Integrity artwork achieved by various means. Among these means important role belongs to the composition and the plot.
Composition(from lat. componere - to compose, connect) - the construction of a work, the ratio of all its elements, creating complete picture life and conducive to the expression ideological content. The composition distinguishes between external elements - division into parts, chapters, and internal - grouping and arrangement of images. When creating a work, the writer carefully thinks over the composition, place and relationship of images and other elements, trying to give the material the greatest ideological and artistic expression. The composition is simple and complex. So, A. Chekhov's story "Ionych" has a simple composition. It consists of five small chapters(external elements) and uncomplicated internal system images. In the center of the image is Dmitry Startsev, who is opposed by a group of images of the local residents of the Turkins. The composition of L. Tolstoy's epic novel "War and Peace" looks completely different. It consists of four parts, each part is divided into many chapters, a significant place is occupied by the author's philosophical reflections. These are the external elements of the composition. The grouping and arrangement of images-characters, of which there are more than 550, is very difficult. The outstanding skill of the writer was manifested in the fact that, with all the complexity of the material, it is arranged in the most expedient way and is subject to the disclosure of the main idea: the people are the decisive force of history.
AT scientific literature terms are sometimes used architectonics, structure as synonyms for the word composition.
Plot(from French sujet - subject) - a system of events in a work of art, revealing the characters of the characters and contributing to the most complete expression of the ideological content. The system of events is a unity that develops in time, and driving force The plot is conflict. Conflicts are different: social, love, psychological, domestic, military and others. The hero usually comes into conflict with public environment with others, with yourself. There are usually several conflicts in a work. In L. Chekhov's story "Ionych" the hero's conflict with the environment is combined with love. A striking example psychological conflict - Shakespeare's "Hamlet". The most common type of conflict is social. To designate social conflict literary critics often use the term conflict, and love - intrigue.
The plot consists of a number of elements: exposition, plot, development of action, climax, denouement, epilogue.
Exposure - initial information about actors ah, which motivate their behavior in the conditions of the conflict that has arisen. In the story "Ionych" this is the arrival of Startsev, a description of the "most educated" Turkin family in the city.
Tie - an event that initiates the development of an action, a conflict. In the story "Ionych" Startsev's acquaintance with the Turkin family.
After the plot, the development of the action begins, the highest point of which is the culmination. In L. Chekhov's story - Startsev's declaration of love, Katya's refusal.
denouement- an event that removes the conflict. In the story "Ionych" - the rupture of relations between Startsev and the Turkins.
Epilogue - information about the events that followed after the denouement. Sometimes. the author himself calls the final part of the story an epilogue. In the story of L. Chekhov there is information about the fate of the heroes, which can be attributed to the epilogue.
In a great work of fiction, as a rule, there are many storylines and each of them. develops, intertwines with others. Individual elements of the plot may be common. Determining the classic scheme can be difficult.
The movement of the plot in a work of art occurs simultaneously in time and space. To denote the relationship of temporal and spatial relations, M. Bakhtin proposed the term chronotope. artistic time is not a direct reflection of real time, but arises by mounting certain ideas about real time. real time moves irreversibly and only in one direction - from the past to the future, while artistic time can slow down, stop and move in the opposite direction. Return to the image of the past is called flashback. Artistic time is a complex interweaving of the times of the narrator and heroes, and often a complex layering of the times of different historical eras (The Master and Margarita by M. Bulgakov). It can be closed, closed in itself, and open, included in the flow of historical time. An example of the first "Ionych" by L. Chekhov, the second - "Quiet Don" by M. Sholokhov.
Along with the term plot there is a term plot which are usually used as synonyms. Meanwhile, some theorists consider them inadequate, insisting on their independent meaning. The plot, in their opinion, is a system of events in a causal-temporal sequence, and the plot is a system of events in the author's presentation. Thus, the plot of I. Goncharov's novel "Oblomov" begins with a description of the life of an adult hero living in St. Petersburg with his servant Zakhar in a house on Gorokhovaya Street. The plot involves a presentation of the events of Oblomov's life. starting from childhood (chapter "Oblomov's Dream").
We define a plot as a system, a chain of events. In many cases, the writer, in addition to the story of events, introduces descriptions of nature, everyday pictures, digressions, reflections, geographical or historical references. They are called extra-plot elements.
It should be noted that there are different principles of plot organization. Sometimes events develop sequentially, in chronological order, sometimes with retrospective digressions, there is an overlap of times. Quite often there is a method of framing the plot plot in the plot. A striking example is Sholokhov's The Fate of a Man. In it, the author tells about his meeting with the driver at the crossing of the overflowing river. While waiting for the ferry, Sokolov spoke about his difficult life about staying in German captivity, loss of family. At the end, the author said goodbye to this man and thought about his fate. The main, main story of Andrei Sokolov is framed by the author's story. This technique is called framing.
The plot and composition of lyrical works are very peculiar. The author depicts in them not events, but thoughts and experiences. The unity and integrity of the lyrical work is ensured by the main lyrical motive, the bearer of which is the lyrical hero. The composition of the poem is subject to the disclosure of thought-feeling. “The lyrical development of the theme,” writes the well-known literary theorist B. Tomashevsky, “reminiscent of the dialectics of theoretical reasoning, with the difference that in the reasoning we have a logically justified introduction of new motives, ... and in the lyrics, the introduction of motives is justified by the emotional development of the theme.” Typical is, but in his opinion, a tripartite construction lyric poems, when a theme is given in the first part, in the second it develops by lateral motives, and the third is an emotional conclusion. As an example, A. Pushkin's poem "To Chaadaev" can be cited.
Part 1 Love, Hope, Quiet Glory
The deceit did not last long.
Part 2 We wait with languor of hope
Minutes of liberty saint ...
Part 3 Comrade, believe! She will rise
Star of captivating happiness...
The lyrical development of the theme is of two types: deductive - from the general to the particular, and inductive - from the particular to the general. The first is in the above poem by A. Pushkin, the second in the poem by K. Simonov "Do you remember, Alyosha, the roads of the Smolensk region ...".
In some lyrical works there is a plot: Railway» I. Nekrasov, ballads, songs. They are called story lyrics.
Fine details serve to reproduce the concrete-sensual details of the world of characters, created by the creative imagination of the artist and directly embodying the ideological content of the work. The term "pictorial details" is not recognized by all theorists (the terms "thematic" or "objective" details are also used), but everyone agrees that the artist recreates the details of the appearance and speech of the characters, their inner world, environment in order to express your thoughts. However, accepting this position, one should not interpret it too straightforwardly and think that every detail (eye color, gestures, clothing, description of the area, etc.) is directly related to the author's goal setting and has a very definite unambiguous meaning. If this were so, the work would lose its artistic specificity and would become tendentiously illustrative.
Visual details contribute to the fact that the world of characters appears before the reader's inner gaze in all its fullness of life, in sounds, colors, volumes, smells, in spatial and temporal extent. Not being able to convey all the details of the picture being drawn, the writer reproduces only some of them, trying to give an impetus to the reader's imagination and force him to complete the missing features with the help of his own imagination. Without “seeing”, without imagining “living” characters, the reader will not be able to empathize with them, and his aesthetic perception of the work will be inferior.
Fine details allow the artist to plastically, visibly recreate the life of the characters, to reveal their characters through individual details. At the same time, they convey the author's evaluative attitude to the reality depicted, create an emotional atmosphere of the narrative. Yes, reading crowd scenes in the story “Taras Bulba”, one can be convinced that seemingly scattered remarks and statements of the Cossacks help us “hear” the many-voiced crowd of Cossacks, and various portrait and everyday details help us visualize it. At the same time, the heroic warehouse is gradually clearing up. folk characters, formed in the conditions of wild freemen and poeticized by Gogol. At the same time, many details are comical, cause a smile, create a humorous tone of the narration (especially in the scenes of peaceful life). Fine details perform here, as in most works, pictorial, characterizing and expressive functions.
In drama, pictorial details are conveyed not by verbal means, but by other means (there is no description of the appearance of the characters, their actions, or the situation, because there are actors on the stage and there are scenery). The speech characteristics of the characters acquire special significance.
In the lyrics, pictorial details are subordinated to the task of recreating the experience in its development, movement, and inconsistency. Here they serve as signs of the event that caused the experience, but they mainly play the role of a psychological characteristic. lyrical hero. At the same time, their expressive role is also preserved; the experience is conveyed as sublimely romantic, heroic, tragic, or in reduced, for example, ironic tones.
The plot also belongs to the realm of pictorial detail, but stands out for its dynamic character. In epic to dramatic works, these are the actions of the characters and the events depicted. The actions of the characters that make up the plot are diverse - these are all kinds of actions, statements, experiences and thoughts of the characters. The plot most directly and effectively reveals the character of the character, the protagonist. However, it is important to understand that the actions of the characters also reveal the author's understanding of the typical character and the author's assessment. By forcing the hero to act in one way or another, the artist evokes in the reader a certain evaluative attitude not only towards the hero, but towards the whole type of people that he represents. So, forcing his fictional hero to kill a friend in a duel in the name of secular prejudices, Pushkin evokes a feeling of condemnation in the reader and makes him think about Onegin's inconsistency, about the inconsistency of his character. This is the expressive role of the plot.
The plot moves due to the emergence, development, resolution of various conflicts between the characters of the work. Conflicts can be of a private nature (Onegin's quarrel with Lensky), or they can be a moment, part of socio-historical conflicts that arose in historical reality itself (war, revolution, social movement). By depicting plot conflicts, the writer draws attention to the problems of the work to the greatest extent. But it would be wrong to identify these concepts on the basis of this (there is a tendency towards such an identification in Abramovich's textbook, section 2, ch. 2). The problem is the leading side of the ideological content, and the plot conflict is an element of form. It is equally wrong to equate plot with content (as is common in colloquial language). Therefore, the terminology of Timofeev, who proposed calling the plot, together with all the other details of the depicted life, “direct content” (Fundamentals of the Theory of Literature, part 2, ch. 1, 2, 3), did not receive recognition.
The question of the plot in the lyrics is solved in different ways. However, there is no doubt that this term can be applied to lyrics only with great reservations, denoting by it the outline of those events that “shine” through the hero’s lyrical experience and motivate him. Sometimes this term refers to the very movement of lyrical experience.
The composition of pictorial, including plot details, is their location in the text. Using antitheses, repetitions, parallelisms, changing the pace and chronological sequence of events in the narrative, establishing chronicle and causal connections between events, the artist achieves such a relationship that expands and deepens their meaning. In all textbooks, the compositional methods of narration, the introduction of the narrator, the framing, introductory episodes, the main points in the development of the action, and the various motivations for plot episodes are quite fully defined. The discrepancy between the order of plot events and the order of narration about them in the work makes us speak of such an expressive means as the plot. It should be borne in mind that another terminology is also common, when the actual compositional device of permuting events is called the plot (Abramovich, Kozhinov, etc.).
In order to master the material in this section, we recommend that you independently analyze the visual details, the plot and their composition in any epic or dramatic work. It is necessary to pay attention to how the development of the action serves the development of artistic thought - the introduction of new themes, the deepening of problematic motives, the gradual disclosure of the characters' characters and the author's attitude towards them. Each new plot scene or description is prepared, motivated by the entire previous image, but does not repeat it, but develops, supplements and deepens it. These components of the form are most directly related to the artistic content and depend on it. Therefore, they are unique as well as the content of each work.
In view of this, the student needs to get acquainted with those theories that ignore the close connection between the plot-pictorial sphere of form and content. This is primarily the so-called comparative theory, which was based on a comparative historical study of the literatures of the world, but misinterpreted the results of such a study. Comparatives focused on the influence of literatures on each other. But they did not take into account that the influence is due to the similarity or difference public relations in the respective countries, but proceeded from the immanent, i.e., internal, allegedly completely autonomous laws of the development of literature. Therefore, the comparativists wrote about "sustainable motives", about the "images bequeathed" of literature, and also about " wandering plots”, without distinguishing between the plot and its scheme. The characteristic of this theory is also in the textbook, ed. G.N. Pospelov and G.L. Abramovich.
QUESTIONS FOR SELF-EDUCATION (m. 2)
1. A literary work as an integral unity.
2. The theme of the work of art and its features.
3. The idea of a work of art and its features.
4. Composition of a work of art. External and internal elements.
5. Plot literary work. The concept of conflict. Plot elements. Extra-plot elements. Plot and plot.
6. What is the role of the plot in revealing the ideological content of the work?
7. What is plot composition? What is the difference between narrative and description? What are off-plot episodes and lyrical digressions?
8. What is the function of landscape, domestic environment, portrait and speech characteristics character in the work?
9. Features of the plot of lyrical works.
10. Spatio-temporal organization of the work. The concept of the chronotope.
LITERATURE
Korman B.O. The study of the text of a work of art. - M., 1972.
Abramovich G.L. Introduction to Literary Studies. Ed.6. - M., 1975.
Introduction to Literary Studies / Ed. L.V. Chernets/. M., 2000. - S. 11 -20,
209-219, 228-239, 245-251.
Galich O. ta in. Theory of Literature. K., 2001. -S. 83-115.
Getmanets M.F. Suchasiny dictionary of lgeraturoznavchih terminiv. - Kharkiv, 2003.
MODULE THREE
LANGUAGE OF ART LITERATURE
1. Plot and composition
ANTITHESIS - opposition of characters, events, actions, words. Can be used at the level of details, particulars ("Black Evening, White snow”- A. Blok), but can serve as a technique for creating the entire work as a whole. Such is the contrast between the two parts of A. Pushkin's poem "The Village" (1819), where in the first part pictures of beautiful nature, peaceful and happy, are drawn, and in the second - in contrast - episodes from the life of a disenfranchised and cruelly oppressed Russian peasant.
ARCHITECTONICS - the relationship and proportionality of the main parts and elements that make up a literary work.
DIALOGUE - a conversation, conversation, dispute between two or more characters in a work.
STAGE - an element of the plot, meaning the moment of the conflict, the beginning of the events depicted in the work.
INTERIOR - a compositional tool that recreates the atmosphere in the room where the action takes place.
INTRIGA - the movement of the soul and the actions of the character, aimed at searching for the meaning of life, truth, etc. - a kind of "spring" that drives the action in a dramatic or epic work and giving him entertainment.
COLLISION - a clash of opposing views, aspirations, interests of the characters of a work of art.
COMPOSITION - the construction of a work of art, a certain system in the arrangement of its parts. Differ composite means(portraits of actors, interior, landscape, dialogue, monologue, including internal) and compositional techniques(montage, symbol, stream of consciousness, self-disclosure of the character, mutual disclosure, image of the character of the hero in dynamics or in statics). The composition is determined by the peculiarities of the writer's talent, genre, content and purpose of the work.
COMPONENT - component works: in its analysis, for example, we can talk about components of content and components of form, sometimes interpenetrating.
CONFLICT - a clash of opinions, positions, characters in a work, driving, like intrigue and conflict, its action.
CLIMINATION - plot element: moment highest voltage in the development of the work.
Keynote - the main idea works that are repeatedly repeated and emphasized.
MONOLOGUE - a lengthy speech of a character in a literary work, addressed, in contrast to the internal monologue, to others. An example internal monologue can serve as the first stanza of A. Pushkin's novel "Eugene Onegin": "My uncle is the most fair rules…" etc.
INSTALLATION is a compositional technique: composing a work or its section into one whole from separate parts, excerpts, quotations. An example is the book of Evg. Popov "The beauty of life".
MOTIVE - one of the components of a literary text, part of the theme of the work, more often than others acquiring symbolic meaning. Motif of the road, motif of the house, etc.
OPPOSITION - a variant of antithesis: opposition, opposition of views, behavior of characters at the level of characters (Onegin - Lensky, Oblomov - Stolz) and at the level of concepts ("wreath - crown" in M. Lermontov's poem "The Death of a Poet"; "it seemed - it turned out" in A. Chekhov's story "The Lady with the Dog").
LANDSCAPE - a compositional means: the image in the work of pictures of nature.
PORTRAIT - 1. Composite tool: image of the character's appearance - face, clothes, figure, demeanor, etc .; 2. A literary portrait is one of the prose genres.
STREAM OF CONSCIOUSNESS is a compositional technique used mainly in modernist literature. The scope of its application is the analysis of complex crisis states of the human spirit. F. Kafka, J. Joyce, M. Proust and others are recognized as masters of the "stream of consciousness". In some episodes, this technique can also be used in realistic works- Artem Vesely, V. Aksenov and others.
PROLOGUE - an extra-plot element that describes the events or persons involved before the start of the action in the work ("The Snow Maiden" by A. N. Ostrovsky, "Faust" by I. V. Goethe, etc.).
DENOUGH - an element of the plot that fixes the moment of resolution of the conflict in the work, the result of the development of events in it.
RETARDATION - a compositional technique that delays, stops or reverses the development of action in a work. It is carried out by including in the text various kinds of digressions of a lyrical and journalistic nature (“The Tale of Captain Kopeikin” in “ Dead souls"N. Gogol, autobiographical digressions in A. Pushkin's novel "Eugene Onegin", etc.).
PLOT - a system, the order of development of events in a work. Its main elements are: prologue, exposition, plot, development of action, climax, denouement; in some cases, an epilogue is possible. The plot reveals causal relationships in the relationship between characters, facts and events in the work. To evaluate various kinds of plots, such concepts as the intensity of the plot, "wandering" plots can be used.
THEME - the subject of the image in the work, its material, indicating the place and time of action. The main theme, as a rule, is specified by the theme, that is, a set of private, separate topics.
FABULA - the sequence of unfolding events of the work in time and space.
FORM - a certain system artistic means revealing the content of a literary work. Categories of form - plot, composition, language, genre, etc. Form as a way of existence of the content of a literary work.
CHRONOTOPE - spatio-temporal organization of material in a work of art.
Bald man with a white beard - I. Nikitin
Old Russian giant – M. Lermontov
With dogaress young – A. Pushkin
Falls on the sofa – N. Nekrasov
Used most often in postmodern works:
Under it is a stream
But not azure,
Above him ambre -
Well, no strength.
He, having given everything to literature,
Full of its fruit tasted.
Drive, man, five-kopeck piece,
And do not annoy unnecessarily.
Desert sower of freedom
Gathers a meager harvest.
I. Irteniev
EXPOSITION - an element of the plot: the situation, circumstances, positions of the characters in which they are before the start of the action in the work.
EPIGRAPH - a proverb, a quote, someone's statement, placed by the author before the work or its part, parts, designed to indicate his intention: “... So who are you finally? I am part of that force that always wants evil and always does good. Goethe. "Faust" is an epigraph to M. Bulgakov's novel "The Master and Margarita".
EPILOGUE - an element of the plot that describes the events that occurred after the end of the action in the work (sometimes after many years - I. Turgenev. "Fathers and Sons").
From the book The Art of Color author Itten Johannes15. Composition To compose in color means to place two or more colors side by side in such a way that their combination is extremely expressive. For the general solution of a color composition, the choice of colors, their relationship to each other, their place and direction in
From the book On the plastic composition of the performance the author Morozov GV From the book Dramaturgy of Cinema the author Turkin VKTempo-rhythm and plastic composition of the performance. The tempo-rhythm of a performance is a dynamic characteristic of its plastic composition. And as Stanislavsky said, “... The tempo-rhythm of a play and a performance is not one, but a number of large and small complexes, diverse and
From the book Nature of the Film. Rehabilitation of physical reality author Krakauer Siegfried From the book Life of Drama author Bentley Eric From book Everyday life Russian tavern from Ivan the Terrible to Boris Yeltsin author Kurukin Igor Vladimirovich From the book Literary Work: The Theory of Artistic Integrity the author Girshman Mikhail From the book Forms of Literary Self-Reflection in Russian Prose of the First Third of the 20th Century author Khatyamova Marina AlbertovnaRhythmic composition and stylistic originality of poetic
From the book of Paralogy [Transformations of (post)modernist discourse in Russian culture 1920-2000] author Lipovetsky Mark NaumovichRhythmic composition and stylistic originality of prose
From the book by Kandinsky. Origins. 1866-1907 author Aronov Igor From the book Music Journalism and music criticism: tutorial author Kurysheva Tatyana AlexandrovnaParnok's Plot and the Author's Plot Mandelstam's short story frankly resists plot reading: it seems that its style is aimed at hiding rather than revealing the trauma that gave rise to this text. Three main "events" of the story can be distinguished: two
From the book Merry Men [cultural heroes Soviet childhood] author Lipovetsky Mark NaumovichRhythm/plot Sometimes it doesn't hurt to point out that something is actually happening. After all, what is happening is ... "Elegy" In the very general view the principle of constructing Rubinstein's compositions can be described as follows: each of the "file cabinets" begins with more or
From the book Saga of the Great Steppe by Aji Murad From the author's book2.2. Rhetoric and logic. composition A long way from the perception of music through evaluative sensations to their verbal design is completed only at the level holistic text, built, composed by the author. To comprehend this side of literary skill - the principles
From the author's bookThe Art of Being an Idiot: Style and Composition The so-called "naive art" laid the foundations of the Russian avant-garde of the 1910s (lubok, children's graphics, ethnic motifs from the art of primitive aboriginal peoples were rethought in the works of M. Larionov, N. Goncharova and
From the author's bookKing Attila. The plot composition of the play Before presenting the final plot to the reader's judgment, I want to make an explanation. For a long time I wanted to expand the East-West theme, that is, to show how the east became western. By by and large, this consisted
Today we are talking on the topic: "Traditional elements of composition." But first you need to remember what a "composition" is. For the first time we meet this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, we stir up the old, and we fill in the missing gaps.
Composition in literature
What is composition? First of all, we turn to explanatory dictionary and learn that literally translated from Latin this term means "to compose". Needless to say, without "composition", that is, without "composition", no work of art is possible (examples follow) and no text as a whole. From this it follows that the composition in literature is a certain order in which the parts of a work of art are arranged. In addition, these or other forms and methods artistic image that are directly related to the content of the text.
The main elements of the composition
When we open a book, the first thing we hope for and look forward to is a beautiful entertaining story that will either surprise us or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, the writer is real artist which primarily shows rather than tells. He avoids direct text like: "And now I will tell." On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such skill?
Compositional elements - this is the palette in which the artist - the master of the word, mixes his colors in order to get a bright, colorful plot in the future. These include: monologue, dialogue, description, narration, system of images, author's digression, inserted genres, plot, plot. Further - about each of them in more detail.
monologue speech
Depending on how many people or characters in a work of art are involved in speech - one, two or more - monologue, dialogue and polylogue are distinguished. The latter is a kind of dialogue, so we will not dwell on it. Let's consider only the first two.
A monologue is an element of the composition, which consists in the use by the author of the speech of one character, which does not imply an answer or does not receive one. As a rule, she is addressed to the audience in a dramatic work or to herself.
Depending on the function in the text, there are such types of monologue as: technical - a description by the hero of events that have occurred or are currently taking place; lyrical - the hero conveys his strong emotional experiences; monologue-acceptance - inner reflections character facing a difficult choice.
The following types are distinguished by form: the author's word - the author's appeal to readers, most often through one or another character; stream of consciousness - the free flow of the hero's thoughts as they are, without obvious logic and not adhering to the rules of literary construction of speech; dialectics of reasoning - the hero's presentation of all the pros and cons; dialogue in solitude - a mental appeal of a character to another character; apart - in dramaturgy, a few words aside, which characterize the present state of the hero; stanzas - also in dramaturgy lyrical reflections character.
Dialogic speech
Dialogue is another element of composition, a conversation between two or more characters. Usually, dialogic speech is the ideal means of conveying the collision of two opposing points of view. It also helps to create an image, revealing personality, character.
Here I want to talk about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aidyn Asadullaevich "Goryanka" is a vivid confirmation of this.
Description
What is a person? This is a special character, and individuality, and unique appearance, and the environment in which he was born, brought up and exists in this moment life, and his home, and the things he surrounds himself with, and people, far and near, and the nature surrounding him ... The list can be continued indefinitely. Therefore, when creating an image in a literary work, the writer must look at his hero from all possible sides and describe, without missing a single detail, even more - create new “shades” that cannot even be imagined. In the literature there are the following types artistic descriptions: portrait, interior, landscape.
Portrait
It is one of the most important compositional elements in literature. He describes not only appearance hero, but also inner world- so-called psychological picture. The place of a portrait in a work of art is also different. A book can begin with it or, conversely, end with it (A.P. Chekhov, "Ionych"). maybe immediately after the character performs some act (Lermontov, "A Hero of Our Time"). In addition, the author can draw a character in one fell swoop, monolithically (Raskolnikov in "Crime and Punishment", Prince Andrei in "War and Peace"), and another time and disperse the features in the text ("War and Peace", Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he grants this right to one of the characters, for example, Maxim Maksimych in the novel A Hero of Our Time, so that he describes Pechorin as accurately as possible. The portrait can be written ironically satirically (Napoleon in "War and Peace") and "ceremonially". Under the "magnifying glass" of the author, sometimes only the face, a certain detail or the whole become - a figure, manners, gestures, clothes (Oblomov) falls.
Description of the interior
The interior is an element of the composition of the novel, allowing the author to create a description of the hero's home. It is no less valuable than a portrait, since a description of the type of premises, furnishings, atmosphere prevailing in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the entire depth of the created image. The interior also reveals a close connection with which is the part through which the whole is known, and the individual through which the plural is seen. So, for example, Dostoevsky in the novel "The Idiot" in the gloomy house of Rogozhin "hung" Holbein's painting "Dead Christ", in order to once again draw attention to the irreconcilable struggle of true faith with passions, with unbelief in Rogozhin's soul.
Landscape - description of nature
As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, a lot is hidden in it: the soul, and freedom, and love, and language. The same can be said about the landscape in a literary work. The author, using such an element of composition as a landscape, depicts not only nature, terrain, city, architecture, but thereby reveals the state of the character, and contrasts the naturalness of nature with conditional human beliefs, acts as a kind of symbol.
Remember the description of the oak during Prince Andrei's trip to the Rostovs' house in the novel "War and Peace". What he (oak) was at the very beginning of the journey - an old, gloomy, "contemptuous freak" among birch trees smiling at the world and spring. But at the second meeting, he suddenly blossomed, renewed, despite the hundred-year-old hard bark. He still submitted to spring and life. The oak tree in this episode is not only a landscape, a description of nature reviving after a long winter, but also a symbol of the changes that have taken place in the prince’s soul, a new stage in his life, which managed to “break” the desire to be an outcast of life until the end of his days, which was already almost rooted in him. .
Narration
Unlike the description, which is static, nothing happens in it, nothing changes, and in general it answers the question “what?”, the narrative includes action, conveys the “sequence of events” and the key question for it is “what happened ? Speaking figuratively, the narrative as an element of the composition of a work of art can be represented as a slide show - a quick change of pictures illustrating a plot.
Image system
As each person has his own network of lines on the fingertips, forming a unique pattern, so each work has its own unique system images. This includes the image of the author, if any, the image of the narrator, the main characters, antipode heroes, minor characters, and so on. Their relationship is built depending on the ideas and goals of the author.
Author's digression
Or a lyrical digression is the so-called extra-plot element of the composition, with the help of which the author's personality, as it were, bursts into the plot, thereby interrupting the direct course of the plot narrative. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer no longer acts as a storyteller, but opens his soul, raises deeply personal questions, discusses moral, aesthetic, philosophical themes shares memories of own life. Thus, the reader manages to take a breath before the flow of the following events, to stop and delve deeper into the idea of the work, to think about the questions posed to him.
Plug-in genres
This is another important compositional element, which is not only a necessary part of the plot, but also serves as a more voluminous, deep disclosure of the hero’s personality, helps to understand the reason for his one way or another. life choice, his inner world and so on. Any genre of literature can be inserted. For example, stories are the so-called story in a story (the novel "A Hero of Our Time"), poems, novels, poems, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be like own composition, and someone else's.
Plot and plot
These two concepts are often either confused with each other, or they mistakenly believe that they are one and the same. But they must be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all parts are interconnected and follow one after another in the order that is necessary for the full realization of the author's intention, the disclosure of the idea. In other words, the events in the plot can take place in different time periods. The plot is that basis, but in more compressed form, and plus - the sequence of events in their strictly chronological order. For example, birth, maturity, old age, death - this is the plot, then the plot is maturity, memories from childhood, adolescence, youth, lyrical digressions, old age and death.
Story composition
The plot, just like the literary work itself, has its own stages of development. At the center of any plot there is always a conflict around which the main events develop.
The book begins with an exposition or prologue, that is, with an “explanation”, a description of the situation, the starting point from which it all began. This is followed by a plot, one might say, foresight of future events. At this stage, the reader begins to realize that a future conflict is just around the corner. As a rule, it is in this part that the main characters meet, who are destined to go through the coming trials together, side by side.
We continue to list the elements plot composition. The next stage is the development of the action. Usually this is the most significant piece of text. Here the reader already becomes an invisible participant in the events, he is familiar with everyone, he feels the essence of what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, slowly, unexpectedly for himself, he finds himself in the very center of the whirlpool. The climax comes - the very peak, when a real storm of feelings and a sea of \u200b\u200bemotions falls upon both the main characters and the reader himself. And then, when it is already clear that the worst is behind and you can breathe, the denouement softly knocks on the door. She chews everything, explains every detail, puts all things on the shelves - each in its place, and the tension slowly subsides. The epilogue draws the final line and briefly outlines the further life of the main and secondary characters. However, not all plots have the same structure. The traditional elements of a fairy tale composition are completely different.
Story
A fairy tale is a lie, but there is a hint in it. Which? The elements of the composition of the fairy tale are radically different from their "brothers", although when reading, easy and relaxed, you do not notice this. This is the talent of a writer or even an entire nation. As Alexander Sergeevich instructed, it is simply necessary to read fairy tales, especially folk tales, because they contain all the properties of the Russian language.
So, what are they - traditional elements fabulous composition? The first words are a saying that sets you in a fabulous mood and promises a lot of miracles. For example: “This fairy tale will be told from the morning until the afternoon, after eating soft bread ...” When the listeners relax, sit down more comfortably and are ready to listen further, the time has come for the beginning - the beginning. The main characters, the place and time of the action are introduced, and another line is drawn that divides the world into two parts - real and magical.
Next comes the tale itself, in which repetitions are often found to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia to animals, dialogues - all these are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at infinity magical world: "They live, live and make good."
Prologue is called introductory part works. It either anticipates the storyline or the main motives of the work, or represents the events that preceded those described on the pages.The exposition is somewhat akin to the prologue, however, if the prologue does not have a special influence on the development of the plot of the work, then it directly introduces the reader into the atmosphere. It describes the time and place of action, central characters and their relationships. The exposure can be either at the beginning (direct exposure) or in the middle of the work (delayed exposure).
With a logically clear construction, the exposition is followed by a plot - an event that starts the action and provokes the development of the conflict. Sometimes the plot precedes the exposition (for example, Leo Tolstoy's "Anna Karenina"). In detective novels, which are distinguished by the so-called analytical construction of the plot, the cause of events (i.e., the plot) is usually revealed to the reader after the effect generated by it.
The plot is traditionally followed by the development of the action, consisting of a series of episodes in which the characters seek to resolve the conflict, but it only escalates.
Gradually, the development of the action approaches its highest point, which is called the climax. The climax is a clash of characters or a turning point in their lives. After the climax, the action moves irresistibly towards the denouement.
Resolution is the end of an action, or at least of a conflict. As a rule, the denouement occurs at the end of the work, but sometimes it also appears at the beginning (for example, I.A. Bunina “Easy breathing”).
Often the work ends with an epilogue. This is the final part, which usually tells about the events that followed the conclusion of the main plot, and about further destinies characters. Such are the epilogues in the novels of I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy.
Lyrical digressions
Also, extra-plot elements may be present in the composition, for example, lyrical digressions. In them he himself appears before the reader, expressing his own opinions on various issues that are not always directly related to the action. Special interest represent lyrical digressions in "Eugene Onegin" by A.S. Pushkin and in Dead Souls by N.V. Gogol.All of the above allow you to give the work of artistic integrity, logic and fascination.
There are three levels of literary work:
Subject figurativeness - vital material
Composition - the organization of this material
Artistic language - the speech system of a literary work, at all four levels artistic language Keywords: phonics, vocabulary, semantics, syntax.
Each of these layers has its own complex hierarchy.
The seeming complexity of a literary work is created by the hard work of the writer on all three levels of the artistic whole.
Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to different signs and indicators.
A literary text is a communicative, structural and semantic unity, which is manifested in its composition. That is, it is the unity of communication - structure - and meaning.
The composition of a literary text is "mutual correlation and location units of depicted and artistic and speech means. The units depicted here mean: theme, problem, idea, characters, all aspects of the depicted external and internal world. Artistic and speech means are the entire figurative system of the language at the level of its 4 layers.
Composition is the construction of a work, which determines its integrity, completeness and unity.
The composition is "system connections" all of its elements. This system also has an independent content, which should be revealed in the process philological analysis text.
Composition, or structure, or architectonics is the construction of a work of art.
Composition is an element of the form of a work of art.
Composition contributes to the creation of a work as an artistic integrity.
The composition unites all the components and subordinates them to the idea, the idea of the work. Moreover, this connection is so close that it is impossible to remove or rearrange any component from the composition.
Types of compositional organization of the work:
Plot view - that is, plot (epos, lyrics, drama)
Non-plot type - plotless (in lyrics, in epic and drama, created creative method modernism and postmodernism)
The plot view of the compositional organization of a work can be of two types:
Eventive (in epic and drama)
Descriptive (in lyrics)
Let's consider the first type of plot composition - event. It has three forms:
Chronological form - events develop in a straight line of time movement, the natural time sequence is not violated, there may be time intervals between events
Retrospective form - deviation from the natural chronological sequence, violation of the linear order of the passage of events in life, interruption by the memories of the heroes or the author, familiarizing the reader with the background of events and the life of the characters (Bunin, "Easy breathing")
Free or montage form - a significant violation of the spatio-temporal and causal relationships between events; the connection between individual episodes is associative-emotional, not logical-semantic (“A Hero of Our Time”, Kafka’s “Trial” and other works of modernism and postmodernism)
Consider the second type of composition - descriptive:
It is present in lyrical works, they basically lack a clearly limited and coherently developed action, the experiences of a lyrical hero or character are brought to the fore, and the whole composition is subject to the goals of his image, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of a lyrical hero .
Composition is external and internal
External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes, their arrangement may be different depending on the methods of creating the plot chosen by the author.
External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.
External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in the drama, etc.), this organizes and directs the reader's perception. The architectonics of the text serves as a way of "portioning" the meaning; with the help of ... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of the elements of the text (and hence its content).
External composition: no less significant is the absence of division of the text or its extended fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the non-differentiation, the fluidity of the picture of the world of the narrator or character (for example, in the literature of the “stream of consciousness”).
Internal composition : this is the composition (construction, arrangement) of images - characters, events, action settings, landscapes, interiors, etc.
Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.
Not to be confused: the plot has elements plot, the composition has tricks(internal composition) and parts(external composition) compositions.
The composition includes, in its construction, both all the elements of the plot - plot elements, and extra-plot elements.
Techniques of internal composition:
Prologue (often referred to as the plot)
Epilogue (often referred to as the plot)
Monologue
Character portraits
Interiors
landscapes
Extra-plot elements in the composition
Classification of compositional techniques for the selection of individual elements:
Each compositional unit is characterized by extension techniques that provide emphasis the most important meanings of the text and engage the reader's attention. It:
geography: various graphic highlights,
repetitions: repetitions of language units of different levels,
amplification: strong positions of the text or its compositional part - promotional positions associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful connections between adjacent and distant elements, belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningandthe end works (parts, chapters, chapters). With their help, the author emphasizes the most significant elements of the structure for understanding the work and at the same time determines the main "semantic milestones" of one or another compositional part (the text as a whole).
Widespread in Russian literature of the late XX century. montage and collage techniques, on the one hand, led to increased fragmentation of the text, on the other hand, opened up the possibility of new combinations of "semantic planes".
Composition in terms of its connectedness
In the features of the architectonics of the text, such its most important feature is manifested as connectivity. The segments (parts) of the text selected as a result of segmentation correlate with each other, “link” on the basis of common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)
cohesion (from Lat. - “to be connected”), or local connectivity, is a connection of a linear type, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.
coherence(from lat. - “linkage”), or global connectivity, is a connection of a non-linear type that combines elements of different levels of the text (for example, the title, epigraph, “text in the text” and the main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.
In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as "mean increments".
Any literary text is permeated with semantic roll calls, or repetitions. Words related on this basis can take different positions: they can be located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradation series, etc.
Consideration of the semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of "plotless" texts, texts with weakened cause-and-effect relationships of components, texts saturated with complex images. The identification of semantic chains in them and the establishment of their connections is the key to the interpretation of the work.
Extraplot Elements
insert episodes,
lyrical digressions,
artistic advance,
artistic framing,
dedication,
Epigraph,
header
Insert episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and are remembered in connection with the current events of the work (“The Tale of Captain Kopeikin” in “Dead Souls”)
Lyrical digressions- are lyrical, philosophical, journalistic, express the writer's thoughts and feelings directly, in the direct author's word, reflect the author's position, the writer's attitude to the characters, some elements of the theme, problem, idea of the work (in "Dead Souls" - about youth and old age , about Rus' as a bird - a troika)
Artistic lead - depiction of scenes that are ahead of the further course of events (
Artistic framing - scenes that begin and end a work of art, most often this is the same scene, given in development, and creating ring composition(“The Fate of a Man” by M. Sholokhov)
Dedication - a short description or lyrical work that has a specific addressee to whom the work is addressed and dedicated
Epigraph - an aphorism or a quotation from another famous work or folklore, located before the entire text or before its individual parts (proverb in The Captain's Daughter)
header- the name of the work, which always contains the theme, problem or idea of the work, a very brief formulation with deep expressiveness, figurativeness or symbolism.
The object of literary analysis in the study of composition I can be different aspects compositions:
1) architectonics, or the external composition of the text, - its division into certain parts (chapters, subchapters, paragraphs, stanzas, etc.), their sequence and interconnection;
2) a system of images of characters in a work of art;
3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that makes "the central problem of composition»; consideration in the structure of the text different points vision in relation to the architectonics of the work allows us to identify the dynamics of the deployment of artistic content;
4) the system of details presented in the text (composition of details); their analysis makes it possible to reveal ways of deepening the depicted: as I.A. Goncharov, “details that appear fragmentarily and separately in the long term of the general plan”, in the context of the whole, “merge in a common system ... as if thin invisible threads or, perhaps, magnetic currents are operating”;
5) correlation with each other and with other components of the text of its extra-plot elements (inserted novels, stories, lyrical digressions, "scenes on the stage" in the drama).
Compositional analysis thus takes into account different aspects of the text.
The term "composition" in modern philology is very ambiguous, which makes it difficult to use.
To analyze the composition of a literary text, you need to be able to:
To single out repetitions in its structure that are significant for the interpretation of the work, serving as the basis of cohesion and coherence;
Detect semantic overlaps in parts of the text;
Highlight markers - separators of different compositional parts of the work;
Correlate the features of the division of the text with its content and determine the role of discrete (individual parts) compositional units in the whole;
Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.
Determine all methods of external and internal composition in F. Tyutchev's poem "Silentium" (namely: parts of the composition, plot type - non-plot, event - descriptive, vision of individual elements, type of their connection, - NB
