Roman (French Roman, German Roman; English novel / romance; Spanish novela, Italian romanzo), the central genre of European literature of the New Time, fictional, in contrast to the adjacent genre of the story, an extensive, subject-branching prose narration ( despite the existence of compact, so-called "little novels" (fr. le petit roman), and poetry novels, for example. "novel in verse" "Eugene Onegin").
In contrast to the classical epic, the novel focuses on the depiction of the historical present and the destinies of individuals, ordinary people who are looking for themselves and their destiny in this-worldly, "prosaic" world, which has lost its original stability, integrity and sacredness (poetry). Even if in a novel - for example, in a historical novel, the action is transferred to the past, this past is always evaluated and perceived as immediately preceding the present and correlated with the present.
The novel as open in modern times, formally not ossified, becoming a genre of literature of the New and Modern times, cannot be exhaustively defined in universalist terms of theoretical poetics, but can be characterized in the light of historical poetics, which examines the evolution and development of artistic consciousness, the history and prehistory of artistic forms. Historical poetics takes into account both the diachronic variability and versatility of the novel and the conventionality of using the word “novel” itself as a genre “label”. Not all novels, even novels exemplary from a modern point of view, were defined by their creators and the reading public as “novels”.
Initially, in the 12-13th centuries, the word roman meant any written text in Old French, and only in the second half of the 17th century. partially acquired its modern semantic content. Cervantes, the creator of the modern paradigmatic novel Don Quixote (1604-1615), called his book “history” and used the word “novela” for the title of the book of novellas and short stories “Instructive Novels” (1613).
On the other hand, many works that the criticism of the 19th century - the heyday of the realistic novel - after the fact called "novels", are not always such. A typical example is the poetic-prosaic pastoral eclogs of the Renaissance, which turned into "pastoral novels", the so-called "folk books" of the 16th century, including the parody pentateuch of F. Rabelais. Fantastic or allegorical satirical narratives dating back to the ancient "menippean satire", such as "The Criticon" by B. Gracian, "The Way of the Pilgrim" by J. Benyan, "The Adventures of Telemachus" by Fenelon, satire by J. Swift, "Philosophical Stories" Voltaire, "Poem" by N. V. Gogol "Dead Souls", "Island of Penguins" by A. France. Also, not all utopias can be called novels, although - on the border of utopia and the novel at the end of the 18th century. the genre of the utopian novel arose (Morris, Chernyshevsky, Zola ), and then his counterpart, the antipode, an anti-utopian novel ("When the Sleeper Wakes" by H. Wells, "We" by Yevgeny Zamyatin).
The novel, in principle, is a borderline genre, associated with almost all types of discourse adjacent to it, both written and oral, easily absorbing foreign genre and even foreign verbal structures: essay documents, diaries, notes, letters ( epistolary novel), memoirs, confessions, newspaper chronicles, plots and images of folk and literary tales, national and sacred tradition (for example, gospel images and motifs in the prose of F.M.Dostoevsky). There are novels in which the lyrical beginning is clearly expressed, in others features of farce, comedy, tragedy, drama, and medieval mystery are distinguishable. Naturally, the emergence of the concept (V. Dneprov), according to which the novel is the fourth - in relation to the epic, lyrics and drama - a kind of literature.
The novel is a multilingual, multifaceted and multi-perspective genre, representing the world and man in the world from various, including multi-genre points of view, including other genre worlds as the object of the image. The novel preserves in its meaningful form the memory of myth and ritual (the city of Macondo in G. García Márquez's novel One Hundred Years of Solitude). Therefore, being a "standard bearer and herald of individualism" (Viach. Ivanov), the novel in a new form (in a written word) simultaneously seeks to resurrect the primitive syncretism of word, sound and gesture (hence the organic birth of cinema and television novels), to restore the original unity of man and the universe.
The problem of the place and time of the birth of the novel remains controversial. According to both the extremely broad and extremely narrow interpretation of the essence of the novel - an adventure narrative focused on the fate of lovers striving for unification - the first novels were created in ancient India and regardless of whether - in Greece and Rome in the 2nd-4th centuries. The so-called Greek (Hellenistic) novel, the chronologically first version of the "adventure novel of trial" (M. Bakhtin), lies at the origins of the first stylistic line of development of the novel, which is characterized by "monolingualism and monostyle" (in English-language criticism, such narratives are called romance).
The action in "romance" takes place in t "adventurous time", which is removed from real (historical, biographical, natural) time and is a kind of "gaping" (Bakhtin) between the initial and final points of the development of a cyclical plot - two moments in the life of the heroes - lovers: their meeting, marked by a sudden outbreak of mutual love, and their reunion after separation and overcoming each of them different kinds of trials and temptations.
The interval between the first meeting and the final reunion is filled with events such as a pirate attack, a bride kidnapping during a wedding, a sea storm, a fire, a shipwreck, a miraculous salvation, the false news of the death of one of the lovers, imprisonment on the false accusation of another, a mortal threatening him execution, the ascension of another to the heights of earthly power, an unexpected meeting and recognition. The artistic space of the Greek novel is an "alien", exotic, world: events take place in several Middle Eastern and African countries, which are described in sufficient detail (the novel is a kind of guide to an alien world, a replacement for geographical and historical encyclopedias, although it also contains a lot of fantastic information ).
The key role in the development of the plot in the antique novel is played by chance, as well as various kinds of dreams and predictions. The characters and feelings of the characters, their appearance and even age remain unchanged throughout the development of the plot. The Hellenistic novel is genetically related to myth, Roman justice and rhetoric. Therefore, in such a novel there is a lot of reasoning on philosophical, religious and moral topics, speeches, including those delivered by the heroes at the trial and built according to all the rules of ancient rhetoric: the adventure-love plot of the novel is also a judicial "incident", the subject of its discussion from two diametrically opposed points of view, pro and contra (this contraversion, conjugation of opposites will remain as a genre feature of the novel at all stages of its development).
In Western Europe, the Hellenistic novel, forgotten during the Middle Ages, was rediscovered in the Renaissance by the authors of the late Renaissance poetics, created by admirers of the same rediscovered and read Aristotle. Trying to adapt Aristotelian poetics (in which nothing is said about the novel) to the needs of modern literature with its rapid development of various kinds of fictional narratives, neo-Aristotelian humanists turned to the Greek (as well as Byzantine) novel as an ancient example-precedent, based on which, one should create believable narration (truthfulness, authenticity is a new quality prescribed in humanistic poetics to novel fiction). The recommendations contained in the neo-Aristotelian treatises were largely followed by the creators of pseudo-historical adventure romance novels of the Baroque era (M. de Scuderi et al. .) .
The plot of the Greek novel is not only exploited in mass literature and culture of the 19th and 20th centuries. (in the same Latin American TV novels), but it is also seen in the plot collisions of "high" literature in the novels of Balzac, Hugo, Dickens, Dostoevsky, A. N. Tolstoy (the trilogy "Sisters", "Walking in agony", "The Eighteenth Year") , Andrey Platonov ("Chevengur"), Pasternak ("Doctor Zhivago"), although they often parody ("Candide" by Voltaire) and radically rethink (deliberate destruction of the mythologeme "sacred wedding" in the prose of Andrey Platonov and G. García Márquez ).
But the novel is not reducible to the plot. A truly novel hero is not limited to a plot: he, in the words of Bakhtin, is always either "more plot or less than his humanity." He is not only and not so much an “external person”, realizing himself in action, in an act, in a rhetorical word addressed to everyone and anyone, as an “internal person”, aimed at self-knowledge and at a confessional-prayer appeal to God and a specific “other”: such a person was discovered by Christianity (Epistles of the Apostle Paul, "Confessions" of Aurelius Augustine), which paved the way for the formation of the European novel.
The novel, as a biography of the "inner man", began to take shape in Western European literature in the form of a poetic and then a prose chivalric novel of the 12-13 centuries. - the first narrative genre of the Middle Ages, perceived by authors and educated listeners and readers as fiction, although by tradition (also becoming the subject of a parody game) it was often passed off as the works of ancient "historians". At the heart of the plot collision of the chivalric novel is the indestructible confrontation between the whole and the separate, the chivalrous community (the mythical chivalry of the times of King Arthur) and the hero-knight, who stands out among others for his merits, and - according to the principle of metonymy - is the best part of the knightly estate, seeking a compromise. In the knightly deed intended for him from above and in the love service of Eternal femininity, the hero-knight must reconsider his place in the world and in society, divided into estates, but united by Christian, universal values. A knight's adventure is not just a test of the hero for self-identity, but also the moment of his self-knowledge.
Fiction, an adventure as a test of self-identity and as a path to self-knowledge of the hero, a combination of motives of love and heroism, the interest of the author and readers of the novel to the inner world of the characters - all these characteristic genre signs of a chivalric novel, "supported" by the experience of a close to him in style and structure of the "Greek" of the novel, at the end of the Renaissance they will pass into the novel of the New Age, parodying the epic of chivalry and at the same time preserving the ideal of chivalry as a value reference ("Don Quixote" by Cervantes).
The fundamental difference between the novel of the New Time and the novel of the Middle Ages is the transfer of events from the fabulous-utopian world (the chronotope of the chivalrous novel is “a wonderful world in an adventurous time,” according to Bakhtin's definition) into the recognizable “prosaic” modernity. One of the first (along with the novel by Cervantes) genre varieties of the New European novel is oriented towards the modern, "low" reality - the rogue novel (or picaresque), which took shape and flourished in Spain in the second half of the 16th - first half of the 17th century. ("Lasarillo with Tormesa", Mateo Aleman, F. de Quevedo. Genetically picaresque is associated with the second stylistic line of development of the novel, according to Bakhtin (cf. which did not take the form of a novel narrative itself, which includes Apuleius 'Golden Donkey, Petronius' Satyricon, Lucian and Cicero's menipppei, medieval fablio, Schwanki, farces, sotis and other humorous genres associated with the carnival (carnivalized literature, on the one hand , contrasts the “inner man” with the “outer man”, on the other hand, with the man as a socialized being (the “official” image of a person, according to Bakhtin), a natural, private, everyday person. ) - is parodically oriented towards the genre of confession and is built as a pseudo-confessional narration on behalf of the hero, aimed not at repentance, but at self-praise and self-justification (Denis Diderot and "Notes from the Underground" by F. M. Dostoevsky). The author-ironist, hiding behind the hero-narrator, stylizes his fiction as a “human document” (it is characteristic that all four surviving editions of the story are anonymous). Later, genuine autobiographical narratives ("The Life of Estebanillo Gonzalez"), already stylized like rogue novels, would branch off from the picaresque genre. At the same time, the picaresque, having lost its own novel properties, will turn into an allegorical satirical epic (B. Gracian).
The first examples of the novel genre reveal a specific novel attitude towards fiction, which becomes the subject of an ambiguous game between the author and the reader: on the one hand, the novelist invites the reader to believe in the authenticity of the life he depicts, to immerse himself in it, to dissolve in the stream of what is happening and in the experiences of the heroes, on the other - every now and then ironically emphasizes the fiction, the co-creation of the novel's reality. Don Quixote is a novel in which the defining beginning is the dialogue between Don Quixote and Sancho Panza, the author and the reader, which passes through it. The rogue novel is a kind of denial of the "ideal" world of novels of the first stylistic line - chivalrous, pastoral, "Moorish". "Don Quixote", parodying novels of chivalry, includes novels of the first stylistic line as objects of the image, creating parody (and not only) images of the genres of these novels. The world of Cervantes' narrative splits into “book” and “life”, but the border between them is blurred: the hero of Cervantes lives his life as a novel, brings a conceived, but not written novel to life, becoming the author and co-author of the novel of his life, while the author under the mask of the dummy Arab historian Sid Ahmet Benenkheli - he becomes a character in the novel, without leaving at the same time his other roles - the author-publisher and the author-creator of the text: starting with the prologue to each of the parts, he is the interlocutor of the reader, who is also invited to join the game with the text of the book and the text of life. Thus, the "quixotic situation" unfolds in the stereometric space of the tragic-farsighted "novel of consciousness", in the creation of which three main subjects are involved: Author - Hero - Reader. In Don Quixote, for the first time in European culture a "three-dimensional" novelistic word sounded - the most striking feature of novelistic discourse.
Roman is a large form of the epic genre of modern literature. Its most common features: the image of a Man in complex forms of the life process, the multilinearity of the plot, covering the fate of a number of characters, polyphony, hence - a large volume compared to other genres. The emergence of a genre or its preconditions is often attributed to antiquity or the Middle Ages. So, they say about the "antique novel" ("Daphnis and Chloe" Long; "Metamorphoses, or the Golden Donkey" by Apuleius; "Satyricon" by Petronius) and the "knightly novel" ("Tristan and Isolde", 12th century; "Parzival", 1198 -1210, Wolfram von Eschenbach; Death of Arthur, 1469, Thomas Malory). These prose narratives do have certain features that bring them closer to the novel in the modern sense of the word. However, these are similar rather than homogeneous phenomena. In ancient and medieval narrative prose literature, a number of those essential properties of content and form that play a decisive role in the novel are missing. It would be more correct to understand the named works of antiquity as special genres of an idyllic ("Daphnis and Chloe") or comic ("Satyricon") story, and consider the stories of medieval knights as a kind of genre of knightly epic in prose. The novel begins to take shape only at the end of the Renaissance. Its origin is associated with that new artistic element, which was initially embodied in the Renaissance novella, more precisely, in the special genre of “books of short stories” such as “The Decameron” (1350-53) by G. Boccaccio. The novel was an epic of private life. If in the previous epic the central role was played by the images of heroes who openly embodied the strength and wisdom of the whole human community, then in the novel the images of ordinary people come to the fore, in whose actions only their individual fate, their personal aspirations are directly expressed. The previous one was based on large historical (even legendary) events, the participants or creators of which were the main characters. Meanwhile, the novel (with the exception of the special form of the historical novel, as well as the epic novel) is based on events of private life and, moreover, usually on facts fictional by the author.
The difference between the novel and the historical epic
The action of the historical epic, as a rule, unfolded in the distant past, a kind of "epic time", while the novel is typical of a connection with living modernity or at least with the most recent past, with the exception of special kind the novel is historical. The epic was primarily a heroic character, was the embodiment of a high poetic element, while the novel acts as a prose genre, as an image of everyday, everyday life in all the versatility of its manifestations. More or less conventionally, the novel can be defined as a genre in principle "average", neutral. And this clearly expresses the historical novelty of the genre, because earlier the genres "high" (heroic) or "low" (comic) prevailed, and the genres "medium", neutral, did not receive wide development. The novel was the most complete and complete expression of the art of epic prose. But with all the differences from the previous forms of the epic, the novel is the heir of ancient and medieval epic literature, a true epic of the modern era. On a completely new artistic basis in the novel, as Hegel said, "the richness and variety of interests, states, characters, life relationships, a wide background of the integral world again appear completely." An individual person no longer acts as a representative of a particular group of people; he acquires his personal destiny and individual consciousness. But at the same time, an individual person is now directly connected not with a limited collective, but with the life of an entire society or even all of humanity. And this, in turn, leads to the fact that it becomes possible and necessary the artistic development of social life through the prism of the individual fate of a "private" person. The novels of A. Prevo, G. Fielding, Stendhal, M.Yu. Lermontov, C. Dickens, I.S. Turgenev in the personal fates of the main characters reveal the broadest and deepest content of the social life of the era. Moreover, in many novels there is not even a somewhat detailed picture of the life of society as such; the whole image is focused on the private life of the individual. However, since in the new society a person's private life turned out to be inextricably linked with the whole life of a social whole (even if the person did not act as a politician, leader, ideologist), - completely “private” actions and experiences of Tom Jones (in Fielding), Werther ( Goethe), Pechorin (Lermontov), Madame Bovary (Flaubert) appear as artistic mastery of the integral essence of the social world that gave birth to these heroes. Therefore, the novel was able to become a true epic of the modern era and in its most monumental manifestations, as it were, revived the epic genre. The first historical form of the novel, which was preceded by the novella and epic of the Renaissance, was the rogue novel, which developed actively in the late 16th and early 18th centuries (Lasarillo from Tormes, 1554; Francion, 1623, C. Sorel; Simplicissimus, 1669, H.J.C. Grimmelshausen; "Gilles Blaz", 1715-35, A.R. Lesage). Since the end of the 17th century, psychological prose has been developing, which was of great importance for the formation of the novel (books by F. Larochefoucauld, J. Labruyere, the story of Marie Lafayette "Princess of Cleves", 1678). Finally, a very important role in the formation of the novel was played by the memoir literature of the 16-17th centuries, in which for the first time the private life and personal experiences of people began to be objectively portrayed (books by Benvenuto Cellini, M. Montaigne); it was the memoirs (or, more precisely, the sailor's travel notes) that served as the basis and stimulus for the creation of one of the first great novels - "Robinson Crusoe" (1719) by D. Defoe.
The novel reaches maturity in the 18th century ... One of the earliest genuine examples of the genre is Manon Lescaut (1731) by Prévost. In this novel, the traditions of the rogue novel, psychological prose (in the spirit of Maxime, 1665, La Rochefoucauld) and memoir literature (it is characteristic that this novel originally appeared as a fragment of multivolume fictional memoirs of a certain person) merged into an innovative organic integrity. During the 18th century, the novel conquers a dominant position in literature (in the 17th century it still acts as a lateral, secondary sphere of the art of words). In the novel of the 18th century, two different lines are already developing - the novel of the social and everyday life (Fielding, T. J. Smollett, C. B. Louvet de Couvray) and the more powerful line of the psychological novel (S. Richardson, J. J. Rousseau, L. Stern, I.V. Goethe and others). At the turn of the 18-19th centuries, in the era of romanticism, the genre of the novel is going through a kind of crisis; the subjective-lyrical nature of romantic literature contradicts the epic essence of the novel. Many writers of this time (F.R. de Chateaubriand, E.P. de Senancourt, F. Schlegel, Neuvalis, B. Constant) create novels that are more reminiscent of lyric poems in prose. However, at the same time, a special form is flourishing - the historical novel, which acts as a kind of synthesis of a novel in its own sense and an epic poem of the past (novels by W. Scott, A. de Vigny, V. Hugo, N. V. Gogol). On the whole, the period of romanticism had a renewing meaning for the novel, prepared for its new rise and flourishing. The second third of the 19th century is the classical era of the novel (Stendhal, Lermontov, O. Balzak, Dickens, W.M. Tekkerey, Turgenev, G. Flaubert, G. Maupassant, etc.). A special role is played by the Russian novel of the second half of the 19th century, primarily the novels of Leo Tolstoy and F.M. Dostoevsky. In the work of these greatest writers, one of the decisive properties of the novel reaches a qualitatively new level - its ability to embody the universal, all-human meaning in the private fates and personal experiences of the heroes. Deep psychologism, mastering the subtlest movements of the soul, characteristic of Tolstoy and Dostoevsky, not only do not contradict, but, on the contrary, determine this property. Tolstoy, noting that in Dostoevsky's novels "not only we, people who are kindred to him, but foreigners recognize themselves, their souls," explained it this way: "The deeper you scoop, the more common, familiar and dear to everyone" (Tolstoy L.N. literature). The novel by Tolstoy and Dostoevsky influenced the further development of the genre in world literature. The largest novelists of the 20th century are T. Mann, A. France, R. Rolland, K. Hamsun, R. Martin du Gard, J. Galsworthy, H. Laxness, W. Faulkner, E. Hemingway, R. Tagore, R. Akutagawa - were direct disciples and followers of Tolstoy and Dostoevsky. T. Mann said that Tolstoy's novels "lead us into the temptation to overturn the relationship between novel and epic, as affirmed by school aesthetics, and not consider the novel as a product of the disintegration of the epic, but the epic as a primitive prototype of the novel" (Collected works: In 10 volumes).
In the first post-October years, the idea was popular, according to which the image of the masses should become the main or even the only content in a new, revolutionary novel. However, when this idea was realized, the novel was under the threat of disintegration, it turned into a chain of incoherent episodes (for example, in the works of B. Pilnyak). In the literature of the 20th century, the frequent desire to confine oneself to the depiction of the inner world of the individual is expressed in attempts to recreate the so-called "stream of consciousness" (M. Proust, J. Joyce, the school of the "new novel" in France). But, devoid of an objectively effective basis, the novel essentially loses its epic nature and ceases to be a novel in the true sense of the word. A novel can really develop only on the basis of a harmonious unity of objective and subjective, external and internal in man. This unity is characteristic of the largest novels of the 20th century - the novels of M.A. Sholokhov, Faulkner, and others.
In the variety of genre definitions of the novel, two large groups are visible: thematic definitions - autobiographical, military, detective, documentary, female, intellectual, historical, maritime, political, adventure, satirical, sentimental, social, fantastic, philosophical, erotic, etc .; structural - novels in verse, novel-pamphlet, novel-parable, novel with a key, novel-saga, novel-feuilleton, novel-box (set of episodes), novel-river, epistolary, etc., up to modern TV novels, photo novels ... The historically established designations of the novel stand apart: antique, Victorian, Gothic, modernist, naturalistic, roguish, educational, knightly, Hellenistic, etc.
The word novel comes from French roman, which means - originally a work in Romance languages.
Share this:In this article, we'll talk about how a novel differs from a story. First, let's define these genres, and then compare them.
and the story
A rather large artistic novel is called a novel. This genre belongs to the epic. There may be several main characters, and their lives are directly connected with historical events. In addition, the novel tells about the whole life of the characters, or about some significant part of it.
A story is a literary work in prose, which usually tells about some important episode in the life of the hero. There are usually few acting characters, with only one of them being the main one. Also, the volume of the story is limited and should not exceed about 100 pages.
Comparison
And yet, how does a novel differ from a story? Let's start with the novel form. So, this genre assumes the image of large-scale events, the versatility of the plot, a very long time frame that includes the entire chronology of the narrative. The novel has one main storyline and several collaterals, which are closely intertwined into a compositional whole.
The ideological component is manifested in the behavior of the heroes, the disclosure of their motives. The action of the novel takes place against a historical or everyday descriptive background, affecting big circle psychological, ethical and ideological problems.
The novel has several subspecies: psychological, social, everyday, adventure, detective, etc.
Now let's take a closer look at the story. In works of this genre, the development of events is limited to a specific place and time. The personality of the protagonist and fate is revealed in 1-2 episodes, which are turning points for his life.
There is only one plot in the story, but it can have several unexpected twists that give it versatility and depth. All actions are associated with the main character. In such works there are no pronounced links to history or socio-cultural events.
The problematic of prose is much narrower than in the novel. Usually it is associated with morality, ethics, personal development, the manifestation of personal qualities in extreme and unusual conditions.
The story is subdivided into subgenres: detective, fantastic, historical, adventure, etc. A psychological story is rarely found in literature, but satirical and fabulous ones are very popular.
How a novel differs from a story: conclusions
Let's summarize:
- The novel reflects social and historical events, and in the story they serve only as a background for the narrative.
- The life of the characters in the novel is presented in a socio-psychological or historical context. And in the story, the image of the protagonist can be revealed only in certain circumstances.
- In the novel, there is one main plot and several minor ones, which form a complex structure. The story in this regard is much simpler and not complicated by additional plot lines.
- The novel takes place over a long period of time, and the story takes place in a very limited one.
- The novel problematics includes a large number of issues, and the story touches on only a few of them.
- The heroes of the novel express ideological and social ideas, and in the story the inner world of the character and his personal qualities are important.
Novels and Novels: Examples
We list the works that are:
- Belkin's Tale (Pushkin);
- "Spring Waters" (Turgenev);
- Poor Liza (Karamzin).
Among the novels are the following:
- "Noble Nest" (Turgenev);
- The Idiot (Dostoevsky);
- Anna Karenina (L. Tolstoy).
So, we found out how the novel differs from the story. In short, the difference comes down to the scale of the literary work.
The word "novel", which came to us from French, has several meanings. Surely each of us has ever bought a novel in a bookstore or heard that someone had an affair.
Let's take a closer look at the meaning of this word.
The novel as a literary genre
A novel is a literary term that means one of the epic genres (along with a story, novella, novella).
Initially, the novel meant only those works that were written in a living Romance language, as opposed to spiritual canonical or scientific works written in Latin. Romance novels and stories with "light" plots spread in circles ordinary people who do not know Latin. Later the adjective "Romanesque" acquired an independent meaning. This is how this genre of narrative writing in any language arose.
In the modern sense, a novel is understood as a fictional (or based on real events, but with a grain of fiction) story with an integral plot, which describes in detail the picture of life and covers the fate of, as a rule, several characters.
The novel can be psychological, descriptive, adventure. It can be written both in prose and in verse (remember the novel in poems by Pushkin "Eugene Onegin").
If you are seriously interested in this literary genre and are thinking about how to create your own work in this genre, refer to the article.
And you will learn about the literary movement that has a consonant name in the article.
Romance in the meaning of love relationships
If you heard that a man and a woman had an affair, it means that they are in love with each other and entered into a love relationship. Sometimes the word in this sense has an ironic connotation and suggests that such a love affair will not last long.
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