que' and 'analytical' traditions interacted in the French literature of the early eighteenth century (Marivaux and Prevost). The analytical and moralizing (rather than the picaresque) novel revived in the 'enlightened form in Richardson's Clarissa. In many respects the formation of psychologism ill the recesses of the moralizing novel (which rejected the picaresque legacy) was similar to that in the Chinese novel The Red Chamber Dream separated in the Chinese literature of the eighteenth century from great narrative-satirical canvases (The Unofficial History ofConfucianists comparable with works by Swift and Voltaire). The picaresque-episodical principle of constructing a novel in the late seventeenth and early eighteenth centuries is supplemented or transformed under the influence of drama, which strengthens its structure (e.g., Furetiere's orientation towards comedy. La Fayette's and Richardson's towards tragedy, and Tsao Hsueh-chin's towards Chinese drama). The development of epic forms is not a purely immanent process; it occui. under the pressure ofsocio-historical factors coupled with literary, cultural and ideological trends. However, all these links and relations are indirect and very complex. In particular, one should cast aside simplified ideas according to which the Renaissance gave rise to the novella, and the Age of Enlightenment to the novel. Oriental literature provides a different picture: the theories of Eastern Renaissance and Eastern Enlightenment are quite artificial hypotheses. Typological parallels between East and West in the field of a genre are obvious, but these parallels .occur at another level: on the one hand, at a purely genre level, and, on the other hand, on the plane of general analogy ofsocio-historical and cultural-historical processes. The very difference between epos and the novel is, in essence, historical, and can be explained within the framework of historical poetics. 108 Numbers 12-13