Three types of plot:
- Concentric- all events unfold around one conflict, everything is subject to cause-and-effect relationships. (F.M. Dostoevsky "Crime and Punishment")
- chronicle- a plot with a predominant temporal correlation between events. (L.N. Tolstoy "Childhood. Adolescence. Youth")
- multiline- has several event lines, intersecting with each other from time to time. (M.A. Bulgakov "The Master and Margarita")
Plot Components:
1) exposition- an element of the plot that depicts the life of a character before the start and development of the conflict, or outlines cultural-historical or socio-psychological facts, and also provides information about the place and time of the upcoming action. Most often given in the beginning of the work and is transmitted either in the words of the author (epic works), or in the deliberately informative dialogues of the characters (drama). There is a so-called "delayed exposure" (detective) Not to be confused with prehistory- an image of the hero's childhood, etc.
2) tie- events that upset the balance of the initial situation, revealing contradictions in it, which give rise to conflict and set the plot action in motion. It can be prepared and motivated in the exposition of the work, but it can also be sudden, giving the plot action incompleteness and sharpness.
3) Conflict- the principle of contradiction, collision. Common throughout the piece. collision- a specific collision that becomes the content of a specific scene, episode, act. The conflict can be built from many collisions. Can evolve throughout the story.
4) Peripeteia- a sharp twist in the plot, caused by unexpected circumstances. A sudden change in the fate of the hero, a rapid transition from one situation to another (from happiness to mortal danger, from obscurity to insight). Gives the plot sharpness and entertainment, typical for works with a pronounced intrigue.
5) Intrigue- a special construction of the plot, when the characters overcome various obstacles and conflict situations. It is a sequence of ups and downs, unexpected events, unusual situations and circumstances that break the measured course of the action and give the plot dynamism, sharpness and entertainment. The development of intrigue is always accompanied by a clash of interests, intricacies of relationships between characters, a game of chance and all sorts of misunderstandings. Quid pro quo. An integral property of many genres and genre varieties (short story, sitcom, melodrama, detective story, adventure novel).
6) climax– moment highest voltage plot action, after which it steadily moves towards the denouement. It can be a decisive clash, a turning point in fate, or an event that fully reveals the characters of the characters and conflict situation. It is characteristic of works with a concentric plot.
7) denouement- conflict resolution, the outcome of events in the work. It is given at the end when external events play an important role, it can be transferred to the middle or the beginning of the narrative. It can be tragic or prosperous, unexpected or motivated by the whole course of the story, plausible or deliberately conditional or artificial, or it can be represented by an open ending.
14. Motive: origin and meaning of the term. Typology of motives.
motive– minimal meaningful component literary work, which has received a verbal and figurative embodiment in the text, repeating either in various works, or within the limits of the writer's work, or in the context of a genre tradition or literary trend, or on the scale of a national literary tradition.
plot- a set of coherent and dynamic motives.
Motives are:
1) Free– can be easily removed from the context without damaging it.
2) dynamic- change the situation (cause-and-effect relationships, the plot is built on them)
3) Static- do not change the situation (the plot can be built on them)
4) messengers- if they are removed, the causal relationship in the work will be violated.
Motivation- a system of techniques that allows you to justify the introduction of individual motives and complexes.
1) Compositional
2) Realistic
3) Artistic
keynote- Leading, repeating motif.
15. Psychologism and its types. Psychological analysis. Internal monologue, "stream of consciousness".
Psychologism– a system of techniques and means aimed at disclosure inner world character.
Internal psychologism :
1) internal monologue- direct fixation and reproduction of the thoughts of the hero, to a greater or lesser extent imitating the real psychological patterns of inner speech.
2) mindflow- a way of narration that imitates the work of the human consciousness and subconsciousness; registration of heterogeneous manifestations of the psyche;
3) analysis and introspection- a technique in which complex emotional experiences are decomposed into elements and thereby explained to the reader.
Indirect psychologism- transmission of the inner world of the hero through external signs: behavior, speech, portrait, dream (subconscious images), facial expressions, clothes, landscape details.
Total:
Point of view- a compositional technique that organizes the narrative and determines the position of the subject in space in relation to the objects of the image, the subject of evaluation, the addressee of the speech. Consistent review and moving point of view.
estrangement(introduced by Shklovsky) - artistic principle images of any action or object, as seen for the first time, as dropped out of the usual context or presented in a new perspective.
The plot and composition are the main components of a literary work. In this article, using certain examples, we will consider what they are and why they are given paramount importance in literary theory.
The plot is a system of events and relationships between characters that develops in time and space. M. Gorky defined the plot as "connections, contradictions, sympathies, antipathies and, in general, the relationship of people - the history of growth and organization of one or another character, type."
The plot consists of the actions of the characters, from the system of images. In the development of the plot, the character traits of the characters, their evolution, are manifested. Sometimes the plot is identified with the content of the work. However, the content is wider than the plot and is not limited to simply retelling what is happening. In the plot, the individuality and skill of the writer are manifested, his worldview and position are affected.
The plot is the depiction of events as it is given in the work. At the same time, events in the work are not always arranged in a causal and temporal sequence. The work may begin with an event that occurred after all that is described below.
So, novel What to do? , N. Chernyshevsky begins with death of a hero then everything that preceded this is told. In the novel "A Hero of Our Time" by M. Lermontov, the temporal sequence of events is also violated, which was done by the writer in order to switch the reader's attention from external events to inner life Pechorin.
The successive transmission of the events depicted in the work in their causal relationship is called the plot. Often the plot and the plot coincide, and then we are talking only about the plot. There are chronicle and concentric plots. In chronicle plots, events are correlated with each other in time, and in concentric plots, a causal relationship prevails between them. The difference between these types of plots is well illustrated by the following example: in the phrase "The king died, and soon the queen died," a chronicle plot is recreated, but if we say: "The king died, and the queen died of grief," this will be the formula of a concentric plot. Some type of plot may predominate in a work, or chronicle and concentric beginnings may coexist in one work.
Plots can be single-line or consist of several simultaneously emerging lines, either merging or developing in parallel. The plot as a complex whole consists of elements, each of which has its own function. The elements of the plot are the exposition, the plot, the development of the action and the climax, the denouement and the epilogue. It is not necessary that all the elements of the plot be in the work. IN contemporary literature, as a rule, there is no prologue and epilogue, the climax may be somewhat obscured and even there may be no denouement. The plot, the development of the action, the denouement are determined by the conflict.
A conflict is a clash of contradictory phenomena, goals, aspirations of heroes, or a contradiction in the hero himself, for example, between a feeling and a duty, a desire and the impossibility of fulfilling it. The conflict can act as a contradiction between the hero and society, character and circumstances, various aspects of character. M. Yu. Lermontov's "A Hero of Our Time" and A. S. Griboyedov's "Woe from Wit" are built on the conflict between the hero and society. The contradiction between the character of Raskolnikov and the circumstances of reality forms the conflict of "Crime and Punishment" by F. M. Dostoevsky; in the same novel, internal conflict like a struggle in the soul of a hero. In every literary direction their dominant conflicts. In classicism, this is a conflict of good and evil, enlightenment and ignorance ("Undergrowth" by D. I. Fonvizin). In romanticism, the basis of the conflict is the contradiction between the hero and society ("Gypsies" by A. S. Pushkin, "Mtsyri" by M. Yu. Lermontov). The spectrum of conflicts in the works of realism is wider: social, psychological, socio-psychological, moral conflicts form plot basis works. The plot finds expression in the composition.
Composition is the construction of a work, the correlation of components art form connected into a single whole. The composition is determined by the content and genre of the work. The composition can be simple, linear, when individual episodes are strung together, follow one after another and are connected with the main character. An example is the composition of the poem by N. A. Nekrasov Who lives well in Rus'. Events here develop in chronological order. Another type of composition includes many storylines, which can run parallel or intersect. The chronological principle of construction can be combined with the rearrangement of events according to the author's logic of character disclosure. In this case, the violation of chronology also appears in the form of retrospections - backward references ("A Hero of Our Time" by M. Yu. Lermontov, "Fathers and Sons" by I. S. Turgenev). The composition may be annular, ie. beginning and end seem to merge. They are repeated or close to each other.
An important component of the composition is the artistic framing - the creation of paintings that converge on the principle of analogy, similarity with the main character or event of the work. In the story of L. N. Tolstoy "Hadji Murad" an episode with a burdock, which resisted for a long time strong hand, who tried to disrupt it, leads to the story of Hadji Murad, to last breath fighting for their lives. The interior and landscape can play a compositional role if they are not the object of the image, but serve to reveal ideological concept works. IN " Dead souls"N.V. Gogol, the details of the home environment make it possible to judge the characters of Manilov, Sobakevich, Korobochka, Plyushkin. In the composition, therefore, the following main elements are distinguished: 1) general construction 2) character system 3) event system 4) outside plot elements.
Sub-section terminology
Plot plot
Plot scheme: completed, unfinished
Story technique: return, complicated, framing, linear
Exposition Beginning Action development Climax Ending
Exposure: direct, delayed, diffuse, reverse
Prologue Epilogue
Tie: motivated, sudden
ups and downs
Climax: eventful, psychological
Decoupling: motivated, unmotivated, null
Additional Information; separated by spaces from the main.
Plot and plot
As already mentioned, dramatic and epic works depict events in the lives of characters, their actions taking place in space and time. This side artistic creativity(the course of events, which usually consists of the actions of the characters, i.e. the spatio-temporal dynamics of the depicted) is denoted by the term plot.
Plot (from French sujet) - a chain of events depicted in a literary work, i.e. the life of the characters in its spatio-temporal changes, in changing positions and circumstances.
Ø Plots are often taken from mythology, historical tradition, from the literature of past eras, while being processed, changed, supplemented.
Ø The plot, as a rule, comes to the fore in the test, determines its construction (composition). But sometimes the image of events gives way to impressions, reflections, experiences of heroes, descriptions of the outside world and nature.
Like the system of characters, the plot carries a number of meaningful functions.
1. Reveals and characterizes the relationship of a person with his environment, i.e., his place in reality and destiny, creates a picture of the world.
2. Recreates life's contradictions (it's hard to imagine a plot without conflict).
The stories are organized differently. There are plots with a predominance of purely temporary connections (chronicle) and plots with a predominance of causal relationships (concentric).
Wed The king is dead and the queen is dead- Chronicle.
The king died and the queen died of grief- concentric plot.
One way or another, the plots are made up of the actions of the characters.
Action- manifestation of emotions, thoughts and intentions of a person in his actions, movements, spoken words, gestures, facial expressions.
Literature known different types actions. In the process of external action, the relationships between the characters, their fate, and public understanding change in one direction or another. Internal action involves the behavior of characters in which they show feelings in behavior, words, gestures, but do nothing to change their lives.
In traditional plots, where the action moves from the plot to the denouement, twists and turns play a significant role - all kinds of turns from happiness to misfortune, from failure to success.
Ø The ups and downs were of great importance in the heroic tales of antiquity and in fairy tales, in the comedies and tragedies of antiquity and the Renaissance, in early short stories and novels (love-knightly and adventurous-picaresque), later - in adventure and detective literature.
In plots with ups and downs, the idea of the power of chance over people is embodied.
There are two types of sequence of events in a work: logical, it is also causal-time (event A - event B - event C - event D) and constructed by the author (e.g. event D - event A - event B - event C). For example, in L. N. Tolstoy's story "The Death of Ivan Vasilievich", the reader first sees the corpse of the hero, and then gets acquainted with the story of his life. Thus, two concepts arise in literary criticism: plot and plot.
According to B. V. Tomashevsky, plot- artistically constructed distribution of events in the work, and plot- a set of events in their internal connection.
However, in literature, the concepts of plot and plot are often identified or not distinguished. Strictly speaking, such a distinction is necessary only in a number of cases: the author when working on a work, the reader for a competent retelling, a specialist when analyzing a work, especially if the series of events is complex.
As an example, consider M. Yu. Lermontov's story "The Hero of Our Time".
Such an arrangement serves special artistic tasks: in particular, at first Pechorin is shown through the eyes of Maxim Maksimych, and only then we see him from the inside, according to entries from the diary.
Remember the plot of the story by I. A. Bunin "Light Breath" and restore its plot.
The structure of the plot, its functions. Story composition. Plot and plot.
The plot (from fr.
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sujet) - a chain of events depicted in a literary work, i.e. the life of characters in its spatio-temporal changes, in successive positions and circumstances. The events recreated by the writers form (along with the characters) the basis objective world works and thus an integral ʼʼlinkʼʼ of its form. The plot is the organizing principle of most dramatic and epic (narrative) works. It should be significant in the lyrical kind of literature as well.
Story elements: The main ones include exposition, plot, development of action, ups and downs, climax, denouement. Optional: prologue, epilogue, background, ending.
We will call a plot the system of events and actions contained in a work, its event chain, and moreover, in the sequence in which it is given to us in the work. The last remark is important, since quite often the events are not told in chronological order, and the reader can learn about what happened earlier. If, however, we take only the main, key episodes of the plot, absolutely necessary for its understanding, and arrange them in chronological order, then we get plot - plot outline or, as is sometimes said, ʼʼstraightened plotʼʼ. The plots in different works are very similar to each other, but the plot is always uniquely individual.
There are two types of stories. In the first type, the development of the action takes place tensely and as rapidly as possible, the main meaning and interest for the reader lies in the events of the plot, the plot elements are clearly expressed, and the denouement carries a huge content load. This type of plot is found, for example, in Pushkin's ʼʼTales of Belkinʼʼ, Turgenev's ʼʼOn the Eveʼʼ, Dostoevsky's ʼʼPlayerʼʼ and others.
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Let's call this type of plot dynamic.
In another type of plot - let's call it, in contrast to the first, adynamic
–
the development of the action is slow and does not tend to a denouement, the events of the plot do not contain special interest
, the elements of the plot are not clearly expressed or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means), the denouement is either completely absent or is purely formal, there are many extra-plot elements in the overall composition of the work ( see below about them), which often shift the center of gravity of the reader's attention to themselves. We observe this type of plot, for example, in Gogol's "Dead Souls", "Men" and other works by Chekhov, etc. There is a fairly simple way to check which plot you are dealing with: works with an adynamic plot can be re-read from any place. Works with a dynamic plot are characterized by reading and rereading only from beginning to end. Dynamic plots, usually, built on local conflicts, adynamic - on substantial. This regularity does not have the character of a rigid 100% dependence, but nevertheless, in most cases, this correlation between the type of conflict and the type of plot takes place.
concentric plot - one event (one event situation) comes to the fore. Characteristic for small epic forms, dramatic genres, literature of antiquity and classicism. (ʼʼTelegramʼʼ by K. Paustovsky, ʼʼNotes of a hunterʼʼ by I. Turgenev) Chronicle - events do not have causal relationships among themselves and are correlated with each other only in time (ʼʼDon Quixoteʼʼ Cervantes, ʼʼOdysseyʼʼ Homer, Don Juanʼʼ Byron).
plot and composition. The concept of composition is broader and more universal than the concept of plot. The plot fits into the overall composition of the work, occupying one or another, more or less important place according to the intentions of the author. There is also internal composition the subject to which we now turn.
Considering the dependence on the relationship between the plot and the plot in specific work talking about different types and plot composition techniques. The simplest case is when the events of the plot are linearly arranged in a direct chronological sequence without any changes. This composition is also called straight or plot sequence. More complicated is the method in which we learn about the event that happened before the rest at the very end of the work – this technique called by default. This technique is very effective, because it allows you to keep the reader in ignorance and tension until the very end, and at the end to amaze him with surprise. plot twist. Due to these properties, the default technique is almost always used in works detective genre, although, of course, not only in them. Another method of breaking the chronology or plot sequence is the so-called retrospection , when, in the course of the development of the plot, the author makes digressions into the past, as a rule, at the time preceding the plot and the beginning of this work. Finally, the plot sequence must be broken in such a way that events of different times are given mixed up; the narrative all the time returns from the moment of the action in progress to different previous time layers, then again turns to the present in order to immediately return to the past. This composition of the plot is often motivated by the memories of the characters. She is called free composition and used to some extent different writers quite often: for example, we can find elements of free composition in Pushkin, Tolstoy, Dostoevsky. At the same time, it happens that free composition becomes the main and defining principle of constructing a plot, in this case, as a rule, we are talking about free composition proper.
Extraplot Elements. In addition to the plot, there are also so-called extra-plot elements in the composition of the work, which are often no less or even more important than the plot itself. If the plot of the work - ϶ᴛᴏ the dynamic side of its composition, then extraplot elements are static; extra-plot elements are those that do not move the action forward, during which nothing happens, and the characters remain in their previous positions. There are three main types of extra-plot elements: description, author's digressions and inserted episodes(otherwise they are also called inserted short stories or inserted plots). Description - this is a literary depiction of the outside world (landscape, portrait, world of things, etc.) or a sustainable way of life, that is, those events and actions that take place regularly, day after day, and, therefore, also have nothing to do with the movement of the plot. Descriptions are the most common type of non-plot elements, they are present in almost every epic work. Author's digressions - these are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; at the same time, these statements do not characterize individual characters or the relationship between them. Authorial digressions are an optional element in the composition of a work, but when they do appear there (Eugene Onegin, Pushkin, Gogol's Dead Souls, Bulgakov's Master and Margarita, etc.), they play, as a rule, the most important role and are subject to mandatory analysis. Finally, insert episodes - these are relatively finished fragments of the action in which other characters act, the action is transferred to a different time and place, etc. Sometimes insert episodes start to play and the work even big role than the main plot: for example, in Gogol's Dead Souls.
In some cases, extra-plot elements can also include psychological image, if state of mind or the hero's thoughts are not a consequence or cause of plot events, they are switched off from the plot chain. At the same time, as a rule, internal monologues and other forms psychological image one way or another they are included in the plot, since they determine the further actions of the hero and, consequently, the further course of the plot.
In general, elements outside the plot often have a weak or purely formal connection with the plot and represent a separate compositional line.
Anchor points compositions. The composition of any literary work is built in such a way that from beginning to end, the reader's tension does not weaken, but intensifies. In a work of small volume, the composition is most often a linear development in ascending order, striving for the finale, the ending, in which the point of highest tension is located. In larger works, the composition alternates between ups and downs in tension during general development ascending. We will call the points of greatest reader tension the reference points of the composition.
The simplest case: the reference points of the composition coincide with the elements of the plot, primarily with the climax and denouement. We meet with this when the dynamic plot is not just the basis of the composition of the work, but in fact exhausts its originality. The composition in this case practically does not contain extra-plot elements, it uses compositional techniques to a minimum. An excellent example of such a construction is an anecdote story, such as Chekhov's story ʼʼThe Death of an Officialʼʼ considered above.
In the event that the plot traces different turns in the external fate of the hero with a relative or absolute static nature of his character, it is useful to look for reference points in the so-called ups and downs - sharp turns in the fate of the hero. It was this construction of reference points that was typical, for example, for ancient tragedy, devoid of psychologism, and later used and is used in adventure literature.
Almost always, one of the reference points falls on the end of the work (but not necessarily on the denouement, which may not coincide with the end!). In small, mostly lyrical works this, as already mentioned, is often the only reference point, and all the previous ones only lead to it, increase the tension, providing it with an ʼʼʼʼʼ in the end.
In large works of art, the ending, as a rule, also contains one of the reference points. It is no coincidence that many writers said that they worked especially carefully on the last phrase, and Chekhov pointed out to novice writers that it should sound ʼʼmusicalʼʼ.
Sometimes - although not very often - one of the reference points of the composition is, on the contrary, at the very beginning of the work, as, for example, in Tolstoy's novel ʼʼResurrectionʼʼ.
Reference points of a composition can sometimes be located at the beginning and end (more often) of parts, chapters, acts, etc. Composition types. In the very general view two types of composition can be distinguished - let's call them conditionally simple and complex. In the first case, the function of composition is reduced only to combining parts of a work into a single whole, and this union is always carried out by the simplest and most naturally. In the field of plot formation, this will be a direct chronological sequence of events, in the field of narration - a single narrative type throughout the entire work, in the field of subject details - a simple list of them without highlighting especially important, supporting, symbolic details and so on.
At complex composition in the very construction of the work, in the order of combination of its parts and elements, a special artistic sense. So, for example, the consistent change of narrators and the violation of the chronological sequence in Lermontov's "A Hero of Our Time" focus on the moral and philosophical essence of Pechorin's character and allow you to "get close" to it, gradually unraveling the character.
simple and complex types compositions are sometimes difficult to identify in a particular work of art, since the differences between them turn out to be purely quantitative to a certain extent: we can talk about greater or lesser complexity of the composition of a particular work. There are, of course, pure types: for example, the composition of, say, Krylov's fables or Gogol's story "The Carriage" is simple in all respects, while Dostoevsky's "The Brothers Karamazov" or Chekhov's "Lady with a Dog" is complex in all respects. All this makes the question of the type of composition rather complicated, but at the same time very important, since simple and complex types of composition can become style dominants works and, thus, determine its artistic originality.
The structure of the plot, its functions. Story composition. Plot and plot. - concept and types. Classification and features of the category "Structure of the plot, its functions. Composition of the plot. Plot and plot." 2017, 2018.
Integrity artwork achieved by various means. Among these means important role belongs to the composition and the plot.
Composition(from lat. componere - to compose, connect) - the construction of a work, the ratio of all its elements, creating complete picture life and conducive to the expression ideological content. The composition distinguishes between external elements - division into parts, chapters, and internal - grouping and arrangement of images. When creating a work, the writer carefully thinks over the composition, place and relationship of images and other elements, trying to give the material the greatest ideological and artistic expression. The composition is simple and complex. So, A. Chekhov's story "Ionych" has a simple composition. It consists of five small chapters(external elements) and uncomplicated internal system images. In the center of the image is Dmitry Startsev, who is opposed by a group of images of the local residents of the Turkins. The composition of L. Tolstoy's epic novel "War and Peace" looks completely different. It consists of four parts, each part is divided into many chapters, a significant place is occupied by the author's philosophical reflections. These are the external elements of the composition. The grouping and arrangement of images-characters, of which there are more than 550, is very difficult. The outstanding skill of the writer was manifested in the fact that, with all the complexity of the material, it is arranged in the most expedient way and is subject to the disclosure of the main idea: the people are the decisive force of history.
IN scientific literature terms are sometimes used architectonics, structure as synonyms for the word composition.
Plot(from French sujet - subject) - a system of events in a work of art, revealing the characters of the characters and contributing to the most complete expression of the ideological content. The system of events is a unity that develops in time, and driving force The plot is conflict. Conflicts are different: social, love, psychological, domestic, military and others. The hero usually comes into conflict with public environment with other people, with yourself. There are usually several conflicts in a work. In L. Chekhov's story "Ionych" the hero's conflict with the environment is combined with love. A striking example psychological conflict - Shakespeare's "Hamlet". The most common type of conflict is social. To designate social conflict literary critics often use the term conflict, and love - intrigue.
The plot consists of a number of elements: exposition, plot, development of action, climax, denouement, epilogue.
Exposure - initial information about the actors that motivate their behavior in the context of the conflict that has arisen. In the story "Ionych" this is the arrival of Startsev, a description of the "most educated" Turkin family in the city.
Tie - an event that initiates the development of an action, a conflict. In the story "Ionych" Startsev's acquaintance with the Turkin family.
After the plot, the development of the action begins, the highest point of which is the culmination. In L. Chekhov's story - Startsev's declaration of love, Katya's refusal.
denouement- an event that removes the conflict. In the story "Ionych" - the rupture of relations between Startsev and the Turkins.
Epilogue - information about the events that followed after the denouement. Sometimes. the author himself calls the final part of the story an epilogue. In the story of L. Chekhov there is information about the fate of the heroes, which can be attributed to the epilogue.
In a great work of fiction, as a rule, there are many storylines and each of them. develops, intertwines with others. Individual elements of the plot may be common. Determining the classic scheme can be difficult.
The movement of the plot in a work of art occurs simultaneously in time and space. To denote the relationship of temporal and spatial relations, M. Bakhtin proposed the term chronotope. artistic time is not a direct reflection of real time, but arises by mounting certain ideas about real time. real time moves irreversibly and only in one direction - from the past to the future, while artistic time can slow down, stop and move in the opposite direction. Return to the image of the past is called flashback. Artistic time is a complex interweaving of the times of the narrator and heroes, and often a complex layering of the times of different historical eras(“The Master and Margarita” by M. Bulgakov). It can be closed, closed in itself, and open, included in the flow of historical time. An example of the first "Ionych" by L. Chekhov, the second - "Quiet Don" by M. Sholokhov.
Along with the term plot there is a term plot which are usually used as synonyms. Meanwhile, some theorists consider them inadequate, insisting on their independent meaning. The plot, in their opinion, is a system of events in a causal-temporal sequence, and the plot is a system of events in the author's presentation. Thus, the plot of I. Goncharov's novel "Oblomov" begins with a description of the life of an adult hero living in St. Petersburg with his servant Zakhar in a house on Gorokhovaya Street. The plot involves a presentation of the events of Oblomov's life. starting from childhood (chapter "Oblomov's Dream").
We define a plot as a system, a chain of events. In many cases, the writer, in addition to the story of events, introduces descriptions of nature, household paintings, digressions, reflections, geographical or historical references. They are called extra-plot elements.
It should be noted that there are different principles of plot organization. Sometimes events develop sequentially, in chronological order, sometimes with retrospective digressions, there is an overlay of times. Quite often there is a method of framing the plot plot in the plot. A striking example is Sholokhov's The Fate of a Man. In it, the author tells about his meeting with the driver at the crossing of the overflowing river. While waiting for the ferry, Sokolov spoke about his difficult life about staying in German captivity, loss of family. At the end, the author said goodbye to this man and thought about his fate. The main, main story of Andrei Sokolov is framed by the author's story. This technique is called framing.
The plot and composition of lyrical works are very peculiar. The author depicts in them not events, but thoughts and experiences. The unity and integrity of the lyrical work is ensured by the main lyrical motive, the bearer of which is the lyrical hero. The composition of the poem is subject to the disclosure of thought-feeling. “The lyrical development of the theme,” writes the well-known literary theorist B. Tomashevsky, “reminiscent of the dialectics of theoretical reasoning, with the difference that in the reasoning we have a logically justified introduction of new motives, ... and in the lyrics, the introduction of motives is justified by the emotional development of the theme.” Typical is, but in his opinion, a tripartite construction lyric poems, when a theme is given in the first part, in the second it develops by lateral motives, and the third is an emotional conclusion. As an example, A. Pushkin's poem "To Chaadaev" can be cited.
Part 1 Love, Hope, Quiet Glory
The deceit did not last long.
Part 2 We wait with languor of hope
Minutes of liberty saint ...
Part 3 Comrade, believe! She will rise
Star of captivating happiness...
The lyrical development of the theme is of two types: deductive - from the general to the particular, and inductive - from the particular to the general. The first is in the above poem by A. Pushkin, the second in the poem by K. Simonov "Do you remember, Alyosha, the roads of the Smolensk region ...".
In some lyrical works there is a plot: " Railway» I. Nekrasov, ballads, songs. They are called story lyrics.
Fine details serve to reproduce the concrete-sensual details of the world of characters, created by the creative imagination of the artist and directly embodying the ideological content of the work. The term "pictorial details" is not recognized by all theorists (the terms "thematic" or "objective" details are also used), but everyone agrees that the artist recreates the details of the appearance and speech of the characters, their inner world, environment in order to express your thoughts. However, accepting this position, one should not interpret it too straightforwardly and think that every detail (eye color, gestures, clothing, description of the area, etc.) is directly related to the author's goal setting and has a very definite unambiguous meaning. If this were so, the work would lose its artistic specificity and would become tendentiously illustrative.
Visual details contribute to the fact that the world of characters appears before the reader's inner gaze in all its fullness of life, in sounds, colors, volumes, smells, in spatial and temporal extent. Not being able to convey all the details of the picture being drawn, the writer reproduces only some of them, trying to give an impetus to the reader's imagination and force him to complete the missing features with the help of his own imagination. Without “seeing”, without imagining “living” characters, the reader will not be able to empathize with them, and his aesthetic perception of the work will be inferior.
Fine details allow the artist to plastically, visibly recreate the life of the characters, to reveal their characters through individual details. At the same time, they convey the author's evaluative attitude to the reality depicted, create an emotional atmosphere of the narrative. Yes, reading crowd scenes in the story “Taras Bulba”, one can be convinced that seemingly scattered remarks and statements of the Cossacks help us “hear” the polyphonic crowd of Cossacks, and various portrait and household parts visualize her. At the same time, the heroic warehouse is gradually clearing up. folk characters, formed in the conditions of wild freemen and poeticized by Gogol. At the same time, many details are comical, cause a smile, create a humorous tone of the narration (especially in the scenes of peaceful life). Fine details perform here, as in most works, pictorial, characterizing and expressive functions.
In drama, pictorial details are conveyed not by verbal means, but by other means (there is no description of the appearance of the characters, their actions, or the situation, because there are actors on the stage and there are scenery). The speech characteristics of the characters acquire special significance.
In the lyrics, pictorial details are subordinated to the task of recreating the experience in its development, movement, and inconsistency. Here they serve as signs of the event that caused the experience, but they mainly play the role of a psychological characteristic. lyrical hero. At the same time, their expressive role is also preserved; the experience is conveyed as sublimely romantic, heroic, tragic, or in reduced, for example, ironic tones.
The plot also belongs to the realm of pictorial detail, but stands out for its dynamic character. In epic to dramatic works, these are the actions of the characters and the events depicted. The actions of the characters that make up the plot are diverse - these are all kinds of actions, statements, experiences and thoughts of the characters. The plot most directly and effectively reveals the nature of the character, actor. However, it is important to understand that the actions of the characters also reveal the author's understanding of the typical character and the author's assessment. By forcing the hero to act in one way or another, the artist evokes in the reader a certain evaluative attitude not only to the hero, but to the whole type of people that he represents. So, forcing his fictional hero to kill a friend in a duel in the name of secular prejudices, Pushkin evokes a feeling of condemnation in the reader and makes him think about Onegin's inconsistency, about the inconsistency of his character. This is the expressive role of the plot.
The plot moves due to the emergence, development, resolution of various conflicts between the characters of the work. Conflicts can be of a private nature (Onegin's quarrel with Lensky), or they can be a moment, part of socio-historical conflicts that arose in historical reality itself (war, revolution, social movement). By depicting plot conflicts, the writer draws attention to the problems of the work to the greatest extent. But it would be wrong to identify these concepts on the basis of this (there is a tendency towards such an identification in Abramovich's textbook, section 2, ch. 2). Problematics is the leading side of the ideological content, and plot conflict- form element. It is equally wrong to equate plot with content (as is common in colloquial language). Therefore, the terminology of Timofeev, who proposed calling the plot, together with all the other details of the depicted life, “direct content” (Fundamentals of the Theory of Literature, part 2, ch. 1, 2, 3), did not receive recognition.
The question of the plot in the lyrics is solved in different ways. However, there is no doubt that this term can be applied to lyrics only with great reservations, denoting by it the outline of those events that “shine” through the hero’s lyrical experience and motivate him. Sometimes this term refers to the very movement of lyrical experience.
The composition of pictorial, including plot details, is their location in the text. Using antitheses, repetitions, parallelisms, changing the pace and chronological sequence of events in the narrative, establishing chronicle and causal connections between events, the artist achieves such a relationship that expands and deepens their meaning. In all teaching aids the compositional techniques of narration, the introduction of the narrator, the framing, introductory episodes, the main points in the development of the action, various motivations are quite fully defined. plot episodes. The discrepancy between the order of plot events and the order of narration about them in the work makes us talk about such means of expression like a plot. It should be borne in mind that another terminology is also common, when the actual compositional device of permuting events is called the plot (Abramovich, Kozhinov, etc.).
In order to master the material in this section, we recommend that you independently analyze the visual details, the plot and their composition in any epic or dramatic work. It is necessary to pay attention to how the development of the action serves the development of artistic thought - the introduction of new themes, the deepening of problematic motives, the gradual disclosure of the characters' characters and copyright to them. Each new plot scene or description is prepared, motivated by the entire previous image, but does not repeat it, but develops, supplements and deepens it. These form components are most directly related to artistic content and depend on it. Therefore, they are unique as well as the content of each work.
In view of this, the student needs to get acquainted with those theories that ignore the close connection between the plot-pictorial sphere of form and content. This is primarily the so-called comparative theory, which was based on a comparative historical study of the literatures of the world, but misinterpreted the results of such a study. Comparatives focused on the influence of literatures on each other. But they did not take into account that the influence is due to the similarity or difference public relations in the respective countries, but proceeded from the immanent, i.e., internal, allegedly completely autonomous laws of the development of literature. Therefore, the comparativists wrote about "sustainable motives", about the "images bequeathed" of literature, and also about " wandering plots”, without distinguishing between the plot and its scheme. The characteristic of this theory is also in the textbook, ed. G.N. Pospelov and G.L. Abramovich.
QUESTIONS FOR SELF-EDUCATION (m. 2)
1. A literary work as an integral unity.
2. The theme of the work of art and its features.
3. The idea of a work of art and its features.
4. Composition of a work of art. External and internal elements.
5. The plot of a literary work. The concept of conflict. Plot elements. Extra-plot elements. Plot and plot.
6. What is the role of the plot in revealing the ideological content of the work?
7. What is plot composition? What is the difference between narrative and description? What are off-plot episodes and lyrical digressions?
8. What is the function of landscape, domestic environment, portrait and speech characteristics character in the work?
9. Features of the plot of lyrical works.
10. Spatio-temporal organization of the work. The concept of the chronotope.
LITERATURE
Korman B.O. The study of the text of a work of art. - M., 1972.
Abramovich G.L. Introduction to Literary Studies. Ed.6. - M., 1975.
Introduction to Literary Studies / Ed. L.V. Chernets/. M., 2000. - S. 11 -20,
209-219, 228-239, 245-251.
Galich O. ta in. Theory of Literature. K., 2001. -S. 83-115.
Getmanets M.F. Suchasiny dictionary of lgeraturoznavchih terminiv. - Kharkiv, 2003.
MODULE THREE
LANGUAGE OF ART LITERATURE
