What is Epos? The concept of "Epos". The emergence of the epic and its meaning in the life of the people

27.04.2019

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The meaning of the word Epos in the dictionary of literary terms

- (from Greek. Epos - word, narration, story)

1) One of the three main literature clans (see the birth literary), unlike lyrics (see Lyrics) and drama (see Drama) that puts forward an objective image of reality, the author's description of events that deploy in space and in time, The narrative of various phenomena of life, people, their fate, characters, actions, etc. A special role in the works of epic genres is played by a narrative carrier (author-narrator or narrator) reporting on events, their development, about characters, about their lives, At the same time separating itself from the depicted. Depending on the temporary coverage of events, large genres of E. - Epopea, Roman, an epic poem, or an epic poem (see epic 2); Middle - Tale and Small - Story, Novel, Essay. The epic genus also includes some genres of oral folk creativity (see oral folk creativity): a fairy tale, epic), fables.

2. In oral folk art, the totality of epic songs, tales (see the legend), ancient folklore epic (see epic (1) of different nations, for example: Russian epic E., myths and legends of ancient Greece, Indian E. ("Mahabharata" ) and etc.

Dictionary of literary terms. 2012

Russian EPOS.

One of the most famous epos in Russia is the above-mentioned "Word about Igor's regiment." This work tells us not only about the parties of the people of Russia and the relationship between tribes, cities, princes, but also presents us important historical facts that have occurred. It testifies to the religious state of Russia in the 12th century, shows the turning point in the whole flavor.

Many of the epics are known: "Tale of Sukhan", "Historia about Kiev Bogatire Mikhail Danilovic Twelve years", "Talk about Prince Star Godinovich", "Tale of Ilya Muromets, Solovier-Robber and Idolische", "Tale of Prince Vladimir Kievsky, About the boys of Kiev, and about Mikhail Stream Ivanovich, and about the king of the Halary Arda "and others who are now observing in the form of cartoons about heroes (about Alya Popovech and Tugarine).

Difference from other heat

As mentioned above, the main difference is relative accuracy. The second difference is the structure (they consist of a structure of 8 lines, and formulas are used in them). Epic formulas are those phrases or entire stanza, which are the "platform" to build the storyline of the work. Examples of formulas:

"Good well done";
"Mother Cheese Earth";
"Nice Kiev-Grad";
"Vladyka husbands Agamemenon";
Zeus - Tufterator.

The Epos is the narrative of literature, the most "objective" and universal, practically not limited to the volume of works and the number of characters, the band. Only epic works can have hundreds, even thousands of pages, hundreds of characters, like "War and Peace" or "Quiet Don", although they can be very short stories with all two main characters as the Buninsky "Sunshine". Events of several days ("Crime and Punishment" of F.M. Dostoevsky, with the exception of an epiralogue) and short, but expressive - events of several years, followed by the whole life of the hero ("The Fate of Man" MA Sholokhov) . Epos includes specific signs of drama and lyrics in much more than they are the elements of the epic. It reproduces with any degree of detail and being, and consciousness of people. Psychologist of literature of the XIX-XX centuries. (See: Character) - a property of epic works, although in general the expression of psychology was evidently inherent in the main drama and especially lyrics.

Epos is characterized primarily by the presence of a narrator or narrator and a distance between him and the reader: the epic effect has already happened, it is moved to the real or conditional artistic past (even if the story time is the future, the character, as a rule, "said", "went", etc. d. - In the past time), and a lyrical experience and dramatic effect seemed to be rapidly (also regardless of the storytime: in Comedy V.V. Mayakovsky "Klop" paintings from the present and future are scenicly identical). The narrator, in most cases "omniscient" - he knows any idea, any feeling in principle of any of the characters, - chooses what and how to inform the reader: the degree of details, completeness, "clarity", the motivation of the reported depends only on it, but is created The illusion of a diverse objective life. The copyright presence is more active, expressing in the literal commenting of what is happening, referring direct ratings. Sometimes these are whole lyrical or journalistic layers of text (Evgeny Onegin, "Dead Souls", "War and Peace").

The "voice" of the narrator can be in different ratios with the "voices" of the characters - from the whole monologue construction of the work (see: a monologue) to certain forms of "disorders" (see: Artistic). HO Author's speech in the epic is the volume of all speech forms, absorbs them.

Initially, the epic was called the most ancient and fundamental epic genre, more precisely, the genre type - heroic (partially mythological) poems, songs and legends, folklore and earlyness. Classic Epos - "Iliad" and "Odyssey" of Homer. The Russian folk heroic epic did not work out into one or two large works, remained in the form of individual, although cycling, songs - old, which folklorists of the XIX century. called the epics.

For centuries, the heroic poem was recognized as the main epic genre, most revered among the genres of all kinds. Literary Starovarov did not recognize the poem "Ruslana and Lyudmila" (1820) A.S. Pushkin, not enough for them, seriously and rustling with all the canons of classicism, and Pushkin himself agreed that his romantic poem "Caucasian captive" was published in 1822 with the "prosecuting" genre subtitle "Tale". He called "Petersburg Triban" in 1833 and the most important "Copper Horseman" poem. Thanks to Pushkin, the definition of the "story in verse" was almost as respectable as the "poem". Lermontov philosophically saturated poem "Demon" - "Eastern Tale", as well as the "Caucasian Captive" and "Copper Horseman" (but unlike the "Poltava", partially reproducing the one tradition of the XVIII century), from the "parts", and Not "songs". The last poem, frankly landed, "Fairy Tale for Children" Lermontov began with the words: "The eyelid of epic poems was taken away, / and the tale in verses came into decline ... / Who is to blame, who is right - I don't know, / and poems For a long time I do not read ... "Posted by the" Hero of Our Time "(1840), Lermontov definitely intended to move mainly to prose. N.V. Gogol, calling the "Poem" prose "dead souls", partly ironed (see: Irony), but also emphasized the seriousness, elevation of his plan. Subsequently, the word "poem" has repeatedly applied to prose F.M. Dostoevsky (for example, "Poem" about the Great Inquisitor in the "Brothers of Karamazov").

A large poetry genre, which is about from the middle of the XIX century. They began to consider any poem, classic, romantic or realistic, radically updated N.A. Nekrasov. He "proseked" the poem, introduced a national, peasant life into it. His peasant epic "who in Russia live is good" is unique. Nekrasov is the author and the first purely lyrical poems "silence", "knight per hour." The lyricization of the genre started by romanticism, after Nekrasov was fixed in the XX century. V.V. Mayakovsky, M.I. Tsvetaeva, A.A. Ahmatova. The genre turned almost in his opposition.

Similar metamorphosis occurred with the main genre of literature of the new time - Roman (see: Prose). From a non-serious, entertainment genre, he gradually turned into the most significant, most adequately embodying the capabilities of the epic. The great Russian realistic novel was formed almost without support on the preceding novel tradition, the more domestic one. Pushkin synthesized in the poetic "Eugene Onegin" before the "low" genre of the novel and the "high" genre of the poem, thereby influencing the subsequent Russian prose much more than its leaders or the only finished novel "Captain's daughter", which was still in line with Walterskottovsky "Historical novel (see: Romanticism). The followers of Pushkin went in prose with unconventional paths. M.Yu. Lermontov issued a novel in the posters and stories, N.V. Gogol - Poem in Prose, A.I. Herzen - Publicistic ("Belletritistic", according to the terminology of V.G. Belinsky) Roman "Who is to blame?", And later the outstanding book of artistic memoirs "Peda and Duma". First Russian Classic Roman as such - "Ordinary History" (1847) I.A. Goncharov. I.S. Turgenev more often called its small novels (published since 1856) by the Tap and only in 1880, when after the works of L.N. Tolstoy and F.M. Dostoevsky became finally clear that the novel is the highest conquest of artistic culture, published them all six with this genre designation. However, Tolstoy and Dostoevsky far away from the romance tradition. The first, writing a "war and peace", created an unprecedented syncretic genre of Roman-epic (definition of the XX century), combining a previously incompatible: a novel beginning that puts forward the main character, individuality, and epic, reflecting the substance of national existence; The second gave a unique genre modification of "Romanov-tragedy".

At the turn of the XIX-XX centuries. Realistic Roman is experiencing a crisis (no work M. Gorky or I.A. Bunin cannot be unconditionally attributed to this genre), but the symbolist novel is bright; Higher achievement here - "Petersburg" Andrei White (1916). In subsequent literature XX century. The novel showed himself quite fully and versatile, but the most significant works, usually attributable to this genre, wider than its widest criteria: "Quiet Don" - Roman-epic, in anything on him a similar work "Master and Margarita" synthesizes features Many genres starting with medieval mysteries and even earlier folk breadcrumbs.

Theoretics of literature delimit the main prosaic genres of the XIX-XX centuries. - Roman, story, story - primarily in terms of text or by the volume of the plot. Historically, it was not so. In ancient Russia, the most different narrative works were called. They were small. Small and more serious than the novels of the XVIII century, were a story and renewed this genre in the 3790s. N.M. Karamzina, and then Prosaikov-Romantics, but some of them, for example, A.A. Bestumeva (Marlinsky), the story began to grow. Gogol "Taras Bulba" is already approaching novels of the 1830s. However, the story was still not realized as the "middle" genre between the novel and the story. In the XIX century, especially in the first half, the "story" was called Maneru of the narration in different genres, including the fastener. So, the author of "readings about the literature" (1837-1843) I.I. Davydov wrote: "The bass should distinguish content and story. Its content is made up and moraling ... wings, in relation to painting, sometimes approaching Dmitriev, but never exceeds it: in replacing it, it is characterized by a story, the story. Where there is a living, modern speech - wings are amazing. This is an exemplary story in the Demyan Ear ... ". Davydov, unreasonably gives preference to the Basinowstsu-Sentimentalist I.I. Dmitriev in "Painting", i.e. verbal image, but it is quite fairly praised I.A. Krylova as a narrator. The narration and the story here are synonyms.

Gradually, the story turns into a rather uncertain prosaic genre. While he can be more a story and even a different novel. Often it is only a slightly blistering presentation of episodes of history or biographies of historical figures (the last addressee Pushkin A.O. Ishimova, A.N. Mikov, A.S. Suvorin, N.S. Leskov, historians S.M. Soloviev, N.I. . Kostomarov). Prose prose genres differed mainly by the degree of "literature". The novel is still thinking as the most literary work with a developed plot, stronger, junction, etc., the story - as a genre is more free and in this sense is closer to the primary reality, the story is like even more free, built on a less processed material, In general, the artistic version of the often imposing a narrator, far from the author (in the "Hero of our time" directly recorded a story - the "Journal of Pechorin" "Taman", "Princess Mary" and "Fatalist", and the originally told Maxim Maxim "Bal" - The story; "Maxim Maximach" occupies an intermediate position: externally, this is a story written by a traveler officer, but the plot here is much less developed than in Bale). The words "story" and "story" differed in the same way as the verbs "narrate" and "tell" - not in meaning, and stylistically: the narration is something more "high" and solid than a told. Finally, an essay was considered the most free, the least literary genre, i.e., literally, the sketch: the subject that was discussed, as if pre-"outlined". In practice, this distinction is not always respected. If "stories from Russian history" are not actually fiction, then essays N. Shchedrin (M.E. Saltykov) were highly artistic, he preferred this genre to all others and even made up his novels "Lord Gollyov" and "Modern Idyll" from essays .

Judging by the genre subtitles of works by N.S. Leskova, even in the last third of the XIX century. The story could be more stories. It is now not necessarily the "raw" material, leaks can only stylize it. A typical example is "a stupid artist. Story on the grave "(1883). The oral presentation of the incident, which is thinking of really former, here is already artistic. The same applies to the "Lefty" tale (1881), the works, of course, absolutely literary, but exaggeratedly stylizing the oral speech of an unknown folk narrator. Only A.P. Chekhov, becoming a classic small and medium genres (and his work of a small genre, as "Ionch", can cover, in fact, the history of life), consolidated in the reader's consciousness to distinguish the story and lead in terms of volume. In the XX century Supporter of delimitation of genres according to the features of the content and volume of the plot, and not just in terms of text - A.I. Solzhenitsyn, who did not accept the definitions of his big story "one day Ivan Denisovich" as a story that was done at the first magazine publication to give it additional weight. The work of the "Red Wheel" on the Russian literature, which consists of "nodes", reflecting historical events of 1914-1917, Solzhenitsyn called not a novel epic, and unusually, in view of his genre uniqueness, "the" story in died out of death. "

The genre of the story in the XX century received a rather diverse implementation. This is the creativity of I.E. Babel, M.M. Zoshchenko, K.G. Pown, Yu.P. Kazakova, V.M. Shukshina and others. The theory of literature from the story separates the novel - as its type or quite an independent genre. Novella is characterized by a sharp plot, often paradoxical, composite deposit, lack of descriptions. Ho in Russian literature between the stories itself and the novel is often impossible to hold a clear line.

In Soviet times, some writers, in particular V.V. Bykov, Yu.V. Trifonov, V.G. Rasputin, showed itself mainly, and even solely in the genre of the story, probably, not without the influence of the fact that large ideological claims were also presented to more extensive works.

Epos (literature)

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."

Literature

Khalizhev V. E. Theory of literature. - m., 2009. - P. 302-303.
Belokurov S. P. Dictionary of literary terms.

Wikimedia Foundation. 2010.

Watch what is "Epos (Right of Literature)" in other dictionaries:

- (Greek. From Epo to tell) works of epic poetry. A dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. Epos [gr. Epos word, story, song] lit. Narrative literature, one of the three main birth ... ... Dictionary of foreign words of the Russian language

Epos, Epos, MN. No, husband. (Greek Epos word) (lit.). 1. The narrative of the literature (as opposed to drama and lyrics). 2. A combination of works of this kind, united by a common topic, a common national affiliation, chronology, etc. ... ... Explanatory Dictionary Ushakov

BUT; m. [from Greek. Epos word, narration] 1. Special. The narrative of literature (as opposed to lyrics and drama). Great Epos Masters. 2. A combination of folk heroic songs, testes, poems, united the general theme, nationwide ... ... encyclopedic Dictionary

epos. - A, m. 1) only units. One of the three (along with the lyrics and drama) of the main birth of literature, which is works of a narrative nature. Epos and drama. Epos and lyrics. 2) a set of works of folk creativity (usually ... ... Popular Dictionary of the Russian Language

I m. The narrative in contrast to the drama and lyrics of the literature. II m. A set of works of folk art: folk songs, lesions, poems, etc., united by a single theme or a common national affiliation. III m. A number of ... ... Modern explanatory dictionary of the Russian language

epos. - but; m. (from Greek. épos word, narration) See the DVG. Epic 1) Special. The narrative of literature (in contrast to lyrics and drama) Great Master of Epos. 2) a set of folk heroic songs, testes, poems, united by the topic, ... ... Dictionary of many expressions

Rod literary - Rod literary, a number of literary works similar in the type of their speech organization and cognitive focus on the object or subject, or the act of artistic statement: the word either depicts the subject world or expresses ... ... Literary Encyclopedic Dictionary

Eduard (Edouard Rod, 1857 1910) Swiss novelist, who wrote to Franz. Yaz. He studied in Bern, then in Berlin. From 1887 to 1893 he was a professor of universal literature in Geneva, then moved to Paris. The first of his novels are written in the spirit of naturalism ... ... Literary encyclopedia

Epos, Lyrics, Drama. Determined by different features: from the point of view of ways to imitate reality (Aristotle), content types (F. Schiller, F. Shelling), categories of gnoseology (objective subjective in V. F. Hegel), formal ... ... encyclopedic Dictionary

Girth literary, one of the three groups of works of fiction Epos, Lyrics, drama. The tradition of generic literature members was laid by Aristotle. Despite the bribes of the boundaries between the birth and the abundance of intermediate forms (LarEpic ... ... Modern encyclopedia

Books

Content of artistic forms. Epos. Lyrics. Theater, Gachev GD .. What is the point of emitting the form of the artwork itself? His genre and genre, or another construction, plot, rhythm? Why does the playwright perceives the world not like a lyric or writer ...

the word, the narrative is the same as the epic, as well as ancient historical songs, such as Bey Lina. In addition, the literary genus, along with the lyrics and drama, the narrative of the events alleged in the past (as if accomplished and recalled the narrator). E. Grays Being in its plastic volume, spatial-temporal length and event saturation (story). Arises in folklore (fairy tale, epic, historical song, epic). Until the XVIII century. The lead genre of literature E. is an epic poem. The source of its plot is a national legend, images are idealized and summarized, it reflects relatively monolithic popular consciousness, the form is a poetic. In the XVIII-XIX centuries. The leading genre becomes a novel. The plots are borrowed mainly from modernity, images are individualized, the speech reflects the sharply differentiated multilingual public consciousness, the form of prose. Other genres E. - Tale, Story, Novella. Epic works are to combine into cycles. On the basis of the same trend, the Roman-epic is the epic, for example, Saga on Forsyites D. Golzóworsi.

Excellent definition

Incomplete definition ↓

Epos.

Heroic (from Greek. Epos - word, narration, story). I got in the form of both extensive epic ("oriada", "Ramayana", "Beowulf", "Dzhangariada", "Manas", etc.) and short songs (historical songs, Rus. Epics, Yuzhnoslav. Yunatsky songs, etc. ), partly grouped into certain cycles, in the poetic-song, mixed and less often prose. shape (eg, North legends, Irish saga). E. How the genre of Folklore was still in the oral tradition, and MN. Monuments of the book E. retained the traces of the oral improvisory "technique." E. originated in the era of the decomposition of the primitive community. Creating a Center. The image of E. - Hero-Bogatyr demanded a certain degree of identity allocation from the primitive community, and the appearance of epic. The background was impossible without overcoming the genus-tribe. closets. E. Developed in Antich. or feud. Obd in terms of partial preservation of patriarchal ties and patriarchal representations. Early heroic. Epic has grown on the basis of the interaction of the hectares of the song and primitive mythological. E. On the first positions - "cultural heroes"; And when the experience of state. Consolidation inflicted a decisive blow to mythologization of East. Past, then the most important source of the formation of heroic. Epopes Steel East. Traditions about interpar. Wars, relocation, prominent military. Chiefs. In Archaich. E.'s forms (eg, Karelian Fin. Runes, Bogatyan poems Turko-Mong. Peoples of Siberia, Nart Talk of the Peoples of the Caucasus, Nose-ry fragments of the cargo. And Arm. E., Significant Flaratory of E. About Hilgamesh and EDDA) The heroic is still in fabulous mythological. Shell, epic. Time coincides with mythologies. First time, epic. Enemies have feathers fiction. Monsters, and warriors combine the validity of warriors with the properties of shamans. In classic. Forms E. Enemies-Incaptures (and especially Enemies-Inovers) remain only off. Attributes "Monsters", heroes turn out to be leaders and warriors representing the East. Nature, the past of the people is transmitted by the East. Traditions. "Epic. Time" Here is a glorious East. Past people at the dawn of his nat. stories; Heavy East. Persons and events. It is to them representatives "East. Schools" (in Russia - V. F. Miller and his students, in the UK - K. and M. Chadwiki, etc.) were eagerly eapseed. Plots. In Sovr. Histories B. A. Rybakov defended the meaning of the epic as direct East. Source. "Historism" E. should not, however, understand too literally. East. Realities, even if they are reliable, usually do not form independent. The plot, but turn on in traditions. Scene schemes. Historic. Memories are reproduced on the scale of heroic idealization, and, in addition, the measure of "historicism" itself varies greatly. Heroich. E. contains a holistic picture of Nar. Heroic life. narration about the past. Perfect epic. The world and hero-boys in harmonic. Unity - Osn. Heroich content elements. E. Epic. The background is built on a comparison of two ethnic. "Tribes" ("His" and "Alien", which are in a state of constant struggle). In E. Greek, Indian or Germani, fighting "tribes" (Aheitsa and Trojans; Pandava and Kaurava; Goths, Burgundy and Huns), who have already come from East. Arena, and therefore this struggle is lit with famous epic. "Objectivism", which is not in E. Romanesque, Slavic, Armenian and Novogreic, where the struggle is drawn. "Ancestors" with foreign conquerors, and in addition, the Arabs, Turks, Tatars, and the heroic heroic was painted by passionate patriotism. East. The background in a number of epipes concentrates around the defined East. Events - war having a communion. Meaning (Trojan War in "Iliad", the battle on Kurukhetra in "Mahabharat", the battle on the Kosovo field in Serbian E.), but this event itself is often a generalization of the esst. Periods, many wars (the same Trojan War) or minor military. The collisions described as the War of Peoples (the Battle of the Ronsive Gorge 778 in the "Song of Roland"), the event is half-minded (taking Beijina - in the Kyrgyz "manas") or (as an exception) even the mythical (struggle for Sampo in "Kalevale"). In some E. in the focus "Epic. Time" there is an image of the ideal state -a, the prototype is the early political entity (Micheen - in "Iliad", the Empire of Karl the Great - in the song about Roland, Kiev In the book. Vladimir - in the eponymies, the state-in four Oratov - in "Dzhangariad"). This image is submitted to a certain national-east facing in the past in the past, but also social-east. Utopia: "Prince", Personalizing Power and Nats. Unity, and heroes, directly embodying Nar. The ideal is in patriarchal relationships. The most archaic types of heroes retain another features of the "cultural heroes" - the first periods, along with the sword, act by witchcraft. But in the process of development, E. Arkhaich. The warriors are crowded with real warriors (eg, in Nart legends, it is popularly inferior to the Batraz, in David Sasunsky, Mger is overjected by David Sasunsky, in "Iliad" a bold Achille departed a cunning odyssey). Heroich. The character is often noted not only by courage, but also plumpness, daring, fury (Wed. Definitions: "Furious Sasunitsa", "Nuregun Bootour" - a rapid - from Yakut. E. Olonho, "Anger" Achilla, "Furious Heart" Gilgamesh). In an archaic epic, the Bogatyry rafter leads to the beaborry (Gilgamesh, Amão, Mger), and in the classic "historical" E. - to the conflict with the authorities. "Anger" Achille, who refused to fight because of the insult in the Supreme Basiles Agamemnon, is compositions. Rod "Iliada", Marco Kralevich Shrews with a tour. Sultan (Serb. E.), and Ilya Muromets quarrel with the book. Vladimir and "Scrishers Makov with churches." But the incidence of heroes does not bring to break down with the authorities, K-paradium is identified with the genus. or national politics. unity. For the same reason, LED retains the humility of the king, to-ry drive him - his faithful Vassal ("Song about my Side"). Even in many ways, the "debunk" prince remains a focus of perfect epic. World. Actually "revolutionary" motifs appear only on the decomposition steps of classic. Heroich forms. E. (for example, in Heroic-Roman Nich. Turk. E. On Ker-oglu - "Noble Robber", which has become a fair "epich. Prince" in an impregnable mountain fortress). In some E. feud. Epoch epic. The heroic, on the contrary, is complemented by the idealization of vassal loyalty (LED, Roland, etc.), Kraya, however, it will definitely develop into loyalty to the tribe, and only in the measure of interstation becomes the object of idealization, - and in this sense Roland is opposed to the "traitor" , devoted personally, Carlo, but not "sweet France." Heroich. E., even in his classic. Forms, quite diverse. Great epic, which established in DR. Greece and India at the dawn of the Ranclass Society ("Iliad", "Odyssey", "Mahabharata", "Ramayana") are radically different from Epic. Cycles arising in early Zap.-Europe. Middle Ages (Irish sagas, Icelandic sagas, Anglo-Saxon poem Beowulf), or specific. The forms of oral epic, developed in the atmosphere of nomadic feudalism in Türko-Mong. Peoples and Tibetans Center. Asia ("Alpamysh", "Manas", "Dzhangariada", "Geseriada"), or epic. The monuments of the era of the developed feudalism (Arm. "David Sasunsky", Rus. The epic, Franz. "Song about Roland", is "Song about my Side", the visant. "Digeneis Acrite", Ogzi "Santa Corkut", Heroich. Songs of the Balkan Peoples, etc.). Lit.: Propp V. Ya., Rus. Heroich. Epos, 2 ed., M., 1958; Zhirmunsky V. M., Folk Heroich. Epos. Comparative historic. Essays. M.-L., 1962; His, Turkic heroic epos, L., 1974; Issues of studying the epic of the peoples of the USSR, M., 1958; Muletinsky E. M., the origin of heroic. Epos. Early forms and archaic. Monuments, M., 1963; His, Nar. Epos, in the book: Lithing theory, (BN. 2) - Genoda and genres of Lit-Ry, M. , 1964; Putilov B. N., Rus. And Yuzhnoslav. Heroich. Epos, M., 1971; Texthek. Exploring Epos, M., 1971; Greenzer P. A., Ancient Indian epic. Genesis and typology, M., 1974; Bowra S. M., Heroic Poetry, L.-N. Y., 1961; Levy G. R., The Sword from the Rock. An Investigation INTO THE ORIGINS OF EPIC LITERATURE, N. Y., (1954); Lord A. V., The Singer Of Tales, N. Y., 1968; DUM? ZIL G., MYTHE ET? POP? E, (t. 1-3, P., 1968-1973). See also lit. at st. Folklore. E. M. Muletinsky. Moscow.