What is the name of the method of opposition in a work of art. Analysis of epic, lyrical and dramatic works

§ 6. Co- and oppositions

Comparisons of subject-speech units play an almost decisive role in the construction of works. L.N. Tolstoy said that "the essence of art" is "in<…>endless labyrinth of links.

At the origins of compositional analogies, rapprochements and contrasts (antitheses) - figurative parallelism, characteristic primarily for the song poetry of different countries and eras. This method of construction has been carefully studied by A.N. Veselovsky. The scientist studied numerous comparisons between the phenomena of the inner life of man and nature in historically early poetry, especially folk poetry. According to him, the original and "simplest" form of "analogies" and "comparisons" in poetic work is binomial parallelism which compares nature and human life. An example from a Russian folk song: “Spreads and curls / Silk grass in the meadow / Kisses, pardons / Mikhail his wife.” Two-term parallelism can also have other functions, such as bringing together different natural phenomena. These are the words of the folk song “Height, heavenly height, / Depth, depth of the ocean-sea,” known from Sadko’s aria (opera by N.A. Rimsky-Korsakov).

Veselovsky connects two-term parallelism in its original form with the animism of historically early thinking, which connected natural phenomena with human reality. He also argues that it was from this kind of two-term parallelism that symbols, metaphors, and the allegorical imagery of fables about animals grew. Poetry's adherence to parallelism was, according to Veselovsky, predetermined by the manner in which song texts were performed in two voices: the second performer picked up and supplemented the first.

Along with the parallelism of syntactic constructions, comparisons (both in contrast and in similarity) of larger text units: events and, most importantly, characters, are rooted in literary works. A fairy tale, as shown by V.Ya. Propp, always correlates the images of the hero and his opponent (“the pest”). As a rule, one cannot do without sharp and evaluatively clear character antitheses, without “polarization” of what is being recreated, without contrasting circumstances and events favorable and unfavorable for the characters.

Incompatibilities and opposites prevail in the character organization and plot construction of works and other genres. Let us recall the epic about Ilya Muromets and the rotten Idolish, the tale of Cinderella, the antipode of which is the Stepmother; or - from later artistic experience - Molière's opposition to Cleante's Tartuffe. To the sensible Chatsky in "Woe from Wit" are "polar", according to A. S. Griboedov, twenty-five fools; Dragon in the famous play by E.L. Schwartz is the antithesis of Lancelot.

The principle of opposition, however, does not reign supreme in literature. Over time, from epoch to epoch, along with antitheses (character and event), more dialectical, flexible comparisons of facts and phenomena as both different and similar were strengthened. So, in Pushkin's novel in verse, the three main characters - Onegin, Tatyana, Lensky - are opposed to each other and at the same time are similar to one another with their lofty aspirations, "not fitting" into the surrounding reality, dissatisfaction with it. And the events in the lives of the heroes (first of all, the two explanations of Onegin and Tatyana), with their inescapable drama, are more similar to each other than contrast.

Much is based on similar comparisons in War and Peace, The Brothers Karamazov, and The Master and Margarita. This type of artistic construction made itself felt most clearly in the plays of A.P. Chekhov, where the opposition (heroes and events) moved to the periphery, giving way to the disclosure of various manifestations of one and the same in essence, the deepest life drama of the depicted environment, where there are neither completely right nor completely guilty. The writer recreates the world of people who are helpless before life, in which, according to Olga from Three Sisters, "everything is not done our way." “Each play says: it is not individual people who are to blame, but the whole existing composition of life as a whole,” wrote A.P. Skaftymov on Chekhov's plays. “And people are only to blame for the fact that they are weak.” And the fates of the characters, and the events that make up Chekhov's dramatic plots, and stage episodes, and individual statements are interlinked in such a way that they appear as an endlessly stretching chain of confirmations that people's discord with life and the destruction of their hopes are inevitable, that thoughts about happiness and the fullness of being are vain . The “components” of the artistic whole here do not so much contrast as complement each other. Something similar - in the so-called "theater of the absurd" (almost in most of the plays of E. Ionesco and S. Beckett), where events and characters are similar to each other in their inconsistency, "puppetry", absurdity.

The components of the depicted in the work, as can be seen, are always correlated with each other. An artistic creation is the focus of mutual "roll calls", sometimes very numerous, rich and diverse. And, of course, meaningful, activating the reader, guiding his reactions.

Antithesis is such a means of expressiveness that is often used in the Russian language and in Russian literature because of its powerful expressive capabilities. So, the antithesis of definition is such a device in artistic language when one phenomenon is opposed to another. Those who want to read about the antithesis of Wikipedia will certainly find various examples from poems there.

In contact with

I would like to define the concept of "antithesis", meaning. It is of great importance in the language, because it is such a technique that allows compare two opposites, for example, "black" and "white", "good" and "evil". The concept of this technique is defined as a means of expressiveness, which allows you to very vividly describe any object or phenomenon in poetry.

What is antithesis in literature

Antithesis is such an artistic pictorial and expressive means that allows you to compare one object with another on the basis of opposition. Usually, as an artistic medium, it is very popular with many contemporary writers and poets. But even in the classics you can find a huge number of examples. As part of the antithesis can be opposed in meaning or in their properties:

• Two characters. This most often happens in cases where a positive character is opposed to a negative one;
• Two phenomena or objects;
• Different qualities of the same object (viewing the object from several aspects);
• The qualities of one object are opposed to the qualities of another object.

Lexical meaning of trope

The technique is very popular in literature, because it allows you to most clearly express the essence of a particular subject with the help of opposition. Usually, such oppositions always look lively and figuratively, so poetry and prose that use the antithesis are quite interesting to read. She happens to be one of the most popular and well-known means of artistic expression of a literary text, whether it be poetry or prose.

The technique was actively used by the classics of Russian literature, and modern poets and prose writers are no less actively using it. Most often, the antithesis underlies opposition of two heroes of a work of art when a positive character is opposed to a negative one. At the same time, their qualities are deliberately demonstrated in an exaggerated, sometimes grotesque form.

The skillful use of this artistic technique allows you to create a vivid, figurative description of the characters, objects or phenomena found in a particular work of art (novel, story, story, poem or fairy tale). It is often used in folklore works (fairy tales, epics, songs and other genres of oral folk art). During the literary analysis of the text, it is necessary to pay attention to the presence or absence of this technique in the work.

Where can I find examples of antithesis

Antithesis examples from literature can be found almost everywhere, in various genres of fiction, ranging from folk art (fairy tales, epics, tales, legends and other oral folklore) to the works of contemporary poets and writers of the twenty-first century. In connection with its peculiarities of artistic expressiveness, the technique is most often found in the following genres of fiction:

• Poems;
• Stories:
• Fairy tales and legends (folk and author's);
• Novels and stories. In which there are long descriptions of objects, phenomena or characters.

Antithesis as an artistic technique

As a means of artistic expression, it is built on the opposition of one phenomenon to another. The writer, who uses the antithesis in his work, chooses the most characteristic features of two characters (objects, phenomena) and tries to fully reveal them by opposing each other. The word itself, translated from ancient Greek, also means nothing more than “opposition”.

Active and appropriate use makes the literary text more expressive, lively, interesting, helps to most fully reveal the characters of the characters, the essence of specific phenomena or objects. This is the reason for the popularity of the antithesis in the Russian language and in Russian literature. However, in other European languages ​​this means of artistic imagery is also used very actively, especially in classical literature.

In order to find examples of antithesis during the analysis of a literary text, one must first of all examine those fragments of the text where two characters (phenomena, objects) are not considered in isolation, but are opposed to each other from different points of view. And then it will be quite easy to find a reception. Sometimes the whole meaning of the work is built on this artistic device. It should also be borne in mind that the antithesis can be explicit, but it may also be hidden, veiled.

Finding a hidden antithesis in an artistic literary text is quite simple if you read and analyze the text thoughtfully, carefully. In order to teach how to correctly use the technique in your own literary text, you need to familiarize yourself with the most striking examples from Russian classical literature. However, it is not recommended to abuse it so that it does not lose its expressiveness.

Antithesis is one of the main means of artistic expression, widely used in the Russian language and in Russian literature. Reception can be easily found in many works of Russian classics. Modern writers also actively use it. Antithesis enjoys well-deserved popularity, because it helps to most clearly express the essence of individual heroes, objects or phenomena by contrasting one hero (object, phenomenon) with another. Russian literature without this artistic device is almost unthinkable.

ACT FIVE

Phenomenon I

Starodum and Pravdin.

Old man: Listen, my friend! A great sovereign is a wise sovereign. His job is to show people their direct benefit. The glory of his wisdom is to rule over people, because there is no wisdom to manage idols. The peasant, who is the worst in the village, usually chooses to tend the herd, because it takes a little intelligence to tend the cattle. A sovereign worthy of the throne seeks to elevate the souls of his subjects. We see it with our own eyes.

P a in d i n. The pleasure that sovereigns enjoy in possessing free souls must be so great that I do not understand what motives could distract ...

S t a r o d u m. A! How great a soul must be in a sovereign in order to take the path of truth and never deviate from it! How many nets have been set up to capture the soul of a person who has the fate of his own kind in his hands! And in the first place, a crowd of stingy flatterers...

P a in d i n. Without spiritual contempt it is impossible to imagine what a flatterer is.

An old man. A flatterer is a creature who, not only about others, but also about himself, does not have a good opinion. All his desire is to first blind the mind of a person, and then make of it what he needs. He is a night thief who first extinguishes the candle, and then begins to steal.

P a in d i n. Human misfortunes, of course, are caused by their own corruption; but ways to make people kind...

S t a r o d m. They are in the hands of the sovereign. How soon everyone sees that without good manners no one can emerge as a people; that neither vile service nor for any money can buy that which rewards merit; that people are chosen for places, and not places are stolen by people - then everyone finds his own advantage in being well-behaved and everyone becomes good.

P a in d i n. Fair. The Great Sovereign gives...

C t a r o d u m. Mercy and friendship to those whom he pleases; places and ranks to those who are worthy.

P a in d i n. So that there is no shortage in worthy people, special efforts are now being made to educate ...

Starodum. It should be the key to the well-being of the state. We see all the unfortunate consequences of bad education. Well, what can come out of Mitrofanushka for the fatherland, for whom ignorant parents also pay money to ignorant teachers? How many noble fathers who entrust the moral upbringing of their son to their serf slave! Fifteen years later, instead of one slave, two come out, an old uncle and a young master.

P a in d i n. But persons of a higher state enlighten their children...

S t a r o d u m. So, my friend; yes, I would like that in all sciences the main goal of all human knowledge, morality, is not forgotten. Believe me that science in a depraved person is a fierce weapon to do evil. Enlightenment elevates one virtuous soul. I would like, for example, that when educating the son of a noble gentleman, his mentor every day unfolded History for him and showed him two places in it: in one, how great people contributed to the good of their fatherland; in another, like an unworthy nobleman, having used his power of attorney and power for evil, from the height of his magnificent nobility he fell into the abyss of contempt and reproach.

(D.I. Fonvizin "Undergrowth")

Don't lose. Subscribe and receive a link to the article in your email.

Writing, as mentioned in this is an interesting creative process with its own characteristics, tricks and subtleties. And one of the most effective ways to highlight the text from the general mass, giving it uniqueness, unusualness and the ability to arouse genuine interest and a desire to read in full are literary writing techniques. They have been in use at all times. First, directly by poets, thinkers, writers, authors of novels, short stories and other works of art. Nowadays, they are actively used by marketers, journalists, copywriters, and indeed all those people who from time to time need to write a bright and memorable text. But with the help of literary techniques, you can not only decorate the text, but also give the reader the opportunity to more accurately feel what exactly the author wanted to convey, look at things with.

It doesn’t matter if you are a professional writer, taking your first steps in writing, or creating a good text just appears on your list of duties from time to time, in any case, it is necessary and important to know what literary techniques a writer has. The ability to use them is a very useful skill that can be useful to everyone, not only in writing texts, but also in ordinary speech.

We suggest that you familiarize yourself with the most common and effective literary techniques. Each of them will be provided with a vivid example for a more accurate understanding.

Literary devices

Aphorism

• “To flatter is to tell a person exactly what he thinks of himself” (Dale Carnegie)
• "Immortality costs us our lives" (Ramon de Campoamor)
• "Optimism is the religion of revolutions" (Jean Banvill)

Irony

Irony is a mockery in which the true meaning is opposed to the real meaning. This creates the impression that the subject of the conversation is not what it seems at first glance.

• The phrase said to the loafer: “Yes, I see you are working tirelessly today”
• A phrase said about rainy weather: "The weather is whispering"
• The phrase said to a man in a business suit: "Hi, are you jogging?"

Epithet

An epithet is a word that defines an object or action and at the same time emphasizes its feature. With the help of an epithet, you can give an expression or phrase a new shade, make it more colorful and bright.

• Proud warrior, stay strong
• Suit fantastic colors
• beauty girl unprecedented

Metaphor

A metaphor is an expression or word based on the comparison of one object with another on the basis of their common features, but used in a figurative sense.

• Nerves of steel
• The rain is drumming
• Eyes on the forehead climbed

Comparison

Comparison is a figurative expression that connects various objects or phenomena with the help of some common features.

• From the bright light of the sun, Eugene was blind for a minute. like mole
• My friend's voice was like creak rusty door loops
• The mare was frisky How blazing fire campfire

allusion

An allusion is a special figure of speech that contains an indication or hint of another fact: political, mythological, historical, literary, etc.

• You are just a great schemer (a reference to the novel by I. Ilf and E. Petrov "The Twelve Chairs")
• They made the same impression on these people that the Spaniards had on the Indians of South America (a reference to the historical fact of the conquest of South America by the conquistadors)
• Our trip could be called "The Incredible Movements of Russians in Europe" (a reference to the film by E. Ryazanov "The Incredible Adventures of Italians in Russia")

Repeat

Repetition is a word or phrase that is repeated several times in one sentence, giving additional semantic and emotional expressiveness.

• Poor, poor little boy!
• Scary, how scared she was!
• Go, my friend, go ahead boldly! Go boldly, don't be shy!

personification

Personification is an expression or word used in a figurative sense, by means of which the properties of animate are attributed to inanimate objects.

• Snowstorm howls
• Finance sing romances
• Freezing painted window patterns

Parallel designs

Parallel constructions are voluminous sentences that allow the reader to create an associative link between two or three objects.

• “The waves are splashing in the blue sea, the stars are shining in the blue sea” (A.S. Pushkin)
• “A diamond is polished by a diamond, a line is dictated by a line” (S.A. Podelkov)
• “What is he looking for in a distant country? What did he throw in his native land? (M.Yu. Lermontov)

Pun

A pun is a special literary technique in which different meanings of the same word (phrases, phrases) that are similar in sound are used in one context.

• The parrot says to the parrot: "Parrot, I will parrot you"
• It was raining and my father and I
• “Gold is valued by weight, and by pranks - by a rake” (D.D. Minaev)

Contamination

Contamination is the appearance of one new word by combining two others.

• Pizza boy - pizza delivery boy (Pizza (pizza) + Boy (boy))
• Pivoner - beer lover (Beer + Pioneer)
• Batmobile - Batman's car (Batman + Car)

Streamlined Expressions

Streamlined expressions are phrases that do not express anything specific and hide the personal attitude of the author, veil the meaning or make it difficult to understand.

• We will change the world for the better
• Permissible losses
• It's neither good nor bad

Gradations

Gradations are a way of constructing sentences in such a way that homogeneous words in them increase or decrease the semantic meaning and emotional coloring.

• “Higher, faster, stronger” (J. Caesar)
• Drop, drop, rain, downpour, that's pouring like a bucket
• “He was worried, worried, went crazy” (F.M. Dostoevsky)

Antithesis

Antithesis is a figure of speech that uses a rhetorical opposition of images, states or concepts that are interconnected by a common semantic meaning.

• “Now an academician, now a hero, now a navigator, now a carpenter” (A.S. Pushkin)
• “Who was nobody, he will become everything” (I.A. Akhmetiev)
• “Where the table was food, there is a coffin” (G.R. Derzhavin)

Oxymoron

An oxymoron is a stylistic figure that is considered a stylistic mistake - it combines incompatible (opposite in meaning) words.

• Living Dead
• Hot Ice
• Beginning of the End

So what do we see as a result? The amount of literary devices is amazing. In addition to those listed by us, one can name such as parcellation, inversion, ellipsis, epiphora, hyperbole, litote, periphrase, synecdoche, metonymy and others. And it is this diversity that allows any person to apply these techniques everywhere. As already mentioned, the “sphere” of the application of literary techniques is not only writing, but also oral speech. Supplemented with epithets, aphorisms, antitheses, gradations and other techniques, it will become much brighter and more expressive, which is very useful in mastering and developing. However, we must not forget that the abuse of literary techniques can make your text or speech pompous and by no means as beautiful as you would like. Therefore, you should be restrained and careful when applying these techniques so that the presentation of information is concise and smooth.

For a more complete assimilation of the material, we recommend that you, firstly, familiarize yourself with our lesson on, and secondly, pay attention to the writing style or speech of prominent personalities. There are a huge number of examples: from ancient Greek philosophers and poets to the great writers and orators of our time.

We will be very grateful if you take the initiative and write in the comments about what other literary techniques of writers you know, but which we did not mention.

We would also like to know if reading this material was useful for you?

Here we are at home,” Nikolai Petrovich said, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.

“It’s really not bad to eat,” remarked Bazarov, stretching, and sank down on the sofa.

- Yes, yes, let's have dinner, have dinner as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason.

- By the way, and Prokofich.

A man of about sixty entered, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink handkerchief around his neck. He grinned, went up to the handle to Arkady and, bowing to the guest, stepped back to the door and put his hands behind his back.

“Here he is, Prokofich,” began Nikolai Petrovich, “he has come to us at last... What? how do you find it?

"In the best possible way, sir," the old man said, and grinned again, but immediately knitted his thick eyebrows. - Would you like to set the table? he spoke impressively.

– Yes, yes, please. But won't you first go to your room, Evgeny Vassilitch?

- No, thank you, there is no need. Just order my little suitcase to be dragged there and this clothes, ”he added, taking off his overalls.

- Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, retired on tiptoe.) And you, Arkady, will you go to your place for a minute?

“Yes, we need to clean ourselves up,” Arkady answered, and was heading for the door, but at that moment a man of medium height, dressed in a dark English suit, a fashionable low tie and patent leather half boots, Pavel Petrovich Kirsanov, entered the living room. He looked to be about forty-five years old: his short-cropped gray hair shone with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn by a thin and light chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance of Arkadiev's uncle, elegant and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after the twenties.

Pavel Petrovich took out of the pocket of his trousers his beautiful hand with long pink nails—a hand that seemed even more beautiful from the snowy whiteness of the sleeve fastened with a single large opal—and gave it to his nephew. Having made the preliminary European “shake hands”, he kissed him three times, in Russian, that is, he touched his cheeks with his fragrant mustache three times, and said: “Welcome.”

Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly inclined his flexible waist and smiled slightly, but he did not give his hand and even put it back in his pocket.

“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, shrugging his shoulders and showing his fine white teeth. What happened on the road?

“Nothing happened,” answered Arkady, “so, they hesitated a little

Question 6:

Senior Kirsanov and Bazarov from the first pages of the work
opposed to each other. What is the name of the reception of a sharp
opposition used in a work of fiction?

Explanation:

The answer is contained in the question itself, the main thing is to know the definition. “ opposing forces are fighting. What is the name of
similar confrontation." conflict

Answer: conflict