cientific innovations, however, does not shake the familiar concepts of openness authorial presence in his lyrical works of important properties, which is traditionally termed »subjectivity.« »He (the lyrical poet.-VH), wrote Hegel - can look within himself to encourage creativity and content, stopping domestic situations, conditions, experiences and passions of his heart and spirit. Here the man himself in his subjective inner life becomes a work of art, while the epic poet of the contents are different from the hero himself, his exploits and accidents happen to him.literature are not separated from each other by an impenetrable wall. Along with the works, of course, and wholly-owned by one of the literary genres, there are those that combine the properties of any two generic forms - «dvuhrodovye education» (An expression Corman BO). On products and groups belonging to two genera of literature, for XIX-XX centuries. said repeatedly. Thus, Schelling described the novel as «the combination of the epic with the drama». Have been detected at the start of the epic drama by Alexander Ostrovsky. As described his epic plays by B. Brecht. For works of M. Maeterlinck and Blok entrenched term «lyrical drama.» Deeply rooted in the literary art lyric-epic, which includes the lyric-epic poem (I will establish in the literature since the Romantic era), ballads (with folk roots), the so-called lyrical prose (usually autobiographical), works in which the narrative events «connected» to the lyrical digressions, for example, in «Don Juan,» Byron and «Eugene Onegin» by Pushkin.literary XX century repeatedly made attempts to supplement the traditional «triad» (Epic, lyric, drama) and validate the concept of the fourth (or even fifth, etc.) Kind of literature. Beside the three «old» set and a novel (VD Dnipro), and satire (JE Ellsberg, YB Borev), and the script (some film theorists). In this kind of judgment much disputed, but literature does know a group of works that do not fully possess the properties of epic poetry or drama, and even denied them altogether. They rightly called vnerodovymi forms.
First, it sketches. The focus is here on the external reality, which gives some ground literary critics to put them in a series of epic genre. However, in the event-series and essays properly organizing narrative of no importance: the dominant descriptions, often accompanied by arguments. Such are the «Polecat and Kalinych» of Turgenev's «Sketches», some of the works of GI Assumption and MM Prishvin., the so-called literature «stream of consciousness», which is dominated not narrative flow of events, and endless chain of impressions, memories, spiritual movements carrier speech. Here consciousness often appears disordered, chaotic, as it appropriates and consumes the world: the reality is «covered with a» chaos of her contemplation, peace-placed in soznanie4. Such properties are the works of M. Proust, Joyce, Andrew White. Later in this form by representatives of the «new novel» in France (M. Byutor, N. Sarraute)., the traditional triad strongly fits essays, the now highly influential area of ??literary creativity. At the root of the essay - the world-famous «Experiments» («Essays») M. Montaigne. Esseistskaya form - is ease-free compound summarizing reports of isolated facts, descriptions of reality, and (most importantly) thinking about it. The thoughts expressed in the form of esseistskoy usually not e...
