captured and destroyed the "sacred" Troy. It is known that the ancient Greeks had apocryphical poems in which the further events of the Trojan War were described in detail.

There was said about the death of the valiant Achille, who died from the arrows of Paris, the culprit of the Trojan war and about the structure of the fateful for the Trojan of a wooden horse. The names of these poems are known - "Small oriada", "destroying Ilion", but they did not reach our time.

At first, Odysseus with his companions enters the country of wild people - Kikonov, then to peaceful lotophogs, then on the island of Kiklopov, where Kiklop Polyphen, a savage and cannibal, ate several satellites Odyssey and almost destroyed him.

Then Odyssey falls towards the God of the winds of Elau, then falls to the robber ledrasions and to the wizard Kirk, who kept him for the whole year, and then sent him to the underground kingdom to recognize his future fate.

By particularly cunning admission, Odyssey passing by the island of Siren, Semi-Wedneschin, halftles, who laid down all the travelers with their voluptuous singing and then endowed them. On the island of trinacgrounds, Odyssey satellites devour the bulls of Helios, for which the god of the sea Poseidon destroys all the ships Odyssey; And only one Odyssey is saved by the waves on the island of Nymph Calypso. At Calypso, he lives 3 years old, and the gods decide that he is time for him to return home to Itha. Within a few songs, all the adventures of Odyssey are described on the way home, where at this time the local king taking care of Penelope, the faithful wife Odyssey, waiting for it for 20 years.

As a result, Odyssey still gets to the house, together with his son Telemach, interrupts all the grooms, and, suppress the rebellion of supporters of the grooms, stealing in his own home and begins a happy peaceful life after a 20-year-round.

Despite the fact that the journey Odyssey has lasted for 10 years, "Odyssey" covers even less time than "oriad" and the action is deployed within 40 days.

"Odyssey" can also be made in separate days during which the events depicted in it occur.

It is clear that the compiler or compilers of the poem shared the image of what is happening by day, although Homer has this separation of someone is not quite pronounced.

If you summarize the distribution of action by day in Odyssey, then it should be noted that out of 40 days, at least 25 days do not find a detailed presentation. Those. Of the 10 years of the wandering of Odyssey, the poem portrays only the last days in front of the Italian and several days on Ithaka. About everything else, i.e. In essence, about 10 years, or it is tested by the Odyssey himself on the feast at Alkina, or only mentioned about them.

There is no doubt that "Odyssey" a much more complex product of ancient literature than "Iliad".

Studies "Odyssey" from a literary point of view and from the point of view of possible authorship to this day.

As a result of the review of the criticism of Odyssey, you can come to the following conclusions:

1. In Odyssey, the connection of the elements of two independent poems is found. Of these, one can be called the Odyssey itself, and another "telemerech".

2. "Odyssey" represented the return of Odyssey from Calypso through Scerei to the Motherland and his revenge of the grooms in a conspiracy with his son as it is depicted in the XVI song. Penelope recognized her husband here after the grooms were interrupted.

3. The author of this ancient "Odyssey" himself enjoyed more ancient songs: he connects a separate song "Calypso", a free fantasy on "Kirk", with Feaakido, his recycling of the story in the third person in the story of Odyssey himself is noted.

4. In the "Telemakhii", telling about the travels of Telemach to Pilos and Sparta, the decline of the composition of the composition compared to "Odyssey" is noticed. The compound "Calypso" with "Feaakia" is made as artifically that the connectedness and sequence of the story is quite impeccurn. On the contrary, in the "telemakhi", the journey of Telemach and the stories to him, Nestor and Meal, are very poorly connected with the rest of the poem and even direct contradictions are opening here for a careful reader.

5. Epilogue "Odyssey" represents contamination of individual parts of the two aforementioned poems and more ancient origin than the final edition of Odyssey.

6. The activities of the last editor "Odyssey" was to connect the parts of the ancient "Odyssey", "telemakhii" and the processing of the epilogue, which was mentioned. The insertion of the editor is characteristic of some characteristics of the language, borrowing many poems from the ancient poems, ambiguity and inconsistency of the presentation. In some cases, the inserts are drawn up on the ferrous of the ancient sources. Also, the editor introduces the content of cyclic poems in Odysse.

7. Didactic Epos Hesiod.

The generic community was quickly decomposed, and if Homer was a eve of a class society, then Hesiod already reflects the orientation of a person within the class society. Gesiod-writer 8-7 centuries D.N.E. The didactism of its writings is caused by the needs of the time, the end of the epic era, when the heroic ideals dried in their bright immediacy and turned into a teaching, instruction, morality. In the class society of people united this or that attitude towards work. People wondered about their ideals, but because It has not yet been ripe for purely trade and industrial relations and the old home-related, the consciousness of people has turned the latter in morality, the system of teaching, instructions. The class society has divided people on imumbers and the poor. Hesiod is a singer of the population of a ruined, which is not coming up on the collapse of the ancient community. Hence the abundance of gloomy colors. "Proceedings and days" are written in the instruction of a brother of Perse, who from the wrong judges took away the land from the Gesiod belonging to him, but in the future it was broken. The poem-sample of the didactic epic develops a few topics. The first topic is built on the preaching of the truth, with the plug-in episodes about Promethea and myth about the five centuries. The second is dedicated to field work, agricultural instrument, cattle, clothing, food, etc. Attributes of life. The poem is transferred with a variety of instructions drawing the image of a peasant who knows how and when it is advantageous to arrange your affairs, a rapid, far-sighted and calculating. Hesiod also want to be rich, because "The gaze of rich bold." Moral Hesiod always boils down to divine authorities and does not go further to the dispensing of economic affairs. Hesiod is very conservative and most narrow in its mental horizon. The style of the Gesiod is the opposite of luxury, verbosity and latitude of the Gomeov epic. He is striking his dryness and brevity. In general, the Epos style with all its distinguishing features (hekzameter, standard expressions, ionic dialect). But the epos is not heroic, but didactic, even the epic story is interrupted by an unknown gomer with drama of mythological episodes, and the tongue is shot by hundreds of industrial expressions, traditional formulas oracles and quite prose morality. Moralist is so strong and intense, which produces a very boring and monotonous impression. But Hesiod is observed and sometimes draws very live pictures of ancient life. He also meets the features of some poetry, but poetry is overwhelmed by moral and economic instructions. On the example of his creativity, social shifts and contradictions can be observed. The poems of Gesiod affect the abundance of various kinds of contradictions, which, however, do not interfere with the perception of his Epos as a certain organic whole. Hesiod after the occurrence of a slave-owned building on one side of the poor, on the other, his ideals are associated with enrichment in the old way, then in a new sense. His assessment is full of pessimism, but at the same time and labor optimism, hopes that thanks to a permanent activity will come happy life. Nature for him primarily the source of benefits, but Hesiod is a big lover of her beauty. In general, Hesiod was the first historically real poet of ancient Greece, reflected the rapid era of the collapse of the generic community

8. Antique lyrics, its main forms, images and means of expressiveness .

Antique Lyrics originated with the advent of the Poet Individual, i.e. When the personality realized his independence, separating himself from nature and the team. The term "lyrics" replaced earlier - "Melika" (from "Melos" - melody). According to Platon, Melos consists of three elements - words, harmony and rhythm. Under Melosom, the ancient understood the connection of music, poetry and orhancts (dance art). The word "lyrics" implies accompaniment with a musical instrument - lyure, kifar or flute. The lyrics of the classic period reached us in the form of fragments or quotes given by antique authors. The first product of the ancient lyrics belongs to the VII century: in April 648 there was an eclipse of the Sun, mentioned by the archite. The flourishing of the ancient lyrics refers to the VI century BC.

Greek lyrics is divided into a declamation and song (Melos), which, in turn, is divided into a monodic and choral.

The declamination lyrics includes an elegge and yamb.

Elegy is a patch, inhibiting, performed accompanied by a flute. Subsequently, mournful nature is replaced by the instructionative, prompting. Was performed on feasts and folk gatherings. Traces of a mourning character preserved in the tombstones - epigrams.

The most common was civil, military-patriotic elegtion. Her representative was Callin from Ephesus:

There is a legend on how during P Moxena (671 BC), Spartans asked for the Athenians of the Communist Party. The Athenians in the mockery sent one-eyed and chrome Tirtae, a school teacher and poet, but he inspired Spartans in his warlike elegions, which they won. The legend is known about how the Athenian Legislator Solon, from a notable kind, broke up, traveled a lot and returned to Athens, when Megarians were redeemed from Athenian Island Salamin. Under the guise of madman, Solon got up on the square and began to appeal to honor and patriotism of Athenians, after which, in Plutarch, the Athenians returned to Salain. Solon Elegy wear a gnomic, i.e. moral-aphoric character.

The representative of the love elegance was mimner (OK.600 BC), who preferred the death of the old age and the lack of pleasures, called the love of "Golden Aphrodite" and challenged the love of the flotist Nanno. He dreamed that a person lived only 60 years old, but without illness and worries. What Solon objected that if without worries and diseases, then why not 80? Mimner is considered the first representative of the erotic elegance. The combination of public and personal subjects is celebrated in the Fognide lyrics from Megara. From his 1400 poems only 150 make up love elegances. Feognid is an ardent and evil enemy of democracy, he divides people on "good" - aristocrats, and "bitten" - demos. A separate collection of verses of Feognid make up the instructions in piety the boy picking.

On agricultural festivals of fertility characterized by rampant and foul language, mocked songs were performed against individuals - jamb, as a means of expressing personal feelings. The jamb was meticly compiled by the Yamba (~ -) and three, i.e. Choree (- ~).

Simonide Amorgsky challenged vigor in the face of disaster disasters. It highlights 10 types of women who occurred from 10 animals, and good considers only those who occurred from the bee. Hipponactics is considered the father of the parody, creates in the language of the street and shovels, depicts himself with a poor beggar, he rizuats the gods, painters, women.

The poet of the archiloch was compared with Homer. Cancer Aristicrat and Slave, i.e. "Declass", he as a hired warrior participated in the battle with Thracians, later died in battle. His unsuccessful romance is known with the challenge, the daughter of Likamba, whom he brought the archives to suicide by his jamb. In addition to the Yambov, he wrote Elegy (fun, courageous, cheerful), epigrams, epitaph, musical compositions for the flute. He is a warrior, a femolor, "fear idle" and philosopher, witty and merciless to enemies.

The monodic lyrics is represented by three great poets. This is alkay, sappo and anaconont.

Alcay is the poet of the era of the struggle of the demos against the aristocracy, which fled from mainland Greece to the islands, in particular to the island of Lesbos. He tells about the vicissitudes of his fate. The state is depicted in the form of a ship in raging waves (this image later borrowed Horace). The mood of his aggressively, the feeling of life is tragic, with his favorite topics - nature, love, women and wine. Wine - remedy for all sorrows, "mirror for people", in it - the only consolation. It is known for its quadruses dedicated to the "Philkokudra" Sappo.

On Lesbosa, men and women constituted a closed community and spent the time outside the family. At the head of the Women's Commonwealth - "Houses of Musters" - stood poetess Sappo (or Safo). The circle of interests of the Commonwealth was the subject of her poetry - women's cults, love, jealousy. One legend, she rushed from the cliff from love for the young man. On the other, she lived to old age, was married, had a daughter Cleedu. Despite the existing conjectures about the morality of the Sappo, Alcay called her "clean". Sappo wrote the hymns to Aphrodite, crying on Adonis. Her epitulams are known - wedding songs after a feather, in front of the sleeping young, girls complain that the groom took her girlfriend, praise her , then it.

Anaconte is adjacent in the lesbian lyrics of alkey and the sappo (n half of the 6th century). His poetry is full of cheerful, elegant and gaming eroticism. He describes the games of Erota, love madness. Anacreonte fixes one moment, without philosophical reasoning. Characteristic features of his poetry - liveliness, clarity, simplicity, elegance served as an example for imitation of all centuries.

The choral lyrics originated from the hymns of the gods - it is Nome, Pean, asking (during processions), perfumes (maiden song), Hyperham (in honor of Apollo), pyrrhia (in honor of Ares).

In the late 6th - early V century, in the era of the heyday of the choral lyrics, the most common genres were the Diffiramba (gusty, exalted songs in honor of Dionysis were performed by choir of 50 people dressed in goat skins and masks), epinic (song in honor of the winner on annual sports Competitions) and Encomia (song in honor of a certain person).

The most famous representatives of the choral lyrics were Stsisikhor, Ivik, Simonide, Pindar and Vacchilde.

Stusichor wrote hymns, peanas, bucolic and erotic poems. There is a legend that he portrayed Elena beautiful in the bad light and land, then wrote, Chyo it was the ghost of Elena - and he was clear.

Ivik, the wandering poet, was killed by robbers. Wrote encomia dedicated to various personalities, hymns of love content.

Simonide Keossky challenged the heroic events of the Greek-Persian war. It is known that he defeated Eshil in the competition of epigrams in honor of those killed in the marathon. He wrote epicoves, Frena (funeral crying), diffilams, epigrams. His expressions in the form of aphorisms quoted Xenophon, Plato, Aristophane: "Everything is a game, and should not treat anything too seriously", "I am not looking for what it is impossible to be."

Pindar is the most famous of all classic lyrics. It was reached by 4 books of his epicoves, each of which chase the winner of different games: Olympic, Pythi, Nemoye and Eastian. Pindar style is a solemn, magnificent, especially in patriotic lyrics.

Vacchilid - the nephew of Simonid Keossky - wrote ODY, Diffiramba (his "Teze" - the only Diffiram, who came to us entirely). Vakhilida is alien to the adamant aristocracy of Pyndara, he praises the prowess of man at all.

9. Melic poetry. Alkei, Sappo, Anaconont.

The location of the literary Meliki, i.e., individual song poetry, is the Big Lesbos Island at the West Bank of Malaya Asia, where before in other places of Greece, a cultural ascent began. Here already in the VII century. A number of outstanding poets appeared. The Terpunder was known for its "Nomas" (see Chapter VI, about. 135), Arion from Meoffesna on Lesbos was considered the Rodonacham "Diffirambov", chants in honor of Dionysus, served as the basis of the tragedy (see ch. VIII). Arion lived in Corinth with Tirana Periandra. The introduction of this tyrant of the cult of Dionysus in Corinth (Herodotus, I, 23) was a democratic event, and therefore it is possible to think that Arion was a conductor of the same direction. Both of these poet used the Dorian dialect.
The simplest forms of melic poetry gives a monody, that is, one-haired, lyrics. She was engaged in Eolian (Lesbian) poets Alkei and Sappo and Ionian Anacreont.
The richness of the poetic design was the wealth and variety of melodies. From the simple forms of Elegy and Jambic poetry, Melik is characterized in that it allows combinations of a stop of a different amount of mor. The so-called "logaids" representing the compound of total stop with dactilic are especially common. The simplest types of Logaadov are "Glikonov" verse (named by the poet unknown to us), having a form: - U - UU - U - (-), and often adjacent to it "Ferrekrats" verse (named poet of the end V c. BC er), the diagram of which is U - UU - U. Sometimes poems are combined into whole stanches. Large distribution not only in Greek, but also in Roman literature, we used the stanzas invented by Lesbian poets Alkem and Sappo. The sappistic stanza has the following scheme:

The first three verse of stanza consist of each of the same dactil in the middle with two troches in front and behind, and the fourth verse consists of one dactyl and one Trochea. In Alkeyevskaya, the first two verses have the same structure: begin with an indifferent syllable, followed by two triches, dactyl and two more troches with a truncation of the last syllable; The third verse consists of four yambles, and the fourth is a combination of two drats with two troches. The scheme is next.

Epos (from Greek. Epos - the word, narration, story) - the nature of literature, for which the image of reality is characterized in an objectively narrative form. As a rule, the time of depicted action and the time of the narrative does not coincide about it - this is one of the most important differences from other literature clans.

Methods of presentation - narration, description, dialogue, monologue, author's retreats. The author's description of events deploying in space and in time, the narrative of various phenomena of life, people, their destinies, characters, actions, etc. It has a calm-contemplative, disgraced attitude to the depicted attitude.

Epic text is similar to a certain alloy of the narrative speech and statements of the characters. He has an unlimited volume (from a short story to multi-volume cycles (for example, the "human comedy" ones de Balzak unites 98 novels and the novel) - this allows "to absorb" such a number of characters, circumstances, events, fate, details that are not available Another birth of literature, nor any other kind of art.

Epos, compared with other literature, the richest arsenal of artistic means, which allows with the greatest depth to reveal the inner world of man, show it in development.

A special role in the epic works is played by the author-narrator or storyteller. Its speech (content and style) is the only, but very effective means of creating the image of this character. Despite the fact that sometimes the narrator is ideologically close to the writer, they cannot be identified (for example, the narrator in the work of I.S. Shmeleva "Summer Lord" and the author himself is not the same person).

Epic genres

Large - epic, novel, epic poem (poem-epic);

Middle - Tale,

Small - story, novel, essay.

Also, the epic includes folk genres: a fairy tale, epics, historical song.

Epos value

Epic work has no restrictions in its volume. According to V. E. Khalizev, "Epos as a birth of literature includes both short stories (...) and works designed for a long hearing or reading: epic, novels (...)."

A significant role for epic genres is the image of the narrator (narrator), which tells about the events themselves, about the characters, but at the same time rewards itself from what is happening. Epos, in turn, reproduces, captures not only told, but also a storyteller (his manner speak, a warehouse of the mind).

The epic work can use almost any artistic means of well-known literature. The narrative form of the epic work "contributes to the deepest penetration into the inner world of man."

Until the XVIII century, the leading genre of epic literature is an epic poem. The source of its plot is the national legend, the images are idealized and summarized, it reflects the relatively monolithic popular consciousness, the form of a poetic ("oriad" gomer). In the XVIII-XIX centuries. The leading genre becomes a novel. The plots are borrowed mainly from modernity, the images are individualized, the speech reflects a sharply differentiated multilingual public consciousness, a prose form (L. N. Tolstoy, F. M. Dostoevsky).

Other epic genres - a story, story, novel. In an effort to complete the display of life, the epic works are accounted for to the cycles. Based on the same trend, the Roman-epic folds ("Saga about Forsyites" by J. Golsuorussi).

Epic

Epopea (from Epos and Greek. Poieo - Creation) is an extensive artwork in verses or prose, telling about significant historical events. Usually describes a number of major events within a certain historical era. It was originally aimed at a description of the heroic events.

Screen-known epic: "Iliad", "Mahabharata".

Novel

Roman is a major narrative artwork, in the events of which many actors usually take part (their fate is intertwined).

The novel can be philosophical, historical, adventure, family-household, social, adventurous, fantastic, etc. Also the Roman-epic, describing the fate of people to the torrential historical epochs ("War and Peace", "Silent Don", "Gone by Wind").

The novel can be both in prose, and in verses, contain several storylines, include works by small genres (story, fables, poem, etc.).

The novel is peculiar to the formulation of socially significant problems, psychologism, disclosure through the conflicts of the inner world of a person.

Periodically, the genre of the novel predict the sunset, but its wide in election in the mapping of reality and human nature allows him to have his careful reader and at regular new times.

Many books and scientific works are devoted to the principles of building and creating a novel.

Tale

The story is an artistic work that occupies a middle position between the novel and the story in terms of the volume and complexity of the plot, built in the form of a narrative of the events of the main character in their natural sequence. As a rule, the story does not claim to formulate global problems.

Well-known stories: "Shinel" N.Gogol, "Steppe" A. Chekhov, "One day Ivan Denisovich" A. Solzhenitsyn.

Story

The story is a small artwork with a limited number of characters, events. The story may have only one episode from the life of one hero.

The story and the novel are those genres from which young prose people are usually starting their literary creativity.

Novella

Novel - this is, as well as the story, a small artistic work, which is inherent in brevity, no descriptions, an unexpected junction.

Novella J. Bokcchcho, pr. Merima, S. Moem.

Vision

Vision is a story about events that opened in (allegedly) dreams, hallucinations or lethargic sleep. This genre is characteristic of medieval literature, but used today, usually, in satirical and fantastic works.

Fable

Basnya (from "fire" - to tell) - this is a small artwork in the poetic form of a moral or satirical nature. At the end of the bass, a brief moral conclusion is usually contained (the so-called morality).

Patterns of people are ridiculed in the bass. At the same time, actors, as a rule, are animals, plants or various things.

Parable

Parable, like bass, contains moral teaching in an allegorical form. However, the parable as heroes chooses people. It is also presented in prosaic form.

Perhaps the most famous parable - "Parable of the Prodigal Son" from the Gospel of Luke.

Story

The fairy tale is an artistic work of fictional events and heroes, in which magical, fantastic forces appear. The fairy tale is a form of teaching children to proper behavior, compliance with public norms. It also transmits important information from generation to generation.

Modern fairy tale - fantasy, - a kind of historical adventure novel, the action of which occurs in the fictional world, close to real.

Joke

Anecdote (Fr. anecdote - Bike, Nonbylitsa) - a small prose form, characterized by conciseness, unexpected, absurd and funny junction. Anecdot is characteristic of the game with words.

Although many jokes have specific and the seconds, as a rule, their names are forgotten or initially remain "behind the curtain."

A collection of literary jokes about writers N. Dobrochotova and Vl is widely known. Pyatnitsky, mistakenly attributed by D. Hars.

More information on this topic can be found in the books of A. Nazaykin