Чтение онлайн

"Decameron" by Bocaccio is a typical specimen of novella of the Renaissance. Other novellists of the Renaissance deviate to anecdote and buffoonery (at routine level it relates to Sacchetti and at philosophical level to Des Periers), to more sombre attitude to human nature (Masuccio), to showing the play of fatal passions (Bandello) or studying tragic passion (Margareth of Navarre), to theatric rhetorics (Cintio), or to aesthetic formalization (Firenzuola).

In the 17th century Europe novella was romanicized. This process correlated the evolvement of novel of a new type. Novella then was directly opposed to earlier medieval, gallant romance and, sometimes, was mixed with psychological small romance.

The precursor of the romantic novella Cervantes, may be considered a progenitor of romantic novella. His "Edifying Novels" resemble consize novels or fragments of a novel. They are contiguous to psychologism and real life, to adventurous sentimentalism and picaresque themes, to the Renaissance and Baroque. In France, the evolution of prevalent Baroque ‘Spanish line’ was attended by the development of psychological line which was close to classicism and stretching from Margareth of Navarre via Villedieu to Mme La Fayette and Robert Challe.

Romanticism was the most important stage in the history of novella after the Renaissance. At that stage the deformation of this genre was to a certain extent continued (by introducing elements of magic, two worlds, lyricism and development of characters) and likely enriched, for gravitation to extraordinary, and magical things (in depicting characters, emotional state and miracles), in

herent in romanticism, at the same time complies with specific features of this genre. The action in a romantic novella can simultaneously be external and internal, and can have several layers and dimensions. Romantic novella was usually composed of two parts.

Romantic novella is traced to Goethe who did not entirely break off with classicism, but especially so to Kleist, who retained and enriched the genre of novella by combining the unusual and usual as a rule avoiding direct fantasy. Such writers of romanticism as Tick, Eiechendorf, Brentano, Hoffmann usually combined novella and tale. For the Jena romantics, it was the tradition of a tale in general; for the Heidelberg romantics it was concrete folklore traditions, for Hoffmann it was original creation of myths and tales, a combination of ideal-fantastic and real-prosaic things. Hoffmann’s line was developed by Edgar Poe whose works combined psychological, logical and ‘science’ fiction. Other American romantics (Irving, Hawthorne) basically relied on the early stories about America’s settlement and were inclined to moral allegories. In French romanticism fantastic novella prevailed (Nodier, Nerval, Gautier), with emphasis on night dreams, and with a strong lyrico-elegiac string.

Novella was retaining the romantic features for a long time not only in works of writers of transitional period such as Merimee, but also in the works of writers of classical realism such as Stendhal, Balzac, Pushkin, Gogol, Turgenev. At the transitional stage, fantasy in novella was partially replaced by descriptions of exotic customs (Merimee), professional exotics (Harte’s gold hunters), regional peculiarities (Keller, Storm, Auerbach) and remarkable historical persons (Meyer). Novella was confronted by the realistic essay and short story. A new turn in the history of novella as a genre occurred in the epoch of late realism, when realism finally got rid of the vestiges of romanticism. The novella of the late 19th and early 20th century (Maupassant, Chekhov, O’Henry) is positively distinguished from novel and story and becomes much more distinctive as a genre by making use of the principles of anecdote and abandoning traditional novellistic motifs. In Maupassant, the unheard of events come from mundane prose. Chekhov scales down the novellistic event and shifts the emphasis from the text to its internal implications. The novellists at the end of the 19th century usually reveal a tendency toward impressionism.

Содержание

Вступление 3

Ранние формы новеллы. 8

1. Новеллистическая сказка и сказка-анекдот как фольклорные жанры. 8

2. Восточная новелла 29

3. Средневековая новеллистическая традиция на Западе 50

Классическая новелла эпохи Возрождения. 75

1. Формирование классической формы новеллы («Декамерон») 75

2. Новелла Возрождения после Боккаччо 99

Романическая новелла XVII—XVIII вв. 136

Романтическая новелла XIX в. 161

От романтизма к реализму (XIX в.) 202

Заключение 245

Библиография 260

Указатель 264

Summary 272

Мелетинский Е. М.

М47 Историческая поэтика новеллы.— М.: Наука.

Главная редакция восточной литературы, 1990.— 275 с.

ISBN 5-02-016745-2

В книге на материале всемирной литературы рассматриваются вопросы происхождения жанровой структуры, формирования классических форм новеллы и ее дальнейших судеб на Западе и на Востоке вплоть до начала XX в. Основные разделы: ранние формы новеллы (новеллистическая сказка и анекдот, восточная новелла, средневековая, европейская новеллы), классическая новелла Ренессанса, романическая новелла XVII—XVIII вв., романтическая новелла XIX в., реалистическая новелла XIX в.

ББК 83.3(0) М47

Обязательный экземпляр

Ответственный редактор академик Ю. Б. ВИППЕР

Рецензенты В. Е. ХАЛИЗЕВ. Н. К. ГЕЙ

Утверждено к печати Институтом мировой литературы им. А. М. Горького АН СССР

4603000000-013

М-------------------- 106-90 ББК 83.3(0)

013(02)-90

ISBN 5-02-016745 -2 © Главная редакция восточной литературы издательства «Наука», 1990

Мелетинский Елеазар Моисеевич

ИСТОРИЧЕСКАЯ ПОЭТИКА НОВЕЛЛЫ

Редактор Е. С. Новик Младший редактор М. И. Новицкая Художник Н. П. Л ар с кий Художественный редактор Э. Л. Эрман Технический редактор Г. А. Никитина Корректоры В. И. Мартынюк,

П. С. Шин

ИБ № 16378

Сдано в набор 20.03.89. Подписано к печати 13.11.89. Формат 60 x 90Vie. Бумага типографская № 2. Гарнитура литературная. Печать высокая. Уел. п. л. 17,5. Уел. кр.-отт. 17,5. Уч.-изд. л. 19,7. Тираж 3000 экз. Изд. № 6783. Зак. № 214. Цена 2 р. 90 к.

Ордена Трудового Красного Знамени издательство «Наука»

Главная редакция восточной литературы 103051, Москва К-51, Цветной бульвар, 21

3-я типография издательства «Наука» 107143, Москва Б-143, Открытое шоссе, 28