Categories of art form. Conflict

SAINT PETERSBURG STATE

ACADEMY OF THEATER ARTS

Department of Television Directing

Workshop of Professor V.D. Soshnikov

Teachers: G.A. Nikitina, D.S. Estrin

Theoretical work in the discipline: "Direction"

On the topic: "The main conflict and the main series of events in theatrical productions and in screen works"

Performed:

1st year student

Ivanova S.A.

St. Petersburg

Introduction ………………………………………………………………………….3

Chapter 1: The concept of the main conflict.…………………………………..…4

Chapter 2: Types of conflicts ………………………...…………………….……6

Chapter 3: The concept of an event. The main event series……………………..8

Chapter 4: Identification of the conflict and the construction of an event series in the film "Anna Karenina" .... ……fourteen

Chapter 5: Identification of the conflict and construction of an event sequence in Gorky's play “At the Bottom”.……..14

Conclusion………………………….…………….…….....…….…...…….…16

Introduction.

In my work, I want to explore the concept of the main conflict, the main event and learn how to build an event series. I have to master the Stanislavsky method, which is based on profound knowledge the laws of drama and the laws of psychophysical actions of actors. This method makes it possible to truly penetrate into the diversity and diversity of any literary work. I will try to analyze the works of the great playwright Ostrovsky, the film adaptation of Zahra's "Anna Karenina" based on the work of Leo Tolstoy and M. Gorky's play "At the Bottom"

I am sure that my understanding of the main conflict, the initial event and so on, will be different from the key concepts already long established in these plays. But it will be my vision and my interpretation of the read or seen work. Therefore, I am not afraid to start the analysis for fear of making a mistake. After all, a different definition of the initial event is reflected in the director's understanding of the play as a whole. I will try to study the method of defining the above concepts as accurately as possible so that my analysis is as close as possible to understanding the play of such great figures as K.S. Stanislavsky and G.A. Tovstonogov.

M.O. Knebel writes: “Although we define the events that exist in the play as an objective given, by selecting them, we necessarily introduce a subjective principle ... That's the point, that's the point of defining events, that each director brings into this process what especially dear and interesting to him as an artist.

The concept of the main conflict

Before defining the main conflict, you need to understand what the conflict as a whole is. What is the nature of the conflict? Where are its roots? And how to find it? Where is the main conflict? Where is the secondary? These are the questions I want to answer in this chapter.

Conflict - from lat. ñ conflictus ("collision"). The development of our life occurs as a result of the struggle of opposites, their collision. That is, this struggle arises due to the collision of opposing forces that perform actions in relation to each other. Therefore, conflict is a clash of opposing forces.

In the play, each character wants something, strives for something and performs actions, which is expressed in the through action of the hero. For there to be conflict in a play, what one wants must be obstructed by the other. A through action meets a counter-through action. An uninterrupted duel can only arise between "crossing forces". The main forces in the play are personified in specific characters, so often the conversation about the conflict is conducted mainly from the point of view of analyzing the behavior of one or another character.

G.A. Tovstonogov said that “... the essence of the Stanislavsky method lies in the fact that every minute, every second stage action there is a constant duel. The director needs to remember that there is no stage life at all without conflict ... "

There may be several conflicts in the play between different characters, forces, parties. And as Tovstonogov said: “Having built a chain of events, you need to find in them that sequential chain of conflicts from which action arises.” Consequently, several, at least two, actors must necessarily participate in any conflict event. The conflict that prompts them to act is the main conflict of the play. Also, all the other characters in the play will be involved in their actions.

Now, let's formulate the concept of the main conflict. The main conflict is a sharp, extremely tense struggle of opposing views, in which all participants in the play are involved. If someone does not stick to one of the sides or does not know about what is happening, since it does not concern him, this will be a suggested circumstance for a group of heroes. The basis for this conflict is the aspirations of the characters in the play, more precisely, the contradiction of aspirations.

From the director's point of view, the conflict is the basis of that very notorious action, which is the only true way of translating a play on stage, without which, according to Stanislavsky, there is no performance.

How to understand where is the main conflict, and where is the secondary and even the proposed circumstances? In the selection of the main conflicts, there should be the following principle: it is necessary to check every time what is the cause and what is the effect. The major, main conflict of the play should be considered those facts that are the cause, not the effect.

I want to note that the main conflict manifests itself from the initial event, but it is most fully revealed as a result of the final event. The conflict grows and develops to the very end. It is natural that final event, which most fully reveals the essence of both the main conflict, and the ideas of the play, and its stylistic features, must be placed at the end of the play.

Let's look at Ostrovsky's play "Dowry" and identify the main conflict of the play. In my opinion, this is a conflict between humanity and the “Brakhimov laws of life”, which exclude humanity. It ended with the victory of "Bryakhomov".

Larisa was the expression of "humanity". She fights with the greedy world of Bryakhimov. Her death is a logical resolution of the conflict, not in her favor. And it is not by chance that the author first morally kills Larisa (when she agrees to go to Knurov for support), and then only physically.

Larisa is the main character of the play, which strives to escape from "Brakhimov's life". This through action of the protagonist meets the confrontation (counter-through action) of other participants in the play, such as Karandyshev. He tries to keep her here by marrying her. This is where the main conflict of worldviews occurs.

Types of conflicts.

There are several types of conflict, divided into: internal and external according to where they arise: in the soul of a character or between characters.

Internal type of conflict:

Conflict within a person (with himself). For example, between reason and feeling; duty and conscience; desire and morality; conscious and subconscious; personality and individuality; essence and existence, etc.

Artistic conflict, or artistic conflict (from Latin collisio - collision), is the confrontation of multidirectional forces acting in a literary work - social, natural, political, moral, philosophical - receiving an ideological and aesthetic embodiment in the artistic structure of the work as an opposition (opposition) of characters circumstances, individual characters - or different aspects of one character - to each other, the artistic ideas of the work itself (if they carry ideologically polar principles).

In Pushkin's The Captain's Daughter, the conflict between Grinev and Shvabrin over love for Masha Mironova, which forms the visible basis of the actual novelistic plot, fades into the background before the socio-historical conflict - the Pugachev uprising. The main problem of Pushkin’s novel, in which both conflicts are refracted in a peculiar way, is the dilemma of two ideas about honor (the epigraph of the work is “Take care of honor from a young age”): on the one hand, the narrow framework of estate-class honor (for example, a noble, officer’s oath of allegiance) ; on the other hand, universal

values ​​of decency, kindness, humanism (loyalty to the word, trust in a person, gratitude for the good done, the desire to help in trouble, etc.). Shvabrin is dishonest even from the point of view of the nobility code; Grinev rushes between two concepts of honor, one of which is imputed by his duty, the other is dictated by a natural feeling; Pugachev turns out to be above the feeling of class hatred for a nobleman, which would seem completely natural, and meets the highest requirements of human honesty and nobility, surpassing in this respect the narrator himself - Pyotr Andreevich Grinev.

The writer is not obliged to present the reader with a ready-made future historical resolution of the social conflicts he depicts. Often such a resolution of socio-historical conflicts reflected in a literary work is seen by the reader in a semantic context unexpected for the writer. If the reader acts as a literary critic, he can define both the conflict and the way it is resolved much more accurately and far-sightedly than the artist himself. So, N. A. Dobrolyubov, analyzing the drama of A. N. Ostrovsky "Thunderstorm", managed to consider the most acute social contradiction of all of Russia - the "dark kingdom", where, among the general humility, hypocrisy and silence "tyranny" reigns supreme, the ominous apotheosis of which is autocracy, and where even the slightest protest is a "beam of light."

In epic and dramatic works conflict lies at the heart of the plot and is its driving force , determining the development of the action.

Thus, in M. Yu. Lermontov's "Song about the Merchant Kalashnikov..." the development of the action is based on the conflict between Kalashnikov and Kiribeevich; in the work of N. V. Gogol "Portrait" the action is based on internal conflict in Chartkov's soul there is a contradiction between the awareness of the high duty of the artist and the passion for profit.

At the heart of the conflict of a work of art are life contradictions, their detection is the most important function of the plot. Hegel introduced the term "collisions" with the meaning of a collision of opposing forces, interests, aspirations.

The science of literature traditionally recognizes the existence of four types of artistic conflict, which will be discussed further. First, natural or physical conflict, when the hero enters into a struggle with nature. Secondly, the so-called social conflict, when a person is challenged by another person or society. In accordance with the laws of the artistic world, such a conflict arises in the clash of heroes who are owned by oppositely directed and mutually exclusive life goals. And in order for this conflict to be sharp enough, “tragic” enough, each of these mutually hostile goals must have its own subjective correctness, each of the characters must arouse compassion to some extent. So the Circassian (" Prisoner of the Caucasus A.S. Pushkin), like Tamara from M.Yu. Lermontov’s poem “The Demon”, comes into conflict not so much with the hero as with society, and dies. Her "epiphany" costs her her life. Or The Bronze Horseman is a confrontation between a small man and a formidable reformer. Moreover, it is precisely the ratio of such themes that is characteristic of Russian literature of the 19th century. It should be emphasized that the unquestioning introduction of a character into a certain environment that encompasses him, assuming the supremacy of this environment over him, sometimes abolishes the problems of moral responsibility, personal initiative of a member of society, which were so essential for literature XIX in. A variation of this category is a conflict between social groups or generations. Thus, in the novel “Fathers and Sons”, I. Turgenev depicts the pivotal social conflict of the 60s of the XIX century – the clash between the liberal nobles and the democrats of the raznochintsy. Despite the name, the conflict in the novel is not of age, but of ideological character, i.e. it is not a conflict of two generations, but in fact a conflict of two worldviews. The antipodes in the novel are Yevgeny Bazarov (the spokesman for the idea of ​​democrats-raznochintsev) and Pavel Petrovich Kirsanov (the central defender of the worldview and way of life of the liberal nobility). The breath of the era, its typical features are felt in the central images of the novel and in the historical background against which the action unfolds. The period of preparation for the peasant reform, the deep social contradictions of that time, the struggle of social forces in the era of the 60s - this is what was reflected in the images of the novel, made up its historical background and the essence of the main conflict. The third type of conflict traditionally singled out in literary criticism is internal or psychological, when a person's desires conflict with his conscience. For example, the moral and psychological conflict of the novel by I. Turgenev "Rudin", which originated in early prose author. Thus, the confessional elegy “One, again one me” can be considered an original preface to the formation of the Rudin storyline, which determines the main character’s confrontation between reality and dreams, falling in love with being and dissatisfaction with one’s own fate, and a significant share of Turgenev’s poems (“To A.S.”, “Confession”, “Did you notice, my silent friend…”, “When it’s so joyful, so tender…”, etc.) as a plot “preparation” future novel. Fourth possible type literary conflict is designated as providential when a person opposes the laws of fate or some deity. For example, in the grandiose, sometimes difficult for the reader "Faust", everything is built on a global conflict - a large-scale confrontation between the genius of knowledge Faust and the genius of evil Mephistopheles.

№9The composition of a literary work. External and internal composition.

Composition (from Latin composition - arrangement, comparison) - the structure of a work of art, due to its content, purpose, and largely determining its perception by the reader

Distinguish between external composition (architectonics) and internal composition (narrative composition).

To features external compositions include the presence or absence of:

1) dividing the text into fragments (books, volumes, parts, chapters, acts, stanzas, paragraphs);

2) prologue, epilogue;

3) applications, notes, comments;

4) epigraphs, dedications;

5) inserted texts or episodes;

6) author's digressions (lyrical, philosophical, historical)Author's digression - an extra-plot fragment in a literary text that serves directly to express the thoughts and feelings of the author-narrator.

Internal

The composition of the narrative is the features of the organization of the point of view on the depicted. When characterizing the internal composition, it is necessary to answer the following questions:

1) how the speech situation is organized in the work (who, to whom, in what form the speech addresses, whether there are narrators and how many of them, in what order they change and why, how the speech situation organized by the author affects the reader);

2) how the plot is built (linear composition, or retrospective, or with elements of a retrospective film, ring, plot frame; reportage type or memoir, etc.);

3) how the system of images is built (what is compositional center- one hero, two or a group; how the world of people (main, secondary, episodic, off-plot / off-stage; twin characters, antagonist characters), the world of things, the world of nature, the world of the city, etc. are related);

4) how individual images are built;

5) what compositional role is played by the strong positions of the text-literary work.

No. 10 Speech system thin. works.

The narration can be:

FROM THE AUTHOR (objective form of narration, from the 3rd person): the apparent absence of any subject of narration in the work. This illusion arises because in epic works the author does not directly express himself in any way - neither through statements on his own behalf, nor through the excitement of the tone of the story itself. The ideological and emotional comprehension is expressed indirectly - through a combination of details of the subject representation of the work.

FROM THE PERSON OF THE NARRATOR, BUT NOT THE HERO. The narrator manifests himself in emotional statements about the characters, their actions, relationships, experiences. Usually, the author assigns this role to one of the secondary characters. The narrator's speech gives the main assessment of the characters and events in a literary and artistic work.

Example: " Captain's daughter» Pushkin, where the story is told on behalf of Grinev.

The form of narration in the first person is SKAZ. The narrative is built as an oral story of a specific narrator, equipped with his individual linguistic properties. This form allows you to show someone else's point of view, including one that belongs to another culture.

Another form is EPISTOLAR, i.e. letters of the hero or correspondence of several persons

The third form is MEMOIR, i.e. works written in the form of memoirs, diaries

The personification of narrative speech is a powerful, expressive tool.

№ 11 character system like component literary work.

When analyzing epic and dramatic works, much attention has to be paid to the composition of the system of characters, that is, the characters in the work. For the convenience of approaching this analysis, it is customary to distinguish between main, secondary and episodic characters. It would seem that a very simple and convenient division, but meanwhile in practice it often causes bewilderment and some confusion. The fact is that the category of a character (main, secondary or episodic) can be determined by two different parameters.

The first is the degree of participation in the plot and, accordingly, the amount of text that this character is given.

The second is the degree of importance this character to reveal the sides of the artistic content. It is easy to analyze in cases where these parameters coincide: for example, in Turgenev’s novel Fathers and Sons, Bazarov is the main character in both respects, Pavel Petrovich, Nikolai Petrovich, Arkady, Odintsova are secondary characters in all respects, and Sitnikov or Kukshina are episodic.

In some artistic systems, we encounter such an organization of the system of characters that the question of their division into main, secondary and episodic loses all substantive meaning, although in some cases differences between individual characters remain in terms of plot and volume of text. No wonder Gogol wrote about his comedy The Inspector General that “every hero is here; the course and course of the play produces a shock to the whole machine: not a single wheel should remain as rusty and out of business. Continuing further the comparison of the wheels in the car with the characters of the play, Gogol notes that some characters can only formally prevail over others: “And in the car, some wheels move more noticeably and more strongly, they can only be called the main ones.”

Quite complex compositional and semantic relationships can arise between the characters of the work. The simplest and most common case is the opposition of two images to each other. According to this principle of contrast, for example, the system of characters in Pushkin's Little Tragedies is built: Mozart - Salieri, Don Juan - Commander, Baron - his son, priest - Walsingham. A few more difficult case, when one character is opposed to all others, as, for example, in Griboedov's comedy "Woe from Wit", where even quantitative ratios are important: it was not for nothing that Griboyedov wrote that in his comedy "twenty-five fools per one smart person." Much less often than opposition, the technique of a kind of “duality” is used, when the characters are compositionally united by similarity; Gogol's Bobchinsky and Dobchinsky can serve as a classic example.

Often, the compositional grouping of characters is carried out in accordance with the themes and problems that these characters embody.

№ 12 Actor, character, hero, character, type, prototype and literary hero.

Character(character) - in a prose or dramatic work, the artistic image of a person (sometimes fantasy creatures, animals or objects), which is both the subject of action and the object of the author's research.

Hero. The central character, the main one for the development of the action, is called the hero of a literary work. Heroes who enter into an ideological or everyday conflict with each other are the most important in the character system. In a literary work, the ratio and role of the main, secondary, episodic characters (as well as off-stage characters in a dramatic work) are determined by the author's intention.

Character- a personality warehouse formed by individual traits. The set of psychological properties that make up the image literary character, is called a character. Embodiment in a hero, a character of a certain life character.

Type of(imprint, form, sample) is the highest manifestation of character, and character (imprint, distinguishing feature) is the universal presence of a person in complex works. A character can grow out of a type, but a type cannot grow out of a character.

Prototype- a certain person who served as the basis for the writer to create a generalized image-character in a work of art.

Literary hero- this is the image of a person in literature. Also in this sense, the concepts of "actor" and "character" are used. Often, only more important actors (characters) are called literary heroes.

Literary heroes are usually divided into positive and negative, but such a division is very conditional.

Actor artwork - character. As a rule, the character takes an active part in the development of the action, but the author or one of the literary heroes can also talk about him. Characters are main and secondary. In some works, the focus is on one character (for example, in Lermontov's "A Hero of Our Time"), in others, the writer's attention is drawn to a number of characters ("War and Peace" by L. Tolstoy).

13. The image of the author in a work of art.
The image of the author is one of the ways to realize the author's position in an epic or lyric-epic work; a personified narrator, endowed with a number of individual characteristics, but not identical to the personality of the writer. The author-narrator always occupies certain spatio-temporal and evaluative-ideological positions in the figurative world of the work, he, as a rule, is opposed to all characters as a figure of a different status, a different spatio-temporal plan. A significant exception is the image of the author in the novel in verse "Eugene Onegin" A.S. Pushkin, either declaring its closeness to the main characters of the novel, or emphasizing their fictitiousness. The author, unlike characters, cannot be either a direct participant in the events described, or an image object for any of the characters. (Otherwise, we may not be talking about the image of the author, but about the hero-narrator, like Pechorin from M. Yu. Lermontov.) Inside the work, the plot plan is represented by a fictional world, conditional in relation to the author, which determines the sequence and completeness of the presentation of facts, the alternation of descriptions, reasoning and stage episodes, the transfer of direct speech of characters and internal monologues.
The presence of the image of the author is indicated by personal and possessive pronouns first person, personal forms of verbs, as well as various kinds of deviations from the plot action, direct assessments and characterizations of characters, generalizations, maxims, rhetorical questions, exclamations, appeals to an imaginary reader and even to characters: “It is very doubtful that the hero we have chosen will please the readers. if you don’t like it, this can be said in the affirmative ... ”(N.V. Gogol,“ Dead Souls ”).
Being outside the plot action, the author can handle both space and modernity quite freely: he can freely move from one place to another, leave the “actual present” (time of action), or delve into the past, giving the background of the characters (the story about Chichikov in the 11th chapter “Dead Souls”), or looking ahead, demonstrating their omniscience with messages or hints of the immediate or distant future of the heroes: “... It was a redoubt that did not yet have a name, then it received the name of the Raevsky redoubt, or the Kurgan battery. Pierre paid no particular attention to this redoubt. He did not know that this place would be more memorable for him than all the places of the Borodino field ”(L. N. Tolstoy,“ War and Peace ”).
In literature, the second half. 19th–20th centuries subjective narrative with the image of the author is rare; it has given way to "objective", "impersonal" narration, in which there are no signs of a personalized author-narrator and the author's position is expressed indirectly: through a system of characters, plot development, with the help of expressive details, speech characteristics of characters, etc. P.

14. Poetics of the title. Title types.
Title- this is an element of text, and a completely special, "advanced" one, it occupies a separate line and usually differs in font. The title is impossible not to notice - like a beautiful hat, for example. But, as S. Krzhizhanovsky figuratively wrote, the title is "not a hat, but a head that cannot be attached to the body from the outside." Writers are always very serious about the titles of their works, it happens that they are remade many times (you probably know the expression "heading pain"). To change the title means to change something very important in the text...
By the title alone, you can recognize the author or the direction to which he belongs: the name "Dead Moon" could only be given to the collection by hooligan futurists, but not A. Akhmatova, N. Gumilyov or Andrei Bely.
Without a title, it is completely incomprehensible what the poem is about. Here is an example. This is the beginning of B. Slutsky's poem:

Didn't get knocked off my feet. drew with a pen,
Like a swallow, like a bird.
And - do not cut down with an ax.
You won't forget and you won't forgive.
And some new seed
Carefully grow in your soul.

Who ... "didn't knock me off my feet"? It turns out, Alien line. That is the name of the poem. Whoever reads the title perceives the beginning of the poem with completely different eyes.

In poetry, all the facts of the language and any "little things" of the form become significant. This also applies to the title - and even if it ... is not. The absence of a title is a kind of signal: "Attention, now you will read a poem in which there are so many different associations that they cannot be expressed in any one word ..." The absence of a title indicates that a text rich in associations is expected, elusive to define.

Subject descriptive titles - titles that directly, directly designate the subject of description, in a concentrated form reflecting the content of the work.

Figurative-thematic- titles of works that communicate the content of what is to be read, not directly, but figuratively, by using a word or a combination of words in a figurative sense, using specific types of tropes.

Ideological and characteristic- titles of literary works, indicating author's assessment described, to the main conclusion of the author, the main idea of ​​the entire artistic creation.

Ideological-thematic, or polyvalent titles are those titles that indicate both the theme and the idea of ​​the work.

Between those depicted in the work active forces: characters, character and circumstances, various aspects of character. Directly revealed in the plot, as well as in the composition. It usually forms the core of a theme and problematic, and the nature of its resolution is one of the determining factors of an artistic idea. Being the basis (and "energy") of the developing action, the artistic conflict in its course is transformed in the direction of the climax and denouement and, as a rule, finds its plot resolution in them.

Big Encyclopedic Dictionary. 2000 .

See what "ARTISTIC CONFLICT" is in other dictionaries:

Artistic conflict, artistic conflict, confrontation, contradiction between the character and circumstances depicted in the work by the acting forces, several characters or different sides of one character; in structure...

- (artistic collision), confrontation, contradiction between the acting forces depicted in the work: characters, character and circumstances, various sides of character. Directly revealed in the plot, as well as in ... ... encyclopedic Dictionary

CONFLICT ARTISTIC- (lat. conflictus clash, disagreement, dispute) direct or indirect reflection of life contradictions by the claim. K. x., constituting in its content the scope of subjects, can be present in all types of art, including ... ... Aesthetics: Dictionary

ARTISTIC CONFLICT (ARTISTIC COLLISION)- - confrontation, contradiction between the acting forces depicted in the work: characters, character and circumstances, various sides of character. K. x. - a multifunctional and multi-layered category, which is a means of ... ...

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CONFLICT TRADITIONAL ARTISTIC- See Conflict classic art... Encyclopedic Dictionary of Psychology and Pedagogy

I Conflict (from lat. conflictus clash) clash of opposing interests, views, aspirations; a serious disagreement, a sharp dispute leading to a fight. II Artistic conflict, artistic conflict, ... ... Great Soviet Encyclopedia

BUT; m. [lat. conflictus] 1. The clash of opposite sides, opinions, forces; a serious disagreement, a sharp dispute. Family k. Enter into k. with others. Settle to. Avoid conflict. social conflicts. 2. Complication in international ... ... encyclopedic Dictionary

Conflict is a contradiction, a collision (collision) between the groups of actors or individual characters depicted in the work, the hero and society (environment), the confrontation of characters, ideas, moods.

The conflict finds expression in the struggle between the new and the old, the social and the antisocial. So, in A. N. Ostrovsky's play "Thunderstorm", the main conflict is an acute contradiction between the obsolete principles of the house-building life and progressive aspirations for the free manifestation of natural human rights; a sharp clash of social routine, spiritual enslavement, inertia, ignorance with human dignity, educational and democratic views. The opposing forces in the work are most clearly represented in the images of Wild, Kabanikh, Feklusha, on the one hand, Katerina and Kuligin, on the other. At the same time, the main conflict of the Thunderstorm, its development depends on private conflicts that are subordinate to the main one: Katerina - Kabanikha, Katerina - Tikhon, Kuligin - Wild, Boris - Wild, etc.

Conflicts are generated by certain socio-political, historical, living conditions, differences in the characters of the characters, their life situation and views. That is why this or that work of art is distinguished by a kind of conflict.

Conflicts are different:

• a) social - clash of interests of certain social groups. For example, in novel II. G. Chernyshevsky "What to do?" confrontation between "old" ("vulgar") and "new" people, i.e. people with bourgeois-petty-bourgeois views on life (Rozalskaya, Storeshnikov, Julie, and others), and people preparing to build a new, truly human, socialist society that is "bright and beautiful" (Rakhmetov, Lopukhov, Kirsanov, Vera Pavlovna);
• b) moral - for example, in the novel by V.P. Astafyev "The Sad Detective" the conflict consists in the collision of the main character - the operative worker Leonid Soshnin, a kind, conscientious person - with the outside world, in which moral norms have shifted, ethical rules have been forgotten;
• c) psychological - the struggle of conflicting thoughts and feelings in the soul individual person. For example, the motive for the behavior of the hero of V. G. Rasputin's story "Live and Remember" - Guskov, who deserted from the army - becomes a constant fear of exposure, fear of death;
• d) philosophical - for example, the dispute between Jesus Christ and Pontius Pilate in Ch. Aitmatov's novel "The Scaffold";
• e) socio-historical - for example, the clash of Chatsky with Famusov's Moscow, a man of advanced convictions - with an inert, unspiritual, unprincipled social environment appears in Griboyedov as a conflict of the main tendencies and forces opposing in Russian history;
• f) the conflict of good and evil, enlightenment and ignorance (in the works of classicism, for example, in "Undergrowth" by D. I. Fonvizin);
• g) intimate-personal - the struggle between personal desires and public duty. For example, in the character of Andriy from N.V. Gogol's story "Taras Bulba" there is a conflict between love for the Motherland and love for a woman;
• h) conflict between character and circumstances. For example, the attitude of the heroes of the play by A.P. Chekhov to the fate of the cherry orchard;
• i) conflict of characters, i.e. heroes belonging to the same social environment, but different in character. For example, a clash between Troekurov and old Dubrovsky, or between Grinev and Shvabrin;
• j) conflict of opposing sides of the same nature. For example, the struggle in Katerina's soul between a passionate impulse for personal freedom and happiness and her own ideas about morality, formed under the influence of the "dark kingdom", in particular, the religiously conscious law of conjugal duty.

Conflicts can also be industrial, family, ethical, religious, between "fathers" and "children", etc.

The conflict is expressed most clearly and sharply in a dramatic work. The conflict in the play is the spring that drives the action and makes it show character (for example, the main engine of the stage action of N.V. Gogol's comedy "The Inspector General" is the fear of the "owners" of the city before the auditor). The presence of a conflict is one of the most important conditions for a drama in which life's contradictions are revealed with particular tension.

The conflict directly develops in the plot and composition. The development of the conflict is the basis of the plot in a literary work, determines its composition.

Significant changes in composition, plot development dramas, A.P. Chekhov and M. Gorky (each in his own way) introduced into her stage movement. New characters, new types act in their plays, and if representatives of the former social groups and classes also appear, they are revealed differently. Symbolic, allegorical, associative overtones are included in the fabric of the play, the accompaniment (song, musical, noise) is significantly enhanced. In "The Cherry Orchard" and "At the Bottom" we do not find a consistent development of the plot with traditional components - exposition and plot. Plays begin immediately with action, and in the process of stage movement, each character reveals himself “on his own”, through actions, attitudes towards other persons, events, and his own speech. The first acquaintance with the main characters occurs immediately, in the opening scenes. Attention is paid not only to the system of images, but also to the genre characteristics and the complicated plot and compositional structure of these works. Each play by A.P. Chekhov and M. Gorky was innovative in its own way. The denouement plays a special role in them: it is the final scenes that, as a rule, help to define the idea of ​​the work, to clarify the position of the author.

Note the originality of the composition of "The Cherry Orchard". In the center are not heroes and not events, but a garden, to which a different attitude of the actors is manifested, their experiences are correlated with the garden.

One storyline is associated with the nobility leaving the stage (Ranevskaya, Gaev and their entourage) and the bourgeoisie that came to replace it in the person of Lopakhin. This conflict is resolved in favor of the triumphant Lopakhin, the "predatory beast" by Petya Trofimov's definition. Other storyline: romantic dream young heroes are faced with the practicality of Lopakhin, by whose will a wonderful cherry orchard is cut down. "The whole of Russia is our garden" - this is how Petya and Anya dream.

The original composition merges organically with genre originality plays. Why is the play called a lyrical comedy? First, comic situations and comic characters are obligatory in comedy. (Here it is Charlotte, Yasha, Epikhodov, Simeonov-Pishchik.) Secondly, the most important element of the dramatic genre is pathos. The pathos of this play is not dramatic, but comic-lyrical. The presence of the author is constantly felt, his mocking, sometimes sympathetic-sad attitude towards the characters.

The individualization of the speech of characters, such as Gaev, is masterfully used. Parody is one of the most important elements of comedy. Lakey Yasha is an expressive and vivid parody. The originality, unique coloring of Chekhov's plays creates a subtext - a second meaning, a second sound of the phrase, which the author subtly puts into the mouth of his characters, into the musical and noise design.

In the play" The Cherry Orchard"lyrical sadness, feelings, memories are enhanced by the accompaniment. The old wardrobe is unlocked with a ringing; early in the morning, Varya listens to the singing of starlings coming from the garden; the constant companion of the company is the guitar played by Epikhodov. Then we will hear the sound of a broken string. At night we hear a howl the wind, the beat of the watchman's beater. Not only do they dance and cry to the orchestra, to the music a new owner, the merchant Lopakhin, enters the old possessions of the nobles. And, finally, we hear the sound of an ax. They cut down the cherry orchard. appropriate mood. Special meaning the play has stage directions.

Thus, we see that the play "The Cherry Orchard" is original and innovative in genre, plot, composition, and ways of revealing characters. Analysis of these sides dramatic work will enable students to comprehend the well-known turn in dramaturgy at the beginning of the 20th century, to understand artistic construction plays in a new way.

Each work of art reflects a certain facet of reality, some life situation In other words, part of a whole. But the originality of literature lies in something that it does not present us with an exact cast of reality, but tells us about facts, tells about human characters, reveals individuality in its generalized, typified form. There can be no question of any compositional constructions if literature does not generalize vital material. After all, the writer selects the material for his work, guided by certain creative criteria and ideological views, and distributes it in the novel according to his ideological and artistic positions.

The compositional structure of a work of art is inextricably linked with the plot. The life material selected and comprehended by the writer begins to live in the work according to the laws of plot and compositional construction. The plot is a system of events that make up the content of a literary work, the composition does not provide the construction, organization of all elements of the plot.

Creating images, following the laws of plot and compositional construction, the writer puts an ideological and aesthetic meaning into them. Good composition reveals the versatility of images and events described; understanding the relationship between the characters, the dialectic of the life process allows you to create a plot. A perfect composition contributes to the reconstruction in the work of many human destinies, typical characters in typical circumstances. And finally, the composition, linking all parts of the work into a single whole, allows avoiding schematism, illustration, and narrative.

The harmonious correlation of form and content is a single process and stems from the ideological and aesthetic position of the writer. The form is always meaningful and has a huge impact on the ideological content of the work.

Human morals, characters, destinies are shown in the novel against the background of various events; it takes a great deal of skill on the part of the writer to tell a single story, taking into account a number of storylines. It is in the compositional structure of the work that the artist's mastery, his sense of proportion, and ability to master the material are most fully manifested.

It should be noted that even a ideologically meaningful novel with beautifully written portraits and landscapes will not be able to win the reader's interest if it turns out to be unsatisfactory in terms of composition and plot. The characters of such a novel will appear static, as in a photograph, the details will perform the function visual aid. And, conversely, no beautiful composition, no solid plot will be able to breathe life into a work that is obviously defective in ideological terms. As a composition core epic work the plot allows the writer to bring diverse material to a common denominator. While the composition embodies the "logic of the development of the theme", the plot determines the "logic of the development of images" Fedin K. Writer, art, time. - Tashkent, 1957. - p. 331.

In artistically impeccable works, the plot reflects typical characters in typical circumstances. M. Gorky defines the artistic components of the plot in this way: “Connections, contradictions, sympathies, antipathies and, in general, the relationship of people - the history of the growth and organization of a particular character, type” Gorky M. Collected works in 30 volumes. - T.27. - M., 1953. - S.215 ..

The clashes of the characters' characters are determined by the polarity of their aspirations. The artistic conflict contained in the plot sets the events in motion. The contradictions of the heroes of the work are determined by the contradictions of reality itself. The process of development of any relationship is always full of contradictions, clashes of various interests. The more intensely the action develops in the work, the brighter the individuality and originality of the characters are manifested. That is why by the term "plot" we mean a conflict-figurative form of reflection of life processes. And only the conflict, in which artistically full-fledged images participate, contributes to the integrity of the plot.

The tense conflict that is the essence of the plot requires that the most controversial aspects of the relationship between the characters be brought to the fore. In the works of the writer, who strives only for an interesting "presentation" of material, external events prevail, while a true work of art is called upon to reflect life in all its contradictions.

The writer has the right to interpret reality in different ways. He can build his plot on the basis of events that really took place in history, or the events recreated in the work may be the fruit of the author's imagination. But in this and other cases, creating a plot, resorting to various artistic techniques, the writer should always strive to display the truth of life, the truth of characters, social relations.

Creating a work of art, the writer groups life material enriching it around the central event. For example, in the epic War and Peace by L. Tolstoy, all the grandiose life material is grouped around such a historical fact as Napoleon's offensive against Russia. This event, which is the core of the work, organizes the entire system artistic images epics, contains typical life conflicts, clashes of human characters, social and social groups.

Conflicts in works can be of the most diverse nature. This is the contradiction between people and personal, everyday ground. These are socio-political conflicts between national groups, and sometimes entire peoples. Sometimes, in the same work, we are talking about social conflicts; another work is a whole tangle of conflicts.

The nature of the conflict in a work of art is determined by the material taken from life. It can be psychological (a conflict of conflicting thoughts and feelings of the hero), social (clash of interests of various social groups), production (struggle for new forms of labor organization), family (contradictions in family relations).

Whatever facet of reality the writer explores, he strives to truthfully and artistically convincingly show the struggle of the new with the old, the progressive with the backward. The organic unity of the plot and composition contributes to the fact that the actions of all the characters are logically motivated and obey the main ideological plan. That is why even the slightest changes in plot collisions also entail changes in the compositional structure.

As events unfold and certain relationships between the characters begin to emerge, their characters, thoughts and aspirations, mores. In the artistic interpretation of life material, there are a variety of techniques, for example: chronological dynamics, parallelism, associative thinking, an appeal to the past, etc., but in all cases, the so-called climax of the development of events in the work and their denouement is preserved.

The plot inversion can also be different. The course of events may not begin with the outset of the conflict, but with its denouement or climax. All this is natural. But no matter how the plot is built, it should always be aimed at truthfully and convincingly portraying the character of the characters.

Typically, the genre of a novel requires multidirectional storylines and their interconnection, the presence on the pages of a work of a large number of heroes of both a dramatic and comedic nature, large-scale landscape sketches, the use of various flashbacks - all this is connected not only with the development of the plot, but also with the compositional construction of the work. Thus, the same regularity emerges: the originality of the selection of material also determines the principles of compositional construction.

However, in a number of novels, the compositional structure is based on other principles: the writer does not single out any particular facet of reality, any specific character, but carefully observes the course of events, draws in detail and scrupulously the actions, thoughts and aspirations of the characters. Reception of detail introduces a peculiar effect into the work. The interconnected details acquire importance and form the integrity of the work.

Thus, the ideological and artistic richness of the work, its versatility, versatility are embodied in its plot and compositional construction. In this regard, the Uzbek novels of the 70s provide rich material for reflection and conclusions.

In the novel by H. Gulyam "Immortality" ("Mangulik") Gulyam H. Immortality (Mangulik). Novel. - Tashkent, 1977. -S. (in Uzbek). the contradictory and difficult years in the life of our people are being recreated. The event itself, which underlies the development of the plot, determines the intense socio-psychological orientation of the entire work. Brutally murdered by unknown people Abidjon Akhmedov is the first teacher of the new Soviet school opened in Khujand, and Abdullazhon Aliyev, also a teacher, was recently sent to this school. The novel begins with these dramatic events. An elderly, experienced Chekist Mahkam Maksudov finds himself in a difficult and difficult position. There is no doubt that there are enemies hiding in the village where the tragedy took place. Mahkam Maksudov takes a desperate and risky step: he sends his son, the young Chekist Masud, to the village of Khojakent as a teacher. This fact predetermines all psychologism and in many respects the amusingness of the events that develop in the future.

Thus, the writer precedes the appearance of the protagonist with a tragic situation, designed to determine the dynamics and drama of the plot.

Although the plot of H. Gulyam's novel "Immortality" in many ways reminds us of an adventure-detective work, the writer did not strive for entertaining events. But life itself and the circumstances in which his heroes find themselves were full of surprises and sharp collisions. The author traces the spiritual evolution of his characters, and, accordingly, the events in the novel are depicted as if through the prism of their feelings and consciousness.

The protagonist of the work - Masud - is a romantic image of a strong-willed, courageous enthusiast. He is at the center of complex events. The conflict of the work forms irreconcilable contradictions of two antagonistic social forces: supporters of the new life and its ardent opponents. Each of the representatives of both social poles is absolutely sure that he is right, he is ready to fight resolutely for the victory of his positions and ideals, and, if necessary, to give his life for them. Before us appears a whole gallery of images that embodied in their characters and destinies the patterns of the era itself. Can hardly sympathize Soviet power Imprisoned Maksut Norkhodzhabai, whose property was completely confiscated, or Salokhiddin-kari, who lost his savings, from whom all his wives leave. These people - "dragons" of the village are under suspicion of the new government. We also get acquainted with Kobil - a karvan, whose daughter - Zamira - connects her fate with Sherkhodzha. Sherkhodzha himself, having lost his father's wealth, feels that his life is in danger and is ready to fight for his rights not for life, but for death. In many ways, the entertaining, tense plot of the novel makes it possible to reveal the structural and compositional originality of this work.

Just as life develops out of contradictions between positive and negative forces, in literary creativity when recreating artistic truth, it is also necessary to take into account the correlation and struggle of polar opposite forces. Writing out a whole gallery of negative images, Hamid Ghulam is guided by the same creative criteria as when creating positive characters. Thus, the writer attaches great importance to the depiction of the social life of his bad guys. Undoubtedly, when creating a central negative image Sherkhodzhi, helped the writer in many ways artistic experience, accumulated by him when writing the novel "Light" ("Mashal") and, in particular, the image of Buranbek. With all his vigorous activity, painful experiences, internal moral and psychological collisions, Sherkhodzha embodies an integral type of socially negative hero. We are closely following the struggle between Masoud and Sherkhodzhi, these antipodes in their views, beliefs and principles. Two parallel storylines are created, as it were, which ultimately reveal the ideological and artistic essence this work. The method of parallelism used in the construction of the plot ensures the compositional integrity of the work.

Some heaviness of Sherkhodzhi's character in comparison with the image of Masoud gives him, nevertheless, vitality. Naturally, the enemy of the Soviet power, Sherkhodzha, offended by it, as required by the development of the plot, is always secretive, does not tell anyone about his true intentions, and never openly shows his feelings. The writer managed to deeply and truthfully convey the psychological state of his hero, and therefore the image of Sherkhodzhi rises to the level of a pronounced artistic type.

The image of Massoud also makes a great impression, which, as it were, concentrated in himself the features of fighters for a new life. But in the dramatic collisions in which this character participates, in his actions and actions, some kind of flaw is often felt, which cannot be said when it comes to Sherkhodzh. It seems that the point here is that the writer sometimes idealizes his hero too much, and sometimes simply simplifies him. Somewhat far-fetched are, for example, the episodes in which Massoud wins the fight over the recognized strong man Askar-palvan, sings the song best of all, enters into a dispute with the sheikh and emerges victorious.

The author managed, as already noted, to create a fascinating and inspiring narrative. Each image has its place in the development of the plot, is an organic integral part in the composition of the work. With its softness, human warmth, the image of Sherkhodzhi's sister, Dildor, attracts. Masood is initially suspicious of Dildor. And there is every reason for this: Vedas' father Dildor was imprisoned, the family's property was confiscated, her brother is an ardent opponent of Soviet power. It would seem that the girl should have become embittered, withdrawn into herself. But acquaintance with Masoud, who is convinced of the correctness of the path he has chosen, opens the eyes of Dildor, who cannot be indifferent to the vile deeds of her brother Sherkhoji.

The writer skillfully writes out the images of episodic characters. Such, for example, is the image of Zamira, who connected her fate with the fate of Sherkhodzha. Zamira hates Soviet power and fully shares the anti-Soviet positions of her lover. The author convincingly reveals the hidden feelings and thoughts of Zamira, who knows how to love passionately and hate no less passionately. The episodic image of Tamara is also remembered, written out vividly and artistically convincingly. Both Zamira and Tamara are living characters typical of their time.

Unfolding before us a picture of the formation of the Uzbek government in Uzbekistan, H. Ghulam often achieves deep authenticity in depicting that already distant, difficult time. But sometimes he also has poorly described scenes. It is difficult, for example, to believe in the scene in which Salima, having penetrated into female half Sheikh's house, easily enlists his wives' applications for divorce. The reader cannot believe the illogical behavior of Fotima bibi, who calmly and serenely looks at Dildor, slashed with a knife. After all, no matter how ignorant, cruel and merciless she was, no matter how much malice she harbored in her soul against the Soviet regime, maternal feelings in her could not die out completely. It is all, as it were, woven from one malice and hatred, which, undoubtedly, impoverishes this image. In the scene, which was discussed above, in our opinion, it was necessary to place accents in a different way or present it from a different angle. The development of the plot here, in a certain sense, was damaged.

In the novel, sometimes there are inappropriate and unnecessary details that violate the compositional integrity of the work, the logic of the development of the action. It is not clear, for example, why it was necessary for a writer depicting the complex and contradictory atmosphere of the 1920s, who arrived in the village, the representative of Tolibjon Obidi, to immediately settle in the house of the sworn enemy of the new government, Salakhiddin Kari. The episode with the wedding of Malijan and Nozik is also artistically unreliable, when Maksud and his friends easily manage to persuade Muradkhoja (the father of one of the wives of Salakhiddin Kari, who is dissatisfied with the fact that his daughter divorced her husband) to leave their grievances and come to the wedding. It is also illogical that Nozik's brother, Javlonkhodzha, in the midst of the wedding, fires a gun at Masuda. But the most important thing is that these episodes do not serve to reveal the ideological intent of the work.

At the end of the story, events reach their climax. In the village of Khojent, the ill-fated hornet's nest is being destroyed by the roots. The death of Massoud plunges Khujand into mourning, but the ideas for which he selflessly fought did not die. Massoud, as it were, passed on his baton to his followers, who bring enlightenment to the masses. The struggle for the cause of enlightening the people is interpreted by the writer as the most important part of the life of society.

The ideological concept of the work is especially successfully implemented in the storyline of Masud - Sherkhodzha, written out with great care and artistic authenticity. Although sometimes compositional errors break the course of the novel in some places, on the whole it makes a great emotional impression. The characters that inhabit the novel, relatively speaking, are divided into two camps: one of them is grouped around Masoud, while the others around Sherkhodzhi, which creates a single storyline and ensures the compositional integrity of the novel, contributes to a better identification of its ideological and artistic design.

In another novel by Hamid Ghulam on modern theme“The Aroma of Violets” (“Binafsha Atri”), we get acquainted with somewhat different methods of the character of the characters, plot construction and composition. If in the novel "Immortality" ("Mangulik") the main character - Masud - appears before us as an already fully formed person, around whom other characters and events are concentrated, then in the novel "The Aroma of Violets" ("Binafsha atri") we will not find the central a character that forms the plot-compositional structure of the novel and the system of its images. The originality of the novel "The Aroma of Violets" is precisely in the fact that the main character is absent in this work. In the novel "Immortality" ("Mangulik"), as we noted, there is a single storyline, and all events and characters that are polar in relation to each other are grouped around the images of Masud and Sherkhodzhi. In the novel “The Aroma of Violets” (“Binafsha Atri”), there is no epic scale of events. This work is built on separate independent storylines and in compositional terms resembles the novel by Askad Mukhtar "Chinor". Each of the characters in The Aroma of Violets forms an independent storyline that interacts with other storylines in the novel. Aziz, Ahmajan, Dildora and Nafisa are such “supporting” images in the novel. The subject of artistic comprehension is the attitude of the characters to work, love, the problems of kindness, humanity. The writer strives to explore the spiritual and moral character of our contemporaries. allegorical image violets, a leitmotif running through the whole work, serve as a symbol of beauty in life. The criterion of the spiritual and intellectual level of the heroes is their attitude to beauty, which is clear from the words of Dildor: “Violet is not only a flower ... Violet is a symbol of tenderness, grace. Aroma of the Human Soul” Ghulam H. Aroma of Violets (“Binafsha Atri”). Roman - Tashkent, 1975. - P.24 (In Uzbek). The translation of the quoted passages is ours. Subsequent citations are from the same edition. Pages are indicated in the text.

One of the most successful, in our opinion, storylines is the line associated with the image of Dildor. The writer shows his heroine in different guises, reveals to us her inner world, her aspirations and dreams. Dildor dreams of becoming a doctor and achieves his goal; she dreams of falling in love with a modest, hard-working young man, to associate herself with him family ties- and she succeeds. At first glance, it seems that everything in her life is going well and well. Dildor believes that the most important condition for a prosperous family life should be truthfulness, sympathy, honesty, mutual understanding between spouses; but it is in the family that an unexpected blow awaits her. The most hated for her lies and falsehood creep out. Dildor learns that Ahmajan is cheating on her love, so revered by her. But she does not lose her self-control and dignity, she tries to find solace in her work. Before us is a morally beautiful and strong woman. From high developed sense responsibility, she refers to her duty as a healer, tirelessly helping the suffering and healing the sick. Realizing that her patients need a new hospital, Dildor herself, rolling up her sleeves, begins to help the builders. Its activities are based on the principle: “Yes, cotton is important, very important, but human health is even more important” (p. 33). Her active, active nature never knows peace. We have a living image modern woman hard fate, but happy because it benefits people. As already noted, the originality of the plot and compositional principles underlying the novel "The Aroma of Violets" lies in the fact that the writer does not single out any one hero, none of the heroes prevails one over the other. It is noteworthy that although another heroine - Nafisa - appears on the pages of the novel much later than Dildor, many of her character traits, her activities are similar to the character and activities of Dildora. Here, the principle of parallelism is revealed, which is used by the writer in the plot-compositional construction of the work. Feature, inherent in the heroes of the novel "The Aroma of Violets", is their active, active aspiration to achieve their goals. They may have a different past, their conditions and environment are different, they may have peculiar character traits inherent only to a particular hero, they have different destinies, but there is something that unites them - the activity of their nature.

A significant place in the novel is given to the depiction of the fate of Aziz and Ahmadjan. At first, both heroes have much in common both in their social position and in the way their lives develop. One graduated from the Agricultural Institute, defended his diploma. The other one defended his Ph.D. thesis on an agricultural topic. Both are agronomists. Both have some life experience behind them. Served in the army. Both, leading cotton-growing brigades, experienced many difficulties in their work. And in the end, both love the same girl (Dildor). Both are appointed directors of the newly organized state farms in Mirzachul. Their subsequent life, their relationship to love, family, work are depicted in detail by the writer. But for all the commonality of their “starting positions,” Ahmadjan and Aziz are completely different people. Ahmadjan would be hard to name strong-willed person. He is easily influenced by bad influences, does not have his own "I", forgets about his duty as a leader, cheats on himself, misses his happiness. As a result, he puts himself outside the team and loses the support of friends. No, Ahmajan is not made up entirely of negative traits. Being a foreman, he skillfully drives a tractor, works in the field, works selflessly, forgetting about his health, not thinking about sleep and rest. And at the same time, this good, honest worker failed to maintain his authority either at work or in his family. The author sets himself the goal of portraying in the image of Akhmadzhan a complex, contradictory personality, not without human shortcomings.

Another hero of the novel - Aziz - is also far from the image of an ideal hero. Nothing human is alien to him. But unlike Ahmadjan, Aziz does not lose his composure and determination at the decisive moments of his life. His weakness is that he failed to arrange his personal life, missed his much-desired happiness. His love for Nafisa is serious and deep, but he does not fight for his beloved. Later, he deeply regrets this, but the time has already passed - Nafisa has married the swindler Karim. Aziz accuses Nafisa of greed, infidelity and frivolity: “And if so, then it is unlikely that she will be able to fulfill her duty as a mother and wife!” (p. 21) Saying this, Aziz tries to calm himself, but every time he remembers Nafis, “his heart beats faster and takes his breath away” (p. 20).

Aziz experiences a lot of mental anguish and torment before he reaches his happiness. In his youth, without truly appreciating love, he, having boiled in the cauldron of life, begins to understand that love in his life has a deep, all-encompassing meaning; the hero comes to the conclusion that "after all, love is not only recognition and a desire to marry." In his opinion, young men, in order to be loved, "must captivate their beloved with their beautiful virtues." And Aziz himself, with his selfless work for the benefit of society, with his nobility and beauty of the soul, finally achieves the reciprocal love of Nafisa.

Aziz's love drama, his striving for happiness, the metamorphoses of his spiritual world to some extent set off, make the features of Ahmadjan more prominent, who, due to his frivolity and short-sightedness, missed his happiness. And in this case, accepting the principle of parallelism in creating images of his heroes and revealing their fates, the author at the same time knows how to endow each of the heroes with specific individual traits inherent only to him, which ultimately determine their fate, their place in the family and public life.

There is another independent storyline in the novel, connected with the image of the chaste, gentle and beautiful Nafisa. Her life is dramatic at first. She is given in marriage to the swindler Karim. Having suffered for several years with an unloved person, she, despite even the threats of Agzam's father, decides to start independent life. The freedom-loving disposition and life itself led this woman to an understanding of the high destiny of man, to the final decision to leave her hated husband. A simple village girl, Nafisa, is convinced that one must “value one's dignity, not forgive even the slightest disrespect for oneself, not to mention insult, keep one's honor unsullied” (p. 98). Once, because of their delicacy, shyness, and, perhaps, because of the passivity of Aziz, Nafisa and Aziz, who fell in love with each other, did not build their family, could not save their happiness, but they sacredly kept the feeling for each other in their hearts .

According to Nafisa, “It would be a crime to talk about this feeling without understanding it, without realizing it, without asking your heart!” (p. 102). It is not surprising that she reproaches Aziz: “Throw love into the fire and silently watch on the sidelines! .. No, no, young man, I don’t need such love. I like the love of the ancients. I need the love of Majnun, who gave his soul for his Layla!..” (p. 103). this is a bitter truth - the cry of a soul tormented by love. The same feeling helps Aziz find his happiness in life with Nafisa.

Although each of the characters has his own destiny, and, accordingly, in the novel he is assigned an independent storyline, the author tries to tie them all together. The technique of parallelism used for the plot and compositional construction of the work, as it were, aligns the ideological - artistic value all the characters and leaves no room for the main character. But it should be noted that the intersection of some storylines, which is not always successful from an artistic point of view, to a certain extent introduces confusion into overall composition works. For example, in the chapter “The Bridge of Love” (“Sevgi Kuprigi”), the chance meeting between Nafisa and Dildor, their long conversation, is logically unfounded. In the chapter “Violet Passion” (“Binafsha ishtiyoki”), Dildor suddenly goes to Aziz (supposedly for the construction of a polyclinic). The reader understands that the author is looking for a move that will somehow inform Aziz that Nafisa is in Yangi-Yer and Dildor chooses the transmitter of this information. Further, the author describes in some detail how Aziz talks with Dildor, and then sees her off, how Ahmajon, who heard about this, vomits and thrashes in jealousy. Everything shows that the writer is trying to give a new impetus to the development of the storyline Ahmadjon - Dildor - Aziz, but it turns out that he is somewhat far-fetched. Motivation of actions, realism and logic in the presentation are not always present in the storyline of Aziz - Nafisa. Some unnaturalness of the novel's event outline, sometimes ignoring the logic factor in the actions of the characters leads to a violation of the plot and compositional harmony of the novel.

In our opinion, in the novel too much attention is paid to details. family life and intimate aspects of the life of heroes. Moreover, these details themselves, as a rule, are descriptive in nature, do not carry a generalizing meaning.

The compositional unity of the novel "The Aroma of Violets" ("Binafsha Atri") is also damaged by the insufficiently natural link between the main storyline and the accompanying ones.

A peculiar plot-compositional construction can be traced on the example of A. Mukhtar's novel "Chinor" Mukhtar A. Platan ("Chinor"). Roman - Tashkent, 1975. (In Uzbek). The translation of the quoted passages is ours. Subsequent citations are from the same edition. The pages are indicated in the text.. "Chinor" is a multifaceted and complex work, the events here are located in an unusual way, at first glance the storylines are not connected, they are scattered. And therefore in the critical literature this work has received various assessments.

In particular, Matyakub Koshchanov in his book "Meaning and Criteria" Koshchanov M. Meaning and Criteria (Manova Meson). - Tashkent, 1974. -p.66-67, as it were, cuts off two branches from the trunk of the novel - the story about Arif and Kamil and writes: "The meaning of the story about Kamil is in no way connected with the content of the story about Arif." “The story of Kamil is connected with other parts of the novel not by its content, but only formally, through the image of Ochil bobo, in such a connection there is little artistic.

... If the series of events were connected primarily by their content, it would be big success novel."

Showing his attitude to the plot construction of his novel "Anna Karenina", L.N. Tolstoy wrote: “Most of all, I am afraid that you will skim the novel with a superficial glance and will not delve into its content. I do not want to dwell on the lack of coherence of content. There is a connection there, delve into it - you will find it ”Yermilov V. Roman L.N. Tolstoy "Anna Karenina". Publishing house of art literature. - M., 1963. - S. 55-56 ..

Similarly, the apparent dispersion of events in the plot of the novel "Chinor" is its originality. The plot-thematic line here, obeying certain patterns, resembles that in oriental fairy tales, in particular, in "A Thousand and One Nights", in Gulkhani's work "Zarbulmasal". The author vividly describes the unanimity of the party worker with the working masses, free love Kamila, the consequences of selfishness, the courage and humanity of an Uzbek doctor, the troubles of bureaucracy. The polycentricity of the plot expands the scope of the novel. The author's attitude to life is easily read in the actions and feelings of the characters.

“Entering a novel like a labyrinth (a fortress with secret passages into Ancient Greece and Egypt - K.S.), - Merime used to say, - it would be nice to have a thread in your hands. Such a red thread for orientation in the "labyrinth" that runs through the entire novel is the images of Ochil buva and Azimjan.

The stories, connected together, like the branches of a plane tree, which is also similar to the family of Ochil Buva, part of which he came to visit, have their own independent ideological plot. The description of the journey of Ochil Buva and Azimjan, which forms the central part of the novel itself, has a conflict, development and culmination of events, its own plot and denouement. Taken as a whole, this work, connected in artistic terms and content, demonstrates to us the greatness and beauty of the Uzbek people using the example of the Ochila Buva family.

At the beginning of the novel, “this 94-year-old elder”, who lived a rich life, Ochil buva, is compared to a plane tree that has grown among the rocks and reminds people of eternity.” After this allegorical comparison, the legend of the plane tree is given, which has become the epigraph to the whole work. The hero - the traveler Ochil buva is also the character of the epigraph. Thus, the writer acquires another degree of freedom in creating an image, in describing the facets of his character.

On the way, Ochil Buva and his grandson reach the Jabay monument. Azimjan asks:

• - Jabi? Grandpa is Jabai, right?
• - Yes, this is the same Jabai who corrected the fatal mistake of your late father, - said Ochil buva and sat down on a stone. He glared at Jabai. Yes, dangerous times have come” (p. 12). He again remembered the tragedy of Azimjan's parents. A new line appears in the plot construction of the work - Bozorkula and Onabibi. Content is now deterministic proverb: “Property and belongings will twist your head, love will enter your soul,” which Bozorkul repeats. Here, with great skill, the death of true love is shown.

The legend of Farabi is an epigraph to the story of Arif Ochilov. The content of the legend is organically connected with the story; here the feeling of beauty in the human heart is sung.

A. Mukhtar is trying, using the image of Arif, to solve problems that are of interest to us. Arif is the enemy of bureaucracy. He believes that a leader should feel people subtly, be humane. Struggling against duplicity, he does not spare his close friend Maria Vasilievna, but in a dispute he does not lose his human appearance. Ochil buwa knows their relationship and says, “They can never be enemies. Even if they swear all their lives, they are like two grains in one shell. No one will be able to quarrel them. The roots of this friendship, eh-heh, son, are deep, oh, how deep…” (p. 116-117). We are also convinced of this by the development of events, the roots of this friendship are connected with the Jizzakh uprising.

Ochil buva and Azimjan come to Camila late in the evening. Looking at the courtyard, surrounded by a clay wall, Ochil buva thinks: “How neat everything is here. Look, she has fruits, and vegetables, and herbs here! Even the broom is growing. But there are no flowers, this is bad” (p. 138). In the eyes of Ochil Buva, Sattar's yard belongs to an insensitive owner, for whom hoarding is above all else. And indeed, getting to know the family better, the reader discovers that Sattar and Camila live without love. It does not even occur to them to caress each other, to be jealous, to joke, to miss each other. Sattar doesn't even wonder if his wife loves him. He considers his family to be worn out. Even when his wife leaves him, he cannot hate her. He looks like an insensitive robot. He transfers his attitude towards Camila to everything else, for him to live means only to follow the formalities.

For Camila, you need a person who can excite her. Difficult years stole her youth. Her relatives are Uchkun and Tulkun. Quiet, measured life Camila prefers suffering and love, difficult happiness. The love line of Camila, through the image of her father - the helmsman Amintai - comes up to the denouement.

In the story about Akbarali, the order of the narration is violated. The plot of the work immediately attracts the reader's attention, intrigues Akbarali's night visit. The author is in no hurry to report on the reasons. Wanting to introduce a friend of his late father, Bektemir, to the mines, he leads him through an underground tunnel to the faces and drifts. When they return, an iron beam sags from the ceiling of the underground chamber, sparking electricity. In order to prevent a fire, Bektemir-aka turns off the transformer, clamped by a beam, but cannot return. Akbarali, out of cowardice, does not come to his aid. The only witness to the tragedy, and besides, Akbarali, who is to blame for everything, again out of cowardice, flees from the mine. The heroism of the miners, shown by them in saving people, however, is attributed to Akbarali. The village is given the name Akbarabad. But Akbarali cannot avoid pangs of conscience. As it is said about this in the epigraph, he is likened to a turtle, only his shell is his suffering, he avoids people, does not dare to look into their eyes. In the end, due to fright, he sort of straightens out the situation. This "correction" does not cause any suspicion, because it is based on a subtle psychological analysis. As Ochil bobo predicted, he easily passes away from life, for he is weak.

Describing the conflict between Umida and Kurt Berger, A. Mukhtar shows the high humanism of the Uzbek doctor, the purity of her conscience.

During World War II, Umida is transferred from a concentration camp to a hospital as a nurse. A prominent specialist works in the hospital, the chief surgeon is Berger, who professes a peculiar philosophy about man. Berger makes inhuman experiments on people. To expose the executioner's deeds, another line is introduced into the plot - Umeider. After the war, Umida, participating in an international medical congress, recognizes Berger. In order to expose him, she calls a press conference and invites August Umeider as a witness. But he refuses to testify. Umida finds other witnesses, thus demonstrating her resilience and determination.

The next trip of Ochil Buva and Azimdzhan is to the village of Chulobod. On the way, they meet a young correspondent, a conversation begins about the literacy of the Uzbek population before the revolution. This is another storyline. The story begins with a description of autumn nature, bright as a rainbow. It tells about Abdulhamid's meeting with, his philosophical reflections, just at the moment when L.N. Tolstoy is experiencing the autumn of his life.

The relationship between the collective and the individual is revealed on the example of the images of Dormonov and Said. Forgetfulness of moral norms leads Said to tragedy. His moral downfall begins with a newspaper article about Said's heroism in taming a gas gusher. He beats himself in the chest and says: “I am a man, I am the whole world, I have a name, my own business. I don't want to melt like butter and disappear, I want to keep myself as a person” (p. 381). Here you can see what a negative role in the moral fall of Said was played by the leader Darmonov - a bright representative of the so-called businessmen.

When Ochil buva and Azimdzhan returned under the canopy of the plane trees, Azimdzhan, worried, asked:

Bobo, you said it takes courage to correct mistakes, remember?...

Ochil Buwa understood what decision his grandson had come to. He shook his silver beard, which shone brightly in the morning sun, and patted his grandson on the shoulder (p. 381).

It is believed that the genre of the novel is designed to cover life most fully and comprehensively. The nature of this genre, its form and content are subject to eternal changes, subject to improvement. And Mukhtar narrates in an artistic form about his life experience, writing out his characters and the complex interweaving of storylines. The author's innovation is that he applied the technique used by A. Navoi in his work "Sabai Sayyor", as well as in oriental tales, when the narration is undertaken within the framework of the narration, gave it the spirit of the era and appearance in the genre of the novel.

The author of the novel “Where there is light, there are shadows” (“Nur borki, soy boron”) Khoshimov U. Where there is light, there are shadows (Nur borki, soy boron) .- Tashkent, 1981.-S. (In Uzbek). The translation of the quoted passages is ours. Subsequent citations are from the same edition. Pages are indicated in the text. Utkir Khoshimov raises important social and moral problems and, first of all, such an eternal problem as good and evil. The author contrasts in his heroes high human qualities such as kindness, fidelity to word and duty, honesty, decency to their antipodes - selfishness, vanity, lies, meanness, parasitism. There is no doubt about which characters are sympathetic to the writer, which cause his contempt. The hero of the novel, the journalist Sherzod, embodies the ideological, aesthetic and humanistic credo of the author. True to his duty, Sherzod fights for justice to prevail. The struggle for progress, the desire for light is the main leitmotif and pathos of this work. The lofty goals that Sherzod sets for himself, his loyalty to ideals, his decency has become a kind of embodiment best features our contemporaries.

The versatility of Sherzod's character, the scale of his personality and activities is revealed by the author in his relationships with various people. Sherzod's clashes with the director of the department store, Saki Sakievich, with Sirajiddin, who cares not for science, but for the degree of candidate of science, with the chairman of Tiniksai, temper his character, give a new impetus to his desire for everything bright. Here is what Utkir Khoshimov himself writes about his work, noting that it reflects to a certain extent the aesthetic principles of the author himself: “In addition to talent, the availability of life material and skill, something else is needed to write a novel. The light of the human, writer's heart. If there is no such light that would illuminate all the pages of the novel, would give them warmth, the reader will begin to yawn. And, before reaching the middle of the novel, he falls asleep. Only believing that my last book would excite the reader, I offered it to people” Newspaper Yesh leninchi. 1977, February 2..

The novel raises important moral and spiritual problems of our time, subjecting them to ideological and artistic analysis and comprehension, the writer undoubtedly succeeds. It is felt that everything the writer writes about has passed through his mind and heart, that he himself believes in the triumph of decency and justice. After all, speculators, swindlers, swindlers, thieves, their “philosophy” of permissiveness are hated by all honest people.

In Saki Sakievich, in his wife, in his son, in his son's scientific adviser, far from true science, in the "manufacturer" in the head of Gortorg - the reader does not see any traits that could impress a normal decent person. Saki Sakievich, who calls the head of the Gortorg "chief", cannot arouse any sympathy, and crawls before him with the sole purpose of continuing to do his dirty deeds with impunity. Behind his back, he calls his boss "dylda", "leader of fools." He says insultingly: “If it were not for the responsibility, I would have shot this hermaphrodite!” (p.73). Saki Sakievich is ready to pawn his soul to the devil, if only the "boss" does not swallow him, "like a worm."

Saki Sakievich, who professes the principle "have in this world either gold or power"; a “manufacturer” for whom it is worth nothing about his friend’s discharge from the hospital, to give him a white horse for 3 thousand rubles, or to disrupt the concert of a famous musician-singer by calling him for a home concert: “the boss”, who greets Saki Sakievich with both hands, for he gives him money in bundles - they all treat each other "with love". But their masks of friendliness and behavior change dramatically as soon as they have a hard day. One is put in jail, and his "friend" immediately "forgets" about him; sometimes, through force, he greets a former “bosom friend”. Their "fidelity" to each other flickers like a play of chiaroscuro, their behavior determines the principle of self-interest and profit.

The character of the main negative character of this work, Saki Sakievich, is presented in all its versatility. The author depicts his relationship with honest and dishonest people in the hospital, at work in a department store, in the family. Such people of a "shadow" nature, as if snatched from life, they exist even now with all their sinister surroundings.

There is a thought in this novel that runs like a red thread through the whole work. This idea is formulated by the chairman of the people's control committee, Suleiman Rustamovich: “As our life becomes brighter, the shadows appear more clearly. The uglier the shadows look, the more light around. The more light, the less shadow. But shadows won't disappear on their own. To do this, we must make our life even brighter, we must destroy the shadow” (p. 213).

It should be noted that the reader, having familiarized himself with the content of the novel, comes to exactly the same conclusion.

An important place in the rapid or, on the contrary, deliberate slow development of the conflict of the novel is occupied by the unspoken thoughts of Sherzod and Saki Sakievich. So, at the end of the work, with great artistic skill, the author describes a kind of contempt for Saki Sakievich. He suddenly realizes the ugliness of his situation: around him are “sticky”, unfaithful friends, two Zil refrigerators, a shooting range of color TVs, a house whose door is decorated with carved turrets, two cottages with a marble plinth, with images of peacocks on the ceiling and shiny parquet floors. , with marble pools in which goldfish swim. And take his wife with her precious dresses and thirty-two teeth... Suddenly, Saki Sakievich suddenly becomes frightened of all this, sees that everything around him is rotten. Perhaps this contempt is not entirely motivated by the character of the hero, but it is written out convincingly enough.

Some episodes of the novel, at first glance, fragmented in terms of plot and composition, nevertheless make it possible to come to broad artistic generalizations. The very profession of a journalist requires Sherzod to describe life in all its versatility, to be bold and resolute. Sherzod's clashes with the chairman and Saki Sakievich are dramatic, primarily because people of this category are extremely afraid of becoming characters in a feuilleton, because such a publication is perceived by them as an exposure, and this means the end of the "sweet" life. Sirojiddin, to whom Sherzod informs that he wants to write about his father, foolishly, as if addressing his three-year-old son, says: “Don’t write!”, but at the same time, in his eyes, “not fear was visible, but awareness of his strength” (S. 224). And it is not in vain that Sirojiddin hints that he is even ready to give the journalist a Zhiguli, just to avoid such exposure. The fear of falling into a feuilleton, "being sealed" testifies to the inner feeling of failure in such people.

The author devotes many pages to showing the emerging feeling of love. And this, relatively speaking, love line in the novel, all the episodes associated with it, serve to reveal the rich spiritual world of the protagonist. The plot-compositional construction of the novel "Where there is light, there is shadow", with all the desire of its author for artistic originality, there are obvious creative miscalculations. The author introduces episodes into the narrative that do not fit into the development of the main budget line and violate the overall compositional structure of the work. Thus, the episodes of Sherzod's trip to the village and to the metro builders stand apart from the main storyline. The scenes of Farida's visit to the hospital to visit Sherzod, as well as Sherzod's trip to the Pamirs, are overly detailed. Unnecessary details distract the reader's attention from main problem, violate the compositional harmony of the novel, serve only its "completeness". But on the whole, the novel “Where there is light, there is shadow” (“Nur borki, soya boron”) is a significant phenomenon in our literature. He raises the most important social and moral problems of our time, gives them an interesting artistic interpretation.

Socio-moral problems are increasingly becoming inherent in the Uzbek novels of the 70s. They are solved in different ways depending on the life material selected by the writer, the character of the hero being described, and the skill of the author.

Reading P. Kadyrov's novel "Diamond Belt" ("Olmos Kamar"), we become witnesses of a peculiar author's approach to solving these problems, as well as a skillful plot and compositional construction of his work.

P. Kadyrov strives in his novel to "present" serious social problems of their connection with the so-called everyday problems. The heroes of the novel, husband and wife Abror and Vazira, are talented architects who are passionate about their work, real intellectuals, people of the 70s. But they constantly have to be distracted from interesting and beloved work by solving everyday problems generated by backward customs, which only at first glance seem insignificant, but in reality poison the lives of private people who are forced to obey them against their own will. The need to play wasteful, luxurious weddings is a heavy burden on the shoulders of the heroes. At first, Abror agrees to huge wedding expenses, but then, under the influence of Vazira, refuses this decision. But how many spouses have to go through suffering before giving up a luxurious wedding. The situation they find themselves in because of the need to follow backward customs ultimately affects their daily work and life. This is one of the main storylines of this work.

The writer skillfully interweaves such a social problem as the problem of protection into the production relations of the heroes of the novel, their way of life. environment. Thus, two storylines are outlined in the novel, interconnected and united by common characters. If we talk about the second storyline, then it is connected with the arrangement of the diamond belt of the city - the Buzsu Canal, with the transformation of its banks into places of rest for the townspeople. The author raises in his novel such problems as protecting the environment, greening the city, improving the work of everyday services. Builders, metro builders - all of them, in the writer's convinced opinion, bear the greatest responsibility to the people. The heroes of the novel - architects argue, discuss not only on professional issues, but primarily about their moral, civic duty to their fellow citizens. The protagonist of the novel, Abror, always remains principled and honest. His antipode Sherzod, who hinders all creative undertakings of Abror, is isolated by life itself. As you can see, the writer raises a lot serious problems and he tries to give his own ideological and artistic interpretation to all of them. But not everything is possible for the author. First of all, the presence of many problems to some extent obscures the outline of the main idea of ​​the work. In addition, relatively speaking, the "production" line of the novel does not always organically merge with the "everyday" storyline. In both storylines of the novel, the characters of the characters are not revealed in all their complexity and versatility.

The tense, dramatic collisions of P. Kadyrov's novel "The Diamond Belt" reflected the author's peculiar ability to translate into the plot and compositional fabric of his work an artistic analysis of both social and moral problems. However, the conflict that forms the plot basis of the novel "Diamond Belt" sometimes lacks, in our opinion, artistic persuasiveness and vitality. The compositional harmony of the novel is to some extent violated by some episodes that are poorly written out in an artistic sense.

One of the most important social problems of our era is the protection natural environment, - received its own artistic interpretation in E. Usmonov's novel "Beloved" ("Mehrigie"). It is known how much harm to the earth, to man, to the entire economic atmosphere has been brought by a thoughtless passion for chemical fertilizers. The heroes of the novel are fighting to replace chemical means of protecting cotton from pests with biological ones. In the center of the story is a young agronomist Nadir, who spares neither his strength, nor knowledge, nor enthusiasm for solving these problems. In love with his profession, Nadir is presented as a person who is not afraid of difficulties, selflessly devoting himself to his work, earth loving, perfectly understanding that, using it now, it is necessary to save it for posterity. As Professor M. Khamraev notes, Nadir is a representative of that part of our contemporaries who “live with the concerns not only of today, but also tomorrow» Khamraev M. Cares of tomorrow. (Ertangi kunning tashvishi). Newspaper Yosh leninchi, 1977, May 4 .. The fate of Nadir, like the rest of the characters in the novel, is inextricably linked with the earth. The image of Nadir, his character and actions determine the main storyline of the novel. The rest of the characters are grouped around him. Nadir strongly opposes the use of chemicals in cotton pest control; he is sure that in this struggle it is necessary to use the natural enemies of cotton pests - insects; he is trying to scientifically prove that such a method of struggle is also beneficial for waging Agriculture both for human health and for the protection of the environment in general. In his undertakings, Nadir constantly encounters opposition from the chairman of the collective farm, Murad. And it's not even that chairman Murad interferes with Nadir. Murad can not be ranked among the negative characters. He is a hard worker, ready to spend days and nights in the cotton field in order to grow a good harvest. He thinks to find a common language with people and help them. In principle, he is not against Nadir's undertakings, but, always thinking about the fulfillment of the plan, Murad does not want to apply a method that has not yet justified itself, which has not yet been widely spread, and does not prefer to wait until other collective farms have mastered this method. At one time, Murad created good conditions for Nadir's work, allocated land for his experiments. But Nadira Murad is not able to wait for the results of scientific work. After all, the plan is to put pressure on him. Conflict situation between Murad and Nadir arises at the very beginning of the novel. Chairman Murad recognizes intelligence, diligence and knowledge for Nadir. He even says to the superior worker Umar - aka: “If it weren’t for this nonsense of his (meaning the scientific experiments of Nadir - S.K.), he would be the chairman” Eminjon Usmonov Favorite (Mehrigie) - Tashkent, 1976.-S. 117 (In Uzbek). The translation of the quoted passages is ours. Subsequent citations are from the same edition. The pages are indicated in the text. At first, for experiments on increasing the yield of cotton, Murad allocates half a hectare of land to Nadir, then, after a bit of a stumble, another 3 hectares. But, not seeing quick positive results, Murad panics and brings the matter to the point that Nadir is imprisoned. All the thoughts of chairman Murad are connected with cotton alone. Sympathy is evoked by his words, which he said after the cotton on his plot was beaten by hail: “My heart is groaning ... Umar ... I would suffer less now, even if my child died” (p. 63). But, colliding with Nadir, he loses his balance, becomes noisy and irritable. It was not for nothing that the collective farmers nicknamed him the “roaring camel”; he does not know how to wait patiently, momentary results are more important for him. Having achieved the slightest success in any business, Murad becomes self-confident and swaggering. In the management of the collective farm, he declares to Nadir: “... compete with you? Do you know who I am? And not such daredevils disappeared, it’s enough for me to spit” (p. 27). There is both boasting and arrogance, and although it was said with a playful intonation, there is also a threat. The image of chairman Murad is drawn out quite convincingly, his character should be considered in the complex of all his positive and negative features.

The writer seeks to reveal the character of Murad, as well as his other heroes, in all their complexity and versatility. It should be noted that the character is transformed. As the novel progresses, Murad begins to realize that Nadir is right. It even goes so far that Murad, speaking at a scientific conference, praises the experiments carried out by Nadir and recommends biological methods of pest control for widespread implementation.

But it should be noted that if, when creating the images of Chairman Murad, Satimbay, Hikmat-buva, Khosiyat-ay, and even the episodic image of Yuldash-Mirob, the writer observes a sense of proportion, which makes these characters alive and truthful, then this same sense of proportion betrays him when it comes down to portraying the character of the protagonist - Nadir. So, for example, the scene when he pits insects against each other seems naive and even funny. After all, such experiments require serious and long laboratory observations. Often, wanting to show Nadir's selfless attitude to his chosen profession, the writer exaggerates, which causes natural distrust in the reader. The episode of Nadir's arrest is clearly illogical and resembles a grotesque rather than a great human test. After all, the unfair and illegal arrest of an agronomist only by one oral order of chairman Murad is a rather serious and extraordinary event in the life of a hero, which should have dramatically changed the course of the plot, and, naturally, have a significant impact on the fate of the heroes. However, it is felt that this episode was forcibly introduced into the fabric of the narrative. Any event, any episode or scene must first of all correspond to the ideological concept of the work and be psychologically justified, which cannot be said about the events connected with the arrest of Nadir.

The novel also outlines a number of themes related to the problem of women's labor in the cotton fields, but these themes slip on the surface, they are not related to the characters and actions of both the main characters and secondary characters. Meanwhile, each problem, occupying a certain place in the artistic fabric of the work, should serve the development of the plot, is designed to reveal one or another facet of the hero's character. The examples given above, as we see, serve neither to develop the plot nor to reveal the artistic conflict of this work. In the compositional construction, they look like patches, and the compositional integrity itself is clearly violated here. And yet, covering the main theme, the writer in many ways achieves artistic persuasiveness and vitality, and in the compositional solution of the work one feels the seal creative pursuits author. The novel, as already mentioned above, reflects the process of the collision of the old with the new, Nadir and chairman Murad, scientists Aziz Nosirovich and Vali Kakhharovich. The contradictions underlying the characters and their actions, in a certain sense, found their embodiment in the composition of the work. The peculiarity of the compositional construction of the novel lies in the fact that, on the one hand, each chapter is independent in itself, on the other hand, all the chapters are interconnected. Noting in many respects the successful solution of the compositional construction of the novel, we cannot fail to point out that the writer paid little attention to deepening the conflict. The composition of the work would have benefited in many respects if its author had more reasonably revealed the main conflict.

Thus, the main impetus for the development of the plot is the dramatic conflict, contradictions and struggle of the characters. It is they who organize the compositional unity of the work.

At the heart of the plot-compositional construction of Yuldash Sulaimon's novel "At Dawn" ("Subhidam") lies an irreconcilable conflict between those who accepted a new life, new orders and those who opposed this with all their might. The novel recreates the life of people inhabiting Kokand and surrounding villages in the first years after a big change - after the revolution.

It is known that in the 1920s counter-revolutionary forces and entire gangs of Basmachi fought mercilessly against Soviet power in the Ferghana Valley. It is these events, largely based on historical facts, that are reflected in the novel At Dawn (Subhidam). Real historical events serve simply as a background against which the action of the novel develops, the painful experiences and sufferings of the characters are revealed, but it forms the space of their being. Rustam, the protagonist of the novel, has to go through a lot before he finds his true path. Reality itself, filled with stormy military events, draws him into a whirlwind of irreconcilable struggle between supporters and ardent opponents of the new life. This struggle is the main storyline of the work. The rest of the storylines and their characters are grouped around the image of Rustam, who is the epicenter of all events. Such characters of the novel as Sarvi, Zebiniso, Rustam's uncle Sherkuzi, his wife Siddika-buvi, their daughter Marifatkhon, Yermat, Utar, Karimberdi and even episodic faces of Salim, Khalil and their sister Jamila are revealed only in connection with the image of Rustam. The multifaceted composition, the presence of many storylines indicates that the writer spent a lot of work on developing the composition of his work.

The image of Rustam is presented in dynamics, in the development of his character, his attitude to current events. At first, he is concerned only with his own good: he only dreams of uniting with his beloved Sarviniso, with whom he is engaged. But the injustices around him, in the end, drive him into a dead end, and he unwittingly finds himself in a gang of thieves and robbers led by Irgash. For a long time he does not see the true essence of Irgash, although he is suspicious of him. The writer brings out the images of various members of the Irgash gang, who have different attitudes towards Irgash himself and the events in which they were involved by the will of history. If Rustam cannot rise to the level of a conscious fighter, then his fellow countryman Yormat has long chosen his own path, determined his attitude towards Irgash. Although he remains in the Irgash gang, he actually serves the authorities, conveys important information to them, tries to open the eyes of those who, like Rustam, cannot understand the events taking place. It should be noted that the images of supporters of power do not receive a detailed image in the novel. Actually, the author does not set himself such a role. He seeks to show the events of the 20s in Kokand, the actions and life of the Basmachi, their desperate resistance. And most importantly: the author is trying to capture the process of turning a simple village boy into a conscious fighter for a new power, to reflect all the difficulties that arise along the way. The author devotes a great place in the novel to the disclosure of the spiritual world of Rustam, who experienced disappointment in people whom he initially considered his friends and who turned out to be his. worst enemies. But, in our opinion, the very process of acceptance by a person of new power in those years, or, on the contrary, its denial, is a very complex, contradictory and far from unambiguous phenomenon, and therefore the author should have penetrated deeper into the essence of the analyzed phenomenon, boldly using all manifold visual means. The writer did not fully reveal the activities of Rustam in the camp of Irgash, but only limited himself to general outlines. It also looks unnatural that Rustam, having gone over to the side of the new government, suddenly becomes a central figure, a person who was allegedly completely privy to all the military secrets of Irgash, and now he can reveal these secrets to new comrades. However, in the course of the novel, we do not see that Rustam was so close to Irgash to know all his plans and be trusted in his affairs. And although Rustam was a centurion at Irgash, it looks completely unconvincing that he is privy to even the smallest details of all military operations led by Irgash. The logic of events requires that Rustam's stay in the camp of Irgash be shown deeply and comprehensively. Otherwise, the vigorous activity of Rustam against Irgash, his awareness of all the military plans of the Basmachi look far-fetched. As a result, the figure of the protagonist of the work takes on a very vague outline.

There is also a lack of logical validity in the development of the images of Sariniso, Zebiniso, the episodic characters of Marifathon, Jamila, who, in essence, were intended to ensure the tension of the artistic conflict, to serve as a dynamic development of the plot. If we exclude Sarviniso, then in relation to the other three women, the reader can easily guess what awaits them in the finale of the work. And this is nothing but the triumph of schematism, all three very easily reach the fortress of the Bolsheviks and get shelter there. These images lack vitality and individuality: neither Zebiniso, nor Marifathon, nor Jamila seem to have their place in the development of events. Meanwhile, the individualization of characters is the primary task of the writer. Without it, there can be no creative discoveries.

If we talk about one of the central figures of the novel - the real historical personality Irgash, then the essence of his actions, all the atrocities that his people commit, cannot be explained solely by the meanness of his character. This is especially evident in his relationship with Sarviniso. The feeling for the girl reveals to us the character of a person who is completely different from that Irgash, who mercilessly cracks down on objectionable people. True, not having achieved the reciprocal love of the girl, he kills her, but it is here, as noted above, that the illogicality of the depicted appears.

In the novel "At Dawn" ("Subhidam") the author does not always achieve artistic truth in depicting historical figures, in revealing the spiritual world of the characters. Of course, all the characters are somehow involved in the Kokand events: some of them are their initiators, others are witnesses, and others are third-party observers. Not all of them are grouped around a central event. And yet in the novel by Y. Sulaimon there is no true truth in the image historical events and their participants, in revealing the spiritual world of the heroes and motivating their actions. As a result, the reader is left with a vague feeling after reading the novel.

Having studied in this chapter the problems of composition, plot and conflict in the Uzbek novels of the 70s, we have come to the following conclusions: the most important factor determining the degree of artistic maturity of a work is the consistent connection of all three of the above components. The achievements of Uzbek romance, as well as its shortcomings, are largely determined by the solution of these problems. Therefore, the main factors that determine the epic space and the integrity of the novel, the strength of its compositional construction are the deep penetration of the writer into the essence of the life conflict, the observance of artistic authenticity and logic in the development of the plot, the depiction of events and the recreation of characters. It can be argued that the internal structure of the works of Uzbek novels in recent years is undergoing certain, sometimes significant changes, indicating the ongoing creative search of our writers.