INTRODUCTION

1. Definition and relationship of concepts: plot, plot, conflict

2. Analysis of the plot of the novel by A.S. Pushkin "Eugene Onegin"

CONCLUSION

Initially, the term “plot” had the meaning of a fable, fable, fairy tale, i.e., a work of a certain genre. In the following, the term “plot” refers to what is preserved as the “base”, “core” of the narrative, changing according to the presentation.

Plots have been subjected to scientific study, primarily as facts of poetic tradition in world literature (mainly ancient and medieval) and especially in oral folk literature. In this plane, a certain interpretation of traditional plots, the process of their development and dissemination constituted the main content of successively changing folkloristic theories - mythological, migration, anthropological. At the same time, in Russian scientific literature to this kind traditional formations The term “plot” was usually used, not plot. Later, the question of plot and plot was considered in terms of studying the structure poetic work(mainly formalist literary scholars). Some researchers, identifying the concepts of plot and fable, completely abolish the latter term.

The conflict of the work has a close relationship with the “plot” and “fable”: it is its driving force and determines the main stages of plot development: the origin of the conflict - the beginning, the highest aggravation - the climax, the resolution of the conflict - the denouement. Usually the conflict appears in the form of a collision (sometimes these terms are interpreted as synonyms), that is, a direct collision and confrontation between those depicted in the work active forces- characters and circumstances, several characters or different sides of one character. There are four main types of conflict:

Natural or physical conflict, when the hero enters into a struggle with nature;

Social conflict, when a person is challenged by another person or society;

Internal or psychological conflict, when a person’s desires conflict with his conscience;

Providential conflict, when a person opposes the laws of fate or some deity.

The purpose of this work is to give general definitions and characteristics of the concepts: plot, plot and conflict, and also to show how they relate to each other. Also, for greater clarity, we carried out plot analysis work of art, using the example of the novel by A.S. Pushkin "Eugene Onegin".

1. DEFINITION AND RELATIONSHIP OF CONCEPTS: PLOT, FABULA, CONFLICT

In a literary work, plot refers to the arrangement of events in order to achieve the desired effect. The plot is a series of carefully thought out actions that lead through the struggle of two opposing forces (conflict) to a climax and resolution. To the utmost general view The plot is a kind of basic scheme of the work, which includes the sequence of actions occurring in the work and the totality of the character relationships existing in it.

The concept of plot is closely related to the concept of the plot of the work. In modern Russian literary criticism (as well as in practice school teaching literature), the term “plot” usually refers to the very course of events in a work, and the plot is understood as the main artistic conflict that develops in the course of these events. Historically, there were other views on the relationship between plot and plot, different from the one indicated. In the 1920s, representatives of OPOYAZ proposed to distinguish between two sides of the narrative: they called the very development of events in the world of the work “plot”, and the way these events are depicted by the author - “plot”. According to their interpretation, if the plot determines the development of the events themselves in the lives of the characters, then the plot represents the order and method of reporting about them by the author.

Another interpretation comes from Russian critics mid-19th century, and was also supported by A. N. Veselovsky and M. Gorky: they called the plot the very development of the action of the work, adding to this the relationships of the characters, and by the plot they understood the compositional side of the work, that is, how exactly the author communicates the content of the plot. It is easy to see that the meanings of the terms “plot” and “fable” in this interpretation, compared to the previous one, change places.

There is also a point of view that the concept of "plot" independent meaning does not have, and to analyze the work it is quite enough to operate with the concepts of “plot”, “plot diagram”, “plot composition”.

Fable - the event basis of a work, abstracted from specific artistic details and accessible to non-artistic development, retelling (often borrowed from mythology, folklore, previous literature, history, newspaper chronicles, etc.). Now in science the following distinction is accepted: the plot serves as material for the plot, i.e., the plot as a set of events and motives in their logical cause-and-effect relationship; plot as a set of the same events and motives in the sequence and connection in which they are narrated in the work in artistic (compositional) sequence and in all the fullness of imagery.

Thus, the plot of a work of art is one of the most important means of generalizing the writer’s thoughts, expressed through a verbal image fictional characters in their individual actions and relationships. Based on the theory of the author B. Corman, along with the formal and content understanding of the plot, as a set of text elements united by a common subject (the one who perceives and depicts) or a common object (that which is perceived and depicted); "the work as a whole represents the unity of many plots different levels and volume, and in principle there is not a single unit of text that is not included in one of the plots."

It should be noted that it is customary to talk about the relationship between plot and plot mainly in relation to an epic work. Since in classical drama the direct word of the author in the dramatic text is insignificant, the plot of the dramatic work is as close as possible to the plot line. The plot can be understood as the material that precedes the composition of the play (for example, a myth for ancient tragedy), or as already structured events of the play - motivations, conflicts, resolution, denouement - in the dramatic (conventional) space of time. But the plot in this case does not cover the text of the play itself, since in the twentieth century. The narrative element, behind which stands the image of the author correcting the plot, increasingly invades the dialogic and monological speech of the characters.

At the core internal organization plot, such as a certain sequence of progress and the unfolding of action, lies a conflict, that is, a certain contradiction in the relationship between the characters, a problem that is outlined by the theme of the work and, needing its solution, motivates one or another development of the action. The conflict that appears in the work as driving force its plot and the link that combines the plot and plot of the work with its theme can be reflected in literary criticism by other terms synonymous with it: conflict or intrigue. A literary conflict in its specific form (in the plot) is usually called intrigue or conflict. At the same time, they are sometimes distinguished from each other in the sense that intrigue is understood as a clash personal meaning, and by collision is a collision of social significance. However, due to the fact that personal and social contradictions are intertwined, merging into one whole, in the meaning literary conflict The term “collision” is most often used, and intrigue is understood as the intricacy and eventual complexity of the plot.

In most stories classical works the course of events more or less corresponds to the life logic of the development of events. As a rule, such plots are based on conflict, so the location and relationship of events in the plot are determined by the development of the conflict.

A conflict-based plot may include the following components: exposition, beginning of the action, development of the action, climax, resolution of the action. It should be emphasized that the presence of all plot components is not necessary. Some of its components (for example, exposition or resolution of the action) may be missing. It depends on the artistic task set by the writer.

Exposition- the most static part of the plot. Its purpose is to introduce some of the characters of the work and the setting of the action. The main plot action in the exposition has not yet begun. The exposition only motivates the actions that will occur subsequently, as if sheds light on them. Note that one should not expect to get to know all the characters from the exposition. It may include minor persons. Sometimes it is the appearance of the main thing actor completes the exposition and is the beginning of the action (for example, the appearance of Chatsky in A.S. Griboedov’s comedy “Woe from Wit”).

The setting of the action presented in the exposition is not necessarily preserved during the course of the plot. “Unity of place” - the canon of a classic play - is practically not observed in romantic and realistic works. Perhaps only in "Woe from Wit" the action from beginning to end takes place on one "stage area" - in Famusov's house.

To denote contradictions that arise in life and are reproduced in literature with varying degrees of talent and persuasiveness, the concept of conflict is used. Conflict is usually spoken of in the presence of acute contradictions, manifested in the clash and struggle of heroes. This struggle can also take place inside the character's mind. The conflict is usually expressed in the plot of the work, it organizes it: the dissatisfaction of the characters, the desire to get something or avoid something force them to commit certain actions. Each work has its own, sometimes multi-level, system of conflicts, which makes the plot more complex.

The features of the conflict depend on the type of literature. The greatest possibilities for depicting conflicts are in epic and drama. Moreover, drama as a whole is characterized by more acute conflicts, which are often expressed in the dialogues of the characters. It is difficult to talk about conflict in lyrics, where it is extremely rare to see opposing principles. But a poem can be permeated with feelings of melancholy and disharmony, such as “Both boring and sad” by M.Yu. Lermontov. Often the basis of a poem can be an antithesis: heroes and the world (“Winter Night” by B.L. Pasternak), the previous and current state of the hero (“So this is a joke? My dear...” by N.A. Nekrasova). All this allows us to talk about conflict and in lyrical works.

In the novel by I.S. Turgenev's "Fathers and Sons" the ideological conflict between Bazarov and Pavel Petrovich - two heroes of the time - is obvious. Pavel Petrovich expresses the ideas that young people were passionate about in the 40s. He talks about beauty and art, the necessity of which is denied by the nihilist Bazarov (nihilism arose in the 60s). Both have the qualities of leaders, they are imitated (Bazarov has followers - Kukshina and Sitnikov; Pavel Petrovich “introduced gymnastics into fashion among secular youth”), each is absolutely confident in his rightness. They argue about the role of aristocrats and commoners, about art and science, about authorities. The dispute turns personal.

Hero Conflict with its environment observed in

A conflict that arises in the mind of one character is called internal . In “The Thunderstorm” by A.N. Ostrovsky is depicted internal struggle Katerina. Katerina is unhappy in her marriage, and her love for Boris begins. The heroine strives to meet Boris, wants to be happy, and at the same time understands the sinfulness of this love. Katerina cannot overcome the feeling, moreover, she knows that she has never been so happy before, deep down in her soul she is unlikely to repent of what she did. She even thinks: “If only I could live with him, maybe joy would which one-someday I saw..." (Italics are mine. - I.I.) At the same time, she cannot come to terms with sin and deceive those around her. The struggle between these aspirations is extremely acute, so Katerina’s death is inevitable.

Basic Plot Elements

Plot is a system of events and relationships between characters, developing in time and space. Moreover, the events in the work are not always arranged in cause-and-effect and temporal sequence. Plot how a complex whole is made up of elements. Each of which has its own function. The elements of a plot are exposition, beginning, development and climax, denouement and epilogue. Exposition– information about the life of the characters before the events began. This is an image of the circumstances that form the background of the action. The exposure can be direct, i.e. follow until the beginning, or delayed, i.e. go after the junction. The beginning- an event from which contradictions intensify or arise, leading to conflict. In the comedy N.V. Gogol's "The Inspector General" is based on several events: the mayor's receipt of a letter about the arrival of the inspector, the mayor's dream, and the story of the city gossips Bobchinsky and Dobchinsky about "incognito from the capital." Development of action- this is the identification of connections and contradictions between characters, the disclosure of their characters.

Moment higher voltage action is called culmination. In the climax, the goals and characters of the heroes are especially clearly revealed. In the novel "Eugene Onegin" the culmination of the action is in the episode of the duel between Onegin and Lensky. In "The Inspector General" highest point tension - Khlestakov's matchmaking and celebration of his engagement to Marya Antonovna. The climax immediately precedes the denouement. Denouement- This is the moment of resolution of the conflict, the completion of events associated with it. In the comedy N.V. Gogol’s “The Inspector General”, the denouement is the news of the arrival of the real inspector and the exposure of Khlestakov. In some works, the plot may have a prologue and an epilogue. Prologue the work usually opens. A prologue is an introduction to the main development of the plot, which reveals the root causes of the events depicted in the work. Epilogue– an image of what happened some time after the completion of the events, i.e. a consequence arising from these events (“War and Peace” by L.N. Tolstoy). It is not necessary that the work contain all the elements of the plot. IN modern literature. As a rule, there is no prologue or epilogue; the climax may be somewhat obscured and there may even be no denouement.

19 The plot in the lyrics

A lyrical plot is a reflection of the dynamics of the characters’ actions in a work, event, or action. Although some researchers believe that there is no plot in a lyrical work, most other researchers believe that there is still a plot in a lyrical work. Although he is very peculiar.
In the lyrics, the plot is built on events reproduced to the extent necessary for emotional coloring. Thus the plot can be considered fragmentary.
The plot in the lyrics exists: “... the plot in the lyrics “unfolds” not in its natural way, not primarily, but reflectedly, through the experiences of the hero, who, from the point of view of the perspective of the image, is located at some fixed spatio-temporal point corresponding to psychologically state of lyrical concentration."

Lyric epic genres

Lyric-epic genres reveal connections within literature: from lyricism - theme, from epic - plot.

1. poem. – genre content can be either epic dominant or lyrical. (in this regard, the plot is either enhanced or reduced). In antiquity, and then in the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method; it is equally represented in romanticism (“Mtsyri”) and in realism (“ Bronze Horseman), in symbolism (“12”)…

2. ballad. - (French “dance song”) and in this sense it is a specifically romantic poetic work with a plot. In the second meaning of the word, ballad is folklore genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) a feature of the genre form of the phenomenon. Inclusion in the text (at the beginning or at the end) of a special short stanza - morality. A fable is connected with a parable; in addition, a fable is genetically connected with a fairy tale, an anecdote, and later a short story. rare fable talents: Aesop, Lafontaine, I.A. Krylov.

4. The lyrical cycle is a unique genre phenomenon belonging to the field of lyric epic, each work of which was and remains a lyrical work. All together these lyrical works create a “circle”: the unifying principle of the phenomenon. topic and lyrical hero. Cycles are created “at once” and there may be cycles that the author forms over many years.

Lyrical-vocal genres are a group of related genres in which a way beyond the limits of literature is found. Literature as a temporary art form interacts with another temporary art form - music. A specific area of ​​contiguity is lyrics. And, as a rule, vocals. These are similar phenomena. The closeness of lyrical and musical nature is found in the proximity of the conceptual and terminological apparatus: theme - motive, rhythm,

Question

Style (Greek stylos - a stick for writing on a wax or clay tablet) is an important synthesizing characteristic of the unity of content and form literary work.

Term style used in various sciences - linguistics, art history, aesthetics, literary criticism - in different meanings, which are also historically changeable. Already in ancient times, this word began to be understood in a figurative sense, denoting handwriting and writing features. This meaning has largely been preserved in the modern term.

To mid-17th century V. the word “style” was used primarily to characterize the expressive and figurative features of speech. In the second half of the 17th century. (in Russia - much later, around the middle of the 18th century aesthetic system classicism, this meaning was fixed (“The Theory of Three Calms” by M. Lomonosov). Aesthetics of the late 18th – early 19th centuries. endowed the concept of style with art historical significance. Style began to be considered as belonging not only to verbal, but also to any other art. painting, sculpture, music, etc. Style was thought of as originality, artistic individuality, based on semantic originality. Thus, style was understood as a property artistic form works , and, speaking modern language, meaningful form .

During the 19th century. term style used by both art critics and writers: writers - to denote an individual manner of literary writing, expressed in speech form. In the Russian tradition, the word “syllable” (“writer’s syllable”) was often synonymous with style. IN late XIX- early 20th century the aesthetic understanding of style was significantly expanded and somewhat rethought as a category. Firstly, for him style began to denote not the individual originality of an individual artist, but the aesthetic thinking of certain movements and eras in art. Secondly, the concept of style ceased to characterize only the originality of form and began to designate the concept of the world and man, embodied in art, that is also characteristic of a given era. This made it possible to compare within one artistic era works of different arts and identify common stylistic principles in them. All this finally gave the term “ style » cultural meaning.

During the 20th century, right up to the present, the term acquired different shades of meaning, keeping unchanged only the sign of originality, dissimilarity, and distinctive feature.

Style as a literary category- this is a naturally coordinated unity of all elements of the meaningful form, in the synthesis of which it is manifested creative individuality. They differ:

b) style of literary work ;

V) style literary direction as a historically unique stage in the development of the art of speech.

So, can you give me the same thing? general definition style: Style- this is the aesthetic unity of all aspects and elements of an artistic form, possessing a certain originality and expressing a certain content. The integrity of the style is most clearly manifested in the system style dominants – qualitative characteristics of style, in which it is expressed artistic originality. For a long time literary criticism, aesthetics, art criticism tried to give similar characteristics , using such emotionally charged paths as « easy», « heavy», « strict», « free», « simple», « difficult», « monumental», « chamber» etc. considers: subjectivity/objectivity; image/expression; type artistic convention; monumentality/chamberness etc. This typology is general aesthetic; the author emphasizes the need to specify it, and partly change it in relation to literature.

The selection of linguistic means within each style and the principles of speech construction are determined by the style dominant.

The dominant** is the main feature of the functional style, which determines its linguistic features. The dominant of the scientific style is conceptual precision, which determines the use of systematically organized terminology and emphasized logic of speech. Thus, in scientific texts, special logical connectives are widely represented; it follows, this leads to, therefore, in this way. Accuracy in scientific style is abstract, generalized.

Dominant formal business style– accuracy that does not allow for double interpretation. Hence the syntactic cumbersomeness, the prohibition of pronominal substitutions, long sentences with a lot of clarifying phrases, digital markup of the text, standardized construction of speech, exclusively written form of speech.

The dominant feature of the journalistic style is social evaluation, which is manifested in newspaper “labels”: fascist, democrat, partocrat, in words with an evaluative meaning: leader - leader, initiator - instigator, congress - gathering. The attitude towards evaluation determines the selection of facts, the use of phraseological units and expressive syntax.

Dominant artistic style– imagery and aesthetic significance of each element of the text. Hence the desire for a fresh image, uncluttered expressions, the use expressive means speech, rhythm, rhyme.

Dominant conversational style– minimal concern for the form of expression of thoughts. This explains the phonetic imprecision, syntactic sloppiness, and widespread use of pronouns.

Almost all styles are used both in written and oral form, but the dominant business style contradicts disabilities oral form: it is impossible to achieve the necessary accuracy if preliminary thinking through the phrase is impossible. The differences between styles are most clearly revealed at the level of vocabulary, since there are words assigned to a certain functional style: terms in a scientific style, clericalism (following, named, etc.) in official business, evaluative vocabulary (aspirations, accomplishments, consolidation, etc.) in newspaper journalism. And yet, the basis of each style is inter-style, uncolored vocabulary.

Innovation of the comedy "Woe from Wit"

Comedy A.S. Griboyedov's "Woe from Wit" is innovative. This is due to artistic method comedies. Traditionally, “Woe from Wit” is considered the first Russian realistic play. The main departure from classicist traditions lies in the author’s rejection of the unity of action: there is more than one conflict in the comedy “Woe from Wit”. In the play, two conflicts coexist and flow from one another: love and social. It is advisable to turn to the genre of the play to identify the main conflict in the comedy “Woe from Wit”.

The role of love conflict in the comedy "Woe from Wit"

As in a traditional classic play, the comedy “Woe from Wit” is based on a love affair. However, the genre of this dramatic work is social comedy. That's why social conflict dominates over love.

Nevertheless, the play opens with a love conflict. Already in the exposition of the comedy, a love triangle is outlined. Sophia's night date with Molchalin in the very first scene of the first act shows the girl's sensual preferences. Also in the first appearance, the maid Liza remembers Chatsky, who was once connected with Sophia by youthful love. Thus, a classic love triangle unfolds before the reader: Sophia - Molchalin - Chatsky. But as soon as Chatsky appears in Famusov’s house, a social line begins to develop in parallel with the love one. The plot lines closely interact with each other, and this is the uniqueness of the conflict in the play “Woe from Wit.”

To enhance comic effect play, the author introduces two more love triangle(Sofya - Molchalin - maid Liza; Lisa - Molchalin - bartender Petrusha). Sophia, in love with Molchalin, does not even suspect that the maid Liza is much nicer to him, which he clearly hints to Liza. The maid is in love with the bartender Petrusha, but is afraid to confess her feelings to him.

Social conflict in the play and its interaction with the love story

The social conflict of the comedy was based on the confrontation between the “present century” and the “past century” - the progressive and conservative nobility. The only representative of the “present century,” with the exception of off-stage characters, in the comedy is Chatsky. In his monologues, he passionately adheres to the idea of ​​serving “the cause, not persons.” Alien to him moral ideals Famus society, namely the desire to adapt to circumstances, to “curry favor” if this helps to get another rank or other material benefits. He appreciates the ideas of the Enlightenment, and in conversations with Famusov and other characters he defends science and art. This is a person free from prejudice.

The main representative of the “past century” is Famusov. All the vices of the aristocratic society of that time were concentrated in it. Most of all, he is concerned with the opinion of the world about himself. After Chatsky leaves the ball, his only concern is “what Princess Marya Aleksevna will say.”

He admires Colonel Skalozub, a stupid and shallow man who only dreams of “getting” the rank of general. It is his Famusov who would like to see him as his son-in-law, because Skalozub has the main advantage recognized by the world - money. With rapture, Famusov talks about his uncle Maxim Petrovich, who, after an awkward fall at a reception with the Empress, was “bestowed with the highest smile.” In Famusov’s opinion, the uncle’s ability to “curry favor” is worthy of admiration: to amuse those present and the monarch, he fell two more times, but this time on purpose. Famusov is sincerely afraid of Chatsky’s progressive views, because they threaten the usual way of life of the conservative nobility.

It should be noted that the clash between the “present century” and the “past century” is not at all a conflict between the fathers and children of “Woe from Wit”. For example, Molchalin, being a representative of the “children” generation, shares the views of the Famus society on the need to make useful contacts and skillfully use them to achieve their goals. He has the same reverent love for awards and ranks. In the end, he communicates with Sophia and supports her passion for him only out of a desire to please her influential father.

Sophia, Famusov’s daughter, cannot be attributed either to the “present century” or to the “past century.” Her opposition to her father is connected only with her love for Molchalin, but not with her views on the structure of society. Famusov, who openly flirts with the maid, is a caring father, but is not good example for Sophia. The young girl is quite progressive in her views, smart, and not worried about the opinions of society. All this is the reason for the disagreement between father and daughter. “What a commission, creator, to be a father to an adult daughter!” - Famusov laments. However, she is not on Chatsky’s side. With her hands, or rather with a word spoken out of revenge, Chatsky is expelled from the society he hates. It is Sophia who is the author of the rumors about Chatsky’s madness. And the world easily picks up these rumors, because in Chatsky’s accusatory speeches everyone sees a direct threat to their well-being. Thus, in spreading the rumor about the protagonist's madness in the light decisive role played a love conflict. Chatsky and Sophia do not clash on ideological grounds. Sophia is just worried that ex-lover could destroy her personal happiness.

Conclusions

Thus, main feature conflict of the play “Woe from Wit” – the presence of two conflicts and their close relationship. A love affair opens the play and serves as the reason for Chatsky’s clash with the “past century.” Love line helps too Famusov society declare your enemy insane and disarm him. However, the social conflict is the main one, because “Woe from Wit” is a social comedy, the purpose of which is to expose the mores of the noble society of the early 19th century.

Work test

In order to determine the value side conflicts in variety show dramaturgy, we will first look at the theory of dramaturgy in general.

Drama is one of the three types of literature, along with epic and lyric poetry. The main purpose of drama is acting on stage, and therefore the dramatic text consists of the characters’ remarks and the author’s remarks, which are necessary for the correct perception and best performance. Note that the word drama itself is translated from ancient Greek as “action,” which in fact means the content, the essence of this type of literature.

Of course, it should be noted that we can talk about conflict and its meaning in a work not only in relation to drama, but also epic works, and lyrical. But television shows, which will be analyzed during the work, are closest to drama. Just like the texts of dramas, show scripts are not intended to be read, but exist specifically for production (in our case, for production on television). Thus, it is advisable to pay attention to the role of conflict specifically in drama.

First you need to understand what lies at the heart of any dramatic work. “The action of a drama in the theories of the 19th century was understood as a sequence of actions of characters defending their interests in clashes with each other.” This perception of drama goes back to G. Hegel, who, in turn, relied on the teachings of Aristotle. Hegel believed that conflict, confrontation moves the action of drama, and he perceived the entire dramatic process as constant movement to the end of this conflict. That is why Hegel considered those scenes that do not contribute to resolving the conflict and moving forward to be contrary to the essence of drama. Therefore, the actions of the heroes, which constantly led to inevitable conflicts, according to Hegel, are one of the main features of a dramatic work.

Many other researchers agree with this perception of drama. For example, Doctor of Art History, theorist and playwright of the 20th century, V.A. Sakhnovsky-Pankeev argues that the key condition for the existence of drama is action, “arising as a result volitional efforts individuals who, in pursuit of their goals, enter into confrontation with other individuals and objective circumstances.” Russian playwright, theater critic and screenwriter V.M. agrees with this. Wolkenstein, who believed that the action develops “in a continuous dramatic struggle.”

In contrast to this perception of a dramatic work, there is another one. For example, such theorists as the Soviet literary critic B.O. Kostelanetz, and the German dramaturgy researcher M. Pfister, in their works, were of the opinion that drama can be based not only on the direct confrontation of heroes with each other, but also on certain events that themselves were the focus of conflicts and changed the fate of the heroes and their life circumstances. Likewise, B. Shaw believed that in addition to external conflicts, drama can be based “on discussions between characters, and ultimately on conflicts arising from the clash of different ideals.” That is why, adhering to a similar point of view, K.S. Stanislavsky separated two actions - internal and external. And if we talk about internal action, then it is impossible not to mention A.P. Chekhov, in whose plays there is almost no such action. Conflicts Chekhov's dramas are not resolved through the actions of the characters; they are determined not by their lives, but by reality as a whole.

Combining these seemingly different approaches, V.E. Khalizev argues that in this way “the subject of depiction in drama can become any intensely active orientation of a person in life situation, especially in situations marked by conflict."

Accordingly, in any dramatic work there is a main conflict around which the entire plot is built. The main conflict is the main condition for the development, and therefore for the existence in general, of drama. And it is precisely in this contradiction, which is the conflict, according to A.A. Aniksta “displays the general state of the world.”

Let's take one of the generally accepted approaches to the composition of a drama, according to which its elements will be beginning, development, climax, and denouement. When talking about these parts of the composition of a dramatic work, we essentially mean the stages of development of the conflict. The conflict becomes main theme drama and the main plot-forming element. And that is why “the conflict revealed in the work must exhaust itself with a denouement.” This perception of conflict as a necessary element of any dramatic work originated with Aristotle, who spoke of the inevitability of both beginnings and resolutions in tragedies.

Based on theories that arose in antiquity and were reflected in subsequent dramatic works, we can talk about the existence of a plot structure that was valid for the times of Hegel. It consists of three parts:

• 1) Initial order (balance, harmony)
• 2) Disturbance of order
• 3) Restoration or strengthening of order.

It is logical that if this system implies the restoration of lost harmony, then the conflict that formed the basis of the drama will inevitably be eliminated. This position is controversial for the drama of modern times, according to which “conflict is a universal property of human existence.” In other words, some conflicts are so large-scale that they cannot be resolved by the aspirations of several heroes, and therefore cannot disappear in principle.

Based on these opposing views on the theory of conflicts in a dramatic work, V.E. Khalizev in his work talks about the existence of two types of conflict - “local”, which can be resolved through the efforts of several characters, and “substantial”, that is, those that are either universal in nature, and therefore cannot be resolved, or that have arisen (and accordingly and disappeared after some time) not by the will of man, but in the course of historical process, natural changes. “The conflict of a dramatic (and any other) plot, therefore, either marks a violation of the world order, which is basically harmonious and perfect, or acts as a feature of the world order itself, evidence of its imperfection and disharmony.”

The main confrontation of a dramatic work, that is, its main conflict, organizes the main storyline works, being the main theme of the drama. So V.M. Wolkenstein essentially equates the concepts of conflict and themes of a work, arguing that “ general theme dramatic work - conflict, that is, a single action leading to confrontation.”

Thus, we can distinguish two main approaches to the theory of conflicts in a dramatic work. One part of the researchers believes that an external conflict, an open confrontation between several characters, becomes the main one in a dramatic work, while another part of the researchers believes that the main conflict may be internal conflict, which is not determined by the actions of the characters, but by factors that are beyond their will.

The most important function of the plot is to reveal life’s contradictions, that is, conflicts (in Hegel’s terminology, collisions).

The conflicts underlying epic and dramatic works are very diverse. Sometimes they are just incidents, accidents in their purest form (this is the case in many medieval fabliaux, Renaissance short stories, adventure and detective novels). But more often they have general significance and reflect certain life patterns.

In works with the “pathos of sociality” (Belinsky), conflicts are recognized and depicted as a product of specific historical situations. Here, contradictions and clashes between different social groups, strata, classes or tribes, nations, states are often emphasized. Such are, for example, “Boris Godunov” by Pushkin and “Peter the Great” by A. Tolstoy. Social-class and national antagonisms are embodied directly and openly in these works. However, social contradictions can be imprinted in the events depicted and indirectly, indirectly: refracted in the personal relationships of the characters (“Eugene Onegin” by Pushkin, “Rudin” by Turgenev, “Poor People” by Dostoevsky).

When writers turn to philosophical and ethical issues, single events in the lives of characters are often correlated by the authors with the universal contradictions of existence - its antinomies. These are works devoted to “eternal” themes: life and death, the struggle between good and evil, the opposition between pride and humility, righteousness and crime, the opposition between the moral unity of people and their mutual alienation, between their desire to satisfy personal needs and readiness to live according to the dictates of moral duty , between retribution and forgiveness, etc. (“The Divine Comedy” by Dante, “King Lear” by Shakespeare, “Faust” by Goethe, “Little Tragedies” by Pushkin, “The Demon” by Lermontov, “The Brothers Karamazov” by Dostoevsky, “The Rose and the Cross” Blok, “The Master and Margarita” by Bulgakov).

The relationship between the conflicts in the lives of the characters and the course of events may be different. Often the conflict is fully embodied and exhausted in the course of the events depicted. It arises against the backdrop of a conflict-free situation, escalates and resolves as if before the eyes of the readers. This is the case in most of the literary works of the Renaissance: in the short stories of Boccaccio, the comedies and some of the tragedies of Shakespeare. For example, the emotional drama of Othello is entirely focused on the period of time when Iago weaved his devilish intrigue. The evil intent of the envious person is the main and only reason for the suffering of the protagonist. The conflict of the tragedy "Othello", for all its depth and tension, is transitory and local. Having in mind this type of conflict and giving it a general, universal meaning, Hegel wrote: “At the heart of the collision (i.e. conflict.- V. X.) lies violation, which cannot be maintained as a violation, but must be eliminated. Collision is such a change in the harmonic state, which in turn must be changed." (43, 1, 213).

But it also happens differently. In a number of epic and dramatic works, events unfold against a constant background of conflict. The contradictions to which the writer draws attention exist here both before the events depicted begin, and during their course, and after their completion. What happened in the lives of the heroes acts as a kind of addition to the already existing contradictions. Stable conflict situations are inherent in almost most of the plots of realistic literature of the 19th-20th centuries.

Events in Dostoevsky's works unfold against a tense and conflictual background. Thus, the novel “The Idiot” persistently emphasizes the constancy and depth of life’s contradictions, which, according to the author, are associated with the spirit of pride and possessiveness, self-will and disunity that has reigned in Russian society. Not only Nastasya Filippovna and Aglaya are in the grip of painful pride and bitterness, but also General Ivolgin, his children, Rogozhin, and the sick Ippolit. In the novel “The Idiot,” not only the knot of relationships between the central characters, tragically unleashed by the murder of Nastasya Filippovna and Myshkin’s madness, is deeply conflictual, but also the socio-psychological background against which the events unfold.

Chekhov's dramas also reveal the constant, largely independent of any particular and transitory circumstances, inconsistency in the lives of the heroes. The events depicted by the writer are, as a rule, few in number and not so significant. The main thing in the plots of Chekhov's mature plays is the day-to-day perceived troubles that are associated both with the narrow horizons of the characters themselves and with the atmosphere of philistinism and lack of culture that surrounds them. Chekhov warned the artists of the Art Theater who played in the play “Uncle Vanya” against excessive emphasis on turning points, outwardly dramatic moments in the lives of the characters. Thus, he noted that the clash between Voinitsky and Serebryakov is not the primary source of the drama in their lives, but only one of the cases in which this drama manifested itself.

Plot conflicts and the ways they are implemented are thus varied and historically changeable.

CHRONICAL AND CONCENTRIC STORIES

The events that make up the plot are related to each other in different ways. In some cases they are with each other only in a temporary connection (B happened after A). In other cases, there are cause-and-effect relationships between events, in addition to temporary ones (B occurred as a result A). Yes, in the phrase The king died and diedqueen connections of the first type are recreated. In the phrase The king died and the queen died of grief We have before us a connection of the second type.

Accordingly, there are two types of plots. Plots with a predominance of purely temporal connections between events are chronicles. Plots with a predominance of cause-and-effect relationships between events are called plots of a single action, or concentric 1.

Aristotle spoke about these two types of plots. He noted that there are, firstly, “episodic plots”, which consist of events disconnected from each other, and, secondly, plots based on action

1 The terminology proposed here is not generally accepted. The types of plots in question are also called “centrifugal” and “centripetal” (see: Kozhinov V.V. Plot, plot, composition).

unified and whole (the term “plot” here refers to what we call plot).

Each of these two types of organization of a work has special artistic possibilities. The chronicity of the plot is, first of all, a means of recreating reality in the diversity and richness of its manifestations. Chronic plotting allows the writer to master life in space and time with maximum freedom 1 . Therefore, it is widely used in epic works of large form. The chronicle principle prevails in such stories, novels and poems as “Gargantua and Pantagruel” by Rabelais, “Don Quixote” by Cervantes, “Don Juan” by Byron, “Vasily Terkin” by Tvardovsky.

Chronicle stories perform different artistic functions. Firstly, they can reveal the decisive, proactive actions of the heroes and all sorts of their adventures. Such stories are called adventurous. They are most characteristic of the pre-realistic stages of the development of literature (from Homer’s “Odyssey” to Lesage’s “History of Gilles Blas”). Such works, as a rule, contain many conflicts; in the lives of the characters, one or the other contradictions alternately arise, intensify, and are somehow resolved.

Secondly, newsreels can depict the development of a person’s personality. Such plots seem to review seemingly unrelated events and facts that have a certain worldview meaning for the main character. The origins of this form are Dante’s “Divine Comedy,” a kind of chronicle of the hero’s journey to the afterlife and his intense thoughts about the world order. The literature of the last two centuries (especially the novel of education) is characterized, first of all, by chronicling the spiritual development of the heroes, their emerging self-awareness. Examples of this are Goethe’s “The Years of Wilhelm Meister’s Study”; in Russian literature - “The Childhood Years of Bagrov the Grandson” by S. Aksakov, the autobiographical trilogies of L. Tolstoy and M. Gorky, “How the Steel Was Tempered” by N. Ostrovsky.

"In chronicle stories, events are usually presented in their chronological sequence. But it also happens differently. Thus, in “Who Lives Well in Russia” there are many “references” from the reader to the past of the heroes (stories about the destinies of Matryona Timofeevna and Savely).

Thirdly, in literature XIX-XX centuries chronicle plotting serves to master socio-political antagonisms and the everyday way of life of certain strata of society (“Journey from St. Petersburg to Moscow” by Radishchev, “The History of a City” by Saltykov-Shchedrin, “The Artamonov Case” by Gorky).

From the chronicle of adventures and adventures to the chronicle depiction of the processes of the inner life of the heroes and the social and everyday life - this is one of the trends in the evolution of plot composition.

Over the past one and a half to two centuries, chronicle plotting has been enriched and conquered new genres. Still predominant in epic works of large form, it began to be introduced into small epic form (many stories from Turgenev’s “Notes of a Hunter”, short Chekhov stories like “In the Native Corner”) and into the dramatic genre of literature: in his plays Chekhov, and later Gorky and Brecht neglected the traditional “unity of action” in drama.

The concentricity of the plot, that is, the identification of cause-and-effect relationships between the events depicted, opens up other perspectives for the artist’s words. Unity of action makes it possible to carefully examine any one conflict situation. In addition, concentric plots stimulate the compositional completeness of the work much more than chronicles. This is probably why theorists preferred single action plots. Thus, Aristotle had a negative attitude towards “episodic plots” and contrasted them with plots (“fabulas”), where events are interconnected, as a more perfect form. He believed that in tragedy and epic there should be an image of “one and moreover integral action, and the parts of events should be so composed that when any part is changed or taken away, the whole changes and comes into motion.” (20, 66). Aristotle called an integral action that which has its own beginning and its end. We were talking, therefore, about a concentric plot structure. And subsequently this type of plot was considered by theorists as the best, if not the only possible one. Thus, the classicist Boileau considered the poet’s concentration on one node of events to be the most important advantage of the work:

You can’t overload the plot with events: When Achilles’ anger was sung by Homer, this anger filled him great poem. Sometimes excess only impoverishes the topic (34, 87).

The drama had a concentric plot structure until the 19th century. reigned almost unchallenged. The unity of dramatic action was considered necessary by both Aristotle, and the theorists of classicism, and Lessing, and Diderot, and Hegel, and Pushkin, and Belinsky. “Unity of action must be observed,” argued Pushkin.

Epic works of small form (especially short stories) also gravitate towards plots with a single unit of events. The concentric principle is also present in epics, novels, great stories: in “Tristan and Isolde”, “Julia, or the New Heloise” by Rousseau, “Eugene Onegin” by Pushkin, “Red and Black” by Stendhal, “Crime and Punishment” by Dostoevsky, in most works by Turgenev, “Destruction” by Fadeev, stories by V. Rasputin.

Chronic and concentric principles of plot composition often coexist: writers retreat from the main line of action and depict events related to it only indirectly. Thus, in L. Tolstoy’s novel “Resurrection” there is a single knot of conflictual relationships between the main characters - Katyusha Maslova and Dmitry Nekhlyudov. At the same time, the novel pays tribute to the chronicle principle, thanks to which the reader sees trials, the high society milieu, high-ranking Petersburg, the world of exiled revolutionaries, and the life of peasants.

The relationships between the concentric and chronicle principles are especially complex in multilinear plots, where several event “nodes” can be traced simultaneously. Such are “War and Peace” by L. Tolstoy, “The Forsyte Saga” by Galsworthy, “Three Sisters” by Chekhov, “At the Demise” by Gorky.