Composition(from Lat. soshro - fold, build) - this is the construction of a work of art.
The multi-story and multi-faceted nature of Dostoevsky's novels amazed his contemporaries, but the new compositional form that emerged as a result of this was not always understood by them and was characterized as chaotic and inept. Famous critic Nikolai Strakhov accused the writer of not being able to cope with a large amount of plot material and not knowing how to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You pointed out the main drawback terribly accurately,” he wrote. - Yes, I suffered from this and continue to suffer: I am completely incapable of, and still have not learned to cope with, my means. A bunch of individual novels and the stories next to each other fit into one, so there is no measure, no harmony.”
“To build a novel,” Anton Pavlovich Chekhov later wrote, “you need to know well the law of symmetry and balance of masses. A novel is a whole palace, and the reader needs to feel free in it, not be surprised and not bored, as in a museum. Sometimes you need to give the reader a break from both the hero and the author. A landscape, something funny, a new plot, new faces are good for this...”
There can be a lot of ways to convey the same event, and they, these events, can exist for the reader in the form of an author’s narration or memories of one of the characters, or in the form of a dialogue, monologue, a crowded scene, etc.
The use of various compositional components and their role in creating the overall composition for each author has a certain originality. But for narrative compositions It is important not only how the compositional components are combined, but also what, how, when and in what way is highlighted and emphasized in the overall construction of the narrative. If, say, a writer uses the form of dialogue or static description, each of them can shock the reader or pass unnoticed, appearing as a “rest,” as Chekhov noted. The final monologue, for example, or a crowded scene where almost all the heroes of the work are gathered, can grow unusually above the work and be its central, key moment. So, for example, the “trial” scene or the “In Mokroye” scene in the novel “The Brothers Karamazov” are climactic, that is, they contain highest points plot tension.
Compositional emphasis in the narrative, the most striking, highlighted or intense plot point should be considered. Usually this is a moment in plot development that, together with other accentuating moments, prepares the most intense point in the narrative - the climax of the conflict. Each such “emphasis” must relate to previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) relate to each other. A certain systematic arrangement of such accent moments is the most important task of narrative composition. It is this that creates “harmony and balance of the masses” in the composition.
The hierarchy of narrative components, some of which are highlighted more brightly or muted, strongly accentuated or have a auxiliary, passing meaning, is the basis of the composition of the narrative. It includes the narrative balance of plot episodes, their proportionality (in each case its own), and the creation of a special system of accents.
While creating compositional solution The main thing of an epic work is the movement towards the climax of each scene, each episode, as well as the creation of the desired effect by combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of the narrative can be defined as a combination within the epic work of narrative forms of image of different duration, having different strengths of tension (or emphasis) and constituting a special hierarchy in their sequence.
When deciphering the concept of “plot composition,” we must proceed from the fact that at the level of objective representation, the plot has its original composition. In other words, the plot of a separate epic work is compositional even before its narrative design, for it consists of an individual sequence of episodes chosen by the author. These episodes constitute a chain of events from the lives of the characters, events taking place in a certain time and located in a certain space. Composition These plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on their own.
At the level of plot composition, it is possible to divide episodes into “on-stage” and “off-stage”: the first tells about events that are directly occurring, the second - about events that happen somewhere “behind the scenes” or happened in the distant past. This division is the most general at the level of plot composition, but it necessarily leads to a further classification of all possible plot episodes.
The composition of literary works is closely related to their genre. The most complex are epic works, the defining features of which are many plot lines, a diverse coverage of life phenomena, broad descriptions, a large number of characters, the presence of an image of a narrator, the constant intervention of the author in the development of the action, etc. Features of the composition of dramatic works - a limited number of “ intervention" of the author (during the course of the action the author inserts only stage directions), the presence of "off-stage" characters, allowing for a broader coverage of life material, etc. The basis of a lyrical work is not the system of events occurring in the lives of the heroes, not the arrangement (grouping) of characters, and the sequence of presentation of thoughts and moods, expression of emotions and impressions, the order of transition from one image-impression to another. It is possible to fully understand the composition of a lyrical work only by finding out the main thought and feeling expressed in it.
The most common three types of composition: simple, complicated, complex.
A simple composition is based, as they sometimes say, on the principle of a “string with beads”, that is, on “layering”, connecting individual episodes around one character, event or object. This method was developed back in folk tales. At the center of the story is one hero (Ivanushka the Fool). You need to catch the Firebird or win a beautiful maiden. Ivan hits the road. And all events “layer” around the hero. This is the composition, for example, of N. A. Nekrasov’s poem “Who Lives Well in Rus'.” The search for truth-seekers for the “happy” gives the poet the opportunity to show Rus' from different sides: both in breadth and depth, and at different times.
A complex composition also has a main character at the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. Connecting these storylines and forms the compositional basis of the work. This is the composition of “Eugene Onegin”, “Hero of Our Time”, “Fathers and Sons”, “The Golovlev Lords”. A complex composition is the most common type of composition of a work.
A complex composition is inherent in an epic novel (“War and Peace”, “Quiet Don”), and in a work such as “Crime and Punishment”. Many storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines here, which either develop in parallel, then intersect in their development, or merge. The complex composition includes both “layering” and retreats into the past - retrospection.
All three types of composition have a common element - the development of events, the actions of the characters in time. Thus, composition is the most important element of a work of art.
Often the main compositional device in a literary work is contrast, which allows the author’s intention to be realized. For example, L. N. Tolstoy’s story “After the Ball” is based on this compositional principle. The scenes of the ball (definitions with a positive emotional connotation predominate) and the execution scenes (the opposite stylistic connotations and verbs expressing action predominate) are contrasting. Tolstoy's contrasting technique is structural and ideologically and artistically decisive. The principle of opposition in the composition of M. Gorky’s story “Old Woman Izergil” (the individualist Larra and the humanist Danko) helps the author to embody his aesthetic ideal in the text of the work. The technique of contrast underlies the composition of M. Yu. Lermontov’s poem “How often, surrounded by a motley crowd...”. The poet’s pure and bright dream is contrasted with a deceitful society and images of soulless people.
Unique compositional techniques also include narration, which can be conducted on behalf of the author (“The Man in a Case” by A. P. Chekhov), on behalf of the hero, that is, in the first person (“The Enchanted Wanderer” by N. S. Leskov), on behalf of “folk storyteller” (“Who lives well in Rus'” by N. A. Nekrasov), on behalf of the lyrical hero (“I am the last poet of the village...” by S. A. Yesenin), and all these features also have their own author’s motivation.
The work may include various digressions, inserted episodes, detailed descriptions. Although these elements delay the development of the action, they allow us to draw the characters in a more multifaceted way, to more fully reveal the author’s intentions, and to express the idea more convincingly.
The narrative in a literary work can be constructed in chronological sequence (“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies of L. N. Tolstoy and M. Gorky, “Peter the Great” by A. N. . Tolstoy, etc.).
However, the composition of a work can be determined not by the sequence of events, not by biographical facts, but by the requirements of the logic of ideological and psychological characteristics the hero, thanks to which he appears before us with various facets of his worldview, character, and behavior. The purpose of breaking the chronology of events is to objectively, deeply, comprehensively and convincingly reveal the character and inner world hero (“Hero of Our Time” by M. Yu. Lermontov).
Of particular interest is this compositional feature literary work, as lyrical digressions that reflect the writer’s thoughts about life, his moral position, his ideals. In digressions, the artist addresses topical social and literary issues, they often contain characteristics of the characters, their actions and behavior, and assessments of the plot situations of the work. Lyrical digressions allow us to understand the image of the author himself, his spiritual world, dreams, his memories of the past and hopes for the future.
At the same time, they are closely related to the entire content of the work and expand the scope of the depicted reality.
Digressions that constitute the unique ideological and artistic originality of the work and reveal the features creative method writer, varied in form: from a brief passing comment to an extended argument. By their nature, these are theoretical generalizations, social and philosophical reflections, assessments of heroes, lyrical appeals, polemics with critics, fellow writers, appeals to their characters, to the reader, etc.
The themes of lyrical digressions in A. S. Pushkin’s novel “Eugene Onegin” are varied. Leading place Among them, a patriotic theme is occupied - for example, in the stanzas about Moscow and the Russian people (“Moscow... How much has merged in this sound for the Russian heart! How much has resonated in it!”), about the future of Russia, which the patriotic poet saw in the hum of transformations and rapid movement forward:
The Russian highway is here and here,
Having connected, they will cross,
Cast iron bridges over water
They step in a wide arc,
Let's move mountains, underwater
Let's dig through the daring vaults...
IN lyrical digressions the novel passes and philosophical theme. The author reflects on good and evil, eternity and transience human life, about the transition of a person from one phase of development to another, higher one, about egoism historical figures(“We all look at Napoleons...”) and the general historical destinies of humanity, about the law of natural change of generations on earth:
Alas! on the reins of life
Instant generational harvest
By the secret will of providence,
They rise, mature and fall;
Others are following them...
The author also speaks about the meaning of life, about ruined youth, when it passed “without a goal, without work”: the poet teaches youth a serious attitude towards life, evokes contempt for existence “in the inaction of leisure”, strives to infect with his tireless thirst for work, creativity, inspired labor that gives the right and hope for the grateful memory of descendants.
The artist’s literary and critical views were clearly and fully reflected in the lyrical digressions. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Naso. The author writes about Fonvizin, who satirically depicted the nobility of the 18th century, calls the playwright “a brave ruler of satire” and “a friend of freedom”, mentions Katenin, Shakhovsky, Baratynsky. In the digressions a picture is given literary life Russia at the beginning of the HEK century, the struggle of literary tastes is shown: the poet sneers at Kuchelbecker, who opposed elegies (“...everything in an elegy is insignificant; // Its empty purpose is pathetic...”) and called for writing odes (“Write odes, gentlemen” , “...the purpose of the ode is high // And noble...”). The third chapter contains an excellent description of the “moral” novel:
Your own syllable in an important mood,
Used to be a fiery creator
He showed us his hero
Like a sample of perfection.
Noting that significant influence, which Byron had on him (“...By the proud lyre of Albion // he is familiar to me, he is dear to me”), the poet ironically remarks about romanticism:
Lord Byron by a lucky whim
Cloaked in sad romanticism
And hopeless selfishness.
The author reflects on the realistic method artistic creativity(in “Excerpts from Onegin’s Journey”), defends a realistically precise language of poetry, advocates the liberation of language from superficial influences and trends, against the abuse of Slavicisms and foreign words, as well as against excessive correctness and dryness of speech:
Like rosy lips without a smile,
No grammatical error
I don't like Russian speech.
The author’s attitude towards characters and events is also expressed in lyrical digressions: more than once he speaks with sympathy or irony about Onegin, calls Tatyana a “sweet ideal”, speaks with love and regret about Lensky, condemns such a barbaric custom as a duel, etc. The digressions (mainly in chapter one) also reflected the author’s memories of his past youth: about theatrical meetings and impressions, about balls, the women he loved. The lines dedicated to Russian nature are imbued with a deep feeling of love for the Motherland.
Composition of a literary work. Basic aspects of composition.
Composition of the figurative system.
The system of images-characters of a work of art.
Composition of the plot and composition of extra-plot elements
1. Composition of a literary work. Basic aspects of composition.
Composition(from Latin compositio - composition, connection) - joining parts or components into a whole; structure of literary and artistic form. Composition- this is the composition and specific arrangement of parts, elements of a work in some significant sequence.
Composition is a combination of parts, but not these parts themselves; depending on what level (layer) of the artistic form we are talking about, they distinguish aspects of composition. This includes the arrangement of characters, the event (plot) connections of the work, the montage of details (psychological, portrait, landscape, etc.), and repetitions of symbolic details (forming motifs and leitmotifs), and the change in the flow of speech such forms as narration , description, dialogue, reasoning, as well as changing the subjects of speech, and dividing the text into parts (including frame and main text), and the dynamics of speech style and much more.
The aspects of composition are varied. At the same time, the approach to a work as an aesthetic object allows us to identify in its composition artistic form at least two layers and, accordingly, two compositions combining components that are different in nature, – textual And subject (figurative). Sometimes in the first case they talk about the outer layer of the composition (or “external composition”), in the second – about the internal one.
Perhaps in nothing is the difference between objective and textual composition so clearly manifested as in the application to them of the concepts of “beginning” and “end”, otherwise “frame” (frame, frame components). Framework components are title, subtitle, Sometimes - epigraph, dedication, preface, Always - First line, first and last paragraphs.
In modern literary criticism, apparently, the term that came from linguistics has taken root: strong text position"(it, in particular, applies to titles, the first line, the first paragraph, the ending).
Researchers are paying increased attention to the frame components of the text, in particular, to its absolute beginning, which is structurally highlighted, creating a certain horizon of expectation. For example: A.S. Pushkin. Captain's daughter. Next is the epigraph: “ Take care of honor from a young age" Or: N.V. Gogol. Inspector. Comedy in five acts. Epigraph: " There is no point in blaming the mirror if your face is crooked. Popular proverb" Followed by " Characters"(traditional drama component side text), « Characters and costumes. Notes for gentlemen actors"(for understanding the author's concept, the role of this metatext is very important).
Compared to epic and dramatic works, lyric poetry is more modest in the design of the “entrance” to the text: often there is no title at all, and the name of the text gives it First line, which simultaneously introduces the rhythm of the poem (therefore it cannot be abbreviated in the table of contents).
Parts of the text have their own frame components, which also form relative unities. Epic works can be divided into volumes, books, parts, chapters, sub-chapters, etc. Their names will form their own expressive text (a component of the work’s frame).
In drama, it is usually divided into acts (actions), scenes (pictures), and phenomena (in modern plays, division into phenomena is rare). The entire text is clearly divided into character (main) and author's (side) text, which includes, in addition to the title component, various kinds of stage directions: description of the place, time of action, etc. at the beginning of acts and scenes, designation of speakers, stage directions, etc.
Parts of the text in lyrics (and in poetic speech in general) are verses, stanzas. The thesis about the “unity and closeness of the verse series” put forward by Yu.N. Tynyanov in his book “Problems of Poetic Language” (1924) allows us to consider a verse (usually written as a separate line) by analogy with larger unities, parts of the text. One can even say that the function of frame components in verse is performed by anacrusis and clause, often enriched with rhyme and noticeable as the boundary of the verse in case of transfer.
In all types of literature, individual works can form cycles. The sequence of texts within a cycle (book of poetry) usually gives rise to interpretations in which the arguments are the arrangement of characters, a similar structure of plots, characteristic associations of images (in the free composition of lyrical poems), and other - spatial and temporal - connections of the objective worlds of the work.
So there is text components And components of the objective world works. To successfully analyze the overall composition of a work, it is necessary to trace their interaction, often very intense. The composition of the text is always “overlaid” in the reader’s perception on the deep, substantive structure of the work and interacts with it; It is thanks to this interaction that certain techniques are read as signs of the author’s presence in the text.
Considering the subject composition, it should be noted that its first function is to “hold” the elements of the whole, to make it from separate parts; Without a thoughtful and meaningful composition, it is impossible to create a full-fledged work of art. The second function of the composition is to express some artistic sense.
Before you begin to analyze the subject composition, you should familiarize yourself with the most important compositional techniques. The main ones among them can be identified: repetition, reinforcement, contrast and montage(Esin A.B. Principles and techniques for analyzing a literary work - M., 1999, pp. 128 - 131).
Repeat– one of the simplest and at the same time most effective composition techniques. It allows you to easily and naturally “round out” the work and give it compositional harmony. The so-called ring composition looks especially impressive when a “roll call” is established between the beginning and end of the work.
A frequently repeated detail or image becomes the leitmotif (leading motive) of the work. For example, the motif of the cherry orchard runs through the entire play by A.P. Chekhov as a symbol of Home, the beauty and sustainability of life, its bright beginning. In the play by A.N. Ostrovsky's leitmotif becomes the image of a thunderstorm. In poems, a type of repetition is a refrain (repetition of individual lines).
A technique close to repetition is gain. This technique is used in cases where simple repetition is not enough to create an artistic effect, when it is necessary to enhance the impression by selecting homogeneous images or details. Thus, according to the principle of amplification, the description of the interior decoration of Sobakevich’s house in “Dead Souls” by N.V. is constructed. Gogol: every new detail strengthens the previous one: “everything was solid, awkward in of the highest degree and bore some strange resemblance to the owner of the house; in the corner of the living room stood a pot-bellied walnut bureau on the most absurd four legs, a perfect bear. The table, armchairs, chairs - everything was of the heaviest and most restless quality - in a word, every object, every chair seemed to say: “And I, too, Sobakevich!” or “and I’m very similar to Sobakevich!”
The selection of artistic images in A.P.’s story operates according to the same principle of intensification. Chekhov’s “The Man in a Case”, used to describe the main character - Belikov: “He was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella and certainly in a warm coat with cotton wool. And he had an umbrella in a case made of gray suede, and when he took out his penknife to sharpen a pencil, his knife was also in a case; and his face, it seemed, was also in a case, since he kept hiding it in his raised collar.”
The opposite of repetition and reinforcement is opposition – compositional technique, based on antithesis. For example, in the poem by M.Yu. Lermontov’s “Death of a Poet”: “And you will not wash away the righteous blood of the poet with all your black blood.”
IN in a broad sense The word opposition is any opposition of images, for example, Onegin and Lensky, Bazarov and Pavel Petrovich Kirsanov, images of storm and peace in the poem by M.Yu. Lermontov “Sail”, etc.
Contamination, the combination of repetition and contrast techniques, gives a special compositional effect: the so-called “mirror composition”. As a rule, with a mirror composition, the initial and final images are repeated exactly the opposite. A classic example of a mirror composition is the novel by A.S. Pushkin’s “Eugene Onegin”, It seems to repeat the situation already depicted earlier, only with a change in position: at first Tatyana is in love with Onegin, writes him a letter and listens to his cold rebuke. At the end of the work, it’s the other way around: Onegin in love writes a letter and listens to Tatyana’s answer.
The essence of the technique installation, lies in the fact that images located side by side in the work give rise to a certain new, third meaning, which appears precisely from their proximity. So, for example, in the story of A.P. Chekhov's "Ionych" description of the "art salon" of Vera Iosifovna Turkina is adjacent to the mention that from the kitchen the clanking of knives could be heard and the smell of fried onions could be heard. Together, these two details create that atmosphere of vulgarity, which A.P. tried to reproduce in the story. Chekhov.
All compositional techniques can perform two functions in the composition of a work, slightly different from each other: they can organize either a separate small fragment of text (at the micro level) or the entire text (at the macro level), becoming in the latter case principle of composition.
For example, the most common method of microstructure of a poetic text is sound repetition at the end of poetic lines - rhyme.
In the above examples from the works of N.V. Gogol and A.P. Chekhov’s technique of amplification organizes individual fragments of texts, and in the poem by A.S. Pushkin's "Prophet" becomes the general principle of organization of the entire artistic whole.
In the same way, montage can become a compositional principle of organization of the entire work (this can be observed in A.S. Pushkin’s tragedy “Boris Godunov”, in the novel “The Master and Margarita” by M.A. Bulgakov).
Thus, one should distinguish between repetition, contrast, intensification and montage as compositional techniques themselves and as a principle of composition.
Composition (Latin Compositio - composition, combination, creation, construction) is the plan of a work, the relationship of its parts, the relationship of images, paintings, episodes. A work of fiction should have as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author’s explanation, could understand what was happening from the conversations, actions, and actions of the characters.
An essential quality of a composition is accessibility. A work of art should not contain unnecessary pictures, scenes, or episodes. L. Tolstoy compared a work of art to a living organism. “In a real work of art - poetry, drama, painting, song, symphony - you cannot take one verse, one bar out of its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if you take it out one organ from its place and insert into another "." According to K. Fedin, composition is “the logic of the development of the theme. When reading a work of art, we must feel where, at what time, the hero lives, where the center of events is, which of them.” the most important and which ones are less important.
A prerequisite for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. A writer must depict the world using as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of a writer is found in the mastery of composition of a work of art.
There are two types of composition - event-plot and non-story, non-story or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has hourly space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).
V. Lesik notes that the essence of the chronological form of an event composition “lies in the fact that events... go one after another in chronological order - the way they happened in life. There may be temporary distances between individual actions or pictures, but there is no violation natural sequence in time: what happened earlier in life, and in the work, is presented earlier, and not after subsequent events. Therefore, there is no arbitrary movement of events, no violation of the direct movement of time."
The peculiarity of a retrospective composition is that the writer does not adhere to a chronological sequence. The author can talk about the motives, reasons for events, actions after they have been carried out. The sequence in the presentation of events may be interrupted by the memories of the characters.
The essence of the free (montage) form of event composition is associated with violations of cause-and-effect and spatial relationships between events. The connection between episodes is often associative-emotional rather than logical-semantic in nature. The montage composition is typical of 20th century literature. This type of composition was used in Yu. Japanese's novel "Riders". Here the storylines are connected at the associative level.
A variation of the event type of composition is event-narrative. Its essence lies in the fact that the same event is told by the author, narrator, storyteller, and characters. The event-narrative form of the composition is characteristic of lyrical-epic works.
The descriptive type of composition is typical for lyrical works. “The basis for the construction of a lyrical work,” notes V. Lesik, “is not the system or development of events..., but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensory image to another "." Lyrical works describe the impressions, feelings, experiences of the lyrical hero.
Yu. Kuznetsov in the “Literary Encyclopedia” distinguishes plot-closed and open composition. The plot is closed, characteristic of folklore, works of ancient and classic literature (threefold repetitions, happy endings in fairy tales, alternation of choir performances and episodes in ancient Greek tragedy). “The plot composition is open,” notes Yu. Kuznetsov, “devoid of a clear outline, proportions, flexible, taking into account the genre-style opposition that arises in the specific historical conditions of the literary process. In particular, in sentimentalism (Sternivska composition) and in romanticism, when open works became a negation of the closed, classicistic... ".
What does the composition depend on, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landowners. First, he wrote a story called “Chipka,” in which he showed the conditions for the formation of the hero’s character. Subsequently, the writer expanded the concept of the work, demanding a complex composition, and this is how the novel “Do oxen roar when the manger is full?” appeared.
Features of the composition are determined literary direction Classicists demanded three unities from dramatic works (unity of place, time and action). Events in a dramatic work were supposed to take place over the course of a day, grouped around one hero. The Romantics portrayed exceptional characters in exceptional circumstances. Nature was often shown during natural disasters (storms, floods, thunderstorms); they often occurred in India, Africa, the Caucasus, and the East.
The composition of a work is determined by its genus, type and genre; lyrical works are based on the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:
a) the initial moment (observation, impressions, thoughts or state that became the impetus for the development of feelings);
b) development of feelings;
c) climax (the highest tension in the development of feelings);
In the poem by V. Simonenko “Swans of Motherhood”:
a) the starting point is to sing a lullaby to your son;
b) development of feelings - the mother dreams about the fate of her son, how he will grow up, go on a journey, meet friends, his wife;
c) climax - the mother’s opinion about the possible death of her son in a foreign land;
d) summary - You don’t choose your homeland; what makes a person is love for their native land.
Russian literary critic V. Zhirmunsky identifies seven types of composition of lyrical works: anaphoristic, amoebaic, epiphoristic, refrain, ring, spiral, junction (epanastrophe, epanadiplosis), pointe.
Anaphoristic composition is typical for works that use anaphora.
You have renounced your native language. You
Your land will stop giving birth,
Green branch in a pocket on a willow tree,
It fades at your touch.
You have renounced your native language. Zaros
Your path disappeared into a nameless potion...
You don't have tears at funerals,
You don't have a song at your wedding.
(D. Pavlychko)
V. Zhirmunsky considers anaphor to be an indispensable component of amoebaic composition, but in many works it is absent. Characterizing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, “but in the identity of the syntactic structure, replica or counter-replica of two interlocutors, or in a certain pattern of roll call of two choirs." "I. Kachurovsky finds an illustration of the amoebaic composition in the work of the German romantic Ludwig Uland:
Have you seen the tall castle,
A castle over the sea shire?
The clouds float quietly
Pink and gold above it.
Into the mirror-like, peaceful waters
He would like to bow down
And rise into the evening clouds
Into their radiant ruby.
I saw a tall castle
Castle over the sea world.
Hail the deep fog
And a month stood over him.
(Translation by Michael Orestes)
The amoebaine composition is most common in the tenzons and pastorals of the troubadours.
Epiphoristic composition is characteristic of poems with epiphoristic endings.
Breaks, kinks and fractures...
They broke our spine in circles.
Understand, my brother, finally:
Before heart attacks
We had them - don’t touch them!
Heart attacks of souls... heart attacks of souls!
There were ulcers, like infections,
There were images to the point of disgust -
This is disgusting, my brother.
So leave it, go and don’t touch it.
We all have crazy minds:
Heart attacks of souls... heart attacks of souls!
In this bed, in this bed
In this scream to the ceiling,
Oh, don't touch us, my brother,
Don't touch paralytics!
We all have crazy minds:
Heart attacks of souls... heart attacks of souls!
(Yu. Shkrobinets)
A refrain composition consists of the repetition of a group of words or lines.
How quickly everything in life goes by.
And happiness will only flicker with its wing -
And he's no longer here...
How quickly everything in life goes by,
Is this our fault? -
It's all the metronome's fault.
How quickly everything in life goes by...
And happiness will only flicker with its wing.
(Lyudmila Rzhegak)
I. Kachurovsky considers the term “ring” to be unfortunate. “Where better,” he notes, “is a cyclic composition. The scientific name of this remedy is anadiplosis composition. Moreover, in cases where anadiplosis is limited to any one stanza, this refers not to composition, but to stylistics.” Anadiplosis as a compositional means can be complete or partial, when part of a stanza is repeated, when the same words are in a changed order, when some of them are replaced by synonyms. The following options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.
Evening sun, thank you for the day!
Evening sun, thank you for being tired.
The forests are silent, enlightened
Eden and cornflower in golden rye.
For your dawn, and for my zenith,
and for my burnt zeniths.
Because tomorrow wants greens,
For what oddzvenity managed to do yesterday.
Heaven in the sky, for children's laughter.
For what I can and for what I must,
Evening sun, thank you all,
who did not defile the soul in any way.
For the fact that tomorrow awaits its inspiration.
That somewhere in the world blood has not yet been shed.
Evening sun, thank you for the day,
For this need, words are like prayers.
(P. Kostenko)
The spiral composition creates either a “chain” stanza (terzina), or stropho-genres (rondo, rondel, triolet), i.e. acquires stanza-creative and genre characteristics.
I. Kachurovsky considers the name of the seventh type of composition indecent. A more acceptable name, in his opinion, is epanastrophe, epanadiplosis. A work where the repetition of rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik’s poem “Kanev”. Each twelve-Shova stanza of the poem consists of three quatrains with rhymes that move from quatrain to quatrain, the last verse of each of these twelve verses rhymes with the first poem as follows:
And the time and fatness will begin in their homes
Electricity: and the newspaper rustled
Where once the prophet and poet
The great spirit behind the darkness has dried up
And will be reborn in millions of masses,
And not only from the portrait,
The competition of immortals is a symbol and sign,
Apostle of truth, peasant Taras.
And since my dozen phrases
In the boring collection of an anchorite,
As the times to come show off,
On the shores lies indifferent Lethe...
And the days will become like the lines of a sonnet,
Perfect...
The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. This could be an unexpected turn of thought or a conclusion from the entire previous text. The means of pointe composition is used in the sonnet, the last poem of which should be the quintessence of the work.
Exploring lyrical and lyrical-epic works, I. Kachurovsky found three more types of composition: simplocial, gradational and main.
I. Kachurovsky calls a composition in the form of a simplocal simplocial.
Tomorrow on earth
Other people walking
Other people love -
Kind, affectionate and evil.
(V. Simonenko)
Gradational composition with such types as descending climax, growing climax, broken climax is quite common in poetry.
The gradation composition was used by V. Misik in the poem “Modernity”.
Yes, perhaps, even during Boyan’s time
It's spring time
And the rains fell on the youth,
And the clouds moved in from Tarashche,
And the hawks flew over the horizon,
And the cymbals echoed loudly,
And in Prolis the cymbals are blue
We peered into the heavenly strange clarity.
Everything is as it was then. Where is it, modernity?
It is in the main thing: in you.
The main composition is typical for wreaths of sonnets and folk poetry. IN epic works tells about the lives of people over a period of time. In novels and stories, events and characters are revealed in detail and comprehensively.
Such works may have several storylines. In small works (stories, novellas), there are few plot lines, few characters, situations and circumstances are depicted succinctly.
Dramatic works are written in the form of dialogue, they are based on action, they are small in size, because most of them are intended to be staged. IN dramatic works there are stage directions that perform a service function - they give an idea of the scene of the action, characters, advice to artists, but are not included in the artistic fabric of the work.
The composition of a work of art also depends on the characteristics of the artist’s talent. Panas Mirny used complex plots and digressions of a historical nature. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws detailed portraits of heroes and nature. Let's remember "Kaidashev's family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves and accumulates tragic episodes.
The composition of the works is influenced by folklore traditions. The fables of Aesop, Phaedrus, Lafontaine, Krylov, Glebov “The Wolf and the Lamb” are based on the same folklore plot, and after the plot there is a moral. In Aesop's fable it sounds like this: “The fable proves that even a just defense has no power for those who undertake to do injustice.” Phaedrus ends the fable with the words: “This tale was written about people who seek to destroy the innocent by deception.” The fable “The Wolf and the Lamb” by L. Glebov begins, on the contrary, with a moral:
It has been going on in the world for a long time,
The lower he bends before the highest,
And more than a smaller party and even beats
STYLE DOMINANTS
There are always some points in the text of a work at which the style “comes out.” Such points serve as a kind of stylistic “tuning fork”, tuning the reader to a certain “aesthetic wave”... Style is presented as “a certain surface on which a unique trace has been identified, a form that by its structure reveals the presence of one guiding force.” (P.V. Palievsky)
Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, all techniques and elements must be subordinated to them, the dominants.
Style dominants- This:
Plot, descriptiveness and psychologism,
Conventionality and life-likeness,
Monologism and heteroglossia,
Verse and prose,
Nominativity and rhetoric,
- simple and complex types of composition.
COMPOSITION -(from Latin compositio - composition, binding)
The construction of a work of art, determined by its content, character, purpose and largely determining its perception.
Composition is the most important organizing element of an artistic form, giving the work unity and integrity, subordinating its components to each other and to the whole.
IN fiction composition is a motivated arrangement of components of a literary work.
A component (UNIT OF COMPOSITION) is considered to be a “segment” of a work in which one method of depiction (characterization, dialogue, etc.) or a single point of view (of the author, narrator, one of the characters) on what is depicted is preserved.
The relative position and interaction of these “segments” form the compositional unity of the work.
Composition is often identified with both the plot, the system of images, and the structure of a work of art.
In the very general view There are two types of composition - simple and complex.
SIMPLE (linear) composition comes down only to combining parts of a work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.
For a COMPLEX (transformational) composition the order of combination of parts reflects a special artistic meaning.
For example, the author begins not with exposition, but with some fragment of the climax or even the denouement. Or the narrative is conducted as if in two times - the hero “now” and the hero “in the past” (remembers some events that highlight what is happening now). Or a double hero is introduced - from a completely different galaxy - and the author plays on the comparison/contrast of episodes.
In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.
DIFFERENT ASPECTS OF THE COMPOSITION:
external composition
character system changing points of view,
parts system,
plot and plot
conflict artistic speech,
extra plot elements
COMPOSITION FORMS:
narration
description
characteristic.
COMPOSITE FORMS AND MEANS:
repetition, reinforcement, contrast, montage
comparison,
"close-up" plan, "general" plan,
point of view,
temporary organization of the text.
REFERENCE POINTS OF THE COMPOSITION:
climax, denouement,
strong positions of the text,
repetitions, contrasts,
twists and turns in the hero's fate,
spectacular artistic techniques and means.
The points of greatest reader tension are called REFERENCE POINTS OF THE COMPOSITION. These are peculiar landmarks that guide the reader through the text, and it is in them that the ideological issues works.<…>they are the key to understanding the logic of composition and, accordingly, the entire internal logic of the work as a whole .
STRONG TEXT POSITIONS:
These include formally identified parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).
MAIN TYPES OF COMPOSITION:
ring, mirror, linear, default, flashback, free, open, etc.
PLOT ELEMENTS:
exposition, plot
action development
(vicissitudes)
climax, denouement, epilogue
EXTRA-PLOT ELEMENTS
description (landscape, portrait, interior),
insert episodes.
Ticket number 26
1.Poetic vocabulary
2. Epicness, drama and lyricism of a work of art.
3. The volume and content of the style of the work.
Poetic vocabulary
P.l.- one of the most important aspects literary text; subject of study in a special branch of literary criticism. The study of the lexical composition of a poetic (i.e. artistic) work involves correlating the vocabulary used in a separate sample artistic speech any writer, with commonly used vocabulary, that is, used by the writer’s contemporaries in various everyday situations. The speech of society that existed in the historical period to which the work of the author of the analyzed work belongs is perceived as a certain norm, and therefore is recognized as “natural”. The purpose of the study is to describe the facts of deviation of individual author's speech from the norms of “natural” speech. The study of the lexical composition of the writer’s speech (the so-called “writer’s dictionary”) turns out to be a special type of such stylistic analysis. When studying the “writer’s dictionary”, attention is paid to two types of deviations from “natural” speech: the use of lexical elements that are rarely used in “natural” everyday circumstances, i.e. “passive” vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargons (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The author’s introduction of words from one and the other group into the text determines the imagery of the work, and therefore its artistry.
(everyday vocabulary, business vocabulary, poetic vocabulary and so on.)
Poetic vocabulary. The archaic vocabulary includes historicisms and archaisms. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussars, food tax, NEP, October child (a child of primary school age preparing to join the pioneers), NKVD officer (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc. .P.). Historicisms can be associated both with very distant eras and with events of relatively recent times, which, however, have already become facts of history (Soviet power, party activists, general secretary, Politburo). Historicisms do not have synonyms among the words of the active vocabulary, being the only names of the corresponding concepts.
Archaisms are names of existing things and phenomena, for some reason supplanted by other words belonging to the active vocabulary (cf.: every day - always, comedian - actor, zlato - gold, know - know).
Obsolete words are heterogeneous in origin: among them there are original Russian (full, shelom), Old Slavonic (glad, kiss, shrine), borrowed from other languages (abshid - “retirement”, voyage - “travel”).
Of particular interest stylistically are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms were assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also Old Church Slavonic words that modern language are perceived as an echo of high style and retain its characteristic solemn, rhetorical coloring.
History is similar to the fate of Slavicisms in Russian literature poetic vocabulary, associated with ancient symbolism and imagery (so-called poetism). Names of gods and heroes of Greek and Roman mythology, special poetic symbols (lyre, ellisium, Parnassus, laurels, myrtles), artistic images ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavicisms, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already among the successors of A.S. Pushkin's poetisms are archaized. Writers often turn to outdated words as an expressive means of artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily incomplete vowels, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the basis of “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air. - Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:
“The land of Ottich and Dedich are those banks of deep rivers and forest glades where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined many things - difficult and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipus, and the Terrible Tsar, who pushed apart the united, henceforth indestructible , the limits of the earth from Siberia to the Varangian Sea...".
Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Church Slavonic vocabulary played this role back in ancient Russian literature. In poetic speech of the 19th century. Old Russianisms, which also began to be used to create the pathos of artistic speech, became stylistically equal with the high Old Slavonic vocabulary. The high, solemn sound of outdated words is also appreciated by writers of the 20th century. During the years of the Great Patriotic War I.G. Ehrenburg wrote: “By repelling the blows of predatory Germany, it (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which goodness will shine. Our people showed their military virtues..."
Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an understanding, balanced child who grasps everything literally on the fly. But attempts to turn your child into a “miracle” tragically often end in failure (from the gas). The ironic rethinking of outdated words is often facilitated by the parodic use of elements of high style. In a parody-ironic function, outdated words often appear in feuilletons, pamphlets, and humorous notes. Let us cite an example from a newspaper publication during the preparation for the day the president took office (August 1996).
Conventionally, two types of composition can be distinguished: simple and complex. In the first case, the role of composition is reduced to combining the substantive elements of the work into a single whole without highlighting particularly important ones. key scenes, subject details, artistic images. In the field of plot, this is a direct chronological sequence of events, one and the use of a traditional compositional scheme: exposition, plot, development of action, climax, denouement. However, this type practically does not occur, but is only a compositional “formula”, which the authors fill with rich content, moving on to a complex composition. The ring one belongs to the complex type. The purpose of this type of composition is to embody a special artistic meaning, using an unusual order and combination of elements, parts of the work, supporting details, symbols, images, and means of expression. In this case, the concept of composition approaches the concept of structure; it becomes the stylistic dominant of the work and determines its artistic originality. The ring composition is based on the principle of framing, the repetition at the end of the work of some elements of its beginning. Depending on the type of repetition at the end of a line, stanza, or work as a whole, the sound, lexical, syntactic, and semantic ring is determined. The sound ring is characterized by the repetition of individual sounds at the end of a poetic line or stanza and is a type of sound writing technique. “Don’t sing, beauty, in front of me...” (A.S. Pushkin) The lexical ring is at the end of a poetic line or stanza. “I will give you a shawl from Khorasan / And I will give you a Shiraz carpet.” (S.A. Yesenin) A syntactic ring is a repetition of a phrase or whole at the end of a poetic stanza. “You are my Shagane, Shagane! / Because I’m from the north, or something, / I’m ready to tell you about the field, / About the wavy rye under the moon. / You are my Shagane, Shagane.” (S.A. Yesenin) The semantic ring is found most often in works and prose, helping to highlight the key artistic image, scenes, “closing” the author and reinforcing the impression of the closed circle of life. For example, in the story by I.A. Bunin's "Mr. from San Francisco" again describes the famous "Atlantis" in the finale? a ship returning to America the body of a hero who died of a heart attack, who once went on a cruise on it. The ring composition not only gives the story completeness and harmony in the proportionality of the parts, but also seems to expand the boundaries of the picture created in the work in accordance with the author's intention. Do not confuse ring with mirror, which is also based on the repetition technique. But the main thing in it is not the principle of framing, but the principle of “reflection”, i.e. the beginning and end of the work in contrast. For example, elements of a mirror composition are found in M. Gorky’s play “At the Depths” (Luke’s parable about the righteous woman and the scene of the Actor’s suicide).
Related article
Composition (from Latin compositio - composition, linking, addition) is the combination of different parts into a single whole. In our life this term comes up quite often, so in various fields activity value changes slightly.
Instructions
Reasoning. Reasoning is usually based on the same algorithm. First, the author puts forward a thesis. Then he proves it, expresses an opinion for, against, or both, and at the end draws a conclusion. Reasoning requires a mandatory logical development of thought, always moving from thesis to and from argument to conclusion. Otherwise the reasoning simply doesn't work. This type speeches often used in artistic and journalistic styles speeches.
Video on the topic
The parable has attracted people's attention since ancient times. Small stories containing wisdom were passed down from generation to generation. While maintaining clarity of presentation, parables invited people to think about the true meaning of life.
Instructions
The parable in its main features is very similar to. The terms “” and “fable” were used based not so much on genre differences, but on the stylistic significance of these words. A parable is of a higher “level” than a fable, which often has a too ordinary and mundane meaning.
Parables, like fables, were allegorical in nature. They emphasized the moral and religious direction. At the same time, the nature and characters of people were given generalized and schematic features. Parables are literary works for which the name “fable” simply did not fit. In addition, fables had a complete plot, which the parable often lacked.
In Russian, the term “parable” is most commonly used to biblical stories. In the 10th century BC BC, according to the Bible, the king of the Israeli kingdom of Judah, Solomon, gave birth to the parables that are included in the Old Testament. At their core, they are sayings of a moral and religious nature. Later, parables appeared in the form of stories with deep meaning and moral sayings for a clearer understanding of the essence. Such works include the parables included in the Gospel, as well as numerous other works of this genre, written over several centuries.
A parable is an interesting instructive story. She has one feature that attracts the reader’s attention and characterizes her very accurately. The truth in it never “lies on the surface.” It opens in the desired angle, because... People are all different and at different stages of development. The meaning of the parable is understood not only by the mind, but also by the feelings, by the whole being.
At the turn of the 19th - 20th centuries. The parable more than once adorned the works of writers of that time. Its stylistic features made it possible not only to diversify the descriptiveness of fiction, the depiction of the characters of the heroes of the works and plot dynamics, but also to attract the reader’s attention to the moral and ethical content of the works. L. Tolstoy turned to the parable more than once. With its help, Kafka, Marcel, Sartre, Camus expressed their philosophical and moral beliefs. The parable genre still arouses undoubted interest among both readers and modern writers.
Video on the topic
Related article
preposition For example: " high mountain", "walk in a circle", "high", "circling in the sky."In a phrase, one word is the main word, and the second is dependent. The connection in a phrase is always subordinate. Words are related in meaning and syntactically. Any independent part of speech can be either a main or a dependent word.
Independent parts of speech in Russian are nouns, adjectives, pronouns, numerals, verbs, gerunds and adverbs. The remaining parts of speech - prepositions, conjunctions, particles - are auxiliary.
From the main word you can ask a question to the dependent: “how to fly?” - high"; “What mountain? – high"; “Circle where? - in the sky".
If you change the form of the main word in a phrase, for example, case, gender or number of nouns, this can affect the dependent word.
Three types of syntactic connections in phrases
In total, there are three types of syntactic connections in phrases: agreement, control and adjacency.
When the dependent word changes along with the main word in gender, case and number, we are talking about agreement. The connection is called “coordination” because the parts of speech in it are completely consistent. This is typical for combinations of a noun with an adjective, an ordinal number, a participle, and some: “big house,” “first day,” “laughing man,” “what a century,” and so on. At the same time, it is a noun.
If the dependent word does not agree with the main word according to the above criteria, then we are talking about either control or adjacency.
When the case of the dependent word is determined by the main word, it is control. However, if you change the form of the main word, the dependent word will not change. This type of connection is often found in combinations of verbs and nouns, where the main word is the verb: “stop”, “leave the house”, “break a leg”.
When words are connected only by meaning, and the main word does not in any way affect the form of the dependent word, we are talking about adjacency. This is how adverbs and verbs are often combined with adverbs, and the dependent words are adverbs. For example: “speak quietly”, “terribly stupid”.
Syntactic connections in sentences
Typically, when it comes to syntactic relationships, you are dealing with phrases. But sometimes you need to determine the syntactic relationship in . Then you will need to choose between composing (also called a "coordinating connection") or subordinating ("subordinating connection").
IN coordinating connection the proposals are independent of each other. If you put a dot between them, then the general meaning will not change. Such sentences are usually separated by conjunctions “and”, “a”, “but”.
IN subordinating connection It is impossible to split a sentence into two independent ones, since the meaning of the text will suffer. The subordinate clause is preceded by the conjunctions “that”, “what”, “when”, “how”, “where”, “why”, “why”, “how”, “who”, “which”, “which” and others : “When she entered the hall, it had already begun.” But sometimes there is no union: “He didn’t know whether they were telling him the truth or lying.”
The main clause can appear either at the beginning of a complex sentence or at its end.