The point of highest tension in the plot is called. Composition of a literary work

Prologue	A kind of introduction to the work, emotionally and eventfully sets the reader to the perception of the content of the work.
exposition	The introductory, initial part of the plot, the image of external conditions, living conditions, historical events. Does not affect the course of subsequent events in the work.
tie	The event with which the action begins, entailing all subsequent significant events in it.
Action Development	Description of what is happening, the course of events.
climax	The moment of greatest tension in the development of the action of a work of art.
denouement	The position of the characters, which has developed in the work as a result of the development of the events depicted in it, are the final scenes.
Epilogue	The final part of the work, in which the further fate of the characters and the development of events can be determined. It can also be a short story about what happened after the conclusion of the main storyline.

Extraplot Elements

Opening episodes	"Insert" episodes that are not directly related to the plot of the work, but are given as memories in connection with the events described.
Lyrical digressions	They can be actually lyrical, philosophical and journalistic. With their help, the author conveys his feelings and thoughts about the depicted. These can be author's assessments of heroes and events or general reasoning on any occasion, an explanation of one's goal, position.
Artistic framing	Scenes that begin and end an event or work, complementing it with a special meaning.

SUBJECT - The subject, the main content of reasoning, presentation, creativity. (S. Ozhegov. Dictionary of the Russian language, 1990.)

SUBJECT (Greek Thema) - 1). Subject of presentation, images, research, discussion; 2). Statement of the problem, which predetermines the selection of life material and the nature of the artistic narrative; 3). The subject of a linguistic statement (...). (Dictionary of foreign words, 1984.)

Already these two definitions can confuse the reader: in the first, the word "theme" is equated in meaning with the term "content", while the content of a work of art is immeasurably wider than the theme, the theme is one of the aspects of the content; the second makes no distinction between the concepts of topic and problem, and although topic and problem are philosophically related, they are not the same thing, and you will soon understand the difference.

The following definition of the topic, accepted in literary criticism, is preferable:

SUBJECT - this is a vital phenomenon that has become the subject of artistic consideration in the work. The range of such life phenomena is THEME literary work. All phenomena of the world and human life constitute the sphere of the artist's interests: love, friendship, hatred, betrayal, beauty, ugliness, justice, lawlessness, home, family, happiness, deprivation, despair, loneliness, struggle with the world and oneself, solitude, talent and mediocrity, joys of life, money, social relations, death and birth, secrets and mysteries of the world, etc. and so on. - these are the words that call life phenomena that become themes in art.

The task of the artist is to creatively study the life phenomenon from the sides interesting to the author, that is artistically reveal the theme. Naturally, this can only be done asking a question(or several questions) to the phenomenon under consideration. This very question, which the artist asks, using the figurative means available to him, is problem literary work.

So, PROBLEM is a question that does not have a unique solution or involves a set of equivalent solutions. The ambiguity of possible solutions of the problem differs from tasks. The collection of such questions is called PROBLEMS.

The more complex the phenomenon of interest to the author (that is, the more subject), the more questions (problems) it will cause, and the more difficult these questions will be to solve, that is, the deeper and more serious it will be issues literary work.

The theme and the problem are historically dependent phenomena. Different eras dictate different themes and problems to artists. For example, the author of the ancient Russian poem of the XII century "The Tale of Igor's Campaign" was worried about the topic of princely strife, and he asked himself questions: how to make the Russian princes stop caring only about personal gain and quarrel with each other, how to unite the disparate forces of the weakening Kiev state? The 18th century invited Trediakovsky, Lomonosov and Derzhavin to think about scientific and cultural transformations in the state, about what an ideal ruler should be like, raised in literature the problems of civic duty and equality of all citizens without exception before the law. Romantic writers were interested in the mysteries of life and death, penetrated into the dark recesses of the human soul, solved the problems of a person's dependence on fate and the unsolved demonic forces of the interaction of a talented and extraordinary person with a soulless and mundane society of inhabitants.

The 19th century, with its focus on the literature of critical realism, drew artists to new themes and forced them to reflect on new problems:

Through the efforts of Pushkin and Gogol, the “small” man entered literature, and the question arose about his place in society and his relationship with “big” people;

the women's theme became the most important, and with it the so-called public "women's question"; A. Ostrovsky and L. Tolstoy paid much attention to this topic;

the theme of home and family acquired a new meaning, and L. Tolstoy studied the nature of the connection between upbringing and a person’s ability to be happy;

the unsuccessful peasant reform and further social upheavals aroused a close interest in the peasantry, and the theme of peasant life and fate, discovered by Nekrasov, became the leading one in literature, and with it the question: what will be the fate of the Russian peasantry and all of great Russia?

tragic events in history and public moods brought to life the theme of nihilism and opened up new facets in the theme of individualism, which were further developed by Dostoevsky, Turgenev and Tolstoy in an attempt to resolve the questions: how to warn the younger generation against the tragic mistakes of radicalism and aggressive hatred? How to reconcile the generations of "fathers" and "children" in a troubled and bloody world? How is the relationship between good and evil to be understood today, and what is meant by both? How, in an effort to be different from others, do not lose yourself? Chernyshevsky addresses the topic of the public good and asks: "What should be done?" so that a person in Russian society can honestly earn a comfortable life and thereby increase public wealth? How to "equip" Russia for a prosperous life? Etc .

note! A problem is a question, and it should be formulated mainly in an interrogative form, especially if the formulation of problems is the task of your essay or other work in literature.

Sometimes in art, it is the question posed by the author that becomes a real breakthrough - a new one, previously unknown to society, but now burning, vital. Many works are created in order to pose a problem.

So, IDEA (Greek Idea, concept, representation) - in literature: the main idea of ​​a work of art, the method proposed by the author for solving the problems posed by him. The totality of ideas, the system of author's thoughts about the world and man, embodied in artistic images is called IDEA CONTENT artistic work.

Thus, the scheme of semantic relations between the topic, problem and idea can be represented as follows:

Controlled element code 1.7. The language of a work of art. Figurative and expressive means in a work of art.

Figurative and expressive means in a work of art
concept	Definition	Examples
A trope is a figure of speech built on the use of words or expressions in a figurative sense, meaning (from the Greek tropos-turn).
Allegory	An allegorical image of an abstract concept or phenomenon of reality with the help of a specific life image. Allegory is often used in fables.	Cunning allegorically depicted in the form of a fox, greed- in the form of a wolf, cunning in the form of a snake.
Hyperbola	A figurative expression, consisting in an exorbitant exaggeration of the strength, significance, size of the depicted phenomenon.	... a rare bird will fly to the middle of the Dnieper. (N.V. Gogol, "Terrible Revenge").
Irony	Subtle hidden mockery, one of the types of humor. Irony can be good-natured, sad, angry, caustic, angry, etc.	Did you all sing? This is the case ... (I.A. Krylov, "Dragonfly and Ant").
Litotes	This is an underestimation of the magnitude, strength, significance of the depicted object.	For example, in the works of oral folk art - a boy with a finger, a hut on chicken legs. Steel knife - steel nerves. bee from cells wax Flies for field tribute.
Metonymy	Transfer of meaning (name) based on the adjacency of phenomena.	So eat some more plate, my dear! (I.A. Krylov, "Demyanova's ear") - in this example, we mean not the plate itself as an object of dishes, but its contents, i.e. ear. All flags will visit us.
personification (prosopea)	One of the techniques of artistic representation, which consists in the fact that animals, inanimate objects, natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts.	be comforted silent sadness And frisky will think joy… (A.S. Pushkin, “To the portrait of Zhukovsky”).
Sarcasm	Evil and sarcastic mockery, the highest degree of irony, one of the strongest means of satire.	Helps to detect the unseemly essence of a person’s behavior or motives, shows a contrast between subtext and external meaning.
Synecdoche	Replacing the name of a vital phenomenon with the name of its part instead of the whole.	As a girl, she did not stand out in a crowd of brown dresses. (I.A. Bunin, "Easy breathing").
Comparison	Definition of a phenomenon or concept in artistic speech by comparing it with another phenomenon that has common features with the first. The comparison either simply indicates similarity (he looked like ...), or is expressed through similar words. like, exactly, like and so on.	He was looks like evening clear ... (M.Yu. Lermontov, "Demon").
paraphrase	Replacing the name of an object or phenomenon with a description of its essential, defining features and characteristics, creating in our mind a vivid picture of life.	Sad time! Oh charm! (about autumn). (A.S. Pushkin, "Autumn").
Epithet	A figurative definition that characterizes the property, quality of a person, phenomenon, object.	The cloud spent the night golden On the chest giant cliff. (M.Yu. Lermontov, "Cliff").
Antithesis	The stylistic figure of contrast in artistic or oratory speech, which consists in a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning.	They agreed. Wave and stone Poetry and prose, ice and fire Not so different from each other. (A.S. Pushkin, "Eugene Onegin").
Oxymoron	A stylistic figure or a stylistic mistake, a combination of words with the opposite meaning (that is, a combination of incongruous). Oxymoron is characterized by the intentional use of contradiction to create a stylistic effect. From a psychological point of view, an oxymoron is a way to resolve an inexplicable situation. An oxymoron is often found in poetry.	And the day has come. Gets up from the bed Mazepa, this frail sufferer, This dead body, just yesterday Moaning weakly over the grave. (A.S. Pushkin, "Poltava").
Stylistic figures are syntactic constructions built in a special way, they are necessary to create a certain artistic expressiveness.
Anaphora (unity)	A turn of poetic speech, consisting in the repetition of consonances of individual words. Sound unity consists in the repetition of individual consonances.	black eyed girl, Black-eyed horse! (M.Yu. Lermontov, "Desire").
Antithesis	A turn of poetic speech, in which, in order to enhance expressiveness, directly opposite concepts, thoughts, character traits of the characters are sharply contrasted.	They agreed. Water and stone. Poetry and prose, ice and fire Not so different... (A.S. Pushkin, "Eugene Onegin").
gradation	Gradual strengthening or aggravation - one of the stylistic figures, consists in grouping definitions with increasing or decreasing meaning.	Don't think to run! It's me Called. I will find. I'll drive it. I'll finish it. I'll torture you! (V.V. Mayakovsky, “About it”).
Inversion	Violation of the direct order of words, rearrangement of parts of the phrase, giving it a special expressiveness, an unusual sequence of words in a sentence.	And the maiden's song is barely audible Valleys in deep silence. (A.S. Pushkin, "Ruslan and Lyudmila").
Oxymoron	Turnover, consisting in a combination of sharply contrasting, internally contradictory in meaning signs in the definition of phenomena.	Ringing silence, sweet pain and so on.
Rhetorical address	(from the Greek rhetor - speaker) rhetorical appeals are very characteristic of poetic speech and are often used in journalistic style texts. Their use makes the reader or listener an interlocutor, a participant in a conversation, conversation.	Has the Russian lost the habit of victories?
Default	It consists in the fact that the thought remains not fully expressed, but the reader guesses about the unsaid. Such a statement is also called interrupted.
Ellipsis	The omission in the speech of some easily implied word, a member of a sentence, most often a predicate.

Phonetic means of expression
Euphony	It consists in the beauty and naturalness of sound.
Alliteration	The repetition of identical, consonant consonant sounds to enhance the expressiveness of artistic speech.	The Neva swelled and roared, Cauldron bubbling and swirling ... (A.S. Pushkin, "The Bronze Horseman").
Assonance	Repetition in a line, phrase, stanza of homogeneous vowel sounds.	It's time! It's time! The horns sound... (A.S. Pushkin, "Count Nulin").
sound recording	The use of the sound composition of the word, its sound to enhance the expressiveness of poetic speech.	For example, onomatopoeia, which can be used to convey the singing of birds, the clatter of hooves, the noise of a forest and a river, etc.
Pictorial Syntax Tools
Syntax parallelism(from Greek parallelos - walking beside)	One of the methods of poetic speech. It consists in comparing two phenomena by depicting them in parallel in order to emphasize the similarity or difference of the phenomena. For syntactic parallelism, a characteristic feature is the uniformity of the construction of the phrase.	curly birch, There is no wind, but you are making noise: My heart is zealous There is no grief, but you hurt. (1) For ten years he selected option after option. (2) It's not about school diligence and patience - he knew how to invent new combinations, come up with new questions. (3) So Johanni Bach erected his fugues, extracting inexhaustible variations from one theme. In this example, syntactic parallelism and lexical repetition are used to link sentences 2 and 3.
A rhetorical question	A turn of poetic speech, consisting in making a statement in an interrogative form. Their use makes the reader or listener an interlocutor, a participant in the conversation.	Is it new for us to argue with Europe? Has the Russian lost the habit of victories? (A.S. Pushkin, "Slanderers of Russia").
Exclamation, exclamatory sentence.	This is a type of sentence that concludes emotional relationships expressed in a syntactic way (particles what, for, how, what, like this, well and etc.). By these means, the utterance is given the meaning of a positive or negative assessment, feelings of joy, sadness, fear, surprise, etc. are conveyed.	Oh, how bitter you are, to the point, later, youth is needed! (A. Tvardovsky, “Far beyond the distance”). Do you love me? Yes? Yes? Oh what a night! Wonderful night! (A.P. Chekhov, "The Jumper").
Appeal	A turn of poetic speech, consisting in an underlined, sometimes repeated appeal of the writer to the hero of his work, to natural phenomena, to the reader, in the hero's appeal to other characters.	Do not sing beauty with me. (A.S. Pushkin, "Don't sing ..."). And you, Arrogant descendants! (M.Yu. Lermontov, "The Death of a Poet").
Unionlessness (asindeton)	A turn of poetic speech, which consists in a gap between words and sentences of connecting unions. Their absence gives speech impetuousness, expressiveness, conveys accelerated intonation.	Swede, Russian - stabs, cuts, cuts. Drum beat, clicks, rattle. The thunder of cannons, clatter, neighing, groaning... (A.S. Pushkin, "Poltava").
Polyunion (recurring alliances)	A turn of poetic speech, consisting in the repetition of the same unions.	And the spruce turns green through the frost, And the river under the ice glitters ... (A.S. Pushkin, "Winter Morning").

Controlled element code 1.8. Prose and poetry. Fundamentals of versification: meter, rhythm, rhyme, stanza.

Exposition - time, place of action, composition and relationships of characters. If the exposition is placed at the beginning of the work, it is called direct, if in the middle - delayed.

Omen- hints that foreshadow the further development of the plot.

The tie is an event that provokes the development of a conflict.

Conflict - opposition of heroes to something or someone. This is the basis of the work: there is no conflict - there is nothing to talk about. Types of conflicts:

• human (humanized character) versus human (humanized character);
• man against nature (circumstances);
• man against society;
• man against technology;
• man against the supernatural;
• man against himself.

Growing action- a series of events that originates from the conflict. The action builds up and culminates at the climax.

Crisis - the conflict reaches its peak. The opposing sides meet face to face. The crisis takes place either immediately before the climax, or simultaneously with it.

The climax is the result of a crisis. Often this is the most interesting and significant moment in the work. The hero either breaks down or grits his teeth and prepares to go all the way.

Downward action- a series of events or actions of heroes leading to a denouement.

The denouement - the conflict is resolved: the hero either achieves his goal, or is left with nothing, or dies.

Why is it important to know the basics of storytelling?

Because over the centuries of the existence of literature, mankind has developed a certain scheme for the impact of a story on the psyche. If the story does not fit into it, it seems sluggish and illogical.

In complex works with many storylines, all of the above elements may appear repeatedly; moreover, the key scenes of the novel are subject to the same laws of plot construction: let us recall the description of the Battle of Borodino in War and Peace.

Plausibility

Transitions from the plot to the conflict and to its resolution must be believable. You can’t, for example, send a lazy hero on a journey just because you want to. Any character should have a good reason to do one way or another.

If Ivanushka the Fool mounts a horse, let him be driven by a strong emotion: love, fear, a thirst for revenge, etc.

Logic and common sense are needed in every scene: if the hero of the novel is an idiot, he can, of course, go to a forest infested with poisonous dragons. But if he is a reasonable person, he will not go there without a serious reason.

god from the machine

The denouement is the result of the actions of the characters and nothing else. In ancient plays, all problems could be solved by a deity lowered onto the stage on strings. Since then, the ridiculous ending, when all conflicts are eliminated by the waving of the wand of a sorcerer, angel or boss, has been called "God from the machine." What suited the ancients only irritates the contemporaries.

The reader feels deceived if the characters are just lucky: for example, a lady finds a suitcase with money just when she needs to pay interest on a loan. The reader respects only those heroes who deserve it - that is, they did something worthy.

Plot(from Frenchsujet - subject, content) - a system of events that constitutes the content of a literary work. Sometimes, in addition to the plot, the plot of the work is also singled out. Plot - a chronological sequence of events described in a work. A well-known example of the discrepancy between plot and plot is Lermontov's novel A Hero of Our Time. If you follow the plot (chronological) sequence, then the stories in the novel should have been arranged in a different order: “Taman”, “Princess Mary”, “Bela”, “Fatalist”, “Maxim Maksimovich”.

The plot of the work includes not only events from the life of the characters, but also the events of the spiritual (inner) life of the author. Thus, the lyrical digressions in Pushkin's Eugene Onegin and Gogol's Dead Souls are deviations from the plot, not from the plot.

Composition(from Latin composition - compilation, connection) - construction of a work of art. The composition can be organized plot ( J 1. Tolstoy "After the ball") and non-plot (I. Bunin "Antonov apples"). A lyrical work can also be plot-driven (Nekrasov's poem "Reflections at the Front Door", which is characterized by an epic event plot) and non-plot (Lermontov's poem "Gratitude").

The composition of a literary work includes:

- arrangement of images-characters and grouping of other images;

- plot composition;

- composition of non-plot elements;

- ways of narration (from the author, from the narrator, from the hero; in the form of an oral story, in the form of diaries, letters);

- composition of details (details of the situation, behavior);

- speech composition (stylistic devices).

The composition of a work depends on its content, genre, genre, etc.

The development of action in a work of art includes several stages: exposition, plot, climax, denouement, epilogue.

exposition(from Latin expositio - presentation, explanation) - prehistory of the events underlying the work of art. Usually, it gives a description of the main characters, their placement before the start of the action, before the plot. The exposition motivates the behavior of the characters. The exposition can be direct, that is, standing at the beginning of the work, or delayed, that is, located in the middle or end of the work. For example, information about Chichikov's life before his arrival in the provincial town is given in the last chapter of the first volume of Gogol's Dead Souls. Delayed exposure usually gives the work a mystery, ambiguity.

tie - it is an event that is the beginning of an action. The plot either reveals the already existing contradictions, or itself creates ("tie up") conflicts. For example, the plot in Gogol's comedy "The Inspector General" is the receipt by the mayor of a letter informing him of the arrival of the auditor.

climax(from Latin culmen - top) - the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly acute form. So, in Ostrovsky's drama "Thunderstorm" the climax is Katerina's confession. The more conflicts in the work, the more difficult it is to reduce the tension of the action to only one climax. The climax is the sharpest manifestation of the conflict and at the same time prepares the denouement of the action.

denouement - outcome of events. This is the final moment in the creation of artistic conflict. The denouement is always directly connected with the action and, as it were, puts the final semantic point in the narrative. Such, for example, is the so-called silent scene in N. Gogol's The Inspector General, where all the plot knots of the comedy are "untied" and a final assessment of the characters' characters is given. The denouement can resolve a conflict (Fonvizin's "Undergrowth"), but it may not eliminate conflict situations (in Griboyedov's "Woe from Wit", in Pushkin's "Eugene Onegin" the main characters remain in difficult situations).

Epilogue(from Greek epilogos - afterword) - always concludes the work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky in the epilogue of "Crime and Punishment" reports on how Raskolnikov has changed in hard labor.

Lyrical digression - deviation of the author from the plot, author's lyrical inserts on topics that have little or no connection with the main theme of the work. On the one hand, they hinder the plot development of the work, and on the other hand, they allow the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the lyrical digressions in Pushkin's novel "Eugene Onegin", in Gogol's "Dead Souls".

Conflict(from Latin conflictus - collision) - clash between characters or between characters and the environment, hero and fate, as well as the internal contradictions of the character. Conflicts can be external (Chatsky's clash with the "famus" society" in Griboedov's "Woe from Wit") and internal (Chatsky's internal, psychological conflict). Often, external and internal conflicts are closely interconnected in a work (“Woe from Wit” by Griboedov, “Eugene Onegin” by Pushkin).

Narrator - the author, who directly expresses this or that idea of ​​the work, speaks to the reader on his own behalf. So, the image of the author-narrator is present in Nekrasov's "Who Lives Well in Russia". It arises almost from the first lines of the poem, when the narrator begins the story of the seven "temporarily liable" who met "on the pole path" and argued "who lives happily, freely in Rus'." However, the role of the narrator is not limited to dispassionate information about what the men are doing, who they are listening to, where they are going. The attitude of men to what is happening is expressed through the narrator, who acts as a kind of commentator on events. For example, in one of the first scenes of the poem, when the peasants argued and could not find a solution to the question “who lives happily, freely in Rus'”, the author comments on the intransigence of the peasants:

A man, like a bull, vtemyashitsya In the head, what a whim - You can't knock it out with a stake: they resist, Everyone stands on his own!

Author - art creator. Its presence in the literary text is noticeable to varying degrees. He either directly expresses this or that idea of ​​the work, speaks to the reader on his own behalf, or hides his “I”, as if he removes himself from the work. Such a double structure of the author's image is always explained by the general intention of the writer and the style of his work. Sometimes in a work of art the author acts as a completely independent image.

The image of the author is a character, the protagonist of a work of art, considered in a number of other characters. He has the features of a lyrical hero or storyteller; may be extremely close to the biographical author or deliberately distant from him.

For example, we can talk about the image of the author in Pushkin's novel "Eugene Onegin". It is no less important than the images of other heroes. The author is present in all scenes of the novel, comments on them, gives his explanations, judgments, assessments. He gives a unique originality to the composition and appears to the reader as an author-character, an author-narrator and an author-a lyrical hero who tells about himself, his experiences, views, life.

Character(from Frenchcharacter - personality, face) - character of a work of art. As a rule, the character takes an active part in the development of the action, but the author or one of the literary heroes can also talk about him. Characters are main and secondary. In some works, the focus is on one character (for example, in Lermontov's "A Hero of Our Time"), in others, the writer's attention is drawn to a number of characters ("War and Peace" by L. Tolstoy).

Character(from Greek character trait, feature) the image of a person in a literary work, which combines the general, repetitive and individual, unique. Through the character reveals the author's view of the world and man. The principles and techniques of creating a character differ depending on the tragic, satirical and other ways of depicting life, on the literary type of the work and genre.

Literary character must be distinguished from character in life. Creating a character, the writer can also reflect the features of a real, historical person. But he inevitably uses fiction, "thinks" the prototype, even if his hero is a historical figure.

"Character" and "character" - concepts are not identical. Literature is focused on the creation of characters that often cause controversy, are perceived by critics and readers ambiguously. Therefore, in the same character you can see different characters (the image of Bazarov from Turgenev's novel "Fathers and Sons"). In addition, in the system of images of a literary work, as a rule, there are much more characters than characters. Not every character is a character, some characters perform only a plot role. As a rule, secondary heroes of the work are not characters.

Type - a generalized artistic image, the most possible, characteristic of a particular social environment. A type is a character that contains a social generalization. For example, the type of “superfluous person” in Russian literature, with all its diversity (Chatsky, Onegin, Pechorin, Oblomov), had common features: education, dissatisfaction with real life, the desire for justice, the inability to realize oneself in society, the ability to have strong feelings, etc. e. Each time gives birth to its own types of heroes. The “extra person” was replaced by the type of “new people”. This, for example, is the nihilist Bazarov.

Lyrical hero - the image of the poet, the lyrical "I". The inner world of the lyrical hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation. A lyrical poem is a concrete and single manifestation of the character of a lyrical hero. With the greatest completeness, the image of the lyrical hero is revealed in all the work of the poet. So, in separate lyrical works of Pushkin (“In the depths of Siberian ores ...”, “Anchar”, “Prophet”, “Desire of glory”, “I love you ...” and others), various states of the lyrical hero are expressed, but, taken together, they give us a fairly holistic view of it.

The image of the lyrical hero should not be identified with the personality of the poet, just as the experiences of the lyrical hero should not be perceived as the thoughts and feelings of the author himself. The image of the lyrical hero is created by the poet in the same way as the artistic image in the works of other genres, with the help of the selection of life material, typification, and fiction.

Image system - a set of artistic images of a literary work. The system of images includes not only images of characters, but also images-details, images-symbols, etc.

Artistic means of creating images (speech characteristics of the hero: dialogue, monologue-author's characteristic, portrait, internal monologue, etc.)

When creating images, the following artistic means are used:

1. The speech characteristic of the hero,which includes monologue and dialogue. Monologue- a character's speech addressed to another character or to the reader without counting on an answer. Monologues are especially characteristic of dramatic works (one of the most famous is Chatsky's monologue from Griboedov's Woe from Wit). Dialogue- verbal communication between the characters, which, in turn, serves as a way to characterize the character and motivates the development of the plot.

In some works, the character himself tells about himself in the form of an oral story, notes, diaries, letters. This technique, for example, is used in Tolstoy's story "After the Ball".

2. Mutual characteristic,when one character talks about another (mutual characteristics of officials in Gogol's The Government Inspector).

3. Author's characteristic,when the author talks about his character. So, while reading "War and Peace", we always feel the author's attitude to people and events. It is revealed both in the portraits of the actors, and in direct assessments-characteristics, and in the author's intonation.

Portrait - the image in a literary work of the appearance of the hero: facial features, figures, clothes, postures, facial expressions, gestures, demeanor. In literature, there is often a psychological portrait in which, through the appearance of the hero, the writer seeks to reveal his inner world (portrait of Pechorin in Lermontov's "A Hero of Our Time").

Scenery- depiction of pictures of nature in a literary work. The landscape also often served as a means of characterizing the hero and his mood at a certain moment (for example, the landscape in the perception of Grinev in Pushkin's The Captain's Daughter before visiting the robber "military council" is fundamentally different from the landscape after this visit, when it became clear that the Pugachevites would not execute Grinev ).

"Eternal" themes - These are the topics that are always, at all times, of interest to mankind. They contain a generally significant and moral content, but each era puts its own meaning into their interpretation. The "eternal" themes include such as the theme of death, the theme of love and others.

motive - the smallest significant component of the story. A motif is also called a constantly repeating artistic plot in different works. It can be contained in many works by one writer or by several writers. "Eternal" motives- such motives that for centuries pass from one work to another, since they contain a universal, universally significant meaning (the motive of the meeting, the motive of the path, the motive of loneliness, and others).

In the literature there are "eternal" images. "Eternal" images- characters of literary works that went beyond their scope. They are found in other works of writers from different countries and eras. Their names have become common nouns, often used as epithets, pointing to some qualities of a person or a literary character. These are, for example, Faust, Don Juan, Hamlet, Don Quixote. All these characters have lost their purely literary meaning and acquired universal human meaning. They were created a very long time ago, but again and again they appear in the works of writers, because they express what is generally significant, important for all people.

The plot of a literary work is a chain of events
revealing the characters and relationships of the characters. By using
plot reveals the essence of characters, circumstances,
their inherent contradictions. The plot is connections, sympathies,
dislikes, the history of the growth of a particular character, type.
When researching the plot, it is necessary to remember such elements as
exposition, plot of action, development of action, climax,
denouement, epilogue.
PLOT - (French sujet, lit. - subject), in epic, drama, poem,
scripts, film - a way to deploy the plot,
the sequence and motivation for the submission of the depicted
events. In traditional usage, the course of events in
literary work, space-time
the dynamics of the image.

The plot is the system of events in a work of art,
presented in a certain connection, revealing the characters
actors and the attitude of the writer to the depicted
life events; subsequence. Course of events,
constituting the content of a work of art;
dynamic aspect of a work of art.
The plot is not retellable, it is closely connected
with the theme, problem and idea of ​​the artistic
works.

(about what?) - the main subject of the story, then, for the sake of
where this story began.
Narrative not only tells about something, but
does it for some purpose: to explain something, to prove,
to teach something. Such a goal, the main task
storytelling is called
.
(for what?) - the main task of the story:
explain, prove, teach.
In a work, the author may refer to several
problems and address multiple topics.
The set of topics is the theme of the work.
The set of problems is the problematic of the work.

How to solve the main problem?
Resolution of the main problem
works. solution to all
the problems of the work
ideological sound of the work.
How does the author feel about what he portrays?
events, actions of heroes, etc., which
gives a moral assessment to all this?
The position of the author is shown through
evaluative (expressively colored)
vocabulary.
The position of the author is hidden, it needs to be unraveled, sometimes - in
lyrical digressions - the author clearly articulates his
relation to what is depicted.

The plot is a series of events that serve as the basis of literary
works are retellable.
The plot is the actual side of the story, those events
cases, actions, states in their causal-chronological
sequences that are arranged and arranged
by the author in the plot on the basis of patterns seen
the author in the development of the depicted phenomena.
It should be distinguished:
1. the "actual" basis of the work, the events about which it
describes how the product of pre-selection
artist of the phenomena of reality or fiction, which
can be called a plot, that is, a narrative theme,
subject to further processing in the plot;
2. and the very development of the narrative theme, which is associated with
resolution of any problem on the data material
events (i.e. plot).

Depending on the nature
understanding of reality and
the nature of the object itself
stories can be
mythological, fabulous,
romantic, utopian,
realistic, etc.
Thematic diversity
the plot is inexhaustible. Every
historical period, each
stage in development
artistic creation,
every literary
direction create their own
characteristic plots, which primarily determine
specific historical features of the plots.

Conflict - (lat. Conflictus - "collision") - acute
contradiction that finds its way out and resolution
in action, in combat.
Conflict is the "spring" of literary narration.
Artistic conflict arises as a result
clashes of any characters or confrontation
some kind of force.
It's the driving force of the story. It is conflict that develops
action of the story, determines its rhythm and
sequence of events.

appears
through
In its development, the artistic conflict passes
several stages, each of which is very important for
the artistic world of the work as a whole, which determines
construction of the work, or
composition.

Ilya Muromets
nightingale the robber
Physical strength
Ilya Muromets
Prince Vladimir
moral strength
Ilya Muromets emerges victorious from this conflict,
having gained moral superiority over Prince Vladimir =>
folk ideal => access to the main idea of ​​the work

Historical and social
1.
2.
3.
Ilya Muromets destroys
obstacle on the way
unification of Rus' =>
breaking down barriers that
divided Chernigov and Kyiv.
The faith of the people in their mighty
strength.
Confrontation: Ilya
Muromets - a village man and Prince Vladimir
Moral
The prince, according to his position, must
Be the protector of the earth
Russian, but he is inactive, because.
is the bearer of evil.
The people themselves in the person of Ilya Muromets
stand up for the human
dignity => moral
superiority of Ilya Muromets over
Prince Vladimir
The main idea of ​​the epic:
protection and unification of the Russian land in the hands of the people

Composition - (lat. compositio - compilation,
bonding, joining, joining).
Organization, location and connection of heterogeneous components
artistic form of a literary work.
Composition includes: placement and correlation
characters (Composition as a "system of images"), events and
deeds (composition of the plot), insert stories and
lyrical digressions (Composition outside the plot
elements), ways or angles of narration (actually
narrative Composition), details of the situation,
behavior, experiences (Composition of details).
arrangement, alternation, ratio and interrelation of parts
literary work, serving the most complete
realization of the artist's vision.

The climax is the highest
point in action
exposition
I. Introduction
epilogue (afterword)
II. Main part III. Conclusion

Part of a work separated from the main narrative and
preceding it.
Background, initial acquaintance with the main characters
works, the place where the events will unfold, the time
etc.
The emergence and development of conflict.
Consistent strengthening, development of the conflict.
opposing forces take some action
in relation to each other.
Critical point in achieving artistic
conflict, cannot develop further and requires its own
immediate permission.
The very resolution of the conflict
A part separated from the main narrative may contain
a short message about the life of the characters after the events described.

External composition -
this is a segmentation of the text,
characterized
continuity, for
discrete units.
Internal
(meaningful)
composition
determined by the system
character images,
features
conflict and
the peculiarity of the plot,
Composition, therefore, is a manifestation of meaningful
discontinuity in continuity.

Composition
exposition
plot
action development
The climax is the highest
point in action
decline in development
denouement
epilogue (afterword)
complex plan
I. Introduction (exposition)
II. Main part
1. Tie.
2. Development of action.
2.1. …………………
2.2. …………………
2.3. …………………
3. Climax.
4. Decline in development
actions.
5. Decoupling.
III. Conclusion.

Time
Quality
Plot
Space
Quantity
plot

The composition of the work is important
way to implement the author's idea.
Art
image
consistent
linear,
or
"story
in the story"
flashbacks
mirror
ring
reverse

It assumes such a construction of the narrative, when the plot,
development of action, climax and denouement follow each other
friend.
The work begins with a denouement (typical for
detective genre).
The piece ends exactly where it started.
Allows you to combine two or more narratives that have
independent artistic conflict, so that there is
a story within a story, or multiple stories combined
one common story (frame).

Hero Appearance:
insult, triple
arrival to Ilmenozero
The denouement - the release of Sadko
exposition
Tie - the beginning of the dialogue
with the sea king
moral victory
over the sea king
Sadko's return to Veliky
Novgorod and retribution to God for
your salvation

Leads to the story
Linnet; occasion
for a story
Relationship history
Little and Hans and
Gyu-Melnik
The denouement - the death of Little Hans
exposition
The plot - the beginning of the story
about Little Hans
"What a delight to listen to you"
Conclusion: Water
The rat did not understand morality
Fairy tale by O. Wilde "A devoted friend" - the story of the fall
sublime, tender, sensitive and responsive soul

Had only a harp - the main
spiritual wealth =>
brings people joy
with your talent
Accepts gifts
the sea king
most changes
its purpose
Competition with
Mr. Great
Novgorod -
loses it
Return
to my
appointment
in life
Accepts help
Mikola Mozhaisky
Playing the harp to the sea king => death of people

Composition is the construction of a work of art. It is the composition that determines the effect that the text has on the reader, since the doctrine of composition says: it is important not only to be able to tell amusing stories, but also to correctly present them.

It gives different definitions of composition, in our opinion, the simplest definition is as follows: composition is the construction of a work of art, the arrangement of its parts in a certain sequence.
Composition is the internal organization of a text. Composition is about how the elements of the text are arranged, reflecting the different stages of the development of the action. The composition depends on the content of the work and the goals of the author.

Stages of action development (composition elements):

Composition elements- reflect the stages of development of the conflict in the work:

Prologue - introductory text that opens the work, anticipating the main story. As a rule, thematically related to the subsequent action. Often it is the "gate" of the work, that is, it helps to penetrate the meaning of the further narrative.

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

The plot of the action is an event that becomes the beginning of an action. The plot either reveals an already existing contradiction, or creates, “sets up” conflicts. The plot in "Eugene Onegin" is the death of the protagonist's uncle, which forces him to go to the village and enter into an inheritance. In the story of Harry Potter, the plot is a letter of invitation from Hogwart, which the hero receives and thanks to which he learns that he is a wizard.

The main action, the development of actions - the events that the characters take after the beginning and before the climax.

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

denouement- the outcome of the conflict. This is the final moment in the creation of artistic conflict. The denouement is always directly connected with the action and, as it were, puts the final semantic point in the narrative. The denouement can resolve the conflict: for example, in The Three Musketeers, this is the execution of Milady. The final denouement in Harry Potter is the final victory over Voldemort. However, the denouement may not eliminate the contradiction, for example, in "Eugene Onegin" and "Woe from Wit" the characters remain in difficult situations.

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

Lyrical digression- deviation of the author from the plot, author's lyrical inserts, little or not at all related to the theme of the work. Lyrical digression, on the one hand, hinders the development of the action, on the other hand, allows the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the famous lyrical digressions in Pushkin's Eugene Onegin or Gogol's Dead Souls.

Types of composition:

Traditional classification:

Direct (linear, serial)– events in the work are depicted in chronological order. "Woe from Wit" by A.S. Griboyedov, "War and Peace" by L.N. Tolstoy.
Ring - the beginning and end of the work echo each other, often completely coincide. In "Eugene Onegin": Onegin rejects Tatyana, and in the finale of the novel, Tatyana rejects Onegin.
Mirror - combining the techniques of repetition and opposition, as a result of which the initial and final images are repeated exactly the opposite. In one of the first scenes of "Anna Karenina" by L. Tolstoy, the death of a man under the wheels of a train is depicted. This is how the main character of the novel takes her own life.
A story within a story - The main story is told by one of the characters in the story. According to this scheme, M. Gorky's story "Old Woman Izergil" is built.

A.Besin's classification (according to the monograph "Principles and methods of analysis of a literary work"):

Linear - events in the work are depicted in chronological order.
Mirror - initial and final images and actions are repeated exactly the opposite, opposing each other.
Ring - the beginning and end of the work echo each other, have a number of similar images, motives, events.
Retrospection - in the process of narration, the author makes "digressions into the past." V. Nabokov's story "Mashenka" is built on this technique: the hero, having learned that his former lover is coming to the city where he now lives, looks forward to meeting her and recalls their epistolary novel, reading their correspondence.
Default - about the event that happened before the rest, the reader learns at the end of the work. Thus, in A.S. Pushkin's The Snowstorm, the reader learns about what happened to the heroine during her flight from home, only during the denouement.
Free - mixed activities. In such a work, one can find elements of a mirror composition, and techniques of default, and retrospection, and many other compositional techniques aimed at holding the reader's attention and enhancing artistic expression.