Autobiography(gr. autos - myself, bios - life, grapho - I write) - a literary and prose genre, a description by the author of his own life. A literary autobiography is an attempt to return to one's own childhood, youth, to resurrect and comprehend the most significant segments of life and life as a whole.
Allegory(gr. allegoria - allegory) - an allegorical image of an object, a phenomenon in order to most clearly show its essential features.
Amphibrachius(gr. amphi - round, brachys - short) - a three-syllable meter with an accent on the second syllable (- / -).
Analysis of a work in literary criticism(gr. analysis - decomposition, dismemberment) - research reading of a literary text.
Anapaest(gr. anapaistos - reflected back, reversed to dactyl) - a three-syllable meter with an emphasis on the third syllable (- - /).
annotation- a summary of the book, manuscript, article.
Antithesis(gr. antithesis - opposition) - opposition of images, pictures, words, concepts.
Archaism(gr. archaios - ancient) - an obsolete word or phrase, grammatical or syntactic form.
Aphorism(gr. aphorismos - saying) - a generalized deep thought, expressed in a concise, concise, artistically pointed form. An aphorism is akin to a proverb, but unlike it, it belongs to a certain person (writer, scientist, etc.).
Ballad(Provence ballar - to dance) - a poem, which is most often based on a historical event, a legend with a sharp, intense plot.
Fable- a short moralizing poetic or prose story, in which there is an allegory, allegory. The characters in the fable are most often animals, plants, things in which human qualities and relationships are manifested, guessed. (Fables of Aesop, La Fontaine, A. Sumarokov, I. Dmitriev, I. Krylov, parodic fables of Kozma Prutkov, S. Mikhalkov, etc.)
Best-seller(English best - the best and sell - to be sold) - a book that has a special commercial success, which is in reader demand.
"Poet's Library"- a series of books dedicated to the work of major poets, individual poetic genres ("Russian ballad", "Russian epics", etc.). Founded by M. Gorky in 1931.
Bible(gr. biblia - lit.: "books") - a collection of ancient texts of religious content.
Bylina- a genre of Russian folklore, a heroic-patriotic song about heroes and historical events.
Screamers(mourners) - performers of lamentations (I. Fedosova, M. Kryukova, etc.).
hero of a literary work, literary hero- the character of a literary work.
Hyperbola(gr. huperbole - exaggeration) - excessive exaggeration of the properties of the depicted object. It is introduced into the fabric of the work for greater expressiveness, it is characteristic of folklore and the genre of satire (N. Gogol, M. Saltykov-Shchedrin, V. Mayakovsky).
Grotesque(French grotesque, urn. grottesco - whimsical, from grotta - grotto) - the ultimate exaggeration based on fantasy, on a bizarre combination of the fantastic and the real.
Dactyl(gr. dactylos - finger) - a three-syllable meter with an accent on the first syllable (/ - -).
Disyllabic sizes- iambic (/ -), trochee (- /).
Detail(fr. detail - detail) - expressive detail in the work. The detail helps the reader, the viewer, to imagine the time, the place of action, the appearance of the character, the nature of his thoughts, to feel and understand the author's attitude to the depicted more sharply and deeper.
Dialog(gr. dialogos - conversation, conversation) - a conversation of two or more persons. Dialogue is the main form of revealing human characters in dramatic works (plays, screenplays).
Genre(French genre - genus, type) - a type of work of art, for example, a fable, a lyric poem, a story.
tie- an event that marks the beginning of the development of action in epic and dramatic works.
Idea(gr. idea - idea) - the main idea of a work of art.
Inversion(lat. inversio - permutation) - an unusual word order. Inversion gives the phrase a special expressiveness.
Interpretation(lat. interpretatio - explanation) - interpretation of a literary work, comprehension of its meaning, ideas.
Intonation(lat. intonare - I speak loudly) - an expressive means of sounding speech. Intonation makes it possible to convey the attitude of the speaker to what he is saying.
Irony(gr. eironeia - pretense, mockery) - an expression of mockery.
Composition(lat. compositio - compilation, connection) - the arrangement of parts, i.e., the construction of the work.
Winged words- widely used apt words, figurative expressions, famous sayings of historical figures.
climax(lat. culmen (culminis) - peak) - the moment of the highest tension in a work of art.
A culture of speech- the level of speech development, the degree of proficiency in the norms of the language.
Legend(lat. legenda - lit.: “what should be read”) - a work created by folk fantasy, which combines the real and the fantastic.
chronicle- monuments of historical prose of Ancient Russia, one of the main genres of ancient Russian literature.
Literary critic- a specialist who studies the laws of the historical and literary process, analyzing the work of one or more writers.
literary criticism- the science of the essence and specifics of fiction, the laws of the literary process.
Metaphor(gr. metaphora - transfer) - a figurative meaning of a word based on the similarity or opposition of one object or phenomenon to another.
Monologue(gr. monos - one and logos - speech, word) - the speech of one person in a work of art.
Neologisms(gr. neos - new and logos - word) - words or phrases created to denote a new object or phenomenon, or individual word formations.
Oh yeah(gr. ode - song) - a solemn poem dedicated to some historical event or hero.
personification- the transfer of human traits to inanimate objects and phenomena.
Description- the type of narration in which the picture is depicted (portrait of the hero, landscape, view of the room - interior, etc.).
Landscape(French paysage, from pays - locality) - a picture of nature in a work of art.
Tale- one of the types of epic work. The story is more in volume and coverage of life phenomena than a short story, and less than a novel.
subtext- latent, implicit meaning, not coinciding with the direct meaning of the text.
Portrait(fr. portrait - image) - the image of the appearance of the hero in the work.
Proverb- a short, winged, figurative folk saying that has an instructive meaning.
Poem(gr. poiema - creation) - one of the types of lyrical-epic works, which are characterized by plot, eventfulness and expression by the author or lyrical hero of his feelings.
Tradition- a genre of folklore, an oral story that contains information passed down from generation to generation about historical figures, events of past years.
Parable- a short story, allegory, which contains a religious or moral teaching.
Prose(lat. proza) - a literary non-poetic work.
Nickname(gr. pseudos - fiction, lie and onima - name) - a signature that the author replaces his real name. Some pseudonyms quickly disappeared (V. Alov - N.V. Gogol), others replaced the real surname (Maxim Gorky instead of A.M. Peshkov), even passed on to the heirs (T. Gaidar - son of A.P. Gaidar); sometimes a pseudonym is attached to a real surname (M.E. Saltykov-Shchedrin).
denouement- one of the elements of the plot, the final moment in the development of action in a work of art.
Story- a small epic work that tells about one or more events in a person's life.
Review- one of the genres of criticism, a review of a work of art with the aim of evaluating and analyzing it. The review contains some information about the author of the work, the formulation of the theme and the main idea of the book, a story about its heroes with reasoning about their actions, characters, relationships with other people. The review also notes the most interesting pages of the book. It is also important to reveal the position of the author of the book, his attitude towards the characters, their actions.
Rhythm(gr. rhythmos - tact, proportion) - the repetition of any unambiguous phenomena at regular intervals (for example, the alternation of stressed and unstressed syllables in verse).
Rhetoric(gr. rhitorike) - the science of oratory.
Rhyme(gr. rhythmos - proportionality) - consonance of the endings of poetic lines.
Satire(lat. satira - lit.: “a mixture, all sorts of things”) - a merciless, destroying ridicule, criticism of reality, a person, a phenomenon.
Story- one of the genres of oral folk art, an entertaining story about unusual, often fantastic events and adventures. Fairy tales are of three types. These are magical, household and fairy tales about animals. The most ancient are fairy tales about animals and magic. Much later, everyday fairy tales appeared, in which human vices were often ridiculed and amusing, sometimes incredible life situations were described.
Comparison- the image of one phenomenon by comparing it with another.
Means of artistic expression- artistic means (for example, allegory, metaphor, hyperbole, grotesque, comparison, epithet, etc.) that help to draw a person, event or object clearly, concretely, clearly.
Poem- a work written in verse, mostly of a small volume, often lyrical, expressing emotional experiences.
Stanza(gr. strophe - turn) - a group of verses (lines) that make up the unity. The verses in a stanza are connected by a certain arrangement of rhymes.
Plot(French sujet - subject, content, event) - a series of events described in a work of art, which form its basis.
Topic(gr. thema - what is laid [as the basis]) - the range of life phenomena depicted in the work; the range of events that form the lifeblood of the work.
Tragedy(Greek tragodia - letters, “goat song”) - a type of drama opposite to comedy, a work depicting a struggle, a personal or social catastrophe, usually ending in the death of a hero.
Trisyllabic meter- dactyl (/ - -), amphibrach (- / -), anapaest (- - /).
Oral folk art, or folklore, - the art of the oral word, created by the people and existing among the broad masses. The most common types of folklore are a proverb, a saying, a fairy tale, a song, a riddle, an epic.
Fiction(gr. phantastike - the ability to imagine) - a kind of fiction in which the author's fiction extends to the creation of a fictional, unreal, "wonderful" world.
Chorey(gr. choreios from choros - choir) - a two-syllable meter with an accent on the first syllable (/ -). A work of art is a work of art that depicts events and phenomena, people, their feelings in a vivid figurative form.
Quote- verbatim excerpt from any text or verbatim quoted someone's words.
Epigraph(gr. epigraphe - inscription) - a short text placed by the author before the text of the essay and expressing the theme, idea, mood of the work.
Epithet(gr. epitheton - letters, “attached”) - a figurative definition of an object, expressed mainly by an adjective.
Humor(English humor - disposition, mood) - the image of heroes in a funny way. Humor - laughter is cheerful and friendly.
Yamb(gr. iambos) - disyllabic size with stress on the second syllable (- /).
Basic theoretical and literary concepts
1. Fiction as the art of the word
Literature- this is the art of the word, one of the main types of art. Literature refers to works of art fixed in the written word. Unlike painting, sculpture, music, dance, which have an object-sensory form from some matter (paint, stone, etc.) or from action (string sound, body movement), literature creates its form from words, from language, which, embodied in sounds and letters, is comprehended not in sensory perception, but in intellectual understanding. It is in the art of the word that a person as a bearer of spirituality becomes an object of reproduction and comprehension from various points of view, the main point of application of artistic forces, even when it is not directly about him, but about the world around him. In its diverse and multifaceted manifestations, literature is studied by various branches of literary criticism.
2. Artistic image - this is the main in artistic creativity way perception and reflection of reality, a form of knowledge of life specific to art and the expression of this knowledge.
3. Folklore- this is (from English - folk wisdom) oral folk art. Features: variability, contact of the creator or performer with the listener, collectivity of creation and distribution. Folklore is the most important part of the national culture of every people, however, despite the expressive national coloring of folklore works, many of their themes, motifs, images and plots are very close to different peoples. Among the numerous genres folklore stand out epics, fairy tales, riddles, proverbs, sayings, ballads, songs, ditties, ritual poetry, parables, legends, spiritual poems.
4. Literary types and genres
Genus- this is one of the main divisions in the systematics of literary works, defining three different forms: epic, lyric, drama.
Lyrics- an expressive kind of literature. The subject is the inner world of a person, his thoughts and feelings. Lyric genres: ode, poem (landscape, civil, intimate, philosophical lyrics), elegy, song, thought, message, epigram.
epic- figurative literature. The subject is the reality in its objective, material reality: characters, events, everyday and natural environment in which the characters exist and interact. Genres: small odds ( short story, essay, novella), middle forms ( story), large forms ( novel, epic novel).
Story- a story about one event in a person's life; a single example shows a clash of characters, views; the capacity of details and the depth of subtext are characteristic.
Feature article- a short narrative depicting the customs of any environment, one or another human type; artistic and journalistic genre.
Novella- an extraordinary incident with a dynamic development of the plot and its sharp turns.
Tale- a story about the ups and downs of human life; this example shows some patterns of life itself.
Novel- a story about many actors whose fates are intertwined; the subject of the image is life in its complexity and inconsistency.
Drama- figurative literature. The subject is an objective material being, represented not in its entirety, but through the characters of people, manifested in their purposeful actions. Genres: tragedy, drama, comedy.
Tragedy recreates acute, insoluble conflicts and contradictions in which exceptional personalities are involved; irreconcilable clash of warring forces; one of the warring parties perishes.
Drama- the image of the personality in its dramatic relations with society and difficult experiences; however, there is a possibility of a successful resolution of the conflict of the colliding forces.
Comedy reproduces mainly the private life of people with the aim of ridiculing the backward, obsolete.
5. Main literary trends
Classicism(XVII - beginning of the XIX century) Imitation of the images of ancient literature; faith in the reason of rationalism; strict hierarchy of genres: high - tragedy, ode, epic; low - satire, comedy, fable. Representatives: Moliere, A.D. Kantemir, M.V. Lomonosov, A.P. Sumarokov, D.I. Fonvizin, G.R. Derzhavin.
- Submission requirement personal interests a person's public duty.
- The presence of civic motives.
- Antagonistic contradictions at the heart of the conflict.
- The tragic intensity of the conflict.
- The desire to emphasize the general in a person; satirical typography.
Sentimentalism(2nd half of the 18th century) Priority of feeling; the significance of the concept of "natural" man; genres: elegy, message, epistolary novel, travel notes, diaries. Representatives: S. Richardson, L. Stern, J.J. Russo, G.E. Lessing, N.M. Karamzin.
- The cult of feelings.
- Cult of nature.
- Emphasized attention to the spiritual world of heroes (including those belonging to the lower class).
- The priority of natural feeling over reason.
- Sympathy for the common man.
- Frankness in the depiction of a person.
Romanticism(late 18th - 1st half of the 19th century) The embodiment of the discord of personality with reality; reflection of pessimism; historicism, striving for the exotic; flowering of lyrics; genres: historical novel, idyll, ballad; romantic poem. Representatives: THIS. Hoffman, J. Byron, V. Hugo, V.A. Zhukovsky, A.S. Pushkin, E.A. Baratynsky, M.Yu. Lermontov, F.I. Tyutchev.
- Character system with one main character.
- The immutability of the characters of the characters.
- The irresistibility and demonism of the hero is the "charm of Evil."
- Exotic plot and scene.
- The theme of fate (fatum) in the fate of the hero.
Realism(2nd half of the 19th century - 20th century) Research human nature in its connection with the environment; focus on an objective, truthful reflection of life; reflection of the depth and breadth of coverage of reality; the embodiment of the socio-critical principle; lifelikeness: creation of a living image of reality; genre presentation: novel, short story, epic, lyric-epic drama, lyrics. Representatives: O. Balzac, C. Dickens, J.S. Turgenev, I.A. Goncharov, L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.
- A true and authentic depiction of life.
- Depiction of a historically specific society.
- An image of a hero typical of a given era and environment.
- Motivation of plot collisions and actions of characters.
- Depiction of life and characters in development.
- Rethinking romantic conflict"hero - society".
- Unresolved and unresolvable conflict (open ending).
6. Shape and content literary works are inseparable from each other.
Content: theme, problem, idea, conflict, pathos.
Topic- the range of events and phenomena underlying the work of art, the subject artistic image(region of reflection of reality).
Issues- a list of problems.
Problem- an acute life contradiction, a point of tension between the existing and the proper, the desired and the real. One and the same topic can serve as the basis for posing different problems (the topic of serfdom is the problem of the internal lack of freedom of the serf, the problem of mutual corruption, mutilation of both serfs and serf owners, the problem of social injustice).
Idea- the essence of the writer's attitude to life; the main generalizing thought underlying the work of art and expressed in figurative form; author's attitude to the depicted; solution to the main problem. It is expressed in the entire artistic structure of the work.
Conflict- clash of characters and circumstances, views and principles of life, which is the basis of action.
art form: plot, composition, central and secondary characters, characters, techniques for creating characters' images, landscape, interior, artistic details, artistic speech.
Plot- a set of events in a work of art, presented in a certain connection, revealing the characters of the characters and the attitude of the writer to the depicted life phenomena; sequence, the course of events that constitutes the content of a work of art.
Composition- consistent construction, arrangement and interconnection of parts, images, episodes of a work of art.
Stages of action development
exposition- the conditions that brought the conflict to life, the general background of the action, can be direct (at the beginning of the work) or delayed (in the middle or end of the work).
tie is an event that is the beginning of an action.
Climax - the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly sharp form.
denouement- outcome of events. This is the final moment in the creation of artistic conflict.
Epilogue- always concludes the work. The epilogue tells about the further fate of the heroes.
Lyrical digression(extra-plot, inserted element) - the author's deviation from the plot, author's lyrical inserts on topics that have little or no connection with the main theme of the work. On the one hand, they hinder the plot development of the work, and on the other hand, they allow the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme.
Imaging tools
1. Epigraph to a literary work may indicate the main character trait of the hero.
3. Hero speech. Internal monologues, dialogues with other heroes of the work characterize the character, reveal his inclinations, addictions.
4. deeds, the actions of the hero.
5. Psychological analysis of the character: a detailed, in detail recreation of feelings, thoughts, motives - the inner world of the character; here, the image of the “dialectic of the soul” (the movement of the hero’s inner life) is of particular importance.
6. The relationship of the character with other heroes of the work.
7. Hero portrait. The image of the external appearance of the hero: his face, figure, clothes, behavior.
Portrait types:
- naturalistic (portrait copied from a real person);
- psychological (through the appearance of the hero, the inner world of the hero, his character is revealed);
- idealizing or grotesque (spectacular and bright, replete with metaphors, comparisons, epithets).
8. Social environment, society.
9. Landscape helps to better understand the thoughts and feelings of the character.
10. Artistic detail: description of objects and phenomena of the reality surrounding the character (details that reflect a broad generalization can act as symbolic details).
11. The history of the hero's life.
Image of the author- a character, the protagonist of a work of art, considered in a number of other characters, a conditional carrier of the author's speech in a prose work. It cannot be identified with the writer, as it is the product of the latter's creative imagination.
Literary hero - the image of a person in a work of art. Often used in the meaning of "character", "character". An additional semantic connotation is the positive dominant of the personality, its originality, exclusivity.
Lyric hero - the image of the poet (his lyrical "I"), whose experiences, thoughts, feelings are reflected in the lyrical work. The lyrical hero is not identical to the biographical personality.
7. Language of the artwork:
- artistic vocabulary : trails (words and expressions used in a figurative sense), groups of words of a certain origin and sphere of use;
- syntactic figures : repetition, parallelism, antithesis, inversion, rhetorical questions, appeals, exclamations;
- euphony (sound features): euphony, rhythm, rhyme, anaphora, epiphora, alliteration, assonance, dissonance, sound repetitions.
trails(figurative and expressive means)
Epithet- a figurative definition that characterizes a property, quality, concept, phenomenon.
Metaphor- figurative meaning of the word based on similarity.
Comparison- comparison of two objects, concepts or states that have a common feature.
Hyperbola- artistic exaggeration.
Allegory- transferring the meanings of one circle of phenomena to another, for example, from the world of people to the world of animals, allegory.
8. Prose and poetry: similarities and differences
|
Prose |
Poetry |
|
|
At the heart of the created art world |
flow of life |
Mindflow |
|
Image |
objectivized |
subjectivized |
|
Subject, content |
Reality in the extremely objectified assessment of the writer; everyday life of people is mastered in its complexity and versatility; tends to depict events, characters, details that are organized into a plot |
The subjective attitude of the individual to the world; what is reflected is detailed for the sake of expressing attitude towards it. Does not aim to convey the development of events and characters |
|
Form of reflection of reality |
epic. In the foreground - events; experiences are either mentioned or only guessed at |
Lyrical. In the foreground - experiences. Only through them can one imagine the events that caused these experiences. |
|
Plot |
The most important element of the work. External circumstances are reproduced with possible certainty and consistency. |
Practically absent. The task of conveying the development of events and characters is not set. |
|
Composition |
Determined by storylines |
Subordinate to the movement of the feelings of the lyrical hero |
|
Characters |
The character is manifested objectively, in details, in interaction with other characters. In the center - the image-character |
The character is depicted in individual manifestations and individual experiences. In the center - an image-experience |
|
Descriptions |
Occupies an important place |
Rarely seen; extremely concise |
|
The originality of artistic speech |
Artistic speech is a means of describing, depicting the objective world; vocabulary is used in the richness of its objective meanings (phonetics and syntax are of auxiliary importance). The interaction of various speech planes (author, narrator, characters) is characteristic. |
Artistic speech is a means of conveying expressive emotions; expressive vocabulary is used; great importance is attached to the means of poetic phonetics and syntax |
Basics of versification
Poetic size - consistently expressed form of poetic rhythm. It is determined by the number of syllables, stresses or stops.
Chorey- two-syllable meter with stress on the first syllable. | ` _ |
Yamb- two-syllable meter with stress on the second syllable. | _ ` |
Dactyl- three-syllable meter with stress on the first syllable. | ` _ _ |.
Amphibrachius("surrounded") - three-syllable size with stress on the second syllable. | _ ` _ |
Anapaest("inverted, reflected") - three-syllable size with stress on the third syllable. | _ _ ` |
Rhythm - repetition in poetic speech of homogeneous sound, intonational, syntactic features; periodic repetition of any elements of poetic speech at certain intervals; orderliness of its sound structure.
Rhyme - repetition of sounds linking the endings of two or more lines.
stanza - a group of verses repeated in poetic speech, related in meaning, as well as the arrangement of rhymes; a combination of verses, forming a rhythmic and syntactic whole, united by a certain system of rhyming; additional rhythmic element of the verse.
Sources and literature:
- Culture of written speech [Electronic resource]: St. Petersburg: 2001-2016 - http://gramma.ru/
- Meshcheryakova M. I. Literature in tables and diagrams: Theory. Story. Dictionary. - 8th edition. - Moscow: Iris-press, 2008. - 224. - (Home tutor).
ANTITHESIS - opposition of characters, events, actions, words. It can be used at the level of details, particulars (“Black evening, white snow” - A. Blok), or it can serve as a technique for creating the entire work as a whole. Such is the contrast between the two parts of A. Pushkin's poem "The Village" (1819), where in the first part pictures of beautiful nature, peaceful and happy, are drawn, and in the second - in contrast - episodes from the life of a disenfranchised and cruelly oppressed Russian peasant.
ARCHITECTONICS - the relationship and proportionality of the main parts and elements that make up a literary work.
DIALOGUE - a conversation, conversation, dispute between two or more characters in a work.
STAGE - an element of the plot, meaning the moment of the conflict, the beginning of the events depicted in the work.
INTERIOR - a compositional tool that recreates the atmosphere in the room where the action takes place.
INTRIGA - the movement of the soul and the actions of the character, aimed at searching for the meaning of life, truth, etc. - a kind of "spring" that drives the action in a dramatic or epic work and makes it entertaining.
COLLISION - a clash of opposing views, aspirations, interests of the characters of a work of art.
COMPOSITION - the construction of a work of art, a certain system in the arrangement of its parts. Differ composite means(portraits of actors, interior, landscape, dialogue, monologue, including internal) and compositional techniques(montage, symbol, stream of consciousness, self-disclosure of the character, mutual disclosure, image of the character of the hero in dynamics or in statics). The composition is determined by the peculiarities of the writer's talent, genre, content and purpose of the work.
COMPONENT - an integral part of the work: in its analysis, for example, we can talk about components of content and components of form, sometimes interpenetrating.
CONFLICT - a clash of opinions, positions, characters in a work, driving, like intrigue and conflict, its action.
CULMINATION - an element of the plot: the moment of the highest tension in the development of the action of the work.
Keynote - the main idea works that are repeatedly repeated and emphasized.
MONOLOGUE - a lengthy speech of a character in a literary work, addressed, in contrast to the internal monologue, to others. An example of an internal monologue is the first stanza of A. Pushkin's novel "Eugene Onegin": "My uncle has the most honest rules ...", etc.
INSTALLATION is a compositional technique: composing a work or its section into one whole from separate parts, excerpts, quotations. An example is the book of Evg. Popov "The beauty of life".
MOTIVE - one of the components of a literary text, part of the theme of the work, more often than others acquiring symbolic meaning. Motif of the road, motif of the house, etc.
OPPOSITION - a variant of antithesis: opposition, opposition of views, behavior of characters at the level of characters (Onegin - Lensky, Oblomov - Stolz) and at the level of concepts ("wreath - crown" in M. Lermontov's poem "The Death of a Poet"; "it seemed - it turned out" in A. Chekhov's story "The Lady with the Dog").
LANDSCAPE - a compositional means: the image in the work of pictures of nature.
PORTRAIT - 1. Compositional means: image of the character's appearance - face, clothes, figure, demeanor, etc.; 2. A literary portrait is one of the prose genres.
STREAM OF CONSCIOUSNESS is a compositional technique used mainly in modernist literature. The scope of its application is the analysis of complex crisis states of the human spirit. F. Kafka, J. Joyce, M. Proust and others are recognized as masters of the "stream of consciousness". In some episodes, this technique can also be used in realistic works- Artem Vesely, V. Aksenov and others.
PROLOGUE - an extra-plot element that describes the events or persons involved before the start of the action in the work ("The Snow Maiden" by A. N. Ostrovsky, "Faust" by I. V. Goethe, etc.).
DENOUGH - an element of the plot that fixes the moment of resolution of the conflict in the work, the result of the development of events in it.
RETARDATION - a compositional technique that delays, stops or reverses the development of action in a work. It is carried out by including in the text various digressions of a lyrical and journalistic nature (“The Tale of Captain Kopeikin” in N. Gogol’s “Dead Souls”, autobiographical digressions in A. Pushkin’s novel “Eugene Onegin”, etc.).
PLOT - a system, the order of development of events in a work. Its main elements are: prologue, exposition, plot, development of action, climax, denouement; in some cases, an epilogue is possible. The plot reveals causal relationships in the relationship between characters, facts and events in the work. To evaluate various kinds of plots, such concepts as the intensity of the plot, "wandering" plots can be used.
THEME - the subject of the image in the work, its material, indicating the place and time of action. The main theme, as a rule, is specified by the theme, that is, a set of private, separate topics.
FABULA - the sequence of unfolding events of the work in time and space.
FORM - a certain system of artistic means that reveals the content of a literary work. Categories of form - plot, composition, language, genre, etc. Form as a way of existence of the content of a literary work.
CHRONOTOPE - spatio-temporal organization of material in a work of art.
Bald man with a white beard - I. Nikitin
Old Russian giant – M. Lermontov
With dogaress young – A. Pushkin
Falls on the sofa – N. Nekrasov
Used most often in postmodern works:
Under it is a stream
But not azure,
Above him ambre -
Well, no strength.
He, having given everything to literature,
Full of its fruit tasted.Drive, man, five-kopeck piece,(I. Irteniev)
And do not annoy unnecessarily.
Desert sower of freedom
Gathers a meager harvest.
EXPOSITION - an element of the plot: the situation, circumstances, positions of the characters in which they are before the start of the action in the work.
EPIGRAPH - a proverb, a quote, someone's statement, placed by the author before the work or its part, parts, designed to indicate his intention: “... So who are you finally? I am part of that force that always wants evil and always does good. Goethe. "Faust" is an epigraph to M. Bulgakov's novel "The Master and Margarita".
EPILOGUE - an element of the plot that describes the events that occurred after the end of the action in the work (sometimes after many years - I. Turgenev. "Fathers and Sons").
2. The language of fiction
ALLEGORY - allegory, a kind of metaphor. Allegory fixes a conditional image: in fables, a fox is cunning, a donkey is stupidity, etc. Allegory is also used in fairy tales, parables, and satire.
ALLITERATION is an expressive means of language: the repetition of identical or homogeneous consonants in order to create a sound image:
And he's empty(A. Pushkin)
Runs and hears behind him -
As if thunder rumbles -
Heavy-voiced galloping
On the shaken pavement...
ANAphorA is an expressive means of a language: the repetition at the beginning of poetic lines, stanzas, paragraphs of the same words, sounds, syntactic constructions.
With all my insomnia I love you
With all my insomnia, I will heed you -
About that time, as throughout the Kremlin
Ringers are waking up...But my river yes with your river,(M. Tsvetaeva)
But my hand- yes with your hand
Not converge. My joy, as long as
Not catch up with the dawn of dawn.
ANTITHESIS is an expressive means of language: opposition of sharply contrasting concepts and images: You are poor, // You are plentiful, // You are powerful, // You are powerless, // Mother Russia! (I. Nekrasov).
ANTONYMS - words with opposite meanings; serve to create bright contrasting images:
The rich fell in love with the poor,(M. Tsvetaeva)
The scientist fell in love - stupid,
I fell in love with ruddy - pale,
Loved the good - the bad
Golden - copper half.
ARCHAISMS - obsolete words, turns of speech, grammatical forms. They serve in the work to recreate the color of a bygone era, characterize the character in a certain way. They can give solemnity to the language: “Show off, city of Petrov, and stand, unshakable, like Russia”, and in other cases - an ironic connotation: “This youth in Magnitogorsk gnawed at the granite of science in college and, with God's help, completed it successfully.”
UNION - an expressive means of language, accelerating the pace of speech in the work: “Clouds are rushing, clouds are winding; // Invisible moon // Illuminates the flying snow; // the sky is cloudy, the night is cloudy " (A. Pushkin).
BARBARISMS - words from a foreign language. With their help, the color of a particular era can be recreated (“Peter the Great” by A. N. Tolstoy), a literary character (“War and Peace” by L. N. Tolstoy) can be characterized. In some cases, barbarism can be the object of controversy, irony (V. Mayakovsky."About" fiascos "," apogees "and other unknown things").
RHETORICAL QUESTION - an expressive means of language: a statement in the form of a question that does not require an answer:
Why is it so painful and so difficult for me?(M. Lermontov)
Waiting for what? Do I regret anything?
Rhetorical exclamation - an expressive means of language; an appeal that serves to increase emotionality usually creates a solemn, upbeat mood:
Oh Volga! My cradle!(N. Nekrasov)
Has anyone loved you like me?
vulgarism - a vulgar, rude word or expression.
HYPERBOLE - an excessive exaggeration of the properties of an object, phenomenon, quality in order to enhance the impression.
From your love you can’t heal at all,(B. Okudzhava)
forty thousand other bridges loving.
Ah, my Arbat, Arbat,
you are my fatherland
never get past you.
GRADATION is an expressive means of language, with the help of which the depicted feelings and thoughts are gradually strengthened or weakened. For example, in the poem "Poltava" A. Pushkin characterizes Mazepa as follows: "that he does not know the shrine; // that he does not remember goodness; // that he doesn't like anything; // that he is ready to pour blood like water; // that he despises freedom; // that there is no homeland for him. Anaphora can serve as the basis for gradation.
GROTESQUE is an artistic technique of exaggerated violation of the proportions of the depicted, a bizarre combination of the fantastic and the real, the tragic and the comic, the beautiful and the ugly, etc. The grotesque can be used at the level of style, genre and image: “And I see: // Half of the people are sitting. // Oh, the devil! // Where is the other half? (V. Mayakovsky).
DIALECTISMS - words from a common national language, used mainly in a certain area and used in literary works to create local color or speech characteristics of characters: “Nagulnov let his mashtak bait and stopped him side of the mound "(M. Sholokhov).
JARGON - the conditional language of a small social group, which differs from the common language mainly in vocabulary: “The writing language was refined, but at the same time flavored with a good dose of maritime jargon ... how sailors and vagrants speak” (K. Paustovsky).
INTELLIGENT LANGUAGE is the result of an experiment that the Futurists were mainly fond of. Its goal is to find a correspondence between the sound of the word and the meaning and free the word from its usual meaning: “Bobeobi sang lips. // Veeomi gazes sang ... " (V. Khlebnikov).
INVERSION - changing the order of words in a sentence in order to highlight the meaning of a word or give an unusual sound to the phrase as a whole: “We switched from the highway to a piece of canvas // Barge haulers of these Repinsky legs” (Dm. Kedrin).
IRONY - a subtle hidden mockery: "He sang the faded color of life // Nearly eighteen years old" (A. Pushkin).
PUN - a witty joke based on homonyms or the use of different meanings of one word:
The area of rhymes is my element(D. Minaev)
And I write poetry easily.
Without hesitation, without delay
I run to line from line.
Even to the Finnish brown rocks
I'm dealing with a pun.
LITOTA - a pictorial means of language, built on a fantastic understatement of an object or its properties: “Your Spitz, lovely Spitz, / No more than a thimble” (A. Griboyedov).
METAPHOR - a word or expression used in a figurative sense. Fine language tool based on implicit comparison. The main types of metaphors are allegory, symbol, personification: "Hamlet, who thought with timid steps ..." (O. Mandelstam).
METONYMY - an artistic means of the language: replacing the name of the whole with the name of the part (or vice versa) on the basis of their similarity, proximity, adjacency, etc.: “What is the matter with you, blue sweater, // An anxious breeze in your eyes?” (A. Voznesensky).
NEOLOGISM - 1. A word or expression created by the author of a literary work: A. Blok - overhead, etc.; V. Mayakovsky - a hulk, hammery, etc .; I. Severyanin - sparkling, etc.; 2. Words that have acquired a new additional meaning over time - satellite, cart, etc.
RHETORICAL APPEAL - oratory, expressive means of language; a word or a group of words naming the person to whom the speech is addressed, and containing an appeal, demand, request: “Listen, comrade descendants, // agitator, bawler, leader” (V. Mayakovsky).
OXYMORON - an epithet used in a meaning opposite to the words being defined: “a miserly knight”, “a living corpse”, “blinding darkness”, “sad joy”, etc.
PERSONALIZATION is a technique of metaphorical transfer of the features of the living to the inanimate: “The river is playing”, “It is raining”, “The poplar is burdened by loneliness”, etc. The polysemantic nature of the personification is revealed in the system of other artistic means of the language.
HOMONYMS - words that sound the same, but have different meanings: scythe, oven, marriage, once, etc. “And I didn’t care. about // What a secret volume my daughter has // I dozed until morning under my pillow” (A. Pushkin).
ONOMATOPEIA - onomatopoeia, imitation of natural and everyday sounds:
Kulesh clucked in the cauldron.(E. Evtushenko)
Heeled under the wind
Wings of red fire.
Midnight sometimes in the swamp wilderness(K. Balmont)
Slightly audible, noiselessly rustling reeds.
PARALLELISM is a visual means of language; a similar symmetrical arrangement of speech elements, in proportion creating a harmonious artistic image. Parallelism is often found in oral folklore and in the Bible. In fiction, parallelism can be used at the verbal-sound, rhythmic, and compositional levels: “Black raven in gentle dusk, // Black velvet on swarthy shoulders” (A. Blok).
PERIPHRASE - a visual means of language; replacement of the concept with a descriptive phrase: “A sad time! Eye charm! - autumn; Foggy Albion - England; "Singer of Giaur and Juan" - Byron, etc.
PLEONASM (Greek "pleonasmos" - excess) - an expressive means of the language; repetition of words and phrases that are close in meaning: sadness, longing, once upon a time, crying - shedding tears, etc.
REPETITIONS - stylistic figures, syntactic constructions based on the repetition of words that carry a special semantic load. Types of repetitions - Anaphora, Epiphora, Refrain, Pleonasm, Tautology and etc.
REFRAIN - expressive means of language; periodic repetition of a passage that is complete in meaning, generalizing the thought expressed in it:
Mountain king on a long journey(K. Balmont )
- It's boring in a foreign country. -
Wants to find a beautiful girl.
“You won't come back to me. -
He sees the estate on a mossy mountain.
- It's boring in a foreign country. -
Little Kirsten is standing in the yard.
“You won't come back to me. -<…>
SYMBOL (one of the meanings) - a kind of metaphor, a comparison of a generalizing nature: for M. Lermontov, "sail" is a symbol of loneliness; A. Pushkin has a “star of captivating happiness” - a symbol of freedom, etc.
SYNECDOCH - a visual means of language; view metonymy, based on replacing the name of the whole with the name of its part. Sometimes synecdoche is called "quantitative" metonymy. "The bride has now gone foolish" (A. Chekhov).
COMPARISON - a visual means of language; creating an image by comparing the already known with the unknown (old with new). Comparison is created using special words (“like”, “as if”, “exactly”, “as if”), instrumental form or comparative forms of adjectives:
And she is majestic(A. Pushkin )
It floats like a pava;
And as the speech says,
Like a river murmurs.
TAUTOLOGY is an expressive means of language; repetition of single-root words.
Where is this house with a torn shutter,(D. Kedrin )
A room with a colorful carpet on the wall?
Sweet, sweet, long time ago
My childhood is remembered to me.
TROPES - words used in a figurative sense. The types of trails are Metaphor, Metonymy, Epithet and etc.
DEFAULT is an expressive means of the language. The hero's speech is interrupted in order to activate the reader's imagination, designed to fill in the gap. It is usually denoted by an ellipsis:
What's wrong with me?(A. Pushkin )
Father ... Mazepa ... execution - with a plea
Here, in this castle my mother -
EUPHEMISM is an expressive means of language; a descriptive turn that changes the assessment of an object or phenomenon.
“In private, I would call him a liar. In a newspaper note, I would use the expression - a frivolous attitude towards the truth. In Parliament, I would regret that the gentleman is ill-informed. It could be added that people get punched in the face for such information.” (D. Galsworthy"The Forsyte Saga").
EPITET - a visual means of language; a colorful definition of an object, which makes it possible to distinguish it from a number of similar ones and to discover the author's assessment of what is being described. Types of epithet - permanent, oxymoron, etc.: "The lonely sail turns white ...".
EPIPHORA - an expressive means of language; repetition of words or phrases at the end of lines of poetry. Epiphora is a rare form in Russian poetry:
Note - I love you!(V. Voznesensky )
Fuzzy - I love you!
Beast - I love you!
Separation - I love you!
3. Fundamentals of poetry
Acrostic is a poem in which the initial letters of each verse vertically form a word or phrase:
An angel lay down at the edge of the sky,
Leaning down, he marvels at the abysses.
The new world was dark and starless.
Hell was silent. Not a groan was heard.Scarlet blood timid beating,
Fragile hands fright and shudder,
The world of dreams got into possession
Angel's holy reflection.Close in the world! Let him live dreaming(N. Gumilyov)
About love, about sadness and about shadows,
Opening in the eternal darkness
ABC of their own revelations.
ALEXANDRIAN VERSE - a system of couplets; six-foot iambic with a number of paired verses according to the principle of alternating male and female pairs: aaBBwwYY…
Happened together two Astronomers in a feast(M. Lomonosov)
a
And argued very among themselves in the heat:
a
One kept repeating: the earth, spinning, the circle of the Sun walks,
B
The other is that the Sun leads all the planets with it:
B
One Copernicus was, the other was known as Ptolemy,
in
Here the cook settled the dispute with his grin.
in
The owner asked: “Do you know the course of the stars?
G
Tell me, how do you talk about this doubt?
G
He gave this answer: “That Copernicus is right,
d
I will prove the truth, I have not been to the Sun.
d
Who saw a simpleton of cooks is
E
Who would turn the hearth around Zharkov?
E
Alexandrian verse was used mainly in high classic genres - tragedies, odes, etc.
AMPHIBRACHY (Greek "amphi" - round; "bhaspu" - short; literal translation: "short on both sides") - a three-syllable size with an emphasis on the 2nd, 5th, 8th, 11th, etc. d. syllables.
There lived a little / cue boy(V. A. Zhukovsky(bipedal amphibrach)
He was tall / about the size of a finger.
The face was / handsome, -
Like sparks / little eyes,
Like fluff in / calves ...
ANAPEST (Greek "anapaistos" - reflected back) - a three-syllable size with stress on the 3rd, 6th, 9th, 12th, etc. syllables.
Neither country / nor pogos / ta(I. Brodsky(two-foot anapaest))
I don't want / choose.
On Vasily /evsky island /trov
I will come / die.
ASSONANCE - an inaccurate rhyme based on the consonance of the roots of words, not endings:
The student wants to listen to Scriabin,(E. Evtushenko)
And for half a month he lives a miser.
ASTROPHIC TEXT - the text of a poetic work, not divided into stanzas (N. A. Nekrasov"Reflections at the front door", etc.).
BANAL RHYME - a common, familiar rhyme; sound and semantic stencil. “... There are too few rhymes in the Russian language. One calls the other. The "flame" inevitably drags the "stone" behind it. Because of the “feeling”, “art” certainly peeps out. Who is not tired of "love" and "blood", "difficult" and "wonderful", "faithful" and "hypocritical" and so on. (A. Pushkin"Journey from Moscow to St. Petersburg").
POOR RHYME - only stressed vowels are consonant in it: “near” - “earth”, “she” - “soul”, etc. Sometimes poor rhyme is called “sufficient” rhyme.
WHITE VERSE - verse without rhyme:
From the pleasures of life(A. Pushkin)
Music yields to love alone;
But love is a melody...
White verse appeared in Russian poetry in the 18th century. (V. Trediakovsky), in the XIX century. used by A. Pushkin (“I visited again ...”),
M. Lermontov (“Song about Tsar Ivan Vasilievich ...”), N. Nekrasov (“Who should live well in Russia”), etc. In the 20th century. blank verse is represented in the works of I. Bunin, Sasha Cherny, O. Mandelstam, A. Tarkovsky, D. Samoilov and others.
BRAHIKOLON - a one-syllable verse used to convey an energetic rhythm or as a comic form.
Forehead -(V. Khodasevich."The funeral")
Chalk.
Bel
Coffin.
sang
Pop.
Sheaf
Arrows -
Day
Holy!
Crypt
blind
Shadow -
In hell!
BURIME - 1. A poem on given rhymes; 2. The game, which consists in compiling such poems. During the game, the following conditions are met: rhymes must be unexpected and varied; they cannot be changed or rearranged.
VERLIBR - free verse. It may lack meter, rhyme. Ver libre is a verse in which the unit of rhythmic organization (line, Rhyme, stanza) intonation appears (singing in oral performance):
I lay on top of the mountain(A. Tarkovsky)
I was surrounded by earth.
Enchanted edge below
Lost all colors except for two:
Light blue,
Light brown where on the blue stone
wrote the pen of Azrael,
Dagestan lay around me.
INTERNAL RHYME - consonances, of which one (or both) are inside the verse. Internal rhyme can be constant (appears in a caesura and defines the boundary between half-verses) and irregular (breaks a verse into separate rhythmic unequal and non-permanent groups):
If the yard, disappearing,(K. Balmont)
Numb and shining
Snow flakes curl. -
If sleepy, distant
Now with reproach, then in love,
The sounds are crying tender.
FREE VERSE - multi-footed verse. The predominant size of free verse is iambic with a verse length from one to six feet. This form is convenient for the transmission of live colloquial speech and therefore is used mainly in fables, verse comedies and dramas (“Woe from Wit” by A. S. Griboyedov and others).
Crosses / not, you / walked out / patience / I 4-stop.(I. Krylov)
From ra / dawn / ya, 2-stop.
What speech / ki them / and ru / cells 4-stop.
When in / dopo / lie when / mending / whether, 4-stop.
Send / ask / for yourself / upra / you are at / Rivers, 6-stop.
In ko / toru / th stream / and river / ki te / fall / whether 6-stop.
EIGHT LINE - a stanza of eight verses with a specific rhyme pattern. For more details, see Octave. Triolet.
HEXAMETER - six-foot dactyl, favorite meter of ancient Greek poetry:
The son of the Thunderer and Lethe - Phoebus, angry with the king(Homer. Iliad; per. N. Gnedich)
He brought an evil plague on the army: peoples perished.
Having dropped the urn with water, the maiden broke it on the rock.(A. Pushkin)
The maiden sits sadly, idle holding a shard.
Miracle! Water will not dry up, pouring out of a broken urn,
The Virgin, above the eternal stream, sits forever sad.
HYPERDACTYLIC RHYME - a consonance in which the stress falls on the fourth and further syllable from the end of the verse:
Goes, Balda, grunts,(A. Pushkin)
And the pope, seeing Balda, jumps up ...
Dactylic rhyme - a consonance in which the stress falls on the third syllable from the end of the verse:
I, the Mother of God, now with a prayer(M. Yu. Lermontov)
Before your image, bright radiance,
Not about salvation, not before the battle
Not with gratitude or repentance,
I do not pray for my desert soul,
For the soul of a wanderer in the light of the rootless...
DACTIL - three-syllable size with stress on the 1st, 4th, 7th, 10th, etc. syllables:
Approaching / dove-eyed for / cat(I. Annensky(3-foot dactyl))
The air was / gentle and / intoxicated,
And otu / beckoning / garden
Somehow about / especially / green.
COUPLET - 1. A stanza of two verses with a paired rhyme:
Pale blue mysterious face
On withered roses drooped.And the lamps gild the coffin(I. Bunin)
And their children are transparently flowing ...
2. Kind of lyrics; complete poem of two verses:
From others I praise - that the ashes,(A. Akhmatova)
From you and blasphemy - praise.
DOLNIK (Pauznik) - poetic size on the verge syllabo-tonic and tonic versification. Based on the rhythmic repetition of the strong (cf. Ict) and weak points, as well as variable pauses between stressed syllables. The range of inter-ict intervals ranges from 0 to 4 shockless. The length of a verse is determined by the number of shocks in a line. Dolnik came into wide use at the beginning of the 20th century:
Autumn is late. The sky is open(A. Blok(triple dolnik))
And the forests are silent.
Lay down on the blurry shore
The head of a mermaid is sick.
FEMALE RHYME - a consonance in which the stress falls on the second syllable from the end of the verse:
These poor villages(F. I. Tyutchev)
This meager nature
The land of native long-suffering,
The land of the Russian people!
ZEVGMA (from ancient Greek literally “bundle”, “bridge”) - an indication of the commonality of various poetic forms, literary movements, art forms (see: Biryukov SE. Zeugma: Russian poetry from mannerism to postmodernism. - M., 1994).
ICT is a strong rhythm-forming syllable in verse.
KATRAIN - 1. The most common stanza in Russian poetry, consisting of four verses: “In the depths of Siberian ores” by A. Pushkin, “Sail” by M. Lermontov, “Why are you looking eagerly at the road” by N. Nekrasov, “Portrait” by N. Zabolotsky, "It's snowing" by B. Pasternak and others. The rhyming method can be paired (aabb), ring (abba) cross (abab); 2. Kind of lyrics; a poem of four lines of predominantly philosophical content, expressing a complete thought:
To persuasiveness, to(M. Tsvetaeva)
Kills are simple:
Two birds made a nest for me:
Truth - and Orphanhood.
A CLAUSE is a group of final syllables in a line of poetry.
LIMERIK - 1. The solid form of the stanza; quintuple with double consonance according to the principle of rhyming aabba. The English poet Edward Lear introduced limerick into literature as a kind of comic poem telling about an unusual incident:
There lived an old man from Morocco,
He saw surprisingly poorly.
- Is that your leg?
- I doubt a little -
An old man from Morocco answered.
2. Literary game, which consists in compiling similar comic poems; at the same time, the limerick must necessarily begin with the words: “Once upon a time ...”, “There once lived an old man ...”, etc.
LIPOGRAM - a poem in which no particular sound is used. So, in the poem by G. R. Derzhavin “The Nightingale in a Dream” there is no sound “p”:
I slept high on the hill
I heard your voice, nightingale;
Even in the deepest sleep
He was intelligible to my soul:
It sounded, then it was given,
He groaned, then he smiled
In hearing from afar he, -
And in the arms of Callista
Songs, sighs, clicks, whistles
Enjoyed a sweet dream.<…>
MACARONIC POETRY - poetry of a satirical or parodic orientation; comic effect is achieved in it by mixing words from different languages and styles:
Here I am on the road:(I. Myatlev("Sensations and remarks of Mrs. Kurdyukova abroad given l "etrange"))
I dragged myself into the city of Peter
And crafted a ticket
For myself e pur Anet,
And pur Khariton le medic
Sur le pyroscaphe "Heir",
Loaded the crew
Prepared for the voyage<…>
MESOSTIKH - a poem in which the letters in the middle of the line vertically form a word.
METER - a certain rhythmic ordering of repetitions within poetic lines. Types of meter in syllabic-tonic versification are two-syllable (see. Chorey, Yamb), tripartite (cf. Dactyl, Amphibrach, Anapaest) and other poetic sizes.
METRICA is a branch of versification that studies the rhythmic organization of verse.
MONORYM - a poem using one rhyme:
When you will be, children, students,(A. Apukhtin)
Don't break your head over the moments
Over Hamlets, Lyres, Kents,
Over kings and over presidents,
Over the seas and over the continents
Do not hang out with opponents there,
Be smart with your competitors
And how do you finish the course with eminents
And you will go to the service with patents -
Do not look at the service of assistant professors
And do not hesitate, children, with presents!<…>
MONOSTIKH is a poem consisting of one verse.
I(K. Balmont)
All-expressiveness is the key to worlds and mysteries.
II
Love is fire, and blood is fire, and life is fire, we are fiery.
MORA - in ancient versification, a unit of time for pronouncing one short syllable.
MALE RHYME - a consonance in which the stress falls on the last syllable of the verse:
We are free birds; it's time, brother, it's time!(A. Pushkin)
There, where the mountain turns white behind the cloud,
There, where the sea edges turn blue,
There, where we walk only the wind ... yes, I!
ODIC STROPHE - a stanza of ten verses with a rhyming method AbAbVVgDDg:
Oh, you who are waiting(M. V. Lomonosov(“Ode on the day of the accession to the All-Russian throne of Her Majesty the Empress Elisaveta Petrovna. 1747”))
Fatherland from its bowels
And wants to see them
Which calls from foreign countries.
Oh, your days are blessed!
Be emboldened now
Show with your care
What can own Platos
And quick-witted Newtons
Russian land to give birth.
OCTAVA - a stanza of eight verses with triple consonance due to rhyming abababwww:
Harmonies of verse divine mysteries
Do not think to unravel from the books of the sages:
By the shore of sleepy waters, wandering alone, by chance,
Listen with your soul to the whispering of the reeds,Oak forests speak: their sound is extraordinary(A. Maykov)
Feel and understand... In harmony with poetry
Involuntarily from your lips dimensional octaves
They will pour, sonorous, like the music of oak forests.
The octave is found in Byron, A. Pushkin, A. K. Tolstoy and other poets.
ONEGIN STROPHE - a stanza consisting of 14 verses (AbAbVVg-gDeeJj); created by A. Pushkin (the novel "Eugene Onegin"). A characteristic sign of the Onegin stanza is the obligatory use of iambic tetrameter.
Let me be known as an old believer,(M. Lermontov(Tambov Treasurer))
I don't care - I'm even glad:
I write Onegin in size:
I sing, friends, in the old way.
Please listen to this story!
Her unexpected denouement
Approve, maybe you
A slight bow of the head.
An ancient custom of observing
We are beneficent wine
Let's drink the rough verses,
And they will run, limping,
For a peaceful family
To the river of oblivion to rest.<…>
PALINDROME (Greek "palindromos" - running back), or Flipping - a word, phrase, verse, equally read both from left to right and from right to left. A whole poem can be built on a palindrome (V. Khlebnikov "Ustrug Razin", V. Gershuni "Tat", etc.):
The weaker the spirit - the worse dashing,(V. Palchikov)
cunning (especially quiet quarrel).
Those are in Viya's swara. Faith in the world.
PENTAMETER - pentameter dactyl. Used in combination with hexameter how elegiac distich:
I hear the silent sound of the divine Hellenic speech.(A. Pushkin)
I feel the shadow of the great old man with a confused soul.
PENTON is a five-syllable foot consisting of one stressed and four unstressed syllables. In Russian poetry, “mainly the third penton is used, bearing the stress on the third syllable:
red frying pan(A. Koltsov)
Dawn flashed;
On the face of the earth
The fog rolls in...
PEON is a four-syllable foot consisting of one stressed and three unstressed syllables. Peons differ in the place of stress - from the first to the fourth:
Sleep, half / dead y / withered flowers / you,(K. Balmont(five-foot peon first))
So do not ties / naschie races / colors are beautiful / you,
Near the paths behind / traveled grown up / schennye by the creator,
Crumpled not / who saw you / by the yellow cole / catfish ...
Flashlights - / sudariki,(I. Myatlev(two-foot peon second))
Tell me / you tell me
What they saw / what they heard
In the night you ti/tire?…
Listening to the wind, / the poplar bends, / rain from the sky oh / hay pours,(K. Balmont(four-foot peon third))
Above Me / there is a / measured knock of the cha / owls of the walls;
No one / smiles at me, / and my heart beats anxiously
And a monotonous / sad verse is not / freely torn from the mouth;
And like a quiet / distant stomp, / outside the window I / hear a murmur,
Incomprehensible / strange whisper / - whisper of drops / rain.
Let us use the third peon more in Russian poetry; peon of the fourth type is not found as an independent meter.
TRANSFER - rhythmic mismatch; the end of the sentence does not coincide with the end of the verse; serves as a means of creating conversational intonation:
Winter. What should we do in the village? I meet(A. Pushkin)
The servant who brings me a cup of tea in the morning,
Questions: is it warm? Has the blizzard subsided?
PYRRICHIUS - foot with a missed accent:
Storm / mist / sky / covers,(A. Pushkin(the third foot of the second verse is pyrrhic))
Whirlwinds / snowy / e cool / heavy ...
PENTISTIC - stanza-quatrain with double consonance:
Like a pillar of smoke brightens in the sky! -(F. Tyutchev)
How the shadow below glides elusively! ..
“This is our life,” you said to me,
Not light smoke, shining in the moonlight,
And this shadow running from the smoke ... "
The type of quintuple is Limerick.
RHYTHM - repeatability, proportionality of the same phenomena at regular intervals of time and space. In a work of art, rhythm is realized at different levels: plot, composition, language, verse.
RIFMA (Consent) - the same sounding clauses. Rhymes are characterized by location (pair, cross, ring), by stress (masculine, feminine, dactylic, hyperdactylic), by composition (simple, compound), by sound (exact, root or assonance), monorhyme, etc.
SEXTINE - a stanza of six verses (ababab). Rarely found in Russian poetry:
King-Fire with Water-Queen. -(K. Balmont)
World beauty.
The white-faced day serves them
Darkness undies at night,
Half-dark with the Moon Maiden.
Their foot is three whales.<…>
SILLABIC VERSION - A system of versification based on an equal number of syllables in alternating verses. With a large number of syllables, a caesura is introduced, which divides the line into two parts. Syllabic versification is used predominantly in languages that have constant stress. In Russian poetry was used in the XVII-XVIII centuries. S. Polotsky, A. Kantemir and others.
SYLLABO-TONIC POSTER - a system of versification based on the orderly arrangement of stressed and unstressed syllables in a verse. Basic meters (dimensions) - disyllabic (Yamb, Chorey) and trisyllabic (Dactyl, Amphibrachius, Anapaest).
SONNET - 1. A stanza consisting of 14 verses with various ways of rhyming. Sonnet types: Italian (rhyming method: abab//abab//vgv//gvg)\ French (rhyming method: abba/abba//vvg//ddg)\ English (way of rhyming: abab//vgvg//dede//lj). In Russian literature, “irregular” sonnet forms with unfixed rhyming methods are also developing.
2. Kind of lyrics; a poem consisting of 14 verses, mainly philosophical, love, elegiac content - sonnets by V. Shakespeare, A. Pushkin, Vyach. Ivanova and others.
SPONDEY - foot with an additional (super-scheme) stress:
Swede, Russian / ko / let, ru / bit, re / jet.(A. Pushkin)
(iambic tetrameter - first spondei foot)
VERSE - 1. Line in a poem; 2. The totality of the features of the versification of a poet: the verse of Marina Tsvetaeva, A. Tvardovsky and others.
STOP - a repeated combination of stressed and unstressed vowels. The foot serves as a unit of verse in the syllabic-tonic system of versification: iambic three-foot, anapaest four-foot, etc.
STROE - a group of verses united by a repeating meter, rhyming method, intonation, etc.
STROFIKA - a section of versification that studies the compositional techniques of the structure of a verse.
TAKTOVIK - poetic meter on the verge of syllabo-tonic and tonic versification. Based on the rhythmic repetition of the strong (cf. Ict) and weak points, as well as variable pauses between stressed syllables. The range of inter-ict intervals ranges from 2 to 3 shockless. The length of a verse is determined by the number of shocks in a line. The tactician came into wide use at the beginning of the 20th century:
A black man was running around the city.(A. Blok(four-shot tactician))
He extinguished the lanterns, climbing the stairs.
Slow, white dawn approached,
Together with the man he climbed the stairs.
TERCETS - a stanza of three verses (ahh, bbb, eeee etc.). Tercet is rarely used in Russian poetry:
She, like a mermaid, is airy and strangely pale,
In her eyes, escaping, a wave plays,
In her green eyes, her depth is cold.Come - and she will embrace, caress you,
Not sparing himself, tormenting, perhaps destroying,
But still she kisses you without loving.And in an instant he will turn away, and will be a soul away,(K. Balmont)
And will be silent under the moon in golden dust
Watching indifferently as the ships sink in the distance.
TERZINA - a stanza of three verses (aba, bvb, vgv etc.):
And far away we went - and fear embraced me.
Imp, tucking his hoof under him
Twisted the moneylender at the hellfire.Hot fat dripped into a smoked trough,(A. Pushkin)
And the baked usurer burst on fire
And I: “Tell me: what is hidden in this execution?
Dante's Divine Comedy was written in tercines.
TONIC VERSION - a system of versification based on an ordered arrangement of stressed syllables in a verse, while the number of unstressed syllables is not taken into account.
EXACT RHYME - a rhyme in which sounds clause match:
Blue evening, moonlit evening(FROM. Yesenin)
I used to be handsome and young.
Unstoppable, unique
Everything flew ... far ... past ...
The heart has cooled, and the eyes have faded ...
Blue happiness! Lunar nights!
TRIOLET - a stanza of eight verses (abbaabab) with repetition of the same lines:
I'm lying in the grass on the shore(V. Bryusov)
Night river I hear splashing.
Through fields and copses,
I'm lying in the grass on the shore.
On a misty meadow
Green shimmery glitters
I'm lying in the grass on the shore
Night river and I hear splashes.
FIGURED POEMS - poems, the lines of which form the outlines of an object or geometric figure:
in vain(G. Derzhavin)
Dawn
Rays
How about things
I shine in the dark
I delight my whole soul.
But what? - from the sun in it only a lovely brilliance?
Not! - Pyramid - good memories of deeds.
PHONICS is a section of versification that studies the sound organization of a verse.
CHOREA (Trocheus) - two-syllable size with stress on the 1st, 3rd, 5th, 7th, 9th, etc. syllables:
Fields / compressed, / groves / naked,(FROM. Yesenin(four-foot trochee))
From water / dy that / man and / dampness.
Kole / catfish for / blue / mountains
The sun / quietly / e_ska / hushed.
A caesura is a pause in the middle of a line of poetry. Usually the caesura appears in verses of six feet or more:
Science is stripped, // sheathed in rags,(A. Cantemir(Satire 1. On those who blaspheme the teaching: To your own mind))
Out of almost all the houses // Shot down with a curse;
They don’t want to know her, // her friendship is running away,
As, suffering at sea, // ship service.
SIX-LINE - a six-line stanza with a triple consonance; rhyming method can be different:
This morning, this joy BUT(A. Fet)
This power of both day and light, BUT
This blue vault b
This cry and strings AT
These flocks, these birds, AT
This voice of water... b
The type of six-line is Sextina.
YaMB is the most common two-syllable size in Russian poetry with stress on the 2nd, 4th, 6th, 8th, etc. syllables:
Girl friend / ga doo / we are celebrating / noah(A. Pushkin(iambic trimeter))
Ink / niya / mine!
My age / rdno / image / ny
You / ukra / I am strong.
4. Literary process
AVANT-GARDISM is the common name for a number of trends in the art of the 20th century, which are united by the rejection of the traditions of their predecessors, primarily realists. The principles of avant-garde as a literary and artistic movement were realized in different ways in Futurism, Cubism, Dadaism, Surrealism, Expressionism, etc.
ACMEISM - a trend in Russian poetry of the 1910-1920s. Representatives: N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, M. Kuzmin and others. In contrast to symbolism, acmeism proclaimed a return to the material world, the subject, the exact meaning of the word. va. The acmeists formed the literary group "The Workshop of Poets", published an almanac and the journal "Hyperborea" (1912-1913).
UNDERGROUND (English "undergraund" - underground) - the general name of the works of Russian unofficial art of the 70-80s. 20th century
BAROQUE (Italian "Lagosso" - pretentious) - a style in the art of the 16th-18th centuries, characterized by exaggeration, pomp of forms, pathos, the desire for oppositions and contrasts.
ETERNAL IMAGES - images whose artistic significance has gone beyond the framework of a particular literary work and the historical era that gave rise to them. Hamlet (W. Shakespeare), Don Quixote (M. Cervantes), etc.
DADAISM (French "dada" - a wooden horse, a toy; in a figurative sense - "baby talk") is one of the directions of the literary avant-garde that has developed in Europe (1916-1922). Dada preceded surrealism and expressionism.
Decadence (lat. "decadentia" - decline) - the general name of the crisis phenomena in the culture of the late XIX - early XX centuries, marked by moods of hopelessness, rejection of life. Decadence is characterized by the rejection of citizenship in art, the proclamation of the cult of beauty as the highest goal. Many motives of decadence have become the property of artistic movements modernism.
IMAGENISTS (French "image" - image) - a literary group of 1919-1927, which included S. Yesenin, A. Mariengof, R. Ivnev, V. Shershenevich and others. The Imagists cultivated the image: "we who polish the image who cleans the form from the dust of content better than a street shoe shiner, we affirm that the only law of art, the only and incomparable method is to reveal life through the image and rhythm of images ... ”In literary work, the Imagists relied on complicated metaphor, the play of rhythms, etc. .
IMPRESSIONISM - a trend in art of the late XIX - early XX century. In literature, impressionism strove to convey fragmentary lyrical impressions, designed for the associative thinking of the reader, capable of recreating a complete picture in the end. A. Chekhov, I. Bunin, A. Fet, K. Balmont and many others resorted to the impressionistic manner. others
CLASSICISM - a literary trend of the 17th-18th centuries, arose in France and proclaimed a return to ancient art as a role model. The rationalistic poetics of classicism is set forth in N. Boileau's work "Poetic Art". characteristic features classicism are the predominance of reason over feelings; the object of the image is the sublime in human life. The requirements put forward by this direction are: rigor of style; the image of the hero in the fateful moments of life; the unity of time, action and place - most clearly manifested in dramaturgy. In Russia, classicism appears in the 30-50s. 18th century in the work of A. Kantemir, V. Trediakovsky, M. Lomonosov, D. Fonvizin.
CONCEPTUALISTS - a literary association that arose at the end of the 20th century, denies the need to create artistic images: an artistic idea exists outside the material (at the level of an application, project or commentary). Conceptualists are D. A. Prigov, L. Rubinshtein, N. Iskrenko and others.
LITERARY DIRECTION - characterized by the commonality of literary phenomena over a certain period of time. The literary direction presupposes the unity of the attitude, aesthetic views of writers, ways of depicting life in a certain historical period. The literary direction is also characterized by the generality of the artistic method. Literary trends include classicism, sentimentalism, romanticism, etc.
LITERARY PROCESS (the evolution of literature) - reveals itself in a change in literary trends, in updating the content and form of works, in establishing new connections with other types of art, with philosophy, with science, etc. The literary process proceeds according to its own laws and is not directly connected with the development of society.
MODERNISM (French "modern" - modern) is a general definition of a number of trends in the art of the 20th century, characterized by a break with the traditions of realism. The term "modernism" is used to refer to a variety of non-realist movements in the art and literature of the 20th century. – from symbolism at its beginning to postmodernism at its end.
OBERIU (Association of Real Art) - a group of writers and artists: D. Kharms, A. Vvedensky, N. Zabolotsky, O. Malevich, K. Vaginov, N. Oleinikov and others - worked in Leningrad in 1926–1931. The Oberiuts inherited the Futurists, professing the art of the absurd, the rejection of logic, the usual time calculation, etc. The Oberiuts were especially active in the field of theater. nogo art and poetry.
POSTMODERNISM is a type of aesthetic consciousness in the art of the late 20th century. In the artistic world of a postmodernist writer, as a rule, either causes and effects are not indicated, or they are easily interchanged. Here, ideas about time and space are blurred, the relationship between the author and the hero is unusual. The essential elements of style are irony and parody. The works of postmodernism are designed for the associative nature of perception, for the active co-creation of the reader. Many of them contain a detailed critical self-assessment, that is, literature and literary criticism are combined. Postmodern creations are characterized by a specific figurativeness, the so-called simulators, i.e., images-copies, images without new original content, using the already known, simulating reality and parodying it. Postmodernism destroys all sorts of hierarchies and oppositions, replacing them with allusions, reminiscences, and quotations. Unlike avant-gardism, he does not deny his predecessors, but all traditions in art are of equal value to him.
Representatives of postmodernism in Russian literature are Sasha Sokolov ("School for Fools"), A. Bitov ("Pushkin House"), Ven. Erofeev ("Moscow - Petushki") and others.
REALISM is an artistic method based on an objective depiction of reality, reproduced and typified in accordance with the author's ideals. Realism depicts the character in his interactions ("clutches") with the surrounding world and people. An important feature of realism is the desire for credibility, for authenticity. In the process of historical development, realism acquired specific forms of literary trends: ancient realism, Renaissance realism, classicism, sentimentalism, etc.
In the XIX and XX centuries. realism successfully assimilated individual artistic techniques of romantic and modernist movements.
ROMANTICISM - 1. An artistic method based on the subjective ideas of the author, based mainly on his imagination, intuition, fantasies, dreams. Like realism, romanticism appears only in the form of a specific literary trend in several varieties: civil, psychological, philosophical, etc. The hero of a romantic work is an exceptional, outstanding personality, depicted with great expression. The style of the romantic writer is emotional, rich in visual and expressive means.
2. A literary trend that arose at the turn of the 18th-19th centuries, when the freedom of society and the freedom of man were proclaimed the ideal. Romanticism is characterized by an interest in the past, the development of folklore; his favorite genres are elegy, ballad, poem, etc. (“Svetlana” by V. Zhukovsky, “Mtsyri”, “Demon” by M. Lermontov, etc.).
SENTIMENTALISM (French “sentimental” - sensitive) is a literary trend of the second half of the 18th - early 19th centuries. The book of L. Stern "Sentimental Journey" (1768) became the manifesto of Western European sentimentalism. Sentimentalism proclaimed, in contrast to the rationalism of the Enlightenment, the cult of natural feelings in everyday life. Sentimentalism arose in Russian literature at the end of the 18th century. and is associated with the names of N. Karamzin (“Poor Liza”), V. Zhukovsky, Radishchev poets, and others. The genres of this literary trend are epistolary, family-household novel; confessional story, elegy, travel notes, etc.
SYMBOLISM - a literary trend of the late 19th - early 20th centuries: D. Merezhkovsky, K. Balmont, V. Bryusov, A. Blok, I. Annensky, A. Bely, F. Sologub, etc. Based on associative thinking, on subjective reproduction reality. The system of paintings (images) offered in the work is created by means of the author's symbols and is based on the personal perception and emotional feelings of the artist. An important role in the creation and perception of works of symbolism belongs to intuition.
SOC-ART is one of the characteristic phenomena of Soviet unofficial art of the 70-80s. It arose as a reaction to the all-penetrating ideologization of Soviet society and all types of art, choosing the path of ironic confrontation. Parodying also European and American pop art, she used the techniques of the grotesque, satirical outrageousness, and caricature in literature. Sots Art achieved particular success in painting.
SOCIALIST REALISM is a trend in the art of the Soviet period. As in the system of classicism, the artist was obliged to strictly adhere to a certain set of rules governing the results of the creative process. The main ideological postulates in the field of literature were formulated at the First Congress of Soviet Writers in 1934: “Socialist realism, being the main method of Soviet fiction and literary criticism, requires from the artist a truthful, historically concrete depiction of reality in its revolutionary development. At the same time, the truthfulness and historical concreteness of the artistic image must be combined with the task of ideologically reshaping and educating working people in the spirit of socialism. In fact, socialist realism took away the writer's freedom of choice, depriving art of research functions, leaving him only the right to illustrate ideological attitudes, serving as a means of party agitation and propaganda.
STYLE - sustainable features of the use of poetic techniques and means, serving as an expression of originality, originality of the phenomenon of art. It is studied at the level of a work of art (the style of "Eugene Onegin"), at the level of the individual style of the writer (style of N. Gogol), at the level of a literary movement (classicist style), at the level of an era (baroque style).
SURREALISM is an avant-garde art movement of the 1920s. XX century, which proclaimed the source of inspiration to the human subconscious (his instincts, dreams, hallucinations). Surrealism breaks logical connections, replaces them with subjective associations, creates fantastic combinations of real and unreal objects and phenomena. Surrealism most clearly manifested itself in painting - Salvador Dali, Juan Miro and others.
FUTURISM is an avant-garde trend in art of the 10-20s. 20th century Based on the denial of established traditions, the destruction of traditional genre and language forms, on the intuitive perception of the rapid flow of time, the combination of documentary material and science fiction. Futurism is characterized by self-sufficing form-creation, the creation of an abstruse language. Futurism was most developed in Italy and Russia. Its prominent representatives in Russian poetry were V. Mayakovsky, V. Khlebnikov, A. Kruchenykh and others.
EXISTENTIALISM (lat. "existentia" - existence) - a trend in the art of the middle of the 20th century, consonant with the teachings of the philosophers S. Kierkegaard and M. Heidegger, partly N. Berdyaev. The personality is depicted in a closed space where anxiety, fear, loneliness reign. The character comprehends his existence in the boundary situations of struggle, catastrophe, death. Seeing the light, a person cognizes himself, becomes free. Existentialism denies determinism, asserts intuition as the main, if not the only, way of knowing a work of art. Representatives: J. - P. Sartre, A. Camus, W. Golding and others.
EXPRESSIONISM (lat. "expressio" - expression) is an avant-garde trend in art of the first quarter of the 20th century, which proclaimed the only reality of the spiritual world of the individual. The basic principle of depicting human consciousness (the main object) is the boundless emotional tension, which is achieved by violating real proportions, up to giving the depicted world a grotesque fracture, reaching abstraction. Representatives: L. Andreev, I. Becher, F. Durrenmat.
5. General literary concepts and terms
ADEQUATE - equal, identical.
ALLUSION - the use of a word (combination, phrase, quote, etc.) as a hint that activates the reader's attention and allows you to see the connection of the depicted with some known fact of literary, everyday or socio-political life.
ALMANAC is a non-periodic collection of works selected according to thematic, genre, territorial, etc. features: "Northern Flowers", "Physiology of St. Petersburg", "Day of Poetry", "Tarus Pages", "Prometheus", "Metropol", etc.
"ALTER EGO" - the second "I"; reflection in the literary hero of a part of the author's consciousness.
ANACREONTICA POETRY - poems that glorify the joy of life. Anacreon is an ancient Greek lyricist who wrote love poems, drinking songs, etc. Translations into Russian by G. Derzhavin, K. Batyushkov, A. Delvig, A. Pushkin, and others.
ABSTRACT (lat. "annotatio" - note) - a brief note explaining the content of the book. The abstract is given, as a rule, on the back of the title page of the book, after the bibliographic description of the work.
ANONYMOUS (Greek "anonymos" - nameless) - the author of a published literary work, who did not give his name and did not use a pseudonym. The first edition of Journey from St. Petersburg to Moscow was published in 1790 without indicating the author's name on the title page of the book.
ANTI-UTOPIA is a genre of epic work, most often a novel, creating a picture of the life of a society deceived by utopian illusions. - J. Orwell "1984", Evg. Zamyatin "We", O. Huxley "O Brave New World", V. Voinovich "Moscow 2042", etc.
ANTHOLOGY - 1. A collection of selected works by one author or a group of poets of a certain direction and content. - Petersburg in Russian poetry (XVIII - early XX century): Poetic anthology. - L., 1988; Rainbow: Children's anthology / Comp. Sasha Black. - Berlin, 1922 and others; 2. In the XIX century. anthological verses were called poems written in the spirit of ancient lyric poetry: A. Pushkin "Tsarskoye Selo statue", A. Fet "Diana", etc.
Apocrypha (Greek "anokryhos" - secret) - 1. A work with a biblical story, the content of which does not completely coincide with the text of the holy books. For example, “Lemonar, that is, Meadow Dukhovny” by A. Remizov and others. 2. An essay attributed with a low degree of certainty to any author. In ancient Russian literature, for example, "Tales of Tsar Constantine", "Tales of Books" and some others were supposed to have been written by Ivan Peresvetov.
ASSOCIATION (literary) is a psychological phenomenon when, when reading a literary work, one representation (image), by similarity or contrast, conjures up another.
ATRIBUTION (lat. "attributio" - attribution) - a textological problem: the establishment of the author of the work as a whole or its parts.
APHORISM - a laconic saying expressing a capacious generalized thought: “I would be glad to serve, it’s sickening to serve” (A. S. Griboyedov).
BALLAD - a lyrical-epic poem with a historical or heroic plot, with the obligatory presence of a fantastic (or mystical) element. In the 19th century the ballad was developed in the works of V. Zhukovsky ("Svetlana"), A. Pushkin ("Song of the Prophetic Oleg"), A. Tolstoy ("Vasily Shibanov"). In the XX century. the ballad was revived in the works of N. Tikhonov, A. Tvardovsky, E. Yevtushenko and others.
A FABLE is an epic work of an allegorical and moralizing nature. The narrative in the fable is colored with irony and in the conclusion contains the so-called morality - an instructive conclusion. The fable traces its history back to the legendary ancient Greek poet Aesop (VI-V centuries BC). The greatest masters of the fable were the Frenchman La Fontaine (XVII century), the German Lessing (XVIII century) and our I. Krylov (XVIII-XIX centuries). In the XX century. the fable was presented in the works of D. Bedny, S. Mikhalkov, F. Krivin and others.
BIBLIOGRAPHY is a branch of literary criticism that provides a purposeful systematic description of books and articles under various headings. Reference bibliographic manuals on fiction prepared by N. Rubakin, I. Vladislavlev, K. Muratova, N. Matsuev and others are widely known. about publications of literary texts, and about scientific and critical literature on each of the authors included in this manual. There are other types of bibliographic publications. Such, for example, are the five-volume bibliographic dictionary Russian Writers 1800–1917, The Lexicon of Russian Literature of the 20th Century, compiled by V. Kazak, or Russian Writers of the 20th Century. and etc.
Operational information about novelties is provided by a special monthly bulletin "Literary Studies", published by the Institute of Scientific Information RAI. New items in fiction, scientific and critical literature are also systematically reported by the newspaper Knizhnoye Obozreniye, the journals Voprosy Literature, Russkaya Literature, Literary Review, New Literary Review, and others.
BUFF (Italian “buffo” - buffoon) is a comic, mainly circus genre.
WREATH OF SONNETS - a poem of 15 sonnets, forming a kind of chain: each of the 14 sonnets begins with the last line of the previous one. The fifteenth sonnet consists of these fourteen repeated lines and is called the "key" or "pipeline." A wreath of sonnets is presented in the works of V. Bryusov (“The Lamp of Thought”), M. Voloshin (“Sogopa astralis”), Vyach. Ivanov ("A wreath of sonnets"). It also occurs in contemporary poetry.
VAUDEVILLE is a type of sitcom. A light entertaining play of domestic content, built on an entertaining, most often, love affair with music, songs, and dances. Vaudeville is represented in the works of D. Lensky, N. Nekrasov, V. Sologub, A. Chekhov, V. Kataev and others.
VOLYAPYUK (Volapyuk) - 1. An artificial language that was tried to be used as an international one; 2. Gibberish, meaningless set of words, abracadabra.
DEMIURG - creator, creator.
DETERMINISM is a materialistic philosophical concept about objective patterns and cause-and-effect relationships of all phenomena of nature and society.
DRAMA - 1. A kind of art that has a synthetic character (a combination of lyrical and epic principles) and belongs equally to literature and theater (cinema, television, circus, etc.); 2. Drama itself is a type of literary work depicting acutely conflicting relations between a person and society. - A. Chekhov "Three Sisters", "Uncle Vanya", M. Gorky "At the Bottom", "Children of the Sun", etc.
DUMA - 1. Ukrainian folk song or poem on a historical theme; 2. Genre of lyrics; poems of a meditative nature, devoted to philosophical and social problems. - See “Thoughts” by K. Ryleev, A. Koltsov, M. Lermontov.
SPIRITUAL POETRY - poetic works of various types and genres containing religious motifs: Yu. Kublanovskiy, S. Averintsev, 3. Mirkina, etc.
GENRE - a type of literary work, the features of which, although historically developed, are in the process of constant change. The concept of genre is used at three levels: generic - the genre of epic, lyric or drama; specific - the genre of the novel, elegy, comedy; genre proper - a historical novel, a philosophical elegy, a comedy of manners, etc.
idyll - a kind of lyrical or lyrical poetry. In an idyll, as a rule, a peaceful serene life of people in the bosom of beautiful nature is depicted. - Antique idylls, as well as Russian idylls of the 18th - early 19th centuries. A. Sumarokov, V. Zhukovsky, N. Gnedich and others.
HIERARCHY - the arrangement of elements or parts of the whole according to the sign from the highest to the lowest and vice versa.
INVECTIVE - An angry denunciation.
HYPOSTASIS (Greek “hipostasis” – face, essence) – 1. The name of each person of the Holy Trinity: One God appears in three hypostases – God the Father, God the Son, God the Holy Spirit; 2. Two or more sides of one phenomenon or object.
HISTORIOGRAPHY is a branch of literary criticism that studies the history of its development.
HISTORY OF LITERATURE - a section of literary criticism that studies the development of the literary process and determines the place of the literary movement, writer, literary work in this process.
TRAFFIC - a copy, an exact translation from one language into another.
CANONICAL TEXT (corresponds to the Greek "kapop" - rule) - is established in the process of textual verification of publishing and manuscript versions of the work and meets the last "author's will".
CANZONA - a kind of lyrics, mainly love. The heyday of the canzona is the Middle Ages (the work of the troubadours). Rarely found in Russian poetry (V. Bryusov "To the Lady").
CATARSIS is the purification of the soul of the viewer or reader, experienced by him in the process of empathy with literary characters. According to Aristotle, catharsis is the goal of tragedy, ennobling the viewer and reader.
COMEDY is one of the types of literary creativity belonging to the dramatic genus. Action and characters In comedy, the goal is to ridicule the ugly in life. Comedy originated in ancient literature and is actively developing right up to our time. Comedies of positions and comedies of characters differ. Hence the genre diversity of comedy: social, psychological, everyday, satirical.
BUT
A BETSEDARY- a form of medieval poetry in which the first letters of each stanza or each verse follow in alphabetical order; it is used both in religious (see "Hymns") and in secular didactic poetry (for example, "ABC des femmes", beginning of the 14th century). A BZATS(German Absatz) - 1) part of the text from one indent to the next; 2) indent in the initial line of the text; A BRAKADABRA(cf. Lat. abracadabra) - 1) a meaningless word to which miraculous magical power was attributed in the old days; 2) nonsense, an incomprehensible set of words. A BREEZE(fr. abrege) - an abbreviated transmission, extract, extract from an essay. A WADANA(a legend about a feat) - one of the genres of Buddhist fiction - a story about pious or sinful deeds and their reflection on subsequent incarnations of the creatures who committed them. A VESTA(cf. pers. apastak text, main text) - sacred books of some ancient peoples of Central Asia, Azerbaijan and Iran; the early parts of the Avesta are attributed by tradition to the prophet Zarathustra (Zoroaster); with commentaries is called Zend-Avesta. A VTOBIOGRAPHY(gr. autos himself + biography) - a biography of a person compiled by himself. A WTOGRAPH(gr. autos himself + grapho I write) - a handwritten signature, inscription or manuscript. A AUTOCRITICISM- self-criticism, the writer's thoughts about his work or about himself as an author. A AUTOLOGY(gr. autos itself, own + logos word, concept) - the use of words in their own (or direct) sense, as opposed to figurative (or figurative) meaning. A VTONIM(gr. autos himself, own + onoma, onima) - the real name of the author writing under pseudonym.
AUTHOR(latr. autor) - a person who created an artistic, scientific, technical, etc. work. COPYRIGHT- the exclusive right of the author to reproduce and distribute his work. A SECONDARY(fr. autoriser to allow) - to give authority, permission to translate one's work; Authorized translation - a translation made with the consent of the author or approved by him. A GADA(Agada or Hagada) is a large area of Talmudic literature containing aphorisms and teachings of a religious and ethical nature, historical traditions and legends. A GIOGRAPHY(gr. hagios saint + grapho I write) - a type of church-historical literature containing biographies (lives) of "saints" and church leaders. A GITATIONAL LITERATURE- a set of artistic and non-artistic works that, influencing the feelings, imagination and will of people, induce them to certain actions, actions. A GON(gr. fight, competition) - a verbal dispute, a clash of opinions; the compositional element of ancient Attic comedy is the part that follows the people (see) and concludes the dispute between the characters, in which the person expressing the author's idea wins. A ADAPTATION(lat. adaptare to adapt) - adaptation, facilitation of a text, for example, a literary and artistic work, for a certain category of people, with a specific purpose, for example: for children, for those who study foreign languages, etc. A DAPTED TEXT(lat. adaptare to adapt) - a text (for example, books) adapted for unprepared readers (see. adaptation).
A DONIEV VERSE(μέτρον Αδώνιον, versus Adonicus) - a verse of ancient metrics, horiyamb + half of an iambic or trocheic foot, ŪUUŪ|Ũ, for example, ‘Rīsit Apōllō’ (Hor. Carm. I X, 12). The name is associated with the name of Adonis, the exclamations of praise in honor of which have the following configuration of syllables: ω τον Αδωνιν. Usually used at the conclusion of a sapphic stanza. Refers to logaedam.
ADDRESS(fr. adresse) - a written greeting, appeal. A CATALECTICAS- the case of the absence of a rhyming ending over the natural border of the foot: a masculine ending for iambic and anapaest, a feminine ending for chorea and amphibrach, a dactylic ending for dactyl. A CATALECTIC VERSE(μέτρον ακαταληκτικός, versus acatalecticus) - a verse in which all feet remain unchanged; those. the last foot is neither reduced nor enlarged. For example, the akatalectic dactylic tetrameter ‘Nūnc decet āut viridī nitidūm caput…’ (ŪUU|ŪUU|ŪUU|ŪUU, Hor. Carm. I IV, 9); “clouds are rushing, clouds are winding” (ÚU|ÚU|ÚU|ÚU). A KMEISM(gr. akme flourishing) - a decadent trend in Russian literature that arose in 1912 - 1913. and lasted until 1922. Acmeist poetry was characterized by individualism, aestheticism, formalism, preaching "art for art's sake". A CHROMONOGRAM- a poem in which the final syllable of each verse is repeated in the verse following it as the initial one, for example: "And a bright wave splashes | On golden sand"; A common acromonogram is one of the types of poems with the so-called "initial rhyme", for example: "A blue shadow flies, embraced | The aroma of uncut grasses." A CROSTICH(gr. akrostichis) - a poem in which the initial letters of the lines make up a word or phrase, for example: "Azure day | Faded, faded, | Night shadow, | Ah, hid us" - the Moon. ACT(lat. actus) - action, part of a dramatic work. A CENT RHYTHMIC- in metrics, the strengthening of any syllables, regularly repeating and forming one or another fundamentally similar rhythmic inertia, creating a poetic rhythm. A CENT SYSTEM- a system of versification based on the fact that it mainly regulates the number of stressed syllables in a poetic line, while the number of unstressed syllables is more or less free, for example: our drum." A CENT POST- cm. tonic versification.
A KYN- a folk poet-singer among the Kazakhs, Kirghiz and some other peoples. A LANKARA(lit. decoration) - a term of ancient Indian poetics, denoting a set of stylistic forms (figures, paths) that give speech a poetic character. A LEXANDRIAN VERSE- French twelve-syllable verse with a caesura after the sixth syllable, with obligatory stresses on the sixth and twelfth syllables and with the obligatory adjacent arrangement of alternately two male and then two female rhymes; Russian Alexandrian verse is a six-foot iambic with an obligatory caesura after the third foot and with a rhyme similar to the French Alexandrian verse, for example: "No one at the feast of the brilliant May, | Flying between luxurious chariots, | None of the young men is freer and bolder | Do not rule the horse at his whim" . A LKEEV VERSE(μέτρον Αλκαικον, versus Alcaicus) - a verse of ancient metrics introduced by Alcaeus (Greek lyricist of the 7th-6th centuries BC). There are three A.s. 1) eleven-syllable (το Αλκαικον ενδεκασύλλαβον, versus Alcaicus hendecasyllabus); anacrusis + dichorea + horiamb + iamb or pyrrhic, Ũ|ŪUŪU|ŪUUŪ|UŨ); e.g. ‘Ōdī profānum vōlgus et ārceō’ (Hor. Carm. III I, 1); refers to logaeda; 2) ten-syllable (το Αλκαικον δεκασύλλαβον, versus Alcaicus decasyllabus); dactyl + horiyamb + catalctic iambic meter, ŪUU|ŪUUŪ|UŪ¦Ũ; for example, ‘vīrginibūs puerīsque cāntō’ (Hor. Carm. III I, 4); refers to logaeda; 3) nine-syllable (το Αλκαικον εννεασύλλαβον, versus Alcaicus enneasyllabus); iambic dimeter + catalctic iambic, UŪ¦UŪ¦ŨŪ¦UŪ|U; e.g. ‘audīta Mūsārūm sacērdos’ (Hor. Carm. III I, 3). A LKMANOV VERSE- a verse of ancient metrics introduced by Alkman (representative of Greek choral lyrics of the 2nd half of the 7th century BC); catalctic dactylic tetrameter, in which the last foot is necessarily sponde, ŪUU|ŪUU|ŪUU|ŪŪ; e.g. ‘mōllis opūs. Pereāt male quāe tē' (Hor. Ep. ΧΙΙ, 16). A LKMANOV STROPH- two-line stanza of ancient metrics; the first line is a dactylic catalectic hexameter, the second is Alkmane's verse; for example, ‘Īnachiām tēr nōcte potēs, mihi sēmper ad ūnum // mōllis opūs. Pereāt male quae tē’ (Ū́UU|Ū́Ū|Ū́UU|Ū́UU|Ū́UU|Ū́U // Ū́UU|Ū́UU|Ū́UU|Ū́Ū, Hor. Ep. ΧΙΙ, 15-16). A LKORAN- obsolete same as Koran.
A llegorical- allegorical. A LLEGORY(gr. allegoria - allegory) - a figurative image of an abstract thought, idea or concept through a similar image (lion - strength, power; justice - a woman with scales). Unlike metaphors, in an allegory, a figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable). In literature, many allegorical images are taken from folklore and mythology.
A lliteration(lat. ad to, with + litera letter) - in poetry, less often in prose - the repetition of identical or consonant consonant sounds, for example: "My dear magician, my Maria" (Bryusov). A LLONYM(gr. allos other + onoma, onima name) - someone's real name, used as pseudonym.
A LLOTHRYOLOGY- introducing extraneous thoughts into speech that are not directly related to the main subject; in modern literature - one of the frequently used tricks, for example: "In the newspapers there are six strict lines | (The tram howls and the car trumpets): | Ivan Ivanov has finished his term. | Ivan Ivanov is killed." A LUSION(French allusion hint) - a stylistic figure, an expression that is an allusion to a well-known historical event (for example, the Pyrrhic victory) or to a literary work (for example, Demyanov's ear - after the name of Krylov's fable). A LOGISM- literary device; the introduction of all kinds of logically meaningless moments into literary speech, absurdities in literary speech, the destruction of logical and causal connections, the movement of speech along random associations, the discrepancy between the syntactic and semantic movement of speech, the opposition (juxtaposition) of moments that do not contain anything opposite (common), for example: "I. I. somewhat timid character. I. N., on the contrary, has trousers in such folds ... ”(Gogol); an imaginary (absurd) conclusion, a logical gap between replicas, a verbal cover for a logical emptiness, etc.; most often takes place in the prologue, in the speech of the narrator, and alogism is usually associated with an attitude to the comic, irony, grotesque, irrational. A LBA(Provence alba lit. dawn) - in the poetry of the troubadours - a morning song. A LMANAH(lat. almanachus) - a collection of literary works by various authors. A MEBEY(gr. amoebaeus) - an eight-foot foot of two long, two short and one long syllables; ÚÚUUÚ. A MEBAY COMPOSITION- the technique of compositional parallelism, which consists in the fact that the poem has a two-term character: it breaks up into two, parallel developing rows, and the periods included in these rows are also usually paired; widespread in folk poetry, for example: “My golden friend and brother, | Dear childhood friend... | Rarely are we together, | We rarely visit each other... | So give me your hands, | Let's put our fingers together" (Kalevala). A AMPLIFICATION(lat. amplificatio distribution, increase) - in style - the accumulation of several similar definitions that enhance the characteristics of the phenomenon, for example, "he is a brave, courageous person." A MFIBOLIA(gr. amphibolia duality, ambiguity) - in style - an expression that can be interpreted in different ways. A MFIBRACH(ο αμφίβραχος πους, amphibrachys, double short) - in ancient metrics, simple foot, three-syllable, four-dimensional; short + long + short syllables, UŪU. In Russian versification - unstressed + shock + unstressed, UÚU; for example, “How the prophetic Oleg is going now” (Pushkin). A MFIMAC(ο αμφίμακρος πους, mutually long), i.e. KRETIK(ο κρητικός, Cretan) - in ancient metrics, a simple foot, three-syllable, five-more; long + short + long syllables, ŪUŪ. A NABASIS(gr. anabasis ascent, movement inland) - the name of two ancient Greek writings about the great campaigns: a) a description of the campaign of Cyrus the Younger (author Xenophon); b) the history of the campaign of Alexander the Great in Asia (by Arrian). A NAGOGA(or anagogical interpretation) - an allegorical, allegorical explanation of biblical texts. A NAGRAM(gr. ana... pere + gramma letter) - permutation of letters in a word to form another word, for example: ax - murmur, flipper - atlas. A NADIPLOSIS(gr. anadiplosis doubling) - a stylistic figure, consisting in the fact that a segment of speech (verse, phrase) begins with the words that end the previous one, for example, "Head hurts, can't do much. Can't do well, is unwell." A NAKLASYS(break, bend) - in ancient versification, a technique in which in some meters short and long syllables are interchanged, especially often in ionics, where instead of the group ŪU we get UŪ. A NAKOLUF(gr. anakoluthon) - a stylistic figure consisting in a violation of the grammatical or logical correctness of speech, for example: "Her fiancé was a Pole in the past" (M. Zoshchenko). A NAKREONTIAN POETRY(gr.) - a kind of lyrical poetry that glorified a cheerful, carefree life, love, wine, feasts, etc. (after the name of the ancient Greek poet Anacreon (t) a, who lived around 500 BC, the author of love and drinking songs). A NAKREON'S VERSE- a verse of ancient metrics, the introduction of which is attributed to Anacreon; the same as horiyamb, ŪUUŪ. A NAKRUZA, ANAKRUZA- in ancient metrics, an independent long or short syllable at the beginning of a verse; precedes the first rhythmic stress (iktu) and is not actually a foot; for example, the first long unstressed syllable in the Alcaean eleven-syllable verse, Ũ|ŪUŪU|ŪUUŪ|UŨ; for example, ‘Ōdī profānum vōlgus et ārceō’ (Hor. Carm. III I, 1). In Russian versification - extra (ie, exceeding the number of syllables in the foot) syllables at the beginning of the rhythmic period; for example, “Mermaid | floated on | the river | any, // O | dawn | ma full | moon" (Lermontov); the first syllable of the second line is an anacrusis in amphibrach. A NALECTS(gr. analekta favorites) - selected works of one or more writers. A TAX(gr. analogia) - lingua. a change in the grammatical form following the pattern of another form associated with this form in the grammatical system of the language, for example: the form "contract", "chauffeur" (instead of the correct "contracts", "chauffeurs") is formed by analogy with forms like "master". A NAPEST(ο ανάπαιστος πους, anapaestus, beaten back) - in ancient metrics, a simple foot, three-syllable, four-dimensional; short + short + long syllable, UUŪ. In Russian versification, mediocre + unstressed + percussion, UUÚ; for example, “Poor | him a dog | they sing nude ”(Nekrasov). A NAPESTOYAMB- a complex meter introduced in Russia by opponents dactylo-choreic hexameter at the beginning of the last century. A NAFORA(gr. anaphora) - the repetition at the beginning of two or more passages of speech (poems, phrases) of the same word or sound, for example: "Are I not treating you? Do you eat oats involuntarily?" (Pushkin). A NACRONISM(gr. transfer in time) - a deliberate or unintentional violation of chronological plausibility, the attribution of phenomena or events from one era to another. A NATIONAL POEMS- poems that can be read from the beginning and from the end, and they do not lose their meaning, for example, "I want to love you, I want to love you." A NEKDOT(gr. anekdotos unpublished) - a short (usually oral) comic story about a funny, amusing or curious incident. A NNALIST(lat.) - chronicler. A NNALY(lat. annales annual, annual, weather) - a chronicle. ANNOTATION(lat. annotation note, note) - a summary of the content of a book, article, etc., often with a critical assessment of it. A NONIM(gr. anonymos nameless) - 1) the author of a letter or essay who hid his name; 2) an essay without indicating the name of the author. A NTAMEBEY(gr. antamoebaeus) - a seven-foot foot of two short, two long and one short syllables; opposite to amoeba; UUUUU. A NTANACLASIS- play on words pun, dilogy; the use of the same word in different meanings, for example: "he is right, who has more rights." A NTANAPEST(gr. antanapaestus) - a five-foot foot of two long and one short syllables; UU. A NTIBACHIUS(ο αντίβακχειος πους, antibacchius) - in ancient metrics, a simple foot, three-syllable, five-more; long + long + short syllable, ŪŪU. A NTIDACTYL(ο αντίδάκτυλος πους, antidactylus) - in ancient metrics, a simple foot, three-syllable, four-dimensional; short + short + long syllable, UUŪ; the same as anapaest. A NTICLIMAX- in rhetoric, a sentence (or period), parts of which represent a series of expressions descending in strength, for example, "he pounded his fist, demanded, asked, persuaded"; opposite menopause.
A NTIKRITIKA- the objection of the author or his supporter to unfavorable criticism in order to refute it. A NTIMETABOL - antimethesis, antimetaleps; repetition in the second part of the sentence of words that are in a different order in the first part, in order to change the meaning, for example: “We eat to live, not live to eat.” A NTISPAST(ο αντίσπαστος πους, antispastus, stretched in opposite directions) - in ancient metrics, a simple foot, four-syllable, six-more: short + long + long + short syllable, UŪŪU. A NTISTROFA(gr. antistrophe) - part of the text in the dramatic choirs of the ancient Greeks, following after stanzas.
A NTITEZA(gr.antithesis opposition) - in style - a juxtaposition of opposing thoughts or images to enhance the impression, for example: "I know that I know nothing", "War and Peace" (Tolstoy), "Poor rich man" (I. Shaw). A NTITESIS- rhetorical opposition in the same period, in the same phrase of two completely opposite expressions or words, for example: "". A NTIFRAZIS- a definition given to someone in the opposite, ironic sense. For example, they call the weak - Hercules, the ocean - a puddle; they say: “how clean you are” - dirty. In general - the use of words in the opposite sense. A NTHOLOGICAL(gr.) - 1) written in the spirit of ancient Greek lyric poetry; 2) related to the anthology. ANTOLOGY(gr. anthologia letters. picking flowers) is a collection of selected works, mostly poems, by various authors. A NTONOMASIA(gr. antonomasia) - genus metonymy, replacing a common noun with one's own (or vice versa), for example: "Croesus" instead of "rich man". A ONIDS(gr. Aonides) - the same as muses.
A PARTE- talking about oneself, in dramatic genres, is used as a speech “aside”; pronounced in the presence of other persons and is conditionally considered inaudible to those present. The main function of the aparté is to communicate to the viewer all the internal states, movements, intentions and relationships of the characters. A PELLATIVE- the same as a common noun. A PELLATIVATION - deonymization, the transition of a proper name (onym) into a common noun (appellative) without changing the form: Newfoundland peninsula - Newfoundland (breed of dogs); Georg Simon Ohm - ohm (unit of resistance). A POCALYPSE(gr. apocalypsis letters. revelation) - part bible, one of the books of the "New Testament", containing mystical prophecies about the "end of the world." A POCOPA(gr. apokope truncation) - dropping one or more sounds at the end of a word, for example: "to" instead of "to". A POCRIF(gr.apokryphos secret) - 1) works of religious literature with biblical subjects, the content of which did not quite coincide with the official dogma, therefore they were not recognized by the church as "sacred" and were banned; 2) a false essay masquerading as genuine. A CANOPY(gr.apologos) - a fable, an allegorical narration from the life of animals, mostly instructive content. A POLOGIA- speech or writing aimed at justifying or defending someone or something; apologetic moments are found in the works of Dostoevsky, V. Solovyov and others. A POSIOPEZA- default, a break at the end of a phrase, an ellipsis, an underlined discrepancy between the amount of thought to be expressed and the nature of this expression, for example: "This is horror, this ... This must be seen." A POSTROFA(gr. apostrophe) - a stylistic figure representing an appeal to an absent person as a present or an inanimate object as an animate one, etc. A POPHASIA- a rhetorical device consisting in the refutation of the position just expressed by the speaker himself. A POPHEGMA, APOPHTEGMA(gr. apophthegma) - a short, apt and witty saying, aphorism. A Russian Geographical Society(fr. argot) - a social dialect of a certain closed group of people, for example, thieves' slang. A RGOTHY- a word borrowed from a literary language slang.
A RISTOPHANOV VERSE(μέτρον Αριστοφάνειον, versus Aristophaneus) - a verse of ancient metrics introduced by Aristophanes (Greek comedian, c. 446-385 BC). Horiyamb + catalctic iambic meter, ŪUUŪ|UŪ¦U; e.g. ‘sānguine vīperīno’ (Hor. Carm. I VIII, 13). Widely used in Attic comedy. A RCADIA(fr. Arkadia) - in idyllic poetry - "a happy shepherd's country". A RSIS(αρσις, elevation) - in ancient metrics after the 5th-6th centuries, a strong, shock share of the foot, on which the ikt falls, rhythmic stress; for example, in the dactylic catalctic hexameter harsis is always the first foot: ‘Quī mōdō per totām flāmmīs stimulātus harēnam’ (Ū́Ū|Ū́UU|Ū́Ū|Ū́UU|Ū́UU|Ū́U, Mart. Spect. 19, 1). Until the V-VI centuries. harsis was called, on the contrary, the share of the foot, which accounted for the lifting of the leg during the dance; hence the term. RCHAISM- obsolete and obsolete word; in artistic speech - a stylistic means studied in a special department of stylistics. A CHEOGRAPHY- auxiliary discipline of literary science; study of documents, handwritten sources. A RHILOCH VERSE(versus Archilochius) - a verse of ancient metrics introduced by Archilochus (Greek poet from the island of Paros, c. 680-640 BC). Acatalectic dactylic tetrameter + catalectic trocheal dimeter, ŪUU|ŪUU|ŪUU|ŪUU||ŪU¦ŪU|ŪU, e.g. ‘Nūnc decet āut viridī nitidūm caput īmpedīre myrto’ (Hor. Carm. I 4, 19). A RCHITECTONICA- the construction of a work of art, composition, applied not only to the work as a whole, but also to its individual elements: the composition of the image, plot, stanza, etc. A SYNARTET- poems consisting of two equal, but different in size parts, usually dactyls and iambs. A SINDETON(gr. asyndeton) - bes union - a stylistic figure, consisting in the omission of unions to enliven and enhance speech, for example: "I came, I saw, I conquered." A SCLEPIADOV VERSE(μέτρον Ασκληπιάδειος, versus Asclepiadeus) is a verse of ancient metrics introduced by Asclepiades (Greek epigrammatist poet from the island of Samos, III century BC). There are two A.S. first catalectic ferectrateus + second catalactic ferectrateus, ŪŨ|ŪUUŪ||ŪUUŪ|UŨ; for example, ‘Nōn ōmnīs moriār mūltaque pārs meī’ (Hor. Carm. III 30, 6). 2) Large (ο μείζων Ασκληπιάδειος στίχος, versus Asclepiadeus maior); first catalectic ferektratheus + horiyamb + second catalactic ferektratheus, ŪŨ|ŪUUŪ||ŪUUŪ||ŪUUŪ|UŨ; for example, ‘Tū nē quāesierīs, scīre nefās, quēm mihi, quēm tibī’ (Hor. Carm. I 11, 1). Both A.s. belong to logaeda. A CSONANCE(fr. assonance) - 1) consonance; 2) in versification - an inexact rhyme in which only vowels are consonant, for example: thickets - pity (Bryusov). A STEISM- in rhetoric, a caustic remark, a mockery. A STRONIM(gr. astron star + onoma, onyma name) - designation of the author's name with some typographic characters, such as asterisks; view alias.
A STROPHY VERSE(gr. a particle of negation + stanza) - a verse devoid of strophic organization, not divided into stanzas. A TTIC(gr. from attikismos refinement) - intellectual figurativeness of speech, characteristic of the inhabitants of Attica in ancient Greece; attic salt - subtle witticism, mockery. A PHORISM(gr. aphorismos) - a saying expressing any generalized thought; for an aphorism, completeness of thought and perfection of form are equally obligatory, for example: "Man - it sounds proud" (M. Gorky).
A EDY- singers, ancient Greek narrators of folk songs, which formed the basis of the most ancient epic.
B ITE(lit. house, tent) - in Arabic a verse, which is at the same time an ancient stanza (because it consists of two half-lines: a tent or misra - lit. half, a door leaf), but from a European point of view, rather a couplet , sometimes equal to 30 or more syllables. B AKHIY(ο βακχειος, bacchius, Bacchic) - in ancient metrics, a simple foot, three-syllable, five-more; short + long + long syllable, UŪŪ. It was used mainly in hymns in honor of the god Bacchus and among Latin poets. B ALLADA(fr. ballade) - originally - a small, uncomplicated song to accompany dances; later the form of a short lyric poem; the ballad as a genre has undergone a number of changes and at different times and in different countries was characterized by different features; at present - a lyric-epic poetic plot work (such as a story), written in stanzas. B ARD(Celtic bard) - a poet and singer among the ancient Celts; in a solemn style - a poet. B ASA - anacrus with a secondary rhythmic accent. B ASNYA- genre didactic poetry, a short narrative form, completed by the plot and subject to allegorical interpretation as an illustration of a well-known worldly or moral rule. From parables or apologist the fable is distinguished by the completeness of the plot development, from other forms of allegorical narration, for example, the allegorical novel, by the unity of action and brevity of presentation. B ATRACHOMYOMACHY(war of frogs and mice) - an ancient Greek poem in 304 verses; written at the beginning of the 5th century. before the Christian era in the spirit of a victorious democracy; a caricature of the high style of the Homeric epic, glorifying the heroes of the overthrown aristocracy. FUCKING RHYME- a rhyme in which consonants coincide only after a stressed vowel, for example: "fear" and "sweep". B ELLETRIST- a writer working in the field of fiction. B ELLETISTICS(fr. belleslettres) - works of art in prose - novels, novellas, short stories. B EOWULF(VIII century) - Anglo-Saxon epic about the hero Beowulf, who defeats Breka in swimming, strikes sea monsters, frees the Danes from the cannibal giant Grendel (who abducted warriors from the chambers of King Hrothgar) and his ferocious mother, then he becomes king, defends his people from the dragon, but he himself dies from the poison of the monster he killed; written in Old Germanic alliterated verse; is an epic monument of world significance along with songs about the Nibelungs, Roland, Side, etc. B ESTIARY(lat. bestiarius) - medieval literary genre, containing a description of animals with their allegorical interpretation. B ESTSELLER(English bestseller) - a popular book published in large numbers. B IBLIOGNOSIA(guide to the knowledge of books) - the same as bibliology or bibliology. B BIBLIOGRAPHY OF LITERATURE- history of literature; exists alongside criticism and literary theory. B IBLIOPHILIA(gr. letters. love of books) - collecting books, especially rare ones. BIBLE(gr. biblia books) - the name of a collection of works of religious literature, recognized in the Christian and Jewish religions as sacred. There is a difference between the Christian and Hebrew Bibles; the first, in addition to the books that make up the Jewish Bible, contains a number of works of ancient Christian literature, the so-called New Testament; The Hebrew part of the Christian Bible is called the Old Testament. As a whole, the Bible is a collection consisting of versatile parts and written at different times, in which almost all literary genres are represented (ritual and legal treatises, chronicles and cosmogonic myths, sagas and folk songs, religious and erotic lyrics, collections of parables and sayings and etc.). The unifying principle for the individual parts of the Bible is one common religious idea. B ISPEL(cf. in German bîspel, New German Beispiel) is a form of medieval German didactic poetry, a short parable about people, animals or plants, set out in couplets. BITNIK(English beat beat, smash) - a representative of the literary movement that arose in the United States in the 50s, characterized by subjectivism, anarchist sentiments. B RICH RHYME- a rhyme in which consonants coincide both before and after the stressed vowel, for example: “fear” and “bonfires”. B RACHIGRAPHY(gr.brachys short + grapho writing) - the general name of any system of abbreviated writing. B RAHIY(ο βραχος πους, brachys, short) - in ancient metrics, pseudo-foot (that is, without rhythmic stress), monosyllabic, one-dimensional; short syllable, U. Used in anacrusis. B RACHICATALECTIC VERSE- a verse truncated on the foot compared to the previous one, for example: “Before dawn, having risen, the famous Baron of Smalholm saddled his horse” - the second verse is shorter. B RAHIKOLON- a short-term poem, each line of which consists of one syllable, for example: Gol Bes Shel Into the forest. Suddenly stop. Beetle In the forehead. Bes Rad: Climbed into hell. B rickets- antique meter, formed by one short word; in Russian versification is impossible. B RACHIHORI- in ancient metrics, the derivative of the stop is formed by brachia and trochee when the trochee introduces an anacrusis from one short syllable, brachia, U|ŪU. B RAHMAN- the oldest form of Indian prose literature, the interpretation of the prescribed Vedas sacrificial ritual, a collection of myths: cosmogonic myths, the myth of the flood, the myth of the sacrifice of the son by the father, etc. B REVIARY(Breviarium) - originally a compendium, later - a Roman Catholic prayer book in Latin, containing psalms, excerpts from the sacred writings of the church fathers, lives of saints, hymns, etc. From the 16th century. these prayer books became obligatory for all Catholics. B UCOLIC, BUCOLIC POETRY(gr. bukolikos pastoral) - a genre of ancient poetry depicting shepherd life ( idyll, pastoral). B ULVARIAN LITERATURE(fr.) - works devoid of artistic value and designed for undemanding, bad taste; abound in the adventures of criminals, love affairs, etc. B URIME(fr. bouts rimes rhymed endings) - a poem composed on given rhymes, mostly in the order of the general game. B URLESK(fr. burlesque; it. burla joke) - in literature - an exaggerated comic image; the genre of comic, humorous poetry (burlesque poetry). B URIA and ONESS(German "Sturm und Drang") - a revolutionary literary trend in German literature of the second half of the 18th century. BYLINY- Russian epic songs, preserved mainly in the mouths of the northern peasantry under the name "Starin", "Starin" and "Starinok"; the term epic is artificial, introduced into scientific use in the 30s of the 19th century by an amateur scientist Sakharov on the basis of the “epics of this time” mentioned in the Tale of Igor's Campaign (end of the 12th century); among the northern "narrators" (performers, singers), the name of the stars is sometimes also used to designate some epic spiritual verses and many historical songs, ch. arr., XVI-XVII centuries, in the scientific literature, these works are usually considered separately.
IN AGANTS(from clerici vagantes, otherwise goliards from Provence. gualiador joker, hoaxer, French gaillard small, young man) - Western-European corporation of "wandering people" capable of writing and performing songs or, less often, prose works. IN ARVARISM(gr. babrbarismos) - a borrowed word or expression that is unusual for the norms of this language. OPTION(lat. varians changing) - another transfer of the same literary or artistic theme. IN ARLAAM AND IOASAF- a medieval novel-life of Indian origin, dating back to the legends of the Buddha. INTRODUCTION- preliminary messages of a general nature preceding the work, usually of a scientific nature, with the aim of introducing the reader to the course of the subject. IN FOOD(Skt. veda knowledge) - the oldest monuments of Indian literature, written in verse and prose. The Vedas consist of 4 collections containing religious hymns, songs, spells, ritual prescriptions, myths, as well as purely secular verses. IN ECO IMAGES- world, universal, eternal images; images of art that have lost their original domestic or historical significance and have turned from social categories into psychological categories, for example, Don Quixote, Hamlet. IN THE ELIKOE MIRROR- Russian translation of the Western European collection of stories of a moralistic moralistic character. IN ERBALISM(lat. vebum word) - idle talk; the lack of real knowledge and serious thought covered with tinsel of scientific terms. IN ERISM(fr. verisme from lat. verus true, truthful) - close to naturalism direction in literature, ch. arr. in Italy in the second half of the 19th century. TO ERLIBR(French vers libre) - free verse - one of the types of verse, built mainly on an intonation-syntactic basis, without taking into account the number of syllables and stresses in a poetic line (Whitman, Verkharn, etc. . poets). IN ERSIFICATOR(lat. versificator) - a person who easily and skillfully composes poetry, but is devoid of a poetic and artistic gift. IN ERSIFICATION(lat. versificatio) - versification. IN IDEA- narrative and didactic genre; the plot is presented on behalf of the person to whom it was revealed in a dream, hallucination or lethargic dream. TO ILLANEL(villanelle) - a village love song cultivated in France and Italy; characterized by a three-line stanza, monotonous rhyming and a number of repetitions (refrains). IN INJETKA(fr. vignette) - decoration in a book or manuscript in the form of a small picture or ornament at the beginning or end of the text (part, chapter, section, etc.). IN IRELE(virelai) - an old French poetic form with a three-line stanza (the third line is shortened), the same rhyme and with a refrain. IN IRSHI(from Latin versus verse, Polish wiersz) - one of the types of tonic verse - spiritual, and then secular, content that developed in Ukraine from the end of the 16th to the beginning of the 18th centuries, and then passed into Russian literature (end of the 17th-18th centuries .). IN POETIC VOLUME(licentia poetica) - license, the poet’s right, for the sake of greater artistry, to “violate” both the norms of the generally accepted literary language and the canonical forms of plot development, for example, “the moon rises naked under the azure moon” (Bryusov). IN OKABULA(lat. vocabulum) - 1) a single word foreign language with translation into native language; 2) the title of the dictionary entry. TO OLYAPYUK, VOLAPYUK(claim from English world world + speak speak) - 1) an artificial international language invented in 1880 by Jog. Schleyer; did not receive distribution; 2) a set of empty, meaningless phrases. IN ULGARISM- term of traditional style; the designation of words or phrases used in common speech, but not allowed by the stylistic "canon" in the literary language.
G G AZEL(ar. gazal) - a couplet stanza of oriental versification with a constant rhyme at the end of each couplet; used in European poetry. G EBRAISM- a word or figure of speech borrowed from the Hebrew language, mainly from the language of the Bible; one of the types barbarism. G EXAMETER(ο εξλάμετρος, hexameter, six-dimensional) - a verse of ancient metrics, consisting of six meters; for example, dactylic catalectic hexameter, ŪUU|ŪUU|ŪUU|ŪUU|ŪUU|ŪU; e.g. ‘nōn ego; nām satis ēst equitēm mihi plāudere, ut āudax' (Hor. Serm. I 10, 76). The dactylic catalactic hexameter is the most common verse in antiquity; for example, Homer's Iliad and Odyssey were written with it. In Russian versification, there is an unrhymed six-foot dactylo-choreic verse (dactyl in combination with a trochee, i.e. the Russian dactyl ÚUU can be replaced by the Russian trochee ÚU, after which an obligatory caesura is necessary to maintain the rhythm). GEORGICS(gr. georgike agriculture, agriculture) - ancient poems glorifying rural life and agriculture. H EPTAMETER(ο επτάμετρος, heptametrum, seven-dimensional) - a verse of ancient metrics, consisting of seven meters. GERMANISM- a word or figure of speech borrowed from the German language and contrary to the norms of Russian speech. GERMENEUTICS(gr. hermeneutike interpretation, explanation) - the theory and art of interpreting the text of ancient literary works (manuscripts, books, monuments). HEROIC VERSE- a verse used in heroic or epic works, for example, hexameter (see), Alexandrian verse of pseudo-classical tragedies (iambic six-foot); in England and Italy, iambic pentameter is also called G. S., in Russia and Poland - a syllabic thirteen-syllable, etc. G IATUS or GIAT(gaping) - an unpronounceable confluence of several vowel sounds in a row in a verse at the junction of two words, for example: "Anastasia and Irina", see. hiatus. HYMN(gr. Laudatory song) - a genre of religious lyrics, distinguished by thematic features - a laudatory song, doxology, united by the identity of the object being praised. G HYPERBATON(gr. hyperbaton) - a stylistic figure that consists in changing the natural order of words and separating them from each other with inserted words, for example: "Only the languid Muses are delighted" (Derzhavin); see also inversion. GIPERBOLA(gr. hyperbole) - a figure of speech, consisting in excessive exaggeration for a stronger impression, for example: a boundless sea. G HYPERDACTYLIC RHYME(gr. hyper over, over + dactyl) - a rhyme in which three or more unstressed syllables go after the last stressed syllable (see. rhyme). G IPERCATALECTIC END- the presence in the last foot of the poetic line of extra (against their normal number) unstressed syllables. G ISTEROLOGY or HYSTERON-PROTERON(gr.) - a special stylistic device or a logical error, consisting in the fact that the subsequent (hysteron) phenomenon is placed before the previous (proteron), for example: "he died and expired." G ITAGOVINDA(ancient Indian "Song of the Shepherd Krishna") - the famous lyrical drama of the Bengali poet of the XII century. Jayadeva, written in the classical literary language of India - Sanskrit. The plot of Gitagovinda is the praise of the god Vishnu in his incarnation as the shepherd Krishna; the thematic core is Krishna's quarrel with his beloved Radha, who is angry with him for his free games with shepherdesses, the separation of lovers, their languor and torment, reconciliation and love meeting. CHAPTER- an important unit of compositional division of a literary work, usually denoting a temporary break in the course of events or, with a multifaceted plot, a transition from one storyline to another; stylistically significant is the division of parts of a novel or poem into an equal and round number of chapters of approximately the same size. G LAGOLICA- one of the Slavic alphabets; at present, the Glagolitic alphabet is used in writing and in printed books in a few Slavic-Catholic places on the Dalmatian coast and on the island of Karke (Veglia) nearby from the northern part of this coast. G LOSSA(from gr. glossa an obsolete or little-used word) - 1) philologist. interpretation of an incomprehensible word or place in a manuscript (mostly ancient), made in the margins by a scribe or commentator; 2) a poem written on the theme of a poetic passage placed in the epigraph, with each verse of the theme woven into the corresponding stanza; usually written in a specific stanza decima. G LOSSIARY(from lat. glossarium dictionary) - philologist. an explanatory dictionary of obsolete and little-used words for any text, mostly ancient. G LOSSATOR(cf. Lat. glossator) - an interpreter of ancient and little-used words and expressions found in some ancient (mainly legal) work. GLOSSOLALIA(gr. glossa an incomprehensible word + laleo I say) - in folklore (in conspiracies, refrains, etc.) - meaningless sound combinations, for example: "Yuli-Yuli stood." G NOMA(gr. gnome) - a short saying (often in poetic form). SPEECH VERSE(sprechvers) - verse requiring - as opposed to verse declamatory- pronunciation close to the intonation of ordinary colloquial speech. G OLEM(Heb. Goilom) - a very common Jewish folk legend that arose in Prague about an artificial man Golem, created from clay to perform various "black" works, difficult assignments that are important for the Jewish community, and ch. arr. to prevent blood libel through timely intervention and exposure. G ONORAR- literary fee - remuneration received by a writer for his work. GRADATION(lat. gradatio gradual elevation, strengthening) - menopause, in rhetoric - stringing expressions with ever-increasing meaning, for example: "won, defeated, destroyed." GRAFOMANIA(gr.) - a painful passion for writing, for verbose, empty, useless writing. G ROTESK(from French grotesque bizarre, intricate; comic, funny) - in literature, the image of people or objects in a fantastically exaggerated, ugly comic form.
D ADAISM(from French dada wooden horse) - a literary and artistic movement that originated in 1916. The program of the Dadaists was a deliberately meaningless, chaotic perception of reality. Dadaism lasted only until 1922 and served as the basis for the development surrealism. D ACTIL(ο δάκτυλος, dactylus, finger) - in ancient metrics, a simple foot, three-syllable, four-dimensional; long + two short syllables, ŪUU. In Russian versification, stressed + unstressed + unstressed, ÚUU; for example, “The clouds are not | demonic | eternal | wanderers" (Lermontov). D ASIY(gr. dasios) - in ancient metrics, a complex foot, five-complex, seven-pointed; three short + two long syllables, UUUŪŪ. D WOODLE DIMENSIONS- otherwise disyllabic - sizes formed according to the syllabic-tonic theory by alternating feet, consisting of two rhythmic beats - strong and weak, or vice versa - weak and strong (Ú U - trochee and U Ú - iambic). D INSTITUTION- the simplest strophic formation of two verses, usually held together by rhyme. D EVIZ(fr. devise) - originally an inscription on the coat of arms; a short saying that expresses the main, guiding thought, for example, Voltaire's motto: "To live is to think" (Cicero, "Tusculan Conversations"). ACTION- 1) a synonym for the term Act; 2) the act of the hero of the work, which characterizes his volitional orientation (dramatic device); 3) one of the links in the chain of events, called the plot of the work. D ECADENT(decadence, from the French decadence decline) is a term for a literary movement that appeared in France in the 80s. 19th century and in the 90s emerged in Russia, Germany and other countries. The theoretical basis of decadence is subjective idealism, the theory of "art for art's sake"; Along with D., the terms “modernism”, “neo-romanticism”, and “symbolism” are also used to designate this all-European trend in poetry and art. D ECALOGUE(gr. deka ten + logos word) - the ten commandments in the bible. DECLAMATION VERSE- otherwise declamatory, little used term; verse of a rhetorical type, for example, an ode, where logical intonation prevails, a system of interrogative and exclamatory sentences, etc. DEMONISM- the phenomenon of literary plots, the displacement of traditional (in particular, established by theological tradition) negative and positive characters and the introduction of a negative character as a hero. For D., it is not so much the absolute acceptance of evil that is typical, but the disclosure of positive features in an outwardly negative image. D EMONOLOGICAL LITERATURE- literature that presents in a scientific form (tracts, reasoning) the views approved by a well-known religion on spirits (demons, "evil spirits") hostile to the main deity (s). D. l. presented in medieval Christian and Jewish literature, in the literatures of the East (Islamic, Buddhist, etc.), in ancient, in European literatures of the XV-XVII centuries. D ECIMA(Latin decima tenth) - a stanza of ten lines. D ZYORURI- a special genre of dramatic rhythmic prose that arose in Japan, designed specifically for recitative singing. D I(dit, dict literally skaz) - in old French literary terminology - the designation of a relatively short poetic work of a predominantly didactic nature, thematically completely indefinite; the name di is given both to rhymed legends and the lives of saints, and to stories of secular and even light content, approaching in technique then to fablio, then to le. D IALECTISM- a linguistic term that combines the old narrower terms of traditional stylistics: vulgarism, provincialism etc., and denoting a word or expression of any dialect, local or social, introduced into the literary language; DIALOG(gr. dialogos) - a literary work written in the form of a conversation. D IASTOLA(διαστολή, stretching) - in ancient versification, the use of a short syllable instead of a long one in the arsis (strong share) of the foot (as opposed to systole), for example, in the word Μουσαι the diphthong αι is lengthened, which makes it possible to pronounce the foot as not as a troche (ŪU), but like a spondey (ŪŪ). In the syllabo-tonic theory, the pronunciation of a stressed syllable as unstressed, i.e. its atonication, for example, “The hour is at hand; maybe, alas, // I won't be - be you" (Dmitriev), diastole on the syllable "hour". D IATRIBE(gr. diatribe destruction; strife) - sharp, bilious, captious speech with attacks of a personal nature. D IBRAHIUS(gr. dibrachys) - in ancient metrics, a simple foot, two-syllable, two-seater, UU; the same as pyrrhic. D IVAN(prop. account book, office) - in the languages of the Middle East - a collection of lyric poems by one poet or a group of them, united according to some sign (for example, “The sofa of the Khuzail tribe”); Poems are arranged in alphabetical order of their rhymes. D IDACTIC(gr. instructive; related to didactics - instructiveness, instructiveness) - didactic poetry - poetry that uses the poetic form to present scientific, moral, etc. provisions to instruct readers. D EXJUNCTION(lat. disjunctio) - in rhetoric, the opposition of mutually exclusive, but homogeneous signs, for example, "all or nothing." D ILOGY(gr. di (s) twice + logos word, concept) - two novels or two dramatic works connected by a unity of design. D HIPODIA(gr. dipodia) - in ancient metrics, 1) a verse consisting of two feet; 2) a combination of two feet, united by one, the main rhythm. accent; same as meter; for example, iambic meter with the main rhythm. emphasis on the arsis of the first foot, UŪ́¦UŪ. D ISTIKH(gr. distichon) - in ancient metrics, a couplet, a stanza of two verses. The most common distich is the so-called elegiac; catalectic dactylic hexameter + catalectic dactylic pentameter, ŪUU|ŪUU|ŪUU|ŪUU|ŪUU|ŪU // ŪUU|ŪUU|Ū||ŪUU|ŪUU|Ū; for example, ‘Rūmpitur īnvidiā quod rūs mihi dūlce sub ūrbe est // pārvaque in ūrbe domūs, rūmpitur īnvidiā’ (Mart. Ep. IX 97, 7-8). D YITROCHEI, DICHOREA(gr. ditrochaeus, dichoreus) - in ancient metrics, double troche (trochee), ŪU¦ŪU; dipodia in the composition of the verse. D IFIRAMB(gr. dithyrambos) - in poetry, a work close to ode. D ISMB(gr. diiambus) - in ancient metrics, double iambic, UŪ¦UŪ; dipodia in the composition of the verse. D OINA(Rom. doina) is a folk song in Moldova and Romania. Doins originated as shepherd songs; later, along with lyrical songs, epic ones appear. D OLNIK- otherwise, a pausnik is a type of tonic verse, in units of which only the number of stressed syllables coincides, while unstressed syllables are a variable value and may even be completely absent, for example: “Days a bull peg, | Slow years arba, | Our god is running, | Our heart is a drum." (Mayakovsky); general formula X Ú X Ú X Ú etc. D OMINANTA- the dominant technique necessary in the creation of an artistic whole; The combination of dominants is the defining moment in the formation of a literary genre. D OHMIY(gr. dochmius) - in ancient metrics, a complex foot, five-complex, eight-pointed; short + two long + short + long syllable, UŪŪUŪ. D FRAME(gr. drama action) - one of the three main genres of fiction (along with epic and lyrics); in a broad sense - any plot literary work written in a colloquial form and without the author's speech ( dramatic work); mostly intended for performance in the theater; in the narrow sense - a literary work of this kind, different from comedy the seriousness of the conflict, the depth of experiences. D FRAME NATIVE- puppet drama; got its name from the nativity scene - a puppet theater that has the shape of a two-story wooden box, in architecture resembling a stage for the performance of medieval mysteries. D RUID(Gall. druidae, ancient-Irl. druid) - priests and poets of the Celtic peoples, organized in the form of a closed caste and closely blocked with royal power; The Druids were the keepers of heroic tales and mythological poems. D UMES- Ukrainian historical songs of a special form, free in rhythm and devoid of strophic articulation, created in the Cossack environment of the 16th-17th centuries and recorded in the 19th century. from professional kobza singers; SPIRITUAL POEMS- epic, lyric-epic or purely lyrical songs of religious content. For the most part, spiritual verses are sung by blind beggars - "passable Kalikas" - pilgrims. However, in living oral existence, spiritual verses of an epic warehouse (for example, about the Pigeon Book, about Egor the Brave, about Fyodor Tirok, about Anika the warrior, etc.) are not separated from epics, go under the general name "old" and are not always the property of poor professional singers.
E E VANGELIA(from Gr. evangelion "good news") - a term applied to the four so-called "canonical" Gospels, that is, accepted by the Christian church as the only true story about the teachings of Jesus. Of these four gospels, two are attributed to the direct disciples of Jesus, Matthew and John, and the other two to the "disciples of the disciples", namely Mark, as a disciple of the apostle Peter, and Luke, as a disciple of the apostle Paul, who, although he was not, according to Christian tradition, a direct disciple of Jesus, but took an equal position with the immediate companions of the latter. Three Gospels - Matthew, Mark, Luke - are combined into a group of "synoptic" (from the Greek "synopsis" - "free review"), giving a summary of everything supposedly known about Jesus and, in addition, similar in character and presentation, while the fourth - John - stands somewhat apart in its philosophical-gnostic tendencies. E VTERPA(gr. Euterpё) - in ancient Greek mythology - one of the nine muses, the patroness of lyric poetry and music. E VPHEMISM, EUPHEMISM(gr. - eloquence) - replacement of words recognized as rude or obscene, through descriptive expressions, foreign words or meaningless consonances ("do not compose" instead of "do not lie", "in an interesting position" instead of "pregnant", "closet" instead of " outhouse", "fir-trees-sticks", etc.). It is characteristic that new designations of obscene objects and phenomena lose their E. character over time, begin to be perceived as rudeness or a direct indication of an obscene object, and in turn become rude or obscene. E VFONYA(usually euphony) - the doctrine of the sound organization of poetic speech. E DYNITY- the term of classical dramaturgy; the demand for the unity of action and time, as indispensable for high classical tragedy. E KCLESIAST(Greek speaker in the national assembly, preacher in the community, translation of the Jewish Koheleth) - one of the so-called canonical books of the Old Testament, together with "Parables" and "Song of Songs" belongs to the "Solomonic" cycle of Old Testament literature; essentially a collection of reflections, aphorisms and maxims of an abstract philosophical and didactic nature; From the point of view of orthodox Judaism, this book is full of heresy and thus sharply contradicts other books of the Bible. AND GENRE(French genre genus, type) - a historically established, stable variety of a work of art; the variety of genres in art is due to the fact that his works reflect different aspects of reality, have different tasks and purposes; main genres in literature: epic(novel, story, short story, etc.), lyrical or lyrics, dramatic(tragedy, comedy, actually drama etc.). J ARGON(fr. jargon) - the speech of a social or professional group, characterized by a special composition of words and expressions, sometimes by a specific pronunciation (cf. slang). LIFE OF THE SAINTS- works containing biographies of representatives and guides of the Christian religious system, martyrs and confessors, ascetics, mainly from among the monks. W TESTIATION- as a literary genre - the use of the verbal form (introduction, formulas, compositions, conclusions) of a legal testament to develop didactic or satirical topics; how the didactic genre of Z. merges into the general form of teaching (see); as a satirical genre, the testament appears along with other parodies of legal forms. Z AVYAZKA- one of the initial stages in the development of the plot of a literary work; in the plot, those conflicts are created ("tied up"), which will deepen in the process of further development of the action, up to the denouement, these conflicts are resolving. MYSTERY- an intricate question, usually expressed in the form of a metaphor; view concurrency, for example: "Walks in the field, but not a horse. Flies in the wild, but not a bird." (Wind). H A GLAVE- definition of the content of a literary work, usually placed in front of the latter; not always necessary, for example, in lyric poetry, titles are often absent. CONSPIRACY- incantatory verbal formula, which is attributed to magical power; Russian conspiracies are often denoted by other names that have a specific meaning, such as: slander, amulets, spells, dryness, dryness, whispering, words, etc .; one of the most common forms of verbal creativity. BORROWING- in literature - a special case of literary influence, expressed in the fact that one writer includes in his work elements of someone else's work (theme, stylistic features, compositional techniques); the extreme case of literary borrowing - the complete repetition of such details in the absence of instructions from the borrower - is called plagiarism. Z AUM- abstruse language, abstruse poetry; was one of the main creative principles of Russian cubo-futurism, futurism. (Khlebnikov, Petnikov, Kruchenykh). Z ACHIN- an introduction to the epic with the help of some traditional formula, partly connected with the narration (unlike a joke or a chant that do not have this connection) chronologically, geographically, etc., for example: “As in a glorious city in Kyiv, U affectionate prince at Vladimir's, etc. Z EVGMA(gr. conjugation, connection) - a figure of speech, syllepsis, the omission of a word, more often a predicate, which must be repeated two or more times, is put once, and in other places it is only implied, often not in the same, but in a close sense; approximately identical segments of speech are repeated, members built in parallel, for example: “Shame conquered passion, fear - insolence, prudence - madness.” ZEND-AVESTA- cm. Avesta Z ERCALO(Latin speculum, German Spiegel) - rules of conduct; instructive stories; common in Western European and Slavic literatures of the Middle Ages and the Baroque, the name of didactic treatises of the most diverse content: theological, political, secular, etc. S ITE- the same as hyatus, hiatus. Z EFIR(gr. zephyros) - poet. light warm breeze. Z OIL- unfair, captious critic. And IDEA(gr. idea concept, representation) - the main main idea of an artistic, scientific or political work; along with the main idea, the work contains a number of private ideas. AND DILLIA(gr. eidyllion) - a poem in which the life of "people of nature" is idealized - fishermen, shepherds, farmers; originated in ancient Greece as a kind of court poetry and was imitated in the new European literature. AND DIOM(French idiome from gr. idioma language, dialect) - 1) local dialect, dialect; 2) the same as idiom. IDIOM(gr. idioma peculiar expression) - an indecomposable phrase peculiar only to this language, the meaning of which does not coincide with the meaning of its constituent words, taken separately, for example, the Russian expressions "stay with the nose", "ate the dog", etc. AND DIOMATISM- the same as idiom. AND DIOMATIC- 1) set idiom any language; 2) the doctrine of idioms. I DO(in language Esperanto ido descendant) is one of the many artificial languages, a variant of Esperanto. AND ZOKOLON(gr. isokolon) - a rhetorical figure in which parts of sentences in a segment of speech are arranged in the same order, complete parallelism, for example: "He listens to the whistle with his usual ear. He smears the sheet with one spirit" (Pushkin). AND ZOSYLLABISM (iso...+ gr. sylabё syllable) - equisyllabic verse, syllabic equality of lines among themselves - the main feature syllabic versification; is usually observed in syllabo-tonic verse. AND ZOHRONISM (iso...+ gr. chronos time) - the equivalence of a verse, the division of a verse into rhythmic segments equal to each other in the time required for their pronunciation, for example, in ancient versification. AND VISION- a complete expression of a certain, predominantly philosophical or practical-moral meaning within the minimum intonational (phrase, period) or metrical (stanza) unity, for example: "I believe because it is absurd" (Tertullian), "Sometimes the greater part defeats the better" (Livy ). and CT(lat. ictus, impact; stress) - in ancient metrics, the main rhythmic stress in a three-syllable foot or in a dipodia (i.e., in a group of two two-syllable feet); iqts divide the verse into meters, from which they derive their name; for example, a dactylic catalectic hexameter with six ikts, Ū́UU|Ū́UU|Ū́UU|Ū́UU|Ū́UU|Ū́U; iambic trimeter with three ikts, UŪ́¦UŪ|UŪ́¦UŪ|UŪ́¦UŪ; etc. The observance of iqts is essential for logaedic verses with variable rhythm; for example, for the Asclepiades verse, ŪŨ|Ū́UUŪ||ŪUUŪ́|UŨ, in which without the correct ikt on the third syllable, the integrity of the verse is violated. AND ILLUSTRATION(lat. illustratio) - 1) an image that explains or supplements any text (book, magazine, newspaper); 2) an example explaining something; giving examples for a clearer and more convincing explanation. AND MAJINISM(fr. image image) - a decadent decadent literary trend in England at the beginning of the 20th century; in Russia it existed as an insignificant grouping; proceeded from the formalistic idea that literary creativity is reduced to the creation of verbal images, each of which has an independent meaning and does not require a semantic connection with other images. AND MPLICATION(lat. implicatio) - the relationship between judgments, premise and conclusion, according to the formula: "if ... then ...". AND MPROVISATION(lat. improviso without preparation) - a type of creativity in which the idea of a work and its implementation into a literary form are carried out simultaneously, suddenly and quickly. AND NVERSION(lat. inversio turning over; rearrangement) - linguist, poet a permutation of words that violates their usual order in a sentence; used for stylistic purposes, for example: "The doorman passes by with an arrow" (Pushkin). AND NITIALS(from Latin initialis initial) - initial letters, in ancient manuscripts and in modern printed publications - the initial letters of parts, chapters, etc., made in an enlarged size compared to the text and decorated with ornaments, illustrative drawings, etc. AND NKUNABUL(from Latin incunabula cradle; years of infancy) - books related to the initial period of printing (until 1501), outwardly similar to a manuscript. AND NOW- the translation of the term used in Russian poetics allegory. AND INSTRUMENTATION- a stylistic device, which consists in the fact that words are selected in the verse in which the repetition of similar sounds ( alliteration or assonance) gives the verse a special expressiveness, for example: "the hiss of foamy glasses" (Pushkin). AND STAGE(lat. in on + scena scene) - to give a literary work a dramatic form for staging in the theater. INTERVIEW(English interview) - a conversation of a journalist intended for publication with a political, public or any other figure. AND INTERLUDE(lat. inter between + ludus game) - in the Middle Ages - a small theatrical play of a farcical nature. AND INTERPOLATION(lat. interpolatio change) - the later insertion into any text of words or phrases that do not belong to the author (most often when copying a manuscript). AND INTERPRETATION(lat. interpretatio) - interpretation, disclosure of the meaning of something, clarification of a particular text. AND INTRIGA(lat. intricare to confuse) - an action in a dramatic work, characterized by a tense struggle of characters and a special intricacy of the plot. AND ONIK(ο ιονικός, ionicus, Ionic) - 1) in ancient metrics, a complex foot, four-syllable, six-more, two types; a) descending Ionic, two long + two short syllables, ŪŪUU; b) ascending ionic, two short + two long syllables, UUŪŪ. It was used mainly in songs glorifying the god Dionysus; 2) a verse consisting of ionics (the number of stops is not fixed), for example, ‘catus īdēm per apērtūm fugiēntīs agitātō’ (UUŪ́Ū|UUŪ́Ū|UUŪ́Ū|UUŪ́Ū, Hor. Carm. III 12, 10). AND PERMETRIC, HYPERMETRIC POEMS- poems in which at the end there is an extra syllable that goes beyond the meter; it usually joins the next verse, making up its initial syllable. AND POSTAS(replacement) - in ancient metrics, a phenomenon in verse, in which the foot changes its length in syllables, but retains its length in mora, i.e. does not change quantitatively. At the same time, ikt, the main thing is rhythm. stress moves through the syllables in such a way that the regularity of the verse is not disturbed. Most often, the hypostasis occurs in dactylic catalectic hexameter and in iambic trimeter. In hexameter, a dactyl (three syllables, four mora, ŪUU) can be replaced by a sponde (two syllables, four mora, ŪŪ); such a replacement is called contraction (contractio); for example, ‘Ō ēt dē Latiō, ō ēt dē gēnte Sabīna’ (Ū́Ū|Ū́UU|Ū́Ū|Ū́Ū|Ū́UU|Ū́U, spondees instead of dactyls in 1, 3 and 4 stops, Ovid. Metam. XIV, 832). In iambic trimeter, iambic (two syllables, three mora, UŪ) can be replaced by tribrach (three syllables, three mora, UUU); such a replacement is called dissolution (solutio); for example, ‘Libēt iacēre modo sub āntiqua īlicē’ (UŪ́¦UŪ|UÚU¦UŪ|UŪ¦UŪ, tribrach instead of iambic in the third foot, Hor. Ep. 2, 23). AND PPOCREN, HIPPOCREN(gr. hippu krёnё horse source) - in ancient Greek mythology - a magical source on Helikon, which scored from the blow of a horse's hoof Pegasus, has a wonderful property to inspire poets; source of inspiration. AND RONIA(gr. eironeia) - 1) subtle, hidden mockery; 2) a stylistic turn in which the word is used in its opposite, opposite meaning, for example, when they deliberately state the opposite of what they really think about an object or person (for example: “From where, smart, are you wandering, head?” - the words of a fox, facing the donkey in Krylov's fable). AND RATIONAL FEET- stops of the ancient metric, deviating from their normal duration. AND STOCK STUDIES- the discipline of literary criticism that studies a literary work from the side of its sources - ideas, draft materials for the novel, writers' notebooks, all kinds of "editions" of the text, etc. To
K AKOPHONIA- an unpleasant combination of words in poetry (or sounds in music). K ALAMBUR(fr. calembour) - a play on words based on their sound similarity in a different sense (see also punning rhyme). K ALAMBURIST- master of inventing puns. TO PLUMBING RHYME- a compound rhyme formed by an unexpected combination of words, for example: "I even refer to the Finnish brown rocks with a pun" (Minaev). TO ALEVALA- the epic of the Karelian-Finnish people, collected by E. Lenrot and published by him in 1835. Kalevala reflects the ancient life and views of the Karelian people. Main character Kalevals - singer, farmer, fisherman and hunter Väinämöinen. K ALEVIPOEG- Estonian folk epic, compiled and published in 1861 by F. Kreutzwald; epic is based folk tales and songs about the giant bogatyr Kalev. TO ALLIOPE(gr. Kalliope) - in ancient Greek mythology - the eldest of nine muses, patroness of epic and eloquence. TO ANTATA(it. cantata from cantare sing) - a kind of lyrical solemn poem. TO ANTILENA(lat. cantilena sing) - an old lyrical-epic French song. TO ANZONA, CANZONETTA(it. canzone song, canzonetta song) - a kind of lyric poem in old French and Italian poetry (Dante, Petrarch). TO APITOLO(capitolo) - an old Italian term, now little used in other languages, means a poem written by tercini; each chapter of the Divine Comedy of Dante is a capitolo, since, having a final verse, it must be considered from the point of view of strophicity, as a complete whole. TO ASIDA- in Arabic poetry - close to ode a poem of a laudatory or instructive nature, rhyming the first two lines, and then - through the line. TO ATALECTICA(gr. katalёktikos final) - the doctrine of the end of the verse, that is, the syllables located after the last stress of the poetic line. TO THE ATALEC VERSE(μέτρον καταληκτικός, versus cataleticus) - a verse in which the length of the last foot is reduced in syllables; for example, the dactylic catalectic hexameter, ŪUU|ŪUU|ŪUU|ŪUU|ŪUU|ŪU, where the last catalectic foot is the trochee ŪU after truncation of the short syllable U, ‘nōn ego; nām satis ēst equitēm mihi plāudere, ut āudax’ (Hor. Serm. I 10, 76); or, for example, the iambic catalectic dimeter after the glyconeum in the Falekean eleven-syllable verse, ŪŨ|ŪUUŪ||UŪ¦UŪ|U; where the last cataletic foot is the first short syllable U of the iambic meter after the truncation of the other three Ū¦UŪ. K ATARSIS(gr. katharsis cleansing) - according to Aristotle, the property of tragedy; causing fear, anger, compassion, tragedy makes the viewer experience emotional excitement, thereby, as it were, purifying his soul, elevating and educating him. K ATAFORA- the use of a word (phrase), the meaning of which is a reference to another word (phrase), following further in the text, for example: when I last visited her, Masha looked bad; great news: our boss is getting married! TO ATACHREZA(gr. katachrёsis abuse) - a combination of contradictory, incompatible concepts, for example, "electric tram"; usually represents an error, but is common in some cases, such as "red ink". K ATECHISIS(gr. katёchёsis instruction, teaching) - a summary of the Christian doctrine in the form of questions and answers. TO ATRENE(fr. quatrain) - a quatrain, a poetic stanza of four lines. K IPRIY(gr. cyprios) - in ancient metrics, a complex, five-syllable, seven-foot foot; short + long + two short + long syllables, UŪUUŪ. K LASSICK(from lat. classicus first-class) - a universally recognized great writer, artist, composer, whose creations retain their significance for centuries. TO LASSICISM(from lat. classicus) - 1) direction in art and literature in the West. Europe 17-18 centuries. and in Russia in the 18th century, which considered classical (ancient Greek and ancient Roman) art to be exemplary; 2) artistic style in Zap. Europe 17th - early 19th centuries. and in Russia in the 18th - early 19th centuries, who turned to antiquity and ancient art as the norm and ideal model. K LAUZULA(lat. clausula conclusion) - 1) in rhetoric - the end of a speech segment, the sound and stylistic form of which the speakers attached great importance to; 2) the final syllables of a poetic line, starting with the last stressed syllable. K LIMAX- kind of gradation, a series of expressions referring to the same phenomenon; moreover, these expressions are arranged in order of increasing importance, that is, in such a way that each of them enhances the meaning of the previous (“growth”), for example: “You should ... emit streams ... what am I saying! - rivers, lakes, seas, oceans of tears" (Dostoevsky). K ODA(it. coda letters. tail) - an additional verse in a sonnet and other poetic forms that have the exact number of lines. QUANTITY OF SOUND- relative longitude or brevity of sound. TO OLON or KOLA(gr.) - the union of feet into a well-known system, which ends with a large (rhyming) pause, which can also be called a verse or a poetic line; in shock versification, the main stress is the stress of the foot, the next in strength is dipodic, i.e. the main stress of the two united feet, and, finally, the strongest colonic or inline stress - the prevailing stress in the verse. TO OMEDIA(gr. komodia, lat. comoedia) - a dramatic work of a cheerful, cheerful nature, ridiculing the shortcomings of public life, life and people. COMMENT(lat. commentarium) - 1) explanation or interpretation of any text or book; explanatory notes to it; 2) reasoning, explanatory or critical remark about something. TO COMPARATIVISM(from Latin comparativus comparative) - a comparative literary and historical method in literary criticism (establishing similarities and historical development of images, plots in works of literature and folklore of different peoples) and in linguistics (establishing correspondences between related languages in order to restore their more ancient state). C OMPILATION(Latin compilatio to rob) - literary compilation - non-independent work based on the use of other people's works; borrowing. K OMPOSITION- (from Latin compositio - composition, compilation; connection, connection) - in fiction - the construction (structure) of a literary work, the location and interconnection of its parts (components), due to the ideological design and purpose of the work; a component (a unit of composition) is considered a "segment" of a work, in which one way of depicting (characteristic, dialogue, etc.) or a single point of view (author, narrator, one of the characters) on the depicted is preserved. The mutual arrangement and interaction of these "segments" form the compositional unity of the work. Composition is often identified with both the plot, the system of images, and the structure of a work of art (sometimes the words composition and structure are synonymous with the words: architectonics, construction, construction). TO COMPONENT- as a term of poetics, in the doctrine of literary composition, denotes such parts of a work that can be singled out as essential for its structure and composition; as external components of the work can be considered: a chapter, a stanza, even sometimes a separate phrase, foot, etc.; or - stylistically isolated moments, as narrative, descriptive parts, direct and indirect characteristics, dialogue, lyrical digressions, since they are characteristic in their combinations for the composition of the whole; or - such parts as introduction, conclusion, epilogue, etc.; elements of the internal structure can also be designated as components: plot, theme, motif, individual characters in their groupings. TO UNSONANCE- (fr. consonance from lat. consonans) - rhyme with various stressed vowels (cedar - cheerful). TO ONSPEAT- (from lat. conspectus overview) - a summary, a record of an essay, lecture, speech, etc. TO ONSTRUCTIVISM(construo - build) - a direction that arose in the twenties of this century, which proclaims the goal of all creativity - the arrangement of life, the transformation of social life; in modern constructivism, two currents are noticeable: one - denying art, as an autonomous activity of the human spirit; the other - not denying art. TO ONTAMINATION- (from Latin contaminatio mixing) - the emergence of a new word or expression as a result of mixing parts of two words or expressions, as well as a word or expression that arose in this way; for example, the incorrect expression "play a value" is a portmanteau of two expressions: "play a role" and "make a difference". TO CONTEXT- (from lat. contextus close connection, connection) - a semantic piece of written speech (text) that is necessary to determine the meaning of a single word or phrase included in it. C ONTSOVKA- repetition of the final lines of the first stanza in all other stanzas in order to express in a concise form the theme of the poem, or to oppose one series of thoughts with another thought. K ONECTURA- (lat. conjectura) - correction or restoration of a corrupted or unreadable text based on conjectures. TO ORAN- (from Ar. quran reading) - the main "sacred" book of Islam, a collection of religious-dogmatic, mythological and legal texts. INDIRECT SPEECH- the transmission of the speech of another person, placed in a formal dependence on the speech of the person transmitting it, as opposed to direct speech, transmitted verbatim, regardless of the speech of the person serving as the transmitter; examples: direct speech: He said: “I will come tomorrow”; indirect speech: He said that he would come tomorrow ”; in Russian, indirect speech is associated with the speech of the person transmitting with the help of unions what and if with a change in the forms of the face of direct speech in relation to the person transmitting. THE BASIC QUESTION- an interrogative sentence related to another sentence and related, as a dependent, to the verb or verb word included in this other sentence: “Ask carefully what kind of visitor”; "He was tormented by the thought of whether he would survive." K HRITIK- (gr. kritikos) - a writer who criticizes artistic, scientific, journalistic and other works. K RITIKA- (gr. kritike) - analysis, discussion of some subject, phenomenon, theory, book, work of art, etc. in order to evaluate the merits, point out the shortcomings. TO SENIIA- (gr. xenia) - short poems in the form of epigrams and aphorisms; the ancient Roman poet Martial was the first to call his drinking epigrams so. TO UPLET- (fr. couplet) - a stanza in a song; sometimes ends with a chorus. TO UPYRA- (fr. coupure from couper to cut, cut off) - abbreviation in the text. K URTUISE LITERATURE- (French courtois amiable, polite) - literature of the Western European Middle Ages, dedicated to the chanting of knightly honor, love, etc. TO USTODY- (from lat. custos guard) - in old handwritten and printed books - the first word or the first syllable of the next page placed at the end of the page; replaces a column number - a number indicating the ordinal page number of a book, magazine, etc.
L L IRICA(gr. lyrikos lyrical, singing to the sounds of a lyre, sensitive) - 1) one of the three main types of fiction (along with epic and drama); reflects life by depicting a variety of human experiences caused by it; characteristic feature lyrics is a poetic form. LITERATURE(lat. lit (t) eratura) - 1) in the broad sense of the word - a set of written and printed works (scientific, artistic, philosophical, etc.) of one or another people, era or all of humanity; 2) in the narrow sense - artistic creativity, expressed in a word, i.e. fiction; 3) a set of printed works on a specific subject, issue. L ITOTA, LITOTES(gr. litotes - simplicity) - view metonymy: a) turn of speech, reverse hyperbole, an understatement, for example: "a horse the size of a cat"; b) replacement of any expression by another, equivalent, put in a negative form; for example, instead of "I agree" they say "I don't mind". L ICENSE(lat. licentia) 1) permission; 2) poetic license - poetic liberty - a deviation from the generally accepted rules of grammar, style and versification for one or another artistic purpose, for example, the transfer of stress in a word, etc., for example: "Only versts striped come across alone" (Pushkin). L OGOGRAPHS(gr. logographoi) - ancient Greek writers who set forth in prose folk legends and epic poems. L OGOGRYPH(gr. logos word + griphos network; riddle) - a kind of charade or riddle in which the intended word turns into another word by rearranging or throwing out syllables or letters, for example: the whole is part of a tree, without one letter - a river, without two - a pronoun , without three - a preposition (crown, Rhone, she, on).
M ANUSCRIPT(lat. manuscriptum) - manuscript, ch. arr. ancient. M ESOBRAHII(gr. mesobrachys) - in ancient metrics, a complex, five-syllable, nine-foot foot; two long + short + two long syllables, ŪŪUŪŪ. M ESOMARK(gr. mesomacros) - in ancient metrics, a complex, five-complex, six-foot foot; two short + long + two short syllables, UUŪUU. M ETATEZA(gr. metathesis permutation) - permutation of sounds within a word, for example "plate" instead of "talerka" (Polish talerz, German Teller). M ETAPHORA(gr. metaphora transfer) - turn of speech, trope: a) in a broad sense - any allegory, figurative expression of a concept; b) the use of a word or expression in a figurative sense, that is, the transfer to a given object (phenomenon) of the characteristic features of another object (phenomenon), for example, "remorse", "iron will"; the transfer of meaning is based on similarity or contrast; in metaphor, as opposed to comparisons, the words "as", "as if", "as if" are omitted, but implied. METONYMY(gr. metonymia renaming) - turn of speech, trope- replacement of one word with another based on the adjacency of two concepts, for example, "the forest sings" instead of "birds sing in the forest"; "read Pushkin" instead of "read Pushkin's works". M ETR(το μέτρον, measure) - in ancient metrics, a group of feet in verse, united by the main rhythmic stress. In anapestic, trocheic and iambic verses, the meter consists of two feet (from dipodia), for example, three iambic meters in iambic trimeter, UŪ́¦UŪ|UŪ́¦UŪ|UŪ́¦UŪ. In dactylic and other verses, they are of one foot, for example, four dactylic meters as part of a dactylic acatalectic tetrameter, Ū́UU|Ū́UU|Ū́UU|Ū́UU. M ETRICA(gr.metrike, metron measure, size) - poet. study of meter and rhythm in poetry. LOCAL COLORITY(couleur locale) - a literary device consists in depicting those features and signs of natural phenomena, life, customs, habits, psychology of the inhabitants, which are characteristic of a given area, as opposed to other places, and are thus its characteristic, individual difference, for example: "Look: in the shade of a plane tree | Foam of sweet wines | On patterned shalvars | Sleepy Georgians are pouring; | And, leaning in the smoke of a hookah | On a colored sofa | By the pearl fountain | Tehran is slumbering" (Lermontov). M OLISS(gr. molossus) - in ancient metrics, a simple, three-syllable, six-foot foot; three long syllables, ŪŪŪ; the same as extensipes. M ORA(lat. mora, gap; gr. χρόνος προτος, the first time) - in ancient metrics, a unit of measurement of foot longitude. The time required to pronounce the short syllable U is taken as mora, the duration of the long syllable Ū is two mora. Accordingly, the ancient metric divides the feet into two-seater (for example, pyrrhic, UU), three-seater (for example, iambic, UŪ; tribrachium UUU); four-more (for example, prokeleusmatic UUUU; dactyl, ŪUU; anapaest, UŪU; sponde, ŪŪ), five-more (for example, 1st peon, ŪUUU), six-more (for example, descending ionic, ŪŪUU), seven-more (for example, 1st epirite , UŪŪŪ), eight-sea (for example, pariambod UŪUŪŪ), nine-sea (for example, mesobrachium ŪŪUŪŪ). On the basis of the equivalence of different-complex feet, the phenomenon of hypostases arises, i.e. replacing one foot with another; for example, dactyl (three syllables, four mora, ŪUU) spondeem (two syllables, four mora, ŪŪ).
IMAGE- a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. ABOUT CASIONALISM- neologism of one-time use (in a specific text or act of speech); as a rule, they perform an artistic function (individual-author's neologisms), for example: kyukhelbekerno and toshno (A.S. Pushkin); flaunt, make fun of, defabricate (V. Mayakovsky); laughing, Italian, Rusey (O. Mandelstam).
P ALEIA(gr. palaia (biblia) ancient books) - a monument of ancient Russian writing, containing a summary of the Old Testament history with apocryphal legends and interpretations. P ALINDROM(OH)(gr. palindromeo I run back) - "turnover" - a word, phrase or verse that reads the same from left to right and vice versa, for example, "look for a taxi", "the rank is named by the sword" (Khlebnikov). P ALINODIA(gr. palinodia song opposite to the previous one) - in ancient Greek poetry - a poem in which the author renounces what he said in other poems. P ARABOLA(gr. parabole approximation) - an allegory, a parable, a small allegorical story of moral and instructive content. P ARAPIK or PARAPIKN(gr. parapycnos) - in ancient metrics, a complex, four-syllable, five-foot foot; short + long + two short syllables, UŪUU. P ARAPLEROMA- cm. pleonasm. P ARAPHRASE(gr. paraphrasis descriptive turnover, description) - transmission in one's own words, retelling of other people's texts, thoughts, etc. (cm. paraphrase). P ARIAMBOD(gr. pariambodes) - in ancient metrics, a complex, five-complex, eight-foot foot; short + long + short + two long syllables, UŪUŪŪ. P EON or PEAN(gr. paean) - in ancient metrics, a complex five-point foot, three short and one long syllable in various combinations: 1st peon, ŪUUU; 2nd peon, UŪUU; 3rd peon, UUŪU; 4th peon, UUUŪ. SONG- the primary type of musical-verbal utterance; folklore genre, which in its broadest sense includes everything that is sung, subject to the simultaneous combination of words and tunes; in a narrow sense - a small poetic lyrical genre that exists among all peoples and is characterized by the simplicity of musical and verbal construction. P IRRICH(gr. pyrrhichius) - in ancient metrics, simple foot, two-syllable, two-seater, UU; the same as. dibrachium. P LEONASM(gr. pleonasmos excess) - 1) verbosity; 2) a stylistic turn of speech containing unambiguous and, as it were, superfluous words, for example: "dark darkness" (pleonastic epithet); verbal excess, interspersing into speech words that are unnecessary from a semantic point of view: "the best", "crowd of people", "never been" ( tautology); pleonasm is often used as a stylistic device, for example, in folklore - "sadness-longing", "path-road", "whether in the garden, in the garden" ( parapleroma) and etc. P LEONASTIC- related to pleonasm, containing pleonasm eg, n. style, n. epithet. P OESIA(gr. poiesis) - 1) the art of figurative expression of thought in a word; verbal artistic creativity; 2) in the narrow sense - poetic, rhythmically constructed speech (as opposed to prose); 3) the totality of poetic works of any people, time, any poet or group; 4) * charm, charm. P OEM(gr. poiema) - a plot literary work of a lyric-epic nature in verse, a poetic story or story, for example, Pushkin's "The Bronze Horseman". P MEP(gr. poietes) - a poet, a writer who creates works in verse. P OETESSA(fr. poetesse P OETIZING (fr. poetiser P OETICS (gr. poietike) - 1) a section of the science of fiction, theory of literature; 2) theory poetry; 3) the totality and system of artistic principles and features of any direction or poet. P OETICAL- related to poetry filled with poetry; n - a i v l n o s t - see license. P OTHICAL- imbued poetry. P ROBRACHIUS(gr. probrachys) - a nine-foot foot of short and four long syllables; UÚÚÚÚ. P ROSE(lat. prosa) - 1) non-lyric speech; non-poetic literature; 2) * everyday life, everyday life. P ROSAISM(lat., see prose) - a turnover characteristic of everyday, everyday, business, scientific speech, inserted into a poetic work. P ROSAIK(lat. prosaicus) - 1) the author of literary works, writing prose(novels, short stories, etc.); 2) * a person with petty, narrowly practical interests. P ROSAIC- 1) written prose, not poetic; not poetic; 2) * everyday, ordinary. P ROKELEVSMATIK(gr. proceleumaticus) - in ancient metrics, a complex, four-syllable, four-foot foot, four short syllables, UUUU.
STORY- in the genre sense, a small narrative prosaic a literary work with a realistic coloring, containing a detailed and complete narrative about any individual event, case, everyday episode, etc. R UBAI(incorrect transcription from Persian (Farsi) - RUBOY)) - a structure of verse that arose and spread in the East in the 7th ... 12th centuries, containing a complete thought in four lines. Later authors write poems with the classical RUBAI structure, but containing more than one quatrain; There are several canonical ways of writing (structure) RUBAI: the most general (classical) (the third line does not rhyme) XXXXX-U | XXXXX-U | XXXXXXX | XXXXX-U, golden canon (most valued in the original language) (third line rhymes back-cross with the others) XXX-V XXX-U | XXX-V XXX-U | XXX-U XXX-V | XXX-V XXX-U, structure containing a repeating rhetorical question (statement) with each repetition of which (question (statement)) its meaning either changes or intensifies (the third line does not rhyme) XXX-U-W | XXX-U-W | XXXXXXXX | XXX-U-W, where U and V are rhyming words, X are non-rhyming words, W is a repeated rhetorical question (statement). (
literary terms.
(pictorial and expressive means of language or tropes).
Task 2 in the exam in literature and part B8 in Russian.
Prepared by the teacher of Russian language and literature Parfenova N.V.
| Term The essence of the term | examples |
| Allegory (from the Greek "allegory") the image of an abstract concept using lifestyle. | In fables, fairy tales: cunning in the form of a fox, greed - in the form of a wolf: deceit - in the form of a snake. (in the fairy tales of Saltykov-Shchedrin). |
| Alliteration Repetition of the same consonant sounds, sound combinations. | The hiss of frothy goblets and punch blue flames. (A. Pushkin) |
| Anaphora The repetition of the same elements of the word, words at the beginning of each poetic line. | Not intentionally the winds were blowing Not intentionally there was a storm. |
| Antithesis opposition | The rich feast even on weekdays, while the poor mourn even on holidays. |
| Antonyms Words with opposite meanings | Good bad Hard - soft |
| Archaisms Obsolete words ( Old Church Slavonic vocabulary) | This (this), belly (life), mirror (mirror), finger (finger), cheeks (cheeks). |
| Asyndeton Associative compound sentences. | People knew that somewhere far away there was a war going on. To be afraid of wolves - do not go into the forest. |
| Hyperbola Exaggeration | In a hundred and forty suns the sunset blazed. Blood poured up to the sky. |
| gradation Stylistic strengthening or reduction of the semantic meaning of the located parts in the sentence. | I defeated him, crushed him, destroyed him. Came. Saw. Won. |
| Inversion. Reverse order in the sentence. Subject, predicate ... circumstance, object | The moon came out on a dark night. Bear hunting is dangerous, a wounded beast is terrible. |
| historicisms Words that have fallen into disuse due to the disappearance of these concepts. | Officer, oprichnik, boyar, clerk. |
| Pun Wordplay | It was raining and two students. |
| Litotes Understatement | A man with a fingernail, a boy with a finger |
| Metaphor Hidden comparison, the use of a word in a figurative sense. | I looked like an eagle, ran like a partridge, a noble nest, an airplane wing, a golden autumn, a ship's prow, speech flows, the dawn of life. |
| Polysemy Multiple meanings of one word | Key from door; spring key; wrench. |
| polyunion Intentionally increasing unions in a sentence | The ocean swam before my eyes, and swayed, and thundered, and sparkled. |
| Neologism New words denoting concepts that have come into life. | Astronaut, spaceport. |
| Oxymoron Combining two mutually exclusive concepts into one phrase. | Bitter joy, a living corpse, sweet sorrow. |
| personification Attributing the qualities of living things to non-living things | The night wind howls; the sea plays with the shores. |
| Homonyms Words of the same part of speech that sound the same but have different meanings. | Marriage (matrimony), marriage (damaged product). |
| Syntax parallelism - Same syntactic construction sentences, segments of speech. | When you walk on snow rowing roads, When you enter the clouds up to your chest, Know how to look at the earth from a height! Don't you dare look down on the ground! |
| Paraphrase Replacing a concept with features | Writer of these lines (writer about himself) King of beasts (lion); foggy Albion (England). |
| Paronyms Words with the same root, similar in sound but different in meaning | human, human; democratic - democratic; satiated - satiated. |
| Parceling Dividing a sentence into several parts. | He soon quarreled with the girl. And here's why. He smiled. Narrowed his eyes. Started drinking coffee. |
| Pleonasm. Verbosity, superfluous words. | Every minute time. In April month; its autobiography. |
| Rhetorical question A question that does not require an answer. | Who is not affected by novelty? |
| Rhetorical appeal. Appeal to the inanimate object, missing person. | Dreams Dreams! where is your sweetness? |
| Synecdoche. The transfer of meaning from one subject to another. | Blue uniforms - gendarmes; Pea coats - sailors in pea jackets, overcoats - soldiers in overcoats; sheepskin coats - men in sheepskin coats - everyone fled. |
| Synonyms words that are close in meaning | Punishment - retribution, timid - timid, timid; |
| Comparison Expressions with words: as, as if, as if, similar, like; in the instrumental case, comparative degrees of adjectives, adverbs. | All are dearer; dust stands in a column; love is like madness. |
| Tautology Repetition in single-root offer words. | united together; the highest peaks. |
| Phraseologism. stable expression. | Neither fish nor fowl; to the nines; beat the buckets, longing takes; play a role, matter. |
| Epithet figurative definition | Cheerful wind, silver laughter, black melancholy, ashen look. |
| Epiphora The same ending of a poetic line in a couplet. | Dear friend, and in this quiet house, The fever hits me. Can't find a place for me in a quiet house Near peaceful fire. |
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