PLOT - a detailed image of an event or a chain of events, the dominant element of the figurative world and the semantics of a literary text in general, the main means (form) of expressing thematic content in epic and drama, and sometimes in lyrics. In turn, the plot is the content artistic message(narratives, dramatic action), which acts as its form.
Plots are divided into concentric and chronicle. In the first, the depicted events and actions of the characters are held together by a cause-and-effect relationship. If Eugene Onegin's uncle had not died, he would not have come to the inherited estate, he would not have met Lensky. If Lensky, in love with Olga (which interested Onegin), had not brought him to the Larins, Yevgeny would not have met Tatyana, the main conflict would not have ensued. If Lensky, who is much more tolerant of his landowner neighbors than Onegin, had inadvertently promised him that only “his family” would be on Tatyana’s name day, Eugene would have nothing to avenge by caring for Olga, and Lensky would have nothing to challenge a friend to a duel, the collision of the novel, which ended in a duel and the death of Lensky, would not have taken place. If it were not for this, Evgeny, tormented by conscience, would not have gone to travel so soon, Tatiana would not have visited his house, would not have suspected, having got acquainted with Onegin’s library: “Is he really a parody?”, Which, of course, influenced her consent to marry (“... for poor Tanya / All were equal in lots ...”) and on unfair treatment to Onegin, who fell in love with her, as to the former winner of women.
Concentric plots do not exclude a moment of chance. Onegin returned to the world and found there new Tatyana, a brilliant princess, completely unexpectedly for himself. Sudden, sharp turns in the course of events are called vicissitudes. Sometimes the vicissitudes are motivated, sometimes they are not, they simply express the vicissitudes of fate. IN " Captain's daughter“The ups and downs are the pardon of Grinev by Pugachev right under the gallows (it is motivated by the intervention of Savelich, whom the former “leader” recognized) or the arrest of Grinev, when, it would seem, everything went smoothly for him and Masha thanks to a chance meeting with a friend - Zurin (another ups and downs ). In Bulgakov's The Master and Margarita, the ups and downs include the death of Berlioz, the meeting of Ivan Bezdomny in a psychiatric hospital with the master, in the master's story - he won a hundred thousand on a bond, which gave him the opportunity to sit down for a novel about Pilate, a fateful meeting with Margarita, a catastrophe with the novel and the betrayal of Aloisy Mogarych, which led to the separation of the lovers, then the appearance of Azazello in front of Margarita, who gives her hope of meeting her lover, and much more.
Ups and downs (for example, the disclosure of Chichikov’s secrets by Nozdryov and Korobochka as a buyer of “dead souls”) are also possible in newsreels, where the connection of episodes occurs mostly more or less by chance. Arbitrarily, more precisely, according to a specific artistic task extraplot elements are also placed. So, in "Dead Souls" a detailed exposition - Chichikov's background with the motivation for his scam, which unites the entire plot - is given in the final, 11th chapter of the first volume. The purpose of rearranging events in time is the same as in “A Hero of Our Time”: a certain mysterious atmosphere is created, the reader is intrigued. V.M. Shukshin, having told several stories from the life of his character, nicknamed Crank, dwelling in particular detail on his trip to his brother in the Urals, at the end of the action (Crank returned from the trip), in the final paragraph he gives something like an exposition - introduces the hero: “His name was Vasily Egorych Knyazev. He was thirty-nine years old. He worked as a projectionist in the village. He adored detectives and dogs. As a child, I dreamed of being a spy.”
To extra-plot elements artistic world works also include a prologue or introduction, the role of which can be exceptionally large (in “ The Bronze Horseman”The theme of Peter as a great reformer is developed mainly in the description of St. Petersburg founded by him in the introduction), and may be limited to the task of some kind of lyrical accompaniment to the plot, even if something is added to it (the ring frame is a description of the hero’s grave and its visit by the heroine - of the plot of V.P. Astafiev's story "The shepherds. Modern pastoral", consisting of four parts: "Fight", "Date", "Farewell" and "Assumption"), all sorts of digressions (lyrical in "Eugene Onegin" and " Dead souls”, journalistic - philosophical and historical - in “War and Peace”; Tolstoy's digressions are connected with artistic scenes mainly by the position of a passionate and convinced author, in Gogol, with the antithesis of narrative and lyrical passages of the text, they are artistically connected yet more closely than Tolstoy’s reasoning and narration, this antithesis was part of the idea of the “poem”, and in Pushkin’s digressions are sometimes not digressions at all , they move the plot: “... and here she is / The winter sorceress is coming” - along the winter highway Tatiana will be taken to Moscow for marriage), an epilogue or conclusion, i.e. a brief notice compacted in time about what happened to the characters after what was stated in the plot, usually some time later (typical for Turgenev’s novels; in Pushkin’s “The Captain’s Daughter” the role of the epilogue is played by the “publisher’s” commentary on Grinev’s notes; in “War and Peace ”an epilogue is large, in two parts: narrative and philosophical-journalistic).
Some theorists denied the need to single out, along with the concept of “plot”, the concept of “plot”. "Fabula" in Latin means "story, narration." in Russia in the first half of the 19th century. “story” was understood not only as the very fact of telling about something, but also as a way, manner of this story (see: Epos). Prose writers and poets were praised by critics for their art "in the story." Belinsky wrote: “The form of novels like Onegin was created by Byron; at least the manner of the story, the mixture of prose and poetry in the depicted reality, digressions, the poet's appeal to himself, and especially this too tangible presence of the poet's face in the work he created - all this is the work of Byron. The distinction between plot and plot is connected with different understandings of the “story”. The plot in Russian literary criticism of the XIX century. it was the totality of the events depicted in the work, or rather, the image of events, that was called. In the 1920s representatives of the formal school in literary criticism V.B. Shklovsky, B.V. Tomashevsky and others called what used to be called a plot a plot and attributed it to “material” that does not have artistic value. In a work of art, “material” takes shape and becomes a plot. “The artistically constructed distribution of events in a work is called the plot of the work,” wrote Tomashevsky. “Nevertheless, in modern literary criticism the meaning of the term “plot”, which goes back to the 19th century, prevails.
The plot is most often understood as manipulations with artistic time, rearrangement of events in time; an example is Lermontov's novel about Pechorin. Strictly speaking, there is no permutation in it. It’s just that the reader was first told about the living Pechorin, and then they were given the opportunity to read the diary of the deceased Pechorin. Pavel Petrovich Kirsanov's background in "Fathers and Sons" is introduced with reference to the story of Arkady Bazarov, although it is presented by the author. But in "Eugene Onegin" Pushkin tells the backstory of his "friend" starting from his childhood, after he cited in the first stanza internal monologue this " young rake”, parting with metropolitan life and galloping to the village to the dying uncle. L.N. Tolstoy in "War and Peace" first showed the liberation of a party of Russian prisoners by the partisan detachments of Denisov and Dolokhov, and then told the reader about what Pierre Bezukhov experienced before that in captivity. In such cases, the authors in the full sense of the word turn artistic time back. Meanwhile, in the plot it, of course, remains unidirectional and uniform, no fabulous wonders does not happen, the heroes of “War and Peace” do not have such a time machine as the inventor Timofeev in the comedy M.A. Bulgakov "Ivan Vasilyevich". And this is far from the only manipulation that the author can afford. artistic time has the ability to "shrink", "stretch", "interrupt": one is told briefly, the other in detail, the third is completely silent. In The Bronze Horseman it is said simply: “A hundred years have passed ...” Space is also conditional: the author instantly, when he needs it, transfers the action from one place to another (“the unity of place” of the classicists led only to other conventions: all events took place, for example, in one city square). The writer, acting as an omniscient author, conveys the thoughts of some characters, the thoughts of other characters remain unknown to the reader, and this does not mean that they do not know how to think and do not think, just conveying their thoughts is not part of the task that the artist set himself. So, in the plot, all the characters live in the same time and space, everyone is supposed to have their own appearance, some thoughts, but what and how to report, whether to give, for example, portraits of all the characters, the author decides when creating the plot. The plot shapes the plot, expresses it, is its form. Therefore, they can never coincide, as is often said. They are only unidirectional and multidirectional. The plot is the main element of the semantics of the text (figurative world), and the plot is the basis of the composition of the figurative world in epic and dramaturgy. The plot ends with a denouement, the plot ends with a finale. Pechorin died in the middle of the novel. This is a disconnect. In the finale, he, alive again, full of strength and energy, performs his best deed, a feat, saving a man who was about to be shot without letting him repent, in fact, in front of his mother. Lermontov wished that the character close to him would be remembered by the reader as a hero.
Towards lyrical works instead of the word "final" use the word "ending".
PLOT - a detailed image of an event or a chain of events, the dominant element of the figurative world and the semantics of a literary text in general, the main means (form) of expressing thematic content in epic and drama, and sometimes in lyrics. In turn, the plot is the content of the artistic message (narration, dramatic action), which acts as its form.
Plots are divided into concentric and chronicle. In the first, the depicted events and actions of the characters are held together by a cause-and-effect relationship. If Eugene Onegin's uncle had not died, he would not have come to the inherited estate, he would not have met Lensky. If Lensky, in love with Olga (which interested Onegin), had not brought him to the Larins, Yevgeny would not have met Tatyana, the main conflict would not have ensued. If Lensky, who is much more tolerant of his landowner neighbors than Onegin, had inadvertently promised him that only “his family” would be on Tatyana’s name day, Eugene would have nothing to avenge by caring for Olga, and Lensky would have nothing to challenge a friend to a duel, the collision of the novel, which ended in a duel and the death of Lensky, would not have taken place. If it were not for this, Evgeny, tormented by conscience, would not have gone to travel so soon, Tatiana would not have visited his house, would not have suspected, having got acquainted with Onegin’s library: “Is he really a parody?”, Which, of course, influenced her consent to marry (“... for poor Tanya / All were equal in lots ...”) and on the unfair attitude towards Onegin, who fell in love with her, as a former winner of women.
Concentric plots do not exclude a moment of chance. Onegin returned to the world and found there a new Tatyana, a brilliant princess, completely unexpectedly for himself. Sudden, sharp turns in the course of events are called vicissitudes. Sometimes the vicissitudes are motivated, sometimes they are not, they simply express the vicissitudes of fate. In The Captain's Daughter, the ups and downs are the pardon of Grinev by Pugachev right under the gallows (it is motivated by the intervention of Savelich, who was recognized by the former "counselor") or the arrest of Grinev, when, it would seem, everything went smoothly for him and Masha thanks to a chance meeting with a friend - Zurin (another twist). In Bulgakov's The Master and Margarita, the ups and downs include the death of Berlioz, the meeting of Ivan Bezdomny in a psychiatric hospital with the master, in the master's story - he won a hundred thousand on a bond, which gave him the opportunity to sit down for a novel about Pilate, a fateful meeting with Margarita, a catastrophe with the novel and the betrayal of Aloisy Mogarych, which led to the separation of the lovers, then the appearance of Azazello in front of Margarita, who gives her hope of meeting her lover, and much more.
Ups and downs (for example, the revelation by Nozdryov and Korobochka of the secret of Chichikov as a buyer of "dead souls") are also possible in chronicles, where the connection of episodes occurs mostly more or less by chance. Arbitrarily, more precisely, according to a specific artistic task, extra-plot elements are also placed. So, in "Dead Souls" a detailed exposition - Chichikov's background with the motivation for his scam, which unites the entire plot - is given in the final, 11th chapter of the first volume. The purpose of rearranging events in time is the same as in “A Hero of Our Time”: a certain mysterious atmosphere is created, the reader is intrigued. V.M. Shukshin, having told several stories from the life of his character, nicknamed Crank, dwelling in particular detail on his trip to his brother in the Urals, at the end of the action (Crank returned from the trip), in the final paragraph he gives something like an exposition - introduces the hero: “His name was Vasily Egorych Knyazev. He was thirty-nine years old. He worked as a projectionist in the village. He adored detectives and dogs. As a child, I dreamed of being a spy.”
The non-plot elements of the artistic world of the work also include a prologue or introduction, the role of which can be exceptionally large (in The Bronze Horseman, the theme of Peter as the great reformer is developed mainly in the description of St. even if at the same time something was added to it (annular frame - a description of the hero’s grave and her visit by the heroine - the plot of V.P. Astafiev’s story “Shepherds shepherdess. Modern pastoral”, consisting of four parts: “Fight”, “Date” , “Farewell” and “Assumption”), all sorts of digressions (lyrical in “Eugene Onegin” and “Dead Souls”, publicistic - philosophical and historical - in “War and Peace”; in Tolstoy, digressions are associated with artistic scenes mainly by the position of passionate and A convinced author, in Gogol, with the antithesis of narrative and lyrical passages of the text, they are artistically connected yet more closely than Tolstoy’s reasoning and narration, this antithesis was part of the idea of the “poem”, and in Pushkin, digressions are sometimes not digressions at all, they move the plot: “... and here she is / The winter sorceress is coming” - along the winter route Tatyana will be taken to Moscow for marriage), an epilogue or conclusion, i.e. a brief notice compacted in time about what happened to the characters after what was stated in the plot, usually some time later (typical for Turgenev’s novels; in Pushkin’s “The Captain’s Daughter” the role of the epilogue is played by the “publisher’s” commentary on Grinev’s notes; in “War and Peace ”an epilogue is large, in two parts: narrative and philosophical-journalistic).
Some theorists denied the need to single out, along with the concept of “plot”, the concept of “plot”. "Fabula" in Latin means "story, narration." in Russia in the first half of the 19th century. “story” was understood not only as the very fact of telling about something, but also as a way, manner of this story (see: Epos). Prose writers and poets were praised by critics for their art "in the story." Belinsky wrote: “The form of novels like Onegin was created by Byron; at least the manner of the story, the mixture of prose and poetry in the depicted reality, digressions, the poet's appeal to himself, and especially this too tangible presence of the poet's face in the work he created - all this is the work of Byron. The distinction between plot and plot is connected with different understandings of the “story”. The plot in Russian literary criticism of the XIX century. it was the totality of the events depicted in the work, or rather, the image of events, that was called. In the 1920s representatives of the formal school in literary criticism V.B. Shklovsky, B.V. Tomashevsky and others called what used to be called a plot a plot and referred it to “material” that had no artistic value. In a work of art, “material” takes shape and becomes a plot. “The artistically constructed distribution of events in a work is called the plot of the work,” wrote Tomashevsky. “Nevertheless, in modern literary criticism, the meaning of the term “plot”, dating back to the 19th century, prevails.
The plot is most often understood as manipulations with artistic time, rearrangement of events in time; an example is Lermontov's novel about Pechorin. Strictly speaking, there is no permutation in it. It’s just that the reader was first told about the living Pechorin, and then they were given the opportunity to read the diary of the deceased Pechorin. Pavel Petrovich Kirsanov's background in "Fathers and Sons" is introduced with reference to the story of Arkady Bazarov, although it is presented by the author. But in “Eugene Onegin” Pushkin tells the backstory of his “friend” starting from his childhood, after in the first stanza he cited the internal monologue of this “young rake”, parting with life in the capital and galloping to the village to his dying uncle. L.N. Tolstoy in "War and Peace" first showed the liberation of a party of Russian prisoners by the partisan detachments of Denisov and Dolokhov, and then told the reader about what Pierre Bezukhov experienced before that in captivity. In such cases, the authors in the full sense of the word turn artistic time back. Meanwhile, in the plot, of course, it remains unidirectional and uniform, no fairy-tale miracles occur, the heroes of War and Peace do not have such a time machine as the inventor Timofeev in the comedy M.A. Bulgakov "Ivan Vasilyevich". And this is far from the only manipulation that the author can afford. Artistic time has the ability to “shrink”, “stretch”, “interrupt”: one is told briefly, another in detail, and the third is completely silent. In The Bronze Horseman it is said simply: “A hundred years have passed ...” Space is also conditional: the author instantly, when he needs it, transfers the action from one place to another (“the unity of place” of the classicists led only to other conventions: all events took place, for example, in one city square). The writer, acting as an omniscient author, conveys the thoughts of some characters, the thoughts of other characters remain unknown to the reader, and this does not mean that they do not know how to think and do not think, just conveying their thoughts is not part of the task that the artist set himself. So, in the plot, all the characters live in the same time and space, everyone is supposed to have their own appearance, some thoughts, but what and how to report, whether to give, for example, portraits of all the characters, the author decides when creating the plot. The plot shapes the plot, expresses it, is its form. Therefore, they can never coincide, as is often said. They are only unidirectional and multidirectional. The plot is the main element of the semantics of the text (figurative world), and the plot is the basis of the composition of the figurative world in epic and dramaturgy. The plot ends with a denouement, the plot ends with a finale. Pechorin died in the middle of the novel. This is a disconnect. In the finale, he, alive again, full of strength and energy, performs his best deed, a feat, saving a man who was about to be shot without letting him repent, in fact, in front of his mother. Lermontov wished that the character close to him would be remembered by the reader as a hero.
In relation to lyrical works, instead of the word “final”, the word “ending” is used.
Plot (from the French sujet - subject, content) - the development of action, the course of events in narrative and dramatic works (plot is rare in lyrics). For the first time this term was used by the classicists P. Corneille and N. Boileau. playwrights French classicism and the Enlightenment meant stories borrowed from the past, which they could embody on stage in a revised form. In understanding the term "plot" they followed the tradition of Aristotle. At the same time, the term “plot” was also in use (from the same root with the verb fabulari - to tell, narrate), which arose earlier and also became widespread. This term meant myths, fables, stories. In German classical aesthetics (Hegel), the events taking place in the work were called "action".
In the 19th century understanding of the meaning of the term "plot" has changed. Representatives of the migration school and the mythological school of literary criticism found in the works of folklore, ancient, medieval literature a certain similarity in the attitudes and actions of the characters (the similarity of narrative motifs). A. Veselovsky in his "Historical Poetics" differentiated "motives" as "the simplest narrative units" and "plots" as "combinations of motives". The researcher gave the following definition: “Under the plot, I mean a topic in which different positions-motives scurry about.”
With the advent of the "formal school" in the 1920s. compositional moments became dominant. Opoyazovtsy (V. Shklovsky) proposed to distinguish between "material" and "system of techniques" in a work. Accordingly, they distinguished between "plot" as material borrowed from life and "plot" as a method of processing it. They called the plot the course of events in the work, and under the plot they meant the course of the narrative about these events. The plot is “what really happened”, the plot is “how the reader found out about it,” wrote B. Tomashevsky in Theory of Literature. A classic example of the discrepancy between the plot and the plot is the novel by M.Yu. Lermontov "The Hero of Our Time" (the stories in the novel are arranged in accordance with the author's task - to gradually reveal the image of the protagonist; in reality, the events took place in a different order: Pechorin's trip to Taman, the hero's life in Pyatigorsk (on the waters), a duel with Grushnitsky, reference to the Caucasus, the story of Bela, Pechorin's stay in the Cossack village, meeting with Maxim Maksimovich on the way to Persia, Pechorin's death).
In the collective work of Soviet literary critics (“Theory of Literature. The Main Problems in Historical Coverage”), the plot is considered as “the action of a work in its entirety, a real chain of depicted movements.” The simplest element plot - “a separate movement or gesture of a person or thing, including a spiritual movement, pronounced or conceivable word» . The plot is the general course, the scheme of action, "the system of main events that can be retold." The simplest unit of a plot is a motif or an event. The plot is based on a conflict, "the plot is a moving collision."
M. Gorky and Russian democratic criticism began to mean by "plot" the development of action in a work, by "plot" - the very narrative of the subject.
In modern literary criticism and school practice the terms "plot" and "plot" are often used as synonyms, or "plot" is the course of events in the work, "plot" - the main artistic conflict which is embodied in them.
The plot of any work is closely related to its composition, i.e. construction, arrangement of parts of the work. In modern literary criticism, there are different views for story and composition. The difference between plot and composition is often regarded as a quantitative difference, as the relation of a part (plot) to the whole (composition). Another point of view is to clearly delineate these concepts by highlighting their main elements. So, in the plot, several main components are distinguished: beginning, prologue, exposition, plot, development of the action, climax, finale (denouement, ending, epilogue).
PLOT
PLOT
(fr., from lat. subjectum - subject). The content, interweaving of external circumstances that form the basis of known. literary or arts. works; in music: the theme of the fugue. In theatrical language, an actor or actress.
Dictionary foreign words, included in the Russian language. - Chudinov A.N., 1910 .
PLOT
the incident that is described in literary work; the moment depicted in the picture; subject of conversation containing music. plays.
A complete dictionary of foreign words that have come into use in the Russian language. - Popov M., 1907 .
Dictionary of foreign words included in the Russian language. - Pavlenkov F., 1907 .
PLOT
French sujet, from lat. sub jectum, subject. Content.
Explanation of 25,000 foreign words that have come into use in the Russian language, with the meaning of their roots. - Mikhelson A.D., 1865 .
Plot
(fr. sujet)
1) the sequence and connection of the description of events in a work of literature;
2) in the visual arts - the subject of the image.
New dictionary foreign words.- by EdwART,, 2009 .
Plot
plot, m. [fr. sujet]. 1. A set of actions, events, in which the main content is revealed artwork(lit.). 2. In the visual arts - the subject of the image.
Big Dictionary foreign words.- Publishing house "IDDK", 2007 .
Plot A, m. (fr. sujet).
1.
The sequence and connection of the description of events in a literary work, in a film.
||
Wed intrigue, plot.
2.
In a work of fine art: the subject of the image. Picturesque canvases for everyday scenes.
plot- related to plot 1, 2, plots.
Dictionary foreign words L. P. Krysina.- M: Russian language, 1998 .
Synonyms:
See what "PLOT" is in other dictionaries:
- (from French sujet subject) in literature, dramaturgy, theater, cinema and games, a series of events (sequence of scenes, acts) occurring in a work of art (on the theater stage) and lined up for the reader (spectator, player) ... Wikipedia
1. S. in literature, a reflection of the dynamics of reality in the form of an action unfolding in a work, in the form of internally connected (by causal temporal connection) actions of characters, events that form a certain unity, constituting some ... Literary Encyclopedia
Plot- PLOT - the narrative core of a work of art, a system of effective (actual) mutual orientation and disposition of speakers in this work persons (objects), the provisions put forward in it, the events developing in it. ... ... Dictionary of literary terms
Cm … Synonym dictionary
- (from French sujet subject, subject) a sequence of events in artistic text. The paradox associated with the fate of the concept of secularism in the 20th century lies in the fact that as soon as philology learned to study it, literature began to destroy it. In studying S... Encyclopedia of cultural studies
PLOT, plot, husband. (French sujet). 1. A set of actions, events in which the main content of a work of art is revealed (lit.). Plot Queen of Spades Pushkin. Choose something as the plot of the novel. 2. trans. Content, topic of what ... ... Explanatory Dictionary of Ushakov
From life. Razg. Shuttle. iron. About what l. everyday life episode, ordinary everyday history. Mokienko 2003, 116. Plot for short story. Razg. Shuttle. iron. 1. Something worth talking about. 2. What l. strange, interesting story. /i> From… … Big dictionary of Russian sayings
- (French sujet, literally an object), in an epic, drama, poem, script, film, a way of unfolding the plot, the sequence and motivation for presenting the events depicted. Sometimes the concepts of plot and plot are defined in reverse; sometimes they are identified... Modern Encyclopedia
- (French sujet lit. subject), in an epic, drama, poem, script, film, a way of unfolding the plot, the sequence and motivation for the presentation of the events depicted. Sometimes the concepts of plot and plot are defined in reverse; sometimes they are identified. IN… … Big Encyclopedic Dictionary
PLOT, ah, husband. In a literary or stage work, the sequence and connection of the description of events; in a work of fine art, the object of the image. Fascinating with. | adj. plot, oh, oh. Story line novel. Explanatory ... ... Explanatory dictionary of Ozhegov
Books
- Plot and Style, VV Vinogradov. The book presented to the attention of readers aims to trace historical trends stylistic variation and change in one plot scheme throughout the 19th century. in different...
The concept of "plot" has a lot of meanings depending on the scope of use. The word itself comes from the French "sujet", which literally translates as "object". If we consider the question of what a plot is from the point of view of a drama, epic, script, poem or film, then this concept will denote an action that takes place in a certain sequence in dramatic, lyrical and narrative works. The first to use this concept in relation to literature were such famous classicists of the seventeenth century as Boileau and Corneille. They implied certain incidents that occurred in the life of the heroes of the work.
The difference between plot and plot
Some misinterpret the concept of "plot", confusing it with the word "plot".
Under the plot, it is customary to mean all kinds of stories, fables and myths. The word "plot" came to us from Latin which means "to tell". Because this term received its distribution much earlier than the French term, these two concepts began to be compared, which ultimately led to confusion and instability of concepts.
To understand what a plot is in literature, you need to understand some subtleties. For example, modern literature treats these two concepts as synonyms, but if we consider them in depth, from a philological point of view, we can see some differences. So, the plot will be a direct sequence of events of the work, in other words, brief retelling V chronological order. The plot is an artistically constructed development of events, the chronology in it can be broken, the plot includes everything lyrical descriptions, digressions, etc., which the plot lacks. There is also an opinion according to which the course of events is usually called the plot, and the artistic conflict itself, which gradually develops, is called the plot. Despite this, the plot is built in such a way as to reveal main idea works, his idea and conflict.
Other interpretations of the plot
What is the plot of a work? It is customary to call the plot itself the unique and peculiar side of the form of the work, which corresponds to its content. At the same time, it is necessary to thoroughly study the structure of the plot, its episodes and the narrative correlation of dialogues with conflicts.
Historical development the term will help to understand what the plot of a fairy tale is, since even on early stage development of the epic, the plot itself was built in a chronological sequence of episodes that told about fairy tales with the participation of knights, as well as about exciting novels. Later forms of the epic received a slightly different plot structure, since here the conflict of the work itself passed directly through all the episodes and had a certain denouement. It is the analysis of the plot of the work that will correctly analyze its plot.
art interprets the concept of "plot" as some event that is depicted in the work itself. At the same time, it is necessary to distinguish between the terms “theme” and “plot” of the work, since one topic can have several different plots, which are disclosed in detail in the work itself.
