Reverse composition. What is composition? Definition

In literary studies, they say different things about composition, but there are three main definitions:

1) Composition is the arrangement and correlation of parts, elements and images of a work (components artistic form), the sequence of introducing units of depicted and speech means of text.

2) Composition is the construction of a work of art, the correlation of all parts of the work into a single whole, determined by its content and genre.

3) Composition - the construction of a work of art, a certain system of means of revealing, organizing images, their connections and relationships that characterize the life process shown in the work.

All these scary literary concepts, in essence, is a fairly simple decoding: composition is the arrangement of novel passages in a logical order, in which the text becomes integral and acquires internal meaning.

Just as, following instructions and rules, we assemble a construction set or a puzzle from small parts, so we assemble an entire novel from text passages, be it chapters, parts or sketches.

Writing fantasy: a course for fans of the genre

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If you don’t know where to start - how to develop an idea, how to reveal images, how, in the end, to simply present coherently what you came up with, describe what you saw - we will provide necessary knowledge, and exercises for practice.

The composition of a work can be external and internal.

External composition of the book

External composition (aka architectonics) is a breakdown of the text into chapters and parts, highlighting additional structural parts and an epilogue, introduction and conclusion, epigraphs and lyrical digressions. Another external composition is the division of the text into volumes (separate books with a global idea, a branching plot and a large number of heroes and characters).

External composition is a way of dosing information.

A novel text written on 300 pages is unreadable without a structural breakdown. At a minimum, he needs parts, at a maximum - chapters or meaningful segments, separated by spaces or asterisks (***).

By the way, short chapters are more convenient for perception - up to ten pages - after all, we, as readers, having overcome one chapter, no, no, let’s count how many pages are in the next - and then read or sleep.

Internal composition of the book

Internal composition, unlike external composition, includes many more elements and techniques for arranging text. All of them, however, come down to a common goal - to arrange the text in a logical order and reveal the author's intention, but they go towards it in different ways - plot, figurative, speech, thematic, etc. Let's analyze them in more detail.

1. Plot elements of the internal composition:

• prologue - introduction, most often - backstory. (But some authors use a prologue to take an event from the middle of the story, or even from the ending - an original compositional move.) The prologue is an interesting, but optional element of both external and external composition;
• exposition - the initial event in which the characters are introduced and a conflict is outlined;
• plot - events in which the conflict begins;
• development of actions - course of events;
• climax - the highest point of tension, a clash of opposing forces, the peak of the emotional intensity of the conflict;
• denouement - the result of the climax;
• epilogue - the summary of the story, conclusions about the plot and assessment of events, outlines for the future life of the characters. Optional element.

2. Figurative elements:

• images of heroes and characters - advance the plot, are the main conflict, reveal the idea and the author's intention. The system of characters - each individual image and the connections between them - is an important element of the internal composition;
• images of the setting in which the action develops are descriptions of countries and cities, images of the road and accompanying landscapes, if the heroes are on the way, interiors - if all the events take place, for example, within the walls of a medieval castle. Images of the setting are the so-called descriptive “meat” (the world of history), atmosphere (the feeling of history).

The figurative elements work mainly for the plot.

So, for example, the image of a hero is assembled from details - an orphan, without a family or tribe, but with magical power and a goal - to learn about his past, about his family, to find his place in the world. And this goal, in fact, becomes a plot goal - and a compositional one: from the search for the hero, from the development of the action - from progressive and logical progress - the text is formed.

And the same goes for images of the environment. They create the space of history, and at the same time limit it to certain boundaries - a medieval castle, a city, a country, a world.

Specific images complement and develop the story, making it understandable, visible and tangible, just like correctly (and compositionally) arranged household items in your apartment.

3. Speech elements:

• dialogue (polylogue);
• monologue;
• lyrical digressions (the author’s word that does not relate to the development of the plot or images of the characters, abstract reflections on a specific topic).

Speech elements are the speed of text perception. Dialogues are dynamic, and monologues and lyrical digressions (including descriptions of action in the first person) are static. Visually, a text that has no dialogue appears cumbersome, inconvenient, and unreadable, and this is reflected in the composition. Without dialogues, it is difficult to understand - the text seems drawn out.

A monologue text - like a bulky sideboard in a small room - relies on many details (and contains even more), which are sometimes difficult to understand. Ideally, in order not to burden the composition of the chapter, monologue (and any descriptive text) should take no more than two or three pages. And in no case are there ten or fifteen, just few people will read them - they will skip them, look diagonally.

Dialogue, on the other hand, is emotional, easy to understand, and dynamic. At the same time, they should not be empty - just for the sake of dynamics and “heroic” experiences, but informative, and revealing the image of the hero.

4. Inserts:

• retrospective - scenes from the past: a) long episodes revealing the image of the characters, showing the history of the world or the origins of the situation, can take several chapters; b) short skits(flashbacks) – from one paragraph, often extremely emotional and atmospheric episodes;
• short stories, parables, fairy tales, tales, poems are optional elements that interestingly diversify the text (a good example of a compositional fairy tale is Rowling’s “Harry Potter and the Deathly Hallows”); chapters of another story with the composition “a novel within a novel” (“The Master and Margarita” by Mikhail Bulgakov);
• dreams (dreams-premonitions, dreams-predictions, dreams-riddles).

Insertions are extra-plot elements, and if you remove them from the text, the plot will not change. However, they can frighten, make you laugh, disturb the reader, suggest the development of the plot if there is a complex series of events ahead. The scene should flow logically from the previous one, each next chapter should be connected with the events of the previous one (if there are several storylines- this means that the chapters are held together by the events of the lines);

— arrangement and design of text in accordance with the plot (idea)- this is, for example, a form of diary, course work student, novel within a novel;

— theme of the work- a hidden, end-to-end compositional device that answers the question - what is the story about, what is its essence, what main idea the author wants to convey to readers; in practical terms, it is decided through the choice of significant details in key scenes;

— motive- these are stable and repeating elements that create end-to-end images: for example, images of the road - the motive of travel, the adventurous or homeless life of the hero.

Composition is a complex and multi-layered phenomenon, and it is difficult to understand all its levels. However, you need to understand it in order to know how to structure the text so that it is easily perceived by the reader. In this article we talked about the basics, about what lies on the surface. And in the following articles we will dig a little deeper.

Stay tuned!

Daria Gushchina
writer, science fiction author
(VKontakte page

Today we are talking on the topic: “Traditional elements of composition.” But first, we should remember what “composition” is. We first encounter this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, pick up the old, and fill in the missing gaps.

Composition in literature

What is composition? First of all, we turn to you for help explanatory dictionary and we learn that literally translated from Latin this term means “composition, composition.” Needless to say, without “composition”, that is, without “composition”, no work of art is possible (examples follow) and no text as a whole. It follows that composition in literature is a certain order of arrangement of parts of a work of art. In addition, these are certain forms and methods artistic image, which have a direct connection with the content of the text.

Basic elements of composition

When we open a book, the first thing we hope for and look forward to is a beautiful, entertaining narrative that will surprise or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, a writer is a true artist who primarily shows and does not tell. He avoids direct text like: “Now I’ll tell you.” On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such mastery?

Compositional elements are the palette in which the artist, a master of words, mixes his colors to later create a bright, colorful plot. These include: monologue, dialogue, description, narration, system of images, author's digression, plug-in genres, plot, plot. Below - about each of them in more detail.

Monologue speech

Depending on how many people or characters are in work of art participate in speech - one, two or more - distinguish monologue, dialogue and polylogue. The latter is a type of dialogue, so we will not dwell on it. Let's consider only the first two.

A monologue is an element of composition that consists in the author's use of one character's speech, which does not expect or receive an answer. As a rule, it is addressed to the audience in a dramatic work or to oneself.

Depending on the function in the text, there are such types of monologue as: technical - the hero’s description of events that have happened or are currently occurring; lyrical - the hero conveys his strong emotional experiences; monologue-acceptance - the internal reflections of a character who is faced with a difficult choice.

Based on the form, the following types are distinguished: the author's word - the author's address to the readers, most often through one or another character; stream of consciousness - the free flow of the hero’s thoughts as they are, without obvious logic and not adhering to the rules of literary construction of speech; dialectics of reasoning - the hero’s presentation of all the pros and cons; dialogue alone - a character’s mental address to another character; apart - in dramaturgy, a few words to the side that characterize the current state of the hero; stanzas - also in dramaturgy, lyrical reflections of a character.

Dialogue speech

Dialogue is another element of composition, a conversation between two or more characters. Typically, dialogical speech is the ideal means of conveying the clash of two opposing points of view. It also helps create an image, reveal personality and character.

Here I would like to talk about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aidyn Asadullaevich “Goryanka” - bright that confirmation.

Description

What is a person? This is a special character, and individuality, and a unique appearance, and the environment in which he was born, brought up and exists at this moment in life, and his home, and the things with which he surrounds himself, and people, distant and close, and the environment its nature... The list goes on and on. Therefore, when creating an image in a literary work, a writer must look at his hero from all possible angles and describe without missing a single detail, even more - create new “shades” that cannot even be imagined. The following types are distinguished in the literature artistic descriptions: portrait, interior, landscape.

Portrait

It is one of the most important compositional elements in literature. He describes not only the external appearance of the hero, but also his inner world - the so-called psychological picture. The place of a portrait in a work of art also varies. A book can begin with him or, conversely, end with him (A.P. Chekhov, “Ionych”). maybe immediately after the character commits some act (Lermontov, “Hero of Our Time”). In addition, the author can draw a character in one fell swoop, monolithically (Raskolnikov in Crime and Punishment, Prince Andrei in War and Peace), and another time scatter the features throughout the text (War and Peace, Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he gives this right to one of the characters, for example, Maxim Maksimych in the novel “A Hero of Our Time,” so that he can describe Pechorin as accurately as possible. The portrait can be painted ironically, satirically (Napoleon in War and Peace) and “ceremoniously”. Sometimes only the face, a certain detail, or the entire body - figure, manners, gestures, clothing (Oblomov) - comes under the author’s “magnifying glass”.

Interior description

The interior is an element of the composition of the novel, allowing the author to create a description of the hero’s home. It is no less valuable than a portrait, since the description of the type of room, furnishings, atmosphere in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the full depth of the created image. The interior reveals and close connection with which is the part through which the whole is known, and the individual through which the plural is seen. So, for example, Dostoevsky in the novel “The Idiot” “hung” Holbein’s painting “Dead Christ” in Rogozhin’s gloomy house in order to once again draw attention to the irreconcilable struggle of true faith with passions, with unbelief in Rogozhin’s soul.

Landscape - description of nature

As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, there is a lot hidden in it: soul, freedom, love, and language. The same can be said about the landscape in a literary work. The author, with the help of such an element of composition as landscape, depicts not only nature, terrain, city, architecture, but thereby reveals the state of the character, and contrasts the naturalness of nature with conventional human beliefs, acting as a kind of symbol.

Remember the description of the oak tree during Prince Andrei’s trip to the Rostovs’ house in the novel War and Peace. What it (the oak) was like at the very beginning of its journey - an old, gloomy, “disdainful freak” among the birches smiling at the world and spring. But at the second meeting, it unexpectedly blossomed and was renewed, despite the hundred-year-old hard bark. He still submitted to spring and life. The oak tree in this episode is not only a landscape, a description of nature coming to life after a long winter, but also a symbol of the changes that have taken place in the prince’s soul, a new stage in his life, which managed to “break” the desire that was almost ingrained in him to be an outcast from life until the end of his days .

Narration

Unlike a description, which is static, nothing happens in it, nothing changes, and in general it answers the question “what?”, a narration includes action, conveys the “sequence of events that occur” and the key question for it is “what happened ?. Speaking figuratively, narration as an element of the composition of a work of art can be presented in the form of a slide show - a quick change of pictures illustrating a plot.

Image system

Just as each person has his own network of lines on his fingertips, forming a unique pattern, so each work has its own unique system of images. This may include the image of the author, if any, the image of the narrator, main characters, antipodean heroes, secondary characters, and so on. Their relationships are built depending on the ideas and goals of the author.

Author's digression

Or a lyrical digression is a so-called extra-plot element of the composition, with the help of which the author’s personality seems to burst into the plot, thereby interrupting the direct course of the plot narrative. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer no longer acts as a storyteller, but opens his soul, raises deeply personal questions, discusses moral, aesthetic, philosophical topics, shares memories from own life. Thus, the reader manages to take a breath before the stream of subsequent events, stop and delve more deeply into the idea of ​​the work, and think about the questions posed to him.

Plug-in genres

This is another important compositional element, which is not only a necessary part of the plot, but also serves to provide a more voluminous, deeper revelation of the hero’s personality, helping to understand the reason for this or that. life choice, his inner world and so on. Any genre of literature can be inserted. For example, stories are the so-called story within a story (the novel “Hero of Our Time”), poems, stories, verses, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be like own composition, and someone else's.

Plot and plot

These two concepts are often either confused with each other or mistakenly believed to be the same thing. But they should be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all the parts are interconnected and follow one after another in the order that is necessary for the full implementation of the author's plan, the disclosure of the idea. In other words, events in the plot can take place in different time periods. The plot is the basis, but in a more condensed form, and plus is the sequence of events in their strictly chronological order. For example, birth, maturity, old age, death - this is the plot, then the plot is maturity, memories from childhood, adolescence, youth, lyrical digressions, old age and death.

Subject composition

The plot is exactly the same as the literary work, there are stages of development. At the center of any plot there is always a conflict around which the main events develop.

The book begins with an exposition or prologue, that is, with an “explanation”, a description of the situation, the starting point from which it all began. What follows is the plot, one might say, a foreshadowing of future events. At this stage, the reader begins to realize that a future conflict is just around the corner. As a rule, it is in this part that the main characters meet, who are destined to go through the upcoming trials together, side by side.

We continue to list the elements of the plot composition. The next stage is the development of action. This is usually the most significant piece of text. Here the reader already becomes an invisible participant in the events, he knows everyone, he feels what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, and slowly, unexpectedly for himself, he finds himself in the very center of the whirlpool. The climax comes - the very peak, when a real storm of feelings and a sea of ​​​​emotions falls on both the main characters and the reader himself. And then, when it is already clear that the worst is over and you can breathe, the denouement quietly knocks on the door. She chews everything over, explains every detail, puts all things on shelves - each in its place, and the tension slowly subsides. The epilogue brings the final line and briefly outlines the further life of the main and secondary characters. However, not all plots have the same structure. The traditional elements of a fairy tale composition are completely different.

Fairy tale

A fairy tale is a lie, but there is a hint in it. Which? The elements of the fairy tale’s composition are radically different from their “brothers,” although when reading, easy and relaxed, you don’t notice this. This is the talent of a writer or even an entire people. As Alexander Sergeevich instructed, it is simply necessary to read fairy tales, especially common folk ones, because they contain all the properties of the Russian language.

So, what are they - the traditional elements of a fairy-tale composition? The first words are a saying that puts you in a fairy-tale mood and promises a lot of miracles. For example: “This fairy tale will be told from the morning until lunch, after eating soft bread...” When the listeners relax, sit more comfortably and are ready to listen further, the time has come for the beginning - the beginning. The main characters, place and time of action are introduced, and another line is drawn that divides the world into two parts - real and magical.

Next comes the fairy tale itself, in which there are often repetitions to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia of animals, dialogues - all these are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at the infinity of the magical world: “They live, live and make good.”

Composition (from Latin compositio - composition, connection) - compound parts, or components, into a whole; structure of literary and artistic form. Composition - compound parts, but not these parts themselves; depending on what level (layer) of the artistic form we're talking about, distinguish between aspects of composition. This includes the arrangement of characters, the event (plot) connections of the work, the montage of details (psychological, portrait, landscape, etc.), and repetitions of symbolic details (forming motifs and leitmotifs), and the change in the flow of speech such forms as narration, description, dialogue, reasoning, as well as a change of subjects of speech, and division of the text into parts (including frame and main text), and the discrepancy between poetic rhythm and meter, and the dynamics of speech style, and much more. Aspects of composition are diverse. At the same time, the approach to the work as aesthetic object reveals in the composition of his artistic form at least two layers and, accordingly, two compositions that combine components that are different in nature.

A literary work appears to the reader as verbal text, perceived in time, having linear extension. However, behind the verbal fabric there is a correlation of images. Words are signs of objects (in a broad sense), which are collectively structured in world (objective world) works.

Composition of a literary work. This is the relationship and arrangement of parts, elements within a work.

Composition of plot, scenes, episodes. The relationship between plot elements: retardation, inversion, etc.

Retardation(from lat. retardatio- slowdown) - literary and artistic device: delaying the development of action by including extra-fabular elements in the text - lyrical digressions, various descriptions (landscape, interior, characterization).

Inversion in literature- violation of the usual word order in a sentence. In analytical languages ​​(for example, English, French), where word order is strictly fixed, stylistic inversion is relatively rare; in inflectional languages, including Russian, with a fairly free word order - very significantly.

Gusev “The Art of Prose”: reverse time composition (« Easy breath"Bunin). Composition of direct time. Retrospective(“Ulysses” by Joyce, “The Master and Margarita” by Bulgakov) – different eras become independent objects Images. Intensification of phenomena– often in lyrical texts – Lermontov.

Compositional contrast (“War and Peace”) is an antithesis. Plot-compositional inversion(“Onegin”, “ Dead Souls»). Parallelism principle- in the lyrics, “The Thunderstorm” by Ostrovsky. Composition rings o – “Inspector”.

Composition of figurative structure. The character is in interaction. There are main, secondary, off-stage, real and historical characters. Catherine - Pugachev are bound together through an act of mercy.

Composition. This is the composition and specific position of parts of elements and images of works in time sequence. Carries a meaningful and semantic load. External composition - dividing the work into books, volumes / is of an auxiliary nature and serves for reading. More meaningful elements: prefaces, epigraphs, prologues, / they help to reveal the main idea of ​​the work or identify the main problem of the work. Internal – includes Various types descriptions (portraits, landscapes, interior), non-story elements, staged episodes, all kinds of digressions, various shapes characters' speeches and points of view. The main task of the composition is the decency of the image art world. This decency is achieved with the help of a kind of compositional techniques - repeat- one of the simplest and most effective, it allows you to easily round out a work, especially a ring composition, when a roll call is established between the beginning and the end of the work carries a special artistic sense. Composition of motives: 1. motives (in music), 2. opposition (combination of repetition, opposition give mirror compositions), 3. parts, installation. 4. silence, 5. point of view - the position from which stories are told or from which the events of the characters or the narrative are perceived. Types of points of view: ideological-holistic, linguistic, spatial-temporal, psychological, external and internal. Types of compositions: simple and complex.

Plot and plot. Categories of material and technique (material and form) in the concept of V.B. Shklovsky and their modern understanding. Automation and disengagement. The relationship between the concepts of “plot” and “plot” in the structure of the artistic world. The significance of distinguishing these concepts for the interpretation of the work. Stages in plot development.

The composition of a work is its construction, the organization of its figurative system in accordance with the author’s concept. Subordination of the composition to the author's intention. Reflection of the tension of the conflict in the composition. The art of composition, compositional center. The criterion of artistry is the correspondence of the form to the concept.

Architectonics is the construction of a work of art. The term “composition” is more often used in the same meaning, and applied not only to the work as a whole, but also to its individual elements: composition of image, plot, stanza, etc.

The concept of architectonics combines the relationship of parts of a work, the arrangement and mutual connection of its components (components), which together form some artistic unity. The concept of architectonics includes both the external structure of the work and the construction of the plot: the division of the work into parts, the type of narration (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporary or in violation of the chronological principle), an introduction to the narrative fabric of various descriptions, author's reasoning and lyrical digressions, grouping of characters, etc. Architectural techniques constitute one of the essential elements of style (in the broad sense of the word) and along with it are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the emergence of historical scene new classes and groups. If we take, for example, Turgenev’s novels, we will find in them consistency in the presentation of events, smoothness in the course of the narrative, an orientation towards the harmonious harmony of the whole, an important compositional role landscape. These features are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are constructed according to completely different laws: the action begins in the middle, the narrative flows quickly, in leaps and bounds, and the external disproportion of the parts is also noticeable. These properties of architectonics are in the same way determined by the characteristics of the depicted environment - the metropolitan philistinism. Within the same literary style Architectural techniques vary depending on artistic genre(novel, story, short story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific features that require a unique composition.

27.Language is the fundamental basis of literature. The language is spoken, literary and poetic.

Artistic speech absorbs a variety of forms of speech activity. For many centuries, the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing and impressive; hence the characteristic speech techniques - numerous repetitions, “embellishments”, emotionally charged words, rhetorical(!) questions, etc. Authors competed in eloquence, stylistics were determined by increasingly strict rules, and literary works themselves were often filled with sacred meaning (especially in the Middle Ages). As a result, to XVII century(the era of classicism) literature turned out to be accessible and understandable to a rather narrow circle educated people. Therefore, since the 17th century, all European culture evolves from complexity to simplicity. V.G. Belinsky calls rhetoric “false idealization of life.” Elements penetrate into the language of literature colloquial speech. Creativity of A.S. Pushkin in this regard is, as it were, at the border of two traditions of speech culture. His works are often a fusion of rhetorical and colloquial speech (a classic example is the introduction to “ To the stationmaster"is written in an oratorical style, and the story itself is stylistically quite simple).

Colloquial speech connected, first of all, with the communication of people in their privacy, therefore it is simple and free from regulation. In the XIX – XX centuries. Literature in general is perceived by writers and scientists as a unique form of conversation between the author and the reader; it is not without reason that the address “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-artistic speech (for example, diaries or memoirs); it easily allows deviations from the linguistic norm and carries out innovations in the field of speech activity (let us recall, for example, the word creation of Russian futurists).

Today in works of art you can find the most modern forms speech activity - SMS quotes, excerpts from emails and much more. Moreover, they are often mixed different types arts: literature and painting/architecture (for example, the text itself fits into a certain geometric figure), literature and music (a soundtrack is indicated for the work - a phenomenon undoubtedly borrowed from the live journal culture), etc.

Features of the language of fiction.

Language, of course, is inherent not only literary creativity, it covers all aspects of the surrounding reality, so we will try to determine those specific features language, which make it a means of artistic reflection of reality.

Cognition function and communication function- two main, closely related aspects of language. In progress historical development a word can change its original meaning, so much so that we begin to use some words in meanings that contradict them: for example, red ink (from the word black, to turn black) or a cut piece (to break off), etc. These examples suggest that the creation of a word is the knowledge of a phenomenon; language reflects the work of human thought, various aspects of life, and historical phenomena. It is estimated that there are about 90 thousand words in modern usage. Each word has its own stylistic coloring (for example: neutral, colloquial, vernacular) and history, and, in addition, the word acquires additional meaning from the words surrounding it (context). An unfortunate example in this sense was given by Admiral Shishkov: “Carried by fast horses, the knight suddenly fell from his chariot and left his face bloody.” The phrase is funny because words of different emotional connotations are combined.

The task of selecting certain speech means for a work is quite complex. This selection is usually motivated figurative system underlying the work. Speech is one of important characteristics characters and the author himself.

The language of fiction contains a huge aesthetic principle, therefore the author of a work of fiction not only generalizes linguistic experience, but also to some extent determines the speech norm and is the creator of language.

The language of a work of art. Fiction is a set of literary works, each of which represents an independent whole. A literary work that exists as a completed text, written in one language or another (Russian, French) is the result of the writer’s creativity. Usually the work has a title; in lyric poems, its functions are often performed by the first line. The centuries-old tradition of the external design of the text emphasizes the special significance of the title of the work: during manuscript writing, and after the invention of printing. Diverse works: typological properties on the basis of which a work is classified as a specific one literary family(epic, lyric, drama, etc.); genre (story, short story, comedy, tragedy, poem); aesthetic category or mode of art (sublime, romantic); rhythmic organization of speech (verse, prose); stylistic dominance (life-likeness, conventionality, plot); literary movements (symbolism and acmeism).

Today we will talk about ways to organize the structure of a work of art and examine such a fundamental concept as composition. Undoubtedly, composition is an extremely important element of a work, mainly because it determines the form or shell in which the content is “wrapped.” And if in ancient times the shell was often not given much importance, then since the 19th century a well-structured composition has become almost an obligatory element of any good novel, not to mention short prose (short stories and short stories). Understanding the rules of composition is for modern author something like a mandatory program.

In general, it is most convenient to analyze and assimilate certain types of composition using examples from short prose, solely because of the smaller volume. This is exactly what we will do in the course of today's conversation.

Mikhail Weller “Story Technology”

As I noted above, it is easiest to study the typology of composition using the example of short prose, since almost the same principles are used there as in large prose. Well, if so, then I suggest you trust in this matter a professional author who has devoted his whole life to working on short prose, — Mikhail Weller. Why him? Well, at least because Weller wrote a whole series most interesting essays, dedicated to the craft of writing, from which a novice author can learn a lot of useful and interesting things. Personally, I can recommend two of his collections: “ Word and fate», « Word and profession", which for a long time were my reference books. For those who have not yet read them, I definitely recommend filling this gap as soon as possible.

Today, to analyze the composition, we turn to the famous work of Mikhail Weller “ Story technology" In this essay, the author literally breaks down all the features and subtleties of writing stories and novellas, systematizing his knowledge and experience in this area. Without a doubt, this is one of the best works on theory short prose and, what is no less valuable, it belongs to the pen of our compatriot and contemporary. Think, best source for our discussion today we simply cannot find one.

Let's first define what composition is.

- this is a specific construction, the internal structure of a work (architectonics), which includes the selection, grouping and sequence of visual techniques that organize the ideological and artistic whole.

This definition, of course, is very abstract and dry. I still prefer the formulation given by Weller. Here she is:

- this is the arrangement of the material selected for the work in such an order that the effect of a greater impact on the reader is achieved than with a simple sequential presentation of the facts.

The composition pursues a clearly defined goal - to achieve from the text the semantic and emotional impact on the reader that the author intended. If the author wants to confuse the reader, he builds the composition in one way; if he decides to amaze him at the end, he builds it in a completely different way. It is from the goals of the writer himself that all types and forms of composition, which we will discuss below, originate.

1. Direct flow composition

This is the most common, well-known and familiar way of presenting the material: at first it was like this, then this happened, the hero did this, and it all ended like this. Main feature direct-flow composition is a strict sequence of presentation of facts while maintaining a single chain of cause-and-effect relationships. Everything here is consistent, clear and logical.

In general, this type of composition is characterized by a slow and detailed narrative: events follow one after the other, and the author has the opportunity to more thoroughly highlight the points that interest him. At the same time, this approach is familiar to the reader: it eliminates, on the one hand, any risk of getting confused in events, and on the other, it contributes to the formation of sympathy for the characters, since the reader sees the gradual development of their character over the course of the story.

In general, I personally consider direct-flow composition to be a reliable, but very boring option, which may be ideal for a novel or some kind of epic, but a story constructed with its help is unlikely to sparkle with originality.

Basic principles of constructing a direct-flow composition:

• Strict sequence of described events.

2. Banding

By and large, this is the same straightforward story with one single, but decisively important nuance - the author's inserts at the beginning and end of the text. In this case, we get a kind of nesting doll, a story within a story, where the hero introduced to us at the beginning will be the narrator of the main internal story. This move gives rise to a very interesting effect: the presentation of the plot of the story is superimposed on the personal characteristics, worldview and views of the character leading the narrative. Here the author deliberately separates his point of view from the point of view of the narrator and may well disagree with his conclusions. And if in ordinary stories we, as a rule, have two points of view (the hero and the author), then this type of composition introduces even greater semantic diversity by adding a third point of view - the point of view of the character-narrator.

The use of ringing makes it possible to give the story a unique charm and flavor that is impossible under other circumstances. The fact is that the narrator can speak any language (colloquial, deliberately colloquial, even completely incoherent and illiterate), he can convey any views (including those that contradict any generally accepted norms), in any case, the author distances himself from his image, the character acts independently, and the reader forms his own attitude towards his personality. Such separation of roles automatically brings the writer into the widest operational space: after all, he has the right to choose as a narrator even an inanimate object, even a child, even an alien. The degree of hooliganism is limited only by the level of imagination.

In addition, the introduction of a personalized narrator creates in the reader’s mind the illusion of greater authenticity of what is happening. This is valuable when the author is a public person with wide famous biography, and the reader knows very well that the beloved author, say, has never been in prison. In this case, the writer, introducing the image of the narrator - a seasoned prisoner, simply removes this contradiction in the minds of the public and calmly writes his crime novel.

Banding is very effective way organization of composition, which is often used in combination with other compositional schemes.

Signs of ringing:

• The presence of a character-narrator;
• Two stories - an internal one, told by the character, and an external one, told by the author himself.

3. Dot composition

It is characterized by a close examination of one single episode, a moment in life that seemed important and something remarkable to the author. All actions here take place in a limited area of ​​space in a limited period of time. The entire structure of the work is, as it were, compressed to a single point; hence the name.

Despite its apparent simplicity, this type of composition is extremely complex: the author is required to put together a whole mosaic of the smallest details and details to ultimately get a vivid picture of the selected event. The comparison with painting in this context seems to me quite apt. Working on a point composition is reminiscent of painting a picture - which, in fact, is also a point in space and time. Therefore, here everything will be important for the author: intonation, gestures, and details of descriptions. A dot composition is a moment in life viewed through a magnifying glass.

Dot composition is most often found in short stories. Usually these are simple everyday stories in which a huge flow of experience, emotions and sensations is conveyed through little things. In general, everything that the writer managed to put into this point of artistic space.

Principles of constructing a dot composition:

• Narrowing the field of view to a single episode;
• Hypertrophied attention to detail and nuances;
• Showing the big through the small.

4. Wicker composition

It differs mainly in the presence of a complex system of depicting a large number of events occurring with different characters at different points in time. That is, in fact, this model is exactly the opposite of the previous one. Here the author purposefully gives the reader a lot of events that are happening now, happened in the past, and sometimes are supposed to happen in the future. The author uses a lot of references to the past, transitions from one character to another. And all in order to weave a huge large-scale picture of our history from this mass of related episodes.

Often, this approach is also justified by the fact that the writer reveals the causes and relationships of the events described with the help of episodes that took place once in the past, or the implicit connection of today's incidents with some others. All this comes together according to the will and intention of the author, like a complex puzzle.

This type of composition is more typical for large prose, where there is room for the formation of all its laces and intricacies; in the case of short stories or short stories, the author is unlikely to have the opportunity to build something large-scale.

The main features of this type of composition:

• References to events that occurred before the beginning of the story;
• Transitions between actors;
• Creating scale through many interconnected episodes.

I propose to stop here this time. A strong flow of information often creates confusion in the head. Try to think about what was said and be sure to read “ Story technology» Mikhail Weller. To be continued very soon on the pages of the “Literary Craftsmanship” blog. Subscribe to updates, leave your comments. See you soon!

Composition is the arrangement of parts of a literary work in a certain order, a set of forms and methods of artistic expression by the author, depending on his intention. Translated from Latin it means “composition”, “construction”. Composition builds all parts of the work into a single, complete whole.

It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the end. Sometimes the composition of a book intrigues the reader and he looks for a sequel to the book or other works by this writer.

Compositional elements

Among such elements are narration, description, dialogue, monologue, inserted stories and lyrical digressions:

1. Narration - main element compositions, the author's story, revealing the content of the work of art. Occupies most of the volume of the entire work. Conveys the dynamics of events; it can be retold or illustrated with drawings.
2. Description. This is a static element. During the description, events do not occur; it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. Landscape is not necessarily an image of nature, it can be a city landscape, lunar landscape, description of fantastic cities, planets, galaxies or description fictional worlds.
3. Dialogue- conversation between two people. It helps to reveal the plot and deepen the characters of the characters. Through the dialogue between two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, and begins to better understand the characters’ characters.
4. Monologue- speech of one character. In the comedy by A. S. Griboedov, through Chatsky’s monologues, the author conveys thoughts advanced people his generation and the experiences of the hero himself, who learned about his beloved’s betrayal.
5. Image system. All images of a work that interact in connection with the author’s intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are awkward images invented by the author, for example, “The Nose” from Gogol’s story of the same name. The authors simply invented many images, and their names became commonly used.
6. Insert stories, a story within a story. Many authors use this technique to create intrigue in a work or at the denouement. A work may contain several inserted stories, the events in which take place in different time. Bulgakov in “The Master and Margarita” used the device of a novel within a novel.
7. Author's or lyrical digressions. Gogol has many lyrical digressions in his work “Dead Souls”. Because of them, the genre of the work has changed. This large prose work is called the poem “Dead Souls”. And “Eugene Onegin” is called a novel in verse because of the large number of author’s digressions, thanks to which the readers are presented impressive picture Russian life early 19th century.
8. Author's description. In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his heroes - so precise and succinct that his heroes often become household names.
9. Plot of the story- this is a chain of events occurring in a work. The plot is the content of a literary text.
10. Fable- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
11. Scenery- description of nature, real and imaginary world, city, planet, galaxies, existing and fictional. The landscape is artistic device, thanks to which the character of the characters is revealed more deeply and an assessment of events is given. You can remember how it changes seascape in Pushkin’s “The Tale of the Fisherman and the Fish,” when the old man comes to the Golden Fish again and again with another request.
12. Portrait- this description is not only appearance hero, but also him inner world. Thanks to the author’s talent, the portrait is so accurate that all readers have the same idea of ​​the appearance of the hero of the book they read: what Natasha Rostova, Prince Andrei, Sherlock Holmes looks like. Sometimes the author draws the reader's attention to some characteristic feature hero, for example, Poirot’s mustache in Agatha Christie’s books.

Don't miss: in the literature, examples of use.

Compositional techniques

Subject composition

The development of the plot has its own stages of development. There is always a conflict at the center of the plot, but the reader does not immediately learn about it.

The plot composition depends on the genre of the work. For example, a fable always ends with a moral. Dramatic works of classicism had their own laws of composition, for example, they had to have five acts.

The composition of the works is distinguished by its unshakable features folklore. Songs, fairy tales, and epics were created according to their own laws of construction.

The composition of the fairy tale begins with the saying: “Like on the sea-ocean, and on the island of Buyan...”. The saying was often composed in poetic form and was sometimes far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen to him without being distracted. Then he said: “This is a saying, not a fairy tale. There will be a fairy tale ahead."

Then came the beginning. The most famous of them begins with the words: “Once upon a time” or “In a certain kingdom, in the thirtieth state...”. Then the storyteller moved on to the fairy tale itself, to its characters, to wonderful events.

Techniques of a fairy-tale composition, a threefold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka on a horse flies to her and tears off the ring, three times the Tsar tests his daughter-in-law in the fairy tale “The Frog Princess”.

The ending of the fairy tale is also traditional; about the heroes of the fairy tale they say: “They live, live well and make good things.” Sometimes the ending hints at a treat: “A fairy tale for you, but a bagel for me.”

Literary composition- this is the arrangement of parts of a work in a certain sequence, this is an integral system of forms of artistic representation. The means and techniques of composition deepen the meaning of what is depicted and reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.

During the times of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This rule of three unities: time, place, plot. This is a five-act structure of dramatic works. This speaking names and a clear division into negative and positive characters. The compositional features of classicism are a thing of the past.

Compositional techniques in literature depend on the genre of the work of art and on the talent of the author, who has available types, elements, techniques of composition, knows its features and knows how to use these artistic methods.