The tale

The tale

SKAZ is a form of presentation of folklore works, specific in its intonation and style; hence, by S. they mean such a character of presentation in literary works, which reproduces the speech of works of oral literature, and in more broad sense - oral speech in general and even unusual shapes written speech.
The most common forms of S. are:
a) imitation of the fabulous, epic and song structure. Wed “Beyond the Volga, in the woods, in Black Ramen, there lived a peasant, a rich man. That peasant's daughter grew up. My daughter grew up, filled with beauty (Melnikov-Pechersky, "In the Woods" - fabulous S.);
b) imitation of the local and professional dialects of the peasantry: “He was tired of it to death, he was angry like a fierce serpent; and in the evenings he went to Prokudin's. They began to fill the highways with hemp, and Prokudin dumped the carts from their heels (Leskov, "The Life of a Woman");
c) imitation of the vernacular and professional dialects of the urban population, mainly of those groups of it, to-rye who do not quite know the literary language: “I thank him and say that I have no desires and I will not think of anything, except for one thing - if his mercy will, say me ... "(Leskov," Darning ");
d) imitation of outdated and unusual forms of written speech: “And with such a peaceful spirit, as I presented to you, we lived for almost three years. Arguing against us all, all the successes poured out on us as if from the Amalfey's horn, when suddenly we saw that there were in our midst two vessels of God's chosen ones for our punishment ”(Leskov,“ The Sealed Angel ”- S. of ancient Russian instructive books).
As is clear from the above examples, S.'s character is achieved in written speech by the selection of vocabulary different types oral speech (and in the last of the above cases - archaic vocabulary, alien to the modern literary language) and specific forms of syntax and morphology, allowed only in oral speech (or in ancient writing): imitations folklore genres characterized by eg. rhythmization, recitative or melodious warehouse, transfer of figures typical for folklore into written speech, imitation of common speech - the introduction of a significant number of dialectisms, violation of grammatical. the structure of written speech - incomplete sentences, their inconsistency, an abundance of exclamation and interrogative phrases.
In rare cases, S. is maintained throughout the entire work: more often the author alternates it with the usual literary presentation, motivating this by the need to shorten the story.
The introduction of S. forms is usually motivated by the author's Vorgeschichte, which characterizes the situation and the narrator (cf. the construction of most of Leskov's stories - "Warrior", "Midnight Office", "The Enchanted Wanderer", "Dumb Artist", etc. Framing). Another very common form of introducing S. is the monological nature of the narrative - Ich-Erzahlung, diary, letter (compare the construction of Dostoevsky's novels and stories - Notes from the Underground, Demons, etc.). Sometimes S.'s introduction characterizes the feelings and train of thought of any of the characters. Wed: "Mother Manetha is standing in the prayer room in front of the icons, crying with bitter, burning tears ... The vain, sinful world has again begun to speak into Manetha's spiritual ears" - follows S. about a rich man and his beautiful daughter as an exposition of the heroine's memories ( Melnikov-Pechersky, "In the Woods"). Here S.'s introduction is one of the cases of the so-called. "Direct indirect speech" (style indirect libre) - the characteristics of the thoughts of the actor, presented on behalf of the author.
Genuinely artistic forms S. become when the entire content of the work is presented from that angle of view, which is characteristic and possible for an imaginary storyteller; Such are the images of the simple-minded seedy landowner Belkin, the talkative Ukrainian beekeeper Rudy Panka, the curious "progressist" - the inhabitant of the provincial towns of Dostoevsky, the St. Petersburg shrews - hangers-on and dealers, admirers of "Father John of Kronstadt" at Leskov, and so on. etc.
Allowed in the literary styles of classicism only in direct speech to characterize comic characters, S. is widely used in the literary styles of romanticism (the predominance of folklore and ancient written S. and also peasant S.) and realism XIX v. (the inclusion of the everyday vernacular of the city and the widespread use of territorial peasant dialects in regional literature). In modern Soviet literature S. forms achieve, on the one hand, greater sophistication (the tale of Babel, Tynyanov, Sholokhov, and many others), but on the other hand, sometimes they appear insufficiently substantiated, acquiring the character of aimless destruction of norms literary language and causing a protest from the outside the best masters words (M. Gorky's speeches against the deterioration of the literary language in 1934). Bibliography:
Eikhenbaum B., Illusion of Skaz, "Book Corner", 1918, No. 2 (reprinted in the author's collection: Through Literature, L., 1924); Vinogradov V.V., The problem of skaz in stylistics, see: Sat. Poetics. I. Annals of the Department. words of arts. State Institute of Art History, L., 1926; FavorinV. To the question of the author's speech in historical novel, "Izvestia of the Irkutsk state. ped. in-ta ”, 1935, issue II; Forstreuter K., Die deutsche Ich-Erzahlung, Berlin, 1924.

Literary encyclopedia. - In 11 volumes; Moscow: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V.M. Fritsche, A.V. Lunacharsky. 1929-1939 .

Literature and language. Modern illustrated encyclopedia. - M .: Rosman. Edited by prof. A.P. Gorkina 2006 .

See what "Tale" is in other dictionaries:

Tale, and ... Russian verbal stress

tale- skaz, and ... Russian spelling dictionary

tale- tale / ... Morphemic-spelling dictionary

That's the whole story .. Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, M .: Russian dictionaries, 1999. kubair tale, narration, description, sketch, epic, dzeruri, story, story, history Dictionary of Russian synonyms ... Synonym dictionary

SKAZ, tale, husband. 1. Narration, conducted on behalf of the narrator (nar. Poet., Lit.). Leskov's skaz problem. 2. The term of some grammars denoting either a complex syntactic whole or a rhythmic-syntactic unit of speech (gram. Neol., ... ... Ushakov's Explanatory Dictionary

A; m. 1. Epic work oral folk art about the events of the past or the present, in which the narration is carried out on behalf of the narrator. S. about the national hero. S. o great battle. Ural tales... Northern Tales. S. is transmitted from ... ... encyclopedic Dictionary

Fairy tale is a kind of literary fictional storytelling that mimics folklore works style, specific intonation and stylization of speech for reproducing the speech of the narrator of oral folk genres or living common speech in general. ... ... Wikipedia

SKAZ, ah, husband. 1. Folk epic narration. S. o folk heroes... 2. In literary criticism: a narrative that imitates the speech of the narrator and is conducted on his behalf. Leskov's tales. Here (for you) and the whole tale (colloquial) is said finally, there is nothing ... ... Ozhegov's Explanatory Dictionary

SKAZ, see Stylization. Lermontov Encyclopedia / USSR Academy of Sciences. Institute of Rus. lit. (Pushkin. House); Sci. ed. Council of the Publishing House of Sov. Encyclopedia. ; Ch. ed. Manuylov V.A., Editorial board .: Andronikov I.L., Bazanov V.G., Bushmin A.S., Vatsuro V.E., Zhdanov V.V., ... Lermontov Encyclopedia

There are groups of works where the non-author's word reigns supreme. These are styling, intentionally and clearly imitating the features and properties of any folklore or literary style... Let us recall Lermontov's "Song of<„.>merchant Kalashnikov ", ballads by A.K. Tolstoy, the story "The Fiery Angel" by V.Ya. Bryusov, focused on the style of Western European medieval prose.

Tale, also operating with a non-author's word, in contrast to stylizations and parodies, is focused on oral, everyday, colloquial speech. Here there is “an imitation of a“ live ”conversation, which is born, as it were, this very minute, here and now, at the moment of its perception” 2. The main thing is that skaz, much more than traditional forms of written narration, attracts our attention to the bearer of speech - storyteller, highlighting his figure, his voice, his inherent vocabulary and phraseology. “The principle of the tale requires, - noted B.M. Eichenbaum, - so that the narrator's speech was colored not only with intonation-syntactic, but also lexical shades ”3. Samples of the tale - "Evenings on a farm near Dikanka" by N.V. Gogol, much in V.I. Dahl, N.S. Leskov.

SKAZ is a form of presentation of folklore works, specific in its intonation and style; Hence, by S. they mean such a character of presentation in literary works, which reproduces the speech of works of oral literature, and in a broader sense - oral speech in general and even unusual forms of written speech.

The most common forms of C... - this: a) imitation of the fabulous, epic and song structure. Wed “Beyond the Volga, in the woods, in Black Ramen, there lived a peasant, a rich man. That peasant's daughter grew up. My daughter grew up, filled with red ( Melnikov-Pechersky, "In the woods" - fabulous S.); b) imitation of local and professional dialects of the peasantry: “He was tired of it to death, he was angry like a fierce serpent; and in the evenings he went to Prokudin's. They began to pour the hemp on the highways, and Prokudin poured the carts from their heels ( Leskov, "The Life of a Woman"); c) imitation of the vernacular and professional dialects of the urban population, mainly of those groups of it, to-rye who do not quite know the literary language: “I thank him and say that I have no desires and I will not invent, except for one, - if his mercy is , to tell me..." ( Leskov, "Darning"); d) imitation of outdated and unusual forms of written speech: “And with such a peaceful spirit, as I presented to you, we lived for almost three years. Arguing against us all, all the successes poured out on us as if from the Amalfey's horn, when suddenly we saw that there were in our midst two vessels of God's chosen ones for our punishment ”( Leskov, "The Sealed Angel" - S. Old Russian instructive books).

As is clear from the above examples, S.'s character is achieved in written speech by selecting vocabulary various types of oral speech (and in the last of the above cases - archaic vocabulary, alien to the modern literary language) and specific forms syntax and morphology, allowed only in oral speech (or in ancient writing): imitations of folklore genres are characterized, for example. rhythmization, recitative or melodious warehouse, transferring into written speech typical of folklore figures, imitation in common parlance - the introduction of a significant number dialectisms, violation of grammar. structure of written speech - incomplete sentences, their inconsistency, an abundance of exclamation and interrogative phrases.

In rare cases, S. is maintained throughout the entire work: more often the author alternates it with the usual literary presentation, motivating this by the need to shorten the story.

The introduction of S.'s forms is usually motivated by the author's will, which characterizes the situation and the narrator (cf. the construction of most of Leskov's stories - "The Warrior", "Midnight Office", "The Enchanted Wanderer", "The Dumb Artist", etc. Cf. "Framing"). Another very common form of introducing S. is the monological nature of the narrative - Ich-Erzählung, diary, letter (compare the construction of Dostoevsky's novels and stories - Notes from the Underground, Demons, etc.). Sometimes S.'s introduction characterizes the feelings and train of thought of any of the characters. Wed: "Mother Manetha is standing in the prayer room in front of the icons, crying with bitter, burning tears ... The vain, sinful world has again begun to speak into Manetha's spiritual ears" - follows S. about a rich man and his beautiful daughter as an exposition of the heroine's memories ( Melnikov-Pechersky, "In forests"). Here S.'s introduction is one of the cases of the so-called. "Direct indirect speech" (style indirect libre) - the characteristics of the thoughts of the actor, set forth on behalf of the author.

S. forms become truly artistic when the entire content of a work is presented from the angle of view that is characteristic and possible for an imaginary storyteller; Such are the images of the simple-minded, seedy landowner Belkin, the chatty Ukrainian beekeeper Rudy Panka, the curious "progressist" - the inhabitant of the provincial towns of Dostoevsky, the St. Petersburg shrews - hangers-on and dealers, admirers of "Father John of Kronstadt" at Leskov, etc. .d.

Allowed in the literal styles of classicism only in direct speech to characterize comic characters, S. is widely used in literal styles of romanticism (the predominance of folklore and ancient literary S., as well as peasant S.) and realism of the 19th century. (the inclusion of the everyday vernacular of the city and the widespread use of territorial peasant dialects in the regional literature). In modern Soviet literature, S. forms achieve, on the one hand, greater sophistication (the tale of Babel, Tynyanov, Sholokhov, and many others), but on the other hand, sometimes they appear insufficiently substantiated, acquiring the character of aimless destruction of the norms of the literary language and causing a protest from the best masters of the word (M. Gorky's speeches against the spoilage of the literary language in 1934).

The fairy tale narration (skaz) is conducted in a manner that is sharply different from the author's, and is guided by the forms of oral speech. The tale became widespread in Russian literature of the 19th century, starting in the 30s. For example, in the slightly parody "Tales of Belkin" by Pushkin, a sympathetic and ironic characterization is given not only of the characters, but also of the storytellers. Gogol and Leskov used a similar form of storytelling. The tale allows writers to more freely and more widely capture various types of verbal thinking, to resort to parodies. Built in the manner of speaking, focused on modern living, sharply different from the author's, monologue speech a storyteller who came from some exotic for the reader (everyday, national, folk) environment. In skaz, vernacular, dialectic, and also professional speech are widely used. The most common two forms of the tale: the first, conducted in the first person of a well-defined narrator. It is especially close to the lively intonation of oral speech. the second form dispenses with the introduction of a real storyteller. Problems of the author: Appeal to the tale is most often associated with the desire of writers to break the prevailing conservative literary tradition, bring a new hero and new life material onto the stage. (Tales of Bazhov)

19. The objective world of a work of art: landscape, interior, portrait, thing.

Let's start with the properties of the depicted world. Under the pictured world in fiction that conditionally similar the real world a picture of reality that the writer paints: people, things, nature, actions, experiences, etc. In a work of art, a kind of model of the real world is created. This model is unique in the works of each writer; the worlds depicted in different works of art are extremely diverse and can, more or less, resemble the real world. But in any case, it should be remembered that before us is created by the writer artistic reality, not identical to the primary reality.

We now turn to a specific consideration of the varieties of artistic details.

Portrait. A literary portrait means the image in a work of art of the entire appearance of a person, including here the face, and physique, and clothing, and demeanor, and gesticulation, and facial expressions. The acquaintance of the reader with the character usually begins with a portrait. Every portrait to one degree or another characterological- this means that by the external features we can at least briefly and approximately judge the character of a person. In this case, the portrait can be provided with an author's commentary, revealing the relationship between the portrait and the character (for example, a commentary on the portrait of Pechorin), or it can act on its own (the portrait of Bazarov in Fathers and Children). In this case, the author, as it were, relies on the reader to draw conclusions about the character of a person himself. Such a portrait requires more attention. In general, a full-fledged perception of a portrait requires somewhat enhanced work of the imagination, since the reader must verbal description imagine a visible image.

The correspondence of the features of the portrait to the character traits is a rather conditional and relative thing; it depends on the views and beliefs accepted in a given culture, on the nature of the artistic convention. In the early stages of cultural development, it was assumed that a beautiful appearance matches and spiritual beauty; good characters were often portrayed as beautiful in appearance, negative ones as ugly and disgusting. In the future, the connections between external and internal in a literary portrait become significantly more complicated. In particular, already in the XIX century. a completely inverse relationship between portrait and character becomes possible: positive hero can be ugly and negative can be beautiful. An example is Quasimodo V. Hugo and Milady from The Three Musketeers by A. Dumas. Thus, we see that the portrait in literature has always performed not only a depicting, but also an evaluative function.

If we consider history literary portrait, then it can be seen that this form of literary depiction was moving from a generalized abstract portrait characteristic to an ever greater individualization. Early stages of literary development heroes are often endowed with a conditionally symbolic appearance; so, we can hardly distinguish from the portrait of the heroes of Homer's poems or Russian military stories. Such a portrait carried only a very general information about the hero; this happened because literature had not yet learned at that time to individualize the characters themselves. Over time the portrait became more and more individualized, that is, it was filled with those unique features and traits that no longer allowed us to confuse one hero with another and at the same time indicated not the social or other status of the hero, but individual differences in characters. The literature of the Renaissance already knew a very developed individualization of the literary portrait (an excellent example is Don Quixote and Sancho Panza), which was further strengthened in literature.

An individualized detail, attaching itself to a character, can become his permanent feature, a sign by which he is identified this character; such are, for example, Helen's shiny shoulders or Princess Mary's radiant eyes in War and Peace.

The simplest and at the same time the most frequently used form of portrait characterization is portrait description . It consistently, with varying degrees of completeness, gives a kind of list portrait details, sometimes with a generalizing conclusion or the author's commentary on the character of the character that appeared in the portrait; sometimes with special emphasis on one or two leading details. Such, for example, is the portrait of Bazarov in Fathers and Children, and Natasha's portrait in War and Peace.

Others, more complex view portrait characteristics is portrait-comparison . In it, it is important not only to help the reader more clearly imagine the hero's appearance, but also to create in him a certain impression of the person, his appearance.

Finally, the most difficult type of portrait is portrait-impression . Its peculiarity lies in the fact that there are no portrait features and details as such at all, only the impression made by the appearance of the hero on an outside observer or on one of the characters in the work remains. So, for example, Chekhov characterizes the appearance of one of his heroes as follows: "His face seems to be pinched by a door or nailed with a wet rag" ("Two in one"). Draw an illustration using a similar portrait characteristics almost impossible, but Chekhov does not need the reader to visualize all the portrait features of the hero, it is important that a certain emotional impression of his appearance has been achieved and it is easy enough to draw a conclusion about his character.

Landscape. A landscape in literature is an image in a work of animate and inanimate nature. Not in everyone literary work we are meeting landscape sketches, but when they appear, they usually perform essential functions. First and simplest function landscape - to indicate the place of action. However simple at first glance this function may be, its aesthetic impact on the reader should not be underestimated. Often the scene of action is of fundamental importance for a given work. So, for example, many Russian and foreign romantics used the exotic nature of the East as a scene of action: bright, colorful, unusual, it created in the work a romantic atmosphere of the exceptional, which was necessary.

Often, the relationship to nature shows us some essential aspects of the character or worldview of the character. So, Onegin's indifference to the landscape shows us the extreme degree of disappointment of this hero. The discussion about nature, taking place against the background of a beautiful, aesthetically significant landscape in Turgenev's novel "Fathers and Sons", reveals the differences in the characters and worldviews of Arkady and Bazarov.

The city often becomes the scene of action in the literature of modern times. Moreover, in recent times nature as a place of action is more and more inferior in this quality to the city, in full accordance with what is happening in real life... The city as a scene has the same functions as the landscape; even an imprecise and oxymoronic term appeared in the literature: "City landscape". As well as natural environment, the city has the ability to influence the character and psyche of people. In addition, the city in any work has its own unique look, and this is not surprising, since each writer does not just create a topographic scene, but in accordance with his artistic tasks builds a certain image cities. Thus, Petersburg in Eugene Onegin by Pushkin is, first of all, “restless”, vain, secular. But at the same time, it is a complete, aesthetically valuable integral city that you can admire. And finally, St. Petersburg is a repository of high noble culture, primarily spiritual.

Returning to the actual literary depiction of nature, I must say about one more function of the landscape, which can be called psychological... For a long time it was noticed that certain states of nature in one way or another correlate with certain human feelings and experiences: the sun - with joy, the rain - with sadness; Wed See also expressions like "mental storm". Therefore, landscape details from the earliest stages of the development of literature were successfully used to create a certain emotional atmosphere in the work (for example, in The Lay of Igor's Campaign, a joyful ending is created using the image of the sun) and as a form of indirect psychological image, when state of mind heroes are not described directly, but, as it were, is conveyed to the nature around them, and often this technique is accompanied by psychological parallelism or comparison (“It’s not the wind that bends a branch, It’s not the oak tree that makes noise. It’s my heart groans. autumn leaf trembles "), B further development literature, this technique became more and more sophisticated, it becomes possible not directly, but indirectly to correlate mental movements with this or that state of nature. At the same time, the mood of the character can correspond to it, and maybe vice versa - contrast with it.

Special mention should be made of the infrequent case when nature becomes like actor artwork. This does not mean fables and fairy tales, because the animal characters taking part in them are in fact only masks of human characters. But in some cases, animals become actual characters in the work, with their own psychology and character. Most famous works of this kind are the stories of Tolstoy "Kholstomer" and Chekhov "Kashtanka" and "White-fronted".

The world of things. In the early stages of development, the world of things did not receive a wide reflection, and the material details themselves were little individualized. The thing was depicted only insofar as it turned out to be a sign of a person's belonging to a certain profession or a sign of social status. The indispensable attributes of the imperial dignity were the throne, crown and scepter, the things of a warrior are, first of all, his weapon, the farmer's - plow, harrow, etc. The kind of thing we'll call accessory, did not yet correlate in any way with the character of a particular character, that is, the same process was going on here as in portrait detailing: a person's individuality was not yet; was mastered by literature, and therefore there was still no need to individualize the thing itself. Over time, although an accessory item remains in literature, it loses its meaning and does not carry any significant artistic information.

Another function of a thing detail develops later, starting approximately from the Renaissance, but it becomes the leading one for this type of detail. The detail becomes a way of characterizing a person, an expression of his individuality.

A thing detail can sometimes very expressively convey psychological condition character; Chekhov especially liked to use this method of psychologism. Here is how, for example, psychosis is portrayed with the help of a simple and ordinary thing detail, the logical state of the hero in the story “Three Years”: “At home, he saw an umbrella on a chair, forgotten by Yulia Sergeevna, grabbed it and kissed it greedily. The umbrella was silk, no longer new, intercepted by an old elastic band; the handle was plain, white bone, cheap. Laptev opened it above himself, and it seemed to him that he even smelled of happiness around him. "

A thing detail has the ability to both characterize a person and express author's attitude to the character. For example, here is a thing in Turgenev's novel "Fathers and Sons" - an ashtray in the form of a silver bast shoe, standing on the table of Pavel Petrovich, who lives abroad. This detail not only characterizes the ostentatious love of the people, but also expresses a negative assessment of Turgenev. The irony of the detail is that the coarsest and at the same time perhaps the most vital object of peasant life here is made of silver and serves as an ashtray. Studying the world of things as such, the material environment of a person, one can understand a lot - not about the life of this or that person, but about lifestyle in general.

In the "Brief Literary Encyclopedia" A. P. Chudakov and M. O. Chudakova (1971) define the skaz as follows:
SKAZ- a special type of narration, built as a story of some person distant from the author (specifically named or implied), having a peculiar own speech manner.

Fairy tale as a kind of literary storytelling

Material from Wikipedia

The tale- a kind of literary and artistic narration, imitating folklore works with style, specific intonation and stylization of speech to reproduce the speech of the narrator of oral folk genres or living common speech in general. Feature tale- the presence of a narrator who does not coincide with the author, whose style of speech does not coincide with the modern literary norm.

In Russian literature, the fairy-tale works of N.S. Leskova ("Levsha" (The Tale of the Tula braid Lefty and about steel flea), P.P. Bazhova (the book "Malachite Box" written in the spirit of the folk dialect of the Ural mining workers), B.V. Shergin (telling about the character, culture, life, ennobling work of the Russian Pomors), M.Kh. Kochnev (representing the peculiarities of the language, everyday life, working folklore of the Ivanovo weavers). M.Kh. Kochnev: “Tale and story live side by side. The fairy tale is also in friendship with them: the story and the fairy tale seem to go on the sides, and the tale is in the middle. The tale, like a proverb, has sensitive ears, sharp-sighted eyes. But do not forget about this: the tale does not walk on the earth itself - its life leads it. " (Dictionary of Literary Terms)

Stylization can be achieved by imitating the fabulous, epic and songwriting (fabulous stylization), for example, by Melnikov-Pechersky, “In the Woods”: “Beyond the Volga in the woods, in Black Ramen, there lived a peasant, a rich man. That peasant's daughter grew up. My daughter grew up, filled with beauty. " Another method of stylization is imitation of the dialects and professional dialects of the peasants, for example, in Leskov's “The Life of a Woman”: “He was tired of it to death, he was angry like a fierce serpent; and in the evenings he went to Prokudin's. They began to fill the highways with hemp, and Prokudin dumped the carts from their heels. " By the narrator in skaz a city dweller can also speak, in such cases the author imitates the vernacular and professional dialects of the urban population, for example, Leskov's, "Darning": “I thank him and say that I have no wishes and I will not think of, except for one, - if his mercy is, to tell me…". It is also possible to imitate archaic and unusual forms of written speech, for example, in Leskov's “The Sealed Angel”: “And with such a peaceful spirit, as I presented to you, we lived for almost three years. Arguing against us everything, all the successes poured out on us as if from the Amalfey's horn, when suddenly we saw that there were in our midst two vessels of God's chosen ones for our punishment ”- a stylization of ancient Russian instructive books.

The tale and the tale are different. The main difference is authorship, the tale has a specific author. The tale is written on the basis of famous legend, and the legend, in turn, arose on the basis of a real event.

There is necessarily a narrator in the tale, on whose behalf the narration is conducted.

Also, the peculiarities of the tale are the presence of fantastic elements, it can be the hero himself endowed magic power, and at the same time in the tale there are descriptions of real things and images of people.



The main feature of the genre is skaz is that in nm always is folk motives. But at the same time, the skaz is not a product of oral folk art, for the skaz has an author. For example, Lefty Leskova is a tale: there are folklore motives (including elements of fiction characteristic of a fairy tale), but at the same time there is an author. another feature of the tale as a genre is emphasis on oral folk speech , is very common in the genre of skaz the comic of the hero himself(again, remember Lefty), the text contains a lot of comical descriptions of the hero, and the image itself is comical,

although tragic at the same time.

SKAZ is epic prose with a special manner of storytelling.

And the essence of this very manner lies in the fact that the narration is conducted not on behalf of the author, but on behalf of the narrator introduced into the work by the author. The narrator usually tells the reader about events and specific persons of the recent past, in which he was an eyewitness or even a participant.

For example, in Leskov's tales, consummate master of this genre, the narrator is either a monastery novice, or a former soldier, or a retired mayor, or former actress and etc.

These people belong to a completely different social circle, have different professions, education, rather than the writer himself and, quite possibly, the intended reader.

And therefore speech manner, and often position the narrator differs from the point of view and style of the author.

The narrator's speech is lively spoken language, speech oral storytelling: dialects, typically professional words, rewriting foreign words in the Russian vernacular way. Common speech can also be combined with the literary norm, that is, there is a combination of both.

SKAZ- this is a description of a real event, but it also contains elements of fantasy.

Skaz was introduced into Russian literature by N.V. Gogol. For example, in his story Evening on the eve of Ivan Kupala the Ukrainian deacon Foma Grigorievich is introduced into the narrative, who, with his colorful manner of conversation, tells the legend of the fern. But he thoroughly developed and, one might say, glorified this literary genre, of course, the artist of the word N.S. Leskov.

Leskov has quite a few tales about the righteous of the people, about the talented craftsmen etc.

It seems to me that the most famous to the reader are such works as Enchanted wanderer Stupid artist and, without a doubt, Lefty.

Malachite box Pavel Bazhov, the Ural storyteller. From childhood, familiar tales Stone flower Mountain master Silver hoof Blue snake do not leave anyone indifferent.

Tales Malachite box united by one inimitable storyteller from the people - grandfather Slyshko.



Isaac Babel in his story How it was done in Odessa the narrator is a proud Jew living with the dead - Arie-Leib. A feature of Babel's tale is the inimitable dialectal so-called Odessa language. In essence, this is Russian with an admixture Ukrainian language and Yiddish.



There are many examples of literary tales. Such tales were created by our contemporaries Sholokhov, Tynyanov and other writers. Unfortunately, within the framework of one answer, it is impossible to tell in detail and fully on this interesting topic.

The meaning of the word SKAZ in the Dictionary of literary terms

1) A type of storytelling based on the stylization of the speech of the hero who acts as the narrator. The narration in S. is conducted on behalf of the hero (character), in his inherent speech manner, and imitates a living spoken language with all the features characteristic of the oral form of speech (spontaneity of speech, often the use of colloquial and colloquial vocabulary and phraseology, the use of dialectisms (see dialectisms), professionalisms (see professionalisms), jargon isms, incomplete sentences, etc.). Examples of S. in Russian literature are "Evenings on a Farm near Dikanka" by N.V. Gogol, "Lefty", "The Enchanted Wanderer" by NS Leskov, tales of P. Bazhov, many stories of M. Zoshchenko.

2) Narrative genre, a work in the form of S. 3. Genre of oral folk art (see oral folk art), a story about the events of the past or the present, which is conducted on behalf of the narrator.

Dictionary of literary terms. 2012

See also the interpretations, synonyms, meanings of the word and what is SKAZ in Russian in dictionaries, encyclopedias and reference books:

• SKAZ in the Directory Settlements and postal codes of Russia:
  456990, Chelyabinsk, ...
• SKAZ in the Big Encyclopedic Dictionary:
  
• SKAZ in big Soviet encyclopedia, TSB:
  1) a kind of literary and artistic narration, built as a story of a person, the position and speech manner of which is different from the point of view and style of the person ...
• SKAZ v Encyclopedic Dictionary:
  , -a, m. 1. Folk epic narration. S. about folk heroes. 2. In literary criticism: a narrative that imitates the speech of the narrator and is conducted ...
• SKAZ in the Big Russian Encyclopedic Dictionary:
  folklore form (including oral narrative story), standing on the verge of everyday speech and thin. creativity. Lit. stories (N.S. Leskov, P.P. ...
• SKAZ in the Complete Accentuated Paradigm by Zaliznyak:
  ska z, ska zy, ska za, ska z, ska zu, ska z, ska z, ska za
• SKAZ in the Popular Explanatory and Encyclopedic Dictionary of the Russian Language:
  -a, m. 1) lit. The form of narration in a literary work, reproducing the peculiarities of the language and character of the hero, on whose behalf the story is being told. ...
• SKAZ
  Bazhov is a master of this ...
• SKAZ in the Dictionary for solving and compiling scanwords:
  Bazhovskaya ...
• SKAZ in the Dictionary for solving and compiling scanwords:
  Folklore ...
• SKAZ in Abramov's Dictionary of Synonyms:
  || that's all ...
• SKAZ in the dictionary of Russian Synonyms:
  dzeruri, kubair, narration, ...
• SKAZ in the New explanatory and derivational dictionary of the Russian language by Efremova:
  
• SKAZ in the Complete Russian Spelling Dictionary:
  tale, ...
• SKAZ in the Spelling Dictionary:
  tale, ...
• SKAZ in the Ozhegov Russian Language Dictionary:
  In literary criticism: a narration that imitates the speech of the narrator and the Skazy Leskov is conducted on his behalf. folk tale epitechkoy narration of S. about ...
• SKAZ in the Modern explanatory dictionary, TSB:
  1) folklore form (including oral folk story), standing on the verge of everyday speech and artistic creation. Literary tales (N. ...
• SKAZ in the Explanatory Dictionary of the Russian Language by Ushakov:
  skaz, m. 1. The narration conducted on behalf of the narrator (nar.-poet., lit.). Leskov's skaz problem. 2. The term of certain grammars denoting or ...
• SKAZ in the Explanatory Dictionary of Efremova:
  m. 1) Narration conducted on behalf of the narrator. 2) A work of oral folklore about the actual events of the present or the recent past, in ...
• SKAZ in the New Dictionary of the Russian Language by Efremova:
  
• SKAZ in the Big Modern Explanatory Dictionary of the Russian Language:
  m. 1. Narration conducted on behalf of the narrator. 2. A work of oral folklore about the actual events of the present or the recent past, in ...
• KURBSKY ANDREY MIKHAILOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox encyclopedia"TREE". Kurbsky Andrey Mikhailovich (c. 1528 - 1583), prince, famous politician and writer. Born around ...