At first, he did not like his new life strongly. From childhood, he got used to field work, to village life. Alienated by his misfortune from the community of people, he grew up mute and powerful, like a tree growing on fertile land ... Moved to the city, he did not understand what was happening to him - he was bored and perplexed, as a young, healthy bull, which only what they took from the field, where lush grass grew up to his belly, - they took it, put it on the wagon railway- and now, dousing his fat body with either smoke with sparks, or undulating steam, they are rushing him now, rushing with a knock and a screech, and where they are rushing - God knows! Gerasim's employment in his new position seemed to him a joke after hard peasant work; in half an hour everything was ready for him, and he would again stop in the middle of the yard and stare, with his mouth open, at all the passers-by, as if wishing to obtain from them a solution to his enigmatic situation, then he would suddenly go off somewhere into a corner and, throwing his broom far away, would shovel, threw himself face down on the ground, and lay motionless on his chest for hours, like a captured animal. But a person gets used to everything, and Gerasim finally got used to city life. He had little to do; his whole duty was to keep the yard clean, to bring a barrel of water twice a day, to haul and chop firewood for the kitchen and the house, and to keep strangers out and guard at night. And I must say, he diligently fulfilled his duty: in the yard he never had a puppy lying around, not a litter; if in a dirty time somewhere with a barrel a broken water-horse given under his command gets stuck, he will only move his shoulder - and not only the cart, the horse itself will push from its place; if he starts chopping wood, the ax will ring with him like glass, and splinters and logs will fly in all directions; and as for strangers, after one night, having caught two thieves, he banged their foreheads against each other, and banged them so hard that even if you don’t take them to the police later, everyone in the neighborhood began to respect him very much; even during the day, they are no longer swindlers, but simply strangers at the sight of the formidable janitor, they waved and shouted at him, as if he could hear their cries. With the rest of the servants, Gerasim was not on friendly terms - they were afraid of him - but short: he considered them to be his own. They communicated with him by signs, and he understood them, carried out all orders exactly, but he also knew his rights, and no one dared to take his place in the capital. In general, Gerasim was of a strict and serious disposition, he liked order in everything; even the roosters did not dare to fight in his presence - otherwise it’s a disaster! He sees, immediately grabs his legs, turns the wheel ten times in the air and throws him apart. There were also geese in the lady's yard; but the goose, as you know, is an important and reasonable bird; Gerasim felt respect for them, went after them and fed them; he himself looked like a sedate gander. He was given a closet above the kitchen; he arranged it for himself, according to his own taste, built in it a bed of oak planks on four chumps, a truly heroic bed; one hundred pounds could be put on it - it would not bend; under the bed was a hefty chest; in the corner stood a table of the same strong quality, and near the table - a chair with three legs, but so strong and squat that Gerasim himself used to pick it up, drop it and grin. The closet was locked with a lock, reminiscent of its appearance kalach, only black; Gerasim always carried the key to this lock with him on his belt. He did not like to be visited.
The essay on the text on the exam is built according to a special algorithm: the formulation of one problem, its explanation (i.e. commenting with the introduction of two text examples), designating the position of the author of the text, highlighting his opinion (agreement or disagreement with the author), selection of evidence (at least two arguments) from the reader's experience or life observations.
When the problem of the original (primary) text has already been formulated, it is necessary to comment on it, give explanatory notes, evaluate the identified problem. This is the most hard part in an essay. It shows how deeply and accurately the problem is understood, how clear the course of the author's thought is to the writer.
The following components should be drawn in one line: one problem out of several - its explanation - the position of the author on the same problem - the expression of his opinion on that problem - the presence of his own arguments on this formulated problem. Such general connection of all components, it is necessary for the secondary text to have logic, consistency, accuracy of expression of its own understanding primary text.
As a working algorithm, you can use the scheme:
first problem → selection of examples from the text on the first problem → author's opinion on the first problem → arguments of agreement or disagreement on the first problem → selection of books with examples to support the arguments.
According to this scheme, it is possible to identify all the problems raised in the text, and to separate different problems into blocks. Thus, several graph lines are outlined in order to decide on the choice of a problem for writing an essay. If all the blocks are in place and there are no gaps, you can start creating an essay.
It is best to formulate the problem in the form of an interrogative sentence, and express the author's position as an answer to this question.
Example one:
Problem: Why does a person torture an animal, condemn him to a painful death?
Second example:
Problem: Does studying the features of the work of famous people help a person?
Example three:
Problem: How do geniuses differ from nature and geniuses from themselves?
Author's position: There are two types creative activity: through inspiration or through tireless work. Through inspiration, the author, as it seems from the outside, creates with extraordinary ease. Genius on his own breaks through external and internal obstacles, working tirelessly, constantly overcoming failures and failures.
Example four:
Problem: What is true friendship? What is its value?
Example five:
Analyzing the given examples, we see that it is possible and necessary to look for the author’s answer to the question posed in the text, if not direct, as in journalism, then indirect (how the author would answer, what would he say about it).
Now about the place between the problem and the position of the author is occupied by a commentary. The task of the commentary is to show how the author comes to the answer to the set problematic issue, name what facts or episodes influenced his conclusions.
Essentially, a commentary is an extension of a problem in order to clarify and evaluate it. If a problem is a question, then a comment is an understanding of the causes and consequences of what caused this question. The author cannot remain impartial in the presentation of any facts, he is indignant, indignant, argues, proves, analyzes, criticizes, protests, admires, is perplexed, etc.
When working with a literary or journalistic text, look for examples that illustrate the reasons (Why does this happen or happened?), Purposes (Why did someone do something or act?), Details (How did something happen in detail?), Relationships ( How does it relate to other areas of life?). Such a comment, as a rule, is called textual. You follow the author in revealing the problem, looking for answers to the following questions in the text:
- What especially and why does the author focus on?
- What names, facts or events are mentioned by the author and why?
- What emotions of the author are expressed in the text?
- How is the attitude of the author to the depicted expressed?
But there is also a conceptual comment.
For reference: CONCEPT (from lat. conceptus - fight, plan, conception) - a unit of speech utterance, its logical semantic component semantic structure; characterizes the act of understanding and its result obtained in communication, thereby suggesting a focus on the other; the act of seizing meanings.
Understanding the intricacies of a journalistic text, determine why this problem attracted the attention of the author, what conclusions he brings the reader to. You can find and write out any paradoxical statement or aphorism of the author, explaining the essence of the event, or seeking to change some kind of stable opinion, or offering his own solution to the problem.
To introduce a comment, it is appropriate to use speech phrases:
2. Writes with admiration, pride, bewilderment. The author is truly alarmed that ... It is worth listening to the words of the author ... It is scary and painful for him to see ...
In the writings of students, the commentary is often absent altogether; unfortunately, it is sometimes forgotten. It also happens that another problem is commented on, and not the one that was formulated.
When commenting on a problem, one should not retell the text or get carried away with excessive quoting, as well as rewrite a fragment of the review from task 24. Of course, it is necessary to rely on the source text, but not thoughtlessly. Analysis is preferred here. It is necessary to show what examples the author gives, how he proves his thoughts. In general, what is important is not what the characters did, but what the writer thinks about it.
We must not forget about two examples in the commentary. How to enter them? You can briefly quote phrases from the text or indicate in brackets the numbers of important sentences.
Often the author of the text and the person on behalf of whom the reasoning is being mixed up are not distinguished by the students. In no case should two concepts be replaced: "author" and "hero". The author can make anyone the narrator: and literary character, and actually himself, that is, the writer. The hero is directly actor works, it all happens to him in the text, although he may even be very close to the writer himself or similar to him with the facts of his biography, but he is never identical to him.
In a word, if the pronoun "I" is found in the narrative, this does not mean that the narrator is the author himself. The narrator and author can actually have very different positions, opinions, assessments.
It's time to move on to practical examples. Let's take a look at some of the student essays. For work, he was offered a text by contemporary prose writer Sergei Kachalkov about Maxim Lyubavin.
Here is the text in full.
(1) How time changes people! (2) Unrecognizable! (3) Sometimes these are not even changes, but real metamorphoses! (4) As a child, there was a princess, matured - turned into a piranha. (5) But it happens the other way around: at school - a gray mouse, inconspicuous, invisible, and then on you - Elena the Beautiful. (6) Why does this happen? (7) It seems that Levitansky wrote that everyone chooses a woman, religion, a road for himself ... (8) It’s just not clear: does a person really choose a path for himself or does some force push him onto one path or another? (9) Is it really our life that was originally destined from above: one born to crawl cannot fly? (11) I don't know! (12) Life is full of examples both in favor of one opinion and in defense of another.
(13) Choose what you want? ..
(14) Maxim Lyubavin we called Einstein at school. (15) True, outwardly he did not at all look like a great scientist, but he had all the manners of geniuses: he was absent-minded, thoughtful, a complex thought process always boiled in his head, some discoveries were made, and this often led to the fact that he , as classmates joked, was not adequate. (16) They used to ask him in biology, but it turns out that at that time, in some tricky way, he calculated the radiation of some nuclides there. (17) He will go to the blackboard, start writing incomprehensible formulas.
(18) The biology teacher will shrug her shoulders:
(19) - Max, what are you talking about?
(20) He will catch on, hit himself on the head, not paying attention to the laughter in the class, then he will begin to tell what is needed, for example, about the discrete laws of heredity.
(21) He did not show his nose at discos, cool evenings. (22) I was not friends with anyone, so I was friends. (23) Books, a computer - these are his faithful comrades-brothers. (24) We joked among ourselves: remember well how Maxim Lyubavin dressed, where he was sitting. (25) And in ten years, when he will be awarded the Nobel Prize, journalists will come here, at least there will be something to tell about their great classmate.
(26) After school, Max entered the university. (27) He brilliantly graduated from it ... (28) And then our paths diverged. (29) I became a military man, left for a long time hometown, started a family. (30) The life of a military man is stormy: as soon as you are going on vacation - some kind of emergency ... (31) But nevertheless, he managed to escape to his homeland with his wife and two daughters. (32) At the station, they agreed with a private trader, and he drove us in his car to his parents' house.
(33) - Only, you didn’t recognize me or what? the driver suddenly asked. (34) I looked at him in amazement. (35) A tall, bony man, a liquid mustache, glasses, a scar on his cheek ... (36) I don’t know this! (37) But the voice is really familiar. (38) Max Lubavin?! (39) Yes, it can't be! (40) Is the great physicist a private driver?
(41) - No! (42) Take it higher! Max chuckled. - (43) I work as a loader in the wholesale market ...
(44) From my face, he realized that I considered these words a joke.
(45) - No! (46) I just know how to count! (47) We sell sugar in bags! (48) In the evening I’ll pour out three hundred or four hundred grams from each bag ... (49) Do you know how much it comes out a month, if you don’t be greedy? (50) Forty thousand! (51) Just think, if I became a scientist, would I get that kind of money? (52) On the weekends, you can pick up a cab, drove a couple of clients - another thousand. (53) Enough for a bun with butter...
(54) He laughed contentedly. (55) I shook my head.
(56) - Max, but with sugar - this is not theft?
(57) - No! (58) Business! Max answered.
(59) He drove me home. (60) I gave him two hundred rubles, he returned ten change and went to look for new clients.
(61) - Did you study together? the wife asked.
(62) - This is our Einstein! I told her. - (63) Remember, I talked about him!
(64) – Einstein?
(65) - Only the former! I said with a sad sigh.
(According to S. Kachalkov*)
* Sergey Semyonovich Kachalkov (born in 1943) is a contemporary prose writer.
Since the test can be artistic style, it is important to single out the characters: the narrative moves from the point of view of the first - the narrator Anatoly (33-34 sentences "- Only, you didn’t recognize me or something? - the driver suddenly asked. I looked at him in amazement. "), who shares his sore and looks for answers to philosophical questions. Maxim Lyubavin, his former school friend, enters into a dialogue with him (Sentence 14 "We used to call Maxim Lyubavin Einstein at school."). Here the image of a military man named Anatoly is immediately separated from the image of the author - writer Sergei Kachalkov.
Let us now define one of the problems posed by the author in this text. The problem is immediately obvious moral choice, formulated in sentence 8 of the text ("It's just not clear: does a person really choose a path for himself or does some force push him onto one path or another?"). We will answer this problematic question by clarifying the author's position: the future of a person lies in his own hands, he himself builds and destroys it.
Here are several options for commenting on this problem, which were given by different students in their essays on the text.
First comment example:
The author in his text talks about young man Maxim Lyubavin and about his life. At school, Max was called Einstein, however, externally and internally, he did not look like a scientist. The writer notes that the young man was not particularly friends with anyone, preferring a computer and books. But soon everything changed ... Maxim did not choose the path of a scientist, did not become a great physicist, but took up private transportation, working as a loader in the wholesale market.
Second comment example:
The author is seriously concerned about the fate of his classmate, the line of his life gave a strange roll and does not lead at all to where, obviously, it should be moving. abundance exclamatory sentences and antithesis indicate that the writer cannot come to an unambiguous conclusion. Kachalkov quotes the lines of Y. Levitansky's poem and immediately contrasts them with the words from M. Gorky's "Song of the Falcon". However, the story about a classmate is also contradictory. The author notes at the beginning that everyone teased Lyubavin with Einstein because of the obvious manners of a genius who chose books and a computer as his comrades. Now the writer recalls with a smile how he and the guys joked about the future Nobel Prize Maxim. And these were not ridicule, but prophecies in a funny form. The author draws our attention to the fact that Lyubavin brilliantly graduated from the university, and then their paths diverged. A meeting many years later revealed not only external changes in Maxim (a liquid mustache, glasses, a scar on his cheek), but also internal ones (physics is abandoned, now Lyubavin counts money and calls theft "business"). Such a metamorphosis frightens the writer, and with a sad sigh he calls Maxim the "former" Einstein.
Third comment example:
Discussing the problem, Kachalov refers to the memories of a military man who returned to his city and accidentally met his classmate. He could not imagine that time can change a person beyond recognition and even change his lifestyle, goals and aspirations.
Example of the fourth comment:
The author draws attention to the fate of his school classmate Maxim Lyubavin, "young Einstein", who was not friends with anyone, did not go to discos, only studied. Kachalkov bitterly tells that Maxim subsequently became an ordinary loader in the wholesale market, quitting science after graduation, referring to the low salaries of scientists.
In each example there are some shortcomings, we will understand them. In the first, a confusion of the concepts of "author" and "writer" is noticeable. The author in this case has a military profession, his name is Anatoly. This is a storyteller who reflects on time and its impact on a person, about the choice that a person makes when building his life values and your way. We agree that here the writer Kachalkov gives way to the hero-narrator, apparently sharing his position with him.
The same substitution is observed in the second commentary, which is rather detailed, with examples from the text. Based on the text, it freely outlines the main aspects of the identified problem, gives an understanding of the main thing - the author's concern due to the fact that "a person can eventually abandon his destiny and change his former ideals, replacing them with selfish interest."
In the third example, one can find a factual error: the surname of the author of the text is distorted (Kachalov is written instead of Kachalkov!), although there is no substitution between the concepts "author" and "hero".
In the fourth example, the substitution of concepts already noted by us in the previous comments is revealed. The student forgot to give any examples from the text.
As you can see, among the main errors in commenting were the substitution of the concepts of "author" and "hero", factual errors and the lack of examples. We are convinced that in order to write a commentary it is very important to understand the text itself, to identify its undercurrents, if you want, to make its analytical scheme: who is who and who is brought to whom, who is the author and who is the hero, on whose behalf the reasoning is being conducted (narration /description) and draw conclusions.
In our examples, there are elements of presentation, but there are not enough quotations, references to specific proposals, only in the second commentary the author’s movement from the formulation of the problem to the main conclusions is traced, the author’s logic and his system of arguments are visible, in this work all the key points of the problem are highlighted.
We recommend that on a draft before writing a coherent text of your essay, make a similar diagram and write out the most important keywords and phrases, distinguish which phrase contains the name of the problem, which paragraph involves a comment with two examples, what a sentence denoting the position of the author looks like, highlight the thesis of your opinion and, finally, list two compiled arguments.
Since the text is always in front of your eyes, you should not be lazy to check the titles, quotes over and over again, indicate the numbers of sentences, which can later be referred to in brackets. When the coherent text is written, it is necessary to set repetitions and edit them in the position of removal: as if the text was written not by oneself, but by someone else, and critically evaluate the speech embodiment. Then, and only then, will the writing be good.
Municipal treasury educational institution
Sergeevskaya average comprehensive school
Olympiad for schoolchildren
Union State "Russia and Belarus:
historical and spiritual community"
Historical and literary commentary
To poetic work
Subject "We will save the honor home country…»
(Analysis of the poem by F.N. Glinka
"Song sentry warrior before Battle of Borodino»)
Krasyukova Karina Alexandrovna
16 years
Literary circle
MKOU Sergeevskaya secondary school
Podgorensky district,
S. Sergeevka,
st. Yesenina, 34
Head Bednyakova I.A.
2012
In 2012 Russia celebrates significant event- 200th anniversary of the Patriotic War of 1812. Therefore, my choice of a poem about the Battle of Borodino F.N. Glinka is not accidental. In the course of my work, I was interested in learning more about the participants in this heroic battle, their mood, and the state of their fighting spirit. In addition, I wanted to get to know the work of a poet, unfortunately unknown to me until that time and, as it turned out, very famous in his era. His life and work, dedicated to the people and the Fatherland, deserve deep respect and knowledge.
F. N. Glinka (1786-1880) - a native of the Smolensk province, a participant in the Patriotic War of 1812: fought near Austerlitz, participated in the Battle of Borodino in 1812, in foreign campaigns of the Russian army; He graduated from the war with the rank of colonel and was awarded a golden weapon for bravery. Glinka fought for the liberation of his homeland both as a warrior and as a poet. It is known that F.N. Glinka composed a number of patriotic poetic works, many of which were set to music, but only a few penetrated into the people's environment. Among them are the songs that were popular in 1812, during the French invasion: "War Song", "Soldier's Song", "Song of the Guard Warrior Before the Battle of Borodino" and others. Having absorbed the traditions of soldier's folklore, these unsophisticated, sincerely excited works have developed into a kind of poetic chronicle of the heroic era of Russian history. They glorify the determination to die, but not to bow their heads before the invader and tyrant. IN in a certain sense these poems became the source of the later civil lyrics of Glinka - a participant secret societies, Decembrist poet. In the same row are the Letters of a Russian Officer, thanks to which Glinka became a famous writer.
Under the influence of the era of the Patriotic War of 1812, the worldview of the poet and writer M.I. Glinka. In moments of respite, often right on the battlefield, he brought in notebook his thoughts and observations, wrote poetry. F.N. Glinka was the first in literature to call the war of 1812 the Patriotic War, having deeply understood its nature. The simplicity of the presentation of the great events he describes made Glinka a very popular writer.
One of famous works poet - "Song of the sentry warrior before the Battle of Borodino" - written between 1812-1816. The song depicts a specific place and time of the events described - “on the banks of the Kolocha”, that is, near the village of Borodino near Moscow on the night before the great battle.
“The Song of the Guard Warrior ...” makes a deep impression with its patriotic pathos, attracts with the sincerity of the feelings of love of the Russian soldier for his homeland and his readiness to die for her in the battle near Borodino.
The theme and at the same time the idea of the work is a strong in spirit, convincing in its sincerity appeal to "friends", "sons of the Slavs", "sons of war" to fight for Moscow - the "city of ancestors", lie down, lay down "heads" for "the honor of their native country ".
This work belongs to the genre of literary military song, which was based on folklore genre soldier's (military-historical) song, that is folk song that arose in the soldier's environment. In most military-historical soldiers' songs, bright colors are depicted on behalf of an eyewitness. battle scenes, courage, resourcefulness and endurance of Russian soldiers, images of commanders are created. Soldiers' songs express the worldview of the people, show the growth of their consciousness. That is why Glinka turns to this genre to express the highest spirit of patriotism of Russian soldiers in Patriotic war 1812.
The composition of the work consists of two parts: the warrior's song and the author's conclusion. The first part begins with the address "Friends!", which is one of the most common types of beginnings in folklore. This appeal is intended to emphasize the unity of the Russian people in the face of cruel danger - this was also important for folk singer, and for a poet, an exponent of national feelings. For all the traditional reception, the poet somewhat expanded its meaning: if in folk lyrics the beginning only attracts the attention of the listener, then in his poems it is also evaluative.
This rhetorical appeal "Friends!" V further development the action is repeated twice more, and other rhetorical appeals also sound: “Slavic sons! War sons!”, “Native land!”. High vocabulary emphasizes the importance and solemnity of the events described, as well as the sincerity and nobility of the feelings of the participants in the upcoming battle. The climax of the song is:
…We will not betray Moscow!
We will save the honor of our native country
Or let's lay down the chapters here! ..
At the end of the warrior's song, there is a touching appeal to the native land with a request to accept them if they die in battle.
And sleep did not conquer their eyes,
And the spirit in them burned!
In "The Song of the Guard Warrior..." F.N. Glinka widely uses elements of the folk poetic language (conversions, repetitions, inversions) to create a romantic picture, a romantic image, a romantic pathos of a work. A special place here is occupied by Old Slavonicisms: “bregah”, “golden”, “temple”, “city”, “heads”, etc. and high vocabulary: “ god's temple”, “sons”, “honor”, “Motherland”, which express the pathos of the feelings of the hero and the author. Epithets play a significant role in the “Song ...”, they increase the figurativeness of the narrative, contribute to creating a more vivid impression of the depicted paintings (“dawn is brighter”, “lights are paler”, “ wide brim»); serve to create a pronounced anxious and tragic atmosphere (“fatal day”), characterize the feelings of the lyrical hero (“cheerful”, “bold”, “villain”, “native country”, “motherland”). The abundance of metaphors “we do not conquer our eyes to sleep”, “we do not hear the pain of wounds”, “Moscow to the golden tops”, “we will not betray Moscow”, “the spirit is flaming”, etc. paraphrases “God's temple”, “city of ancestors”, personifications “sleep did not conquer their eyes”, “You accept us ... Dear land!” serve as an expression of the extremely emotional behavior of the lyrical hero. After all, Moscow has always occupied important place in the mind of the Russian people. Being not only the capital Russian state, but also a Russian Christian shrine, it evoked both in thoughts and in the heart Orthodox person warmest feelings. F.N. Glinka was devoted to Moscow until the end of his days. In "The Song of the Guard Warrior..." Moscow is the embodiment of the Motherland for the lyrical hero. The surrender of his beloved capital terrifies him.
F.N. Glinka skillfully gave the work sound expressiveness. For example, in the line “Friends, be cheerful! Friends, be brave! a combination of solid voiced consonant sounds [dr] is repeated three times, this alliteration technique demonstrates to us the firmness and confidence of a warrior in his call. The poet also uses sound writing in the line “Already the roar in the fields, the noise is already heard!”, where the fourfold repetition of a deaf hissing consonant sound [w] creates a sound image of the steps of an enemy approaching through the grass.
The songs of Fyodor Glinka, composed by him during the war of 1812, were sung to suitable well-known tunes. True, in this song the first and last couplets (iambic pentameter and trimeter) do not match in size with the rest (iambic tetrameter and trimeter), and it is impossible to sing them to a common motive with them. The author chose iambic not by chance: it is a strong and energetic poetic size, suitable for singing a song in marching formation. “Song of the guard warrior ...” is a rhythmic work, with cross-rhyme, with simple and incomplete syntactic sentences, easily performed and remembered, with a deep and at the same time very understandable and clear meaning, which is why it was very popular in its time in the military environment .
In "Song of the guard warrior before the Battle of Borodino" lyrical hero- Russian soldier, warrior - appears as a real Russian patriot, selflessly loving his homeland, ready to die for it in battle. This war is very far from us: 200 years have passed. But, reading the lines of the work of F.N. Glinka, I have a very clear idea of the tragedy of 1812 and bow before the unparalleled heroism of the defenders of our country. I am proud of my history, I am proud that I belong to the courageous and glorious Russian people.
The task of the textologist is not only to establish the exact text of the author's work, but also to comment on it. The first scientific commentary edition was Pushkin's edition edited by Annenkov (1857).
A comment- this is an interpretation of the text of the work as a whole from one side or another.
Types of comments:
1) Textological - a set of information characterizing the state of the literary heritage of the writer, and highlighting the direction and nature of the work of the editor-textologist in preparing the text of each work included in the publication. Accordingly, the textual commentary should contain the following sections:
2) Historical and literary commentary. It aims to put this work in connection with the era, the history of the life of the country, to explain to the reader its ideological content and artistic skill writer, to tell how the work was received by readers and critics of that time. This type of commentary should help the reader more correctly and better assimilate, understand, comprehend the work of the writer, his artistic skill, his ideological positions.
3) Dictionary comment. Its goal is to explain to the reader those words and turns of speech that differ from the usual word usage in the modern literary language and therefore can be. not understood by the reader or misunderstood. Such words and phrases include archaisms, professionalisms, dialectisms, neologisms, words with a changed meaning, etc.
4) Real comments. In fact, this is a system of references to the author's text, which should pursue three main goals:
Disclosure of names, hints, allegories.
Communication to the reader of the factual information necessary for understanding the text.
Textual commentary. Its structure and characteristics
Textological - a set of information characterizing the state of the literary heritage of the writer, and highlighting the direction and nature of the work of the editor-textologist in preparing the text of each work included in the publication. Accordingly, the textual commentary should contain the following sections:
List of all text sources.
Justification of the attribution of works.
Substantiation of the dating of works.
Brief review of text theory.
List of corrections made to the text.
The first section of the textological commentary provides an exhaustive list of all sources of the text, arranged in chronological order, and handwritten and printed sources should be grouped separately.
The second section is found only in cases where the published work is not signed by the name of the author, and if its belonging to this author has been proven long ago, the textologist is limited to a brief reference, indicates by whom, when and where the attribution was made, what additions were later in it, new arguments and arguments. But if the work is published for the first time as belonging to the author in this particular edition, then the editor in the commentary is obliged to give a complete statement of the attribution arguments.
The third is given in all cases. Here the editor should not be limited to referring to predecessors, so the commentary on each work should contain information about the date. Sometimes it might. simple reference.
In other cases, the editor should give an extended reasoning for the date, especially in cases where he has set a date for a given edition or changed an earlier one. In cases where there is an author's date that the editor rejects, he should give the necessary extended argumentation.
The fourth gives a coherent account of the history of the text from conception to the last authorized edition. It is always a research work of a textologist who logically reveals all stages of the author's work and gives a detailed description of the sources that were listed in the first section, necessarily with their description, features of the form and content of the text, with an analysis of the change in the author's intention. It is in this section that the editor must prove the correct choice of the source of the main text.
The fifth should give the necessary list of corrections made by the editor to the main text. Since the main text can almost never simply be retyped, because various kinds of distortions are found in it, which the editor has the right and must correct. It is this work of the editor on the main text that this section of the commentary should reflect.
Schedule your comment. Write down the key points that need to be noted. Arrange them in a logical order so that your comment doesn't get crumpled. Find quotes from the text for each paragraph. You must comment all of the following (though not necessarily in that order): Template:textscroller
- Topic/Subtopic/Subject– What is the essence of the text? There may be many topics, but try to find one or two key ones to discuss. It may help if you pay attention to information such as the writer's name or the date it was written.
- Tone- From whose perspective is the story being told? Determine if the story is in the first or third person. If from the first, is it the author or someone else who narrates? To whom is the text addressed? You should also consider the setting and how it affects the tone of the story and general meaning text.
- Shape/Structure– Define the genre (fiction/non-fiction, essay, article, travel notes, etc.) of the text. Is the text circular or retrospective? Think of obvious ways to divide text into sections (physically or otherwise). Think about how the chosen structure and form affect the essence or message of the text.
- Idea/Goal- Determine the goals of the writer. Is the text persuasive, informative, or descriptive? Determine the subtext and find satire or irony in the text.
- Tone/Atmosphere- define the atmosphere of the text. Is there an intensity of feelings or some special mood in it? Describe how the author achieved this effect (think about word choice, rhythm, syntax). Again refer to environment and its effect on tone and atmosphere.
- Touch Details– Describe how the author appeals to the senses to create more bright picture for the reader. Remember to always link your observations to common sense text.
- Imagery“This is one of the most important sensory details. Are there any visual images in the text? Describe metaphors and comparisons here (as selected examples, and in general in the text).
- Manner of presentation- describe the vocabulary of the text. Observe what kind of words the author uses - are they grouped around a theme (happiness, anxiety, etc.)? You should also mention words that seem out of place - what effect do they have on the reader/viewers? Do they somehow help to more accurately reveal the topic of the text?
- Rhythm/Rhyme/Audio effects- describe the type of rhyming (if any). What effect does it create in the context common theme? Reveal the essence of the rhythmic pattern of the text (this can be done as considering poetic text, and prose). Does the rhythm change? Also look for examples of alliteration in the text. True, you should be more careful in this - if the rhythm / rhyme / auditory effects have no effect, it is better not to mention them at all.
