Before proceeding to the analysis of the deeper layers of the composition, we need to get acquainted with the basic compositional techniques. There are few of them; There are only four basic ones: repetition, amplification, opposition and editing.
Repeat - one of the simplest and at the same time the most effective techniques compositions. It allows you to easily and naturally ʼʼroundʼʼ the work, to give it a compositional harmony. The so-called ring composition looks especially impressive when a compositional call is established between the beginning and end of the work; such a composition often carries a special artistic sense. A classic example of the use of a ring composition to express content can be Blok's miniature ʼʼNight, street, lamp, pharmacy…ʼʼ:
Night, street, lamp, pharmacy,
A meaningless and dim light.
Live at least quarter of century,
Everything will be like this. There is no exit.
If you die, you start over again
And everything will be repeated, as of old:
Night, icy ripples of the channel,
Pharmacy, street, lamp.
Here the vicious circle of life, the return to what has already been passed is, as it were, physically embodied in the composition of the poem, in the compositional identity of the beginning and end.
A frequently repeated detail or image becomes the leitmotif of the entire work, as, for example, the image of a thunderstorm in work of the same name Ostrovsky, the image of the resurrection of Lazarus in Dostoevsky's ʼʼCrime and Punishmentʼʼ, the lines ʼʼYes, there were people in our time, Not like the current tribeʼʼ in Lermontov's ʼʼBorodineʼʼ. A kind of repetition is a refrain in poetic works: for example, the repetition of the line ʼʼBut where last year's snow?ʼʼ in F. Villon's ballad ʼʼLadies of bygone timesʼʼ.
A technique close to repetition is gain. This technique is used in cases where simple repetition is not enough to create an artistic effect, when it is necessary to enhance the impression by selecting uniform images or details. So, according to the principle of amplification, the description interior decoration Sobakevich's house in ʼʼ Dead souls Gogol's ʼʼ: every new detail reinforces the previous one: ʼʼ everything was solid, clumsy in the highest degree and had some strange resemblance to the owner of the house; in the corner of the living room stood a pot-bellied walnut office on absurd four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and restless quality—in a word, every object, every chair seemed to say: "I, too, am Sobakevich!" or ʼʼand I also look a lot like Sobakevich!"ʼʼ.
Selection works on the same principle of amplification. artistic images in Chekhov's story ʼʼThe Man in the Caseʼʼ: ʼʼHe was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella, and certainly in a warm coat with wadding. And his umbrella was in a gray suede case, and when he took out his penknife to sharpen his pencil, his knife was also in a case; and his face also seemed to be in a case, for he always hid it in his upturned collar. He wore dark glasses, a jersey, stuffed his ears with cotton wool, and when he got into a cab, he ordered to raise the top.
The opposite of repetition and amplification is opposition. From the name itself it is clear that this compositional technique is based on the antithesis of contrasting images; for example, in Lermontov's poem ʼʼThe death of a poetʼʼ: ʼʼAnd you will not wash away all your black the blood of the Poet righteous blood. Here the underlined epithets form a compositionally significant opposition. In a broader sense, it is customary to call opposition any opposition of images: for example, Onegin and Lensky, Bazarov and Pavel Petrovich, images of storm and peace in Lermontov's poem ʼʼSailʼʼ, etc. Opposition is a very strong and expressive artistic device, which is always should be taken into account when analyzing the composition.
Contamination, combining the techniques of repetition and opposition, gives a special compositional effect: the so-called mirror composition. As a rule, with a mirror composition, the initial and final images are repeated exactly the opposite. A classic example of a mirror composition is Pushkin's novel ʼʼEugene Oneginʼʼ. In it, in the denouement, the plot seems to be repeated, only with a change of position: at the beginning, Tatyana is in love with Onegin, writes him a letter and listens to his cold rebuke, at the end it’s the other way around: Onegin in love writes a letter and listens to Tatyana’s rebuke. The technique of mirror composition is one of the strong and winning techniques; sufficient attention needs to be given to its analysis.
The last compositional technique - installation, in which two images located side by side in the work give rise to some new, third meaning, which appears precisely from their proximity. So, for example, in Chekhov's story ʼʼIonychʼʼ the description of ʼʼ art salonʼʼ Vera Iosifovna is accompanied by the mention that the clanking of knives was heard from the kitchen and the smell of fried onions was heard. Together, these two details create that atmosphere of vulgarity, which Chekhov tried to reproduce in the story.
All compositional techniques can perform two functions in the composition of a work, which are somewhat different from each other: they can organize either a separate small fragment of text (at the micro level) or the entire text (at the macro level), becoming in the latter case the principle of composition. Above, we considered how repetition organizes the composition of the entire work; Let's give an example when the repetition organizes the structure of a small fragment:
Nor glory bought with blood
Nor full of proud trust peace,
No dark antiquity cherished legends
Do not stir in me a pleasurable dream.
Lermontov. motherland
The most common method of organizing the microstructures of a poetic text is a sound repetition at the end of poetic lines - a rhyme.
The same can be observed, for example, in the use of amplification: in the above examples from Gogol and Chekhov, he organizes separate fragment text͵ and, say, in Pushkin's poem ʼʼProrokʼʼ becomes general principle compositions of the entire artistic whole (by the way, this is very clearly manifested in F.I. Chaliapin's performance of P. Rimsky-Korsakov's romance to poems by Pushkin).
In the same way, montage can become the compositional principle of organizing the entire work - this can be observed, for example, in Pushkin's Boris Godunov, Bulgakov's Master and Margarita, etc.
Τᴀᴋᴎᴍ ᴏϬᴩᴀᴈᴏᴍ, in the future we will distinguish repetition, opposition, amplification and montage as a proper compositional device and as a principle of composition.
These are the basic compositional techniques with which a composition is built in any work. Let us now turn to the consideration of the levels at which specific work implemented compositional effects. As already mentioned, the composition covers the entire art form works and organizes it, thus acting at all levels. The first level that we will consider is the level of the figurative system.
Integrity artwork achieved by various means. Among these means important role belongs to the composition and the plot.
Composition(from lat. componere - to compose, connect) - the construction of a work, the ratio of all its elements, creating complete picture life and conducive to the expression ideological content. The composition distinguishes between external elements - division into parts, chapters, and internal - grouping and arrangement of images. When creating a work, the writer carefully thinks over the composition, place and relationship of images and other elements, trying to give the material the greatest ideological and artistic expression. The composition is simple and complex. So, A. Chekhov's story "Ionych" has a simple composition. It consists of five small chapters(external elements) and uncomplicated internal system images. In the center of the image is Dmitry Startsev, who is opposed by a group of images of the local residents of the Turkins. The composition of L. Tolstoy's epic novel "War and Peace" looks completely different. It consists of four parts, each part is divided into many chapters, a significant place is occupied by the author's philosophical reflections. These are the external elements of the composition. The grouping and arrangement of images-characters, of which there are more than 550, is very difficult. The outstanding skill of the writer was manifested in the fact that, with all the complexity of the material, it is arranged in the most expedient way and is subject to the disclosure of the main idea: the people are the decisive force of history.
IN scientific literature terms are sometimes used architectonics, structure as synonyms for the word composition.
Plot(from French sujet - subject) - a system of events in a work of art, revealing the characters of the characters and contributing to the most complete expression of the ideological content. The system of events is a unity that develops in time, and driving force The plot is conflict. Conflicts are different: social, love, psychological, domestic, military and others. The hero usually comes into conflict with public environment with other people, with yourself. There are usually several conflicts in a work. In L. Chekhov's story "Ionych" the hero's conflict with the environment is combined with love. A striking example psychological conflict - Shakespeare's "Hamlet". The most common type of conflict is social. To designate social conflict literary critics often use the term conflict, and love - intrigue.
The plot consists of a number of elements: exposition, plot, development of action, climax, denouement, epilogue.
Exposure - initial information about actors ah, which motivate their behavior in the conditions of the conflict that has arisen. In the story "Ionych" this is the arrival of Startsev, a description of the "most educated" Turkin family in the city.
Tie - an event that initiates the development of an action, a conflict. In the story "Ionych" Startsev's acquaintance with the Turkin family.
After the plot, the development of the action begins, the highest point of which is the culmination. In L. Chekhov's story - Startsev's declaration of love, Katya's refusal.
denouement- an event that removes the conflict. In the story "Ionych" - the rupture of relations between Startsev and the Turkins.
Epilogue - information about the events that followed after the denouement. Sometimes. the author himself calls the final part of the story an epilogue. In the story of L. Chekhov there is information about the fate of the heroes, which can be attributed to the epilogue.
In a large work of art, as a rule, there are many storylines and each of them. develops, intertwines with others. Individual elements of the plot may be common. Determining the classic scheme can be difficult.
The movement of the plot in a work of art occurs simultaneously in time and space. To denote the relationship of temporal and spatial relations, M. Bakhtin proposed the term chronotope. artistic time is not a direct reflection of real time, but arises by mounting certain ideas about real time. real time moves irreversibly and only in one direction - from the past to the future, while artistic time can slow down, stop and move in the opposite direction. Return to the image of the past is called flashback. Artistic time is a complex interweaving of the times of the narrator and heroes, and often a complex layering of the times of different historical eras(“The Master and Margarita” by M. Bulgakov). It can be closed, closed in itself, and open, included in the flow of historical time. An example of the first "Ionych" by L. Chekhov, the second - "Quiet Don" by M. Sholokhov.
Along with the term plot there is a term plot which are usually used as synonyms. Meanwhile, some theorists consider them inadequate, insisting on their independent meaning. The plot, in their opinion, is a system of events in a causal-temporal sequence, and the plot is a system of events in the author's presentation. Thus, the plot of I. Goncharov's novel "Oblomov" begins with a description of the life of an adult hero living in St. Petersburg with his servant Zakhar in a house on Gorokhovaya Street. The plot involves a presentation of the events of Oblomov's life. starting from childhood (chapter "Oblomov's Dream").
We define a plot as a system, a chain of events. In many cases, the writer, in addition to the story of events, introduces descriptions of nature, household paintings, digressions, reflections, geographical or historical references. They are called extra-plot elements.
It should be noted that there are different principles of plot organization. Sometimes events develop sequentially, in chronological order, sometimes with retrospective digressions, there is an overlap of times. Quite often there is a method of framing the plot plot in the plot. A striking example is Sholokhov's The Fate of a Man. In it, the author tells about his meeting with the driver at the crossing of the overflowing river. While waiting for the ferry, Sokolov spoke about his difficult life about staying in German captivity, loss of family. At the end, the author said goodbye to this man and thought about his fate. The main, main story of Andrei Sokolov is framed by the author's story. This technique is called framing.
The plot and composition of lyrical works are very peculiar. The author depicts in them not events, but thoughts and experiences. The unity and integrity of the lyrical work is ensured by the main lyrical motive, the bearer of which is the lyrical hero. The composition of the poem is subject to the disclosure of thought-feeling. “The lyrical development of the theme,” writes the well-known literary theorist B. Tomashevsky, “reminiscent of the dialectics of theoretical reasoning, with the difference that in the reasoning we have a logically justified introduction of new motives, ... and in the lyrics, the introduction of motives is justified by the emotional development of the theme.” Typical is, but in his opinion, a tripartite construction lyric poems, when a theme is given in the first part, in the second it develops by lateral motives, and the third is an emotional conclusion. As an example, A. Pushkin's poem "To Chaadaev" can be cited.
Part 1 Love, Hope, Quiet Glory
The deceit did not last long.
Part 2 We wait with languor of hope
Minutes of liberty saint ...
Part 3 Comrade, believe! She will rise
Star of captivating happiness...
The lyrical development of the theme is of two types: deductive - from the general to the particular, and inductive - from the particular to the general. The first is in the above poem by A. Pushkin, the second in the poem by K. Simonov "Do you remember, Alyosha, the roads of the Smolensk region ...".
In some lyrical works there is a plot: Railway» I. Nekrasov, ballads, songs. They are called story lyrics.
Fine details serve to reproduce the concrete-sensual details of the world of characters, created by the creative imagination of the artist and directly embodying the ideological content of the work. The term "pictorial details" is not recognized by all theorists (the terms "thematic" or "subject" details are also used), but everyone agrees that the artist recreates the details appearance and the speeches of the heroes, their inner world, environment in order to express your thoughts. However, accepting this position, one should not interpret it too straightforwardly and think that every detail (eye color, gestures, clothing, description of the area, etc.) is directly related to the author's goal setting and has a very definite unambiguous meaning. If this were so, the work would lose its artistic specificity and would become tendentiously illustrative.
Visual details contribute to the fact that the world of characters appears before the reader's inner gaze in all its fullness of life, in sounds, colors, volumes, smells, in spatial and temporal extent. Not being able to convey all the details of the picture being drawn, the writer reproduces only some of them, trying to give an impetus to the reader's imagination and force him to complete the missing features with the help of his own imagination. Without “seeing”, without imagining “living” characters, the reader will not be able to empathize with them, and his aesthetic perception of the work will be inferior.
Fine details allow the artist to plastically, visibly recreate the life of the characters, to reveal their characters through individual details. At the same time, they convey the author's evaluative attitude to the reality depicted, create an emotional atmosphere of the narrative. Yes, reading crowd scenes in the story “Taras Bulba”, one can be convinced that seemingly scattered remarks and statements of the Cossacks help us “hear” the many-voiced crowd of Cossacks, and various portrait and everyday details help us visualize it. At the same time, the heroic warehouse is gradually clearing up. folk characters, formed in the conditions of wild freemen and poeticized by Gogol. At the same time, many details are comical, cause a smile, create a humorous tone of the narration (especially in the scenes of peaceful life). Fine details perform here, as in most works, pictorial, characterizing and expressive functions.
In drama, pictorial details are conveyed not by verbal means, but by other means (there is no description of the appearance of the characters, their actions, or the situation, because there are actors on the stage and there are scenery). The speech characteristics of the characters acquire special significance.
In the lyrics, pictorial details are subordinated to the task of recreating the experience in its development, movement, and inconsistency. Here they serve as signs of the event that caused the experience, but they mainly play the role of a psychological characteristic. lyrical hero. At the same time, their expressive role is also preserved; the experience is conveyed as sublimely romantic, heroic, tragic, or in reduced, for example, ironic tones.
The plot also belongs to the realm of pictorial detail, but stands out for its dynamic character. In epic to dramatic works, these are the actions of the characters and the events depicted. The actions of the characters that make up the plot are diverse - these are all kinds of actions, statements, experiences and thoughts of the characters. The plot most directly and effectively reveals the character of the character, the protagonist. However, it is important to understand that the actions of the characters also reveal the author's understanding of the typical character and the author's assessment. By forcing the hero to act in one way or another, the artist evokes in the reader a certain evaluative attitude not only towards the hero, but towards the whole type of people that he represents. So, forcing his fictional hero to kill a friend in a duel in the name of secular prejudices, Pushkin evokes a feeling of condemnation in the reader and makes him think about Onegin's inconsistency, about the inconsistency of his character. This is the expressive role of the plot.
The plot moves due to the emergence, development, resolution of various conflicts between the characters of the work. Conflicts can be of a private nature (Onegin's quarrel with Lensky), or they can be a moment, part of socio-historical conflicts that arose in historical reality itself (war, revolution, social movement). By depicting plot conflicts, the writer draws attention to the problems of the work to the greatest extent. But it would be wrong to identify these concepts on the basis of this (there is a tendency towards such an identification in Abramovich's textbook, section 2, ch. 2). Problematics is the leading side of the ideological content, and plot conflict- form element. It is equally wrong to equate plot with content (as is common in colloquial language). Therefore, the terminology of Timofeev, who proposed calling the plot, together with all the other details of the depicted life, “direct content” (Fundamentals of the Theory of Literature, part 2, ch. 1, 2, 3), did not receive recognition.
The question of the plot in the lyrics is solved in different ways. However, there is no doubt that this term can be applied to lyrics only with great reservations, denoting by it the outline of those events that “shine” through the hero’s lyrical experience and motivate him. Sometimes this term refers to the very movement of lyrical experience.
The composition of pictorial, including plot details, is their location in the text. Using antitheses, repetitions, parallelisms, changing the pace and chronological sequence of events in the narrative, establishing chronicle and causal connections between events, the artist achieves such a relationship that expands and deepens their meaning. In all teaching aids the compositional techniques of narration, the introduction of the narrator, the framing, introductory episodes, the main points in the development of the action, various motivations are quite fully defined. plot episodes. The discrepancy between the order of plot events and the order of narration about them in the work makes us talk about such means of expression like a plot. It should be borne in mind that another terminology is also common, when the actual compositional device of permuting events is called the plot (Abramovich, Kozhinov, etc.).
In order to master the material in this section, we recommend that you independently analyze the visual details, the plot and their composition in any epic or dramatic work. It is necessary to pay attention to how the development of the action serves the development of artistic thought - the introduction of new themes, the deepening of problematic motives, the gradual disclosure of the characters' characters and copyright to them. Each new plot scene or description is prepared, motivated by the entire previous image, but does not repeat it, but develops, supplements and deepens it. These form components are most directly related to artistic content and depend on it. Therefore, they are unique as well as the content of each work.
In view of this, the student needs to get acquainted with those theories that ignore the close connection between the plot-pictorial sphere of form and content. This is primarily the so-called comparative theory, which was based on a comparative historical study of the literatures of the world, but misinterpreted the results of such a study. Comparatives focused on the influence of literatures on each other. But they did not take into account that the influence is due to the similarity or difference public relations in the respective countries, but proceeded from the immanent, i.e., internal, allegedly completely autonomous laws of the development of literature. Therefore, the comparativists wrote about "sustainable motives", about the "images bequeathed" of literature, and also about " wandering plots”, without distinguishing between the plot and its scheme. The characteristic of this theory is also in the textbook, ed. G.N. Pospelov and G.L. Abramovich.
QUESTIONS FOR SELF-EDUCATION (m. 2)
1. A literary work as an integral unity.
2. The theme of the work of art and its features.
3. The idea of a work of art and its features.
4. Composition of a work of art. External and internal elements.
5. Plot literary work. The concept of conflict. Plot elements. Extra-plot elements. Plot and plot.
6. What is the role of the plot in revealing the ideological content of the work?
7. What is plot composition? What is the difference between narrative and description? What are off-plot episodes and lyrical digressions?
8. What is the function of landscape, domestic environment, portrait and speech characteristics character in the work?
9. Features of the plot of lyrical works.
10. Spatio-temporal organization of the work. The concept of the chronotope.
LITERATURE
Korman B.O. The study of the text of a work of art. - M., 1972.
Abramovich G.L. Introduction to Literary Studies. Ed.6. - M., 1975.
Introduction to Literary Studies / Ed. L.V. Chernets/. M., 2000. - S. 11 -20,
209-219, 228-239, 245-251.
Galich O. ta in. Theory of Literature. K., 2001. -S. 83-115.
Getmanets M.F. Suchasiny dictionary of lgeraturoznavchih terminiv. - Kharkiv, 2003.
MODULE THREE
LANGUAGE OF ART LITERATURE
Composition of a work of art
Composition- this is the construction of all elements and parts of a work of art in accordance with the author's intention (in a certain proportion, sequence; figurative system characters, space and time, series of events in the plot).
Compositional-plot parts of a literary work
Prologue- what led to the emergence of the plot, the previous events (not in all works).
exposition- designation of the original space, time, heroes.
tie- Events that give the development of the plot.
Development of action- development of the plot from the beginning to the climax.
climax- moment highest voltage plot action, after which it moves to the denouement.
denouement- termination of action in a given conflict direction, when contradictions are resolved or removed.
Epilogue- "announcement" of further events, summing up.
Composite elements
Compositional elements include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (out-of-plot images created by the author's imagination), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (Oblomov's dream in Goncharov's novel "Oblomov", Tatyana's letters to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin"); All artistic descriptions(portraits, landscapes, interiors).
Compositional techniques
Repeat (refrain)- the use of the same elements (parts) of the text (in poems - the same verses):
Keep me, my talisman,
Keep me in the days of persecution,
In the days of repentance, excitement:
You were given to me on a day of sorrow.
When the ocean rises
The waves are roaring around me,
When the clouds are storming -
Keep me, my talisman...
(A.S. Pushkin "Keep me, my talisman")
Depending on the position, frequency of appearance and autonomy, the following compositional techniques are distinguished:
Anaphora- repeat at the beginning of the line:
Past the lists, temples,
past temples and bars,
past chic cemeteries,
past the big bazaars...
(I. Brodsky "Pilgrims")
Epiphora- repeat at the end of the line:
My horse does not touch the ground,
Don't touch my forehead stars
Sigh my lips do not touch,
The rider is a horse, the finger is a palm.
(M. Tsvetaeva "Khansky full")
simplock- the subsequent part of the work begins in the same way as the previous one (usually found in folklore works or styles):
He fell on the cold snow
On the cold snow, like a pine
(M.Yu. Lermontov “Song about Tsar Ivan Vasilievich ...”)
Antithesis- opposition (works at all levels of the text from the symbol to the character):
I swear on the first day of creation
I swear by his last day.
(M.Yu. Lermontov "Demon")
They agreed. Wave and stone
Poetry and prose, ice and fire...
(A.S. Pushkin "Eugene Onegin")
Compositional techniques associated with time shifts(combination of time layers, retro jump, insertion):
Retardation- stretching the unit of time, slowing down, braking.
Retrospection- the return of the action to the past, when the causes of what is happening in currently narratives (a story about Pavel Petrovich Kirsanov - I.S. Turgenev "Fathers and Sons"; a story about Asya's childhood - I.S. Turgenev "Asia").
Change of "points of view"- a story about one event from the point of view of different characters, character and narrator (M.Yu. Lermontov "A Hero of Our Time", F.M. Dostoevsky "Poor People").
Parallelism- the location of identical or similar in grammatical and semantic structure elements of speech in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words.
Your mind is as deep as the sea
Your spirit is as high as the mountains
(V. Bryusov "Chinese verses")
An example of compositional parallelism in prose text the work of N.V. Gogol "Nevsky Prospekt".
The main types of composition
- Linear composition: natural time sequence.
- Inversion (retrospective) composition: reverse chronological order.
- Ring composition: repetition of the initial moment in the final of the work.
- concentric composition: plot spiral, repetition of similar events in the course of the development of the action.
- Mirror composition: combining the techniques of repetition and opposition, as a result of which the initial and final images are repeated exactly the opposite.
Reception of the frame (or "story within a story").
Ring reception.
Insert acceptance.
Advance acceptance.
Retreat acceptance.
Retrospective reception.
frame reception(or “story within a story”) is very common in plot construction. The main storyline is enclosed, as it were, in a "Frame" of memories, disputes, entertainment with anecdotes, a lesson, etc. The hero with such a compositional technique tells a story that happened to him in the past or, on the contrary, fantasizes, predicting the future. Chronologically, this plot is inconsistent. The time of the story itself does not correspond to the time about which the narrator narrates.
Reception is very common: L.N. Tolstoy "After the Ball", A.N. Nekrasov "Railway", A.P. Chekhov Trilogy "About Love", Boccaccio "The Decameron", etc.
Reception of the ring. Reminiscent of the reception of the frame, but differs significantly from it. At this reception last episode compositionally repeats the first. The heroes find themselves in the same circumstances, in the same environment, they are overcome by similar problems. They kind of walk around the ring. But we must not lose sight of the fact that the semantic load of the last episode, due to the development of the plot, is already different than that of the first. are repeated external signs a lot is changing internally. The reception of the ring is used by plots-dreams (Calderon "Life is a dream"), plots-shoots (Lermontov "Mtsyri"). This technique was used by Vampilov (the plays "Farewell in June", "Elder Son", "House with Windows in the Field").
Insertion reception elementary. In the course of the development of the plot, fairy tales, myths, stories, fables, etc., which are not related to the main conflict, are “inserted”, at first glance. The most famous interpolation technique is found in Gogol's "Dead Souls": this is "The Tale of Captain Kopeikin". Chingiz Aitmatov widely uses inserts in his novels. The insert can be removed from the text, this will have little effect on the plot (chain of events), but it will fundamentally impoverish the plot as a whole.
Preliminary reception common in psychological and mystical-religious works. One of the episodes (often a dream, divination, foreboding, a chance meeting, visions) turn out to be prophetic andanticipate future events. Such is the episode of the railway accident observed by Anna Karenina when she arrived in Moscow; Tatiana's dream in "Eugene Onegin", Raskolnikov's dream in "Crime and Punishment". Such preliminary episodes, scenes, sometimes just images (the unyielding burdock in L. Tolstoy's Hadji Murat) find their precisely compositional place in the development of the main storyline.
retreat reception(lyrical, journalistic, scientific, philosophical) is well known for "Eugene Onegin" by A.S. Pushkin and “Don Juan” by J. Byron, “The Young Guard” by A. Fadeev and “Pushkin House” by A. Bitov. chat with the reader. Digressions most often enrich the plot, giving it the character of an encyclopedia.
Reception of flashback–reception of chronometric return, plot twistto the past. In the course of the action, the hero can remember something retrospectively. Flashback is typical for detective stories. This technique has been known since the time of folklore: it is often found in Russian epics and fairy tales. IN contemporary literature Yuri Bondarev resorted to him more than once (“Coast”, “Choice”, “Game”).
Composition is the arrangement of parts of a literary work in a certain order, a set of forms and ways artistic expression by the author according to his intention. Translated from Latin means "composition", "construction". The composition builds all parts of the work into a single finished whole.
It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the final. Sometimes the composition of the book intrigues the reader and he is looking for a continuation of the book or other works of this writer.
Composite elements
Among such elements are narration, description, dialogue, monologue, insert stories and lyrical digressions:
- Narration- the main element of the composition, the story of the author, revealing the content of the work of art. Occupies most the volume of the entire work. It conveys the dynamics of events, it can be retold or illustrated with drawings.
Description. This is a static element. During the description, events do not occur, it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. The landscape is not necessarily an image of nature, it can be a landscape of a city, lunar landscape, a description of fantastic cities, planets, galaxies or a description of fictional worlds.- Dialogue- a conversation between two people. It helps to reveal the plot, to deepen the characters of the characters. Through the dialogue of two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, begins to better understand the characters of the heroes.
- Monologue- the speech of one character. In the comedy by A. S. Griboyedov, through the monologues of Chatsky, the author conveys thoughts advanced people of his generation and the experience of the hero himself, who learned about the betrayal of his beloved.
- Image system. All images of the work that interact in connection with the author's intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are absurd images invented by the author, for example, "The Nose" from Gogol's story of the same name. The authors simply invented many images, and their names became common.
- Insert stories, a story within a story. Many authors use this technique to set up intrigue in a work or at a denouement. There may be several insert stories in the work, the events in which take place in different time. Bulgakov's "The Master and Margarita" uses the novel-in-novel technique.
Author's or lyrical digressions. A lot of digressions Gogol's Dead Souls. Because of them, the genre of the work has changed. It's big prose work called the poem "Dead Souls". And "Eugene Onegin" is called a novel in verse because of a large number author's digressions, thanks to which an impressive picture appears before readers Russian life early 19th century.- Author's characteristic . In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his characters - so precise and capacious that his characters often become household characters.
- The plot of the story is a chain of events that take place in a work. The plot is the content artistic text.
- plot- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
- Scenery- description of nature, real and imaginary world, cities, planets, galaxies, existing and fictional. landscape is artistic technique, thanks to which the character of the characters is more deeply revealed and an assessment of events is given. You can remember how it changes seascape in Pushkin's "The Tale of the Fisherman and the Fish", when the old man again and again comes to the Golden Fish with another request.
- Portrait This description is not only appearance hero, but also his inner world. Thanks to the talent of the author, the portrait is so accurate that all readers have the same image of the hero of the book they read: what Natasha Rostova looks like, Prince Andrei, Sherlock Holmes. Sometimes the author draws the reader's attention to some feature hero, for example, the mustache of Poirot in the books of Agatha Christie.
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Compositional techniques
Story composition
In the development of the plot there are stages of development. Conflict is always at the center of the plot, but the reader does not immediately learn about it.
Story composition depends on the genre of the work. For example, a fable necessarily ends with a moral. The dramatic works of classicism had their own laws of composition, for example, they had to have five acts.
The composition of works is distinguished by its unshakable features. folklore. Songs, fairy tales, epics were created according to their own laws of construction.
The composition of the fairy tale begins with a saying: "Like on the sea-ocean, but on the island of Buyan ...". The saying was often composed in poetic form and sometimes was far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen without being distracted. Then he said: “This is a saying, not a fairy tale. The story will come."
Then came the beginning. The most famous of them begins with the words: "Once upon a time there were" or "In a certain kingdom, in a thirtieth state ...". Then the storyteller moved on to the tale itself, to its heroes, to miraculous events.
Techniques of a fairy-tale composition, a three-fold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka flies to her on horseback and rips off the ring, three times the Tsar tests daughters-in-law in the fairy tale "The Frog Princess".
The ending of the fairy tale is also traditional, they say about the heroes of the fairy tale: "They live - they live and make good things." Sometimes the ending hints at a treat: "You have a fairy tale, and I knit bagels."
literary composition- is the arrangement of parts of the work in a certain sequence, it is complete system forms artistic image. The means and techniques of composition deepen the meaning of the depicted, reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.
In the days of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This is the rule of three unities: time, place, plot. This is a five-act structure dramatic works. This speaking surnames and a clear division into negative and goodies. Features of the composition of works of classicism are a thing of the past.
Compositional techniques in literature depend on the genre of a work of art and on the talent of the author, who has the types, elements, techniques of composition, knows its features and knows how to use these artistic methods.
