What is prose example. Prose works of modern writers

We all studied prose at school in literature classes, but who can now answer the question of what prose is? Perhaps you remember that oral or written speech is called prose, but you probably forgot that works in prose are not divided into commensurate segments (in other words, poetry). Unlike poetry, the rhythm of prose works is the relationship of syntactic structures (sentences, periods).

Prose arose during the times of ancient literature. Since the 19th century, prose began to lead in literature.

Let us explain what applies to prose. Prose is ordinary speech, simple, unmeasured, without dimensions. However, there is measured prose, similar in sound to ancient Russian songs.

Prose also has forms. So, journalistic, business, scientific, religious-preaching, memoir-confessional forms initially developed.

Stories, novellas and novels belong to artistic prose and differ from the lyrics in their emotional restraint, intellectuality, and philosophical principles.

From the definition at the beginning of the article it is easy to understand that prose is the opposite of poetry. But then what is a prose poem? This text is very complex, but without rhyme, almost always romantic content. I. S. Turgenev wrote many prose poems.

Prose genres

Traditionally in number literary genres related to prose include:

Novel. They call it a novel narrative work, large in volume and with a complex, developed plot.
Tale. This is a kind of epic poetry, similar to a novel, which tells about some episode from life. In the story in to a lesser extent than in the novel, it tells about the life and character of the heroes, it is shorter and more restrained.
Novella. A short story is a short literary narrative genre. It is comparable in length to a short story, but distinctive feature is the presence of genesis, history and structure.
Epic. An epic work, monumental in form, touching on national issues.
Story. Is small form fiction. The volume of text is small, since the story does not cover big gap time and describes a specific event in a specific time period.
Essay. This is a prose composition on any topic. The volume is small, the composition is not strictly designated. In an essay, the author expresses his individual impression and opinion on a specific issue.
Biography is a well-known form of presenting the history of a person’s life and activity.

prose

and. Greek ordinary speech, simple, unmeasured, without size, opposite gender. poetry. There is also measured prose, in which, however, there is no syllable size, but a type of tonic stress, almost like in Russian songs, but much more varied. Prose writer, prose writer, prose writer writing in prose.

Explanatory dictionary of the Russian language. D.N. Ushakov

prose

prose, plural no, w. (Latin: prosa).

Non-poetry literature; opposite poetry. Write in prose. Above them are inscriptions both in prose and verse. Pushkin. Modern prose. Pushkin's prose.

All practical, non-fiction literature (outdated). Until now, our proud language is not accustomed to postal prose. Pushkin.

trans. Everyday life, everyday life, something that is devoid of color, brightness, liveliness. Among our hypocritical deeds and all sorts of vulgarity and prose. Nekrasov. Prose of life or everyday prose.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

prose

Non-poetry literature, as opposed to poetry. Fiction. Write in prose.

trans. Everyday, everyday life. Everyday item of life.

adj. prosaic, -aya, -oe (to 1 meaning).

New explanatory dictionary of the Russian language, T. F. Efremova.

prose

Rhythmically unorganized speech.

Non-poetry literature.

trans. decomposition Boring monotony; everyday life, everyday life.

Encyclopedic Dictionary, 1998

prose

PROSE (from Latin prosa) oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic structures (periods, sentences, columns). Initially, business, journalistic, religious-preaching, scientific, memoir-confessional forms developed. Fiction (short story, tale, novel) is predominantly epic, intellectual, in contrast to lyrical and emotional poetry (but possible lyrical prose and philosophical lyrics); originated in ancient literature; from the 18th century came to the fore as part of verbal art.

Prose

(lat. prosa),

artistic and non-fictional (scientific, philosophical, journalistic, informational) verbal works that lack the most common feature poetic speech(breakdown into verses).

In a narrower and more common sense, it is a type of word art, literature, correlated with poetry, but differing from it in special principles of creation. art world and organization of artistic speech. See Poetry and Prose.

Wikipedia

Prose

Prose- oral or written speech without division into commensurate segments - poetry; in contrast to poetry, its rhythm is based on the approximate correlation of syntactic structures (periods, sentences, columns). Sometimes the term is used as a contrast between fiction in general and scientific or journalistic literature, that is, not related to art.

Examples of the use of the word prose in literature.

She continued the conversation about small things, about mundane things: “However, I got distracted, but the conversation was not about prose, but about poetry.

Generally autobiographical prose, critical articles and poetry constitute for Grigoriev the three cornerstones of his work, being in a peculiar relationship with each other.

If I belonged to the elite, I would spend more money than effort, If I lived in the Paleolithic, I would crush my neighbor’s skull with a club, When I would measure the racetrack in circles, I would show remarkable agility, But if I could suddenly write poetry, I would instantly stop prose speak.

The model reproduces the style and partly the vocabulary of early Anglo-Saxon prose using rhythmic and alliterative techniques.

Rhythmization prose, the alliterations, assonances, and rhymes abundantly found in him, due to the special pathos of his inherent manner, create the impression of floridity, designed for a special effect.

To do this, he used the baggage of metaphors, comparisons, antitheses and other embellishments of classical rhetoric, and borrowed the tool of alliteration from his native poetry to give his prose bright sound color.

That is why cante jondo, and especially sigiriya, gives us the impression of being sung prose: any sense of rhythmic meter is destroyed, although in fact the lyrics are composed of tercets and quatrains with assonant rhyme.

Both then and now the absurdity of such a statement is obvious to me, although Tsirlin was not alone - this was evidenced by the speeches of some historians at the discussion about historical prose.

The poem addressed to Wigel ends with the words: I will be glad to serve you - In verses, prose, with all my soul, But, Vigel - have mercy on my ass!

I love the Gnessin school for the song, for the excess prose, behind yellow, which is presented to November like a bunch of mimosa.

New Age Gothic style became established in the mid-seventies of the eighteenth century, which found expression in prose, poetry and art.

Phillips began to write for tabloid magazines, and, in addition, processed entire mountains of almost hopelessly graphomaniacal prose and the lyrics sent to him by amateur writers who hoped that Phillips's magic pen would help them see their works in print - all this allowed him to lead a fairly independent lifestyle.

The latter will become characteristic feature and all subsequent autobiographical works Grigoriev in verse and prose.

Only in the early prose Grigoriev, one can detect direct traces of Heine’s influence.

If Guiraldez had not absorbed French metaphorism and American-British structuralism, we would not have had classical Argentine prose!

Prose - Prose! The world of prose. History of the emergence and development of prose. Prose genres.

Prose - Prose!

Prose!

Prose in its broadest sense, surrounds us everywhere.

Prose- this is a simple, ordinary dimensionless speech, exactly the one that we use every day.

With the help of prose, we can confess our love and express any of our feelings.

The more we read literary prose, the richer our experience will be and the more beautiful our speech will be.

Prose in antiquity

In antiquity, prose, unlike poetry, which was governed by the rules of poetics, was governed by the rules of rhetoric. Like poetic poetic speech, it in a certain way was decorated, but the methods of this decoration were different from those in poetry. The Western European Middle Ages continued to classify only poetry as poetry, but the expansion of the readership led to the spread of more artless prose: from the middle of the 13th century, prose adaptation of poetic novels began, sung poetry interspersed with prose in the story of the first third of the 13th century “Aucassin and Nicolet”, then in “New Life” (1292) Dante’s prose autobiography includes poetic lyrics created by the author in 1283-90 with commentary. The Renaissance was marked by the flourishing of the short story, first of all, “The Decameron” (1350-53) by G. Boccaccio. Among the most outstanding works Renaissance literature - F. Rabelais's comic epic "Gargantua and Pantagruel" (1533-64), but it is close to the unofficial folk carnival culture, is not included in the hierarchy of traditional genres and is only conventionally called a novel. A distant harbinger of the future triumph of the novel genre was “Don Quixote” (1605-1615) by M. Cervantes. In Chapter XIVII, Part 1, the priest, while condemning chivalric romances, still highly appreciates the possibilities of their form (here in indirect speech Cervantes actually approves the form of his own work as worthy of recognition as a contemporary literary theory).

Prose gradually gained ground from verse. In Shakespearean tragedy, especially comedy, their mixing was the norm, although prose was used mainly in “low” episodes. In the 17th century, the Spanish picaresque was actively created, analogues of which appeared in other countries. Despite the fact that classicism still classified prose under the department of rhetoric and recognized it only in philosophical dialogue, historical narrative or description, journalism, confession, the novel was accepted as a peripheral, entertaining genre, devoid of a moral purpose and addressed to an inexperienced reader - even in France, a trendsetter of classicist norms and tastes, prose penetrated into various genres. Back in the 16th century, the first French original comedy in prose (“The Rivals” by J. de La Taille, 1573) and tragicomedy (“Lucelle” by L. Lezhar, 1676) appeared. At the turn of the 16th and 17th centuries, P. de Larivee wrote nine prose comedies. The strict theorist of classicism, J. Chaplain, spoke in favor of “free” speech in drama and considered rhymed text on stage absurd, citing examples Italian plays in prose. Moliere created several of his best comedies in prose, including Don Juan (1665), The Miser (1668), and The Philistine of the Nobility (1670), which was highly appreciated by some contemporaries, but in practice for a long time there was no continuation. In the dispute about the “ancients” and the “news”, which began in 1684, the latter defended the rights of prose. English prose of the late 17th - early 18th centuries was represented by the translated “heroic” and short novelistic (A. Ben, W. Congreve) novel, historical and legendary narrative (R. Boyle), in Germany of the 17th century the superficial gallant adventure novel about love stories in the court environment, addressed to readers who did not belong to it.

The 18th century was the time of approval of prose in developed European literatures. In England this is the satire of J. Swift, the “comic epics” of G. Fidding and other writers, sentimental and Gothic novels, in Germany - the works of I.V. Goethe, in France - the work of S. L. Montesquieu, A. F. Prevost d'Exile, Voltaire, J. J. Rousseau and others. Sometimes the genre boundaries of poetry and prose were deliberately erased: Montesquieu, declaring in “Persian Letters” (1721 ) poet, a funny and grotesque figure, created two poems in prose, A. de La Motte Udar wrote an ode in prose Abbé Prevost in 1735 declared that rhyme denigrates the very idea of poetry and destroys the poetic gift. But the defenders of the verse were stronger. The most significant of them was the prose writer Voltaire, who clearly related his philosophical stories more to philosophy than to literature. In The Temple of Taste (1731) he ridiculed the theory of the prose poem, to which Lamotte-Udard unsuccessfully objected. Until the beginning of the 19th century, prevailing theories did not recognize prose. Even I.F. Schiller in 1797 did not approve of Goethe’s “Year of the Teachings of Wilhelm Meister” (1795-96); the latter agreed with him and in “Maxims and Reflections” he called the novel “a subjective epic in which the author asks permission to reinterpret the world in his own way” (Collected Works: In 10 volumes), which Goethe had a clear anti-romantic orientation.

Nevertheless, the 18th century is the century of the decisive advance of prose and a more lenient attitude of theory towards the novel. For its time, F. Fenelon’s allegorical philosophical and political novel “The Adventures of Telemachus” (1693-94), as well as the work of the 17th century Scottish author who wrote in Latin, J. Barclay (Barkley) “Argenida” (1621), were of fundamental importance. In post-Petrine Russia, where verse had to be improved at the expense of artistic prose for a long time, both attracted the attention of V.K. Trediakovsky. He translated Fenelon’s novel into hexameters, but translated “Argenida” into prose in 1751, and earlier in “A New and Brief Method for Composing Russian Poems...” (1735) he reported: “Epic, witty, amazing, and sometimes superior to Homer and Virgil’s fictions written in prose, I don’t hope that there are more in any other language than there are in French, which they call novels. However, all such novels can hardly outweigh Barclay’s Argenide in goodness.” The presence of such examples made it possible for the appearance in Russia of works that were clearly not aimed at the “grassroots reader”, such as the Masonic novels of M.M. Kheraskov (60-90s of the 18th century). But highest achievements Russian prose of the 18th century before N.M. Karamzin belong to the field of satire of various kinds (comedies by D.I. Fonvizin, the story by I.A. Krylov “Kaib”, 1792, and fictionalized journalism “Journey from St. Petersburg to Moscow”, 1790, A.N. Radishcheva). Karamzin with his sentimental stories 1790s first introduced prose into high literature. Previously, prose was considered incomparable with poetry, although it had more readers (translated novels were especially popular, and since 1763, when the first works of F. A. Emin appeared, domestic novels); Karamzin's prose was recognized by the most educated and sophisticated, and at the same time, a fairly wide readership.

Western European romanticism brought a certain balance of poetry and prose: although poetry had the strongest emotional impact, the most popular writer in Europe and Russia was W. Scott as a historical novelist. Subsequently, the authority of prose was supported by the late romantic works of V. Hugo and J. Sand. Among Russian romantics, the novelist A.A. Bestuzhev (Marlinsky) enjoyed relatively short-lived fame, but the highest achievements of romanticism in Russia were poetic. In the 1830s, somewhat later than in the West, an epochal turning point occurred: A.S. Pushkin wrote more prose than poetry, the prose of N.V. Gogol appeared, in 1840 - the first Russian socio-psychological and philosophical novel“Hero of Our Time” by M.Yu. Lermontov. Subsequently, a galaxy of great prose writers appeared, including L.N. Tolstoy and F.M. Dostoevsky. As in the West, the dominance of prose in Russia became unconditional, with the exception of the beginning of the 20th century, when the achievements of poetry in general were higher, although prose, especially modernist prose, was fundamentally updated. At the end of the 20th century, poetry almost all over the world moved to the periphery of literature, became the property of relatively few amateurs, and even outwardly imitated prose: in many countries, almost all of it was created in free verse.

Prose has its structural advantages. Much less capable than verse of influencing the reader with the help of specific rhythmic and melodic devices, the functions of which were revealed by Yu.N. Tynyanov in the book “The Problem of Poetic Language” (1924), prose is more free in the choice of semantic nuances, shades of speech, in the transmission "voices" different people. “Diversity”, according to M.M. Bakhtin, is inherent in prose much more than in poetry. The scientist identified the following “types prosaic word"(more precisely, any narrative, but mainly prosaic). The first is a direct word directly aimed at its subject, a usual designation, naming something. The second type is an object word, the word of the depicted person, different from the author’s, conveying the social, national, cultural, age and other specifics of the characters’ speech, which was represented little or not at all in traditionalist literature. The third type, according to Bakhtin, is the word “two-voice”, with an attitude towards someone else’s word; A “two-voice” word can be both the author’s and the character’s word. There are three varieties here. The first is an evaluatively “unidirectional” two-voiced word: stylization, the story of a narrator, the non-objective word of the hero - the bearer of the author’s intentions, first-person narration. The “word” of the speaker, a character who is not negative for the author, more or less merges with the author’s “word”. If the speaker (writer) is disapproved or ridiculed through supposedly his own speech, a “multi-directional”, predominantly parodic, two-voiced word arises. The third type of two-voiced word is defined by Bakhtin as an “active type,” or a reflected alien word. Based on the remarks of one participant in the dialogue, one can guess the content and emotional coloring replicas of another. In the same row are hidden internal polemics (the character proves something to himself by arguing with himself), polemically colored autobiography and confession, hidden dialogue, and in general any word with an “eye” on someone else’s word (conversations are conducted differently with different interlocutors). The “active type” is most characteristic of Dostoevsky, who is less interested in the objective word (the second type): individual or social signs speeches are not as significant as the characters’ semantic polemics with themselves and others; according to Bakhtin, the author participates in the struggle of points of view - in terms of the organization of the narrative, and not the general idea of the work - on an equal basis with the characters, without dogmatically imposing anything on them. Prose has its own rhythm, different from poetry, and sometimes meter, turning into metered prose.