Instructions

Determine the boundaries of the episode being analyzed. Sometimes it is already determined by the structure of the work (for example, a chapter in prose work, phenomenon - dramatic). But more often it is necessary to delimit the episode using information about the place, time of action and the participation of the characters in the work. Title the episode.

Name the characters of the work participating in the episode. Explain who they are, what place they occupy in the system of images (main, title, extra-plot). Find within the episode quotation material related to the portrait and speech characteristics of the characters, expressing the author’s assessment of the characters and their actions. Tell us about your personal relationship to the characters.

Formulate the problem posed by the author in the episode. To do this, first determine the topic of the fragment (about what?), and then the conflict (between characters, the internal conflict of one character). Observe how the relations between the participants in this conflict develop, what goals they pursue and how to achieve them. Pay attention to whether the episode shows the result of their actions and what it is.

Consider the compositional structure of the episode: beginning, development of action, ending. Determine how the episode is connected to the subsequent piece of text. Find out whether the tension between the characters in the episode increases or whether the emotional background remains smooth and unchanged.

Define the role of support artistic techniques: lyrical digressions, descriptions of nature, figurative parallelism, etc.

Analyze the plot, figurative and ideological connection of the episode with other scenes, determine its place in the context of the work.

Analysis works– the process is synthetic. It is necessary to record your feelings and at the same time subordinate their presentation to strict logic. In addition, you will need to break down the poem or story into its component parts without ceasing to perceive it as a whole. An analysis plan will help you cope with these tasks. works.

Instructions

When starting to analyze any artistic works, collect information about the time and conditions of its creation. This applies to social and political events of that time, as well as the stage of development in general. Mention how the book was received by readers and critics of the era.

Regardless of type works it is necessary to determine its topic. This is the subject of the story. Also formulate the main problem that the author is considering - a question or situation that does not have a clear solution. In the context of one topic, several problems can be considered in a work.

Analyze the content and form of the book. If in front of you poetic work, stop at the image of the lyrical hero. Tell us how it is created and described, what thoughts and feelings it expresses. Guess how far this is from the real, biographical author. Pay attention to the form works. Determine what size it is written in, what rhyme and rhythm the author uses, and for what purpose. Describe the tropes and figures found in the text and give names for each.

If you are analyzing an epic work, after identifying the themes and issues, name all storylines which are in the book. Then for each of them write down plot outline(exposition, plot, development of action, climax, denouement).

Speaking of composition, pay attention to how all the parts are arranged works whether they are accompanied by the author’s reasoning (lyrical digressions), additional images and paintings, insertions of additional plots (“in the story”).

Describe the images of the main characters works, look at how they interact, how conflicts develop.

Next, determine the literary direction to which the book belongs and the genre works. Name the signs that indicate this. If the author somewhat violated the “canons”, tell us how and why he did it.

The ability to analyze a work of fiction is an indicator of reading culture. In this case, it is necessary to distinguish between academic analysis and reader analysis. In order to perceive the work not in the format of the educational process, you should try to delve not so much into the ideological and artistic originality, but into the motivation of the characters’ actions.

Instructions

While reading work of art it is necessary to identify the main characters, define the role minor characters and try to understand what role they are called upon to play in the fate of the main characters. It is necessary to highlight the author’s position on the characters and what is happening - this is not difficult. The author's attitude can be expressed in a certain emotional coloring of the description; sometimes the author acts as a full-fledged character. A classic example of the author's presence is “Eugene Onegin”.

When assessing the actions of the heroes of a work, it is necessary to start from the idea that this is a work of art and analyze the actions of the hero as a real person. Studying the “image of Pechorin,” a girl can ask herself a question: would she marry him if such an opportunity presented itself? The answer to this question will reveal the positive and negative aspects of the hero’s personality. With this approach to assessing a character’s personality, contradictions may arise with the traditional literary interpretation of the work, but this is a real opportunity to apply the skills of psychological analysis in reality.

When analyzing the storyline, it is interesting to fantasize and imagine the lives of the characters before they appeared on stage. Alexander Andreich Chatsky is traditionally considered a positive hero, not understood by “Famus society.” But if the released episodes are restored, the question of its “positivity” will be called into question. The hero was brought up in the Famusov family, was friends with Sophia, and then disappeared to an unknown location for several years. The play “Woe from Wit” begins with his return, and what does the reader see? Smart man begins to impose his vision of the world, demand an immediate revision of the key positions of Famus society, and most importantly, demands former love from Sophia and considers himself sincerely offended by not receiving a response. Is it possible that it was Chatsky’s incomprehensible absence that killed Sophia’s love?

The level of perception of a work of art is not limited to its analysis. We can talk about full perception if the reader can identify himself with the characters of the work, and this means through the prism own experience, modeling the situation and finding solutions to problems. It would be interesting to try to continue the work. How could it have turned out further fate heroes? What would have happened to the characters if it had not happened, then, author? How would the heroes behave based on the characteristics that were identified during the analysis? What would have happened if Karandyshev had not killed Larisa, but only wounded her? Answers to such questions not only expand the understanding of the work, but also refer to the study of additional sources. Here we can already talk about the influence of reading culture on the general culture of the individual.

Video on the topic

Complete work analysis plan

1. History of creation (time of writing; how the writer worked on the work).

2. Direction, gender and genre.

3. Subjects and issues (main topics and problems).

4. Idea and pathos (ideological and emotional assessment).

5. The main characters (their place in the figurative system). In a lyric poem: the image of a lyrical hero.

6. Plot and composition.

7. Artistic originality:

portrait;

- scenery;

- artistic details;

- means of poetic expression (tropes);

- features of the language of the work;

- features of poetic syntax;

- features of phonetic organization (sound writing).

8. For lyric poems:

- poetic meter;

- features of rhyme;

- stanza.

9. Meaning of the work:

- place of work Vthe writer's work;

- value in literary life eras;

- significance for subsequent eras;

- relationships with the works of the same author and other writers.

When working on works according to this plan, pay special attention to those questions that are important not only for preparing material for the essay (task C5), but also for answering tasks in parts B and C1-C4. From this point of view, it is important not only to note the direction within which a particular work was created, its genre, to highlight the features of the composition and key moments of plot development, to give a brief description of the main characters, ideological and thematic content and to consider the issue of the author’s assessment of what is depicted, but and give examples of relationships in various aspects with the works of other writers. Indeed, in tasks C2 and C4 the question about the literary context is included as mandatory. It is not always possible to quickly find the answer to these types of questions in exam conditions - it is better to prepare for them in advance. According to our plan, this can be done in paragraph 9, where the meaning of the work is discussed. For example, speaking about Lermontov’s novel “A Hero of Our Time,” it should be noted that it not only continues the theme of “hero of time” begun by Pushkin in the novel “Eugene Onegin,” but also opens the way for the development of this theme for writers of the second century. half of the 19th century century. At the same time, it must be emphasized that the attitude towards personality type, which appeared in novels of the first half of the 19th century and later received the name “extra person.” Writers of the second half of the 19th century see in him weaknesses and shortcomings rather than advantages. These are the heroes of this socio-psychological type in Turgenev’s works “The Diary of an Extra Man”, “Rudin”, “The Noble Nest”, “Fathers and Sons”, in Nekrasov’s poem “Sasha”, in Goncharov’s novel “Oblomov”, in Chekhov’s story “Duel” " And although the type " extra person“belongs to the literature of the 19th century, the very problem of finding a “hero of the time” remains relevant in the literature of the 20th century, for example, in Pasternak’s novel “Doctor Zhivago”. In addition, it is important to note those artistic achievements Lermontov, which found continuation in Russian literature. First of all, it should be said here about the formation of the genre form of the Russian realistic socio-psychological novel in the second half of the 19th century. Lermontov’s discoveries turned out to be especially important for the formation of Tolstoy’s psychological method of “dialectics of the soul.”

Another example is from the lyrics: speaking about Pushkin’s poem “The Prophet,” we can highlight a certain tradition in it, coming from the spiritual odes of M.V. Lomonosov and G.R. Derzhavina. But at the same time, it should be emphasized that here Pushkin, for the first time in Russian literature, elevated the poet to the level of a prophet, thereby defining one of the most important features of Russian literature as a whole. It was after Pushkin that the idea of ​​a special role in society for poets, called to service similar to the prophetic, was established. Following Pushkin, Lermontov continued this theme in his “Prophet,” written shortly before his death in 1841. Then it was picked up by writers of the second half of the 19th century - Dostoevsky, Tolstoy and many others, who became for the whole world the personification of the special mission of the writer, which the Russian poet of the 20th century E. Yevtushenko defined with the words: “A poet in Russia is more than a poet.”

Finally, let us turn to another very important issue regarding the preparation of text material for the exam. It's about lyrics,which is presented in the codifier by a very voluminous list of works of different poets of the 19th century and XX centuries. As a rule, in the essay topics of the 3rd part it is supposed to consider not just one specific poem by a particular author (this is contained in the second part of the work), but a whole ideological and thematic layer. For example, in the demo version, the third theme (C5.3) sounds like this: “What gives tragedy to the theme of the Motherland in the lyrics of S.A. Yesenin? The same feature of the questions in this part was characteristic of KIMs of the Unified State Examination in literature of past years, for example in 2008: “What features of the poetry of A.A. Fet pointed out L.N. Tolstoy, who noted the poet’s “lyrical audacity?” Obviously, this specificity will remain in the Unified State Exam KIMs in literature, for which you will have to take the exam. This necessitates the need to consider in advance the lists of poems based on the work of each of the poets presented in the codifier, andgroup in a certain way their works.

For example, let's look at the section on Pushkin's works: the codifier contains a list of 25 poems. What is the best way to arrange them when preparing for the exam? Of course, you can choose the traditional path - chronological. It is completely justified when studying the poet’s works at school on a historical and chronological basis, since it allows us to trace the writer’s creative path and his evolution. But for the purposes of preparing for an essay on lyrics, it is better to turn to another principle -thematic.Thus, you will be able to determine in advance the circle of those poems that you will focus on when writing your essay. Of course, this circle can be expanded to include works not included in the codifier, but those that correspond to the topic of the essay should certainly be considered.

Based on the list of poems based on Pushkin’s work, the following thematic groups can be distinguished: freedom-loving, civil-patriotic, philosophical, landscape lyrics, the theme of the poet and poetry, lyrics of love and friendship. In accordance with these topics, we will define groups of poems (within such groups you can use the chronological principle):

1. Freedom-loving lyrics: “To Chaadaev”, “Village”, “It went out” daylight...", "Prisoner", "Desert sower of freedom...", "To the sea", "October 19" ("The forest drops its crimson attire..."), "In the depths of the Siberian ores...", “Anchar”, “I erected a monument to myself not made by hands...”.

2. Civil-patriotic lyrics: “To Chaadaev.” “Village”, “In the depths of Siberian ores...”, “I erected a monument to myself not made by hands...”.

3. Philosophical lyrics: “The desert sower of freedom...”, “Anchar”, “Imitations of the Koran” (IX. “And the weary traveler grumbled at God...”), “Demons”, “Elegy” (“Crazy years of faded fun. .."), "Cloud", "I visited again...".

4. Landscape lyrics: “The daylight has gone out...”, “To the sea”, “ winter road", "Anchar", "Winter Morning", "Demons", "Cloud", "Again I visited...".

5. Theme of the poet and poetry: “Conversation between a bookseller and a poet”, “Prophet”, “Poet”, “I erected a monument to myself not made by hands...”.

6. Theme of love and friendship: “To Chaadaev”, “The daylight has gone out...”, “October 19th” (“The forest is dropping its crimson attire...”), “K***” (“I remember wonderful moment..."), “Nanny”, “In the depths of Siberian ores...”, “On the hills of Georgia lies the darkness of the night...”, “I loved you...”.

It should be taken into account that poems from different thematic groups may be repeated, since Pushkin often has several themes in one poem. So, for example, the poem “October 19” (“The forest is dropping its crimson attire ...”) can be attributed to the lyrics of friendship, since it talks about the poet’s Lyceum friends and is dedicated to the founding date of the Tsarskoye Selo Lyceum; it can be considered in connection with the evolution of the theme of freedom in Pushkin’s work; This poem expresses the poet's philosophical reflections on the inexorability of the passage of time, the connection between the moment and eternity, memory and oblivion, and the role of fate.

So, we have completed our consideration of a very important aspect of preparing for the Unified State Exam in literature, concerning its content. In fact, if you are well versed in the ideological and artistic content of works, know and know how to use theoretical and literary concepts in their analysis, and understand historical and literary relationships, then most of the preparation for the Unified State Exam in literature can already be considered completed. But there's another one most important aspect this work: you need to learn, based on all this knowledge, to build detailed written answers to questions and write an essay. This is what the next chapter of the manual will be devoted to. But before you jump into it, test your knowledge.

Literary analysis involves reading a literary work very carefully to understand how the author conveys his key ideas. Start making notes on the text and read the work with maximum concentration, then formulate your arguments and make a plan. Write your analysis as planned and edit your work to submit a final copy.

Steps

Take notes and formulate arguments

Write down ideas as you read the text. When you first read a text, make notes about the aspects that stand out to you—the main conflict, character motivations, tone, and setting.

• Highlight passages of text that seem interesting or worthy of attention. In one of the paragraphs does the author make an important statement? Did the text suddenly become philosophical? Highlight or mark such passages.
• For example, one of the main quotes from George Orwell's novel 1984 , which is often repeated: “War is peace. Freedom is slavery. Ignorance is strength." Since this is the slogan of the Party (the only political party of the state), it becomes clear to us that this text will be important to the plot. You can use a colored marker to highlight this passage of text each time it is mentioned. This will make it easier for you to find a statement to analyze when, where and why Orwell repeats these lines.

1. Notice literary devices. The author uses literary devices to prove a point or tell a story. Literary works use alliteration, artistic imagery, metaphors, allusions, allegories, repetition, retrospect, various omens and other techniques.

   • For example, artistic images are the living language of the author, which helps to form a mental image. They can set the tone of the entire text. Consider an example from the novel 1984 George Orwell, which appears in the fourth paragraph:
     • “The world outside, behind the closed windows, breathed cold. The wind swirled dust and scraps of paper into spirals; and although the sun was shining and the sky was sharply blue, everything in the city looked colorless - except for the posters posted everywhere.”
   • This short passage allows us to imagine a harsh world, very cold and devoid of color.

2. Focus on key topics. Themes are the main ideas that the author repeats throughout the text. The topic could be religion, government, the struggle between good and evil, power, social system, growing up, war, education, human rights and much more. Identify topics as early as possible so that it is easier for you to write down examples of such topics as you read the text.

   • Among the main themes of the novel 1984 can be called war, power and social system.

3. Pay attention to the form of the work. Form is the structure of the text. Thus, in a voluminous work, the form includes features of the division of the text, as well as narration from the first or third person. In the poem, pay attention to line breaks, the order of couplets, appearance and even the negative space involved. Why did the author choose this form and how does it help to better present key ideas?

   • Analyze how form and content relate. Do they conflict?
   • For example, a poem often contains less information than a novel, so the author may use form to draw attention to hidden or unanswered questions.

4. Consider the historical context. Works are not created in a vacuum, so the time and place in which the author worked will always influence the work. Find out where the author lived when he wrote the novel, what was happening in the world at that time.

5. Determine the author's purpose. When creating a work, the author can set several goals for himself. Your task is to identify at least one of them in order to write an analysis. If you are able to support your ideas with evidence from the text, then you can choose any goal at your discretion.

   • To determine the author's purpose, analyze the historical context of the book as well as the author's important themes. You can also read other analyzes and reviews, including an interview with the author.
   • For example, one of Orwell's main goals when working on the novel 1984 was to show what awaits citizens if they do not control the work of their own government - a totalitarian regime that monitors every step and thought of people.
6. • Thus, the slogan “War is peace. Freedom is slavery. Ignorance is strength" becomes an introduction to the author's goal. It allows the reader to imagine what will happen next: members of such a society are forced to silently swallow the contradictory statements of the government. In the novel, this concept is called "doublethink".

7. Focus on the topic to decide on your arguments. Focus on one plot element that represents your chosen main goal of the piece. What exactly resonated with you about this particular topic? Why does she seem important?

   • For example, you want to focus on how artistic imagery sets the tone of the novel 1984 . Why is this important? Without such images, the novel would have been perceived differently, and Orwell would have had difficulty presenting a convincing world to the reader.

8. Analyze how your evidence supports your main idea. At this point, you need to answer why your statement is really important. Show readers that your evidence is relevant to the claim.

   • For example, end a paragraph with a quotation like this:
     • This world is cruel to its inhabitants, it emanates “coldness” and a premonition of trouble, and everyday life does not alternate with joyful days. Even a bright sunny day does not help to forget about gloom and despondency. Through such descriptions, Orwell demonstrates that the world of the novel may also be our future, a harsh reality without the possibility of finding joy in fantasy or fun.

The analysis of any work begins with perception - the reader, listener, viewer. If considered literary essay, then it is opposed, rather, to other ideologies than to other arts. The word as such is a means not only of literature, but also of human language in general. Thus, the main analytical load falls on identifying the criteria of artistry. Analysis of a work is, first of all, drawing boundaries between an artistic creation and the product of human activity in general, be it literature or any other art.

Making a plan

Analyzing a work of art requires distinguishing between its form and ideological content. Ideological content is, first of all, thematic and problematic. Then - pathos, that is emotional attitude the artist to the depicted: tragedy, heroism, drama, humor and satire, sentimentality or romance.

Artistry lies in the details of the subject representation, in the sequence and interaction of the internal and external activities of the depicted in time and space. And also the analysis of a work of art requires accuracy in highlighting compositional development. This includes observing the development in the order, methods, motivations of the narration or description of what is depicted, in stylistic details.

Circuits for analysis

First of all, the history of the creation of this work is examined, its themes and problems, ideological direction and emotional pathos are indicated. Then the genre is explored in its traditionality and originality, as well as these artistic images in all their internal connections. Analysis of the work brings to the fore the discussion and characterizes all the central characters, while simultaneously clarifying the plot lines in the features of the construction of conflicts.

Next, landscapes and portraits, monologues and dialogues, the interior and setting of the action are characterized. In this case, you must pay attention to the verbal structure: analysis literary work requires consideration of the author's descriptions, narratives, digressions, and reasoning. That is, speech becomes the subject of study.

Details

During the analysis, both the composition of the work and the characteristics of individual images, as well as the general architectonics, are necessarily recognized. Finally, the place of this work in the artist’s work and its significance in the domestic and world treasury of arts are indicated. This is especially important if the works of Lermontov, Pushkin and other classics are analyzed.

It is necessary to convey information about the main problems of the era and clarify the creator’s attitude towards them. Point by point, identify the traditional and innovative elements in the author’s work: what are the ideas, themes and issues, what is the creative method, style, genre. It is very useful to study the attitude of leading critics to this creation. Thus, Belinsky produced an almost exhaustive analysis of Pushkin’s works.

Character Characteristics Plan

In the introduction, it is necessary to determine the character’s place in the general system of images of this work. The main part includes, first of all, its characteristics and an indication of its social type, financial and social status. The external appearance is examined in detail and no less thoroughly - his worldview, worldview, range of interests, habits, inclinations.

Mandatory research into the nature of the character’s activities and main aspirations greatly contributes to the full disclosure of the character. Its impact on the world around us is also considered - all types of impact.

The next stage is the analysis of the hero of the work in the field of feelings. That is, how he relates to others, his inner experiences. The author's attitude towards this character is also analyzed. How is personality revealed in the work? Was the characterization given by the author himself directly, or did he do it with the help of a portrait, backstory, through other characters, through the actions of the subject or his speech characteristics, using the environment or neighbors. The analysis of the work ends with an identification of the problem in society that led the artist to create just such an image. Getting to know the character will turn out to be quite close and informative if the journey through the text is interesting.

Analysis of a lyric work

You should start with the date of writing, then give a biographical comment. Identify the genre and note its originality. Next, it is advisable to consider the ideological content in as much detail as possible: to identify the leading theme and convey the main idea of ​​the work.

Feelings and their emotional coloring expressed in a poem, whether dynamics dominate in it or statics - all this constitutes the most important part that the analysis of a literary work should contain.

It is important to pay attention to the impression of the poem and analyze the internal reaction. Note the predominance of public or personal intonations in the work.

Professional details

Further, the analysis of the lyrical work enters the sphere of professional details: the structure of verbal images, their comparison, and then development are specifically considered. What path did the author choose for comparison and development - by contrast or by similarity, by association, by contiguity or by inference.

Discussed in detail visual arts: metonymy, metaphor, allegory, comparison, hyperbole, symbol, sarcasm, periphrasis and so on. It is especially necessary to identify the presence of intonational-syntactic figures, such as anaphors, antitheses, epithets, inversions, rhetorical questions, appeals and exclamations.

An analysis of the works of Lermontov, Pushkin, and any other poet is impossible without characterizing the main rhythmic features. It is necessary to indicate first of all what exactly the author used: tonic, syllabic, syllabic-tonic, dolnik or free verse. Then determine the size: iambic, trochee, peon, dactyl, anapest, amphibrachium, pyrrhicham or spondee. The method of rhyming and stanza is considered.

Scheme of analysis of a work of painting

First, the author and title of the painting, the place and time of its creation, the history and embodiment of the idea are indicated. The reasons for choosing the model are considered. The style and direction of this work are indicated. The type of painting is determined: easel or monumental, fresco, tempera or mosaic.

The choice of material is explained: oil, watercolor, ink, gouache, pastel - and whether it is characteristic of the artist. Analysis of a work of art also involves determining the genre: portrait, landscape, historical painting, still life, panorama or diorama, marina, icon painting, everyday genre or mythological. It should also be noted that it is characteristic of the artist. Convey a pictorial plot or symbolic content, if observed.

Analysis scheme: sculpture

Just as the analysis of a work of painting involves, for a sculpture the author and title, time of creation, place, history of the idea and its implementation are first indicated. Style and direction are indicated.

Now it is necessary to determine the type of sculpture: round, monumental or small sculpture, relief or its varieties (bas-relief or high relief), herm or sculptural portrait, and so on.

The choice of model is described - this is a person, an animal that exists in reality, or an allegorical image of it. Or maybe the work is completely the imagination of the sculptor.

For a complete analysis, it is necessary to determine whether the sculpture is an element of architecture, or whether it is free-standing. Then consider the author’s choice of material and what determines it. It is marble, granite, bronze, wood or clay. Identify national characteristics of the work and, finally, convey personal attitudes and perceptions. The analysis of the sculptor's work is completed. Architectural objects are considered in a similar way.

Analysis of a piece of music

Musical art has specific means to reveal life phenomena. Here the connections between figurative meaning music and its structure, as well as the means used by the composer. These special features of expressiveness are what the analysis is intended to designate. piece of music. Moreover, it should itself become a means for the development of aesthetic and ethical qualities of the individual.

First you need to find out musical content, ideas and concepts of the work. And also its role in nurturing sensory knowledge of a complete picture of the world. Then you need to determine which means of expression musical language formed the semantic content of the work, what intonation discoveries the composer used.

How to do a qualitative analysis

Here is a partial list of questions that a qualitative analysis of a piece of music should answer:

• What is this music about?
• What name can you give it? (If the essay is not programmatic.)
• Are there heroes in the work? What are they?
• Does this music have action? Where do conflicts occur?
• How do climaxes manifest themselves? Do they grow from peak to peak?
• How did the composer explain all this to us? (Timbres, tempos, dynamics, etc. - that is, the nature of the work and the means of creating this character.)
• What impression does this music make, what mood does it convey?
• How does the listener feel?

Analysis of a work of art

Plan

1. Artistry as the artistic quality of a work of literature.

2. Prerequisites for successful analysis of a work.

3. The main components of the content and form of a literary work.

4. Principles, types, ways and techniques of analyzing a work of literature.

5. Schemes and samples of analysis of epic and lyrical works.

Literary terms: content and form, theme and idea of ​​a work of art, plot and plot, story, story, tropes and their types.

The measure of the perfection of a work of art is the level of its artistry. In a work of art we distinguish content and form. The boundaries between substantive and formal compositions, as we know, are too arbitrary and unclear. However, such a division is necessary for effective comprehension of the work. The main thing in it is the content component. The importance of the content is predetermined by the importance of those life phenomena that are studied in it, the meaning for a person of the ideas that are revealed in it. But the important meaning will be properly perceived by the reader only when it is revealed, embodied in a perfect and appropriate form. So, artistry is the artistic quality of a work, which consists in a harmonious combination of important content and the perfect form corresponding to it. Only that work in which there is complete correspondence between all its components, there is harmony, organized ideological content, can be called highly artistic.

Artistry as the core of a literary work directly determines the path of its study, i.e. analysis. Analysis of a text is its comprehension, consideration of its constituent elements, identification of themes, ideas, motives, methods of their figurative embodiment, as well as the study of means of creating images. In other words, this is the revelation of the artistry of the text.

The prerequisites for successful analysis of a work are: good knowledge of the theoretical foundations of analysis; possession of the skills to isolate and explore all components of content and form; understanding the patterns of their interaction; a sense of the aesthetic nature of the word; the presence of philological abilities in the person who analyzes; good knowledge of the text. Only under these conditions will painstaking analytical work with a work be rewarded with the joy of discovery, the aesthetic pleasure that an encounter with beauty can bring.

A literary work is the basic unit of fiction. Without reading and knowledge of works there is no knowledge of literature. In the perception and interpretation of literary works, there are two mistakes that are characteristic of a significant part of the readership. The first is that the heroes created by the writer are perceived as people who really lived and had exactly such destinies. Then literature is viewed as “history in images,” as an emotionally charged way of cognition. Literature objectively possesses such capabilities, but they do not exhaust its purpose, for in a work of art the mysterious magic of the word and the creative power of fantasy, which a talented writer possesses, are realized. In a realistic work, almost everything is really the same as in real life, because the heroes, their experiences, thoughts, actions, and the circumstances and atmosphere in which those heroes act are basedon impressions of reality. But at the same time, all this, created by the imagination and work of the writer, “lives” behind special aesthetic laws. Each work, no matter what its volume and genre (poem or poem, story or novel, vaudeville or drama), is an artistic whole world where its own laws and patterns operate - social, psychological, temporal-spatial. They differ significantly from the laws of real life, because the writer does not reproduce it photographically, but selects material and aesthetically masters it, focusing on artistic purpose. True, the measure of likelihood in various works is not the same, but this does not directly affect the level of their artistry. Let's say that fantasy departs far from reality, but this does not yet take it beyond the boundaries of art. Reflected in a literary work cannot be identified with real life. When we talk about the truthfulness of a work, it is understood that it is a specific form of embodiment of the truth about the world, man and himself that the writer discovered. The second drawback in the perception of the work by readers is the substitution of the thoughts and experiences of the author and characters with their own. This error, like the first one, has objective reasons. What is depicted in the work “comes to life” only thanks to the imagination of the reader, the combination of his experience with the experience of the author, recorded in the text. Therefore, in the imagination of different readers, different images and pictures appear in the same work. Absolutization of this error leads to deformation of what the writer depicts.

It is possible to overcome certain shortcomings only if the reader (primarily the teacher and student) ceases to have a naive and realistic attitude towards literature and perceives it as the art of words. Analysis is one of the ways to adequately, that is, closest to the author’s intention, reading a work.

To successfully carry out literary analysis, you need to have a fine command of the appropriate tools, know the ways and means of its implementation. First of all, we must define the components of the work, a system of concepts and terms to designate those components. According to a long-standing tradition, a work is distinguished between content and form. They merge so closely that it is almost impossible to separate them, although it is necessary to distinguish. The identification of the components of content and form in the process of analysis is carried out only imaginary.

Literary science has developed a harmonious and branched system of concepts and terms, thanks to which it is possible to outline in some detail the components of content and form. Experience convinces: the more fully the researcher, in our case the teacher, knows this system, the more deeply he understands the relationship and interaction between its components, the more successfully he will carry out the analysis, and therefore, the more accurately he will understand the work as a phenomenon of the human spirit.

Contents of the work - this is the vital material aesthetically mastered by the writer, and the problems raised on the basis of this material. Taken together, this constitutes the topic of the essay, as well as the ideas that the author asserts. So, theme and idea are two concepts that signify the main components of the content.

Subject , V in turn, includes:

u vital material covering:events, actions of characters or their thoughts, experiences, moods, aspirations, in the process of unfolding of which the essence of a person is revealed; spheres of application of human strength and energy (family, intimate or social life, everyday life, production, etc.); time imprinted in the work: on the one hand, modern, past or future, on the other - short or long; circle of events and characters (narrow or wide);

u problems raised in the work based on the reflected life material: universal, social, philosophical, moral, religious, etc.

The idea of ​​the work can be characterized:

u behind the stages of embodiment: the author’s ideological plan, the aesthetic assessment of the depicted or author's attitude to what is depicted, the conclusion of the reader or researcher;

u By parameters of the problem: universal, social, philosophical, moral, religious, etc.;

u according to the form of implementation:artistically embodied (through paintings, images, conflicts, subject details), stated directly (by lyrical or journalistic means).

The form of the work in its most general form can be defined as artistic media and techniques for embodying the content, that is, the themes and ideas of the work, as well as the method of its internal and external organization.

The form of a literary work has its own components.

AND. Compositional form including:

O plot, plot elements (epigraph, author's digressions - lyrical, philosophical, etc., inserted episodes, framing, repetitions), grouping of characters (with participation in the conflict, by age, views, etc.), presence (or absence) of a narrator and its role in the structure of the work.

II. The plot form is considered in the following aspects:

O plot elements: prologue, exposition, plot, development of action (conflict - external or internal), climax, retardation, denouement, epilogue;

O relationship between plot and plot, their types : in relation to what is depicted in the work and reality - primary and secondary plots; according to the chronology of the reproduction of events - a chronologically linear plot and a retrospective plot (linear-retrospective, associative-retrospective, concentric-retrospective); behind the rhythm of events - slow, dynamic, adventure, detective stories; for connection with reality - realistic, allegorical, fantastic; according to the ways of expressing the essence of the hero - event-based, psychological.

III. Figurative form (images of characters and circumstances). Taking into account the various principles of classification, the following types of images can be distinguished: realistic, mythological, fantastic, fairy-tale, romantic, grotesque-satirical, allegorical, symbolic, image-type, image-character, image-picture, image-interior.

IV. Vikladian form, which is considered from the point of view of structure and functional role:

O historical and literary aspect:narration, author's story, internal speech (internal monologue, transmission of the hero's thoughts by the author, mental dialogue, parallel dialogue - complete and incomplete, stream of consciousness);

O for ways of organizing speech: sad poetic, prose, rhythmic prose, monologue, etc.

V. Generic-genre form.

Fundamentals of the division of literature into types and genres: the relationship between object and subject; the relationship between the material and spiritual spheres of life.

O types of lyrics: according to the material of development - intimate, landscape, civil, philosophical, religious-spiritual, didactic, etc.; historically established genre units of lyrics - song, hymn, dithyramb, message, idyll, epigram, lyrical portrait, etc.;

O epic genres: story, short story, short story, essay, folklore epic genres(fairy tale, tradition, legend, thought, etc.);

O drama genres: actual drama, tragedy, comedy, vaudeville, sideshow, etc.

VI. The actual verbal form:

O trails ( epithet, comparison, metaphor, metonymy, hyperbole, lithota, oxymoron, periphrase, etc.);

O syntactic figures(elipsis, silence, inversion, anaphora, epiphora, gradation, parallelism, antithesis, etc.);

Osound organization of speech (repetition of sounds - alliteration, asonance, onomatopoeia).

Principles, types, ways and techniques of analysis . Content and form are in an inextricable, organic unity. We highlight them and their components only conditionally - for the convenience of analyzing such a complex object as a work of art.

Of course, not all deadlines for determining the components of the content and form of a literary work are listed. However, these also make it possible to more clearly see and understand, on the one hand, the interaction between the components of content and form within them, and on the other, the complex logic of the relationships between the components of content and the components of form. Let's say, the vital material is not only the “soil” from which the problems and ideas of the work “grow”, but also the “magma” that “pours out” into various types artistic form: plot (events), figurative (biographies, characters), genre (depending on the volume of material, the relationship between the subject and the object and the principles of mastering the material), vikladova (depending on the method of organizing speech in the work), the actual verbal (predetermined literary direction, aesthetic preferences of the author, features of his talent).

To reveal the ideological and artistic value of a work, you need to adhere to certain principles, types and ways of analysis.

Principles analysis - these are the most general rules arising from an understanding of the nature and essence of fiction; rules that guide us when carrying out analytical operations with a work. The most important principle is analysis interaction between content and form. It is a universal means of understanding the essence of a work and its individual parts. When implementing this principle, one should be guided mandatory rules: 1) starting the analysis from the components of the content, we move on to characterizing the means of its implementation, that is, the components of the form; 2) when we begin the analysis by considering the components of the form, it is imperative to reveal their content; 3) subordinate the analysis to the disclosure of the author’s intention, that is, “go” to an adequate reading of the work.

Systemapproachto a work involves considering it as a system of components, i.e. organic unity of all parts in it. A complete, truly scientific analysis must be systematic. This understanding of the principle of systematicity has an objective motivation: on the one hand, the work itself is a system, and on the other, the means of studying it must constitute a certain system.

In literary studies, it becomes particularly relevant the principle of historicism, which involves: research into the socio-historical conditions of writing the work; study of the historical and literary context in which the work appeared before reader; determining the place of the work in the artistic heritage of the writer; assessment of the work from the point of view of modernity (understanding the problems, artistic value works by new generations of researchers and readers). A certain point in the implementation of the principle of historicism is the study of the history of writing, publication and research of a work.

Types of analysis - these are approaches to a work from the point of view of understanding the functions of fiction. Some scientists distinguish, in addition to types, methods of analysis. However, science has not developed generally accepted criteria for distinguishing the concepts of “type” and “method”. Historically, methods of analysis have been associated with certain schools of literary criticism.

Sociological analysis is common in Ukrainian literary criticism. Under the influence of the ideology of the populists, and subsequently the socialists, social issues in literature were mainly brought to the fore. But while there is social inequality in the world, elements sociological analysis will be present in literary studies - with an emphasis on the moral aspects of social issues. Bringing the sociological approach to the point of absurdity - in the form of vulgar sociologism - has caused great harm to our literature.

The psychological approach to literature has a fairly wide range. This includes an analysis of the means of psychologism in the work and literature in general; research into the psychology of perception and the impact of a work of art on the reader; studying the psychology of creativity.

Aesthetic analysis involves considering works from the point of view of aesthetic categories: beautiful - ugly, tragic - comic, high - low, as well as moral categories that are included in the range of value orientations designated by aesthetics: heroism, loyalty, betrayal etc.

Formal analysis of literature has undergone, like all other types (methods) of analysis, historical evolution. A look at form as a specific feature of literature and an interpretation of the content of form are the achievements of the “formal method” that have not lost their relevance today.

The biographical approach to the analysis of a work involves considering the writer’s biography as an important source of creativity. Undoubtedly, the author both accumulates the ideas of time and creates his own art world, then studying the circumstances of his life can help to deeply explore the process of the emergence and maturation of creative ideas, the writer’s attention to certain topics and ideas. Personal aspects play an important role in the poet’s work.

The comparative approach to the analysis of literary works includes their comparative historical and comparative typological analysis.

Analysis paths - this is the selection of certain components of the work for detailed consideration. When principles and types (methods) guide the researcher’s work as if “from within” their literary experience, then the paths encourage specific research actions. In the process of development of literary criticism, a whole set of ways of analysis was formed. The most common is simultaneous and problem analysis. It is advisable to resort to figurative analysis when the bright characters of the characters are in the foreground in the work.

Ideological and thematic analysis is also called problem analysis. When choosing this path of analysis, one should consider the features of life material, its connection with problems and ideas, analyze the features of the composition and plot, the system of images, characterize the most important artistic details and verbal means.

Holistic analysis also called a comprehensive analysis, or even more precisely, an analysis of the interaction of content and form, which is most consistent with the nature of a literary work.

Analysis of a work “behind the author” gives the greatest effect when considering works where the author’s position is embodied primarily at the level of its plot, unfolded by the very structure of the work. Such works include, say, the novel in verse “Marusya Churay” by L. Kostenko.

In research and educational practice certain methods of analysis are used that make it possible to reveal some narrower aspects of the work. Thus, “slow reading” - through a detailed language-style examination of the details of the selected episode - opens up the content capacity literary text. Thanks to the historical and literary commentary, facts, titles, names, and literary reminiscences are explained, without knowledge of which it is impossible to deeply understand the text. Consideration of the system of subject details helps to clearly see the movement of an artistic idea in a lyrical work. In poetry (and partly in prose), rhythm in combination with lexical material carries an important load.

The principles, types (methods), ways and techniques of analysis presented here illustrate what a complex phenomenon such as fiction, does not lend itself to simplified approaches, but requires thoroughly and extensively developed literary means in order to reveal the mystery and beauty of the literary word.

Scheme of analysis of epic and dramatic works

3. Genre (story, short story, short story, essay, comedy, fairy-tale drama, drama proper, etc.).

4. Vital basis (those real facts that became the impetus and material for the work).

5. Theme, idea, problems of the work.

6. The composition of the work, plot features, their role in revealing problems.

7. The role of plot elements (author’s digressions, descriptions, epigraphs, dedications, title of the work, etc.).

8. The system of images, their role in revealing the problems of the work.

9. The originality of the work (at the level of vocabulary, tropes, syntactic figures, phonics, rhythm).

10. Summary (the artistic value of the work, its place in the author’s work and in literature in general, etc.).

Scheme of analysis of a lyrical work

2. History of writing and publication of the work (if necessary).

3. Genre of the work (landscape, civil, intimate (family), religious lyrics, etc.).

4. The leading motive of the work.

5. Composition of the work (in a lyrical work there is no plot, but attention is focused on a certain feeling; the following compositional stages of feeling are distinguished: a) the initial moment in the development of feeling; b) development of feelings; c) climax (possible); d) summary, or author's conclusion).

6. Key images works (most often the determining factor in the lyrics is the image of the lyrical hero - this is a conventional character, whose thoughts and feelings are revealed in the lyrical work).

7. Linguistic means that contribute to the emotional intensity of the work (we are talking about vocabulary, tropes, figures, phonics).

8. Versification of the work (rhymes, method of rhyming, poetic meter, type of stanza), its role in revealing the leading motive.

9. Summary.

Sample analysis of an epic work: “Under the Fence” by I. Franko

The story “Under the Fence” belongs to the examples of Ukrainian short psychological prose of the early 20th century. I. Franko considered him one of the most characteristic among autobiographical works, since it gives “a largely truthful image from childhood.” However, in the “Preface” to the collection “Maly Miron” and other stories,” he warned not to perceive these works as parts of his biography, but as “expressive artistic competitions that sought a certain grouping and coverage of autobiographical material.” In “Reason for the Biography” the writer clarified that the story “Pencil”, “Father is a Humorist”, “Red Scripture” and others have “despite the autobiographical basis, it is still predominantly psychological and literary significance» . Researchers of I. Franko’s prose noted the artistic perfection of autobiographical stories, including “Under the Fence.” I. Denisyuk, for example, studying the development of Ukrainian small prose XIX- beginning XX century, summarized: “... None of the writers sketched such a poetic flair on the early “young days, days of spring” as Ivan Franko” . “In the story “Under the Fence”,- writes P. Khropko, - “I am amazed by the depth of the writer’s artistic solution to such an important problem as the harmonious relationship between man and nature, a problem that resonates with particular urgency today” . Such assessments by literary scholars prompt an attempt at a more in-depth study of the poetics of this work.

The story “Under the Fence” written in 1905. It was included in the collection “In the lap of nature” and other stories.” It is known that this was the time of I. Franko’s creative zenith, a time of intense philosophical understanding of the new turbulent era. On the verge of two centuries, I. Franko, more deeply and subtly than anyone at that time, understood the essence of the process of updating the content of art and its forms. He became a theoretician and practitioner of a new direction in Ukrainian literature, whose representatives saw the main task in the psychological analysis of social phenomena. The essence of this direction is clearly formulated in the literary critical works of the writer. The task was to show how the facts of social life are reflected in the soul and consciousness of a unit and, conversely, in the soul of that unit new events of a social category arise and grow. These writers took spiritual conflicts and catastrophes as the theme of their works, “They, so to speak, immediately sit in the souls of their heroes and, like a magic lamp, enlighten everyone around them.”. This method of depicting reality required the enrichment of the expressive means of art, especially literature, and an increase in the aesthetic impact on the reader: “New fiction is an unusually delicate filigree work, its competition is to get as close as possible to the music. For this reason, she takes extraordinary care of the form, the melody of the word, and the rhythm of the conversation.” [4, t. 41, 526].

From this angle, I. Franko’s numerous stories touched on the life of the smallest cells of a complex social organism.

The story “Under the Fence” requires a special literary interpretation. Its interpretation may not be unambiguous. The very title of the work is allegorical and more complex than the allegorical images, say, in the stories “Teren in the Leg” or “How Yura Shikmanyuk eyebrows Cheremosh.” The appeal to the image of a child followed from the writer’s civic position and his concerns about the future of the people. “What will happen to him? What color will develop from that navel?”- asked the writer in the story “Small Miron”. And he bitterly predicted an unenviable future for the talented child: “He will visit prison walls, and all sorts of holes of torment and violence of people against people, and will end up dying somewhere in poverty, loneliness and desolation in an attic, or from the prison walls he will carry out the germs of a fatal disease, which will then drive him away to the grave, or, having lost faith in the holy, lofty truth, he will begin to pour vodka on the worm until he goes completely insane. Poor little Myron! .

Myron from the story “Under the Fence” is interested in literally everything that surrounds him: the fact that scorched wood does not rot, and the fact that his father indirectly turns holes, and most of all - his father’s wisdom and hard work, which were able to create such a miracle as the fence . From it Mironov can clearly see the world around him, all four sides of it. The guy is haunted by two questions. The first is like those sticks “that from all directions of the world, kermovani by the wise tattoo will, so regularly and evenly coincide down to one bang” and secondly, will he ever be able to do this?

Small Myron is happy. The first paragraph of the story begins and ends with this framing. After a lifetime of labor on hay or slush, which was too much for a small boy, tormented by ten months of training, he was finally left alone. Myron goes into the forest. The feelings from the boy’s communication with nature are so subtle and individual that it is difficult for the writer to capture it and convey it to the reader with the word “forest.” I. Franko expresses this elusive feeling through a comparison of the forest with the church, which is a strong irritant for the reader. Next, the writer tells the story from such an angle to reflect those "vague feelings" which a child experiences in the forest-church in order to illuminate the healing effect of nature on her, that is “the enchantment with which the forest envelops his soul.” With the help of ordinary, almost “ugly” words, the author achieves the reproduction of mutual understanding and rapprochement between the child and nature: Miron “trembles along with an aspen leaf on a thin branch”, understands "shemrannya of a tiny stream", sympathizes with the shore, which “when there is wind, it creaks like a child crying”. Communicating with nature is the source of human kindness, compassion, and mercy. The boy's mental dialogue with mushrooms clearly illustrates these character traits. The writer, who loves scrupulous accuracy of description, here resorts to a string of endearing words: “Oh, my panic! You're a success, white above and below! Probably only this night I came back from the earth. And the spine is healthy! It's good. And you, old grandfather! Somehow they were going on a love date, so one rat lifted his hat up! Oh, bad girl! And here is the little dove, purple and round, like a snuff box! Don’t you have some slime inside?”. The landscapes in the story gradually lose their descriptive-textural function and take a turn, come to life, and become personified. This is visibly noticeable when I. Franko “raises” his hero to the curb. The paintings the boy saw more than once from here become more expressive and attractive. And the writer himself can get a better look at Miron himself here. Kindness, which was simply kindness in the forest, here turns into a new, higher quality. True, in order to illuminate it from the inside, the writer needs complex associations characteristic of a child’s worldview and specifically for his age. When thunder struck somewhere far above the forest, Mironov heard: “Wounds! Wounds, Wounds! He listened and realized that the forest ached for his long-term pain, another moment - and the forest appeared in his imagination as a living creature, which hurt because the guys made a fire under the oak tree and burned a hole in his living body (“after all, that oak tree is dying, little by little!”), and the fact that they crippled birch trees in the spring, taking sap from them; chamois, goats and wild boars, And spruce forest died from worm disease. This living pain, not his own, but that of the forest, made the boy feel terrible and painful. Through the sensation of pain, the image becomes more complex. Mironov, who was not afraid of the forest and nothing in the forest, because he knew every ravine, every clearing, every trench here, here, on his parents’ fence, it becomes scary, “It’s like looking into Deep Debra early in the morning”. However, the hero does not yet understand the reasons for his fear. He looks carefully at famous landscapes and from this the associations become more complex, thought works faster and faster. Looking for analogies with Myron’s feelings, I. Franko drew images from fairy tales, legends, and myths. This was the world in which the guy continues to live and which inspired his wild imagination. This beautiful world nature did not freeze in the writer’s imagination. He saw well the pictures that he described, so the simplest words acquire novelty under the pen, act on the reader with striking force and evoke in him those thoughts, feelings and states that the writer wanted to convey.

Listening to incomprehensible sounds, Myron sees some kind of giant head on a thick neck, which with sadistic pleasure gnawed at the ground, especially at him, Miron, and smiled. The boy guessed that this was one of those giants that he had heard about when he was little, so his curiosity flared up and his imaginary pictures became more complex. Verbal gradations are introduced into the text, which create the impression of movement that gradually increases. Then he sees how the head moved, the nose became crooked, the lips began to spread wider and wider, and the wide tongue began to spit stronger and stronger. Myron enters into a dialogue with the giant, who even listens to the boy. Another moment - and the giant already reminds Mironov of the drunken rapnik who danced on the Borislavsky tract. The guy's associations are lightning fast. There, already in Drohobych, he sees the following picture: “On the highway there is a swamp up to the bone, liquid and black as pitch, and he wanders off to one end of the street, then to the other, waving his arms, twisting his head.” . These ideas, reflecting mainly the guy’s everyday ethnographic observations, quickly disappear. They do not yet motivate the ideological plan, but only “on the approaches” to it. This idea is embodied with all its completeness and artistic power in the image of a storm, which seems to “remained in primary integrity in the artist’s memory for more than forty years, until he “threw it onto paper”. The picture of the storm in the story is filled with I. Franko’s favorite allegories - thunder, showers, avalanches, floods, repeatedly used in poetry and prose to reveal strong public and intimate horrors. These allegories with a wide variety of semantic and emotional shades literally populate the work of I. Franko. He associatively projected landscape drawings with images of thunder, clouds, wind, and rain onto the social plane and transferred them into the mainstream of ideas of revolutionary transformations of the world.

The phenomenon of the storm evoked in Myron more and more complex associations, which are one of the main methods of psychologizing the hero in the story. What his parents told him about on long winter evenings in fairy tales and legends, sang in songs and thoughts, what he had already read about himself and what his rich childhood imagination was capable of - all this, refracted through the prism of Myron’s perception, becomes strong irritant, evokes corresponding associations in the reader. To reproduce the process of thinking, thinking, and imagination of Myron, the writer takes a complex synthesis of different types of tropes - metaphors, personification, gradation, etc.

The hero’s perception of the growing force of the storm is reproduced in capacious and detailed comparisons: a violent wind burst out of the shelter, "like a fierce beast", there was a roar in the air, “as if large piles of crushed stones were poured there”, then the thunder became even louder, “It’s as if a hundred cartloads of all kinds of iron were poured onto glass teak from an immeasurable height”, lightning flashed, “as if invisible hands were tumbling there with red-hot iron staffs”, raindrops falling on Mironov’s face, “It was as if the arrows of an invisible giant were subjected to objective measurement on him”. Storm, thunder, lightning are all personified, gaining momentum and consolidating to fight Myron. Having taken a closer look at his strength and capabilities, confident in his victory, these forces try to fight the person. The escalation of the struggle is reproduced through metaphors. Myron feels “how the wind grabbed hold of the fence and began to tug at the hay...”, then he's already “leaned his mighty shoulders into the hay and fortifications to turn over the fence”. Oborig was also afraid of this power and “in horror he jumped a fathom from the ground”. Framed by contrasts of light, the paintings change quickly. Here “the clouds extinguished the sun, the purple eyes of the giant also went out, the eastern, still pure, smiling half of the sky disappeared, the whole sky was covered with a dark heavy cloud”. Bright and succinct epithets give way to expressive metaphors in the following picture, which is separated from the previous one by a red stream of lightning: “the sky is covered with thick curtains, and almost dense darkness has settled under the fence”. Against this dynamic backdrop, Myron is not an observer who, looking at natural horrors, trembles or hesitates. Masterfully using the technique of psychological parallelism, the writer recreated the storm in the hero’s soul. The boy tried to make sure that he was not afraid. More precisely, he wanted not to be afraid, to convince himself not to be afraid. But the often repeated epithet “terrible”, “terrible”, emotional vocabulary with a negative connotation, which reproduces its associations, truthfully depict how some incomprehensible feeling creeps into the soul of a child. The verb gradation emphasizes it and strengthens it as the storm in nature grows. Mironov "languished inside", “something big was pressing on his soul, coming up to his throat, choking him..., his head was working hard, his imagination was tormented..., but he couldn’t remember, he was writhing and expressing himself like a living person crushed by a stone, And the horror kept grabbing him by the breast" [4, vol. 22, 45]. Psychologization is deepening. The writer has already resorted to using some strokes of external expression of mental state: “the hair on the head was tingling, cold sweat covered the child’s forehead”. The boy's mental torment was interrupted by lightning - he understood why he was scared. Myron saw fields covered with ripened rye, spiked wheat, oats, clover, hayfields covered with herbs. Everything that was the fruit of human labor, human hope, could be instantly destroyed. The child was amazed that “everything right down to the ground under the furious blow of the wind”.

For a moment the storm weakens its strength - and everything “slopes”. The worries in the child’s soul are growing. It was during the period of that short-term calm that the boy felt that all that grain saw a catastrophe, but the hope of surviving still did not leave him and he was timid. "bows", further, believing in the mercy of the storm, "prays" and at a critical moment "begs": “Spare us! Spare us!.

Sound gradations seem to overlap each other and reflect "giant music in nature". The giant's threats were so loud and confident that the voice of the church bells that sounded the alarm sounded like Mironov “a jingle like a golden fly”. This comparison seemed to the writer not expressive enough to reproduce this formidable force, so he resorted to another, behind which the voice of the bells was heard against the background of the voice of the storm "languages ​​tsinkannya drymba against the mighty orchestra". Subsequently, the bells completely freeze in the roar of thunder. But Myron already hears other sounds, terrible ones. They are imaginary for now, but in a minute it may happen that the floodgates open and a fatal hail shower hits the ground. A picture floated in her imagination, causing Mironov’s head to buzz and fiery sparks to run in her eyes: “...the earth and all living things on it will fall to the ground, and all the beauty and joy on it will fall into the swamp, like wounded birds” [4, vol. 22, 46].

Myron’s association, reflected at the beginning of the work, when the forest seemed to the boy a living body in which everything hurt, was repeated. But here it is expressed more specifically and succinctly. The comparison of such concepts as fields destroyed by a storm and birds in a swamp carries a great, more than anything else in the story, semantic and emotional load. It reflects worries about the public, which in the adult Miron will develop into a struggle for this public, which will become the highest manifestation his mercy. The plausibility of such a comparison in children’s imagination is beyond doubt, because Miron is peasant child, who not only witnessed daily labor for the sake of a piece of bread, but also suffered the torment of the day in the sunny heat or slush. The writer brings the reader very close to revealing his ideological plan. Little Myron, who lived in harmony with nature and was inseparable from it, began to compete with its dark forces for the sake of preserving the fruits of other forces of nature that bring good to people. The writer activates all the possibilities of the word and Myron’s action brings it to an expressive symbol: “Don't you dare! I'm telling you, don't you dare! This is no place for you!”- little Miron shouts, shaking his fists in the air[4, vol. 22, 47]. The storm and the man gathered their last strength. The storm episode hits the reader with the weight of destructive means that are about to crumble. Words seem to become heavier and gain maximum ability to generate associations. This impression is reinforced by several rows of gradation: cloud “became rough, hung over the ground, became heavy” it seemed that “The burden will fall to the ground and fall apart, and all living things will crush him into dust.”, “the means of ruinous matter are pushing, crushing the giant and that he bends and groans under his weight”. This heavy premonition is intensified by a strong sound stimulus, which causes a negative emotional reaction - anxiety, fear. Above all that cargo the voice of the bells was heard again: “now it was clearly heard, but not as a strong, all-conquering force, but only as a plaintive lament for the dead” [4, vol. 33, 47]. Every landscape detail here is endowed with epithets, from which, as S. Shakhovskoy wrote, “the words become euphonically heavy, like blocks of earth, like whole massifs” [ 6, 57 ] . In the last episode the epithets "huge", "scary", "heavier" even repeated. Myron feels that everything that is heavy and unkind will now end and destroy the bread. He once again peers at the giant under the fence and is no longer afraid of his neck, patties or hefty belly, but "huge munch". Psychological state The writer details the hero more broadly with an image of his appearance: “... the face was burning, the eyes were burning, the blood was pounding in the temples like hammers, the sigh was accelerated, something was wheezing in the chest, as if he himself was moving some huge load or was struggling with someone invisible with extreme tension of all their strength". The skill of I. Franco the prose writer lies in the fact that he “there is no artificial accuracy of descriptions for all their accuracy - this is the complexity of simplicity, the transformation of the achievements of world artistic technology through creative personality the author, his temperament, living blood and nerves, this is the search for his own paths in verbal art" .

The process of the hero's weakening is conveyed by tactile images that contrast with his burning eyes and face. Myron is overcome by a feeling of coldness, which gradually increases and turns into a vivid metonymic image of a “cold hand” that squeezes the throat (arms and legs are already "got cold as ice"). Physical impotence and “immeasurable” tension of willpower are expressed in the work in short and laconic incomplete and elliptical sentences: “On your sides! On your sides! To Radicev and Panchuzhna! Don’t you dare here!”

Genre syncretism reaches such perfection that the reader cannot identify the boundaries that separate the real and the imaginary, reality and fiction. An allegorical picture of a little man’s struggle with a hail storm that ends although with mental breakdown, but still victory, ends with a meaningful image of laughter. Laughter first "unconscious", develops into mad laughter and merges with the noise of the ulcer from the cloud, rain and thunderclaps. These images are polysemantic, but they undoubtedly embody the writer’s historical optimism, the idea of ​​eternal unity and the struggle with nature, the need for a reasonable human victory in this struggle.

Literature

1. Dey O.I. From observations of the imagery of public and intimate lyrics by I. Frank// Ivan Franko - master of words and literature researcher- K., 1981.

2. Denisyuk I. O. Development of Ukrainian short prose XI X - beginning XX century - K., 1981.

3. Denisyuk I. O. On the problem of innovation in Ivan Franko's short stories// Ukrainian literary criticism.- Vol. 46. ​​- Lvov, 1986.

4. Franko I. Ya. Collected works: In 50 volumes.- K., 1976-1986.

5. Khropko P. The world of a child in the autobiographical stories of Ivan Franko// Literature. Children. Time.- K., 1981.

6. Shakhovskoy S. The mastery of Ivan Franko.- K., 1956.

Sample analysis of a lyrical work: “The cherry fish tank” by T. Shevchenko

The St. Petersburg spring of 1847 passed. It was cold in the basement of the office building of the so-called III Department. It’s also not comfortable on the upper floors of the house, where Taras Shevchenko was summoned for interrogation. Leaders II I The department knew well that among the arrested members of the “Ukrainian-Slavic society” (Cyril and Methodius Brotherhood), the main person was T. Shevchenko, although there was no direct evidence of his membership in the brotherhood. During interrogations, the poet did not betray any of the Cyril and Methodius followers and behaved with dignity. He was in a solitary cell in a casemate between April 17 and May 30, 1847. At this time, the poems that made up the cycle “In the Casemate” were written. It includes the poetry “Behind the Bayrak Bayrak”, “Mower”, “I Am Alone”, “Early in the Morning Recruits...”, “Don’t Abandon Your Mother! - they said...” and others. The cycle also included the famous landscape miniature “Cherry Fishing Tank”, written between May 19 and 30 - as a result of nostalgic visions of the distant May region.

5 autographs of the work have been preserved: three - among the autographs of this cycle (on a separate sheet of paper, in the “Small Book” and in the “Big Book”) and two separate ones - one called “Spring Evening” (undated) and the second called “ May Evening”, dated “1858, November 28”. The work was first published in the magazine “Russian Conversation” (1859, No. 3) under the title “Evening” and at the same time in the Russian translation by L. May in the magazine “People’s Reading” (1859, No. 3). Let us immediately note that T. Shevchenko himself was very fond of reciting this work and gave autographs to his friends.

“Cherry Kolokhaty Fish Tank” belongs to the masterpieces of Ukrainian landscape lyric poetry. During its writing, the number of metaphorical images of the grotesque, fantastic and symbolic planes noticeably decreases in the works of T. Shevchenko. At the same time, during the period of arrest and exile, the number of autologous (tropless) poems and poetic fragments in individual works- a trend that corresponded to the general evolution of T. Shevchenko towards more and more naturalness artistic image, his “prose”

The poem recreates an idyllic picture of a spring evening in a Ukrainian village. Simple, visible, plastic images in it arise from folk and moral and ethical ideas. The strength of the emotional impact of this work lies in the naturalness and relief of the drawing, in its bright, life-affirming mood. The poetry reflected the poet's dream of a happy, harmonious life.

The most perfect analysis of poetry “The cherry blossom pond” And submitted. Franco in the aesthetic treatise “From the secrets of poetic creativity.” He repeatedly noted that the work of T. Shevchenko marks a new milestone in the development artistic skill Ukrainian literature. In the aforementioned treatise, I. Franko revealed the “secrets” of the great poet’s skill and showed them as an example of artistry.

I. Franko classifies the poetry of “The Cherry Fishing Tank” as idyllic works, that is, those in which the authors “get” associations, calm, lull the reader’s imagination, or simply express such associations that “float” in the poet’s calm imagination without any tension imagination. In the named work I. Franko wrote in particular: “The whole verse is like a snapshot of the poet’s soul mood, evoked by the image of a quiet, spring Ukrainian evening.

Cherry blossom cage,

Khrushchevs are buzzing over the cherries,

The plowmen are walking with their plows,

The girls sing as they walk,

And the mothers are waiting for dinner" .

Franco the critic emphasized that T. Shevchenko did not use any decorations in this work and described the images in almost prosaic words. But these words convey the lightest associations of ideas, so that our imagination floats from one image to another easily, like a bird, with graceful curves without flapping its wings, floats lower and lower in the air. In that ease and naturalness of associating ideas lies the whole secret of the poetic nature of these poems.” .

Further I. Franko emphasized that “true poets never allow themselves... orgies of color”. He meant, first of all, “The cherry blossom pond.” Although T. Shevchenko, as I. Franko noted before, uses a fairly wide range of coloristic symbolism, coloristic images with which he characterizes Ukrainian nature - "The cherry orchard is green and the nights are dark", "blue sea", "red viburnum", "green ravines", "the sky is blue". Shevchenko has a girlfriend « pink» , and the child “blushes like a flower in the morning under the dew”. Still, the poet, as we read in the treatise “From the Secrets of Poetic Creativity,” does not paint exclusively with “colors,” but “catches our various thoughts, evokes in the soul images of various impressions, but in such a way that they immediately merge into one organic and harmonious integrity”. In the first verse of the poetry “The Cherry Circle at Home” “the first line touches the mind of vision, the second - hearing, the third - vision and touch, the fourth - vision and hearing, and the fifth - again vision and touch; There are no special color accents at all, and yet the whole - a Ukrainian spring evening - appears before our imagination with all its colors, contours and hums, as if alive.”.

The poetry of “The Cherry Circle at Home” is full of a wide range of experiences. Here the “author” is hidden, that is, he is not specified as a specific person. Pictures of quiet picturesque nature, a gentle rural evening exist as if by themselves. The author's (lyrical narrator's) gaze moves from detail to detail until stroke by stroke a complete image is created in which everything lives and moves. The present tense of description is of a generalized nature, that is, this happens almost every summer evening, and this evening repeats itself every time.

The author’s evaluative position is clearly noticeable due to the idyllic mood, admiration for the simple, natural structure of working life with the alternation of work and rest, admiration for family happiness, the spiritual beauty of the Ukrainian people - all that the poet extols as the highest spiritual values. This emotional tone is the main content of poetry, as well as the idyllic drawings close to it “Water is flowing from under the sycamore tree...”, “Oh Dibrovo - a dark grove”, etc.

The dramatic context of feudal reality, the poet’s work and his personal fate is superimposed on these idyllic drawings, these memories-dreams and envelops them in sadness.

Literature

1. Franco I. Collection works: In 50 volumes.- K., 1931. - T. 31.

Literature

1. Introduction to literary criticism. Literary work: basic concepts and terms. -M., 1999.

2. Volynsky P.Fundamentals of literary theory. - K., 1967.

3. Galich A., Nazarets V., Vasiliev Is. Theory of literature. Textbook. - K., 2001.

4. Esin A.Principles and techniques of analyzing a literary work. Study guide. - M., 1998.

5. Kuzmenko V.Dictionary of literary terms. A textbook on literary criticism.- K., 1997.

6. Kutsaya A.P.Fundamentals of literary criticism. Textbook for students of pedagogical specialties higher institutions education. - Ternopil, 2002.

7. Lesin V.Literary terms. - K., 1985.

8. Literary dictionary-reference book ( ed. G. Grom "Yaka, Yu. Kovaleva). - K., 1997.

9. Khalizev V.Theory of literature. - M., 1999.

Questions for self-control

1. What is artistry literary work? Name the prerequisites for revealing the artistry of a work.

2. Specify aspects of possible analysis plot form a work of art.

3. Reveal the essence of the principle of analysis interaction content and form .

4. What does it suggest? aesthetic analysis literary work?

5. Name the main ones ways of analysis literary work.