What is adherence to a particular literary tradition? Cultural and historical tradition

Literary traditions and eternal themes

Russian literature is an ever-changing, continuously developing phenomenon. Over the centuries of its existence, literature has changed many genres, ideas and literary trends, constantly adapting to the rapidly changing world.

However, literature also has another side - the constancy of traditions. Despite all the changes, in the works of authors of the same nation one can always find the same motives, appeals to the same sources of inspiration or references to the same events. Russian literature is no exception.

Definition 1

Literary tradition is a continuity that unites successive literary phenomena.

Most literary traditions arise during the literary process, exist for some time, determining the direction of the thoughts of the authors of works of that time, and then disappear, giving way to newer trends. But there are also those that invariably move from book to book, reflecting the deepest features of the nation. The Russian literary tradition was greatly influenced, for example, by the work of A. S. Pushkin.

In a certain sense, the concept of literary tradition is similar to the concepts of imitation and borrowing. Styles, types of composition, themes, and so on can move from stage to stage in literature, and often not individually, but in combination with each other.

The concept of literary tradition also includes the so-called “eternal themes”.

Definition 2

Eternal themes are inexhaustible trends of thought that are relevant at all times.

No matter how many options appear to reveal eternal topics, there will always be room for one more opinion. The historical situation changes - and the answers to eternal questions change. Different writers can approach the same topic from completely different angles.

In fact, many literary works describe the same plot, adjusted to fit within the chosen time frame.

Eternal themes in literature can be divided into two categories:

Ontological - revealing the topic of the impossibility of knowing such phenomena as space, chaos, light, darkness, etc.;
Anthropological - inexhaustible questions related directly to man.

Anthropological eternal themes, in turn, can be divided into several categories. Firstly, this is a discussion about abstract concepts of existence - sin, pride, good and evil, death and life, the meaning of life. Secondly, these are colossal historical events - wars, revolutions, social activities. Thirdly, this is the sphere of human relations: love, friendship, family. Fourthly, this is the sphere of social relations: the desire for power, a person in society, and so on.

Note 1

In the literature, various moral issues are most often discussed, the solution to which is the moral growth of a person.

Traditions of Russian literature

The characteristic traditions of Russian literature passed from century to century. The past century always in some sense determined the coming century, preparing all the conditions for its existence.

The first stage in the development of Russian literature was the literature of Ancient Rus', which originated in the 11th century and existed until the 17th century, becoming the foundation for all Russian literary creativity. Old Russian authors became pioneers in the field of Russian literary traditions.

From ancient Russian literature to the literature of the 18th - 19th centuries, first of all, the tradition of authors’ love for acute social issues passed over. If in Ancient Rus' the authors criticized the reluctance of the princes to unite the disparate Russian lands against a common enemy, which led to the long reign of the Golden Horde, then in later works the criticism of poets and writers often turned to the tsarist regime of power.

Note 2

Tsarist power was criticized by poets of Pushkin's circle who sympathized with the Decembrists - M. Yu. Lermontov, N.A. Nekrasov and many others.

The 18th century, called the “Russian Enlightenment,” became a platform for the rapid development of Russian literature. The authors of this era began to abandon some of the traditions that came from the literature of Ancient Rus', and began to form their own traditions, which later became the support for writers of the 19th century.

In the 18th century, the idea of Russian national identity first appeared, expressed in the works of Mikhail Vasilyevich Lomonosov. This idea subsequently ran like a red thread through the literature of the 19th and 20th centuries.

In the 18th century, classicism came to Russia, whose rigid system of canons had a great influence on the further development of literary trends, which in one way or another were based on the statements of classicism, even if arguing with them rather than agreeing.

In the same century, the idea of the purpose of the poet and poetry was born, decades later picked up by poets of the 19th century - primarily A.S. Pushkin and M.Yu. Lermontov, who was inspired by the poem “Monument” by G.R. Derzhavina.

But the most significant contribution to the formation of the Russian literary tradition was made by the 19th century - the Golden Age of Russian literature, as it is called. The golden age of Russian prose literature was made up of classic writers - Pushkin, Gogol, Lermontov, Dostoevsky, Turgenev and many others.

It was in the 19th century, based on the traditions of ancient Russian literature and literature of the 18th century, that two characteristic Russian types of heroes appeared on the pages of works - the little man and the extra man. Both types first appeared in the works of A.S. Pushkin - “The Station Agent” and “Eugene Onegin”, respectively.

Note 3

From the Russian literary traditions of the 18th century, the Golden Age adopted journalisticism and a love of satire. As before, writers exposed the vices and shortcomings of society and contemporary man.

Eternal problems were also reflected in the works of the 19th century: questions of the structure of existence, human life, moral purity. Writers of this era drew the attention of readers to everything. the complexity of the relationship between man and society, the conflicts that occur in the soul of every person. The works discussed good and evil, justice, honor, honesty, the purpose of man and the relationship between man and power.

This line of continuity continued at the turn of the 19th and 20th centuries. Twentieth-century authors, like their predecessors, built on the legacy left to them by their literary ancestors.

Tradition

TRADITION (lat. tradere - to transfer). This term in literature is used both in relation to a successive connection that unites a number of successive literary phenomena, and in relation to the results of such a connection, to the stock of literary skills. In its meaning, tradition comes into contact with imitation, influence and borrowing (see these words), differing from them, however, in that traditional material, being generally recognized in a given literary culture. environment, forms part of its artistic use, sanctioned by custom, which has become common property - while imitation, influence and borrowing deal with material that lies outside the given environment, not yet assimilated by it. However, logically different, these concepts are difficult to distinguish in practice, since most literary phenomena are connected to each other not by one, but by several connections, and tradition is often intertwined with direct influence, imitation and borrowing: thus, Lermontov’s poetry reflects, on the one hand, the Byronic tradition that entered Russian literature through Pushkin, on the other hand, is revealed by a number of direct imitations of Byron.

All the elements of poetics can serve as the material of a literary tradition: theme, composition, style, rhythm... But for the most part, these elements are transmitted by tradition not separately, but in some combination with each other, in accordance with the constant connection that exists between them in art words in general. However, in relation to individual elements of poetics, a certain gradation can be established in the tradition: thus, within the literature of a given people, language has the greatest stability, ideas - the least.

Region A literary tradition can be both the creativity of one people and international creativity: we can talk about the Gogol tradition in Russian literature, about the classical tradition in world literature.

Intensity literary tradition is uneven: the tradition either weakens, then strengthens, such as the Pushkin tradition, then finally stops. An extinct tradition can be revived, consciously or unconsciously, under the influence of favorable historical conditions. But the material of an extinct tradition never completely dies out: even if the general conditions that support the tradition disappear, it remains as literary relics.

In any literary process there is a combination of two principles: traditions and personal creativity. Where personal creativity deepens tradition, we can talk about literary evolution; where personal creativity rebels against tradition, it creates a literary revolution; in practice, these two phenomena never occur separately: thus, Russian symbolism, revolutionary against the classical tradition that preceded it, unconsciously continued to participate in the general literary evolution that originated from Pushkin.

In the case when personal creativity rebels against tradition, it often creates in turn a new tradition: thus, romanticism, being an anti-traditional beginning in relation to classical art, itself laid the foundation for a new, romantic tradition.

Personal creativity can establish new traditions without breaking with old ones; this was the case with Pushkin, who absorbed both the classical and romantic traditions into his poetry. Different traditions can coexist, sometimes uniting into one whole, sometimes only in some parts touching each other.

Often, protest against an established tradition is expressed not by creating something new, but by reviving an old tradition (cf. the slogans “Back to Pushkin”, “Back to Ostrovsky”). However, often, the desire to revive tradition gives rise to only stylization, i.e. conscious imitation of the techniques of this art. V. Bryusov’s work on Pushkin’s “Egyptian Nights” can be called such stylization. This example clearly shows that a stylist can never get rid of the influence of his literary school and that the literary tradition is not subject to the writer’s whim, but can develop only when it encounters favorable soil for this in the appropriate environment or person: Pushkin’s style shines through Bryusov’s deliberately forged the appearance of a symbolist poet (see the book by R. M. Zhirmunsky “Valery Bryusov and the legacy of Pushkin”, St. Petersburg 1921).

Dostoevsky’s work clearly proves that belonging to a particular tradition does not exclude the possibility of parodying it: undoubtedly connected by tradition with Gogol, Dostoevsky in a number of works (“The Double,” “The Village of Stepanchikovo”) parodies Gogol’s style and Gogol’s ideology. (Yuri Tynyanov talks about this in detail. “Dostoevsky and Gogol”, published by “Opoyaz” 1921).

Evolution, the resurrection of tradition, parody - these are the forms that the attitude of the writer's individuality to the traditional heritage takes. In the absence of a creative attitude, tradition turns into a stencil (see this word).

Like fiction, literary criticism is subject to certain traditions: they are reflected both in the methods of work and in the conclusions. Again, just as it happens in fiction, tradition in literary criticism can become both an element of evolution and an element of inertia, depending on how much it evokes a creative attitude towards it in a given literary environment. The creative attitude in this area, as in the area of any research, coincides with the critical attitude.

Valentina Dynnik. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

Synonyms:

See what “Tradition” is in other dictionaries:

- (from the Latin traditio transfer) an anonymous, spontaneously formed system of samples, norms, rules, etc., which guides a fairly large and stable group of people in their behavior. T. can be so broad as to cover everything... ... Philosophical Encyclopedia

Tradition- TRADITION (lat. tradere to convey). This term in literature is used both in relation to a successive connection that unites a number of successive literary phenomena, and in relation to the results of such a connection, to the stock of literary skills. By … Dictionary of literary terms

- (lat. traditio). Tradition, the way in which various incidents, events and dogmas are transmitted from year to year. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. TRADITION of lat. traditio, from tra, trans, through, and dare,… … Dictionary of foreign words of the Russian language

tradition- and, f. tradition f. lat. traditio transmission, tradition. 1. Historically established and passed down from generation to generation experience, practice in what form. areas of social life, reality, etc. National traditions. Revolutionary... ... Historical Dictionary of Gallicisms of the Russian Language

Custom, custom; heritage, accepted, establishment, value, custom, it was customary, unwritten law, so accepted, so established, norm, established Dictionary of Russian synonyms. tradition see custom Dictionary of synonyms of the Russian language. Practical... ... Synonym dictionary

tradition- (from the Latin traditio transmission, narration) historically established knowledge, forms of activity and behavior transmitted from generation to generation, as well as accompanying customs, rules, values, ideas. T. warehouse... Great psychological encyclopedia

TRADITION, traditions, women. (Latin traditio, lit. transmission). 1. That which passes or has passed from one generation to another through tradition, oral or literary transmission (for example, ideas, knowledge, views, modes of action, tastes, etc.). Traditions… … Ushakov's Explanatory Dictionary

The dead rule the living. Auguste Comte Tradition is just nostalgia walking around in public in full dress uniform. Andrew Marr Traditionalists are pessimists about the future and optimists about the past. Lewis Mumford Tradition cannot be... Consolidated encyclopedia of aphorisms

- (traditio, transfer) the establishment of actual dominion over things on the part of their previous owner in favor of a new one who acquires them into ownership or possession. Lawyers think that in order to acquire a property right, that is, to establish... ... Encyclopedia of Brockhaus and Efron

The term “literary tradition” is used in literature when we are talking about a continuity that unites successive literary phenomena.

The concept of literary tradition

In its meaning, the concept of literary tradition is identical to the concept of borrowing, influence and imitation. The constituent elements of a literary tradition can be the following components of poetics: stylistics, composition, rhythm and theme. These components are often transmitted by literary tradition not separately, but in combination with each other.

The area of literary tradition is also quite wide: it can be both international creativity and the creativity of one people. For example, Gogol created a literary tradition in Russia, which over time spread far beyond its borders. The literary tradition does not differ in intensity, so we see that Pushkin’s traditions at different times either intensify in literature or disappear almost completely.

At first glance, an extinct tradition can not only be revived, but also take its place as the dominant one in the literary process, thanks to the influence of suitable historical conditions.

In the literary process there is the concept of parodying a literary tradition. A striking example of this is Dostoevsky’s work “The Village of Stepanchikovo”, in which the author parades Gogol’s style and his ideology.

Eternal themes in literature

Traditional problems. Literary works, in their absolute majority, have stable eternal themes, the peculiarity of which is that they are practically inexhaustible, since they will always be relevant in any society. No matter how many options there are for revealing them, there is still something left unsaid every time, as well as something that lends itself to a completely different interpretation in new historical conditions.

Getting acquainted with various literary works, we are amazed at how the same topic is seen by different writers. By and large, many literary works that have come down to us describe the same plot, but divided and corrected over the centuries.

The eternal themes of literature can be divided into the following categories:

1. Ontological- themes of unidentified eternal phenomena: space, light, darkness.

2. Anthropological topics:
- the concept of being - sin, involvement, pride, human life, death.
- epoch-making events - wars, revolutions, peace, civic activities.
- the sphere of social instincts - love, friendship, family, zeal for power, social transformation of a person.

Discussions about eternal problems are also very characteristic of the literary process. The main eternal problem that is discussed in literary works is the issues and problems of morality of man and society. Along with the description of this problem, the literature also indicates ways to solve it - for society this is a revolution or reform, for a person - moral improvement.

Another traditional eternal problem is the question of society’s rejection of an individual, the so-called lone hero. A special place in the literary process is occupied by the clarification of universal human problems - the search for the meaning of life, understanding of good and evil, internal torment, etc.

The literary process is the historical existence, functioning and evolution of literature both in a certain era and throughout the history of a nation, country, region, world.

Shifts in the sphere of artistic consciousness occur, as a rule, with changes in socio-economic formations or during periods of revolutionary upheavals. The main milestones in the history of European art are antiquity, the Middle Ages, the Renaissance (Renaissance), Baroque, classicism, Enlightenment, romanticism, realism. The economic and social system influences the literary process through ideology.

The literary process in every historical era includes socially, ideologically and aesthetically heterogeneous (different quality) literary and artistic works - from high examples to epigone, pulp or mass literature. In addition, it also includes the forms of social existence of works of verbal art: publications, editions, literary criticism, epistolary literature and memoirs.

The most important regularity of the literary process is the emergence of new aesthetic ideas, new criteria of artistry, which indicate the establishment in history of a new class with its own special aesthetic needs and ideals. However, art does not die along with the class that gave birth to it, because it contains something universal.

TRADITION (Latin tradere - to convey). This term is also used in the literature in relation to the successive connection that unites

a series of consistent literary phenomena, and in relation to the results of such a connection, to the stock of literary skills. In its meaning, tradition comes into contact with imitation, influence and borrowing (see these words), differing from them, however, in that traditional material, being generally recognized in a given literary culture. environment, forms part of its artistic use, sanctioned by custom, which has become common property - while imitation, influence and borrowing deal with material that lies outside the given environment, not yet assimilated by it.

Innovation in literature (from the Latin novator - innovator, initiator of the new) - innovation, the discovery of new paths that contribute to the transformation of literary traditions. But not everything new in literature is innovation. Innovation is a significant change in art; it requires great talent and a deep sense of the demands of the time. For example, the appeal of representatives of sentimentalism to the private life of a person, to the world of his feelings, was innovative. The great writers of world literature, such as Homer, Dante, Shakespeare, Cervantes, Pushkin, Shevchenko, were innovators. They were able to take a fresh look at the surrounding reality, comprehend the processes taking place in it and open up new genres, themes, images, and means of artistic expression for the reader. The global significance that Russian literature acquired in the second half of the 19th century is associated primarily with the innovative activities of F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov. At the beginning of the twentieth century, Maxim Gorky was an innovator in Russian literature.

56. Literary methods (directions). Problems of artistic method and style. Literary methods (directions). Problems of artistic method and style.

Classicism - XVIII - early XIX centuries, A.D. Kantemir, M.V. Lomonosov, A.P. Sumarokov, D.I. Fonvizin. 1) Appeal to the images and forms of ancient art.

2) Heroes are clearly divided into positive and negative.

3) The plot is based on a love triangle: heroine - hero-lover, second lover.

4) At the end of a classic comedy, vice is always punished, and good triumphs.

5) The principle of three unities: time (the action lasts no more than a day), place, action.

Lit is a movement that originated in the 17th century in France. Classicist writers chose ancient art as a role model and interpreted it in their own way. Classicism is based on the principle of rationalism. Everything must be subject to reason, both in the state and in personal life. The theorist of classicism is the French poet Nicolas Boileau. In classicism, certain creative rules (norms) were established: 1) The main conflict of works is the struggle between egoistic feeling and civic duty, between passion and reason. Duty and reason always win.2) The characters were divided into positive and negative. The characters are one-line (cowardly, brave). 3) Genres were divided into high (ode, heroic poem, tragedy) and low (fable, satire, comedy).

In Russia, classicism developed from the 18th century. Russian writers took material from national history. In Russian classicism there is a sharper denunciation of vices, a greater interest in the folk language and folk art.

Sentimentalism - XVIII - early XIX centuries. Karamzin, Muravyov.

Particular attention is paid to the spiritual world of a person. The main thing is declared to be the feeling, the experience of a simple person, and not great ideas. Typical genres are elegy, epistle, novel in letters, diary, in which confessional motives predominate.

Works are often written in the first person. Full of lyricism and poetry. Sentimentalism was most developed in England (J. Thomson, O. Goldsmith, J. Crabb, L. Stern). In Russia it has not received much development. The most famous Russian sentimental work is “Poor Liza” by Karamzin.

Romanticism - late XVIII - XIX centuries. (K. F. Ryleev, V. A. Zhukovsky)

The greatest development is in England, Germany, France (J. Byron, W. Scott, V. Hugo, P. Merimee). In Russia, romanticism arose against the backdrop of national upsurge after the War of 1812. It has a pronounced social orientation. He is imbued with the idea of civil service and love of freedom.

Heroes are bright, exceptional individuals in unusual circumstances. Romanticism is characterized by impulse, extraordinary complexity, and the inner depth of human individuality. Denial of artistic authorities. There are no genre barriers or stylistic distinctions. Note: Victor Hugo “Notre Dame Cathedral”.

Realism - XIX - XX centuries. Goncharov, Turgenev, Tolstoy, Dostoevsky

Goal: truthful reproduction of reality. Signs: 1) An artistic depiction of life in images, corresponding to the essence of the phenomena of life itself. 2) Reality is a means for a person to understand himself and the world around him. 3) Realism is characterized by the desire to consider reality in development, the ability to detect the development of new social, psychological and public relations.

Modernism

a) symbolism, late 19th century. – XX century; representatives: V.Ya.Bryusov, K.D. Balmont, A.A. Blok, A. Bely; features: consideration of art as a tool for comprehending the surreal essence of the world; interpretation of the symbol as a means of comprehending world unity; the dominance of the lyric and poetic principle; belief in the magical power of poetry; the musical element as the basis of life and art; updating lyric genres; b) Acmeism: 10th years of the twentieth century; representatives: N.S. Gumilev, A.A. Akhmatova, O. Mandelstam, S.M. Gorodetsky, M.L. Lozinsky; features: opposition to the fragility of symbolic images; declaration of a concrete sensory perception of the world: the struggle for a pure and “simple” poetic language; c) futurism: 10th years of the twentieth century, representatives: V. Khlebnikov, V.V. Mayakovsky, A.E. Kruchenykh, I. Severyanin; features: declaration of a break with traditional culture; revision of the language of art; experiments; a grotesque mixture of styles and genres; new formations in vocabulary, syntax, onomatopoeia. d) Imagism, 1920s, Yesenin. 1) The victory of the image over the meaning and idea. 2) The saturation of verbal images. 3)

An imagist poem might have no content

Valkyries fly, bows sing - 1 - 2 - 3 - 1 – The cumbersome opera is coming to an end. 1 - 2 - 3 - 1- Haiduks with heavy fur coats 1 - 2 - 2 - 1 - Gentlemen are waiting on the marble stairs 1 - 2 - 2 - 1 - O. Mandelstam, “Valkyries”

A dash is a stressed syllable, numbers are the number of unstressed syllables.

Literature in the cultural system. The concept of cultural and literary tradition. Literature in the cultural system.

Tradition (from Latin (traditio - transmission), elements of social and cultural heritage, transmitted from generation to generation and preserved in certain societies and social groups for a long time. Originally this word meant “tradition”. Tradition, like T., always orally. T. is transmitted:
1) either through practical imitation (repetition of any actions),
2) either through folklore. Adequacy of transmission is achieved through multiple repetitions, systems of symbolic texts (mythology) and actions (ritual). In pre-industrial society, most of the features of culture were transmitted through tradition, which is why it is called traditional. In modern society it has been greatly replaced by radio, television, the press, libraries, schools, and universities. They act as the main channels for the transmission of past knowledge. T. are certain social institutions, norms of behavior, values, ideas, customs, rituals, social institutions, tastes, views, etc. In sociology, T. is understood precisely as a mechanism for the reproduction of social institutions and norms, when the need to preserve these norms justified by the very fact of their existence in the past. T. performs a number of cultural functions:
a) establishes the continuity of culture,
b) serves as a channel for storing and transmitting information and values from generation to generation,
c) act as a mechanism for socialization and inculturation of people,
d) perform a selective function of selecting appropriate patterns of behavior and values.

In cultural studies, tradition is understood as a way of implementing continuity, which integrates the trends of creative activity of the past that are important for modern development.

The concept of literary tradition

At first glance, an extinct tradition can not only be revived, but also take its place as the dominant one in the literary process, thanks to the influence of suitable historical conditions.

Eternal themes in literature

The eternal themes of literature can be divided into the following categories:

1. Ontological– themes of unidentified eternal phenomena: space, light, darkness.

Discussions about eternal problems are also very characteristic of the literary process. The main eternal problem that is discussed in literary works is the issues and problems of morality of man and society. Along with the description of this problem, the literature also indicates ways to solve it - for society it is a revolution or reform, for a person it is moral improvement.

Another traditional eternal problem is the question of society’s rejection of an individual, the so-called hero - a loner. A special place in the literary process is occupied by the clarification of universal human problems - the search for the meaning of life, the understanding of good and evil, internal torment, etc.

36. Functions of myth in culture. The concept of archetype.

Mythology goes back to those times about which almost no information has been preserved. Mythological works are usually legendary in nature. Often a myth is equated to a fairy tale. “A fairy tale is a lie” - the essence of myth. Fairy-tale consciousness - everything is perceived as obviously fantastic. Myth is something between science and the inexplicable. The myth arose as an explanation of what is happening in reality. A work of literature is based on ideas about how the world works and its phenomena. Mythology is reflected in art: art seems to be a product of mythology, based on mythological works, but at the same time is evidence of myth. Myths are characteristic of ancient, partly ancient Russian literature. In mythology, the worldview and the literary feeling coincide and become very close. Heroic images of myths have been used in art and literature of all eras. Subject to rethinking, they nevertheless retain the meaning of eternal symbols of human heroism. Archetypes. The myths of different nations are considered as a source of archetypes. These are myths about what happened. the world, man, gods, about the change of seasons, about the end of the world. Contents of the collective and unconscious. An archetype is a separate element of the collective unconscious. The mythology created now is widespread. Unconscious myths are also widespread - the concept of collective unconsciousness. The layer based on mythological ideas is reflected in modern culture. The concept of A. as an instrument. research allowed see continuity in people's lives. kind, an inextricable connection of times.

37. Literary genera. Principles of classification of literary genres. (Aristotle, Hegel, modern science).

Literary genera. Principles of their classification.

Literature is difficult to divide into groups. Since ancient times, certain principles have already been developed, according to which literature was divided into several parts. The concept of literary gender arose in ancient aesthetics, in the writings of Plato and Aristotle. Further, with the increase in the number of literary works, the need arose to change the principles of division into literary genres. In the 18th century, Hegel gave the best principles for the division of literature: epic - the representation of objectivity in its objectivity, lyricism - the representation of subjectivity, the inner world, drama - a presentation that connects both previous types into a new integrity, in which we have the object of revelation and inner life individual. Epic and lyric are opposed to each other, and drama is a synthesis of epic and lyric. This performance has become traditional to this day. In real life, drama takes a backseat. Literature is one of the ways to reveal the human spirit. Literature is not a spontaneous expression, but a representation in a form that has taken its form. Taking this into account, Hegel revised and clarified his formulation. From the point of view of action, Aristotle was right: - the author - an observer from the outside - epic - the internal experiences of the author - lyrics - the combination of direct demonstration of the action that takes place on stage (everything is determined by words) and the passage of the plot through the personality of the actor (objectivity of actions and subjectivity of experiences) - drama. It is impossible to clearly define what is subjective or objective. The author's position is always subjective, generated by art. imagination. “Objective” reality is not the reality of the world, but of a work of art. It can exist separately from the author - an illusion that forces us to imagine the world separately. The second illusion is that the world is depicted through the internal perception of the hero (lyrical). Options are possible when the author moves into the soul of the hero, portrays the hero as himself (S. Yesenin “About Moscow”). This is a fairly common thing in lyric poetry of the 20th century. The problem of the relationship between the hero and the author exists constantly. In dramatic works everything