Types of literary compositions. What is composition? The main elements of the composition
artistic time and space. Worship before the beginning of the egoistic. Realism is fidelity to life, it is such a manner of creativity. Acmeists or Adamists. Fantasy means a special character of works of art. Sentimentalism. Artistic method in literature and art. Fiction - depicted in fiction events. Content and form. Historical and literary process.
"Questions on the theory of literature" - Internal monologue. Description of the character's appearance. Type of literature. Intentional use of the same words in the text. Grotesque. A tool to help describe a character. events in the work. Exposure. Term. Paraphrase. Flame of talent. Symbol. Expressive detail. Description of nature. Interior. Epic works. Plot. A way to display internal state. Allegory. Epilogue.
"Theory and History of Literature" - With the help of a detail, the writer highlights the event. Implicit, "subtextual" psychologism. K.S. Stanislavsky and E.V. Vakhtangov. The psychologism of Tolstoy and Dostoevsky is an artistic expression. Tiya, in which all sectors of society inevitably participate. Psychologism has not left literature. Theory of Literature. A. Gornfeld "Symbolists". Subtext is the meaning hidden "under" the text. Psychologism reached its maximum in the work of L.N. Tolstoy.
"Theory of Literature" - Anthem. Stages of action development. Satire. Humor. Novel. Consonance of the ends of poetic lines. Sonnet. The fate of the people. Character. Inner monologue. Tragic. Tragedy. Artistic detail. Author's position. Damage. Style. Symbol. Grotesque. Detail. Composition. Epos. Feature article. Epigram. Message. Oh yeah. Story. Literary genera and genres. Comedy. Character. Lyric hero. Plot. Tasks. Scenery. Artistic welcome.
"Theory of literature at school" - Epic genres. Space. Acmeism. Speaking names. Portrait. Stages of development of action in a work of art. Content and form literary work. Lyrics. Genre system of folklore. Artistic image. Plot. dramatic genres. The theme of the artwork. Biographical author. Composition. Symbolism. lyrical genres. Artwork idea. Artistic time.
"Fundamentals of Literary Theory" - Two ways to create speech characteristics. Characteristics of the hero. Characters. Eternal image. Temporary sign. Theory of Literature. The development of the plot. Historical persons. Plot. Monologue. Inner speech. Eternal themes. Paphos consists of varieties. Eternal themes in fiction. The content of the work. Pathos. Way. An example of opposition. Pushkin. Fabular development. The emotional content of a work of art.
Composition(from lat. soshro - to fold, build) - this is the construction of a work of art.
The multi-story and multifaceted nature of Dostoevsky's novels amazed his contemporaries, but a new compositional form, which is built as a result of this, was not always understood by them and was characterized as chaotic and inept. Noted Critic Nikolai Strakhov accused the writer of being unable to cope with big amount plot material, does not know how to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You have terribly aptly pointed out the main shortcoming,” he wrote. - Yes, I suffered from this and I suffer: I am completely unable, I still have not learned how to cope with my means. A lot of individual novels and stories side by side fit into one for me, so there is no measure, no harmony.
“In order to build a novel,” Anton Pavlovich Chekhov later wrote, “it is necessary to know well the law of symmetry and balance of masses. The novel is a whole palace, and it is necessary that the reader 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 is suitable for this, something funny, a new plot, new faces ... "
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 of each author is distinguished by 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 emphasized in general construction storytelling. If, say, a writer uses the form of a dialogue or a static description, each of them can shock the reader or pass unnoticed, be a "rest", according to Chekhov. The final monologue, for example, or a crowded scene, where almost all the heroes of the work are gathered, can unusually grow above the work, be its central, key moment. So, for example, the scene of the "court" or the scene "In the Wet" in the novel "The Brothers Karamazov" are culminating, that is, containing highest points plot tension.
compositional emphasis in the narrative it is necessary to consider the most vivid, highlighted or intense plot moment. It's usually like this plot development, which, together with other accent points, prepares the most intense point in the narrative - the climax of the conflict. Each such "accent" should correlate with the previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) correlate with each other. A certain systemic arrangement of such accent points is the most important task of narration composition. It is this that creates “harmony and balance of masses” in the composition.
The hierarchy of narrative components, some of which are brighter or muted, strongly accented or have an auxiliary, passing meaning, is the basis of the composition of the narrative. It includes both the narrative balance of plot episodes, and their proportionality (in each case, its own), and the creation of a special system of accents.
While creating compositional solution In an epic work, the main thing is the movement to the culmination of each scene, each episode, as well as the creation of the desired effect when combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of a narrative can be defined as a combination within an epic work of narrative forms of representation of different duration, having different strengths of tension (or emphasis) and constituting a special hierarchy in their sequence.
Deciphering the concept of "composition of the plot", we must proceed from the fact that at the level of objective depiction, the plot has its own initial composition. In other words, the plot of a separate epic work is compositional even before its narrative design, because it consists of an individual sequence of episodes chosen by the author. These episodes make up a chain of events from the life of the characters, events taking place at a certain time and located in a certain space. Composition of these plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on its own.
At the level of plot composition, it is possible to divide episodes into “stage” and “off-stage” episodes: the first tells about events that are directly taking place, and the second - about events that take place somewhere “behind the scenes” or took place in the distant past. Such a subdivision 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 complex are epic works, the defining features of which are many storylines, a versatile coverage of the phenomena of life, broad descriptions, a large number of characters, the presence of the image of the narrator, the author's constant interference in the development of the action, etc. Features of the composition of dramatic works - a limited amount of "intervention" of the author (in the course of the action the author inserts only remarks), the presence of "off-stage" characters, allowing for a wider coverage life material, etc. The basis of a lyrical work is not a system of events occurring in the lives of heroes, not an arrangement (grouping) of characters, but a sequence of presentation of thoughts and moods, expression of emotions and impressions, the order of transition from one image-impression to another. You can fully understand the composition of a lyrical work only by finding out the main thought-feeling expressed in it.
Three types of composition are most common: simple, complicated, complex.
A simple composition is based, as they sometimes say, on the principle of "thread with beads", that is, on "layering", the connection of individual episodes around one hero, event or object. This method was developed in folk tales. In the center of the story there is one hero (Ivanushka the Fool). You need to catch the Firebird or win the beautiful girl. Ivan is on his way. And all the events are "layered" around the hero. Such is the composition, for example, of the poem by N. A. Nekrasov “Who should live well in Rus'”. The search for “happy” by men-truth-seekers makes it possible for the poet to show Rus' with different parties: both in breadth and depth, and at different times.
A complicated composition also has a main character in the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. The connection of these storylines and forms the compositional basis of the work. Such is the composition of "Eugene Onegin", "Hero of Our Time", "Fathers and Sons", "Lord Golovlyov". Complicated composition is the most common type of work construction.
A complex composition is inherent in the epic novel ("War and Peace", " Quiet Don”), such a work as “Crime and Punishment”. A lot of storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines that either develop in parallel, or intersect in their development, or merge. A complex composition includes both "layering" and retreats into the past - retrospection.
All three types of composition have a common element - the development of events, the actions of the characters in time. So the composition is essential element artistic work.
Often the main compositional device in a literary work is contrast, which allows to realize the author's intention. On this compositional principle, for example, L. N. Tolstoy's story "After the Ball" is built. The scenes of the ball are contrasting (definitions with positive emotional coloring prevail) and executions (opposite stylistic coloring, 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 own aesthetic ideal. The reception of contrast underlies the composition of the poem by M. Yu. Lermontov "As often, surrounded by a motley crowd ...". The false society, the images of soulless people are opposed by the pure and bright dream of the poet.
The narration, which can be conducted on behalf of the author (“The Man in the 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 "people's storyteller" ("To whom it is good to live in Russia" N. A. Nekrasov), on behalf of lyrical hero("I last poet villages..." S. A. Esenina), and all these features also have their own author's motivation.
The work may include various digressions, inserted episodes, detailed descriptions. Although these elements delay the development of the action, they make it possible to draw the characters in a more multifaceted way, to reveal the author's intention more fully, and to express the idea more convincingly.
The narrative in a literary work can be built in chronological order (“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies by L. N. Tolstoy and M. Gorky, “Peter the Great” by A. N. . Tolstoy, etc.).
However, the composition of a work can be determined not by the sequence of events, not by biographical facts, but by the requirements of the logic of the ideological and psychological characteristics hero, thanks to which he appears before us with different facets of his worldview, character, behavior. The violation of the chronology of events aims to objectively, deeply, comprehensively and convincingly reveal the nature and inner world hero (“A Hero of Our Time” by M. Yu. Lermontov).
Of particular interest is this compositional feature literary work, as lyrical digressions, which reflect the writer's thoughts about life, his moral position, his ideals. In digressions, the artist turns to topical social and literary questions, often they contain the characteristics of the characters, their actions and behavior, assessment 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, expanding the scope of the depicted reality.
Digressions that make up the unique ideological and artistic originality of the work and reveal the features creative method writer, are diverse in form: from a brief incidental remark to a detailed discussion. By their nature, these are theoretical generalizations, socio-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 a patriotic theme occupies among them - for example, in stanzas about Moscow and the Russian people (“Moscow ... How much this sound merged for the Russian heart! How much resonated in it!”), about the future of Russia, which the patriot poet saw in the buzz of transformation and rapid movement forward:
Highway Russia here and here,
Connecting, cross,
Cast iron bridges across the water
Stepping in a wide arc
Let's move the mountains, under water
Let's dig bold vaults...
In the lyrical digressions of the novel, there is also a philosophical theme. The author reflects on good and evil, on the eternity and transience of human life, on the transition of a person from one phase of development to another, higher one, on selfishness historical figures(“We all look at Napoleons...”) and the general historical destinies of mankind, about the law of the natural change of generations on earth:
Alas! on the reins of life
The instant harvest of a generation,
By the secret will of providence,
Rise, mature and fall;
Others follow...
The author also speaks about the meaning of life, about ruined youth, when it passed “without purpose, without labors”: the poet teaches young people a serious attitude to life, causes contempt for existence “in the idleness of leisure”, seeks to infect with his indefatigable thirst for work, creativity, inspiration labor, giving the right and hope for the grateful memory of posterity.
The lyrical digressions clearly and fully reflected the literary-critical views of the artist. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Nason. The author writes about Fonvizin, who satirically depicted the nobility of the 18th century, calls the playwright "a bold ruler of satire" and "a friend of freedom", mentions Katenin, Shakhovsky, Baratynsky. In the digressions, a picture of the literary life of Russia at the beginning of the 19th century is given, the struggle of literary tastes is shown: the poet ironically speaks of Küchelbecker, who opposed elegies (“... everything in an elegy is insignificant; // Its empty goal is pathetic ...”) and called to write odes ( “Write odes, gentlemen”, “... the purpose of the ode is high // And noble ...”). The third chapter contains an excellent characterization of the "moralizing" novel:
Your syllable in an important way of mood,
It used to be a fiery creator
He showed us his hero
Like a perfect example.
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 remarks ironically about romanticism:
Lord Byron by a lucky whim
Cloaked in dull romanticism
And hopeless selfishness.
The author reflects on the realistic method artistic creativity(in "Excerpts from Onegin's Journey"), defends the realistically accurate language of poetry, advocates the liberation of the language from superficial influences and trends, against the abuse of Slavic and foreign words, as well as against excessive correctness and dryness of speech:
Like ruddy lips without a smile,
No grammatical error
I do not like Russian speech.
The lyrical digressions also express the author's attitude to the characters and events: more than once, with sympathy or irony, he speaks of Onegin, calls Tatyana a "sweet ideal", speaks of Lensky with love and regret, condemns such a barbaric custom as a duel, etc. The digressions (mostly in chapter one) also reflected the author's memories of his past youth: about theatrical encounters and impressions, about balls, about the women he loved. Deep feeling love for the Motherland is permeated with lines dedicated to Russian nature.
COMPOSITION OF A LITERARY AND ARTISTIC WORK. TRADITIONAL COMPOSITION TECHNIQUES. DEFAULT / RECOGNIZATION, "MINUS" - RECEPTION, CO- AND CONTRASTIONS. INSTALLATION.
The composition of a literary work is the mutual correlation and arrangement of units of the depicted and artistic and speech means. The composition provides the unity and integrity of artistic creations. The foundation of the composition is the orderliness of the fictional reality depicted by the writer.
Elements and levels of composition:
- plot (in the understanding of formalists - artistically processed events);
- the system of characters (their relationship with each other);
- narrative composition (change of narrators and point of view);
- composition of parts (correlation of parts);
- the ratio of narrative and description elements (portraits, landscapes, interiors, etc.)
Traditional compositional techniques:
- repetitions and variations. They serve to highlight and emphasize the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated the historically early song lyrics, but also constituted its essence. Variations are modified repetitions (the description of the squirrel in Pushkin's The Tale of Tsar Saltan). The strengthening of the repetition is called gradation (the increasing claims of the old woman in Pushkin's Tale of the Fisherman and the Fish). The repetitions also include anaphora (single words) and epiphora (repeated endings of stanzas);
- co- and opposition. At the origins of this technique is the figurative parallelism developed by Veselovsky. It is based on the conjugation of natural phenomena with human reality (“Spreads and winds / Silk grass in the meadow / Kisses, has mercy / Mikhaila his little wife”). For example, Chekhov's plays are based on comparisons of the similar, where the general life drama of the depicted environment excels, where there are neither completely right nor completely guilty. Contradictions take place in fairy tales (the hero is a pest), in Griboyedov's Woe from Wit between Chatsky and 25 Fools, etc.;
- “Default/recognition, minus reception. The defaults are outside of the detailed image. They make the text more compact, activate the imagination and increase the reader's interest in the depicted, sometimes intriguing him. In a number of cases, omissions are followed by clarification and direct discovery of what was hitherto hidden from the reader and / or the hero himself - what is still called recognition by Aristotle. Recognitions can complete a recreated series of events, as, for example, in Sophocles' tragedy Oedipus Rex. But omissions may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant inconsistencies - minus devices.
- installation. In literary criticism, montage is the fixation of co- and oppositions that are not dictated by the logic of the depicted, but directly imprinting the author's train of thought and associations. A composition with such an active aspect is called an assembly composition. Spatio-temporal events and the characters themselves in this case are connected weakly or illogically, but everything depicted as a whole expresses the energy of the author's thought, his associations. The montage beginning somehow exists where there are inserted stories (“The Tale of Captain Kopeikin” in “ Dead souls”), lyrical digressions (“Eugene Onegin”), chronological permutations (“A Hero of Our Time”). The montage construction corresponds to the vision of the world, which is distinguished by its diversity and breadth.
ROLE AND SIGNIFICANCE OF ARTISTIC DETAILS IN A LITERARY WORK. RELATIONSHIP OF DETAILS AS A COMPOSITE RECEPTION.
An artistic detail is an expressive detail in a work that carries a significant semantic and ideological and emotional load. The figurative form of a literary work includes three aspects: a system of details of subject representation, a system compositional techniques and speech structure. Artistic details usually include substantive details - everyday life, landscape, portrait.
Detailing objective world in literature is inevitable, since only with the help of details can the author recreate the subject in all its features, evoking the necessary associations in the reader with the details. Detailing is not decoration, but the essence of the image. The addition by the reader of mentally missing elements is called concretization (for example, the imagination of a certain appearance of a person, an appearance that is not given by the author with exhaustive certainty).
According to Andrey Borisovich Esin, there are three large groups details:
- plot;
- descriptive;
- psychological.
The predominance of one type or another gives rise to the corresponding dominant property of style: plot (“Taras and Bulba”), descriptiveness (“ Dead Souls”), psychologism (“Crime and punishment).
Details can both “agree with each other” and oppose each other, “arguing” with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the ratio of detail and detail as follows: the detail gravitates toward singularity, the detail acts in the multitude.
Dobin believes that by repeating itself and acquiring additional meanings, a detail grows into a symbol, and a detail is closer to a sign.
DESCRIPTIVE ELEMENTS OF COMPOSITION. PORTRAIT. SCENERY. INTERIOR.
It is customary to refer to the descriptive elements of the composition landscape, interior, portrait, as well as the characteristics of the characters, the story of their repeated, regularly repeated actions, habits (for example, the description of the heroes’ usual daily routine in Gogol’s “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” ). The main criterion for a descriptive element of composition is its static nature.
Portrait. A portrait of a character is a description of his appearance: bodily, natural, and in particular age-related properties (facial features and figures, hair color), as well as everything in the appearance of a person that is formed social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).
Traditional high genres are characterized by idealizing portraits (for example, the Polish woman in Taras Bulba). Quite a different character had portraiture in works of a comical, comedy-farcical nature, where the center of the portrait is the grotesque (transforming, leading to some ugliness, incongruity) presentation of the human body.
The role of the portrait in the work varies depending on the genre, genre of literature. In the drama, the author confines himself to indicating the age and general characteristics, given in remarks. In the lyrics, the technique of replacing the description of the appearance with the impression of it is used to the maximum. Such a substitution is often accompanied by the use of the epithets "beautiful", "charming", "charming", "captivating", "incomparable". Comparisons and metaphors based on the abundance of nature are very actively used here (a slender camp is a cypress, a girl is a birch, a shy doe). Precious stones and metals are used to convey the brilliance and color of the eyes, lips, and hair. Comparisons with the sun, moon, gods are characteristic. In the epic, the appearance and behavior of a character are associated with his character. Early epic genres tales, for example, are full of exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. Behavior is also appropriate - the majesty of postures and gestures, the solemnity of unhurried speech.
In the creation of a portrait until the end of the XVIII century. its conditional form, the predominance of the general over the particular, remained the leading trend. IN literature XIX V. two main types of portrait can be distinguished: expositional (tending to be static) and dynamic (transitioning into the whole narrative).
The exposition portrait is based on a detailed enumeration of the details of the face, figure, clothing, individual gestures and other signs of appearance. It is given on behalf of the narrator, who is interested in the characteristic appearance of representatives of some social community. A more complex modification of such a portrait is a psychological portrait, where external features predominate, indicating the properties of character and the inner world (Pechorin's not laughing eyes).
A dynamic portrait, instead of a detailed enumeration of physical features, suggests a brief, expressive detail that occurs in the course of the story (the images of the characters in The Queen of Spades).
Scenery. By landscape it is most correct to understand the description of any open space of the external world. Landscape is optional artistic world, which emphasizes the conditionality of the latter, since landscapes are everywhere in the reality surrounding us. The landscape has several important functions:
- designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the spatio-temporal parameters of the work, but an artistic description using figurative, poetic language;
- plot motivation. Natural, and especially meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). The landscape also occupies a lot of space in animalistic literature (for example, the works of Bianchi);
- form of psychology. landscape creates mental attitude perception of the text, helps to reveal the internal state of the characters (for example, the role of the landscape in the sentimental "Poor Liza");
- form of presence of the author. The author can show his patriotic feelings, giving the landscape a national identity (for example, Yesenin's poetry).
The landscape has its own characteristics in different kinds of literature. In the drama, he is presented very sparingly. In the lyrics, it is emphatically expressive, often symbolic: personifications, metaphors and other tropes are widely used. In the epic, there are many more opportunities for the introduction of the landscape.
The literary landscape has a very branched typology. Distinguish between rural and urban, steppe, sea, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land author.
Interior. The interior, unlike the landscape, is an image of the interior, a description of a closed space. It is used mainly for the social and psychological characteristics of the characters, it demonstrates the conditions of their life (Raskolnikov's room).
"NARRATIVE" COMPOSITION. NARRATOR, NARRATOR AND THEIR RELATIONSHIP WITH THE AUTHOR. "POINT OF VIEW" AS A CATEGORY OF NARRATIVE COMPOSITION.
The narrator is the one who informs the reader about the events and actions of the characters, fixes the passage of time, depicts the appearance of the characters and the situation of the action, analyzes internal state the hero and the motives of his behavior, characterizes his human type, while not being either a participant in the events or an object of depiction for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann said, "the weightless, incorporeal and omnipresent spirit of the story." But the function of the narrator can be attached to a character, provided that the character as narrator does not at all coincide with him as a character. So, for example, the narrator Grinev in " Captain's daughter"- by no means a definite person, in contrast to Grinev - the protagonist. The view of Grinev-character on what is happening is limited by the conditions of place and time, including the features of age and development; much deeper is his point of view as a narrator.
In contrast to the narrator, the narrator is entirely inside the depicted reality. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator will certainly enter the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image, associated with a certain socio-cultural environment, from the position of which he portrays other characters. The narrator, on the contrary, is close to the author-creator in his horizons.
IN broad sense narration is a set of those statements of speech subjects (narrator, narrator, author's image) that perform the functions of "mediation" between the depicted world and the reader - the addressee of the entire work as a single artistic statement.
In a narrower and more precise, as well as more traditional meaning, narration - a set of all speech fragments of a work containing various messages: about events and actions of characters; about the spatial and temporal conditions in which the plot unfolds; about the relationship of actors and the motives for their behavior, etc.
Despite the popularity of the term "point of view", its definition has caused and still raises many questions. Consider two approaches to the classification of this concept - by B. A. Uspensky and B. O. Korman.
Ouspensky says about:
- ideological point of view, understanding by it the vision of an object in the light of a certain worldview, which is transmitted different ways, testifying to his individual and social position;
- phraseological point of view, understanding by it the use by the author to describe different heroes a different language or, in general, elements of a foreign or substituted speech in the description;
- spatio-temporal point of view, understanding by it a fixed and defined in spatio-temporal coordinates place of the narrator, which may coincide with the place of the character;
- point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is psychological.
Korman is closest to Ouspensky regarding the phraseological point of view, but he:
- distinguishes between spatial (physical) and temporal (position in time) points of view;
- divides the ideological-emotional point of view into direct-evaluative (an open, lying on the surface of the text relationship between the subject of consciousness and the object of consciousness) and indirect-evaluative (the author's assessment, not expressed in words that have an obvious evaluative meaning).
The disadvantage of Korman's approach is the absence of a "plan of psychology" in his system.
So, the point of view in a literary work is 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 terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing the perceived; on the other hand, it expresses author's assessment this subject and his horizons.
Today we are talking on the topic: "Traditional elements of composition." But first you need to remember what a "composition" is. For the first time we meet this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, we stir up the old, and we fill in the missing gaps.
Composition in literature
What is composition? First of all, we turn to explanatory dictionary and we learn that in a literal translation 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. From this it follows that the composition in literature is a certain order in which the parts of a work of art are arranged. In addition, these or other forms and methods artistic image that are directly related to the content of the text.
The main elements of the composition
When we open a book, the first thing we hope for and look forward to is a beautiful entertaining story that will either surprise us or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, a writer is a true artist who primarily shows rather than tells. He avoids direct text like: "And now I will tell." On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such skill?
Compositional elements - this is the palette in which the artist - the master of the word, mixes his colors in order to get a bright, colorful plot in the future. These include: monologue, dialogue, description, narration, system of images, digression, plug-in genres, plot, plot. Further - about each of them in more detail.
monologue speech
Depending on how many people or characters in a work of art are involved in speech - one, two or more - monologue, dialogue and polylogue are distinguished. The latter is a kind of dialogue, so we will not dwell on it. Let's consider only the first two.
A monologue is an element of the composition, which consists in the use by the author of the speech of one character, which does not imply an answer or does not receive one. As a rule, she is addressed to the audience in a dramatic work or to herself.
Depending on the function in the text, there are such types of monologue as: technical - a description by the hero of events that have occurred or are currently taking place; lyrical - the hero conveys his strong emotional experiences; acceptance monologue - the internal reflections of a character who is faced with a difficult choice.
The following types are distinguished by form: the author's word - the author's appeal 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 in solitude - a mental appeal of a character to another character; apart - in dramaturgy, a few words aside, which characterize the present state of the hero; stanzas - also in dramaturgy lyrical reflections character.
Dialogic speech
Dialogue is another element of composition, a conversation between two or more characters. Usually, dialogic speech is the ideal means of conveying the collision of two opposing points of view. It also helps to create an image, revealing personality, character.
Here I want to talk about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aidyn Asadullaevich "Goryanka" - bright to that confirmation.
Description
What is a person? This is a special character, and individuality, and a unique appearance, and the environment in which he was born, brought up and exists in this moment life, and his home, and the things he surrounds himself with, and people, far and near, and the nature surrounding him ... The list can be continued indefinitely. Therefore, when creating an image in a literary work, the writer must look at his hero from all possible sides and describe, without missing a single detail, even more - create new “shades” that cannot even be imagined. In the literature there are the following types artistic descriptions: portrait, interior, landscape.
Portrait
It is one of the most important compositional elements in literature. He describes not only appearance hero, but also his inner world - the so-called psychological portrait. The place of a portrait in a work of art is also different. A book can begin with it or, conversely, end with it (A.P. Chekhov, "Ionych"). maybe immediately after the character performs some act (Lermontov, "A 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 and disperse the features in the text ("War and Peace", Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he grants this right to one of the characters, for example, Maxim Maksimych in the novel A Hero of Our Time, so that he describes Pechorin as accurately as possible. The portrait can be written ironically satirically (Napoleon in "War and Peace") and "ceremonially". Under the "magnifying glass" of the author, sometimes only the face, a certain detail or the whole become - a figure, manners, gestures, clothes (Oblomov) falls.
Description of the interior
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 a description of the type of premises, furnishings, atmosphere prevailing in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the entire depth of the created image. The interior also reveals 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" in the gloomy house of Rogozhin "hung" Holbein's painting "Dead Christ", in order to once again draw attention to the irreconcilable struggle of true faith with passions, with unbelief in Rogozhin's soul.
Landscape - description of nature
As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, a lot is hidden in it: the soul, and freedom, and love, and language. The same can be said about the landscape in a literary work. The author, using such an element of composition as a landscape, depicts not only nature, terrain, city, architecture, but thereby reveals the state of the character, and contrasts the naturalness of nature with conditional human beliefs, acts as a kind of symbol.
Remember the description of the oak during Prince Andrei's trip to the Rostovs' house in the novel "War and Peace". What he (oak) was at the very beginning of the journey - an old, gloomy, "contemptuous freak" among birch trees smiling at the world and spring. But at the second meeting, he suddenly blossomed, renewed, despite the hundred-year-old hard bark. He still submitted to spring and life. The oak tree in this episode is not only a landscape, a description of nature reviving 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 to be an outcast of life until the end of his days, which was already almost rooted in him. .
Narration
Unlike the description, which is static, nothing happens in it, nothing changes, and in general it answers the question “what?”, the narrative includes action, conveys the “sequence of events” and the key question for it is “what happened ? Speaking figuratively, the narrative as an element of the composition of a work of art can be represented as a slide show - a quick change of pictures illustrating a plot.
Image system
As each person has his own network of lines on the fingertips, forming a unique pattern, so each work has its own unique system of images. This includes the image of the author, if any, the image of the narrator, the main characters, antipode heroes, minor characters, and so on. Their relationship is built depending on the ideas and goals of the author.
Author's digression
Or a lyrical digression is the so-called extra-plot element of the composition, with the help of which the author's personality, as it were, bursts 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 themes shares memories of own life. Thus, the reader manages to take a breath before the flow of the following events, to stop and delve deeper into the idea of the work, to think about the questions posed to him.
Plug-in genres
This is another important composite element, which is not only a necessary part of the plot, but also serves as a more voluminous, deep disclosure of the personality of the hero, helps to understand the reason for his one or another life choice, his inner world and so on. Any genre of literature can be inserted. For example, stories are the so-called story in a story (the novel "A Hero of Our Time"), poems, novels, poems, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be like own composition, and someone else's.
Plot and plot
These two concepts are often either confused with each other, or they mistakenly believe that they are one and the same. But they must be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all parts are interconnected and follow one after another in the order that is necessary for the full realization of the author's intention, the disclosure of the idea. In other words, the events in the plot can take place in different time periods. The plot is that basis, but in a more concise form, and plus - 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.
Story 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 the situation, the starting point from which it all began. This is followed by a plot, one might say, foresight 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 coming trials together, side by side.
We continue to list the elements plot composition. The next stage is the development of the action. Usually this is the most significant piece of text. Here the reader already becomes an invisible participant in the events, he is familiar with everyone, he feels the essence of what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, 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 \u200b\u200bemotions falls upon both the main characters and the reader himself. And then, when it is already clear that the worst is behind and you can breathe, the denouement softly knocks on the door. She chews everything, explains every detail, puts all things on the shelves - each in its place, and the tension slowly subsides. The epilogue concludes and briefly outlines later life main and secondary characters. However, not all plots have the same structure. traditional elements fabulous composition quite different.
Fairy tale
A fairy tale is a lie, but there is a hint in it. Which? The elements of the composition of the fairy tale are radically different from their "brothers", although when reading, easy and relaxed, you do not notice this. This is the talent of a writer or even an entire nation. As Alexander Sergeevich instructed, it is simply necessary to read fairy tales, especially folk tales, because they contain all the properties of the Russian language.
So, what are they - the traditional elements of a fairy-tale composition? The first words are a saying that sets you in a fabulous mood and promises a lot of miracles. For example: “This fairy tale will be told from the morning until the afternoon, after eating soft bread ...” When the listeners relax, sit down more comfortably and are ready to listen further, the time has come for the beginning - the beginning. The main characters, the place and time of the action are introduced, and another line is drawn that divides the world into two parts - real and magical.
Next comes the tale itself, in which repetitions are often found to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia to animals, dialogues - all these are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at the infinity of the magical world: "They live, live and make good."
Composition (lat. Compositio - compilation, combination, creation, construction) is the plan of the work, the ratio of its parts, the relationship of images, paintings, episodes. A work of art should have as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author's explanations - from the conversations, actions, actions of the characters could understand what was happening.
The essential quality of the composition is accessibility. A work of art should not contain unnecessary pictures, scenes, episodes. L. Tolstoy compared a work of art with a living organism. "In a real work of art - poetry, drama, painting, song, symphony - one cannot take out one verse, one measure from its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if one takes out one organ from its place and insert into another "." According to K. Fedin, the composition is "the logic of the development of the theme." Reading a work of art, we must feel where, at what time the hero lives, where is the center of events, which of them the main ones and which ones are less important.
A necessary condition for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The writer must depict the world in as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of the writer turns out to be in the mastery of the composition of a work of art.
There are two types of composition - event-plot and nepodia, carrying or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).
V. Lesik notes that the essence of the chronological form of the event composition "is that the events ... go one after another in chronological order - as they happened in life. There may be temporary distances between individual actions or pictures, but there is no violation natural sequence in time: what happened earlier in life, and in the work is served earlier, and not after subsequent events. Therefore, there is no arbitrary movement of events, there is no violation of the direct movement of time. "
The peculiarity of the retrospective composition is that the writer does not adhere to the chronological sequence. The author can tell about the motives, causes of events, actions after their implementation. The sequence in the presentation of events can be interrupted by the memories of the characters.
The essence of the free (montage) form of event composition is associated with violations of causal and spatial relationships between events. The connection between the episodes is more often associative-emotional than logical-semantic. The montage composition is characteristic of the literature of the 20th century. This type of composition is used in the novel by Y. Japanese "Horsemen". Here the storylines are connected at the associative level.
A variation of the event type of composition is event-narrative. Its essence lies in the fact that the author, narrator, narrator, characters tell about the same event. The event-narrative form of composition is typical for lyric-epic works.,
The descriptive type of composition is characteristic of lyrical works. "The basis for the construction of a lyrical work," notes V. Lesik, "is not a system or development of events ... but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensual image to another "." The lyrical works describe the impressions, feelings, experiences of the lyrical hero.
Yu. Kuznetsov in the "Literary Encyclopedia" distinguishes plot-closed and open composition. Fabulously closed characteristic of folklore, works of ancient and classic literature (three repetitions, a happy ending in fairy tales, the alternation of choir performances and episodes in ancient Greek tragedy). “The composition is fabulously open,” Yu. Kuznetsov notes, “devoid of a clear outline, proportions, flexible, given the genre and style opposition that occurs in specific historical conditions literary process. In particular, in sentimentalism (sternivsk's composition) and in romanticism, when open works became a negation of closed ones, classicistic ones ... ".
What determines the composition, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landlords. First, he wrote a story called "Chipka", in which he showed the conditions for the formation of the character of the hero. Subsequently, the writer expanded the idea of \u200b\u200bthe work, required a complex composition, so the novel "Do oxen roar when the manger is full?"
Features of the composition are determined literary direction, Classicists demanded three unities from dramatic works (unity of place, time and action). Events in a dramatic work were supposed to take place during the day, grouped around one hero. Romantics portrayed exceptional characters in exceptional circumstances. Nature was more often shown at the time of the elements (storms, floods, thunderstorms), they often took place in India, Africa, the Caucasus, and the East.
The composition of the work is determined by the genus, type and genre, the basis of lyrical works is the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:
a) the starting point (observation, impressions, thoughts or state that became the impetus for the development of feeling);
b) development of feelings;
c) culmination (the highest tension in the development of feelings);
In the poem by V. Simonenko "Swans of motherhood":
a) starting point - to have a lullaby sung to the son;
b) development of feelings - the mother dreams about the fate of her son, how he will grow up, hit the road, meet friends, wife;
c) climax - mother's opinion about possible death son in a foreign land;
d) summary - One does not choose one's homeland, love for one's native land makes a person a person.
The Russian literary critic V. Zhirmunsky distinguishes seven types of composition of lyrical works: anaphoristic, amoebeina, epiphoristic, refrain, ring, spiral, joint (epanastrophe, epanadiplosis), pointe.
An anaphoristic composition is characteristic of works that use anaphora.
You have renounced your native language. You
Your land will cease to give birth,
A green branch in a pocket on a willow,
Withered by your touch.
You have renounced your native language. Zaros
Your way and disappeared in a nameless potion...
You don't have tears at the funeral,
You don't have a song at your wedding.
(D. Pavlychko)
V. Zhirmunsky considers anaphora an indispensable component of the amoeba composition, but it is absent in many works. Describing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, "but in the identities of the syntactic structure, replicas or counterreplicas of two interlocutors or, in a certain pattern, the roll call of two choirs." Ludwig Ulanda:
Have you seen the castle high
A castle over the Sea Shire?
Silently floating clouds
Pink and gold over it.
In the mirror waters, peaceful
He would like to bow
And climb into the evening clouds
In their radiant ruby.
I saw a castle high
Castle over the sea world.
Hail fog deep
And the moon stood over him.
(Translated by Mikhail Orest)
Amebane composition is common in the troubadours' tentsons and pastorals.
An epiphoric composition is characteristic of poems with an epiphoric ending.
Breaks, breaks and fractures...
Our spines were broken in circles.
Understand, my brother, finally:
Before heart attacks
We had - so, do not touch!
Soul heart attacks... soul heart attacks!
There were ulcers, like infections,
There were images to disgust -
One bad thing, my brother.
So drop it, go and don't touch it.
We all have, mind you:
Soul heart attacks... soul heart attacks!
In this bed, in this bed
In this scream to the ceiling
Oh don't touch us my brother
Don't touch paralytics!
We all have, mind you:
Soul heart attacks... soul heart attacks!
(Yu. Shkrobinets)
The refrain composition consists in the repetition of a group of words or lines.
How quickly everything in life passes.
And happiness only flickers with a wing -
And he's no longer here...
How quickly everything in life passes,
Is this our fault? -
It's all about the metronome.
How quickly things go by...
And happiness only flickers with a wing.
(Lyudmila Rzhegak)
The term "ring" I. Kachurovsky considers unsuccessful. “Where better,” he remarks, “is a cyclic composition. scientific name of this agent is anadiploic composition. At the same time, in those cases when anadiplosis is limited to any one stanza, then this refers not to the composition, but to the style. "Anadiplosis as a compositional means can be complete or partial, when part of the stanza is repeated, when the same words are in an altered order when some of them are replaced by synonyms.The following options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.
Evening sun, thank you for the day!
Evening sun, thank you for the fatigue.
The calm of the forests is enlightened
Eden and for the cornflower in the golden rye.
For your dawn, and for my zenith,
and for my burned zeniths.
Because tomorrow wants greenery,
For the fact that yesterday managed to oddzvenity.
Heaven in the sky, for children's laughter.
For what I can and for what I must
Evening sun, thank you all
who did not defile the soul.
For the fact that tomorrow is waiting for its inspiration.
That somewhere in the world blood has not yet been shed.
Evening sun, thank you for the day
For this need, words are like prayers.
(P. Kostenko)
The spiral composition creates either a "chain" stanza (tercina) or stropho-genres (rondo, rondel, triolet) i.e. acquires stropho-creative and genre features.
The name of the seventh type of composition I. Kachurovsky considers indecent. More acceptable, in his opinion, is the name of epanastrophe, epanadiplosis. A work where the repetition of a rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik's poem "Kanev". Each dvenadtsativir-Shova stanza of the poem consists of three quatrains with rhymes, which pass from quatrain to quatrain, last verse of each of these twelve verses rhymes with the first verse as follows:
And home will step in here and time
Electricity: and the newspaper rustled
Where once the prophet and poet
The great spirit behind the darkness has dried up
And be reborn in millions of masses,
And not only look from the portrait,
Competition immortal symbol and omen,
Apostle of truth, peasant Taras.
And since my ten phrases
In the dull collection of an anchorite,
As for the times to come for show,
On the shores lies the indifferent Leta...
And the days will become like the lines of a sonnet,
Perfect...
The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. It could be unexpected turn thoughts or conclusion from the entire previous text. The means of pointe composition is used in the sonnet, the last poem of which should be the quintessence of the work.
Exploring lyrical and lyric-epic works, I. Kachurovsky found three more types of composition: symplocial, gradation and main.
A composition in the form of a symplok I. Kachurovsky calls symplokial.
Tomorrow on earth
Other people walking
Other loving people -
Kind, gentle and evil.
(V. Simonenko)
Gradation composition with such types as descending climax, growing climax, broken climax is quite common in poetry.
The gradation composition was used by V. Misik in the poem "Modernity".
Yes, perhaps, in the time of Boyan
Spring time has come
And the rains rained down on youth,
And the clouds were moving in from Tarashche,
And the hawks stole over the horizon,
And the cymbals resounded,
And blue cymbals in Prolis
Gazing into the heavenly strange clarity.
Everything is like then. And where is she, modernity?
She is in the main: in you.
The main composition is typical for wreaths of sonnets and folk poetry. Epic works tell about the life of people during a certain time. In novels, stories, events and characters are revealed in detail, comprehensively.
In such works there can be several storylines. IN small works(stories, short stories) there are few storylines, few characters, situations and circumstances are depicted succinctly.
Dramatic works are written in the form of a dialogue, they are based on action, they are small in size, because most of them are intended for staging. IN dramatic works there are remarks that perform a service function - they give an idea of the scene, the characters, advice to the artists, but are not included in the artistic fabric of the work.
The composition of a work of art also depends on the characteristics of the artist's talent. Panas Mirny used complex plots, digressions historical character. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws portraits of heroes and nature in detail. Let's remember "Kaidasheva family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves, accumulates tragic episodes.
The composition of works is influenced by the traditions of folklore. At the heart of the fables of Aesop, Phaedrus, La Fontaine, Krylov, Glebov "The Wolf and the Lamb" is one and the same folk story, and after the plot - morality. In Aesop's fable, it sounds like this: "The tale proves that even a just defense is not valid for those who undertook to do a lie." Phaedrus concludes the fable with the words: "This tale is written about people who seek to destroy the innocent by deceit." The fable "The Wolf and the Lamb" by L. Glebov begins, on the contrary, in morality:
The world has been going on for a long time,
The lower it bends before the higher,
And more than a smaller party and even beats
