Note: according to this scheme, you can write an essay-review about the book you read, while also presenting in the work:
1. Emotional and evaluative attitude to what is read.
2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.
3. Detailed substantiation of the conclusions. 2. Analysis of a prose literary work When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. At the same time, it is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case it means
literary trends of the era;
the place of this work among the works of other authors written during this period;
creative history of the work;
assessment of the work in criticism;
originality of perception of this work by contemporaries of the writer;
evaluation of the work in the context of modern reading; Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, the content plan is considered - what the author wanted to say and the expression plan - how he managed to do it). Conceptual level of a work of art
(themes, problems, conflict and pathos) Subject- this is what the work is about, the main problem posed and considered by the author in the work, which unites the content into a single whole; these are those typical phenomena and events of real life that are reflected in the work. Does the theme resonate with the main issues of its time? Is the title related to the topic? Each phenomenon of life is a separate topic; a set of topics - the theme of the work. Problem- this is the side of life that is of particular interest to the writer. One and the same problem can serve as the basis for posing different problems (the theme of serfdom is the problem of the internal lack of freedom of the serf, the problem of mutual corruption, mutilation of both serfs and serfs, the problem of social injustice ...). Issues - a list of issues raised in the work. (They may be complementary and subject to the main problem.) Idea- what the author wanted to say; the writer's solution to the main problem or an indication of the way in which it can be solved. (The ideological meaning is the solution of all problems - the main and additional ones - or an indication of a possible solution.) Pathos- the emotional-evaluative attitude of the writer to the narrated, which is distinguished by a great strength of feelings (maybe affirming, denying, justifying, elevating ...). The level of organization of the work as an artistic whole
Composition- construction of a literary work; unites the parts of the work into one whole. The main means of composition: Plot- what happens in the work; system of major events and conflicts. Conflict- clash of characters and circumstances, views and principles of life, which is the basis of action. The conflict can occur between the individual and society, between characters. In the mind of the hero can be explicit and hidden. Plot elements reflect the stages of development of the conflict; Prologue- a kind of introduction to the work, which tells about the events of the past, it emotionally sets the reader up for perception (rare); exposition- introduction into action, depiction of the conditions and circumstances that preceded the immediate start of actions (it can be expanded and not, whole and “broken”; it can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the situation, time and circumstances of the action; tie- the beginning of the plot; the event from which the conflict begins, subsequent events develop. Development of action- a system of events that follow from the plot; in the course of the development of the action, as a rule, the conflict escalates, and the contradictions appear more and more clearly; climax- the moment of the highest tension of the action, the pinnacle of the conflict, the climax presents the main problem of the work and the characters of the characters very clearly, after which the action weakens. denouement- the solution of the depicted conflict or an indication of possible ways to resolve it. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental insolubility. Epilogue- the final part of the work, which indicates the direction of further development of events and the fate of the characters (sometimes an assessment is given to the depicted); this is a short story about what happened to the characters of the work after the end of the main plot action.
The plot may be:
In direct chronological sequence of events;
With digressions into the past - retrospectives - and "excursions" into
future;
In a deliberately changed sequence (see artistic time in the work).
Non-plot elements are:
Insert episodes;
Lyrical (otherwise - author's) digressions. Their main function is to expand the scope of what is depicted, to enable the author to express his thoughts and feelings about various phenomena of life that are not directly related to the plot. Some elements of the plot may be missing in the work; sometimes it is difficult to separate these elements; sometimes there are several plots in one work - in other words, storylines. There are various interpretations of the concepts of "plot" and "plot": 1) the plot is the main conflict of the work; plot - a series of events in which it is expressed; 2) plot - the artistic order of events; plot - the natural order of events
Compositional principles and elements:
Leading compositional principle(the composition is multifaceted, linear, circular, "string with beads"; in the chronology of events or not...).Additional composition tools:
Lyrical digressions- forms of disclosure and transmission of the writer's feelings and thoughts about the depicted (they express the author's attitude to the characters, to the life depicted, may represent reflections on any occasion or an explanation of his goal, position); Introductory (insert) episodes(not directly related to the plot of the work); Artistic previews- the image of scenes that, as it were, predict, anticipate the further development of events; Artistic framing- scenes that begin and end an event or work, complementing it, giving additional meaning; Compositional techniques- internal monologues, diary, etc. The level of the internal form of the work The subjective organization of the narration (its consideration includes the following): The narration can be personal: on behalf of the lyrical hero (confession), on behalf of the hero-narrator, and impersonal (on behalf of the narrator). 1) Artistic image of a man- typical phenomena of life reflected in this image are considered; individual traits inherent in the character; reveals the originality of the created image of a person:External features - face, figure, costume;
The character of the character - it is revealed in actions, in relation to other people, manifested in a portrait, in descriptions of the feelings of the hero, in his speech. Depiction of the conditions in which the character lives and acts;
An image of nature that helps to better understand the thoughts and feelings of the character;
Image of the social environment, the society in which the character lives and acts;
The presence or absence of a prototype. 2) 0 basic techniques for creating an image-character:
Characterization of the hero through his actions and deeds (in the plot system);
Portrait, portrait characteristic of the hero (often expresses the author's attitude to the character);
Direct author's characteristic;
Psychological analysis - a detailed, in detail recreation of feelings, thoughts, motives - the inner world of the character; here the depiction of the “dialectics of the soul” is of particular importance, i.e. movements of the hero's inner life;
Characterization of the hero by other characters;
Artistic detail - a description of objects and phenomena of the reality surrounding the character (details that reflect a broad generalization can act as symbolic details); 3) Types of images-characters: lyrical- in the event that the writer depicts only the feelings and thoughts of the hero, without mentioning the events of his life, the actions of the hero (found mainly in poetry); dramatic- in the event that the impression arises that the characters act "on their own", "without the help of the author", i.e. the author uses the technique of self-disclosure, self-characteristics (found mainly in dramatic works) to characterize the characters; epic- the author-narrator or narrator consistently describes the characters, their actions, characters, appearance, the environment in which they live, relationships with others (found in epic novels, short stories, short stories, short stories, essays). 4) The system of images-characters; Separate images can be combined into groups (grouping of images) - their interaction helps to more fully present and reveal each character, and through them - the theme and ideological meaning of the work. All these groups are united in the society depicted in the work (multidimensional or one-dimensional from a social, ethnic, etc. point of view). Artistic space and artistic time (chronotope): space and time depicted by the author. Artistic space can be conditional and concrete; compressed and voluminous; Artistic time can be correlated with historical or not, intermittent and continuous, in the chronology of events (epic time) or the chronology of the characters’ internal mental processes (lyrical time), long or instantaneous, finite or endless, closed (i.e. only within the plot , out of historical time) and open (against the background of a certain historical epoch). The position of the author and ways of expressing it:
Author's estimates: direct and indirect.
The way of creating artistic images: narration (image of the events taking place in the work), description (consistent enumeration of individual features, traits, properties and phenomena), forms of oral speech (dialogue, monologue).
The place and significance of the artistic detail (artistic detail that enhances the idea of the whole). External form level. Speech and rhythm-melodic organization of a literary text Character speech - expressive or not, acting as a means of typing; individual features of speech; reveals the character and helps to understand the attitude of the author. Narrator's speech - evaluation of events and their participants The peculiarity of the word use of the national language (active inclusion of synonyms, antonyms, homonyms, archaisms, neologisms, dialectisms, barbarisms, professionalisms). Figurative techniques (tropes - the use of words in a figurative sense) - the simplest (epithet and comparison) and complex (metaphor, personification, allegory, litote, paraphrase). Analysis of a poetic work
Poem Analysis Plan 1. Elements of a commentary on a poem:
- Time (place) of writing, history of creation;
- Genre originality;
- The place of this poem in the poet's work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
- Explanation of obscure places, complex metaphors and other transcripts. 2. Feelings expressed by the lyrical hero of the poem; the feelings that the poem evokes in the reader. 3. The movement of the author's thoughts, feelings from the beginning to the end of the poem. 4. Interdependence of the content of the poem and its artistic form:
- Compositional solutions;
- Features of self-expression of the lyrical hero and the nature of the narrative;
- The sound range of the poem, the use of sound recording, assonance, alliteration;
- Rhythm, stanza, graphics, their semantic role;
- Motivation and accuracy of the use of expressive means. 4. Associations caused by this poem (literary, life, musical, pictorial - any). 5. The typicality and originality of this poem in the poet's work, the deep moral or philosophical meaning of the work, which was revealed as a result of the analysis; the degree of "eternity" of the issues raised or their interpretation. Riddles and secrets of the poem. 6. Additional (free) reflections. Analysis of a poetic work
(scheme) Starting the analysis of a poetic work, it is necessary to determine the direct content of the lyrical work - experience, feeling; Determine the "belonging" of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed); - to determine the subject of the description and its connection with the poetic idea (direct - indirect); - to determine the organization (composition) of a lyrical work; - to determine the originality of the use of visual means by the author (active - mean); determine the lexical pattern (vernacular - book and literary vocabulary ...); - determine the rhythm (homogeneous - heterogeneous; rhythmic movement); - determine the sound pattern; - determine intonation (the attitude of the speaker to the subject of speech and the interlocutor. Poetic vocabulary It is necessary to find out the activity of using separate groups of words in common vocabulary - synonyms, antonyms, archaisms, neologisms; - to find out the degree of proximity of the poetic language with the colloquial; - to determine the originality and activity of the use of trails EPITHET- artistic definition; COMPARISON- comparison of two objects or phenomena in order to explain one of them with the help of the other; ALLEGORY(allegory) - the image of an abstract concept or phenomenon through specific objects and images; IRONY- hidden mockery; HYPERBOLA- artistic exaggeration used to enhance the impression; LITOTES- artistic understatement; PERSONALIZATION- the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel; METAPHOR- a hidden comparison, built on the similarity or contrast of phenomena, in which the word "as", "as if", "as if" are absent, but implied. Poetic Syntax
(syntactic devices or figures of poetic speech) - rhetorical questions, appeals, exclamations- they increase the reader's attention without requiring an answer from him; - repetitions- repeated repetition of the same words or expressions; - antitheses- opposition; Poetic phonetics The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech.) - Alliteration- repetition of consonant sounds; - Assonance- repetition of vowel sounds; - Anaphora- unity of command; Composition of a lyrical work Necessary:- to determine the leading experience, feeling, mood reflected in the poetic work; - to find out the harmony of the compositional construction, its subordination to the expression of a certain thought; - determine the lyrical situation presented in the poem (the hero's conflict with himself; the hero's inner lack of freedom, etc.) - determine the life situation that, presumably, could cause this experience; - highlight the main parts of a poetic work: show their connection (determine the emotional "picture"). Analysis of a dramatic work Scheme for analyzing a dramatic work 1. General characteristics: history of creation, vital basis, design, literary criticism. 2. Plot, composition:
- the main conflict, the stages of its development;
- the nature of the denouement /comic, tragic, dramatic/ 3. Analysis of individual actions, scenes, phenomena. 4. Collecting material about the characters:
- character's appearance
- behavior,
- speech characteristic
- the content of the speech / about what? /
- manner / how? /
- style, vocabulary
- self-characteristics, mutual characteristics of the characters, author's remarks;
- the role of scenery, interior in the development of the image. 5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality. dramatic work The generic specificity, the “borderline” position of the drama (Between literature and the theater) obliges it to be analyzed in the course of the development of dramatic action (this is the fundamental difference between the analysis of a dramatic work from an epic or lyrical one). Therefore, the proposed scheme is conditional, it only takes into account the conglomeration of the main generic categories of drama, the peculiarity of which can manifest itself in different ways in each individual case, namely in the development of the action (according to the principle of a untwisted spring). 1. General characteristics of dramatic action(character, plan and vector of movement, pace, rhythm, etc.). "Through" action and "underwater" currents. 2 . type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), the "vertical" and "horizontal" plan of the drama. 3. System of actors, their place and role in the development of dramatic action and conflict resolution. Main and secondary characters. Off-plot and off-stage characters. 4. System of motives and motivational development of the plot and microplots of the drama. Text and subtext. 5. Compositional-structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Assembly principle. 6. Features of poetics(the semantic key of the title, the role of the theater poster, stage chronotype, symbolism, stage psychologism, the problem of the finale). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc. 7. Genre originality(drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author. 8. Ways of expressing the author's position(remarks, dialogue, stage presence, poetics of names, lyrical atmosphere, etc.) 9. Drama contexts(historical and cultural, creative, proper dramatic). 10. The problem of interpretations and stage history.
Text analysis and creative tasks
(preparation for the Literature Olympiad)
Kirsanova Elena Vladimirovna,
teacher of Russian language and literature of the highest category
Sakulinskaya basic school
- The tasks of this part are designed to test the knowledge of the biographical and historical-literary context of the work, mastering the basics of the theory of literature and the ability to correctly use literary terminology.
- Tasks allow you to determine how the participant of the Olympiad owns the terms. When answering, it is necessary to demonstrate the ability in written speech, when answering the question posed, to convey the essence of one's own understanding of the designated problem.
- The tasks are aimed at testing the skills of analysis and interpretations works of the corresponding genre: prose text or poetic texts. The tasks of this part reveal the creative abilities of students, are associated with the perception, interpretation and evaluation of works of fiction, knowledge of literary theory, and allow demonstrating the level of written culture of students' speech. INTERPRETATION te, interpretations, female (lat. interpretatio) ( Books).
- 1. Interpretation, explanation, disclosure of the meaning of something. Law interpretation. Text interpretation.
When evaluating tasks of parts I and II, the following are taken into account:
- knowledge of literary texts;
- knowledge of factual material from the history and theory of literature and the ability to use it;
- possession of literary concepts; historical and cultural erudition; correctness, completeness and accuracy of the answer;
- language and style of presentation: compositional harmony, logic, clarity, speech literacy; depth and independence in the disclosure of the topic.
When evaluating tasks of the III part, the following are taken into account:
- depth of comprehension of the text (theme, genre, plot, characters, composition, style, direction, artistic idea);
- the ability to determine the author's position;
- possession of the basics of the analysis of a poetic text;
- perception of the image of a lyrical hero and the ability to interpret it, to characterize the author's poetic individuality, and also to express one's thoughts and feelings;
- the language and style of work of the participant of the Olympiad (compositional harmony, logic, clarity of presentation, speech literacy).
- Poetic Syntax. (syntactic devices or figures of poetic speech) - rhetorical questions, appeals, exclamations - they increase the reader's attention without requiring an answer from him; - repetitions - repeated repetition of the same words or expressions; - antitheses - oppositions;
- Poetic phonetics. The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech. - Alliteration - repetition of consonant sounds; - Assonance - repetition of vowel sounds; - Anaphora - unity of command, repetition of the beginning of lines.
It is necessary: - to determine leading experience, feeling, mood reflected in a poetic work; - to figure out harmony of compositional construction, its subordination to the expression of a certain thought; - define lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner lack of freedom, etc.) - determine life situation, which, presumably, could cause this experience; - highlight the main parts of a poetic work: show their connection (identify the emotional "drawing").
- bliss - pleasure (obsolete);
- gaze - look, but in the text - eyes (obsolete);
- evening - yesterday (dial.);
- now - now (obsolete);
- illuminated - illuminated (obsolete);
- command - order (obsolete);
- forbid - harness, harness (dial.);
- surrender - surrender (obsolete).
- YaMB - (Greek iambos), poetic meter with strong places on even syllables of the verse
- Scheme: - / - / - / - /… That is: the first syllable in the line is unstressed, the second is stressed, the third is unstressed, the fourth is stressed, and so on.
- Write a creative work in the style of G. Oster's "bad advice".
- Write an essay on the topic "A fairy tale in my life"
- Write a story on the topic "The river of my childhood ..."
- Write a short essay (volume 50-70 words) on the topic "Native land, forever beloved ..."
- Compose a short connected text using the words in the given sequence (word forms may vary). One day, lumberjack, purple, balcony, hardboiled, helicopter, garden, shampoo, painting, basketball, present, husk, moonlight, school.
- A miniature essay in a given style and genre (review, review, stylization, parody), preferably taking into account regional specifics.
- Essay on the proposed beginning, on the proposed topic, on the picture, on the supporting words, in the form of a letter to a person of a different era and culture.
- Write 15-20 sentences on the topic “Is poetry needed today?”
- Write an essay-miniature "When I was (a) small (oh)"
- How do you, the heroes of the 21st century, understand happiness?
- Create a work about nature in the genre of Japanese poetry - haiku (non-rhyming three-line)
- Write an essay-reasoning on the topic “Why I love (dislike) autumn”
- Write an essay on behalf of the subject (old wardrobe, table lamp, etc.)
- Write a creative work in the genre of writing on one of the topics: “Letter to the front”, “Letter from the front”, “Letter to a front-line soldier”
Letter text outline
Letter
I Appeal.
Opening phrase about the state of correspondence
II The main content of the letter.
News announcement.
Information for the addressee.
Dear Mom!
Received your letter.
Received notice of...
III Questions to the addressee.
Gratitude.
Requests. Invitations.
I will describe to you how my life goes.
We have a lot of news...
We had guests...
How do you live? How is your health? What's new? Thank you for... I ask you to write to me about... Say hello...Come...
IV Farewell.
Date and place of writing.
Goodbye. Your loving son...
Yours faithfully…
- cinquain- this is a poem that requires the synthesis of information and material in brief terms, which allows you to describe or reflect on any occasion.
- Word cinquain comes from the French meaning five. Thus, a cinquain is a poem consisting of five lines.
- In the first line, the topic is called in one word (usually nouns). The second line is a description of the topic in two words (two adjectives). The third line is a description of the action within this topic in three words. The fourth line is a four-word phrase showing the relationship to the topic. The last line is a one-word synonym that repeats the essence of the topic
- In the first line, the topic is called in one word (usually nouns).
- The second line is a description of the topic in two words (two adjectives).
- The third line is a description of the action within this topic in three words.
- The fourth line is a four-word phrase showing the relationship to the topic.
- The last line is a one-word synonym that repeats the essence of the topic
Volcanoes
teaching
red hot
Reading
Difficult, heavy
Breaking out from within
Natural fire furnace
challenging, strengthening, beneficial
free, active
Participating, sharing, teaching
Linking the new to the known
Glow in the dark
Education
Education
1. The history of the creation of the work.
2. The genre of the work.
3. Subject and idea of the work. (It is important to understand that there can be many topics in a work, but the main one is only one, the main one).
4. Problems of the work. As a rule, in Russian literature, the problems raised by the author are eternal, inherent in many works.
For example:
- The problem of finding a positive hero.
- The problem of the meaning of life/happiness.
- The problem of feeling and duty, the problem of love.
- The problem of fathers and children.
- The problem of good and evil.
- What is true beauty?
- Ecological problems.
- Problems of historical memory.
5. Figurative system. Here you need to understand in detail why this or that character is needed, to understand its function and role.
6. Conflict (what kind, how many conflicts, how they are shown in the work).
7. Artistic features.
- Composition (form, construction of the work): exposition, plot, climax, denouement.
- Artistic techniques.
- Portrait.
- Scenery.
- Interior.
- Psychologism: the image of the actions of the characters, their experiences (confession, monologue, dialogue, author's speech, comments, opinions of other characters).
- The role of artistic details for the characterization of the hero.
- receiving antithesis.
- Humor, satire, irony, grotesque, fantasy.
8. Controversy around the work or the point of view of critics and contemporaries.
You can use a bright and memorable quote to start (or end) the work.
Naturally, not all the aspects mentioned above can be covered in the analysis, but only those that most fully and accurately reveal the specifics of the work.
Analysis plan for a prose work - option 2
- Theme of the work (what is it about?), problems (for what? why?)
- Genre of the work (story, short story, novel).
- Plot and plot composition (arrangement of plot deployment)
- Image system
- Artistic details
- Chronotope (organization of time and space)
- Paths and figures
- Verbal instrumentation of the text, rhythm, intonation.
- The ideological orientation of the work, its pathos.
The first three components are, as a rule, dominant, absorbing all the others. All components of the analysis converge at one point, exist as units in order to eventually reach the author's idea in the work. The author's idea is the purpose of the analysis. There is no universal plan of analysis. Each work is original, requires an individual approach, but it is possible to conditionally distinguish the stages of analysis of works:
- The role of the end and beginning of the work. The significance of the first sentence (What does it set you up for? What emotional atmosphere does it create? With the help of what details does the emotional atmosphere of the work create? How does the beginning of the work prepare for the perception of the work?).
- Identification of episodes and events that make up the plot, their analysis. Understanding the importance of each episode and event.
- Identification of the logic of the sequence of episodes (How is the author's thought revealed through this sequence?).
- Image system.
Hero: First appearance of a literary hero; what we expect from him, the author's attitude; portrait details; speech characteristics (what and how he says); manifestations of the hero in actions, actions, motives of actions; relationships with other people; the inner world of the hero (feelings, thoughts, fantasies); life orientations, values of the hero.
Landscape (not only natural, but also urban): a color and light palette that creates a certain atmosphere of the world where something will happen; the sound of the depicted world; movements of the depicted world; connection with the characters; the role of the landscape in the narrative (as the author's thought, the author himself is visible in the landscape).
Interior (description of the situation): through artistic details to comprehend the characters of the characters; the atmosphere of human life in this world (whether the hero is happy or not).
Object-Subject Relations(if there is a narrator): features of the narrator's vision of the world (Why did the author need this? How similar is the narrator with the author? What is the distance between them?).
Goryainova N.V.,teacher of Russian language and literature
gymnasium No. 1 in Bryansk
Recently, at Literature Olympiads, schoolchildren are invited to analyze a literary text (poetic or prose). We offer our own version of work on a comprehensive analysis of the text, which was quite successfully tested in the preparation of students of gymnasium No. 1 for various stages of the All-Russian Olympiad for schoolchildren.
Traditionally, work with a literary text includes 3 stages: emotional perception and the formation of the primary concept of the study; analysis of factual material and confirmation / refutation of the theory; text synthesis.
Emotional perception. This stage is pre-scientific. It is necessary to determine the following elements: features of the author's artistic world, features of his own artistic world (how the problem raised by the author is solved in his own mind). The most important thing at this stage is to describe the resonance in which perception comes after reading the text. It is important not just to "catch" the mood created by the text, but to find points of refraction, discrepancies of opinions and argue their selection using a description of the author's and his own picture of the world. The result of this stage is the creation of the primary concept of the study: what is the peculiarity of the author's artistic world, how this specificity is reflected in the text, what is the peculiarity of his perception.
Analysis of the actual material. This stage involves painstaking objective work with the text, analysis of language units at various levels. It is important to objectively study the presented text material, not paying attention to the initially set goals. The final stage of this work is the confirmation or refutation of one's own theory, its transformation or the search for a new one.
Synthesis of "text about text". At this stage, it is necessary to combine the data obtained during the work on the emotional and factual components of the text. There is no scheme for creating this text and cannot be. !!! This is easily explained by the very specifics of the object of study. It is important to single out the general concept of the study and build evidence based on it. Emotionality and excessive "artistic" are unacceptable. Comprehensive text analysis implies a combination of research and creativity. At the same time, the creative, emotional component implies the transformation of oneself into a kind of guinea pig, i.e. the study of the subtleties of one's own feelings when perceiving the text.
Soderyearning (what?)
Problem
idea block
Form (how?)
Plot
Conflict
Composition
figurative system
Genre specifics
Chronotop
Vocabulary
Morphology
Syntax
Phonetics WHY??????
Features of artistic speech
Features of versification (for poetry)
Additional text
header complex
Date, place of writing
Author's notes and explanations
Poster, remarks, mise-en-scène (in drama)
PROBLEMS: mythological, cultural and everyday (sociocultural), national, ideological and moral (novel), philosophical.
IDEA BLOCK: artistic idea, system of author's assessments, author's idea of the ideal, pathos (heroic, dramatic, tragic, comic, satirical, humorous, pathos of sentimentality, romantic)
PLOT: dynamic / adynamic (according to the intensity of the development of events); chronicle / concentric (according to the internal connection of events); plot elements (exposition, plot, development of action, climax, denouement); extra-plot elements (prologue, epilogue, inserted episodes, lyrical digressions).
CONFLICT: local / substantial (according to the place of concentration); person-person / person-group of persons / person-society / internal (at the level of participants).
COMPOSITION: external (division into chapters, parts, actions, phenomena, stanzas), internal (sequence of events, division of characters, feature of artistic speech), basic compositional techniques (repetition, opposition, amplification, "mirror" composition, installation)
IMAGINATIONAL SYSTEM: properties of the artistic world (lifelikeness, fantasy, plot, descriptiveness, psychologism, etc.); system of images (hero, landscape, interior, detail); typology of images according to the degree of generalization (individual, typical, symbols, images-motives, images-archetypes)
Ways to analyze a hero: portrait, characterization by other characters, author's characterization, landscape, interior, artistic detail, social environment, speech characteristics, memories, dreams, letters, etc.
landscape functionsand interior: designation of time and place of action, creation of the image of a hero, form of the author's presence, influence on the course of events, designation of a historical era, visionary
GENRE SPECIFICITY: literary movement, generic and genre features of the text.
CHRONOTOPE: properties of artistic time (concreteness / abstractness; intensity / non-intensity; discreteness (discontinuity); free movement of images in time); properties of artistic space (concreteness/abstractness, saturation/unsaturation with details, discreteness, free movement of images in space).
VOCABULARY: synonyms, antonyms, stylistically colored vocabulary, obsolete words, neologisms, Old Slavonicisms, borrowings, dialectisms, lexical means of artistic expression (epithet, metaphor, metonymy, comparison, oxymoron, paraphrase, symbolism, hyperbole, etc.)
MORPHOLOGY: the accumulation of words of the same part of speech that have similar properties
SYNTAX: character of punctuation, sentence structure, syntactic figures (rhetorical question, appeal, exclamation; omission, inversion, anaphora, epiphora, gradation, parallelism, default, parcellation, multi-union, non-union, etc.)
PHONETICS: assonance, alliteration
FEATURES OF ARTISTIC SPEECH: monologism, dialogue, narration in the first or third person
FEATURES OF POETRY: poetic size, type of rhyme, method of rhyming, features of stanza.
In the course of observing the specifics of the text, it is necessary to analyze all its components for an objective conclusion. When describing these observations, it is impossible to do without quotation material as evidence. As for the historical, cultural and biographical blocks, it is advisable to give them the place of auxiliary information. In any case, the linguistic analysis of the text will lead to an understanding of the author's linguistic picture of the world, characteristic of a particular era or culture. Thus, knowledge of biography or history will help to state observations. During the analysis, the researcher should pay attention primarily to the linguistic personality of the author and the peculiarities of the reader's perception. It is impossible to dismiss the associative series, since it is one of the components of the text understanding system.
The poetic language is built on the internal opposition of the ordinary vision of the world to the unusual one, revealing the individual essence of the subject, therefore, metaphor becomes one of the most important poetic devices. It contrasts objective reality, independent of man, and the created author's world, based not only on the destruction of basic concepts, but also on the discovery of an unexpected similarity between them. Therefore, it is very important to build the analysis of the text precisely on the analysis of the metaphorical basis of the poem. It is the metaphor that makes it possible to find points of contact between the author's worldview and the reader's.
When preparing for the Olympiad, it is necessary not only to analyze the text yourself, but also to refer to the works of the participants. It is important to teach students to see the strengths and weaknesses of such analyzes. The teacher, having various options for creative work, can offer a system of questions and tasks preparing for the Olympiad, helping to see their strengths and weaknesses.
As an example, we offer the work of a participant in the municipal stage of the All-Russian Olympiad for schoolchildren, a student of the 11th grade of gymnasium No. 1 in Bryansk, Borisova Victoria. This analysis is not perfect, it was rated 42 points out of 50, but it has interesting observations. This work can be used for educational purposes, noting its strengths and weaknesses.
Comparative analysis of poems by M. Tsvetaeva "White sun and low, low clouds ..."and N. Gumilyov "War"
M. Tsvetaeva
White sun and low, low clouds,
Along the vegetable gardens - behind a white wall - a churchyard.
And on the sand a string of straw dummies
Under the crossbars in human growth.
And, hanging over the fence stakes,
I see: roads, trees, soldiers at random.
Old woman - sprinkled with coarse salt
The black chunk at the gate is chewing and chewing...
What angered you these gray huts,
God! - and why shoot so many in the chest?
The train passed and howled, and the soldiers howled,
And dusted, dusted the retreating path ...
No, die! It would be better never to be born
Than this plaintive, pitiful, hard labor howl
About black-browed beauties. - Oh, and they sing
Tonight soldiers! Oh my god you are mine!
N. Gumilyov
WAR
M. M. Chichagov
Like a dog on a heavy chain
A machine gun yapping behind the forest,
And buzzing shrapnel like bees
Collecting bright red honey.
And "cheers" in the distance - as if singing
A hard day for the graduates of the reapers.
You will say: this is a peaceful village
On the most blissful of evenings.
And truly bright and holy
The great thing of war.
Seraphim, clear and winged,
Behind the shoulders of the soldiers are visible.
Workers walking slowly
On fields soaked in blood
The feat of those who sow and reap glory,
Now, Lord, bless.
Like those who bend over the plow,
Like those who pray and mourn,
Their hearts burn before You
They burn with wax candles.
But to that, O Lord, and the strength
And grant victory the royal hour,
Who will say to the defeated: “Darling,
Here, take my brotherly kiss!”
War... It has always been a war: cruel and tragic. Much, infinitely much has been written about the war: we know works devoted to both ancient wars and wars of modern history. They contain both the bitterness of defeats and the joy of victories... Works about the war are a tribute to the memory of cruel events, people who saved the lives of millions of other people... And even if the form of the works is different, they have one goal! One of the oldest literary monuments dedicated to the war is Homer's Iliad. Of course, there were still many significant wars about which works were written, but the Patriotic War of 1812 was important for the Russian people. This war was described in the world-famous epic novel by L.N. Tolstoy "War and Peace". The next significant war for mankind began in 1914 - it was the First World War. Much later, Erich Maria Remarque will write about the horrors of this cruel war in one of his best works - “All Quiet on the Western Front” and “Three Comrades”. It would be criminal to keep silent about the fact that not only Western writers devoted their works to this catastrophe of the early 20th century, but, of course, Russian poets and prose writers wrote about it.
In your opinion, how successful or unsuccessful is such an introduction for a comparative analysis of the proposed poems? What do you think is redundant? What should be emphasized? Submit your entry.
Undoubtedly, this war left a deep scar in the souls of contemporaries - poets. And Marina Tsvetaeva's poem "The White Sun and Low, Low Clouds" is riddled with heartache.
This poem by M. Tsvetaeva is dedicated to war, a cruel and inhuman war. The lyrical heroine pours out her heartache: she sees all the horrors of the war, she is aware of them, but she cannot understand why and why these events occur. And this question "why?", "why?" and is the main idea of the poem - the heroine is trying to find the answer to this question, but no one can answer it. The lyrical heroine, having a subtly feeling and wounded soul, notices the smallest details. It is this feature that allows us to imagine her, because other features, as well as her portrait as a whole in the poem, are not given to us at all, which means that the inner world of the lyrical heroine tells us that at the moment it was important for her to comprehend the essence of things, and she did not look at outward signs. We can also say about the heroine that she sincerely loves those places where she had to see these terrible events, sincerely experiences the pain of her people. Otherwise, why would she have exclaimed: “How did these gray huts anger you, Lord! “And why shoot so many in the chest?” The lyrical heroine sincerely sympathizes with the soldiers, she feels their moods and is imbued with them herself: “No, die! It would never be better to be born…!”
What do you see as the lyrical heroine of this poem? Sovpadoes your idea of it with the opinion of the author of the work? Pay attention to the date of writing the poem, why did the author accurately indicate the day, month and year?
But the nature described in the poem does not sympathize with the soldiers at all: "White sun and low, low clouds ...". The sun is white, dazzling, red-hot; low clouds that do not portend good weather - an unsettling landscape; dusty road, "gray huts" - and they are nothing to please the eye. The heroine, who looks at these soldiers, also sees a dull landscape: “a string of straw dummies on the sand”, “…roads, trees…”. All these details denounce a joyless life. This dull picture can be supplemented by the image of an old woman chewing "a black chunk sprinkled with coarse salt." This speaks not so much of the poverty of the people, of hunger during the war, but of the state of stupefaction, the hopeless grief of the Russian peasant woman.
Give your interpretation of the landscape presented in the poem? What interesting observations did you see from the author of the work? Supplement the analysis with an analysis of the details, for example, how do you ponysweep "strings of straw dummies on the sand" - what is it? Remember the poem by K. Simonov “Do you remember, Alyosha, the roads of the Smolensk region”, dedicated to the Great Patriotic War, is there a similar picture in it?
The sound background heard by the heroine cannot add joyful notes to her mood - she hears a howl: the howl of a steam locomotive, “plaintive, pitiful, hard labor howl” - these are the songs of soldiers, they are also joyless. The lyrical heroine sees only suffering, and this spectacle again and again brings her back to the question “Why is this happening?”
What technique is used to create background sound? Why do the songs of soldiers about black-browed beauties seem like the howl of convicts to the lyrical heroine?
The current of symbolism had a huge impact on all the poets of the Silver Age, including Marina Tsvetaeva. In her poem there is a huge amount of detail - symbols: straw effigies instead of people; a white sun and a white wall, contrasting brightly with the landscape - roads, trees, black bread, a black train. The white wall itself is a symbol of the separation of the world of the lyrical heroine and the outside world, although these worlds are still connected to each other.
Express your attitude to the above observations of the student. Do you agree with them? Try to give your interpretation of the above images.
Structurally, the poem is divided into stanzas of 4 lines each, equal in meaning to each other, but lexically unrelated: the first stanza "White sun ...", the second stanza "And, hanging over the fence ...", the third stanza "How did these gray huts anger you ..." and the fourth stanza "No, die ...".
What conclusions can be drawn about the composition of the poem?
There is a lot of emotional syntax in the work of M. Tsvetaeva: there are also repetitions “... chews and chews ...”, “and the retreating path became dusty, dusty ...”; there are also exclamations that tell us about the indifference of the heroine: “No, die! ..// Oh, and they sing// Today the soldiers! Oh my God, you are mine!" There is also a rhetorical question in the poem, emphasizing the despair of the heroine from the impossibility of helping people: “... and why shoot so many in the chest?”
Is it possible to speak of a typicalsti similar syntax for the style of M. Tsvetaeva? Try to give examples.
Phonetically, the poem is saturated: there is a lot of sound writing, both direct and indirect: this is the howl of a train, and a plaintive soldier's song, and deafness in the landscape. The color scheme of the poem is based on contrast: a white sun and a black loaf of bread, a white wall and a black train. All coloring of the poem is direct.
We can say that the main means of artistic expression in this poem are emotional syntax and phonetics.
The size in which M. Tsvetaeva's poem is written is dactyl. Rhyme cross, female.
Are there rhythmic breaks in the poem? Give an example. What does this technique give in terms of conveying emotions?
Thus, in the poem by M. Tsvetaeva, a female view of the tragedy of war is presented. War means unjustified sacrifices, it is filth and hunger, it is endless longing. All means of artistic expression of the poem work to embody the inhumanity of war. M. Tsvetaeva expressed not only her own feelings (recall that her husband, Sergei Efron went missing during the First World War), but also the experiences of all women, without distinction of intellectual, property, class status.
How deep do you think the conclusion is? Submit yours invariant of the conclusion based on the poem by M. Tsvetaeva. Remember the statement of L. Tolstoy in the novel "War and Peace": "War is not a kindness, but the most disgusting thing in life ...". Does the meaning of M. Tsvetaeva's poem echo Tolstoy's assessment of the war?
The poem by Nikolai Gumilyov, written two years earlier than the poem by M. Tsvetaeva, is permeated with other moods. Perhaps this can be explained by the year the poem was written - 1914, when the First World War had just begun and there was hope in the hearts of people that it would end as soon as possible, since the successes of the Russian army were obvious. In addition, the faith in the sanctity of the cause of war was very great:
And truly bright and holy
The great thing of war.
Supplement this introduction with facts from the biography of the poet and characterthe truth of his lyrical hero as such.
The theme of Nikolai Gumilyov's poem is also war, but, unlike Tsvetaeva's poem, here the idea of the work is the need for mercy to the defeated enemy: “Darling, here, take my brotherly kiss!”
We also know only a few facts about the lyrical hero of this work: he is a deeply religious person, worries with his people, is not indifferent to the fate of mankind as a whole. These features unite the lyrical hero N. Gumilyov and the lyrical heroine M. Tsvetaeva.
Continue thinking about the similarities and differences between the lyrical heroes of the poems.
As in the poem by M. Tsvetaeva, Gumilyov has a landscape, but it is rather metaphorical in nature, it cannot be considered in its direct meaning: “fields soaked in blood” are described. This landscape evokes thoughts of the brutality of war.
In what other works of Russian literature are there such landscapes?
Closely connected with the landscape of the poem is the portrait of the “worker” people: “Like those who bend over the plow ...”. These features are very common, they cannot say exactly what the people felt and experienced at the beginning of the First World War, because it is no coincidence that warriors are often compared to plowmen.
Try to continue the reasoning started in the work about comparing warnew with working farmers. What does the word "orata" mean? Pick up single words. Remember the Russian folk epics, the ancient Russian work "The Tale of Igor's Campaign". Is it possible to say that in depicting the war Gumilev relies on the traditions of folklore and ancient Russian literature?
N. Gumilyov, being an acmeist, focused on real details that form the basis of the work as a whole. These are such details as the “barking” of a machine gun or bees collecting “bright red honey”, these are seraphim behind the shoulders of the soldiers, symbolizing the righteousness and importance of this war, these are “fields soaked in blood”, these are candles like the hearts of the people before God, symbolizing true faith. In general, if we talk about the meaning of details in the work, we can say that N. Gumilyov's "War" reflects the direction in the author's work.
Give a more detailed description of the details. ThinkWhy does Gumilyov, speaking about the war, give details from civilian life?
The author divided his poem into stanzas, syntactically and in meaning interconnected. This is one of the main differences between the work of N. Gumilyov and the works of M. Tsvetaeva. Each stanza is a quatrain connected in series with the previous one.
Follow this link.
Syntactically, each of their stanzas is a complex sentence, supplemented by new details in the next quatrain. Emotional syntax is almost non-existent. Only at the absolute end of the work is there an exclamation that places a logical emphasis on the final stanza.
The phonetic technique - sound recording - is presented in two categories: the sounds of war - a machine gun, the buzzing of shrapnel - and the sounds of peaceful life - the song of the reapers in the evening. They merge with each other, which emphasizes the everydayness, prosaic nature of the war. In this regard, the poems of the two authors are similar, since the poets of the Silver Age widely used phonetic techniques, seeking to enhance the emotional impact on readers.
The entire work of Nikolai Gumilyov is built entirely on comparisons: "Like a dog on a heavy chain ...", "... shrapnel, like bees ...". "Hurrah" is like singing ... "," Like those that bend over the plow ... ". These comparisons create the effect of the ordinary war, deprive it of a romantic coloring. In this respect, Gumilyov's portrayal of the war is close to M. Tsvetaeva's portrayal of the war.
One of the brightest metaphors is “And the shrapnels are buzzing like bees, /
Gathering bright red honey." Bright red honey is blood (the only color designation in the entire poem). This image is repeated in the poem once again: “... in the fields soaked in blood”, thereby emphasizing the tragedy and inhumanity of what is happening.
The size in which this work is written is dolnik, i.e. tonic verse, which brings the poem closer to a work of UNT, for example, a song. The rhyme is alternating - feminine and masculine, the rhyme is cross, which creates a rich rhythmic pattern.
Complete the analysis of the poetics of the poem by N.Gumilyov.
These two works of poets - contemporaries, are devoted to the same topic, but they are different in idea and content, because. the perception of such an event as the First World War, each poet was different and subjective awareness. If M. Tsvetaeva offers a view of the events of the war from the side (she is with those who stand behind the fence), then N. Gumilyov sees everything that happens from the inside (he is a warrior himself and is with the same Russian soldiers). Therefore, the difference in the depiction of the war between the works of N. Gumilyov and M. Tsvetaeva is very noticeable.
Considering all the previous work, write your own comparative analysis of the poems by N. Gumilyov and M. Tsvetaeva.
At the Literature Olympiad, the participant is invited to conduct a holistic analysis of the text - prosaic or poetic (optional). We will focus on the prose text. The level of formation of the skills to analyze the text is assessed, involving for this all the available knowledge of the language and literature. Usually, the task offers questions that the student can focus on, but he has the right to choose his own way of analyzing the work, the main thing is that he must create a coherent, coherent, analytical text united by a common idea. An important point in the analysis is the student's understanding of the meaning of the work, its themes and problems, and how, by what means the author reveals this meaning. That is, we again emphasize that the work is analyzed in the unity of form and content.
Execution plan
It is not necessary to describe all the structural levels of the text, it is more important to focus on the characteristics of its main elements, which helped the author to reveal the content more fully and vividly, to realize the idea. Therefore, the work does not value the abundance of terms, but the accuracy and appropriateness of their use. From the point of view of the content of the text, it is necessary to talk about its theme, idea, problem, position of the author, system of images. When analyzing the form of a work, we pay attention to the composition, means of artistic expression, reflecting on what the author achieves by using them.
As a result of the analysis, a coherent text should be obtained, in which all the features of the content and speech design of the analyzed text will be considered. There are many rough plans and recommendations for a holistic text analysis. It should be noted right away that there is no single mandatory plan, you can focus on recommendations, but approach them creatively, remembering that any analysis is individual and shows exactly your perception and understanding of the text.
So, dwelling on the analysis of a prose text as a task for the Literature Olympiad. Then, from the point of view of content, we must dwell on the main topic, idea, problem raised by the author, consider the system of images, determine the position of the author. From the point of view of form, we analyze the construction of the text, that is, its composition, find the means of artistic expression and determine their role in this text.
It is also possible at the Olympics, which you can also familiarize yourself with.
For example, let's analyze an excerpt from the story Richard Bach "A Seagull Named Jonathan Livingston".
Text
He was relieved that he had made the decision to live the way the Pack lives. The chains with which he chained himself to the chariot of knowledge were broken: there will be no struggle, there will be no defeat. How nice to stop thinking and fly in the dark to the coastal lights.
– Darkness! Suddenly, a disturbing voice was heard. Seagulls never fly in the dark! But Jonathan didn't want to listen. How nice, he thought. “The moon and the reflections of light that play on the water and lay paths of signal lights in the night, and everything is so peaceful and calm around ...”
- Get down! Seagulls never fly in the dark. If you were born to fly in the dark, you would have the eyes of an owl! You would not have a head, but a computer! You would have short falcon wings!
There in the night, at a height of one hundred feet, Jonathan Livingston narrowed his eyes. His pain, his decision, there was no trace of them.
Short wings. Short falcon wings! Here is the clue! “What a fool I am! All I need is a tiny, very small wing; all I need is to almost completely fold the wings and move only the tips during the flight. Short wings!
He rose two thousand feet above the black mass of water and, without thinking for a moment about failure, about death, tightly pressed the wide parts of his wings to his body, exposed to the wind only the ends, narrow as daggers, - feather to feather - and entered the sheer peak.
The wind roared deafeningly over his head. Seventy miles an hour, ninety, one hundred and twenty, even faster! Now, at a hundred and forty miles an hour, he didn't feel the same tension as before at seventy; a barely perceptible movement of the tips of the wings was enough to get out of the dive, and he swept over the waves like a cannonball, gray in the moonlight.
He squinted to protect his eyes from the wind, and he was filled with joy. “One hundred and forty miles an hour! Without losing control! If I start diving at five thousand feet instead of two, I wonder how fast…”
Good intentions are forgotten, carried away by a swift, hurricane wind. But he felt no remorse for breaking the promise he had just made to himself. Such promises bind seagulls, whose lot is mediocrity. For one who aspires to knowledge and has once attained perfection, they are of no importance.
Analysis
The analyzed text is an excerpt from Richard Bach's story "A Seagull named Jonathan Livingston". This story brought the author worldwide fame. In many works of Richard Bach, one way or another, the theme of flight is touched upon, but in the story about the Seagull this topic rises to a philosophical generalization, which makes it possible to define the genre of the work as a story-parable. The epigraph-dedication confirms the correctness of this definition of the genre: "To the non-fictional Jonathan-Seagull who lives in each of us."
The text is an episode from the story, in which the author talks about how the main character goes from the decision to accept, to give up his dream to the bold realization of this dream and victory over himself. What dream are we talking about? For Jonathan, the dream was knowledge, learning about flight, understanding his abilities and striving to expand these possibilities. He could not and did not want to be content with food alone, could not and did not want to live the way the Flock lived.
In his aspiration he was alone, it was not easy for him. This is what the first sentence of the text tells us: "He felt relieved that he had decided to live as the Flock lives." He decided to be like everyone else, and felt relieved. It's hard to be an outcast, it's hard to be a black sheep. And when an alarming hollow voice is heard, reminding Jonathan of the darkness (you fly in the dark, and seagulls do not fly in the dark, then you are not like everyone else, and you decided not to be different from others!), he DOES NOT WANT to listen, he tries to think how pleasant, peaceful and calm around him and in his soul - after all, he made the RIGHT decision. Jonathan feels free - "the chains" with which he was chained to his dream have broken. In the text it is called sublimely: "the chariot of knowledge." But when they were chained to the chariot… It was torture, execution! Isn't it torture - the torments of the search for truth, the torments of creativity, when over and over again nothing happens, and around you are not supporters, but opponents, who are happy with your every failure? Are we talking about Seagull or about people, about ourselves?
The author's skill was manifested in the fact that he was able to tell SO about the Seagull so that the thoughtful reader could rise to philosophical generalizations: when reading the story about the Seagull, we reflect on human life, human relationships and characters. The author believes that a dream lives in everyone, you just need to remind people of it, awaken the strength to strive for your dream. And shows it on the image of the main character. Jonathan resigned, but it was only outward resignation. As soon as a new idea appears in his mind, the previous decision “to be like everyone else” is forgotten, and he is already flying, testing this idea, and rejoices, feeling the joy of victory.
Compositionally, the passage can be divided into 4 parts: the decision to accept and be like everyone else; insight; checking a guess; the joy of discovery. The smooth and calm beginning gives way to anxiety, then the tension builds and the speed of movement increases, which reaches a maximum when Jonathan came out of the dive and "swept over the waves like a cannonball, gray in the moonlight." And then - joy, exultation and new plans: "If I start diving from five thousand feet, and not from two, I wonder at what speed ..." Truly, there is no limit to improvement and there are no limits to knowledge.
The author uses various means of artistic expression in the text. There are metaphors here that give poetry and sublimity: “the chariot of knowledge”; “The wind roared deafeningly over his head”; "The moon and the reflections of light that play on the water and lay paths of signal lights in the night." Comparisons: "he swept over the waves like a cannonball"; “I exposed the wind only to narrow, like daggers, ends,” - they help to visualize the action and sign more clearly. There are also contextual antonyms in the text: “disturbing muffled voice” - “pleasant”, “everything is so peaceful and calm”; "not a head, but a computer." The phrase “Short wings!” is repeated three times. - this is the insight, the discovery that came to Jonathan. And then - the movement itself, the speed grows, and this is emphasized by the gradation: "without thinking for a moment about failure, about death"; "seventy miles an hour, ninety, one hundred and twenty, even faster!"
The last part of the text is the joy of victory, the joy of knowledge. The author takes us back to the beginning, when Jonathan decided to be like everyone else, but now "Good intentions are forgotten, carried away by a swift, hurricane wind." Here again, gradation is used, drawing a whirlwind of joy and exultation in the soul of the hero. He breaks the promise made at the beginning of the text, but "For one who aspires to knowledge and has once attained perfection," such promises are of no importance. The phrase "good intentions" evokes many associations. The phrase “The road to hell is paved with good intentions” immediately comes to mind. Let's think about it. Can it be that good intentions go not for good, but for harm? Probably, it can, if intentions remain only intentions and do not turn into concrete deeds. And it becomes clear to us that the hero of the text does not indulge in "intentions", but acts and wins. This is the main idea of the text: only those who are not afraid to be different from everyone else and follow their dreams in spite of everything can be truly happy themselves and make others happy.
It should be recalled that in addition to analysis in literature lessons, it is also possible to analyze a prose text in a Russian language lesson. Check out an example of the same extract from Richard Bach's story to compare both analyzes and understand the difference between them.
