Мелетинский Е.М. Историческая поэтика новеллы
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«Смерть чиновника» 241, 243
«Соседи» 241
«Спать хочется» 241, 243, 244
«Страх» 242, 244
«Студент» 240
«Тиф» 244
«Толстый и тонкий» 241
сТоска» 241, 243, 244
«Трагик» 239
«Учитель словесности» 242, 243
«Хамелеон» 241
«Хирургия» 240
«Хористка» 241
«Человек в футляре» 241, 243
«Черный монах» 240
«Шампанское» 242
«Шведская спичка» 240
«Шуточка» 241, 243,
244
«Экзамен
на
чин» 239,
240
Чинтио
Дж.
115—119, 131,
253
«Венецианский мавр»
116
«Орбекка»
116
«Экатоммити» 115
Чосер Дж. 70, 71, 72, 247, 250
«Кентерберийские рассказы» 70, 71,
72,
250
«Чудесный рог мальчика» 174
Чэн Сюань 36
Чэнь Хун 36
Шаль Р. 140, 152—156, 159, 254
«Знаменитые француженки. Истин-
ные истории» 152, 156
Шамиссо А. фон 199
Шарпантье Ж. 159
Шатобриан Ф. Р. де 199
Шекспир В. 109, 116, 220
«Двенадцатая ночь» 109
«Венецианский купец» 60
«Король Лир» 53
«Много шума из ничего» 109
«Отелло» 115 116
«Ромео и Джульетта» 109
Шлегель А. 3
Шлегель В. 3
Шпильгаген Ф. 3
Штифтер А. 3, 215, 258
«Высокий лес» 215
«Кондор» 215
«Полевые цветы» 215
Шторм Т. 3, 202,
215—221,
223, 224,
239,
258
«В замке» 216
«Всадник на белом коне» 218
«Ганс и Гейнц Кирх»
«Господин советник» 217
«Зеленый лист» 216, 217
«Из заморских стран» 216, 219
«Иммензее» 215—217
«К летописи рода Гризхус» 216
«Карстен-попечитель» 217
«Лесной уголок» 216, 217, 219
«Мастер Петрушка» 216
«Молчание» 217
«Сыновья сенатора» 217, 219
«Тихий музыкант» 216
«Университетские годы» 216, 217
«Aquis submersus» 216
Штриккер 69
«Шукасаптати» 30, 31
Шэнь Цзыцзы 36
«Цветы и жития философов» 63
Цзи Юнь 50
Цзян Фан 36
Цицерон 51
Эзоп 50
Эйхендорф И. фон 174, 184, 220, 255
«История одного бездельника» 174,
220
«Осеннее колдовство» 174
Эккерман И. П. 3
Эленшлегер 174
«Эстула» 67
Этьенн А. 122
Юань Мэй 50
Юань Цзяо 36
Юань Чжэнь 36, 39
Яков Ворагинский 70, 119
«Золотая легенда» 70
Я-чжи 36
Summary
E. M. Meletinsky. The Historical Poetics of Novella. Novella originates
from tale and anecdote. Its emansipation from tale is more characteristic of the
West than of the East. This is particularly true of China where novella origina-
ted from mythological legend and retained an element of fantasy virtually
throughout its history. In the West, an original synthesis of fairy tale and no-
vella only occurred in the epoch of romanticism. In comparing tale and novella,
it should be noted that however fantastic a tale may be its plot shows compul-
sory and recurrent life and ritual cycles of growth of the hero (rites of pas-
sage),
and novella, despite its mundane character, claims to show miraculous
things as is suggested by Chinese technical words and Goethe's famous formula
of "unheard-of event" and strikingly new things (cf. the etymology of the word
'novella'). Anecdote is based on direct opposition and paradoxical stress. In the
frame of composition and narrative a sharp turn of plot occurs after culmination
and before denouement. The anecdotic core of novella often has a latent form.
The anecdotic essence can be separated from the comic environment and, at later
stages, it may even acquire sentimental and even tragic colouring. In such
broad terms anecdotism intensifies the specifics of the genre of novella (in no-
vellas of the Renaissance, and those by Kleist, Pushkin, Maupassant, Chekhov,
O'Henry).
Novella is distinguished from novel and story by its brevity, and from short
story and story by more complex structure. The brevity of novella intensifies the
degree of concentration and symbolism used in it. Novella cannot incorporate
a comprehensive "model of the world", and thus there is a tendency to combine
novellas in a single frame within which they complement each other.
There are two groups of folkloric pre-novellas — short narratives constitu-
ting realistic tales and anecdotes. On the one hand, there is interaction between
these groups, and on the other, there is a relationship of complementarity bet-
ween them. Shrewdness and wisdom of a hero in a realistic tale and shrewdness
and trickstery of a hero in an anecdotic tale form alternatives. The same is true
of realistic tales about cruel robbers and of anecdotic tales about cheerful and
crafty thieves who arouse admiration or realistic tales about chaste and virtuous
wives and anecdotic tales about adulterous, stubborn and wicked wives. The sa-
me system of oppositions is characteristic of folklore tradition and as concerns
book tradition it is less prominent.
With reservation, realistic tale may be considered a product of transforma-
tion of subjects and structure of fairy tale. Magical elements are replaced by
mundane elements, and, functionally, a magician is replaced by a witty hero
or his lucky fate. If a magician is retained, he is acting as a clever counsellor.
However, the main instrument here is intelligence, shrewdness, and dexterity of
the hero. In a realistic tale, the intelligence of a hero is always stressed and
folly of his opponents is not and this feature distinguishes it from anecdote.
A magical (often "bestial") wife, dressed in male clothes, becomes an active
assistant. Magical opponents, like dragon flies or wizards appear as forest thieves
272
or wicked old women. Ritual trials in a fairy tale in the final analysis are trans-
formed into extraordinary adventures.
With the elimination of fantastic element opposition, typical of a tale, bet-
ween the first trial (to acquire a magical assistant) and the main trial dissappe-
ars.
The successive elements of metaplot of a fairy tale are replaced by separate
parallel plots which originate from these isolated syntagmatic elements.
The anecdotic folk tales are rigidly built around the axis of wit-folly. Me-
taplot: a fool or a simpleton falls victim of a shrewd man or trickster. Fools
violate basic rules of logic because of their ignorance or because they are
deceived by tricksters. Some of the anecdotes constitute the narrativization of
paroemias.
The formation of book novella in the West proceeds in two ways: via exam-
pla or via fabliaux and schwanke which are close to folklore (cf. Chinese hua-
ben, or individual tales from The Arabian Nights).
The conversion of the early medieval novella into a classic Western no-
vella typical of the Renaissance concludes the synthesis of oral and book tradi-
tions.
Bookishness now is manifested by rhetoric methods rather than verses
(as is in the fabliau or Choser's works). High and low sources of genre are
also synthesized, and the level of hierarchy of novella in the system of genres
is elevated. Novella loses its didacticism (a didactic exempla becomes 'news',
a surprising event), fatalism, class features of a hero, fixed situations, and the
hero is now able to act increasingly as an individual. The actions of a hero
cease to be the function of a situation. They become interiorized, and are linked
with individual features of characters (though there is no depiction of characters
in a true sense of the word). Novella acquires, to a certain extent, the character
of drama.
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 pas-
sions (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 correla-
ted 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 pro-
genitor 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 Ba-
roque. 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 Ro-
bert 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-
18 Зак. 214
273
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-fan-
tastic and real-prosaic things. Hoffmann's line was developed by Edgar Рое who-
se works combined psychological, logical and 'science* fiction. Other American
romantics (Irving, Hawthorne) basically relied on the early stories about Ame-
rica'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, Turge-
nev. At the transitional stage, fantasy in novella was partially replaced by des-
criptions of exotic customs (Merimee), professional exotics (Harte's gold hun-
ters),
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 novel-
la of the late 19th and early 20th century (Maupassant, Chekhov, O'Henry)
is positively distinguished from novel and story and becomes much more distin-
ctive 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 emp-
hasis 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 («Де-
камерон») 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
18*
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 рассматри-
ваются вопросы происхождения жанровой структуры, форми-
рования 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 новел-
лы),
классическая новелла Ренессанса, романическая новелла
XVII—XVIII вв., романтическая новелла XIX в., реалистиче-
ская новелла XIX в.
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