There are three levels of literary work:
Subject figurativeness is vital material
Composition – organization of this material
Artistic language - speech structure literary work, on all four levels artistic language: phonics, vocabulary, semantics, syntax.
Each of these layers has its own complex hierarchy.
The apparent complexity of a literary work is created by the hard work of the writer at all three levels of the artistic whole.
Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to different characteristics and indicators.
A literary text represents a communicative, structural and semantic unity, which is manifested in its composition. That is, this is the unity of communication – structure – and meaning.
The composition of a literary text is a “mutual correlation And location units of depicted and artistic and speech means.” The units of what is depicted here mean: theme, problem, idea, characters, all aspects of the external and internal world depicted. Artistic speech means are the entire figurative system of language at the level of its 4 layers.
Composition is the construction of a work that determines its integrity, completeness and unity.
Composition - represents "system connections" all its elements. This system also has independent content, which should be revealed in the process of philological analysis of the text.
Composition, either structure or architectonics is the construction work of art.
Composition is an element of the form of a work of art.
Composition contributes to the creation of a work as an artistic integrity.
The composition unites all components and subordinates them to the idea, the intention of the work. Moreover, this connection is so close that it is impossible to remove or rearrange a single component from the composition.
Types of compositional organization of a work:
Plot type - that is, plot (epic, lyric, drama)
Non-plot type - plotless (in lyric poetry, epic and drama created creative method modernism and postmodernism)
The plot type of compositional organization of a work is of two types:
Event-based (in epic and drama)
Descriptive (lyrics)
Let's consider the first type of plot composition - event-based. It has three forms:
Chronological form - events develop along a straight line of time, the natural time sequence is not disrupted, there may be time intervals between events
Retrospective form - a deviation from the natural chronological sequence, a violation of the linear order of events in life, interruption with the memories of the heroes or the author, familiarizing the reader with the background of events and the lives of the characters (Bunin, “ Easy breath»)
Free or montage form - a significant violation of spatio-temporal and cause-and-effect relationships between events; the connection between individual episodes is associative-emotional, and not logical-semantic (“Hero of Our Time”, “The Trial” by Kafka and other works of modernism and postmodernism)
Let's consider the second type of composition - descriptive:
It is present in lyrical works; they generally lack clearly limited and coherently developed action; experiences come to the fore lyrical hero or a character, and the entire composition is subordinated to the goals of his depiction, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of the lyrical hero.
The composition can be external and internal
External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes; their arrangement may vary depending on the methods of creating the plot chosen by the author.
External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.
External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in drama, etc.), this organizes and directs the reader’s perception. The architectonics of the text serves as a way of “portioning” meaning; with the help of... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of elements of the text (and therefore its content).
External composition: no less significant is the lack of division of the text or its expanded fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the undifferentiation, and fluidity of the narrator’s or character’s picture of the world (for example, in “stream of consciousness” literature).
Internal composition : this is a composition (construction, arrangement) of images - characters, events, setting, landscapes, interiors, etc.
Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.
Not to be confused: the plot has elements plot, composition has techniques(internal composition) and parts(external composition) composition.
The composition includes in its construction both all the elements of the plot - plot elements and extra-plot elements.
Internal composition techniques:
Prologue (often referred to as the plot)
Epilogue (often referred to as the plot)
Monologue
Character portraits
Interiors
Landscapes
Extra-plot elements in the composition
Classification compositional techniques to highlight individual elements:
Each compositional unit is characterized by promotion techniques that provide emphasis the most important meanings of the text and activate the reader's attention. This:
geography: various graphic highlights,
repetitions: repetitions of linguistic units of different levels,
strengthening: strong positions of the text or its compositional part - positions of advancement associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful connections between elements adjacent and distant, belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningAndend works (parts, chapters, chapters). With their help, the author emphasizes the most significant structural elements for understanding the work and at the same time determines the main “semantic milestones” of a particular compositional part (the text as a whole).
Widespread in Russian literature of the late 20th century. the techniques of montage and collage, on the one hand, led to increased fragmentation of the text, on the other, it opened up the possibility of new combinations of “semantic plans.”
Composition in terms of its coherence
The features of the text’s architectonics reveal its most important feature, such as coherence. The segments (parts) of the text selected as a result of division are correlated with each other, “linked” based on common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)
Cohesion (from Latin - “to be connected”), or local connectivity, is linear type connectivity, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.
Coherence(from lat. - “cohesion”), or global coherence, is a coherence of a nonlinear type that combines elements of different levels of text (for example, title, epigraph, “text within text” and main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.
In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as “incremental meaning”.
Any literary text is permeated with semantic echoes, or repetitions. Words connected on this basis can occupy different positions: located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradational series, etc.
Consideration of semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of “plotless” texts, texts with weakened cause-and-effect relationships of components, texts rich in complex images. Identifying semantic chains in them and establishing their connections is the key to interpreting a work.
Extra-plot elements
Inserted episodes
Lyrical digressions,
Artistic advance
Artistic framing,
Dedication
Epigraph,
Heading
Inserted episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and are remembered in connection with the current events of the work (“The Tale of Captain Kopeikin” in “ Dead souls»)
Lyrical digressions- can be lyrical, philosophical, journalistic, express the thoughts and feelings of the writer directly, in the direct author’s word, reflect the author’s position, the writer’s attitude towards the characters, some elements of the theme, problem, idea of the work (in “Dead Souls” - about youth and old age , about Rus' as a bird - troika)
Artistic advance - depiction of scenes that anticipate the further course of events (
Artistic framing – the scenes with which a work of art begins and ends are most often the same scene, given in development, and creating ring composition(“The Fate of Man” by M. Sholokhov)
Dedication – a short description or lyrical work that has a specific addressee to whom the work is addressed and dedicated
Epigraph – an aphorism or quotation from another famous work or folklore, located before the entire text or before its individual parts (proverb in “The Captain’s Daughter”)
Heading- the title of a work, which always contains the theme, problem or idea of the work, a very brief formulation that has deep expressiveness, imagery or symbolism.
The object of literary analysis in the study of composition different aspects of the composition may become:
1) architectonics, or external composition of the text - dividing it into certain parts (chapters, sub-chapters, paragraphs, stanzas, etc.), their sequence and interconnection;
2) a system of images of characters in a work of art;
3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that constitutes "the central problem of composition»; consideration of different points of view in the structure of the text in relation to the architectonics of the work allows us to identify the dynamics of the development of artistic content;
4) a system of details presented in the text (composition of details); their analysis makes it possible to reveal ways to deepen what is depicted: as subtly noted by I.A. Goncharov, “details that appear fragmentarily and separately in the long view of the general plan”, in the context of the whole “merge in the general structure... as if thin invisible threads or, perhaps, magnetic currents were acting”;
5) correlation with each other and with the other components of the text of its extra-plot elements (inserted short stories, short stories, lyrical digressions, “scenes on stage” in drama).
Composition analysis thus takes into account different aspects of the text.
The term “composition” in modern philology turns out to be very ambiguous, which makes it difficult to use.
To analyze the composition of a literary text, you must be able to:
Identify in its structure repetitions that are significant for the interpretation of the work, serving as the basis for cohesion and coherence;
Identify semantic overlaps in parts of the text;
Highlight markers - separators of different compositional parts of the work;
Correlate the features of the division of the text with its content and determine the role of discrete (individual parts) compositional units within the whole;
Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.
Identify all the techniques of external and internal composition in F. Tyutchev’s poem “Silentium” (namely: parts of the composition, type of plot - non-plot, event - descriptive, vision of individual elements, type of their coherence, - NB
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 Breathing” by 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 main idea 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 (combining repetition, opposition is given by mirror compositions), 3. details, 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 kind of 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 (temporal or in violation of the chronological principle), an introduction to narrative fabric of various descriptions, author's reasoning and lyrical digressions, grouping characters etc. Techniques of architectonics 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 the most different shapes 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 borderline 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, so 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 literary genre (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 trends(symbolism and acmeism).
Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel...), but also a literary cycle, that is, a group of poetic or prose works, united common hero, general ideas, problems, etc., even a common place of action (for example, the cycle of stories by N. Gogol “Evenings on a Farm near Dikanka”, “Belkin’s Tale” by A. Pushkin; the novel by M. Lermontov “A Hero of Our Time” - also a cycle of individual short stories united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their interrelation are called COMPOSITION:
COMPOSITION (from Latin Сompositio, composition, composition) - construction, structure of a work of art: selection and sequence of elements and visual techniques of the work, creating an artistic whole in accordance with the author's intention.
The elements of the composition of a literary work include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (created by the author’s imagination of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (for example, Dream Oblomov in Goncharov's novel "Oblomov", a letter from Tatyana to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets..." in Gorky's drama "At the Lower Depths"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.
the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; such a composition is called inverse(this technique was used by N. Chernyshevsky in the novel “What is to be done?”);
the author uses framing composition, or ring, in which the author uses, for example, repetition of stanzas (the last repeats the first), artistic descriptions(the work begins and ends with a landscape or interior), the events of the beginning and ending take place in the same place, the same characters participate in them, etc.; This technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in “Poems about a Beautiful Lady”) and in prose (“ Dark alleys"I. Bunin; "Song of the Falcon", "Old Woman Izergil" by M. Gorky);
the author uses the technique of retrospection, that is, returning an action to the past, when the reasons for what was happening in currently narratives (for example, the author’s story about Pavel Petrovich Kirsanov in Turgenev’s novel “Fathers and Sons”); Often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called “a story within a story” (Marmeladov’s confession and Pulcheria Alexandrovna’s letter in “Crime and Punishment”; Chapter 13 “The Appearance of the Hero” in “The Master and Margarita”; “ After the Ball" by Tolstoy, "Asya" by Turgenev, "Gooseberry" by Chekhov);
often the organizer of the composition is artistic image, For example, the road in Gogol's poem "Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival at Korobochka - the road - a tavern, meeting with Nozdryov - the road - arrival at Nozdryov - the road - etc.; it is important that the first volume ends on the road; Thus, the image becomes the leading structure-forming element of the work;
the author can preface the main action with exposition, what, for example, will be the entire first chapter in the novel “Eugene Onegin”, or it can begin the action immediately, sharply, “without acceleration”, as Dostoevsky does in the novel “Crime and Punishment” or Bulgakov in “The Master and Margarita”;
the composition of the work can be based on symmetry words, images, episodes (or scenes, chapters, phenomena, etc.) and will be mirrored as, for example, in A. Blok’s poem “The Twelve”; mirror composition often combined with framing(this principle of composition is characteristic of many poems by M. Tsvetaeva, V. Mayakovsky and others; read, for example, Mayakovsky’s poem “From Street to Street”);
the author often uses technique of compositional “break” of events: breaks the story completely interesting place at the end of a chapter, and a new chapter begins with a story about another event; for example, it is used by Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita. This technique is very popular among the authors of adventure and detective works or works where the role of intrigue is very large.
Composition is an aspect of the form of a literary work, but its content is expressed through the features of the form. The composition of a work is an important way of embodying the author's idea. Read A. Blok’s poem “The Stranger” in full for yourself, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas, listening to their sound:
1st stanza
IN THE EVENING AT RESTAURANTS
The hot air is wild and deaf,
And rules the drunken shouts
Spring and decaying spirit.
7th stanza
And every evening, at the appointed hour
(Or am I just dreaming?),
The girl's figure, captured by silks,
A window moves in the fog.
The first stanza sounds sharp and disharmonious - due to the abundance of [r], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It cannot be otherwise, because Blok here paints a picture of disgusting philistine vulgarity, " scary world", in which the soul of the Poet toils. This is how the first part of the poem is presented. The seventh stanza marks the transition to new world- Dreams and Harmonies, and the beginning of the second part of the poem. This transition is smooth, the accompanying sounds are pleasant and soft: [a:], [nn]. Thus, in the construction of the poem and with the help of the technique of so-called sound writing, Blok expressed his idea of the opposition of two worlds - harmony and disharmony.
The composition of the work can be thematic, in which the main thing is to identify the relationships between central images works. This type of composition is more characteristic of lyrics. There are three types of such composition:
consistent, representing logical reasoning, the transition from one thought to another and the subsequent conclusion at the end of the work (“Cicero”, “Silentium”, “Nature is a sphinx, and therefore it is truer...” by Tyutchev);
development and transformation of the central image: the central image is examined by the author from various angles, its striking features and characteristics are revealed; this composition assumes a gradual increase emotional stress and the culmination of experiences, which often occurs at the end of the work (“Sea” Zhukovsky, “I came to you with greetings...” Fet);
comparison of 2 images, those who entered into artistic interaction ("The Stranger" by Blok); such a composition is built at the reception of antithesis, or opposition.
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Structure of a work of art
Artwork idea
The idea of a work of art is a generalizing, emotional, imaginative thought underlying a work of art. In other words, this is what the work was written for.
The plot of a work of art
The plot of a work of art is the development of action, the course of events in narrative and dramatic works, sometimes in lyrical ones. In other words, this is what the work is about. In modern literary and school practice, the terms “plot” and “fable” are understood as synonyms. Or “plot” refers to the entire course of events, and “plot” refers to the main conflict that develops in them.
Composition of a work of art
The composition of a work of art is the arrangement and correlation of components in artistic form, that is, the construction of a work determined by its content and genre. Main components of the composition:
1. Exposition- the part that precedes the action, telling, as a rule, about the place, time and conditions of the future action.
2. The beginning- the part in which the conflict of the work is indicated, the prerequisites are created for further development plot.
3. Development of action- the part in which the conflict deepens and becomes overgrown with details.
4. Climax- the highest point in the development of the plot, in which the conflict is maximally aggravated and requires immediate resolution.
5. Denouement- the part in which the conflict approaches its logical resolution.
6. Conclusion- a part that completes the work, provides additional information about the heroes of the work, draws the landscape, etc.
As an example, let us analyze the novel “Fathers and Sons” by Turgenev from the point of view of composition.
In order to determine the parts of the composition, it is necessary to determine the idea of the novel, since the composition is nothing more than a consistent, logically substantiated proof of the idea of the work.
The idea of the novel is to debunk Bazarov’s “nihilistic doctrine” and the dogmatic hypocrisy of the generation of “fathers” represented by P. P. Kirsanov, contrasting them with true, “eternal” feelings (love, harmonious being, concern for the new generation, etc.), represented by the image of N . P. Kirsanov, as well as the love story of Bazarov for Odintsova and Pavel Petrovich for Fenechka. Bazarov's death is a natural result of the tragic contradiction into which his beliefs (nihilism) and inner human essence enter.
Based on this:
Exposition- N.P. Kirsanov and the old servant’s anticipation of Arkady’s arrival, a story about the Kirsanov estate, about the family’s past.
The plot is the arrival of Bazarov, his unusual appearance and non-standard behavior.
Development of action- verbal battles between Bazarov and Pavel Petrovich, meeting Sitnikov, Kukshina, a trip to Odintsova.
Climax- Bazarov’s explanation and Odintsova’s refusal.
Denouement- death of Bazarov.
Conclusion - scene rural cemetery, Bazarov's parents at their son's grave, a story about future fate heroes of the novel - Arkady, Odintsova, Pavel Petrovich Kirsanov and others.
Poetics of a work of art, figures of speech
Pathos(from the Greek pathos - suffering, inspiration, passion) - B.G. Belinsky viewed pathos as an “idea-passion” that the poet “contemplates not with reason, not with reason, not with feeling, but with all the fullness and integrity of his moral being.” In other words, this is the emotional orientation of the work (tragic, heroic pathos, satirical pathos, etc.).
Comparison- this is a figurative verbal expression in which the depicted phenomenon is likened to some other one according to some characteristic common to them in order to identify new, important properties in the object of comparison.
For example: “The poet’s eternal madness is like a fresh key among the ruins” (Vl. S. Solovyov), “Beautiful as a heavenly angel” (M. Yu. Lermontov).
Metaphor(from the Greek metaphora) - the transfer of the properties of one object (phenomenon or aspect of existence) to another, according to the principle of their similarity in some respect or contrast. Unlike comparison, in which both members of the comparison are present (for example, “Troubles grew like wings and separated from the earth” - B. L. Pasternak), metaphor is a hidden comparison in which the words “as”, “as if” ", "as if" are omitted, but implied.
For example: “Enchanted Stream” - V.A. Zhukovsky; “The Living Chariot of the Universe” - F. I. Tyutchev; “A disastrous fire of life” - A. A. Blok.
Epithet(from the Greek epiteton - letters, “attached”) - a figurative definition of an object (phenomenon), expressed mainly by an adjective, but also by an adverb, noun, numeral, verb. Unlike the usual logical definition, which distinguishes an object from many (for example, “quiet ringing”), an epithet highlights one of its properties in an object (“proud horse”), or transfers to one object the properties of another object (“living trace” ). For example, in folk poetry the so-called “ constant epithets»: good fellow, open field, beautiful maiden.
Personification- a type of epithet when the properties of the living are attributed to the properties of the inanimate (for example, “Frost the governor goes around his possessions on patrol” - N. A. Nekrasov, “Russia will awaken from sleep” - A. S. Pushkin, etc.).
Hyperbola(from Greek hyperbole - exaggeration) - stylistic figure, artistic technique, based on the exaggeration of certain properties of the depicted object or phenomenon. It is introduced into the work for greater expressiveness, characteristic of the poetics of epic folklore, the poetry of romanticism and the genre of satire (N.V. Gogol, M.E. Saltykov-Shchedrin, V.V. Mayakovsky).
For example, “And the mountain of bloody bodies prevented the cannonballs from flying” - M. Yu. Lermontov, “If the son is blacker than the night” - V. V. Mayakovsky.
Litotes- the concept opposite to hyperbole, i.e. excessive understatement (for example, “a little man as big as a fingernail” - N.A. Nekrasov, “This one, even though he is an inch tall, argues with a formidable bird” - V.V. Mayakovsky).
Metonymy(from the Greek metonumia - renaming) - metonymy is based on the principle of contiguity. Like metaphor, it follows from the ability of a word to have a kind of “doubling” (multiplication) of the nominative (denoting) function in speech. It represents the imposition of its direct meaning on the figurative meaning of a word. So in the phrase “I ate three plates” (I. A. Krylov), the word “plate” simultaneously means two phenomena - food and plate.
A type of metonymy is synecdoche(from the Greek synekdoche - letters, correlation) - a verbal device through which the whole is revealed through its part. For example: “Hey, beard! How do you get from here to Plyushkin?” (N.V. Gogol), “And you, blue uniforms...” (M. Yu. Lermontov).
