Complex plot. The meaning of the word "plot"

In order to love literature, it is not necessary to understand all its professional intricacies. Most readers have absolutely no reason to memorize complex and varied literary terminology; you can enjoy reading without it.

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What is a plot and how does it differ from a plot?

In order to love literature, it is not necessary to understand all its professional intricacies. Most readers have absolutely no reason to memorize complex and varied literary terminology; you can enjoy reading without it.

But to have an idea of ​​the most elementary literary concepts every reader must, of course, if he wants to be called cultured person. One of the words that almost everyone has heard repeatedly, but not everyone understands correctly, is the word "plot".

What does the word "fabula" mean?

This melodic word has a similar sound and spelling in English, French, German and some other languages. Initially, it was translated as “a fable, a fairy tale,” but over time, its meaning has changed: nowadays, it is customary to understand the plot as the basis on which any story is built. The plot is that chain of events and facts (real or fictional) that make this narrative possible.

What is plot in literature?

In literature, a plot is a set of events, actions and circumstances described in a work of art: a legend, parable, fable, short story, story, novel, poem or other literary form.

The plot is the actual basis of the work, it is the central axis around which the narrative is built. It should be noted that in the literature there are different definitions this term, we will consider the difference between them below.

Examples of using the plot

A talented author is able to turn a successful plot into a brilliant work of art. So, for example, the true story of the nobleman Ostrovsky, told to A. S. Pushkin by his friend P. V. Nashchokin, became the plot that served as the basisfor the story "Dubrovsky" . Real prototypes long forgotten, and school essays are still being written about the heroes of the story.

The famous Gogol's "Inspector General" was preceded by a number of works with a similar intrigue, in other words, the plot was no longer new. The anecdotal story about a petty official who, by chance, was mistaken for an important person, had been told more than once before. But N.V. Gogol managed to turn this story into a real masterpiece, which has a sharp social interpretation and replenished the treasury of world literature.

In this example, we see that the same plot can be used to create many original works of art.

How is plot different from plot?

There are several points of view on the differences between plot and plot. In modern Russian literary criticism the plot is understood to mean the main artistic content And main conflict works, and the term "plot" denotes a specific sequence of events described in the work. According to this terminology, when a television announcer gives a summary of the previous episodes of the film, he introduces the viewer to the plot, and in order to get an idea of ​​​​the plot, you need to personally.

Dictionary Ushakova interprets these terms in a completely different way: he defines the plot as “the content of the events depicted in a literary work, in their sequential connection”, and the plot as “a set of actions, events in which the main content is revealed. artwork". According to Ushakov, the plot contains a description of events in their strict temporal sequence, and when constructing a plot, the author can arrange these events in the order that corresponds to his artistic intention.

As can be seen from the above comparison, the definitions of the terms we are considering can be quite controversial. It is important to understand that these two words can refer to two fundamentally different concepts: the story itself that the author tells, and the way he does it. Therefore, it is always important to clarify which of these concepts is being discussed in each specific case. Some use the words "plot" and "plot" as synonyms, others are ready to argue hoarsely about their true and only true meanings.

It should be noted that the plot and plot are not exceptions in this sense, many other humanitarian terms are also quite controversial and can cause discrepancies.

The plot and plot are discussed when any literary work, film or theatrical performance. Both concepts denote a certain chain of events, but in each case there are nuances. What is the difference between plot and plot? Let's try to find out.

Definition

Plot- this is a system of events included in a work (film, production), which are set out in a sequence that most fully meets the creative intent of the author. The plot forms the form of the work.

plot- all the events of the narrative, lined up according to their natural location in time. The plot is also understood as the conflict of the work, which unfolds in the course of action.

Comparison

So, if any events develop in a work, they can be presented in the form of a plot or plot. The retelling of the plot will be carried out strictly based on the author's sequence. And if we isolate all the events from the work and list them in a logical time sequence, then we get the plot. It is also figuratively called "rectified plot".

A striking example of a violation in the plot of the chronology of events is the tragedy "Hamlet". The plot here can be formulated as follows: the Danish king is killed by his brother - the killer becomes king and marries a widow - a ghost former king comes to Prince Hamlet and reveals the secret of the perfect villainy - Hamlet, trying to take revenge on the killer, dies in a duel himself. However, according to the plot of Shakespeare's tragedy, already in the first scene, the guards of the castle and Horatio observe the appearance of the ghost of the king.

The difference between the plot and the plot lies in the fact that the plot contains a description of the fate of the characters, along with all the intricacies and unexpected turns. The plot reveals causal relationships, describes motives and emotions, which allows you to better understand the actions of the characters. The plot is sometimes so ornate and confusing that it is difficult to retell.

The plot is the backbone, the very basis of the work. It contains no details and digressions. The plot includes only characters and key events. Therefore, her presentation will turn out to be much shorter than the retelling of the plot. For clarity, we can give the following example: a television announcer, transmitting a summary of a film series, voices the plot, but to get acquainted with the plot, you need to watch this series.

It helps to better understand the difference between a plot and a plot, and the fact that one plot can be revealed by creating several different plots helps. The result is a series original works. Let's turn to fairy tales. In many of them, the plot is the same: a meeting of lovers - the appearance of danger - passing tests - a victory over villains - a wedding. But the storyline is different.

Plot and plot. Plot - (subject), the sequence of events underlying the narrative. Plot - (fables), the sequence of events that the author arranged them. In the plot, on the causal interactions of events, the plot shows the actions in their entirety. The theory of the plot was developed, scientists were engaged in it: V.Ya. Props, A.N. Veselovsky, Tomashevsky. The most important aspects of plot theory are: 1. plot is a systemic unity of events and descriptions. 2. the public plot of a work of art is a composite one, macro and micro plots are singled out in it (plot lines of individual characters, fixed plots, the development of relationships between heroes: love, friendship.). Allocate: external and internal (internal struggle of heroes). 3. lies at the heart of the conflict. Conflict permeates the entire plot structure and opposing force. Main conflicts: natural(heroes enter the fight) - "Mtsyri", social(one hour challenges another hour), internal(h. does not agree with itself), providential(h. opposes the laws of fate or deity). The conflict determines the main stages of the development of the plot: the origin of the conflict - the plot. Further development. Then the climax, the highest aggravation. And conflict resolution.

The word "plot" denotes a chain of events recreated in a literary work, i.e. the life of characters in its spatio-temporal changes, in changing positions and circumstances. The events depicted by the writers form the basis of the objective world of the work. The plot is the organizing principle of the dramatic, epic and lyrical-epic genres. The events that make up the plot are correlated in different ways with the facts of reality preceding the appearance of the work. Plot components: motif, (connected motifs, free motifs, repetitive or leimotivs), exposition, plot, development of action, climax, denouement. In epic and lyric, these components can be arranged in any sequence, and in drama they follow strictly in turn. With all the variety of plots, their varieties can be attributed to 2 main types: chronicle, i.e. events follow one after another ; and concentric, i.e. events are connected not by a chronotopic connection, but by a causal associative one, i.e. any previous event was the cause of the next one. The plot is a set of events in their mutual internal connection. The plots in various works can be very similar to each other, but the plot is always uniquely individual. The plot always turns out to be richer than the plot, because the plot presents only factual information, and the plot implements the subtext. The plot focuses only on the external events of the hero's life. The plot, in addition to external events, includes the psychological state of the hero, his thoughts, subconscious impulses, i.e. any slightest change in the character and surroundings. Plot components can be considered bad events or motives. A conflict is a conflict of interests. Existing external conflicts, which are based on a conflict of interests between a person and another person or society (love conflict, domestic, social, philosophical). conflict of interests within one human consciousness. (a conflict of interests between the soul and the mind, between the innate acquired saints of a person, between the conscious and the unconscious mind in a person. A private conflict is a contradiction that arises and expands in a separate episode of the work.

Plot - from the word "subject". Originates in France. Often the plot is an allusion. The word "plot" means "a story borrowed from the past to be processed by the playwright." Plot - legend, myth, fable, more ancient concept.

Plot and plot mismatch. Example: "Boris Godunov" by Pushkin, Karamzin and historians.

Pospelov: "The plot - subsequence events and actions contained in the work event chain. The plot is a scheme of the plot, a straightened plot.

Veselovsky: "The plot is an artistically constructed distribution of events." "Fabula is a set of events in their mutual internal connection."

Tomashevsky: “The plot is the action of the work in its entirety, the real chain of depicted movements. A simple plot unit is any movement. The plot is a scheme of action, a system of main events that can be retold. The simplest unit of the plot is a motive or event, and the main elements are the plot, the development of the action, the climax, the denouement.

A three-volume book on the theory of literature: “The plot is a system of settings with the help of which an action should be performed. Canvas, skeleton. The plot is the very process of action, the pattern, the fabric that dresses the bones of the skeleton.

The plot is a system of events in their artistic logic. The plot is in the logic of life. The plot is the dynamic side of the work. Elements in dynamics.

Plot types:

Beletsky is an autobiographical plot (Tolstoy "Childhood. Adolescence. Youth"). Mid 19th century. Extra-personal plots - selected from a sphere that lies outside the personal experience of the author. Alien plots - a conscious orientation to another work. Postmodernism.

Single-line (concentric) plots are centripetal. Chronicle stories. Multi-line plots (centrifugal) - several storylines with independent development.

Plot elements: exposition - the initial part of the work, performing an informative function. The conflict is not planned yet, preparation for it. The tie is the moment when a conflict arises or is detected. The development of the action is a series of episodes in which the characters seek to resolve the conflict, but it becomes more and more intense. The climax is the moment highest voltage when the conflict is maximally developed and it becomes clear that contradictions cannot exist in their previous form and require immediate resolution. Resolution - when the conflict is exhausted: 1) the conflict is resolved; 2) the conflict is fundamentally unresolvable. Extra-plot elements - prologue, epilogue, digressions.

Event - fact of life. The 20th century is the subject of the depiction of human consciousness, the verbal flow itself can become a plot.

lyrical story - different stages in the development of lyrical experience.

2. Assonance - consonance of vowels (mainly percussion), especially in inaccurate rhyme (“sadness - I will light up”).

Alliteration - repetition of homogeneous consonants, giving literary text, usually a verse, a special sound and intonation expressiveness. "The hiss of frothy glasses and a punch a blue flame" - PUSHKIN

Onomatopoeia - conditional reproduction of the sounds of nature (cries of birds and animals), reflective exclamations of people, sounds produced by objects, etc. Creation of words, the sound shells of which to some extent resemble such sounds: meow - meow, ha ha ha, tick - so.

plot

plot

FABULA - the actual side of the narrative, those events, cases, actions, states in their causal-chronological sequence, which are assembled and drawn up by the author in the plot (see) on the basis of patterns seen by the author in the development of the phenomena depicted.
Originally the term "F." (Latin fabula, French fable, English fable, German Fabel) had a meaning - a fable, a fable, a fairy tale, that is, a work of a certain genre. In the future, the term "F." designate what is preserved as the “basis”, “core” of the narrative, changing according to the presentation. And hence - the value indicated at the beginning as applied to literary works in general.
scientific study F. were exposed primarily as facts poetic tradition in world literature (ch. arr. ancient and medieval) and especially in oral folk literature. In this plane, a certain interpretation of traditional folklore, the process of their development and distribution, constituted the main content of successively replaced folklore theories - mythological, migration, anthropological. At the same time, in Russian scientific literature the term “plot” was usually applied to such traditional formations, rather than f. (see “Vagabond Plots”, “Folklore”). Later question about F. and the plot was considered in terms of studying the structure poetic work(mainly formalist literary critics). Some researchers, identifying the concepts of plot and plot, completely abolish the latter term.
However, studying the figurative reflection of the dynamics of life, one should distinguish:
1) the “actual” basis of the work, the event, which is described in it, as a product of the artist’s preliminary selection of phenomena of reality or fiction, which can be called F., i.e., a narrative theme to be further processed in the plot;
2) and the very development of the narrative theme, which is associated with the resolution of a problem based on the material of these events (i.e., the plot).
For formalists, F. is only material, which is processed special tricks plot formation in order to "strange", increase the external tangibility of the dynamics of the narrative. In this regard, the division of works into "plot" and "plot" was also established, depending on the greater or lesser sharpness. plot devices. This formalistic interpretation of the plot and plot must be rejected. First of all, F. should not be considered "raw material", devoid of quality artistic imagery. Even if the artist takes any fact of life, he selects and comprehends the phenomena, understanding their typical meaning, that is, he creates F. The more obvious is the creative nature of F. in those cases (the most common), when persons and events are invented by the author. And then the significance of the transformation of F. into a plot does not at all lie in its “strangeness”. Processing F., the artist reflects the dynamics of reality, revealing its patterns with varying degrees of depth and truthfulness.
Depending on the nature of the understanding of reality and the nature of the object itself, plots can be of a mythological order, fabulous, romantic, utopian, realistic, etc. The thematic variety of plots is inexhaustible. Every historical period, each stage in the development artistic creativity, each literary direction create their own characteristic plots, which, first of all, determine the specific historical features of the plots. Bibliography:
see plot.

Literary Encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

plot

FABULA. A plot in the exact sense of the word is called a "fable" - an invented incident, told not in itself, but for the purpose of instructing, entertaining or ridiculing something. Like any form, at first it had its simplest, “embryonic” form, exhausting its meaning within the limits of a very small construction in terms of material. But over time, the "embryo" developed into complex shape: the plot began to be thought of as something abstract and at the same time inherent in a number of literary types, - short story, short story, story, novel, dramatic work, ballad, poem, etc. At this stage of development, the plot becomes hallmark so-called fiction, that is fiction, unlike the rest of prose. Its essence still remains the "fabulous" embodiment of the theme - an incident in faces, with a plot and internal conflicts.

One should not think that the world of plots is something completely arbitrary and immense. It lends itself to fairly accurate accounting and classification. Moreover, the plot is the most universal property of art, capable of complete denationalization. There is a whole series of plots, wandering from one nation to another, however, each of them is overgrown with national characteristics, but keeping their frame in complete integrity and immutability. Before moving on to these plots, let's see how they are classified.

At the dawn of mankind, the focus is on the event to which we give the name "myth"; this event consists in the personification of the struggle of day with night, cold weather with the coming heat, the constant resurrection and dying of the earth, etc. Hence the first group of plots arises, which can be called mythological.

Having spiritualized the forces of nature and given their alternation the meaning of human struggle, man learns to liken himself and his closest neighbors - animals. He distinguishes their properties, or more accurately ascribes to them properties similar to his own. So, his bear becomes stupid, the lion noble, the fox cunning, the snake wise. "Character" inevitably leads to certain actions, a conflict arises. In the logical chain of these collisions, where the development of an act is due to the strictly delineated nature of this actor, and the second group of plots is concluded, which can be called animal or fable, in the strict sense of the word.

But now, having spiritualized the cosmos and the dumb beast around him, a person himself enters the world he created, no longer a passive spectator, but an active participant. Only here he must undergo the reverse process of adaptation: if earlier he comprehended nature and the beast according to his image and reason, now he must to a certain extent be imbued with the cosmic and animal elements, that is, somehow expand his nature. As a result of such a movement, a new “individual” arises - not quite a human being, a ghoul, a witch, a goblin, a mermaid, a brownie, etc. There is no strict logic of character development here, because there is no character in the exact sense of the word. The character takes the place of the image. The collisions resulting from the linkage and action of these images are more or less arbitrary. They make extensive use of already developed mythological and fable schemes, but they introduce into them much that is completely new and independent. The group of plots that grows out of these collisions is called fabulous.

These are the three most pure and universal types of plots. It is these categories that are "universal", having a completely vagrant character. Thus, the myth about a deity who impregnates earthly women and gives birth to a generation of demigods, who then perform a series of feats, bypasses several peoples, repeating itself almost with complete identity in India, Greece, and Germany. The similarity between Zeus and Wotan, Hercules and Siegfried is undeniable. No less universal is the group of stories about animals. The fox and her tricks from Aesop to Goethe follow the same plot path for almost everyone European people, striking with the persistent monotony of its main frame. As for fairy tales, their wanderings have been studied the most. exactly and even led to a number of hypothetical explanations. The most famous plot about a dirty girl living at wicked stepmother and then quietly from her, with the help of the spirit of her own mother, who falls on the royal holiday, this plot ("Cinderella") is found, according to Cox's research, in 350 national variants. In 1916, I added to them the 351st version, Armenian, recorded in the collection of Lalayants and not mentioned by Cox.

In addition to the three listed fabular groups, which have a general anthropological character and are found among all peoples at certain stages of their development, there are still other groups that are more transient and local. Such are the historical plots, which are the later development of that part of mycological plots that concerned "heroes" and conveyed an event that more or less historically took place. In its development, the historical plot tends to lose the character of any kind of arbitrariness and achieve the possible accuracy. This makes, therefore, literary forms that refer to such plots more and more applied. Finally, household plots, basically also ancient origin, draw their conflicts from various materials supplied by local custom. In essence, it is completely indifferent whether this custom will be - burning a rooster as a sacrifice, kidnapping a bride, a duel for insulted honor or treating voters in a tavern before parliamentary elections - the important thing is that European life is just as based on "custom" as the life of a savage , and the well-known stability of its provisions leads to the most interesting plot combinations. I will point here, for example, to Pushkin, who, in the peculiarities of our serf life, found a witty plot (the possibility of buying dead souls and what will come of it) and pointing out this plot to Gogol.

But Russian literature, extremely poor in plot, provides few such examples. In the plot construction of the theme, the Russian writer always felt something not serious, something turning off the theme, straying for fun, for fun. And the vast field of Russian life, full of extraordinary curiosities, is almost completely unused by our literature in fabular sense; calm description of everyday life or the psychology of everyday life, but not the plot, here is a typical Russian incarnation Topics.

If we turn to Western European literature, in particular to the queen of the fable novel, England, brought up on universal plots (used by Chaucer in his fairy tales), we will see quite the opposite. Here artistic expression themes without plot would have seemed unbearably boring. Here, not a single feature of everyday life, capable of creating a conflict, is not left unattended by novelists. I will give an example: in English laws there is a law on the inheritance of the father's property by the eldest son (majority law). Hence a number of all sorts of possibilities: crime younger son to receive an inheritance; the illegitimacy of the elder, hidden by the parents, so that the beloved son does not lose the inheritance; the torments of the heir, who is unable to connect with his beloved girl, since she is of a simple rank, and he is the heir to the majorate, and the vicissitudes arising from this - imaginary death, flight to America, etc. It can be said that not one of the English novelists has passed past these collisions; Dickens, and George Elliot, and Henry Wood, and Wilkie Collins paid tribute to them, not to mention many others, less well-known. The Russian reader of novels also knows very well what a bizarre series of plots the brilliant Collins created from a single feature of the Scottish legal life (“Scottish Marriage”).

It goes without saying that the everyday plot cannot become "wandering", since the way of life that nurtured it is a feature exclusively of this nation. Thus, the plot of "Uncle Tom's Cabin" cannot become a vagabond in countries where there is no and never was slavery. But the class forms of everyday life again show us the "wandering" character of the plot, its ability to be repeated in different peoples. Thus, the bourgeoisie gave rise to a special favorite plot, entirely built on economic relations and the principle of ownership of our modern era - the so-called detective plot. (See. Detective novel) Here a private person suffers a certain damage (most often property damage). The state must protect it in the person of its institutions (Scotland Yard, the French police bureau); but the detectives of these institutions are stupid and the state is unable to protect its citizen; it is exhibited, in the person of its agents, always in a crudely caricatured form. Then a private detective appears (Sherlock Holmes, Lecoq, etc.) and solves the mystery brilliantly. Here are typical, inherent equally different nationalities, namely the class features of the plot: the knot is tied around property combinations, the state gives in, "private competition" turns out to be more agile and leads to the goal.

In conclusion, I will mention one more group of plots that do not belong (at least explicitly) to any of the above. These are happy inventions that originated completely individually, outside everyday life, history, fairy tales, epic, myth - and nothing in contact with their world. I would call such plots lyrical. They exist, although they are rare. They are prompted by a special eros to their author, and when such plots are born in happy moments of the highest creative tension, they will not only world fame, but also the same wandering path that is destined for the listed groups of plots. In other words, they are launched into artistic circulation. I will give two examples. At the dawn of mankind, such a happy lyrical plot flashed to Sophocles in his "Antigone" - the plot of daughter love to self-forgetfulness. She appeared in Shakespeare in Cordelia. And who knows, maybe from her grain a side branch of this plot has grown, which I want to give in the form of my second example. It's about about the episode Minion in Goethe's "The Student Years of Wilhelm Meister". This episode is quite fabular; there, a little girl dressed as a boy meets her patron, who saves her from a torturer and becomes attached to him; but she loves him not with a childish love, although she herself remains still a child. And this not childish love, which does not meet with an answer, breaks her heart. Undoubtedly, the echo of this plot with Walter Scott's Fenella! And it is also undoubted that Dickens, although he was partly captured by the music of the Mignon storyline, when he created his Nellie in the novel "The Junk Shop", and our Dostoevsky responded to her even more sonorously in Nellie from "The Humiliated and Insulted" (see Wandering Plots , Plot, Theme).

M. Shahinyan. Literary Encyclopedia: Dictionary literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

See what "Fabula" is in other dictionaries:

plot- FABULA. A plot in the exact sense of the word is called a "fable", an invented incident, told not in itself, but for the purpose of instructing, entertaining or ridiculing something. Like any form, it first had its simplest, "embryonic" ... ... Dictionary of literary terms

- (lat., from fabulari to tell). Plan, outline of some literary work; case, event, incident that served as its content. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. FABULA lat. tabula … Dictionary of foreign words of the Russian language

FABULA, plots, wives. (lat. fabula fable, fairy tale) (lit.). The content of the events depicted in a literary work, in their sequential connection, plot scheme, canvas of a literary work. Interesting plot. Main plot. Side… … Explanatory Dictionary of Ushakov

Cm … Synonym dictionary

- (inosk.) content of the story, events. Wed The plot of the present case is very simple. From the courtroom (News, 24 Oct. 1900) Cf. Fable fable. Wed Fabula (lat.) story, parable, fable (Compare fari, to speak). Wed φημή… … Michelson's Big Explanatory Phraseological Dictionary (original spelling)

The terms "plot" and "plot" are familiar to every person who reads more or less and is interested in art. But, despite their familiarity and apparent comprehensibility, the definitions of these terms are often ambiguous and controversial. Why? Probably because of the close relationship. In order to determine what this relationship lies in, and how these concepts still differ, it is necessary to consider them separately.

What is the plot

"Fabula" - (lat. - fabula) the actual, conflict basis of the story. A chain of events and facts that are the core when creating a work of any genre.

Initially, this term was used to refer to a literary work of a particular genre, and rather fairy tales, fables, parables, myths. In the future, under the influence of the development of literature and literary forms, the plot begins to designate a part of the work, which is its basis, center and changes only in the form of presentation.

On this basis, two views on the essence of the plot emerged:

The plot is raw material, which does not contain elements of artistic figurativeness. A figurative example is clay, a piece of stone. How much creativity and in what form will be invested in these materials to create a work of art, there is no merit of either clay or stone. The event itself has no qualitative significance, it is important how it is presented.

A plot is an element that contains creative basis. Based on the above example, choosing the material for work, the master makes a creative selection. The quality of clay and stone is far from last value while creating artistic creation. That is, the quality and scale of the event can affect the value of the work as a whole.

To date, the priority of the significance of the plot is retained by position 2.

Plots are divided into:

• Romantic.
• Utopian.
• Mythological.
• Fabulous.
• Realistic and others.

It depends on the rating surrounding reality conflict, as well as from the essence of the object considered by the plot.

An example of using a plot

While studying documents about the uprising of Emelyan Pugachev, A.S. Pushkin learns about the fate of a nobleman named Pyotr Grinev. The fact of Grinev's suspicion of supporting Pugachev's ideas becomes the plot of the well-known story " Captain's daughter».

What is a plot

The plot (fr. sujet, literally translated " item”) is a series of events, the sequence of acts, episodes, scenes arranged according to the dramatic rules of narration.

The plot in dramaturgy can deviate from the temporal sequence of events, not adhering to a strict chronological framework.

Among the most common plots are "wandering" - used in the folklore of many peoples, in different territories in the form of fairy tales, epics, legends, myths. In general, the direction of the plots is so diverse that all attempts to classify them into a small number of groups have not brought the desired result.

The most complete to date is the list compiled by Georges Polti (explorer, Frenchman) at the end of the nineteenth century. It includes 36 plot collisions, narrating on the topics:

• Adultery.
• Treason of one of the spouses with murder.
• Riot.
• Madness.
• Dishonest deeds of a close being.
• Propaganda of godlessness.
• Unconscious jealousy.
• Unexpected misfortune.
• Re-found.
• Achievement.
• Sacrifice.
• Renunciation of everything for the sake of passion.
• Sacrifice loved ones for an idea.
• Hounded.
• Mystery.
• Love that overcomes obstacles.
• Love for an enemy.
• Request.
• Revenge in the name of retribution.
• Internal revenge.
• Unexpected incest.
• Manslaughter of a loved one.
• Sacrificing yourself for the sake of loved ones.
• Brave try.
• Abduction.
• Loss of loved ones.
• The rescue.
• Competition among relatives.
• Self-sacrifice in the name of the ideal.
• Love crime.
• Unequal rivalry.
• Family hatred.
• Pangs of conscience.
• Ambition.
• Judgement mistake.

Plot usage example

The aforementioned story of the nobleman P. Grinev, which served as the plot for the story of A.S. Pushkin's "The Captain's Daughter", resulted in a plot telling about a big historical event in the history of Russia, which went through the fate of two young lovers and young people who want to be together.

The components of the plot are prologue, exposition, plot, main action, climax, denouement, epilogue. Some of them are included in the structure of the work without fail, some (prologue, epilogue) may be absent.

Plot and plot - common and differences

Both concepts are united by the fact that they form the basis of any work, determining its subject matter and content.

1. Story - what happened. The plot is how to tell it. Example: to get acquainted with the plot of the film, it is enough to listen to the retelling summary; You need to watch the movie in its entirety to get to know the plot.
2. The plot is the conflict basis of the work. A chain of events and facts that are the core when creating a work of any genre. The plot is the outline of the plot, which determines the form and order of presentation of what is happening.
3. The plot is a real or fictional fact containing a strict temporal sequence. Plot - allows you to determine the form of presenting a real or fictional fact in a free presentation using free chronological variations and substitution real heroes conflict on literary characters.
4. The life of the plot is shorter than the life of the plot. A conflict that happened once is soon forgotten. The conflict, retold in the plot of a work of art, gets a chance to live for tens and even hundreds of years ( real story connection with the uprising of Emelyan Pugachev, a young Russian nobleman Pyotr Grinev, has long been forgotten, and the plot of the story "The Captain's Daughter" was among the best literary works telling about the history of Russia in a simple, accessible language).