Levels of composition in literature. Basics of composition: elements and techniques

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 work of art: selection and sequence of elements and visual techniques of a work that create an artistic whole in accordance with the author’s intention.

TO composition elements 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, Oblomov's dream 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.

When creating a work, the author himself chooses layout principles, “assemblies” of these elements, their sequences and interactions, using special compositional techniques. Let's look at some principles and techniques:

• 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; this composition is called reverse(this technique was used by N. Chernyshevsky in the novel “What is to be done?”);
• the author uses composition framing, 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” by I. Bunin; “Song of the Falcon”, “Old Woman Izergil” M. Gorky);
• the author uses the technique retrospections, that is, the return of the action to the past, when the reasons for the narrative taking place at the present moment were laid (for example, the author’s story about Pavel Petrovich Kirsanov in Turgenev’s novel “Fathers and Sons”); Often, when using flashback, an inserted story of the hero appears in a 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 the artistic image, for example, the road in Gogol’s poem “Dead Souls”; pay attention to the diagram author's narration: Chichikov’s arrival in the city of NN - road to Manilovka - Manilov’s estate - road - arrival at Korobochka - road - tavern, meeting with Nozdryov - road - arrival at Nozdryov - 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, which will be, for example, the entire first chapter in the novel “Eugene Onegin,” or he 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 may be based on symmetry of words, images, episodes(or scenes, chapters, phenomena, etc.) and will appear mirror, as, for example, in A. Blok’s poem “The Twelve”; a mirror composition is often combined with a frame (this principle of composition is characteristic of many poems by M. Tsvetaeva, V. Mayakovsky, etc.; read, for example, Mayakovsky’s poem “From Street to Street”);
• the author often uses the technique compositional "gap" of events: breaks off the narrative at the most interesting point at the end of the chapter, and 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 form aspect 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:

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 is impossible to do otherwise, because Blok here paints a picture of disgusting philistine vulgarity, a “terrible world” in which the Poet’s soul suffers. This is how the first part of the poem is presented. The seventh stanza marks the transition to a new world - Dreams and Harmony, and the beginning of the second part of the poem. This transition is smooth, the accompanying sounds are pleasant and soft: [a:], [nn]. So in the construction of the poem and using the technique of the so-called sound recording 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 the central images of the work. This type of composition is more characteristic of lyrics. There are three types of such composition:

• sequential, which is a logical reasoning, a transition from one thought to another and a 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: central image is considered by the author from various angles, his bright features and characteristics; such a composition assumes a gradual increase in emotional tension and a culmination of experiences, which often occurs at the end of the work (“The Sea” by Zhukovsky, “I came to you with greetings...” by Fet);
• comparison of 2 images that entered into artistic interaction(“The Stranger” by Blok); such a composition is based on the reception antitheses, or oppositions.

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 of artistic representation that 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 real artist, which 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 in a work of art participate in speech - one, two or more - monologue, dialogue and polylogue are distinguished. 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, the following types of monologue are distinguished: technical - the hero’s description of events that have occurred or are currently occurring; lyrical - the hero conveys his strengths emotional experiences; monologue-acceptance - the internal reflections of a character who is faced with a difficult choice.

They stand out according to their shape following types: author's word - the author's address to 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 aside that characterize the current state of the hero; stanzas - also in drama lyrical reflections character.

Dialogue speech

Dialogue is another element of composition, a conversation between two or more characters. Typically, dialogical speech is an 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 below) Khanmagomedov Aidyn Asadullaevich “Mountain Woman” is a clear confirmation of this.

Description

What is a person? This is a special character, and individuality, and a unique appearance, and the environment in which he was born, raised and exists in this moment life, and his home, and the things with which he surrounds himself, and people, distant and close, and the nature that surrounds him... 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. In the literature, the following types of artistic descriptions are distinguished: portrait, interior, landscape.

Portrait

It is one of the most important compositional elements in literature. He not only describes appearance hero, but also him inner world- 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 both a 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 “The Dead Christ” in Rogozhin’s gloomy house in order to once again draw attention to the irreconcilable struggle 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 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 a more voluminous, deeper revelation of the hero’s personality, helps to understand the reason for his particular 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 either your own composition or 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, just like the literary work itself, has its own 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 that situation, that starting point, where 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 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 later life 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 - traditional elements fairytale 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 infinity magical world: “They live, get along and make good things.”

Composition is a kind of program for the process of perception of a work by the reader. Composition makes the whole individual parts, the very location and correlation of artistic images expresses artistic meaning. What is composition , compositional analysis of a work of art?

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Composition of a work of art

Composition is a kind of program for the process of perception of a work by the reader. Composition makes a whole out of individual parts; the very arrangement and correlation of artistic images expresses artistic meaning.

« What is composition?This is, first of all, the establishment of a center, the center of the artist’s vision,” he wrote A.N. Tolstoy . (Russian writers about literary work. - L., 1956, vol. IV, p. 491) The composition of a work of art is understood differently.

B. Uspensky States that " central problem composition of a work of art" is "point of view problem" “It is assumed that the structure of a literary text can be described by isolating different points of view, that is, the author’s positions from which the narration (description) is conducted, and exploring the relationships between them.” (Uspensky B. Poetics of composition. - St. Petersburg, 2000, p. 16)Point of view in a literary work– “the position of the “observer” (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in relation to the “volume” (degree awareness), and in terms of assessing what is perceived; on the other hand, it expresses the author’s assessment of this subject and his outlook.” (Tamarchenko N.D., Tyupa V.I., Broitman S.N.Theory of literature. In 2 volumes. – M., 2004, vol. 1, p. 221)

« Composition - a system of fragments of the text of a work, correlated with the points of view of the subjects of speech and image; this system organizes, in turn, a change in the reader’s point of view both on the text and on the depicted world.” . (Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, vol. 1, p. 223) These authors highlightthree compositional forms of prose speech

V. Kozhinov believes that unit of composition“is a segment of a work within the framework or boundaries of which one specific form (or one method, perspective) is preserved literary image" “From this point of view, in a literary work one can distinguish elements of a dynamic narrative, static description or characterization, character dialogue, monologue and so-called internal monologue, character writing, author’s remark, lyrical digression... Composition – connection and correlation of individual forms of image and scenes.” (Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964, p. 434)Large units of composition– portrait (composed of individual elements of narration, description), landscape, conversation.

A. Esin gives the following definition: “ Composition - this is the composition and specific arrangement of parts, elements and images of a work in some significant time sequence.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 127) He highlightsfour compositional techniques: repetition, reinforcement, contrast, montage.

Repetition is a call between the beginning and the end of a text, or a repeating detail as the leitmotif of a work, or a rhyme. Reinforcement – ​​selection of homogeneous images or details. Opposition is the antithesis of images. Montage – two adjacent images give rise to a new meaning.

V.Khalizev names such compositional techniques and means: repetitions and variations; motives; close-up, general plan, defaults; point of view; co-and oppositions; installation; temporary organization of the text. (Khalizev V.E. Theory of Literature. - M., 2005, p. 276) “ Composition of a literary work, which constitutes the crown of its form, is the mutual correlation and arrangement of units of the depicted and artistic and speech means.”

(Khalizev V.E. Theory of Literature. - M., 2005, p. 276)

N. Nikolina highlights different aspects of composition:architectonics, or external composition of the text; system of character images; change of points of view in the structure of the text; parts system; extra-plot elements. (Nikolina N.A. Philological analysis of the text. - M., 2003, p. 51) Composition organizes the entire artistic form of the text and operates at all levels: figurative system, character system, artistic speech, plot and conflict, extra-plot elements.

« Composition - the construction of a work of art, determined by its content, character and purpose and largely determining its perception. Composition is the most important organizing component artistic form“, giving the work unity and integrity, subordinating its elements to each other and the whole.” (Great Soviet Encyclopedia - M., 1973. T.12. Art. 1765.-p.293)

The reader perceives the text, first of all, through the features of its construction. Wide view onmontage as a principle of joining elements of a wholeunderlies the understanding of composition. S. Eisenstein argued: “... the method of composition always remains the same. In all cases, its main determinant remains, first of all, the attitude of the author... The decisive elements of the compositional structure are taken by the author from the foundations of his attitude towards phenomena. It dictates the structure and characteristics according to which the image itself is deployed.” (Eisenstein S. Selected works. In 6 T. T.3. - M., 1956, -p.42)

The composition of a literary work is based on such an important category of text as connectivity In the same time repetitions and oppositions(contrast) determine the semantic structure of a literary text and are the most important compositional techniques.

Linguistic theory of compositionoriginated at the beginning of the 20th century. V.V.Vinogradov wrote about verbal, linguistic composition. He put forward an understanding compositions artistic text “as a system of dynamic deployment of verbal series in a complex verbal and artistic unity”

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p. 49) The components of linguistic composition are word sequences. " Verbal sequence is a sequence (not necessarily continuous) of linguistic units of different tiers presented in the text, united compositional role and correlation with a specific area linguistic use or with a certain method of constructing a text.” (Gorshkov A.I. Russian stylistics. - M., 2001, p. 160)Language composition- this is a comparison, contrast and alternation of verbal series in a literary text.

Types of composition.
1.Ring
2.Mirror
3.Linear
4.Default
5. Retrospection
6.Free
7.Open, etc.
Types of composition.
1. Simple (linear).
2. Complex (transformational).
Plot elements

Climax

Development Fall

Action Actions

Exposition Commencement Resolution Epilogue

Extra-plot elements

1.Description:

Scenery

Portrait

3.Inserted episodes

Strong text positions

1.Name.

2.Epigraph.

3. The beginning and end of the text, chapter, part (first and last sentences).

4.Words in rhyme of the poem.

Drama composition- organization of dramatic action in time and space.
E. Kholodov

IPM – 2

Compositional analysis of a work of art

Compositional analysisin accordance with the style of the text, he is most productive in working on a literary work. L. Kaida writes that “all components of an artistic structure (facts, a set of these facts, their location, nature and method of description, etc.) are important not in themselves, but as a reflection aesthetic program(thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment.” (Kaida L. Compositional analysis of literary text. - M., 2000, p. 88)

V.Odintsov argued that “only after realizing general principle construction of the work, you can correctly interpret the functions of each element or component of the text. Without this, a correct understanding of the idea, the meaning of the entire work or its parts is unthinkable.” (Odintsov V. Stylistics of the text. - M., 1980, p. 171)

A. Esin says that “it is necessary to begin the analysis of the composition of an entire work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition... Analysis of the reference points is the key to understanding the logic of the composition, and therefore the entire internal logic of the work as a whole.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

Composition anchor points

1. Climax
2. Denouement
3. Peripeteia in the hero's fate
4. Strong text positions
5. Spectacular artistic techniques and means
6. Replays
7. Oppositions

Object of analysisdifferent aspects of the composition can serve: architectonics, or the external composition of the text (chapters, paragraphs, etc.); character image system; change of points of view in the structure of the text; system of details presented in the text; correlation with each other and with other components of the text of its extra-plot elements.

It is necessary to take into account variousgraphic highlights,repetitions of linguistic units of different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapters, parts).

"When analyzing overall composition of a work, one should first of all determine the relationship between the plot and extra-plot elements: what is more important - and, based on this, continue the analysis in the appropriate direction.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 150)

The concept of text composition is effective at two stages of analysis: at the stage of familiarization with the work, when it is necessary to clearly imagine its architectonics as an expression of the author’s views, and at the final stage of analysis, when intra-textual connections of different elements of the work are considered; techniques for constructing text are identified (repetitions, leitmotifs, contrast, parallelism, editing, and others).

« To analyze the composition of a literary text, you must be able to: highlight 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 linguistic signals marking the compositional parts of the work; correlate the features of the division of the text with its content and determine the role of discrete compositional units within the whole; establish a connection between the narrative structure of the text... and its external composition.” ( Nikolina N.A. Philological analysis of the text. – M., 2003, p.51)

When studying composition, one should take into account the generic features of the work. Compositional analysis of a poetic text may include, for example, operations.

Compositional analysis of poetic text

1. Stanzas and verses. Microtheme for each part.

2.Language composition. Key words, word series.

3.Composition techniques. Repetition, reinforcement, antithesis, montage.

4.Strong positions of the text. Title, epigraph, first and last sentences, rhymes, repetitions.

Compositional analysis prose text

1.Plan of the text (micro-topics), plot diagram.

2. Reference points of the composition.

3.Repetitions and contrasts.

4.Composition techniques, their role.

5.Strong positions of the text.

6.Language composition. Key words, word series.

7.View and type of composition.

8. The role of the episode in the text.

9. Character image system.

10.Change of points of view in the structure of the text.

11. Temporal organization of the text.

1.External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6.Stage and off-stage characters.

Analysis of an episode of prose text

What is an episode?

Assumption about the role of the episode in the work.

A condensed retelling of the fragment.

The place of the episode in the composition of the text. What are the before and after parts? Why here?

The place of the episode in the plot of the work. Exposition, plot, climax, development of action, denouement, epilogue.

What themes, ideas, problems of the text are reflected in this fragment?

Arrangement of characters in the episode. New in the characters' characters.

What objective world works? Landscape, interior, portrait. Why in this particular episode?

Motives of the episode. Meeting, argument, road, sleep, etc.
Associations. Biblical, folklore, ancient.
On whose behalf is the story being told? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Linguistic means of artistic representation. Paths, figures.
Conclusion. The role of the episode in the work. What themes of the work are developed in this episode? The meaning of the fragment to reveal the idea of ​​the text.

The role of the episode in the text

1.Characterological.
The episode reveals the character of the hero, his worldview.
2.Psychological.
The episode reveals state of mind character.
3. Rotary.
The episode shows a new twist in the characters' relationship
4.Evaluative.
The author gives a description of a character or event.

IPM – 3

Program

"The study of artistic composition

Works for literature lessons in grades 5 - 11"

Explanatory letter

Relevance of the problem

The problem of composition is the center of the study of a work of art. The composition of a work of art is understood in different ways.

B. Uspensky argues that “the central problem of the composition of a work of art” is the “problem of point of view.” V. Kozhinov writes: “Composition is the connection and correlation of individual forms of image and scenes.” A. Esin gives the following definition: “Composition is the composition and a certain arrangement of parts, elements and images of a work in some significant time sequence.”

In linguistics there is also a theory of composition. Linguistic composition is a comparison, opposition, alternation of verbal series in a literary text.

Compositional analysis in accordance with the stylistics of the text is most productive when working on a literary work. L. Kaida says that “all components of the artistic structure are important not in themselves, but as a reflection of the aesthetic program of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment.”

The way for children to acquire reading qualifications is an independent deep aesthetic analysis of a literary text, the ability to perceive the text as a sign system, the work as a system of images, to see the ways of creating artistic image, experience pleasure from the perception of the text, want and be able to create their own interpretations of the literary text.

"The structure of literary text in in this case(analysis) acts as a “killed” object of study: in the text you can select elements, compare them with each other, compare them with elements of other texts, etc....analysis helps the reader find answers to the questions: “How is the text structured?” “What elements does it consist of?”, “For what purpose is the text structured this way and not otherwise?” - writes Lavlinsky S.P.

Goal and tasks

Development of reading culture and understanding author's position; figurative and analytical thinking, creative imagination.

• Know the concepts of “composition”, “compositional techniques”, “types of composition”, “types of composition”, “linguistic composition”, “compositional forms”, “reference points of composition”, “plot”, “plot elements”, “extra-plot elements” , “conflict”, “strong positions of the text”, “literary hero”, “motive”, “plot”, “verbal techniques of subjectification”, “types of narration”, “system of images”.
• Be able to perform compositional analysis of prose text, poetic text, dramatic text.

5th grade

"Narration. Basic concept aboutplot and conflictin an epic work, portrait,construction of the work" (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Verse and stanza.

Strong text positions: title, epigraph.

Text outline, microtheme.

Compositional techniques: repetition, opposition.

Plot elements: beginning, development of action, climax, fall of action, denouement.

The structure of a folk fairy tale (according to V. Propp).

"Propp's Maps"

1. Absence of any family member.

3. Violation of the ban.

4. Scouting.

5.Issuance.

6. The catch.

7. Involuntary complicity.

8. Sabotage (or shortage).

9.Mediation.

10. Beginning counteraction.

11. The hero leaves the house.

12.The donor tests the hero.

13. The hero reacts to the actions of the future donor.

14. Obtaining a magic remedy.

15. The hero is transported, delivered, brought to the “location” of the search items.

16. The hero and antagonist enter into a fight.

17. The hero is marked.

18. The antagonist is defeated.

19.The trouble or shortage is eliminated.

20. Return of the hero.

21. The hero is persecuted.

22. The hero escapes from persecution.

23. The hero arrives home or to another country unrecognized.

24. A false hero makes unreasonable claims.

25. The hero is offered a difficult task.

26. The problem is being solved.

27. The hero is recognized.

28. The false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

1. Beginning. Exposition: the situation before the action begins.

2. Set-up: the hero is faced with a new situation (sabotage, shortage, the hero leaves home).

3. Development of the action: the hero sets off on a journey, crosses the border of another world (donor, magic remedy).

4. Climax: the hero is between life and death.

5.Falling action: intense moments.

6. Denouement: resolution of contradictions (wedding, accession of the hero). The ending.

Ways to invent stories (according to D. Rodari)

• Binom of fantasy.
• Limerick.
• Mystery.
• Propp's maps.
• A fairy tale inside out.
• old tale in a new way.
• Character material.
• Salad from fairy tales.
• Continuation of the fairy tale.
• Fantastic hypothesis.

"Fantastic Hypothesis"

What would happen if...? We take any subject and predicate - their combination gives a hypothesis. What would happen if our city suddenly found itself in the middle of the sea? What would happen if money disappeared all over the world?

What would happen if a person suddenly woke up in the guise of an insect?

F. Kafka answered this question in the story “The Metamorphosis”.

"Limerick"

Limerick (English) – nonsense, absurdity. The most famous are E. Lear's limericks. The structure of a limerick is as follows.

The first line is the hero.

The second line is the character's description.

The third and fourth lines are the actions of the hero.

The fifth line is the final description of the hero.

Once upon a time there was an old marsh man,

A cantankerous and burdensome grandfather,

He sat on the deck,

Sang songs to the little frog,

A corrosive old man from the swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the choice of the hero.

The second line is the actions of the hero.

The third and fourth lines are the reaction of others to the hero.

The fifth line is the output.

The old grandfather lived in Granier,

He walked on tiptoes.

Everything is against him:

I'll laugh with you!

Yes, a wonderful old man lived in Granier.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

The first operation is defamiliarization. Let us define the object as if we were seeing it for the first time in our lives.

The second operation is association and comparison. The object of association is not the object as a whole, but one of its characteristics. For comparison, choose another item.

The third operation is the choice of metaphor (hidden comparison). We give the subject a metaphorical definition.

The fourth operation is an attractive form of riddle.

For example, let's come up with a riddle about a pencil.

First operation. A pencil is a stick that leaves a mark on a light surface.

Second operation. The light surface is not only paper, but also a snow field. The pencil mark resembles a path on a white field.

Third operation. A pencil is something that draws a black path on a white field.

Fourth operation.

He's on a white - white field

Leaves a black mark.

"Tales from the Inside Out"

Everyone enjoys the game of twisting fairy tales. Perhaps a deliberate “turning inside out” of the fairy tale theme.

Little Red Riding Hood is evil, but the wolf is kind... The boy - with - Thumb conspired with his brothers to run away from home, abandon their poor parents, but they made a hole in his pocket and poured rice into it... Cinderella, a mean girl, mocked her wonderful stepmother, took away her sister's groom...

"Continuation of the fairy tale"

The fairy tale is over. What happened next? The answer to this question will be a new fairy tale. Cinderella married the Prince. She, untidy, in a greasy apron, always hangs out in the kitchen by the stove. The Prince was tired of such a wife. But you can have fun with her sisters, attractive stepmother...

"Salad from fairy tales"

This is a story in which characters from various fairy tales live. Pinocchio ended up in the house of the seven dwarfs, became Snow White's eighth friend... Little Red Riding Hood met the Boy - Thumb and his brothers in the forest...

"An old fairy tale in a new key"

In any fairy tale, you can change the time or place of action. And the fairy tale will take on an unusual coloring. Adventures of Kolobok in the 21st century...

"Character Material"

From characteristic features the character and his adventures can be logically deduced. Let the glass man be the hero. The glass is transparent. You can read our hero's thoughts, he cannot tell a lie. Thoughts can only be hidden by wearing a hat. Glass is fragile. Everything around should be upholstered softly, handshakes should be abolished. The doctor will be a glass blower...

A wooden man must be wary of fire, but he does not drown in water...

The Ice Cream Man can only live in the refrigerator, and his adventures take place there...

"Binomial of fantasy"

Let's take any two words. For example, a dog and a closet. The following variants of combining words arise: dog with a closet, dog's closet, dog on the closet, dog in the closet, etc. Each of these pictures serves as the basis for inventing a story. A dog is running down the street with a wardrobe on his back. This is his booth, he always carries it with him...

In the 5th grade, “the teacher introduces schoolchildren to the construction of fairy tales, dialogue and monologue, story plan, episode, and forms the initial concept of a literary hero. Comprehending structural elements the concept of “literary hero”, children learn to highlight the description of the hero’s appearance, his actions, relationships, characterize experiences, referring to descriptions of nature, surrounding the hero situation." (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 102)

6th grade

« Basic concept of composition. Development of the concept of a portrait of a literary hero, landscape." (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Strong text positions: first and last sentences, rhymes, repetitions.

Language composition: keywords.

Types of composition : ring, linear.

Plot elements: exposition, epilogue.

Extra-plot elements: descriptions (landscape, portrait, interior).

Plot outline : plot elements and extra-plot elements.

In 6th grade we need to “introduce students to the elements of composition. Landscape, interior...as a background and scene of action,...as a means of characterizing the hero, as a necessary part of the work, determined by the writer’s plan...we draw children’s attention to the eventful side of the work and the means of depicting the characters...” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 102 - 103)

7th grade

« Development of the concept of plot and composition, landscape, types of description.The role of the narrator in storytelling."(Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Language composition: verbal thematic series.

Compositional techniques: gain.

Types of composition : mirror, retrospection.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

In the 7th grade, “we set the task of identifying the role of composition in revealing the characters of the characters... the construction and organization of the work, the presentation of events, the arrangement of chapters, parts, the relationship of components (landscape, portrait, interior), the grouping of characters are determined by the author’s attitude to events and characters.” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 103 - 104)

8th grade

« Development of the concept of plot and composition, and science as a way of constructing a work." (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Compositional techniques: antithesis, montage.

Types of composition: free.

Plot and motive.

Verbal techniques of subjectification: direct speech, improperly direct speech, internal speech.

In grade 8, “not only special cases of composition are considered (for example, the technique of antithesis), but also connections are established between the composition and the idea of ​​the work; composition acts as the most important “above-verbal” means of creating an artistic image.” (Belenky G., Snezhnevskaya M. Studying the theory of literature in high school. – M., 1983, p.110)

9th grade

Types of composition: open, default.

Extra-plot elements: author's digressions, inserted episodes.

Types of composition

Episode comparison.

Justify role of the episode in the text.

Subject of speech : point of view bearer.

Composition as an arrangement of text fragments that are characterized by the point of view of the author, narrator, or character.

Language compositionas comparison, contrast, alternation of verbal series.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

In the 9th grade, “the concept of composition is enriched in connection with the study of works of a more complex structure; students, to some extent, master the skills of compositional analysis at higher levels (systems of images, “roll call of scenes,” changing points of view of the narrator, conventions of artistic time, building characters, etc.).” (Belenky G., Snezhnevskaya M. Studying the theory of literature in secondary school. - M., 1983, p. 113)

10 – 11 grades

Deepening the concept of composition.

Various aspects of compositionliterary text: external composition, figurative system, character system, change of points of view, system of details, plot and conflict, artistic speech, extra-plot elements.

Compositional forms: narration, description, characterization.

Compositional forms and means: repetition, reinforcement, contrast, montage, motive, comparison, “close-up” plan, “general” plan, point of view, temporal organization of the text.

Composition anchor points: climax, denouement, strong positions of the text, repetitions, contrasts, twists and turns in the hero’s fate, effective artistic techniques and means.

Strong text positions: title, epigraph,

Main types of composition: ring, mirror, linear, default, flashback, free, open, etc.

Plot elements: exposition, plot, development of action (vicissitudes), climax, denouement, epilogue.

Extra-plot elements: description (landscape, portrait, interior), author's digressions, inserted episodes.

Types of composition : simple (linear), complex (transformational).

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of poetic text.

Compositional analysis of dramatic text.

IPM – 4

System of methodological techniques for teaching composition

Analysis of a work of art.

Methodological techniques for teaching compositional text analysis are generously scattered in the works of M. Rybnikova, N. Nikolina, D. Motolskaya, V. Sorokin, M. Gasparov, V. Golubkov, L. Kaida, Yu. Lotman, E. Rogover, A. Yesin, G. Belenky, M. Snezhnevskaya, V. Rozhdestvensky, L. Novikov, E. Etkind and others.

V.Golubkov believes that it is necessary to use works of painting in literature lessons. “In an artist’s painting, all its components are before your eyes, and their connection is not difficult to establish. Therefore, if a teacher wants to explain to students what the composition of a literary work is, it is best to start with a picture” (Golubkov V. Methods of teaching literature. - M., 1962, p. 185-186).

Interesting ideas can be found in books M. Rybnikova . “Compositional analysis consists of three sides: 1) the course of action, 2) the character or other type of image (landscape, detail), its construction, 3) a system of images... Take any central scene of a story or story and show how it was prepared by all previous and how all subsequent scenes are conditioned by it... Take the denouement... and prove with the entire course of the action, the characters of the characters, that this denouement is natural, that it cannot be otherwise... The next question: about the roll call of heroes in the work, about their proximity, about contrasts, similarities, with the help which the author makes the scenes and characters bright..." (Rybnikova M. Essays on the method of literary reading. - M., 1985, p. 188 - 191).

• The methodologist cut up the text of Chekhov’s “Death of an Official”, distributed it to the students on cards, and the children placed them in the correct sequence.
• The students drew up a plan for Tolstoy’s story “After the Ball,” determined which part was central, and retold it in horizontal order.

D.Motolskaya offers a whole group of composition analysis techniques.

1. “From the very grouping of characters, it becomes to some extent clear what the author’s intention is...Identifying the principle of grouping the heroes of a work will allow students...to keep in sight the “part” and the “whole” (Motolskaya D. Studying the composition of a literary work. - In book: Questions of studying the craft of writers in literature lessons in grades VIII - X, L., 1957, p.68).

2. “When analyzing the composition, it is taken into account... how the writer arranges the plot lines (does he give them in parallel, does one plot line intersect the other, is one given after the other)... how they relate to each other, what connects them with each other” (p. 69 ).

3. “... it seems important to find out where the exposition is given, where the portrait or characterization of the character is, in what place the description of the situation, the description of nature is given... why the author’s reasoning or lyrical digressions appear in this particular place of the work” (p. 69).

4. “...what is given by the artist close-up, which seems to be relegated to the background, which the artist details, which, on the contrary, he writes briefly about” (p. 70).

5. “...the question of the system of means of revealing human character: biography, monologue, remarks of the hero, portrait, landscape” (p. 70).

6. “...the question of through whose perception this or that material is given...And when the author depicts life from the point of view of one of his heroes...when the narrator narrates...” (p. 71).

7. “In the composition of epic works...an important role is also played by the principle of dividing the material in them (volume, chapter)...which serves as the basis for the writer for dividing into chapters...” (p. 71-72).

D. Motolskaya believes that it is useful to start working on a work by considering the composition. “Movement from the “whole” to the “part” and from the “part” to the “whole” is one of the possible ways of analyzing a work... In such cases, turning to the “whole” is also initial stage work, and final” (p. 73).

When studying composition, one should take into account not only the specific, but also the generic features of the work. When analyzing the composition of dramatic works, it is necessary to pay attention to off-stage characters, denouement, storylines pulled into one dramatic knot.

“When analyzing the composition of a lyrical work, one must not miss what is inherent specifically in lyric poetry... the author’s “I”, the feelings and thoughts of the poet himself... it is the poet’s feelings that organize the material that is included in the lyrical work” (p. 120).

“When analyzing epic works imbued with a lyrical principle, one should always raise the question of what place lyricism occupies in an epic work, what is its role in an epic work, what are the ways of introducing lyrical motifs into the fabric of epic works” (p. 122).

V. Sorokin also writes about methodological techniques for analyzing composition. “The main task of analyzing composition...in school is to teach students to compose not only the “external” plan, but also to grasp its “internal” plan,” poetic structure works" (Sorokin V. Analysis of a literary work in secondary school. - M., 1955, p. 250).

1. “... when analyzing the composition of a plot work, it is important to establish what conflict lies at its basis... how all the threads of the work stretch towards this main conflict... Students should be taught to determine the main conflict of a plot work, recognizing it as the compositional core of this work"(p.259).

2. “...what significance does...each character have for revealing the main idea of ​​the work” (p. 261).

3. “In a plot work, it is important not only to name the plot, climax, denouement, but it is even more important to trace the entire course of development of the action, the growth of the conflict...” (p. 262).

4. “At school, all the most important extra-plot elements when analyzing works of art must be identified and clarified by students... their expressiveness and relationship with the whole work” (p. 268).

5. “The epigraph is an important compositional element of the work” (p. 269).

“When analyzing large works, it is necessary to identify compositional elements (plot, images, lyrical motifs), their meaning and interrelation, and dwell on the most important parts (plot, climax, lyrical digressions, descriptions)” (p. 280).

“In grades 8-10, small messages, but independently prepared by students, are possible: to trace the development of the plot (or one storyline), find the key points of the plot and explain their expressiveness” (p. 280).

V. Sorokin speaks of the need to use “the technique of expressive reading, retelling the most important episodes in the plot, a brief summary of the plot, retelling the climax, denouement, student sketches, oral drawing, selection of illustrations for individual episodes with motivation, written presentation of the plot or plot, memorization lyrical digressions, own composition with mandatory compositional techniques (for example, exposure, landscape, lyrical digressions)” (p. 281).

L. Kaida developed a decoding technique for composition analysis. “The research involves two stages: at the first, the real meaning of the statement is revealed as a result of the interaction of syntactic units...; on the second (compositional) - the real meaning of the syntactic structures that make up the components of the composition (title, beginning, ending, etc.) is revealed as a result of functioning in the text" (Kaida L. Compositional analysis of a literary text. - M., 2000, p. 83).

A. Esin argues that the analysis of a composition needs to begin with reference points. He considers the following elements to be the reference points of the composition: climax, denouement, vicissitudes in the hero’s fate, strong positions of the text, effective artistic techniques and means, repetitions, contrasts. “Analysis of reference points is the key to understanding the logic of composition” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

N. Nikolina names the skills necessary to analyze the composition of a literary text (Nikolina N.A. Philological analysis of text. - M., 2003, p. 51).

In the 5th grade, the teacher gives “an initial concept of plot and conflict in an epic work, a portrait, the construction of a work” (Bogdanova O., Leonov S., Chertov V. Methods of teaching literature. - M., 2002, p. 268.).

It seems successful to get acquainted with the composition using the example of folk fairy tales. “The teacher introduces schoolchildren to the construction of fairy tales, dialogue, monologue, story plan, episode, forms the initial concept of a literary hero” (Snezhnevskaya M. Theory of literature in grades 4-6 of secondary school. - M., 1974, p. 102.). The study of the composition of a fairy tale in the form of playing cards was proposed by D. Rodari in the book “The Grammar of Fantasy” (Rodari D. The Grammar of Fantasy. Introduction to the art of inventing stories. - M., 1978, p. 81.). This idea is developed by Yu. Sipinev and I. Sipineva in the manual “Russian Culture and Literature” (Sipinev Yu., Sipineva I. Russian Culture and Literature. - S.-P., 1994, p. 308).

Outstanding folklorist V.Ya. Propp in his works “Morphology of Fairy Tales”, “ Historical roots fairy tale", "Transformations of fairy tales" wrote about the structure of a fairy tale.

During the lessons you can use different forms of working with “Propp cards”: compose a fairy tale based on the proposed situations, create a formula for a fairy tale, create a formula for a fairy tale, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM – 8).

Thus, compositional analysis is effective at the stage of getting to know the work, when you need to imagine its architectonics, and at the final stage of analysis, when techniques for constructing the text are identified (repetitions, leitmotifs, contrast, parallelism, montage) and intra-textual connections between the elements of the work are considered.

Summary

Methodical techniques

• Condensed retelling.
• Creating a simple (complex, quotation) plan.
• Mental rearrangement of episodes.
• Recovering missing text links.
• Identification of the principle of grouping of actors.
• Justification of the role of the episode in the text.
• Location detection storylines.
• Detection of plot and extra-plot elements.
• Coming up with your own ending.
• Comparison of plot and plot.
• Drawing up a chronological diagram.
• Detecting different points of view.
• Analysis of the composition of a work of painting.
• Selection of illustrations for episodes.
• Creating your own drawings.
• Identification of the principle of material division.
• Detection of a system of means for creating a character’s image (portrait, landscape, biography, speech, etc.)
• Comparison of episodes and images.
• Selection of keywords and construction of word series.
• Analysis of strong positions.
• Search for compositional techniques.
• Determining the type of composition.
• Finding the reference points of the composition.
• Determining the type of composition.
• The meaning of the title of the work.
• Search for repetitions and contrasts at all levels of the text.
• E. Etkind’s technique “Up the ladder of meanings”

1.External plot.

2. Fiction and reality.

3.Nature and man.

4. Peace and man.

5 people.

• Detection of compositional forms in literary text.
• Detection of verbal techniques of subjectification.
• Analysis of narrative type.
• Search for motives in the text.
• Writing a story using D. Rodari’s techniques.
• Analysis of the structure of a fairy tale.
• Working with Propp cards.
• Oral word drawing.

IPM – 5

Subject

A.A. Fet “Whisper, timid breathing...”

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

Gleam of amber

And kisses and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What seemed unusual in the text?

What's not clear?

What did you see?

What did you hear?

How did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

There are no verbs in the text, mostly nouns and adjectives.

II. Linguistic composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

Let's build two verbal thematic series - nature and man.

"Nature" - the trill of a nightingale, the silver and swaying of a sleepy stream, the light of the night, the shadows of the night, the purple of roses in the smoky clouds, the reflection of amber, the dawn.

"Human" - whispers, timid breathing, a series of magical changes in a sweet face, kisses, tears.

Conclusion. The composition is based on the technique of psychological parallelism: the natural world and the human world are compared.

III. Compositional analysis.

First stanza

What is the microtheme?

A date between lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

Epithet “timid”, “sleepy”, metaphor “silver”.

Second stanza

What is it about?

The night that lovers spend.

What sounds?

Silence.

What colors? Why?

No color definitions.

What is the role of epithets?

Third stanza

What is the microtheme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of artistic expression?

Conclusion. Fet uses the technique of color and sound contrast. In the first stanza there are muted, dim colors, in the last there are bright colors. This shows the passage of time - from evening through night to dawn. Nature and human feelings change in parallel: evening and timid meeting, dawn and stormy farewell. Through sounds, the change in mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.

IV. Time and action.

There are no verbs in the poem, but there is action.

Most nouns contain movement - trills, swaying.

What is the timing characteristic?

Evening, night, morning.

V. Rhythmic pattern of the poem.

Work in pairs or groups.

Meter is trochee. The size is varied with pyrrhichiums. Constant on 5th and 7th syllables. The clause is male and female. There is no caesura. Short and long lines alternate. Anacrusis is variable. The rhyme in the verse is final, masculine and feminine, precise and imprecise, rich, open and closed alternate. The rhyme in the stanza is cross.

Conclusion. The rhythmic pattern is created by a multi-foot trochee with pyrrhic elements. The constant, alternating on 5 and 7 syllables, gives harmony to the rhythm. The alternation of long and short lines, female and male clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a strong masculine ending, the last line is short.

VI. Features of the composition of the poem.

The text contains three stanzas of 4 verses each. Composition of the stanza: in the first stanza 1 verse - man, 2,3,4 verses - nature; in the second stanza 1,2 verses - nature, 3,4 verses - man; in the third stanza 1,2,4 verses - nature, 3rd verse - man. These lines intertwine and alternate.

Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply records them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.

Literature

1. Lotman Yu.M. About poets and poetry. – St. Petersburg, 1996
2. Lotman Yu.M. At school poetic word. – M., 1988
3. Etkind E. Conversation about poetry. – M., 1970
4. Etkind E. The Matter of Verse. – St. Petersburg, 1998
5. Ginzburg L. About lyrics. – M., 1997
6. Kholshevnikov V. Fundamentals of poetry. – M., 2002
7. Gasparov M. About Russian poetry. – St. Petersburg, 2001
8. Baevsky V. History of Russian poetry. – M., 1994
9. Sukhikh I. The World of Feta: Moments and Eternity. – Star, 1995, No. 11
10. Sukhikh I. Shenshin and Fet: life and poetry. – Neva, 1995, No. 11
11. Sukhova N. Masters of Russian Lyrics. – M., 1982
12. Sukhova N. Lyrics of Afanasy Fet. – M., 2000

IPM – 6

Summary of a literature lesson in 9th grade

Subject

“Darling” by A. Chekhov. Who is Darling?

I. Individual task.

Compare the images of Darling and A.M. Pshenitsyna.

II. Two views on Chekhov's heroine.

L. Tolstoy: “Despite the wonderful, cheerful comedy of the entire work, I cannot read some parts of this without tears amazing story... The author obviously wants to laugh at what he considers a pitiful creature... but it’s not funny, it’s holy amazing soul Darlings.”

M. Gorky: “ Here Darling scurries anxiously, like a gray mouse, a sweet, meek woman who knows how to love so slavishly and so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

2nd group. Reading written works “My attitude towards Darling”.

1 group. Story plan, compositional techniques.

1. Darling is married to entrepreneur Kukin.
2. Death of husband.
3. Darling is married to the manager Pustovalov.
4. Death of husband.
5. Darling's romance with veterinarian Smirnin.
6. Departure of the veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. “Darling every time becomes a “understudy” for her husband. Under Kukin, she sat in his cash register, looked after the order in the garden, recorded expenses, gave out salaries... Under Pustovalov, “she sat in the office until the evening and wrote invoices there and released goods.” But at the same time, Olga Semyonovna did not remain only an assistant - she appropriated someone else’s personal experience, someone else’s “direction of life,” as if doubling the object of her affection. Darling’s selflessness, as it gradually becomes clear towards the end of the story, is a form of spiritual dependency.”

3rd group. Analysis of strong points: title, beginning and end of each chapter.

Linguistic analysis of a fragment from the words “In Lent he left for Moscow...”

Find key words, build a series of words that creates the image of the heroine (couldn’t sleep without him, sat by the window, looked at the stars, compared herself to chickens, don’t sleep, feel anxious, there’s no rooster in the chicken coop).

"IN poetic tradition contemplation of the starry sky usually presupposes a sublime system of thoughts, a dream of wingedness. According to mythological ideas, the soul is generally winged. Olenka also compares herself to winged creatures, however, flightless ones, and contemplation of the universe makes her think of a chicken coop. Just as a chicken is a kind of parody of a free migratory bird..., Chekhov’s Darling is a parody of the traditional allegorical Psyche.”

The heroine of the story is deprived of the ability to make independent choices life position, uses other people's self-definitions. Chekhov's irony develops into sarcasm.

V. Conclusions.

Why is the story called “Darling”? Why is there a chapter about Sasha in the finale?

“So, no rebirth of “Darling” into an adult “soul” under the ennobling influence of maternal feelings is visible in the final part of the work. On the contrary, having accepted the author’s point of view on what is communicated to us in the text, we will be forced to admit that the last attachment finally exposes the failure of Olga Semyonovna as a person. Darling... with her inability to self-determination, inability to actualize this meaning in herself, appears in the story as an undeveloped “embryo” of personality.”

Bibliography.

1. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.67.
2. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.61.
3. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.72.

Application

Composition

Language composition

Compositional techniques

1. Repeat.
2. Gain.
3. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Main types of composition

1. Ring
2. Mirror
3. Linear
4. Default
5. Retrospection
6. Free
7. Open

Plot elements

1. Exposition
2. The beginning
3. Development of action
4. Climax
5. Denouement

1. The meaning of the title of the work.

IPM – 7

Summary of a literature lesson in 10th grade

Subject

A man and his love in A. Chekhov’s story “The Lady with the Dog.”

Goals:

1. Cognitive:

• know compositional techniques and their role in a work of art, strong positions of the text, a scheme for compositional analysis of prose text;
• be able to find compositional techniques and determine their function in a work, analyze the strong positions of the text, interpret a literary text using compositional analysis.

2. Developmental:

• development of thinking skills;
• complication of the semantic function of speech, enrichment and complication of vocabulary.

Equipment

1. Visual material. Photo of the writer, tables “Scheme of compositional analysis of prose text”, “Composition”, “Compositional techniques (principles)”.
2. Handout. Photocopies of “Scheme of compositional analysis of prose text.”

Preparing for the lesson

1. Homework for the whole class. Reading the story “The Lady with the Dog”, make a plan for the story.
2. Individual tasks. Three students are preparing an expressive reading of fragments of chapters I, III, a comparison of Pushkin’s “The Stone Guest” with Chekhov’s story (Don Guan and Dmitry Gurov).

During the classes

I. Motivation for cognitive activity.

Russian historian V. Klyuchevsky said about Chekhov: “An artist of gray people and gray everyday life. The structure of life, woven from these absurdities, does not break.” Do you agree with this statement? Why?

II. Goal setting.

“The Lady with the Dog” is a story about holiday romance or about true love? Today in class we will try to answer this question using compositional text analysis.

III. Updating what has been learned.

1. Survey. What is composition? Name compositional techniques. What is a repeat? What is amplification? What is the role of opposition? What is the role of editing?

2. Checking homework.

Reading and discussing story plans.

Chapter 1 Meeting of Dmitry Gurov and Anna Sergeevna in Yalta.

Chapter 2 Love (?) and separation.

Chapter 3 Meeting of heroes in the city of S.

Chapter 4 Love and “the most difficult and difficult thing is just beginning.”

What is discussed in each chapter? Brief retelling plot.

IV. Formation of skills in compositional text analysis.

What is interesting about the composition of the story? Thematic repetitions: in chapters 1 and 3; in chapters 2 and 4 events are repeated. Let's compare these chapters. What changes in them?

Chapter 1. The student expressively reads the fragment from the words “And then one evening, he was having dinner in the garden...” to the words “She laughed.” Why does Gurov meet a woman? What kind of life does the hero lead?

Personal message“Don Guan of Pushkin and Dmitry Gurov of Chekhov.”

Chapter 3. The student expressively reads the fragment “But more than a month has passed...”. What happened to the hero?

Linguistic analysis of the episodefrom the words “He arrived in S. in the morning...”. Why does the author need the epithet “gray” three times? Why is the horseman's head cut off? Why does the doorman pronounce Diederitz's name incorrectly?

The student expressively reads the fragment from the words “During the first intermission, the husband went to smoke...”. What has changed by Chapter 3?

“So, a true rebirth occurs with Gurov in the city of S.... The emergence of a genuine, inner closeness between two personalities transforms everything. In Yalta, as we remember, while Anna Sergeevna was crying, Gurov was eating watermelon, demonstrating his invulnerable indifference to the suffering of another. In Moscow, at the Slavic Bazaar, he orders himself tea in a similar situation. A thematically adequate gesture takes on the exact opposite meaning. Tea drinking is a purely domestic, everyday, peaceful activity. With genuine intimacy, two individuals create an atmosphere of homely intimacy around themselves (on the heroine, for example, “his favorite gray dress”).

Reading the ending of the story. Why “...the most difficult and difficult is just beginning”? Read the first and last sentences. Match them. What is everyone's role?

Why is the story called “The Lady with the Dog” (after all, we are talking about Gurov’s love)?“The story told in “The Lady with the Dog” is not just a story of secret love and adultery. The main event of the story is the change that occurs under the influence of this love. Throughout the entire story, Gurov’s point of view dominates, the reader looks through his eyes, and, first of all, a change occurs in him.”

The lady with the dog became a symbol of the emotional change that happened to Gurov. Internal rebirth, the rebirth of a person under the influence of love for a woman.

We came to the idea of ​​Chekhov's story using compositional analysis. What composition techniques did the author use and why? (Repetition and contrast).

Is this a story about a holiday romance or about true love?

V. Reflection.

Write a thumbnail “ Gray people and gray everyday life” in “The Lady with the Dog”.

VI. Homework.

1. For the whole class. Reading the story “Ionych”. Make a plan, find compositional techniques.

2. Individual tasks. What is the meaning of the title of the story “Ionych”. Analysis of the first and last sentences in each chapter. Comparative characteristics Gurova and Startsev.

Bibliography.

1. Tyupa V.I. The artistry of Chekhov's story. M., 1989, p. 44-45.
2. Kataev V.B. Chekhov's literary connections. M., 1989, p. 101.

Application

Composition

The composition and specific arrangement of parts, elements and images of a work in some significant time sequence.

Language composition

Comparison or contrast of verbal series.

Compositional techniques

1. Repeat.
2. Gain.
3. Opposition (opposition).
4. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Scheme of compositional analysis of prose text

1. Draw up a text plan (micro-themes) or a plot diagram (plot elements and extra-plot elements).
2. Find the reference points of the composition.
3. Highlight repetitions and oppositions in the structure.
4. Discover compositional techniques. Determine the role of these techniques.
5. Analysis of the strong positions of the text.
6. Find keywords. Construct verbal thematic series.
7. Determine the type and type of composition.
8. Justify the role of a specific episode in the text.
9. The meaning of the title of the work.

IPM – 8

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Composition(from Lat. soshro - fold, build) - this is the construction of a work of art.

The multi-story nature and diversity of Dostoevsky's novels amazed his contemporaries, but the new compositional form that emerged as a result of this was not always understood by them and was characterized as chaotic and inept. Famous critic Nikolai Strakhov accused the writer of not being able to cope with a large amount of plot material and not knowing how to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You pointed out the main drawback terribly accurately,” he wrote. - Yes, I suffered from this and continue to suffer: I am completely incapable of, and still have not learned to cope with, my means. Many separate novels and stories fit side by side into one, so there is no measure, no harmony.”

“To build a novel,” Anton Pavlovich Chekhov later wrote, “you need to know well the law of symmetry and balance of masses. A novel is a whole palace, and the reader needs to feel free in it, not be surprised and not bored, as in a museum. Sometimes you need to give the reader a break from both the hero and the author. A landscape, something funny, a new plot, new faces are good for this...”

There can be a lot of ways to convey the same event, and they, these events, can exist for the reader in the form of an author’s narration or memories of one of the characters, or in the form of a dialogue, monologue, a crowded scene, etc.

The use of various compositional components and their role in creating the overall composition for each author has a certain originality. But for narrative compositions It is important not only how the compositional components are combined, but also what, how, when and in what way is highlighted and emphasized in the overall construction of the narrative. If, say, a writer uses the form of dialogue or static description, each of them can shock the reader or pass unnoticed, appearing as a “rest,” as Chekhov noted. The final monologue, for example, or a crowded scene, where almost all the heroes of the work are gathered, can grow unusually above the work, be its central, key point. So, for example, the “trial” scene or the “In Mokroe” scene in the novel “The Brothers Karamazov” are climactic, that is, they contain the highest points of plot tension.

Compositional emphasis in the narrative, the most striking, highlighted or intense plot point should be considered. Usually this is a moment in plot development that, together with other accentuating moments, prepares the most intense point in the narrative - the climax of the conflict. Each such “emphasis” must relate to previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) relate to each other. A certain systemic arrangement of such emphasis points - the most important task narrative compositions. It is this that creates “harmony and balance of the masses” in the composition.

The hierarchy of narrative components, some of which are highlighted more brightly or muted, strongly accentuated or have a auxiliary, passing meaning, is the basis of the composition of the narrative. It includes the narrative balance of plot episodes, their proportionality (in each case its own), and the creation of a special system of accents.

While creating compositional solution The main thing of an epic work is the movement towards the climax of each scene, each episode, as well as the creation of the desired effect by combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of the narrative can be defined as a combination within the epic work of narrative forms of image of different duration, having different strengths of tension (or emphasis) and constituting a special hierarchy in their sequence.

When deciphering the concept of “plot composition,” we must proceed from the fact that at the level of objective representation, the plot has its original composition. In other words, the plot of a separate epic work is compositional even before its narrative design, for it consists of an individual sequence of episodes chosen by the author. These episodes constitute a chain of events from the lives of the characters, events taking place in a certain time and located in a certain space. Composition These plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on their own.

At the level of plot composition, it is possible to divide episodes into “on-stage” and “off-stage”: the first tell about events that are directly occurring, the second about events that happen somewhere “behind the scenes” or happened in the distant past. This division is the most general at the level of plot composition, but it necessarily leads to a further classification of all possible plot episodes.

The composition of literary works is closely related to their genre. The most difficult ones are epic works, the defining features of which are many plot lines, a diverse coverage of life phenomena, broad descriptions, a large number of characters, the presence of an image of a narrator, the author’s constant intervention in the development of the action, etc. Features of the composition of dramatic works are a limited amount of “intervention” of the author (according to during the action, the author inserts only stage directions), the presence of “off-stage” characters, allowing for a broader coverage of life material, etc. The basis of a lyrical work is not the system of events occurring in the lives of the heroes, not the arrangement (grouping) of characters, but the sequence of presentation of thoughts and moods, expressions of emotions and impressions, the order of transition from one image-impression to another. It is possible to fully understand the composition of a lyrical work only by finding out the main thought and feeling expressed in it.

The most common three types of composition: simple, complicated, complex.

A simple composition is based, as they sometimes say, on the principle of a “string with beads”, that is, on “layering”, connecting individual episodes around one character, event or object. This method was developed back in folk tales. At the center of the story is one hero (Ivanushka the Fool). You need to catch the Firebird or win a beautiful maiden. Ivan hits the road. And all events are “layered” around the hero. This is the composition, for example, of N. A. Nekrasov’s poem “Who Lives Well in Rus'.” The search for truth-seekers for the “happy” gives the poet the opportunity to show Rus' from different sides: both in breadth and depth, and at different times.

A complex composition also has a main character at the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. The combination of these plot lines forms the compositional basis of the work. This is the composition of “Eugene Onegin”, “Hero of Our Time”, “Fathers and Sons”, “The Golovlev Lords”. A complex composition is the most common type of composition of a work.

A complex composition is inherent in the epic novel (“War and Peace”, “ Quiet Don"), such a work as "Crime and Punishment". Many storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines here, which either develop in parallel, then intersect in their development, or merge. The complex composition includes both “layering” and retreats into the past - retrospection.

All three types of composition have common element- development of events, actions of heroes in time. Thus, composition is the most important element of a work of art.

Often the main compositional device in a literary work is contrast, which allows the author’s intention to be realized. On this compositional principle for example, the story of L. N. Tolstoy “After the Ball” is being built. The ball scenes are contrasting (positive definitions predominate) emotional coloring) and execution (the opposite stylistic coloring and verbs expressing action dominate). Tolstoy's contrasting technique is structural and ideologically and artistically decisive. The principle of opposition in the composition of M. Gorky’s story “Old Woman Izergil” (the individualist Larra and the humanist Danko) helps the author to embody his aesthetic ideal in the text of the work. The technique of contrast underlies the composition of M. Yu. Lermontov’s poem “How often, surrounded by a motley crowd...”. The poet’s pure and bright dream is contrasted with a deceitful society and images of soulless people.

Unique compositional techniques also include narration, which can be conducted on behalf of the author (“The Man in a Case” by A. P. Chekhov), on behalf of the hero, that is, in the first person (“The Enchanted Wanderer” by N. S. Leskov), on behalf of “folk storyteller” (“Who lives well in Russia” by N. A. Nekrasov), on behalf of lyrical hero("I the last poet villages...” S. A. Yesenin), and all these features also have their own author’s motivation.

The work may include various digressions, inserted episodes, and detailed descriptions. Although these elements delay the development of the action, they allow us to draw the characters in a more multifaceted way, to more fully reveal the author’s intentions, and to express the idea more convincingly.

The narrative in a literary work can be constructed in chronological sequence (“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies L.N. Tolstoy and M. Gorky, “Peter the First” by A.N. Tolstoy, etc.).

However, the composition of a work may not be determined by the sequence of events, not biographical facts, but by the requirements of the logic of the ideological and psychological characteristics of the hero, thanks to which he appears before us with various facets of his worldview, character, and behavior. Violating the chronology of events has the goal of objectively, deeply, comprehensively and convincingly revealing the character and inner world of the hero (“Hero of Our Time” by M. Yu. Lermontov).

Of particular interest is such a compositional feature of a literary work as lyrical digressions, which reflect the writer’s thoughts about life, his moral position, his ideals. In digressions, the artist addresses topical social and literary issues, they often contain characteristics of the characters, their actions and behavior, and assessments of the plot situations of the work. Lyrical digressions allow us to understand the image of the author himself, his spiritual world, dreams, his memories of the past and hopes for the future.

At the same time, they are closely connected with the entire content of the work and expand the scope of the depicted reality.

Digressions that constitute the unique ideological and artistic originality of the work and reveal the features creative method writer, varied in form: from a brief passing comment to an extended argument. By their nature, these are theoretical generalizations, social and philosophical reflections, assessments of heroes, lyrical appeals, polemics with critics, fellow writers, appeals to their characters, to the reader, etc.

The themes of lyrical digressions in A. S. Pushkin’s novel “Eugene Onegin” are varied. Leading place among them ranks patriotic theme- for example, in stanzas about Moscow and the Russian people (“Moscow... How much has merged in this sound for the Russian heart! How much has echoed in it!”), about the future of Russia, which the patriotic poet saw in the roar of transformation and rapid movement forward:

The Russian highway is here and here,

Having connected, they will cross,

Cast iron bridges over water

They step in a wide arc,

Let's move mountains, underwater

Let's dig through the daring vaults...

In the lyrical digressions of the novel there is also philosophical theme. The author reflects on good and evil, eternity and transience human life, about the transition of a person from one phase of development to another, higher one, about the egoism of historical figures (“We all look at Napoleons...”) and the general historical destinies of humanity, about the law of natural generational change on earth:

Alas! on the reins of life

Instant generational harvest

By the secret will of providence,

They rise, mature and fall;

Others are following them...

The author also speaks about the meaning of life, about wasted youth, when it passed “without a goal, without work”: the poet teaches youth a serious attitude towards life, evokes contempt for existence “in the inaction of leisure”, strives to infect with his tireless thirst for work, creativity, inspired labor that gives the right and hope for the grateful memory of descendants.

The artist’s literary and critical views were clearly and fully reflected in the lyrical digressions. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Naso. The author writes about Fonvizin, who satirically depicted the nobility of the 18th century, calls the playwright “satire a brave ruler"and "friend of freedom", mentions Katenin, Shakhovsky, Baratynsky. The digressions give a picture of the literary life of Russia at the beginning of the HEC century, showing the struggle of literary tastes: the poet sneers at Kuchelbecker, who opposed elegies (“...everything in an elegy is insignificant; // Its empty purpose is pathetic...”) and called for writing odes ( “Write odes, gentlemen”, “...the purpose of the ode is high // And noble...”). The third chapter contains an excellent description of the “moral” novel:

Your own syllable in an important mood,

Used to be a fiery creator

He showed us his hero

Like a sample of perfection.

Noting the significant influence that Byron had on him (“...By the proud lyre of Albion // he is familiar to me, he is dear to me”), the poet ironically remarks about romanticism:

Lord Byron by a lucky whim

Cloaked in sad romanticism

And hopeless selfishness.

The author reflects on the realistic method of artistic creativity (in “Excerpts from Onegin’s Travels”), defends a realistically accurate language of poetry, advocates the liberation of language from superficial influences and trends, against the abuse of Slavicisms and in foreign words, as well as against excessive correctness and dryness of speech:

Like rosy lips without a smile,

No grammatical error

I don't like Russian speech.

The lyrical digressions also express the author’s attitude towards characters and events: more than once he speaks with sympathy or irony about Onegin, calls Tatyana a “sweet ideal”, speaks with love and regret about Lensky, condemns such a barbaric custom as a duel, etc. The digressions (mainly in chapter one) also reflected the author’s memories of his past youth: about theatrical meetings and impressions, about balls, the women he loved. The lines dedicated to Russian nature are imbued with a deep feeling of love for the Motherland.

Composition is the construction of a work of art. The effect that the text produces on the reader depends on the composition, since the doctrine of composition says: it is important not only to be able to tell entertaining stories, but also to present them competently.

Literary theory gives different definitions composition, one of them is: composition - the construction of a work of art, the arrangement of its parts in a certain sequence.

Composition is the internal organization of a text. Composition is about how the elements of the text are arranged, reflecting the different stages of development of the action. The composition depends on the content of the work and the author’s goals.

Stages of action development (composition elements):

Elements of composition– reflect the stages of development of the conflict in the work:

Prologue – introductory text that opens the work, preceding the main story. As a rule, thematically related to the subsequent action. It is often the “gateway” of a work, that is, it helps to penetrate the meaning of the subsequent narrative.

Exposition– the background of the events underlying the work of art. As a rule, the exposition provides characteristics of the main characters, their arrangement before the start of the action, before the plot. The exposition explains to the reader why the hero behaves this way. Exposure can be direct or delayed. Direct exposure is located at the very beginning of the work: an example is the novel “The Three Musketeers” by Dumas, which begins with the history of the D’Artagnan family and the characteristics of the young Gascon. Delayed exposure placed in the middle (in I.A. Goncharov’s novel “Oblomov,” the story of Ilya Ilyich is told in “Oblomov’s Dream,” that is, almost in the middle of the work) or even at the end of the text (a textbook example of Gogol’s “Dead Souls”: information about Chichikov’s life before arrival in provincial town given in the last chapter of the first volume). The delayed exposure gives the work a mysterious quality.

The beginning of the action is an event that becomes the beginning of an action. The beginning either reveals an existing contradiction, or creates, “knots” conflicts. The plot of “Eugene Onegin” is the death of the protagonist’s uncle, which forces him to go to the village and take over his inheritance. In the story about Harry Potter, the plot is an invitation letter from Hogwart, which the hero receives and thanks to which he learns that he is a wizard.

Main action, development of actions - events committed by the characters after the beginning and preceding the climax.

Climax(from Latin culmen - top) - the highest highest point tension in the development of action. This is the highest point of the conflict, when the contradiction reaches its greatest limit and is expressed in a particularly acute form. The climax in "The Three Musketeers" is the scene of the death of Constance Bonacieux, in "Eugene Onegin" - the scene of Onegin and Tatiana's explanation, in the first story about "Harry Potter" - the scene of the fight over Voldemort. The more conflicts there are in a work, the more difficult it is to reduce all the actions to just one climax, so there may be several climaxes. The climax is the most acute manifestation of the conflict and at the same time it prepares the denouement of the action, therefore it can sometimes be foreshadowed. In such works it can be difficult to separate the climax from the denouement.

Denouement- the outcome of the conflict. This is the final moment in creating an artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. The denouement can resolve the conflict: for example, in “The Three Musketeers” it is the execution of Milady. The final outcome in Harry Potter is the final victory over Voldemort. However, the denouement may not eliminate the contradiction; for example, in “Eugene Onegin” and “Woe from Wit” the heroes remain in difficult situations.

Epilogue (from Greekepilogos - afterword)- always concludes, closes the work. The epilogue talks about future fate heroes. For example, Dostoevsky in the epilogue of Crime and Punishment talks about how Raskolnikov changed in hard labor. And in the epilogue of War and Peace, Tolstoy talks about the lives of all the main characters of the novel, as well as how their characters and behavior have changed.

Lyrical digression – the author’s deviation from the plot, the author’s lyrical insertions that have little or nothing to do with the theme of the work. A lyrical digression, on the one hand, slows down the development of the action, on the other hand, it allows the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the famous lyrical

Types of composition

TRADITIONAL CLASSIFICATION:

Direct (linear, sequential)– the events in the work are depicted in chronological order. “Woe from Wit” by A.S. Griboedov, “War and Peace” by L.N. Tolstoy.

Ring – the beginning and end of the work echo each other, often completely coinciding. In “Eugene Onegin”: Onegin rejects Tatiana, and at the end of the novel, Tatiana rejects Onegin.

Mirror - a combination of repetition and contrast techniques, as a result of which the initial and final images are repeated exactly the opposite. One of the first scenes of L. Tolstoy's Anna Karenina depicts the death of a man under the wheels of a train. This is how one commits suicide main character novel.

A story within a story - The main story is told by one of the characters in the work. M. Gorky’s story “The Old Woman Izergil” is constructed according to this scheme.

CLASSIFICATION OF A. BESINA(based on the monograph “Principles and Techniques of Analysis of a Literary Work”):

Linear – the events in the work are depicted in chronological order.

Mirror – the initial and final images and actions are repeated exactly the opposite way, opposing each other.

Ring – the beginning and ending of the work echo each other and have a number of similar images, motifs, and events.

Retrospection – During the narration, the author makes “digressions into the past.” V. Nabokov’s story “Mashenka” is built on this technique: the hero, having learned that his former lover is coming to the city where he now lives, looks forward to meeting her and remembers their epistolary novel, reading their correspondence.

Default – the reader learns about the event that happened earlier than the others at the end of the work. So, in “The Snowstorm” by A.S. Pushkin, the reader learns about what happened to the heroine during her flight from home only during the denouement.

Free – mixed actions. In such a work one can find elements of a mirror composition, techniques of omission, retrospection and many other compositional techniques aimed at retaining the reader’s attention and enhancing artistic expressiveness.