Comprehensive analysis of prose and lyrical works. Methodology for a holistic analysis of a literary work

IN study guide considered the most important properties artistic works. Distinctive feature benefit is its conceptual and compositional novelty. All problems of literary theory are analyzed from the standpoint of philosophical aesthetics, turning into problems of the philosophy of literature. A number of key problems of literary criticism are illuminated in a new way: the theory of integrity, artistry, imagery, multi-level works; interpreted in an unusual way traditional problems kind, genre, style. Topical, but little-studied by literary criticism issues of psychologism in literature, national specifics of literature, criteria of artistry are considered; finally, the category of modes of artistry is interpreted in an innovative way, as a result of which such concepts as personacentric valence, personacentrism, sociocentrism, etc. appear. The methodology of a holistic analysis of literary and artistic works is theoretically substantiated. The manual is designed for teachers and students of philological faculties. It may be useful for specialists in the humanities of various profiles, as well as for readers interested in the problems of literary criticism.

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The following excerpt from the book Lectures on the theory of literature: Holistic Analysis literary work(A. N. Andreev, 2012) provided by our book partner - the company LitRes.

4. Artistry and multi-level structure of a literary and artistic work

Now it is necessary to move on to a direct consideration of the holistic research methodology. literary and artistic work. Personality, as a super-complex integral object, can be reflected only with the help of some analogue - also a multi-level structure, a multi-plane model. If the main content point in the work is the personality, then the work itself, in order to reproduce the personality, must have a multi-level character. A work is nothing but a combination, on the one hand, of various dimensions of a personality, on the other hand, an ensemble of personalities. All this is possible in the image - the focus of various dimensions, which requires a stylistic (aesthetic) dimension for its implementation.

Recall famous expression MM. Bakhtin: “Great works of literature have been prepared for centuries, but in the era of their creation, only the ripe fruits of a long and complex process of maturation are removed.” Within the framework of the methodology indicated, this consideration can, in our opinion, be interpreted in the sense that the “maturing process” is the process of “development” and “grinding” of various levels, indicating historical path traversed by aesthetic consciousness. Each level has its own traces, its own "codes", which together make up the genetic memory of literary and artistic works.

Solidarity with methodological approach, outlined by supporters of a holistic-systemic understanding of the work, we will try to cover all possible levels, keeping the two-pronged setup:

1. The identified levels should help to understand the patterns of transformation of the reflected reality into the linguistic reality of the text. This reflection is carried out through a special “prism system”: through the prism of consciousness and psyche (worldview), then through the prism of “artistic modes” (“artistic typification strategies”) and, finally, style. (Of course, the opposite movement is also possible: the reconstruction of reality by pushing away from the text.)

2. Levels should help to understand the work as an artistic whole, "living" only at the intersection point various aspects; levels are those very specific cells, “drops”, which retain all the properties of the whole (but not parts of the whole). Such a holistic perception is able to provide a holistic type of relationship.

We also note that such an attitude will finally help to find a way to overcome the contradictions between the spiritual, non-material artistic content and the material means of fixing it; between the hermeneutic and "erotic" approach to a work of art; between hermeneutic schools of various kinds and formalistic (aesthetic) concepts, all the time accompanying artistic creativity.

In order to avoid misunderstandings, one should immediately specify the moment associated with the concept personality concept.

There are many concepts of personality in a literary and artistic work. Which of them specifically are we talking about?

By no means do we mean the search and analysis of any one central hero. Such a naive personification requires all other characters to be mere extras. It is clear that this is far from the case in the literature. It also cannot be about a certain sum of all conceptions of personality: the sum of heroes in itself cannot determine the artistic result. It's also not about disclosure. author's image: this is basically the same as the search for the central hero.

It's about about being able to discover author's position”, “the author’s system of orientation and worship”, which can be embodied through a certain optimal ensemble of personalities. The author's vision of the world is the highest authority in the work, " highest point view of the world." The process of reconstruction of the author's vision of the world, that is, the comprehension of a kind of "superconsciousness", "superpersonality", is an important integral part analysis of a work of art. But the “superconsciousness” itself is very rarely personified. It is invisibly present only in other concepts of personality, in their actions, states.

So, “thinking in personalities” always presupposes the one who thinks with them: the image of the author, correlated with the real author (sometimes they can largely coincide, as, say, in Leo Tolstoy’s The Death of Ivan Ilyich). Artistic truth in general, regardless of the subject of this very truth, does not exist. Someone speaks it, it has an author, a creator. The artistic world is a personal, biased, subjective world.

A paradox emerges: in some way, the almost complete non-materialization of the author is possible, with the clearly tangible effect of his presence.

Let's try to figure it out.

Let's start with the fact that all conceptions of personality are affixed, so to speak, with the author's stigma. Every character has a creator who comprehend and evaluate his hero, revealing himself at the same time. However artistic content cannot be reduced simply to the author's conceptions of personality. The latter act as a means for expressing the author's worldview (both his conscious moments and his unconscious ones). Consequently, the aesthetic analysis of personality concepts is an analysis of phenomena leading to a deeper essence - to the author's worldview. From what has been said, it is clear that it is necessary to analyze all the concepts of personality, while recreating their integrating principle, showing the common root from which all concepts grow. This also applies, it seems to us, to the "polyphonic novel". The polyphonic picture of the world is also personal.

In lyrics, the symbiosis of the author and the hero is denoted by a special term - the lyrical hero. In relation to the epic, the term “image of the author” (or “narrator”) is increasingly used as a similar concept. A common concept for all types of literature, expressing the unity of the author and the hero, may well be the concept personality concept, which includes the author (writer) as a literary category (as a character), behind which stands the real author (writer).

The most difficult thing is to understand that behind the complex, perhaps internally contradictory picture of the characters' consciousness, a deeper author's consciousness shines through. There is an imposition of one consciousness on another.

Meanwhile, the described phenomenon is quite possible, if we remember what we mean by the structure of consciousness. The author's consciousness has exactly the same structure as the consciousness of the characters. It is clear that one consciousness can include another, a third, etc. Such a "matryoshka" can be infinite - with one indispensable condition. As follows from schemes number 1, higher-order values organize all other values in a certain hierarchy. This hierarchy is the structure of consciousness. This is especially well seen in the examples of complex, contradictory heroes, obsessed with the search for truth, the meaning of life. These include the heroes of Turgenev, L. Tolstoy, Dostoevsky, Goncharov and others. The philosophical layer of the consciousness of the heroes forms their political, moral, aesthetic consciousness. And no matter how complex the worldview the hero has, his thoughts are always transformed into ideas and, further, into behavioral strategies.

Structured internal sociality is not an optional, but an immanent feature of the personality. The author's internal sociality, in principle, always turns out to be more universal than the internal sociality of his characters. Therefore, the author's consciousness is able to contain the consciousness of the characters.

The reader's value system must be equal to the author's, so that the artistic content can be adequately perceived. And sometimes the inner sociality of the reader is even more universal than that of the author.

Thus, the relationship between the worldviews of various heroes, between the characters and the author, between the characters and the reader, between the author and the reader constitutes the zone of spiritual contact in which the artistic content of the work is located.

We reflect this multilevel scheme number 4.

The next task will be to show the specificity of each level, and at the same time its integration into a single artistic whole, its determinism, despite its autonomy, which follows from the principle of integral relationships.

Thus, the worldview and its main form of expression for the artist - the concept of personality - are non-artistic factors of creativity. All “strategies of non-artistic typification” are born here: all kinds of philosophical, socio-political, economic, moral-religious, national and other teachings and ideologies. The concept of personality in one way or another focuses all these ideologies, is a form of their simultaneous existence.

At the same time, the worldview in its respective aspects is a decisive prerequisite for the actual artistic creativity. The concept of personality can be considered both as the beginning of any creativity and as a result of it (depending on the starting point: we go from reality to the text or vice versa). If you comment and interpret only these upper levels, without showing how they "grow" into others, refract in them - and this approach, unfortunately, is the dominant one in practice contemporary literary scholars, - then we will study the work of art very superficially (giving preference, again, to either ideas or style). Behind the forest it is necessary to distinguish trees (and vice versa). Generalization at the level of the concept of personality is The final stage analysis of a work of art for a literary critic.

But you should start with him.

To a large extent, under the influence of Asafiev's ideas and their implementation in some of his works, the concept was put forward holistic analysis, owned by L. V. Kulakovsky, V. A. Tsukkerman, L. A. Mazel and I. Ya. Ryzhkin (early 30s). The term "holistic analysis", as L. A. Mazel writes about it, belongs to V. A. Zuckerman, although Zuckerman himself denies this 40 . But, ultimately, the issue of priority in this case is not so important. Another thing is important: both Zuckerman and Mazel throughout their activities defended, implemented and their own scientific works promoted this concept, seeing in it both the method and the ultimate goal of an analytical approach to the art of music.

The essence of this approach to the study of a musical work is that at each stage analysis the piece of music is shown as whole, as a uni-

rock art object. Moreover, it is expected to go beyond this essay: numerous connections and its relationships with others that are somewhat close to it are considered, or, on the contrary, opposition in relation to those far from it, in other words, the interaction of the composition with the context in which it is immersed. Thus, holistic analysis in the name itself contains a contradiction, since it, first of all, marks the inclination towards synthesis, to recovery integrity.

Therefore, the tasks that such an analysis poses to the researcher are extremely complex. It requires not only fundamental knowledge and mastery of the entire technological arsenal of musicology, not only the indisputable talent of a musician-interpreter (Mazel writes: “A holistic analysis is also a musicological interpretation works" 41), but also - no less important - requires the presence of undeniable literary talent, since the story of a work of art, according to Zuckermann, "must bear at least some measure of artistry ... and mature, experienced musicologists they do not always achieve success in the synthesis of richness and literary content...” 42 .

The best examples of holistic analysis (some of them appeared even before the formulation of this theoretical concept) indicate that the transfer of musical impressions in the language of words requires, in fact, a magical command of the language, an exact hit in the choice of the words themselves and their combinations, therefore requires combining the talents of the listener, interpreter and genuine talent broadcaster. These works include books by R. Rolland about Beethoven, books by B. V. Asafiev (“Symphonic Etudes” and “Eugene Onegin. Lyrical Scenes by P. I. Tchaikovsky. An Experience of Intonational Analysis of Style and Musical Drama”), books by L. A. Mazel (“Chopin’s Fantasia in f-moll. An Analysis Experience”) and V. A. Zukkerman (“Glinka’s “Kamarinskaya” and its Traditions in Russian Music” and “F. Liszt’s Sonata in B Minor”) and a number of others. All these works, no doubt, brought a lot of new things to our understanding of the described compositions and put forward many fruitful ideas that enriched musicology as a whole.

However, the concept of holistic analysis - musicological interpretation piece of music, which gave abundant fruits as a manifestation of the individual talent of individual researchers, showed that its use is not only a scientific understanding of a unique artistic creation, but at the same time - the fruit its unique, artistic interpretation, i.e. does not quite fit into the scope of the actual Sciences.

Another path was planned later. In the second half of the XX century. works began to appear in domestic musicology, also inspired by the ideas of Asafiev, but aimed not at analyzing a separate artistic creation, but at comprehending those patterns, which, in principle, marked the entire area of typical musical structures. This path was all the more difficult because, returning to seemingly long-studied material - typical forms, it was necessary to defend and substantiate a completely new approach, a new position in relation to them. The main question of analysis in this sense can be formulated as follows.

If the musical form is result the process of formation of a musical work, and not his reason as Asafiev proved, if each truly artistic musical work is unique and unrepeatable, then how and how to explain the existence typical musical structures? How can one explain their existence? invariants?

The same question can be asked in a different way.

Over many decades, hundreds and thousands of sonatas and symphonies, small and large instrumental and vocal compositions were created according to a single composition plan, according to uniform laws, for a long time unwritten and even now not fully conscious. And among the authors of these creations - great authors! - there were very few conformists who meekly followed tradition, on the contrary - their uniqueness lay in the fact that they endlessly violated the so-called school rules and were not at all inclined to follow any pre-given guidelines without sufficient reason. Why, despite the fact that eras, trends, stylistic models have changed, composers continued (and even now to some extent continue) to use all the same invariants - typical structures?

The task that confronts analysis as a science, therefore, is not simply to describe with more or less detail and detail these structures,

but to open those patterns, which led to their appearance, to their crystallization and to such a long historical life.

But every typical structure is a property that belongs to the work as the whole and not any particular one. And so another answer to the question posed in the title of the previous paragraph is possible: the analysis of a musical work is the way to the discovery of the regularities underlying typical structures, to their comprehension and to the verification of their action on each time a new, specific musical material.

There are also certain achievements along this path. A notable milestone was the work of L. A. Mazel and V. A. Zukkerman, V. P. Bobrovsky, O. P. Sokolov, Yu. N. Kholopov, E. A. Ruchyevskaya; It is this scientific and theoretical approach that marked the textbook "Musical Form", created by a group of professors and teachers of the St. Petersburg Conservatory, edited by Professor Yu. N. Tyulin.

Let us consider the main scientific ideas that currently make up the arsenal of analysis as a science.

The analysis of a poetic text is always in the focus of attention of teachers of the Russian language and literature. Turning to the lyrics of I.A. Bunin, I tried to create complete picture poetic revelation of the poet. Well-known literary scholars and critics helped me with this.

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Suboch Raisa Ivanovna, teacher at MBOU

"Secondary school No. 27

with in-depth study of individual subjects "

Balakovo, Saratov region

Holistic analysis of a lyrical work

(poems by I.A. Bunin “The green color of the sea wave ...”)

Formation aesthetic ideal The reader takes place under the influence of all the wealth of thoughts and experiences that Russian poetry of the 19th-20th centuries enriched the spiritual culture of the people. Turning to the aesthetic education of young people, I.A. Bunin saw its basis in the development belles-lettres: the study of "selected poems and poems can have a serious educational and developmental value both for young people and for any thinking person". (Bunin I.A. Collected works. In 6 vol.-M.: Fiction, 1988.-Vol. 6.-S.592-593.) The specificity of poetry, and above all lyricism as a kind of verbal art, is manifested here in that the emergence of defining, preferable, vital meaningful emotions significantly different from the corresponding process of perception of prose ( epic kind). In the aggregate of lyrical experiences, “an expression of an emotional-volitional reaction and evaluation can be not only intonation and rhythm, but also all moments of the artistic whole and all aspects of the word: images, objects, and concepts,” writes M. M. Bakhtin. (Bakhtin M.M. Author and hero: To the philosophical foundations humanities. - St. Petersburg: Azbuka, 2000. - P.16.)

Thus, the verse, that is, the system of emotional and aesthetic speech purposefully created by a person (teleological - Yu.N. Tynyanov), becomes a forming factor ("factotum" - M. Gadamer) of a lyrical kind in verbal art. At the same time, verse acquires the role of a creator, a bearer of an emotionally effective beginning in the upbringing of a social and personal attitude to real, endlessly changing reality. The great and various philosophers of the 19th century (F. Schlegel, F. Hegel, F. Engels) did not hesitate to name themselves world history the greatest, unsurpassed Poetess, creating naturally, and not arbitrarily, the beautiful and the ugly, the tragic and the comic.

From the standpoint of literary theory, the idea of verse as a single speech system, where the means of artistic expression can be understood and evaluated in their interconnection and conditionality, should be considered fundamental.

In this regard, the task is to create a methodology for a holistic analysis poetic work. By holistic analysis, we mean such an analysis of a poetic work, in which the focus is on artistic image. IN literary and methodical respect, the task of the teacher of literature is to find principles that would introduce students to poetic world experiences, would inspire a desire to independently penetrate into it, would form the necessary skills and abilities for this.

With a holistic study of verse, the main thing is achieved, what actually constitutes the goal of mastering poetry in school - a figurative perception of life, precisely in images and reproduced by the poet. Along this path, it is possible to solve the second problem that arose in the school teaching of literature in the study of poetry. It must be seen in the development of the most emotionally imaginative thinking, that is, in the formation of mental abilities leading to the comprehensive development of the reader's personality. The study of verse is based on the idea of a poetic work as an artistic whole with a peculiar completeness of its individual parts.

From the point of view of enriching the educational process, there is an essential requirement to avoid the repetition of methods and techniques in their standard combinations. The most desirable option is that for each poetic work, the philologist finds in some way a unique way of studying. Of particular importance are such methods and techniques of study that develop the skills of perceiving a poetic work, prepare for independent analysis and evaluation. poetic text. This should include expressive reading in its three varieties (expressive reading of a teacher, student, learning e expressive reading), revealing the direct impression of the work, analyzing the work, substantiating and clarifying the direct emotional assessment, tasks for developing perception skills, memorizing poems and teaching the “technique” of memorizing.

The captivating harmony of poetic speech (I.A. Bunin), the spirituality and sublimity of the feelings expressed in it create an artistic world filled with bright, unearthly love. In such a spiritually stable complete harmony the world breaks through and the vital, natural-terrestrial basis of human experiences; she cheats on herself the world, and its "characters" - living people, those who surround us. It is worth enjoying from the heart the beauty, captivating sweetness, effectiveness of poetic speech, which make up its artistry and expressiveness. My choice of a poem for a holistic analysis was made in favor of the work of I.A. Bunin not by chance. I love the works of this master (not only poetry, but also prose) for the clarity and simplicity of the language, for sounding music verse, for the depth of comprehension of the surrounding world. The artistic world of Ivan Alekseevich Bunin is multifaceted and interesting. The more I read, the more it attracts me. Nature for the poet is a healing and beneficial force that gives a person everything: joy, wisdom, beauty, a sense of infinity, diversity and integrity of the world, a sense of one's unity, kinship with it.

Happiness - according to Bunin - is a complete merging with nature. It is available only to those who have penetrated its secrets, who are attentive, who "see and hear." And Bunin's eyesight and hearing were special. His lyrical calendar of nature affirms the unique value of every minute lived by a person under open sky. We will try to see the world of nature through the eyes of a poet, we will try to feel the harmony of this world.

For analysis, the poem "The green color of the sea wave ..." Despite the small volume (only 2 stanzas), it carries all the main features of the unique artistic world poet.

Sea green
Through the glassy sky
Dawn Star Diamond
Shines in his transparent bosom.,

And, like a child after sleep,
The star trembles in the fire of the daylight,

And the wind blows in her eyelashes,
So that she does not close them.

Based on the studies of L.S. Vygotsky, concerning, on the one hand, the psychology of perception of art and, on the other hand, the patterns of development of thinking and imagination of children, it seems most appropriate to turn to non-verbal, figurative thinking schoolchildren and find "duality, multidirectional emotional perception» lyric poem. According to L.S. Vygotsky, as a result further development our emotion reveals that in the end "there is, as it were, a short circuit of two opposite currents, in which this very contradiction explodes, burns out and is resolved." (Vygotsky L.S. Psychology of Art. M., 1968. P. 185). The researcher calls this "explosion" and the resolution of the aesthetic conflict the ancient - Aristotelian - the word "catharsis", and the process of emotional movement from the emergence of contradiction through the struggle of opposing emotions to their mutual destruction, which carries aesthetic pleasure in itself, is defined as the basic psychological law of aesthetic pleasure. perception.

Thus, if we proceed from this law, any analysis of a work of art should begin with the search for these two poles, which cause opposite emotions in us. These can be contrasting images or emotionally opposite motifs, it can be a confrontation between the colors of the palette, points of space and time, even sound sequences - they are united precisely by the multidirectionality of the emotions they evoke, belonging to different emotional poles.

I confess: this path is closer to me than the clarification of the feelings and moods that are imbued with poetic lines, especially since they can be quite contradictory and not always immediately perceptible. In the course of the analysis, we will definitely come to the feelings and mood of the poet himself. But a little later, but for now let's turn to the identification of two poles. We only add that there is another important feature of our psyche that can help in learning to analyze a poetic text - the ability to think associatively. psychological science knows different types of associations, for a deep perception of works of art is very important special kind associations - these are associations "by emotion", that is, the combination of certain ideas, images, objects, events among themselves, not according to real resemblance, not by any connections that exist in reality, but only by the commonality of emotions that they evoke. It is clear that the ability to associate this type can be correlated with the work of the imagination and is directly related to perception. artistic text. L. Vygotsky calls this phenomenon “the law of the emotional reality of the imagination” and claims that “it is this psychological law that should explain to us why works of art created by the imagination of authors have such a strong effect on us.” The images are fictitious, unreal, but the emotions they cause are real, and the brighter the artistic image, the stronger it is. emotional impact to our imagination, the more associations from different spheres of our own life it calls.

Let's get back to the poem. It easily reveals the very two figurative and lexical poles that evoke divergent emotions in the reader: this is the sea represented by “ in green sea wave", and a star in the "glass sky". Around each of the poles, we will try to build certain, also multidirectional lexical series, correlated in meaning with the original lexemes and expanding, clarifying the main emotional impression, enriching it with new shades of meanings. Surprisingly, the image of a star is presented visibly, in all the brilliance of an expanded metaphor (“diamond of the morning star”) and an unexpected comparison (“like a child after sleep”). The star "shines", "trembles". But the sea - "the green color of the sea wave" - "through". It would seem that the topic can be exhausted by these two images. But it's the top one the simplest layer text is only the basis that gives impetus to the movement of poetic thought. Our task is to trace this movement, to reach more important, deep - philosophical - layers of the work, that is, to move from the primary - emotional perception of the text to a deeper reading of it.

The ability for associative thinking will come to our aid. The brightness of the description (especially the stars, and this is fundamentally important) activates our emotions, turns on the imagination, awakens associations.

The poem itself does not contain the words “sea”, “man”, “sky”, but if we try to identify the associations that the “green color of the sea wave”, “diamond of the early morning star”, “child after sleep” evoke in us, then, undoubtedly, we will also come to these images that are significant for I.A. Bunin.

“The green color of the sea wave” is perceived by us not only as the poet’s appeal to the image of the sea, but also mental admiration for the beauty, freshness of the sea wave also entails an association with some kind of mystery, the mystery of this body of water, which romantic poets often associated with the concept of freedom, unbridled elements. Bunin's sea is calm, so "the green color of the sea wave / Through ...", the metaphor leads us to think that it (the color) is barely noticeable, but still it is found "in the glass sky." The epithet "glass sky" allows us to associate with a motionless and empty space, in which there is only a reflection of the sea wave. But this is far from being the case, because the expanded metaphor “Diamond of the morning star / Shines in its transparent bosom” draws our attention to one more image - the image of a star. Unlike a sea wave, the image of a star is bright, it attracts our attention with its light, beauty, and superiority over another image. Thanks to the verb "glitters" we capture the features of this difference, positive traits image. The outdated word "bosom" is associated with both the width and the depth of heavenly space. We feel the loftiness of style, imbued with a sense of something important, valuable for a lyrical hero.

Transparent associations with the human, not with natural environment evokes in us a detailed comparison “like a child after sleep”, it leads us to the perception of a star not only as a natural phenomenon, but also mainly at the time of human childhood, youth, naivety, the beginning life path person. That is why, perhaps, the star “trembles” because it trembles before the impending changes that await it in this fleeting life. The inversion confirms our assumption, and also makes it possible to pay attention to the features of this process (“the star trembles in the fire of the morning star”). High style, obsolete word"Daylight" (in the meaning of "morning dawn") further emphasize the importance of the image of a star, its correlation with human life. And the metaphorical personification (“And the wind blows into her eyelashes, / So that she does not close them”) is associated with those changes that are associated with youth, with the dawn of life and occur under the influence of the natural cycle of life. The word "star" has another meaning associated with human nature- a celebrity, for example, a rising star. And perhaps this association is more important than ideas about this image associated with a celestial body.

Building associative figurative chains from each of the two "opposite" images and adjacent lexical rows, we discover deeper layers artistic sense, we look into the secret of the artistic world of the poet.

However, there remains one more image that, at first glance, is related to the image of a star - this is the image of the wind that appears in the penultimate line of the poem. The personification "the wind is blowing" brings us to an associative connection with the wind of change, with life changes without which no one can do. And yet, perhaps, this image echoes the second line of the poem, with the verb “through”, because in one of the meanings the verb is directly related to the movement of air. One gets the impression that thanks to this image, both the “green color of the sea wave” and the “diamond of the morning star” are inextricably combined into a single whole, the image of the Universe, open to understanding a person who only needs to feel his closeness to nature, to feel an inextricable connection with it.

Analyzing the poem, we must go the way, as it were, the opposite of the one that the author went through, restore the chain of his associations, guess what he experienced, thought, felt, imagined when he created this or that image, chose the only right word.

It is clear that the same emotions of joy, pleasure, fear, sadness, etc. can be triggered by many different experiences. Accordingly, an infinite number of associative links can arise between objects and phenomena that are correlated with each other only in the imagination. this person born only of his individual emotions. Each of us is a unique individuality, each one builds his own row, peculiar only to him, and that is why there can be no absolutely accurate, only correct reading of a work of art. We bring something of our own to it, prompted by our personal life and emotional experience. This is especially true for reading classics that are distant in time: we are not familiar enough with the realities of historical existence, with the peculiarities of thinking and imagination of people of previous centuries. And the task of a competent reader is to get as close as possible to author's intention, to the movement of author's associations, to the work of his imagination, and ultimately to the development of his artistic thought.

And here we will be helped by the appeal to artistic details, attention to some secondary elements of the text, up to its syntactic features, sound organization, etc. There can no longer be a single recipe here: each text itself tells us the ways of research, as if hinting at the meaning of one or another artistic element. It is on this path that the most unexpected and, perhaps, the most interesting discoveries await us.

The originality of poetic speech is most fully revealed in its rhythm (although this is not its only feature). Let us turn to Bunin's poem from this point of view. Before us is iambic tetrameter. However, not all strings can be fully segmented into regular, full-strike stops. In the above example, only the second and fourth stops are maintained in all lines. On the third foot, the stress is skipped (2.3 lines of the first quatrain, 1 line of the second quatrain). This affects the rhythm of the poem. The second and third lines of the first quatrain bear the pyrrhic on the third foot, and the first and fourth lines of the second quatrain on the first. Pyrrhicism in two-syllable meters is a very common phenomenon, but this is not the only means by which the poet achieves the necessary variety of rhythm.

The purpose of the three-foot iambic lines in the poem has a specific meaning. They are often used in combination with four-foot lines and carry the role of a strophic, syntactic, meaningful completion of intonation. The poem consists of two sentences, but what!

Rhythm is closely related to other parties sounding speech. And above all with a sound repetition at the end of the line - a rhyme. The appearance of rhyme emphasizes the special significance of the lines. Gives them more expressiveness. This is a rhymed verse, and the rhyme is exact (the sky is the bosom, sleep is she, the dennitsa is eyelashes), with the exception of the wave - the star, in this case it is the lack of exact rhyme that the poet draws our attention to these images, it is no coincidence that at the very beginning of the analysis we focused our attention on them. The poet abandoned exact rhyme, perhaps in order for the poetic speech in these lines to reach its highest tension.

Often, poets use sound repetition in the depths of a line of poetry; it plays an equally important semantic and organizational role. In the first quatrain, alliteration (s-s) conveys a casual play of sounds. These sounds, together with assonances of open vowels, create the impression of silence, spaciousness, and freshness. In the second quatrain, the poet repeats the sound "z" in the words "star", "closed", adding lines with abundant alliteration to "r" - "child", "trembling", "wind", "eyelashes", "did not close". The sound effect is enhanced by the contrast that this sound brings to the last lines of the poem. IN last word both sounds "merged", and this gives us the opportunity to assume that the main action expected from the star is associated with the continuation of its life, its continuous light, brilliance, a sense of the joy of being.

Line endings, counting from the last stressed syllable, are called clauses. The originality of the poem is given by the alternation of male and female clauses. This emphasizes the naturalness, clarity of poetic speech.

Rhymes, like clauses, are distinguished by the place of the last stress in the line. In the first stanza, lines 1 and 3 are a masculine rhyme; 2and 4 - female; the rhyme in this quatrain is cross. In the second stanza, 1 and 4 are male, 2 and 3 are female; rhyming is encompassing (ring or belted).

The poet used a four-line stanza common in Russian versification with different system rhymes - quatrain (quatrain). Both in the first and in the second quatrain the lines form single phrase. But in the first case, this is a non-union complex sentence, consisting of 2 simple, common sentences with a direct word order, and in the second, we have a complex syntactic whole, consisting of two parts: 1 - a simple sentence, common, complicated by a comparative turnover, use inversion draws our attention to the action of the subject; 2 - a complex sentence with a subordinate clause of purpose. It is the second sentence that enhances the sensations, pumps up the emotions associated with the image of the star, makes this image more vivid and impressive. The sound organization of the verse serves the same purpose.

We see that the stanzas are constructed in different ways, such an organization of the verse gives each stanza a peculiar sound. Thus, the construction of the stanza is closely related to the content of the poem and its character. We were convinced of this while working on the content side of the work.

Thus, herself art system poems, literally all the features of its form give us an answer to an important substantive question: what image is important for a lyrical hero: a sea wave or a star in the sky. And it seems that the star is closer to him than the element of the sea. This is emphasized by all previous work on the poem.

If we turn to the work of Bunin, to his other poems, we will see that it was the stars who more than once became the heroes of his poetic revelations. One of the poems begins like this: “I will not get tired of singing you, stars!” and this once again proves that the image of a star appears in the analyzed poem not by chance.

In general, the lyrical hero of the poem, endlessly feeling a living connection with nature, shows a living knowledge of the world. Only by speaking with nature in its language, one can fully enter into its endless and mysterious world, noticing the amazing subtleties and facets of its beauty. Lyrical hero feels a blood connection with nature, with each of its manifestations, whether it be a sea wave or a morning star, he himself is inseparable from them, being one of the manifestations of the many-sided existence of nature.

The poem "Green color of the sea wave ..." can be safely attributed to the landscape lyrics characteristic of Bunin's poetry at the turn of the century, although the philosophical nature of the lyrics is already manifested here: the poet finds an element of "universal" (which he spoke about, in relation to Pushkin, in his famous speech Dostoevsky). The feeling of the universality of life, its eternal cycle "in a myriad of invisible beings" continues in the later poems of the poet, who clearly follows the Tyutchev tradition.

Earthly life, the existence of nature and man are perceived by the poet as part of a great mystery, a grandiose "action" unfolding in the expanses of the Universe.

And maybe I will understand you, stars,

And the dream may come true

What earthly hopes and sorrows

Destined to merge with the heavenly mystery!

To a large extent, under the influence of Asafiev's ideas and their implementation in some of his works, the concept was put forward holistic analysis, owned by L. V. Kulakovsky, V. A. Tsukkerman, L. A. Mazel and I. Ya. Ryzhkin (early 30s). The term "holistic analysis", as L. A. Mazel writes about it, belongs to V. A. Zuckerman, although Zuckerman himself denies this. But, ultimately, the issue of priority in this case is not so important. Another thing is important: both Zuckerman and Mazel throughout their activities defended, implemented and propagated this concept with their own scientific works, seeing in it both the method and the ultimate goal of an analytical approach to musical art.

The essence of this approach to the study of a musical work is that at each stage analysis the piece of music is shown as whole, as a uni-

rock art object. Moreover, it is also supposed to go beyond the framework of this work: numerous connections and its relationships with others, in some way close to it, or, on the contrary, opposition in relation to those far from it, in other words, the interaction of the work with the context in which it is loaded. Thus, holistic analysis in the name itself contains a contradiction, since it, first of all, marks the inclination towards synthesis, to recovery integrity.

Therefore, the tasks that such an analysis poses to the researcher are extremely complex. It requires not only fundamental knowledge and mastery of the entire technological arsenal of musicology, not only the indisputable talent of a musician-interpreter (Mazel writes: “A holistic analysis is also a musicological interpretation work"), but also - no less important - requires the presence of undeniable literary talent, since the story of a work of art, according to Zuckermann, "must bear at least some measure of artistry ... and mature, experienced musicologists do not always achieve success in the synthesis of content and literary ... ".

However, the concept of holistic analysis - the musicological interpretation of a musical work, which has given abundant fruit as a manifestation of the individual talent of individual researchers - has shown that its use is not only a scientific understanding of a unique artistic creation, but at the same time - the fruit its unique, artistic interpretation, i.e. does not quite fit into the scope of the actual Sciences.

Another path was planned later. In the second half of the XX century. works began to appear in domestic musicology, also inspired by the ideas of Asafiev, but aimed not at analyzing a separate artistic creation, but at comprehending those patterns, which, in principle, mark the entire area of typical musical structures. This path was all the more difficult because, returning to seemingly long-studied material - typical forms, it was necessary to defend and substantiate a completely new approach, a new position in relation to them. The main question of analysis in this sense can be formulated as follows.

The same question can be asked in a different way.

Over the course of many decades, hundreds and thousands of sonatas and symphonies, small and large instrumental and vocal compositions were created according to a single compositional plan, according to uniform laws, unwritten for a long time and even now not fully conscious. And among the authors of these creations - great authors! - there were very few conformists who meekly followed tradition, on the contrary - their uniqueness lay in the fact that they endlessly violated the so-called school rules and were not at all inclined to follow any pre-given guidelines without sufficient reason. Why, despite the fact that eras, trends, stylistic models have changed, composers continued (and even now to some extent continue) to use all the same invariants - typical structures?

The task that confronts analysis as a science, therefore, is not simply to describe with more or less detail and detail these structures,

but to open those patterns, which led to their appearance, to their crystallization and to such a long historical life.

There are also certain achievements along this path. A notable milestone was the work of L. A. Mazel and V. A. Zukkerman, V. P. Bobrovsky, O. P. Sokolov, Yu. N. Kholopov, E. A. Ruchyevskaya; just such a scientific-theoretical approach marked the textbook " musical form”, created by a group of professors and teachers of the St. Petersburg Conservatory, edited by Professor Yu. N. Tyulin.

Consider the main scientific ideas that make up the currently arsenal of analysis as a science.