Asia Yanovna Esslank Basics of literary studies. Analysis of the artwork

Drama analysis is preferable to start with the analysis of a small fragment, episode (phenomena, scene, etc.). An analysis of the episode of the dramatic work is carried out by almost the same scheme as the analysis of the episode of the epic work, with the only difference, which should be supplemented with the point of analysis of the dynamic and dialogical compositions of the episode.

So,
Analysis of the episode of the dramatic work

1. The borders of the episode are already defined by the structure of the drama (the phenomenon is separated from other components of the drama); give name to the episode.
2. Describe an event underlying an episode: What place does it occupy during the development of action? (This is an exposure, culmination, junction, episode of development of the entire work?)
3. Name the main (or only) episode participants and briefly explain:
   • who are they?
   • what is their place in the system of characters (main, capital, minor, insignificant)?
4. Reveal the features of the beginning and finals of the episode.
5. Formulate a question, the problem in the spotlight:
   • author; Characters.
6. To identify and characterize the topic and contradiction (otherwise, the miniconflict) underlying the episode.
7. Characterize heroes - episode participants:
   • their attitude to the event;
   • to the question (problem);
   • to each other;
   • briefly analyze the speech of the dialogue participants;
   • make a dissemination of the author's remarks (explanations for speech, gestures, facial expressions, poses of heroes);
   • identify the features of the behavior of characters, the motivation of actions (author's or reader);
   • determine the arrangement of forces, grouping or regrouping of heroes depending on the flow of events in the episode.
8. Describe the dynamic composition of the episode (its exposure, tie, climax, junction; in other words, the scheme develops emotional stress in the episode).
9. Describe the dialogic composition of the episode: what principle of the illumination of the topic is built dialogue?
10. Understand copyright to the event; relate it to the climax and the idea of \u200b\u200ball the work as a whole; Determine the author's attitude to the problem.
11. Formulate the main idea (author's idea) episode.
12. Analyze the story, shaped and ideological connection of this episode with other drama episodes.

Now go to K. comprehensive analysis Dramatic work. The success of this work is possible only if you understand the theory of the dramatic kind of literature (see the topic number 15).

So,
1. The time of creating a work, the history of the plan, a brief description of Epochs.
2. Communication play with any literary direction or cultural Epoch (antiquity, revival, classicism, enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did they manifest themselves in the work of this direction? one
3. View and genre dramaturgical work: tragedy, comedy (morals, characters, provisions, raincoats and swords; satirical, household, lyrical, buffonad, etc.), drama (social, household, philosophical, etc.), waterville, farce, etc. These terms specify by reference.
4. The specificity of the organization of the drama action: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in the drama M. Bulgakov "Run").
5. Piece poster ( characters). Name features (for example, "speaking" names). Major, minor and incoming character.
6. Features of the dramatic conflict: tragic, comic, dramatic; Social, household, philosophical, etc.
7. Features of dramaturgical action: external - internal; "On the scene" - "behind the scene", dynamic (actively developing) - static, etc.
8. Features of the composition of the play. The presence and specificity of the main elements: exposure, an increase in emotional stress, conflict and its permission, a new increase in emotional stress, climax, etc. How are all the "sharp points" (especially emotional scenes) of the work related to each other? What is the composition of individual components of the play (acts, actions, phenomena)? Here you need to call specific episodes that are these "sharp points" actions.
9. The specificity of the creation of a dialogue in the play. Features of the sound of the theme of each character in dialogues and monologues. ( Brief analysis Dialogical composition of one episode according to your choice).
10. Themes of the play. Leading topics. Key episodes (scenes, phenomena), helping to reveal the subject of the work.
11. Problems of work. Leading problems and key episodes (scenes, phenomena), in which the problems are particularly acutely stated. Copyright vision of solving problems.
12. The specifics of the author's remarks explaining:
    • the actions of the characters (the game of actors);
    • situation on stage, costumes and scenery;
    • mood and idea scene or phenomena.
    • Specificity copyrightexpressed by remarks.
13. The meaning of the name of the play.

1. This item is disclosed if such features are pronounced in the work (for example, in the classic Comdies of the D.Fonvizin or Comedy A. Griboyedov "Woe from Wit" who jointly shared the features of three directions at once: classicism, romanticism and realism).

Dramaticgigation of the play on the play Leonid Andreeva

"The one who gets snatch"

Music to the play:

Spleen: "Rock and Roll Star", "Romance", "You dream"

"We sat and smoked", "Ricky Tychi"

"Plastic Life", "Sihanville"

"Chateau Margo"

L. V. Beethoven Third Part 14th Sonatata in Sp. Viktor Zinguk.

Analysis of the dramatic work

1) The topic of the play is the love that everyone is looking for, but do not find, because They themselves do not know how to love, trying to achieve her, even from "predators" and only the hero loves, loves sincerely and openly, not trying to take possession of her undivided himself. Ready for any victims in the name of this high feeling, which was tested for the first time in life, being already a married man and fully disappointed in people, and in the very existence, as a bright and extraordinary person, who was himself.

2) Idea playing s:Parish a stranger, very often in classic works Russian and foreign authors appearance of someone else's place leads to tragic consequences. (The destruction of two families - "Thunderstorm Pass" E. Bronte.) Also, Andreeva: A man from an aristocratic society, which appears in a wandering circus, destroys the established way to appear by its appearance, thereby making a note of discord, both between the circus workers and their lives Circles on death along with an innocent girl by hanging out himself with a divine symbol.

Andreev itself is an unusual writer, symbolist, friend A.blok and others. Symbols of his work begin with the name of the hero and heroine. "That" - where? Why? "That" is the God of wisdom in Egyptian mythology. Consullah - consolation. To start working on the play, having the name of the heroine and knowing that it was taken from the novel George Sand (alias of the French writer Aurora Dupin, the beloved Frederick Chopin, the Great Composer, who went in pants and smoking the phone, thereby throwing challenge an aristocratic society, mother of five Children, the writer - Romantic, the features of gothic prose are guessed in her prose, of which the Walter Cattle did a great influence on her) the name of the heroine that Leonid Andreev did not happen by chance, the heroine was not only comforted, but also stubbornly with the world in Young age. It is difficult to accurately determine the idea, the more deeper into the material, the more it seems with double, and sometimes with a triple bottom. Deep philosophical tragedyIn which the authentic names of all actors are not explained, they are all scenic name media. Unnamed heroes that look at us from the past, no matter what they keep in themselves and carry all those human qualities and eternal human mistakes, and for those themselves become some of the symbols of eternal values \u200b\u200band great losses, where the values \u200b\u200bare different. The idea of \u200b\u200bthe play is that the height of the spirit is determined by the lowness of the situation, for some reason the power of money gives the right to buy innocent children's souls? On the wave of restructuring in our state, it was this play that it seemed to me particularly relevant, where people commit crimes that bother thanks to their security, and do not bear any responsibility for it. With such plots, we are constantly confronted.

3) The main conflict - "... After all, everyone is buying them!" Zinida. Since human souls are sold and bought. The hero came to this world in order to change it, since he himself got into this system of purchase and sale (the scene of the appearance of Mr.). We know that the world is impossible to change.

4) The main events of the play: there is not a single event in L. Andreev, in which there would be no characters of mysticism and mysteries.

a) source event: The hero leaves the habitual habitat, the inner moral conflict of the hero leads it in a stray circus.

b) the appearance of the hero in the circuswhere his life flows, where his laws and their ideas about it, but even in the circus, the hero will dip in infinity of the problems, and the Circus is a "layout" of the world order from which he escaped.

c) Meeting Hero and Heroine I stuck the soul of the hero, as the heroine possessed his representation of the Divine innocence and the purity of the soul. "Arrened Amur", he is ready for everything to stay next to her.

d) the hero is forced to open the circus director Its origin, thereby confusion and amazement.

e) clarification of relations Zinida and BezanoBy witnessing this scene, the hero opens the secret side of the life of this circus, as already familiar with the secret side of the life of the world and any society, in which people are forced to live.

e) the heroine tutor removed Sell \u200b\u200bits perverted baron, which is clearly in old years. This fact leaves indifferent all acting individuals, except in the hero in love.

g) clown jim prohibits the hero Peep and ironize the providence, due to something already experienced. The hero gets a real slap, since it has not yet been learned that it is impossible to work for nothing. Here the author brightly holds the parallel among himself and the hero of the play.

h) trusting hero With the "tutor" of the heroine. The conversation was paid for the hero in material terms. One more step to the salvation of a heroine of a web, in which an innocent creature should get, was not crowned with success, because Too much power of money.

and) tigers of Zinid Tigrov loses consciousness after the colossal self-dedication and nervous voltage in the arena with tigers, going to the permissible borders, being already confident that predators will now be ruined, and blowing up the auditorium, it appears, trying to stay still, but loses consciousness than it causes a common stir Total circus. This is a bright event of the play I restlined the internal discharge of the tamer with dislike people and devotion of predators.

k) Divine innocence of the heroine In this event sets the hero question - "What is love?" Already trying to enjoy the love of others (Jim, Thomas, Tilly and Polly, Bezano, Zinida, Pope Brick). The hero does not respond to the question of the question, but he tries to frankly confess to love, raising himself one step with divine innocence, having enhanced his soul in Divine Wisdom, trying to understand an illiterate girl who is not able to understand his deep words and look at "Second bottom" (or the background), which is used by the hero. Getting a slap, the hero all translates into the game, in fortune telling, etc. And she just wants to be all the time.

l) the arrival of the Mr., the climax of the work. This event fully reveals the life of the hero before coming to the circus, and in this event the author clearly makes it clear how endlessly destruction of himself like the envy, the wishes of glory.

m) attempt to persuade a riderAlso in love with heroine, save the girl, stumps on silence, and the inability to carry out this, by virtue of his own beliefs.

n) the teller gives to understandthe hero that he is "superfluous" if he is superfluous in that world from which came, and extra here, what's the point in further existence?

o) clowns during benefit Heroes feel like fraudsters, because Understand that they can not go against fate.

n) the heroine understood what the life with a baron threatens herAnd in tears asks for help from the hero, although he understands that it is impossible to return anything.

p) poisoning is the only oneThat the hero remains in order to save the innocent soul, and he himself leaves life.

c) staying still in consciousnessAfter the breath of the heroine stopped, he hears that Thomas runs, and reports that the baron was shot. The evaluation of the hero is the final of the tragedy of human life, where very often close souls are forced to live apart.

t) indignation of clown jim, and explanation of the tamer, here is the final point of the mysterious and mystical work L. Andreeva.

Similar information.

The conversation method used in the study of epic and lyrical works is effective for both dramaturgical. Most methodologists recommend applying it mainly when analyzing the development of action, finding out the conflict, the problems and ideological meaning of dramaturgical works. This cannot disagree with this, as the conversation makes it possible to widely attract the text of the work, use the facts obtained by students as a result of independent work on the work.

Of particular importance in the analysis of dramaturgical works acquires independent work Pupils on the text of the work. The analysis of speech and acts of acting persons helps the disciples to understand the essence of their characters and create a specific idea of \u200b\u200btheir appearance in their imagination. In this case, the study by students analyzing a phenomenon or a scene of a dramatic work to some extent will resemble the work of the actor over the role.

The experience of perceiving the dramatic genre acquired by students in the process of studying literature is the most important help for the perception of a dramatic work. This refers to the studied knowledge of the specificity of the genre - its structures, elements, features of the recreation of characters, etc.

A business is a circle of historical and domestic realities, human relations, language idiomatics.

So, the merchant life, shown by Ostrovsky, or a certain "freedom", with which the wife and daughter of Gogol Golovsky perceive the courting of the hollykov, will definitely require a special comment.

Sometimes to activate the imagination of students should contact the historical and domestic comment. This is done in cases where students are far from the era depicted in the drama, do not have the necessary ideas and knowledge and cannot recreate in their imagination the details of the appearance of the operating person of the play, for example: uniform Governing, Kabani's clothes, etc. If the students do not come to the rescue, then they will not have the corresponding ideas and they will digest only the meaning of the word.

The drama action is manifested in the characters entering the conflict. So, analyzing the drama, it is necessary to consider the development of the action and disclosure of characters in organic unity. Still V.P. Ostrogorsky offered a teacher, disassembling a dramatic work, set the following questions to students: Does the actions of people with their characters are completely consistent? What does the hero imply act? Does his idea or passion become fascinating? What obstacles do he meet? Are they in him itself or outside it?

"Some methods and teachers practices believe that the first stage of work is commented reading of each action or completely, or selectively. Selection of phenomena depends on the tasks that the teacher sets itself.

From the point of view of other researchers and teachers, before switching to work on actions, it is necessary that the ideas of the play as a whole appeared in the consciousness of students. Therefore, the first questions must record the attention of schoolchildren on the whole play, help to comprehend it. Questions that are put in this lesson must force students to feel the main conflict, the emergence of it. This may be, for example, the question of the name of the play.

At the initial stage of studying the dramatic work, simultaneously with the clarification of the main conflict, as it should be the first acquaintance of students with existing persons, with what role they play in the struggle. You can raise the question about their grouping. To this end, in some cases, the teacher stops on the list of actors, especially in those plays in which the names and surnames hint at the character of the character, talk about the attitude of the author to them ("inexpensive", "grief from the mind", "thunderstorm" and others .). Filming up the main conflict often helps the name of the play ("Thunderstorm", "grief from the mind", "cherry garden", etc.). The path to clarifying the main conflict is paving and establishing the boundaries of the play - from which it started and what ended.

The correlation of the start in the dramatic work and the end contributes to the appearance of a shared look at the play.

Significantly pay attention to the class at the time covered by the play. What we see on the stage always happens now. The time of the viewer and the time of the play of the play, as it were, are combined, but between phenomena, there are days, weeks, and sometimes years.

The action of "Woe from Wit" covers time from morning to evening, but in the theater it is compressed up to several hours. Between the III and IV actions of the "thunderstorm" take place for two weeks, but they directly determine the climax of the play.

The emergence of the conflict, its genuine causes, the foundations of the established relationships, the origins of characters are usually due to life phenomena that occur beyond the play. Thus, at the first stage, however, those questions over which students will think further, the angle of view, under which they will consider the play.

Preparing for the analysis of a separate action, the teacher determines for itself central problem Work on it.

To solve this problem, phenomena are selected and the main questions are set. Of course, work on actions includes and explaining incomprehensible words and historical and theater commentHowever, all this is subordinate the main task. Therefore, it is necessary to give yourself a clear report, what phenomena should be allocated for detailed disability. The selection of reading phenomena depends on the tasks that, according to the teacher's plan, should be solved both when studying the entire play and when working on individual actions. This selection is determined in the process of preliminary training in the teacher to study the entire play. It is then that the teacher is named, in which lesson and why it is necessary to refer to reading certain phenomena. In addition, in the preparation process, it should decide what it is more expedient to read by himself when an audio recording should be included, which will be the purpose of reading the disciples "the method of teaching literature: student training. In-Tov in the specialty №2101 "Rus. Yaz. and literature "/ Ed. Z.Ya. Res - M.: Enlightenment, 1977, p. 234-235 ..

But it is especially important to encourage the guys to present what is happening on the stage. One of the methodological techniques encouraging students to penetrate the text of the play is the creation of imaginary Misaneszen, - in other words, in the process of analysis it is proposed to think about how they place characters at a certain point of action, to present their provisions, gestures, movements.

At the same time, the teacher takes care that schoolchildren, working on a separate act, perceived it as part of a whole, occupying a certain place in the development of action, in its progressive movement to the Final of the Plays; So that they understand how the main elements of the plot are being prepared in separate acts: exposure, tie, climax, junction.

The observation of the guys for the development of action should be non-extent from deep penetration into the characters of the actors.

Watching the behavior, actions, experiences of the character in all changing situations, schoolchildren gradually clarify the essence of the nature of various actors.

Character character, his social person, independent state Resets speech. Therefore, when analyzing the drama, the subject of constant attention should be a speech of the character, its originality.

Ignorance and rudeness of space-based manifests in each replica. The uncertainty of the thoughts of Klezlekov affects the construction of its monologue (III of the Comedy).

Of great importance when analyzing the play, it is clarified by the subtext of the replica of heroes. Work on the clarification of the sensation of the speech of heroes can be carried out already in the 8th grade when studying "grief from the mind" (action. 1, Yavl. 7, - the meeting of Chatsky with Sofia).

In the process of analysis, the obtained observations of schoolchildren are summarized. For this z.Ya. The res offers after individual, especially significant phenomena and endings to put the so-called summing questions: "For example, after reading I and II of the phenomena of the" Auditor ", you can ask questions: What did we know about the life of the county city? What are the officials of the city appeared before us? What is the nature of the measures taken by Gingerbage?

After i, the action "Thunderstorm" can be asked: what is common in the characters of wild and kabani and what is their difference? How does Katerina differ from all kabanov? Why is the conflict inevitable between Katerina and the world of Kabanov? To establish communication between actions, so-called promising issues that offer students to present themselves with viewers who do not know how the action turns out. How is the further fate of Katerina seem to you (after the end of the second action)? - Teacher asks. Is it possible to predict who will be the winner in the world of Famouse - Chatsky or Molchanin (after I of the Action "Woe from Wit")? - Specifies the teacher to the question of class. "

Introduction

Literature is one of the types of arts along with painting, sculpture, music, etc. At the same time, the place of literature in a number of other types of arts is especially significant, in particular, because it exists not only in the form of stories, stories, novels, poems, poems , Pieces designed to read, but also forms the basis of theatrical ideas, filmcenerers, television films.

From literary works, you can learn a lot of new and interesting about the life of people in the modern and previous epochs. Therefore, the need for reading many people arise very early and continues all his life. Of course, you can perceive artworks in different ways. In some cases, getting acquainted with other people's fate, the writer's reproduced, readers are actively experiencing what is happening, but do not seek to understand and even more to explain to themselves why they have certain emotions, and in addition, heroes are perceived as living people, and not as a result Artistic fiction. In other cases, there is a need to realize what the source of emotions and the aesthetic effects of one or another work. At school age, when the main moral principles are formed and the ability to think, reflect, to understand in the subject matter being studied - be it literature, physics, biology - thoughtful attitude to the read read especially important.

The concept of "literature" in school practice means simultaneously the subject itself, and the way to study it. In this work under the term literature It is understood only by the subject itself, that is, the combination of works of verbal art to be read and learned. Scientific discipline that helps their understanding and offering ways to comprehend them are called literary work.

Fiction In general, this is a very widespread concept, including works written in different time And in different languages: Russian, English, French, Chinese, etc. Many ancient languages \u200b\u200bare known thanks to the preserved monuments of verbal art, although not always highly artistic. Comprehend and know all world literature No one scientist. Therefore, the study of literature at school begins with the study of native literature, in our case - Russian, very often in relationship with other national literature.

Russian literature began to develop in the X century. So it exists more than ten centuries. During this time, she survived different stages, the first of which, the longest in time (X-XVII century), is called the ancient Russian literature, then the literature of the XVIII century is distinguished, after which, of course, it follows the XIX century, whose literature is especially rich, diverse and Available to the perception of any reader. Therefore, serious familiarization with Russian literature in high school begins with reading poems in L. Zhukovsky, Piesen A.S. Griboedov, and then various works of our ingenious poet A.S. Pushkin.

From what has said it follows that the existence of Russian literature is a literary process developing from the X century to the present. In this process, writers who are creating artworks and readers who "consume them are participating. School program It offers works that are called classic due to the fact that they are highly worried and, as a rule, deliver aesthetic pleasure readers. Since the duty of schoolchildren is to learn, comprehend the meaning of what you study, then the study of literature, as well as physicists, for example, involves the knowledge of some scientific approaches and provisions used in the comprehension of artistic works.

In this manual, the task is not to once again submit some other facts from the history of Russian literature in their connection between them (for this there are special textbooks), the principles and approaches to the study are explained and demonstrated. individual worksIt is a system of concepts that are useful and necessary when analyzing a artistic work, which helps to prepare for the composition and interpretation of literature. Introduced concepts are explained with the involvement of a specific literary material, Moreover, the examples illustrating theses and positions are taken in the overwhelming majority of cases from software works, so they unfold to the extent that it is necessary to understand this or that position.

Ways for analyzing the artwork

What is the path of the most productive in consideration of the artistic work and the assimilation of the principles of its analysis? When choosing a technique of such a consideration, the first thing that should be borne in mind is: in the immense world of literary works, three types are isolated - epic, dramatic and lyrical. These types of literary works are called childbirth literature.

In literature, several versions of the origin of childbirth literature have been put forward. Two of them seem the most convincing. One version belongs to the Russian scientist A.N. Veselovsky (1838-1906), which considered that Epos, Lyrics and Drama had one common source - folklore ritual khoneic song. Its examples could serve Russian ritual songs that were used in calendar and wedding rites, dance, etc. and were performed by the choir.

As believes modern researchers"The choir was an active participant of rites, he as if as if as if the director ... The choir turned to someone from the participants of the rite, and as a result of this appeal, a dramatic situation was created: a live dialogue between the choir and other rite participants was carried out, the necessary rituals were made" . The songs were connected in the rituals or the singer's speaking (sowing, cornels) and chorus in general, which by some faithful actions or lyrical chorus entered into a dialogue with a singer. As the singer's party is discharged from the choir of the singer, it was possible to narrow about events or heroes, which led gradually to the formation of the epic; From the chorus choir, the lyrics gradually grew; And the moments of dialogue and action turned over time in a dramatic representation.

According to another version, the possibility of origin of the epic and lyrics independently, without participating in this process of ferretic songs. Proof of this can serve as prosaic fairy tales about animals or the simplest labor songs found by scientists and not related to ritual songs.

But no matter how the origin of the epic, lyrics and dramas are known, they are known from very long time. Already in ancient Greece, and then in all European countries we encounter works and epic, and dramatic, and lyrical types that have already had many varieties and lived to our time. The reason for the work of works to one or another kind of literature is the need to express a different type of content that predetermines different way expressions. Let's start a conversation with thought about the first two types of works, that is, epic and dramatic.

I.

Epic and dramatic work

From this paragraph, the reader finds out what the specifics of the epic and dramatic works will get acquainted with the concepts used in the analysis of such works: the acting person, the hero, the character, the shape, the narrator, character, type, typification.

In the epic and dramatic works, the reader or viewer meets with acting persons which are also called alone heroes, or characters. In the story there may be only a few (for example, L.N. Tolstoy in the story "After Bala" four characters, and in the novel "War and Peace" about 600 actors). Characters are called persons participating in action, even if episodically. There are also the so-called insignificant characters which are only mentioned in the statements of heroes or narrator. Such characters include the A-s-s characters referred to. Griboedov "Woe from Mind" Princess Marya Alekskna, Praskovya Fedorovna, Kuzma Petrovich, Maxim Petrovich. From character, or hero, distinguish narrator, Which at the same time can be an active person, main or secondary, and thereby participant in action. In such a role, Peter Andreevich Grinev in the story of A.S. Pushkin "Captain's daughter" or Grigory Aleksandrovich Pechorin in that part of the Roman M.Yu. Lermontov "Hero of Our Time", where his diary is given. In other cases, the narrator is not a character and does not take part in action, such as, for example, in Romanov I.S. Turgenev "Fathers and Children", F.M. Dostoevsky "Crime and Punishment", L.N. Tolstoy "War and Peace" and many others. In these cases, the narrator, apparently, is very close to the writer, but not identical to him and cannot be identified with the biographical author. Sometimes the narrator reports that he is familiar with the heroes and is somehow involved in their fate, but his main mission is to narrate the events and circumstances. We encounter such an option in the story of A.P. Chekhov "Man in the case", where the teacher Burkin tells the story of the marriage of another teacher, Belikov, and thereby recreates the atmosphere of the provincial gymnasium in which both of them were taught.

When reading the epic work or perception of the stage presentation, it is impossible not to notice that the actors, or characters, can somehow remind people around us or ourselves. This is because the heroes of the literary work are associated in our consciousness with certain characters or types. Therefore, we will try to understand what's sense and what the importance is in the concepts of "characteristic" and "typical".

Using concepts characteristic and characteritude, we, realizing this or not, pay attention to the presence of a common, repeating and, therefore, substantial in a particular, individual, unique. The concept of characteristic we apply to the assessment of a particular landscape played by the artist or photographer if they are viewed in their pictures or pictures defined type Trees and plants peculiar to different parts of the locality. For example, the diverse landscapes of Levitan transmit a landscape of the middle strip of Russia and this is characteristic, and the sea landscapes of Aivazovsky - the appearance marine Vehicle In different manifestations and states. Various temples and cathedrals, such as the Church of Christ the Savior, the Temple of Vasily bliss in Red Square, the Assumption Cathedral in the Kremlin, with all the identity of each of them contain something in its design, which is characteristic of the Orthodox church structures, in contrast to Catholic or Muslim. Thus, the characterity takes place when in something concrete (landscape, the cathedral, house) is seen in common.

As for people, each person is unique and individual. But in his appearance, the manner to speak, gesticulate, move, as a rule, is manifested by something in common, constant, inherent in him and detecting in different situations. This kind of features can be due to natural data, a special warehouse of the psyche, but may be acquired, developed under the influence of the circumstances, the public situation of a person and, thereby socially significant. They are detected not only in the way to think, judge about others, but even in the manner to speak, go, sit, watch. We can say about some people: it does not go, but marching, does not say, but broadcasts, does not sit, but resets. Of this kind of actions, statements, gestures, postures and are characteristic.

The concepts of type and typical, apparently, are very close to the meaning of the concepts of "character" and "characteristic", but emphasize a greater degree of generalization, concentration and nudity of a particular quality in a person or hero. For example, phlegmatic, passive, misinterpretative people around us abound, but in the behavior such as Ilya Ilyich Oblomov from Roman I.A. Goncharova "Oblomov", these qualities appear with such a force and nude, that the lifestyle inherent in him and they say as a bonus, giving this phenomenon a summary meaning.

The identification of the characteristic, typical, that is, in general, through the individual, as the image of the heroes is the essence of the art itself. Many writers are clearly aware of this circumstance, therefore, in their statements, the concept of "character" and "type" occur very often. By contacting these concepts, they clearly emphasize the need to summarize life phenomena in art, "in life rarely meet clean, unprepared types," said I.S. Turgenev. "Writers mostly try to take the types of society and represent them figuratively and artistically - types, extremely rarely found in fact," as if continuing the same thought F.M. Dostoevsky, adding, "In reality, the typics of people as if diluted with water ..." and at the same time "all depth, all the content of the artwork is only in types and characters." And here are two more judgments A.N. Ostrovsky: "Artistic literature gives individual types and characters with their national featuresShe draws various types and classes of society ... Artworks with their truthful and highly supplied characters give the right distractions and generalizations. "

The word "type" is formed by the concept typification, meaning the process of creating such a picture of the world or its individual fragments, which will be unique and at the same time generalized. Recognizing the typisation of the internal needs and law of art, and writers, and researchers argue that the typical in itself is rarely present in life in the form in which it needs art. Therefore, the writer requires observation and ability to analyze and generalizations. But the most important thing is that the artist knows how not only to observe and summarize, he is able to create a new world, recreate various situations in which heroes act with all their features. Because of this, most of the heroes are fictional persons created by the creative fantasy of the artist. Being similar to real persons, they with greater evidence demonstrate general and significant trends in their appearance and behavior. If, when creating one or another hero, the writer focuses on some kind of real face, then this person is called prototype. Recall the image of historical persons, in particular Kutuzov or Napoleon in the "War of the World" L.N. Tolstoy.

Peering in the characters' characters and trying to understand them, we are thereby entering the path of analyzing the literary work, that is, in the region of literary studies. But this is only the first step in the study. Continuing and deepening analysis, we will inevitably come to the formulation of the issue of the content and form of the artistic work, their connections and the relation.

Content of epic and dramatic works

In this paragraph, the concepts are justified and explained: the content, theme, problem, idea, contradiction, conflict, the emotional attitude to reality and its types are dramatic, tragic, heroic, romance, comic, humor, satire, irony, sarcasm.

Content and the form - These are concepts borrowed from philosophy and used in literary criticism to denote the two sides of the work: semantic, meaningful, and formal, visual. Of course, in the real life of the product, the content and form do not exist separately and independently of each other, and constitute an inseparable unity. This means that each element of the work is a two-way entity: being component of the form, it simultaneously carries a semantic load. So, for example, a message about the clumsiness of a companion is simultaneously the detail of his portrait, and testifying to his mental nervousness. By virtue of this, scientists prefer to talk not just about the content and form as such, but about the content of the form, or meaningful form.

However, in a research approach, it is almost impossible to simultaneously consider the other. It follows the need for logical distinction and allocation in the work of two levels (or two plans). - content Plan and plan of expression. We will continue our reasoning by contacting the content.

Arguing about the characters of the characters depicted in the work, we are in the sphere of content. Two most important aspects of the content are the topic and the problem, or rather, to say, topic and problematics.

The analysis of the subject includes the consideration of the time of action, the place of action, the latitude, or narrowness of the vital material of the vital material, the characteristics of the heroes themselves and the situations in which they are supplied by the author. In some works, for example, in the story "Asya", the stories "Horing and Kalinich", "Biryuk" I.S. Turgenev, the action is limited in time by two and three weeks and even days and localized in the space of the heroes in the village, in the estate, in the resort. In others, for example, L.N. Roman Tolstoy "War and Peace", the action itself lasts about fifteen years, and the place of action extends quite widely: the heroes are found in the most different places in Moscow, St. Petersburg, in the estates, on the battlefields, in foreign hits. In addition, sometimes the action affects the personally family sphere, sometimes it is wider, but in all cases, the depicted situations are characteristic of individuals, and for entire public circles.

We will pay attention to those cases when not people, but animals, fish, birds or plants, which act in fantastic situations become characteristics of literary works. Works of this type are fables and fairy tales. Apparently, the theme and here the characteristic features of people's lives are recreated with the help of fantastic heroes and situations. In Basne I.A. Krylov "Marty and glasses" easily recognizes a certain person who, by purchasing something new, in which she does not understand or what she does not need, is ready to destroy their acquisition from anger and stupidity, instead of asking or figure out how to use it. In another basna - "Donkey and Solovy" - a life situation in which a talented man (nightingale) and a fool who listened to his penis was guessed, who, having listened to his penis, could not understand what his charm, and advised to learn from the one who was singing It does not know how to do it, - in the rooster.

Problems are often called the set of issues delivered in the work. Using such an understanding as a starting point, it is important to realize and take into account that usually the writer does not declare thoughts and does not formulate questions, but reproduces life on the basis of his understanding and vision, only hinting on what worries it, by drawing attention to one or another Features in the characters of the heroes or the whole environment.

What is the problem with reference to the current life? The problem is, first of all, what we even stop at one point and fix our attention, as our consciousness works very selectively. For example, when we go down the street, then we note not everything, but only some facts that rushed into our eyes. Thinking about relatives and friends, we remember and analyze those their actions that they now occupy. It is easy to assume that similar operations take place in the consciousness of writers.

Reflecting on what bribes and shares such personalities as Duchov and Bolkonsky, in which the similarities and the difference between the vital styles of the Moscow and St. Petersburg noble society, in which the attractiveness of Natasha for Pierre and Andrei, what the difference between Kutuzov's commander, Napoleon and Barclay de Tolly, L.N. Tolstoy thus makes readers to think over these circumstances without being distracted by the life of specific heroes. The word "reflecting" should be taken in quotes, for the thickness of himself, probably, and reflects, and in the novel shows, for example, by playing the actions and dialogues of Prince Andrei and Pierre, than they are close and than far from each other. He discharges especially in detail and carefully, that is, I depicts an atmosphere and life, on the one hand, the St. Petersburg salons of Anna Pavlovna Sherler and Helene Rady, on the other - Moscow balls and receptions in the house of growth, in the English club, resulting in the impression of widespread and Incompatibility of the Moscow and St. Petersburg noble circles. Depicting the life of the family of growth, the writer draws attention to simplicity, naturalness, the goodwill of the relationship of the members of this family to each other, to the familiar (remember how the Countess Rostov gives money to Anna Mikhailovna Drubetskaya) and completely someone else's people (Count Rostov and Natasha readily give up the training for Rescue wounded soldiers). Otherwise in St. Petersburg, where everything is subordinate to the ritual, where they take people only higher light, where words and smiles are strictly dosed, and the opinions change depending on the political situation (Prince of Vasily Kuragin changes its attitude towards Kutuzov in connection with his appointment to the Commander-in-Chief in the summer of 1812),

From said it follows that the problem is not a question, and the one or another feature of the life of a separate person, the whole environment or even the people, leading to some generalizing thoughts.

When analyzing the work, along with the concepts of "Topics" and "Problems", the concept is also used ideaUnder which most often refers to the answer to the question, allegedly supplied by the author. However, as already mentioned, the writer does not set questions, and therefore does not give answers, as if calling us to think about important, from his point of view, the peculiarities of life, for example, about the poverty of families such as the Raskolnikov family, about the humility of poverty, about False way out of the existing position, which came up with Rodion Romanovich in the Roman F.M. Dostoevsky "Crime and Punishment."

A kind of answer, which often wants to find the reader, can be considered emotional attitude of the author The characters of the heroes depicted and to the type of their behavior. Indeed, the writer sometimes can conveput its sympathies and antipathy to a particular type of personality, while not always unequivocally assessing it. So, F.M. Dostoevsky, condemning what she came up with a splitter, at the same time he sympathizes. I.S. Turgenev examines Bazarov by the mouth of Pavel Petrovich Kirsanova, but at the same time appreciates him, emphasizing his mind, knowledge, will: "Bazarov smart and knowing," Nikolai Petrovich Kirsanov says.

Summing up this, we emphasize that the writer is telling the reader is not rational language, it does not formulate ideas and problems, but represents the picture of life and thereby pursues the thought that researchers call ideas or problems. And since researchers use these concepts during the analysis of artwork, it is necessary to submit their meaning.

How many problems can be in the work? So much how important and significant faces and the parties of life is depicted in it and paid our attention, as much as our consciousness catches. For example, if we talk about Russian literature of the XIX century as a whole, it can be said that one of the leading problems of Russian literature throughout the last century was the image of the inner world and the spiritual potential of the Russian intelligentsia, the ratio of different types of thinking, in particular the study and identification Most of the different kind of contradictions in the consciousness of one hero (Onegin, Pechorin, Bazarov, Raskolnikov), in the fate of similar people (Onegin - Lensky, Bezukhov - Bolkonsky).

Inconsistency and inconsistency in the behavior of Onegin manifest itself, in particular, "the fact that he having loved Tatyana after a meeting in St. Petersburg and not finding himself places from an excess of feelings and emotions, persistently and annoyed a date with her, although he sees that Tatiana does not want to respond On his messages, in one of which he writes: "When you knew how a terribly thirst for love," writes this woman who suffers from unrequited love For several years now Contradictions are present in the thoughts and behavior of Rodion Raskolnikov. As a person, educated and sufficiently insightful in the assessment of the surrounding world and wanting not only to test himself, but also help the neighbor, Raskolnikov creates an absolutely false theory and is trying to realize it in practice, making the murder of two women. About the difference of Onegin and Lensky in the novel "Eugene Onegin" is well known, but this is the differences in people, in many ways close to the spirit: they are both read, they have something to think and argue, so it's a shame that their relationships ended tragically. Bolkonsky and Bezukhov, with all the differences in age, real friends (Prince Andrei only Pierre trusts his thoughts, only him allocates from the men of a secular circle and he also entrusts the fate of the bride, for a year leaving abroad), but they are not close to everyone and not Everybody agrees in the assessment of many circumstances of that time.

Comparison (it is sometimes called antithesis) of different characters and types of behavior, as well as different circles of society (Moscow and metropolitan nobility of Pushkin and Tolstoy), different social layers (people and nobles in verses and poems Nekrasov) clearly helps identify similarities and differences in moral world, " family Uklade, in the social condition of certain characters or social groups. Based on these and many other examples and facts, it can be said that the source of problems, and therefore the subject of attention of many artists very often serve as unfaviming, disharmony, that is, contradictions of various plan and different strength.

To refer to the contradictions arising in life and reproducible in the literature, the concept is used. conflict. The conflict is mostly said in the presence of sharp contradictions that are manifested in the collision and struggle of heroes, such as in the tragedies of V. Shakespeare or Romanov A. Dumas. If you consider from this point of view, A.S. plays Griboedov "Grief is a mind", it is easy to see that the development of action here clearly depends on the conflict that lies in the house of Famusov and is that Sofia is in love with Molchalin and hides it from Papyk. Chatsky, in love with Sophia, having arrived in Moscow, notices her hostility towards himself and, trying to understand the reason, follows all those present in the house. Sofya is dissatisfied with this and, defending, throws a replica on his ball about his madness. Do not sympathize with his guests with pleasure pick up this version, because they see in a person a person with others, as they look, looks and principles, and then it is extremely clearly exposed not just a family conflict (the secret love of Sofia in Molchalin, the real indifference of the silence to Sofary, ignorance Famusov about what is happening in the house), but also the conflict between Chatsky and society. The outcome of the actions (omission) is determined not so much by the relations of Chatsky with society, how much the relationship of Sofia, Molchalin and Lisa, having learned about which the Moruses manage their fate, and Chatsky leaves their home.

Note that, although in Russian literature we do not often meet with the direct image of an externally conflict relationship between the heroes, their struggle for some rights, etc., disharmony, the atmosphere of the heroes most of the works is filled and permeated and incurred. For example, between Tatyana Larina and her family, there is no struggle between Tatiana and Onegin, but their relationship is disharmonious. Relations A. Bolkonsky with his surroundings and his own wife were painted well-conscious conflict. The secret marriage of Elena in Roman I.S., Turgenev "On the eve", there is also a consequence of contradictions in her family, and the number of such examples can easily be multiplied.

At the same time, contradictions can be not only different strength, but also of different content and character. It is from the essence and content of contradictions exposed in the artistic work, its emotional tonality depends. To indicate an emotional orientation (some modern researchers, continuing the traditions of W. Belinsky, they speak in this case about Paphos) a number of long-established concepts are used in science, such as drama, tragedy, heroic, romance, humor, satire.

The prevailing tonality in the content of the overwhelming number of artistic works is undoubtedly dramatic. Dysfunction, unpleasution, man dissatisfaction in the spiritual sphere, in personal relationships "in the social situation - these are the real signs of drama in life and literature. The failed love of Tatiana Larina, Princess Mary, Katerina Kabanova, nieces of growth Sony, Lisa Kalitina and other heroines of famous works testifies to the dramatic moments of their lives.

Moral and intellectual dissatisfaction and non-identity of the personal capabilities of Chatsky, Onegin, Bazarov, Bolkonsky and others; Social Juice of Akakia Akakievich Bashmachkyan from the story of N.V. Gogol "Shinel", as well as marmalade family from Roman F.M. Dostoevsky "Crime and Punishment", many heroines from the poem at Nekrasov "Who lives well in Russia", almost all the characters of the play M. Gorky "at the bottom" - all this serves as a source and at the same time with the indicator of dramatic contradictions and dramatic tonality in the content One or another work.

Closest to dramatic turns out tragic key. As a rule, it is visible and present where there is internal conflict, that is, the collision of the opposite began in the consciousness of one hero. Such conflicts include contradictions between personal gusts and proper restrictions - caste, estate, moral. Such contradictions gave rise to the tragedy of Romeo and Juliet, who loved each other, but belonged to different clans of the Italian society of their time (Romeo and Juliet, V. Shakespeare); Katerina Kabanova, who loved Boris and understood the sinfulness of her love for him ("Thunderstorm" and N. Ostrovsky); Anna Karenina, exhausted by the consciousness of the duality of his position and the presence of the abyss between her, society and son ("Anna Karenina" L.N. Tolstoy).

The tragic situation may be established in the presence of a contradiction between the desire for happiness, freedom and awareness of the hero of his weakness and impotence in their achievement, which entails the motifs of skepticism and doom. For example, such motifs sound in the speech of MTSI, pouring their soul to the old monk and trying to explain to him, as he dreamed of living in his village "and was forced to spend a lifetime, except for three days, in the monastery, internally

alien to him ("MTSI" M.Yu. Lermontov). Tragic moods break through Pechorin, who tell yourself "that he feels like a guest on someone else's ball, who did not leave only because he did not get a carriage. Naturally, he thinks about the impossibility to realize his spiritual impulses - there is an indicative of his phrase from the diary: "I am repressed with circumstances" ("Hero of our time" M.Yu. Lermontov). Tragic fate of Elena Stakhova from Roman I.S. Turgenev "On the eve", who lost her husband immediately after the wedding and the country that went with his clerket.

In the literary work and tragic, and the dramatic start can be combined with heroic. The heroic arises and felt there and then when people take or make active actions in the name of the good of others, in the name of the sewn of the interests of the tribe, the kind, state or just a group of people in need of help. Most often, such situations are found during the periods of national liberation wars or movements. For example, the moments of heroics were reflected in the "Word of the Igor regiment" in the decision of Prince Igor to join the fight against the Polovtsy. The presence of heroic tonality is undoubtedly in the last two books of "War and Peace" L.N. Tolstoy. Such a pathos permeates many works of both domestic and Western European literature, dedicated to the image of the life of different peoples during the fight against Hitlerism. In these cases, the heroic is particularly often intertwined with tragedy. An example of such a compound can be the story V.V. Bykov ("Alpine Ballad", "Sotnikov", "Wolf Floss", "in the fog") and B.L. Vasilyeva ("And the dawns here are quiet"). At the same time, the heroic tragic situations may occur in peacetime, at the moments of natural disasters arising from the "wine" of nature (floods, earthquakes) or the person (the notorious Chernobyl, a different kind of catastrophe in transport).

In addition, the heroic can be combined with romantic. Romantics call the enthusiastic state of the person, caused by the desire for something high, beautiful, morally significant. Sources of romance become the ability to feel the beauty of nature, feel part of the world, the need to respond to someone else's pain and someone else's joy. The behavior of Natasha Rostoy often gives the basis to perceive it as a romantic, because of all the heroes of the novel "War and Peace", she alone possesses a living nature, positively an emotional charge, unresolved in the secular lady, which immediately noticed Rational Andrei Bolkonsky.

It is no coincidence that his love for her Pierre Duhov has repeatedly calls romantic love.

Romance mostly and manifests itself in the sphere of personal life, discovering itself at the moments of waiting or the offensive of happiness. Since the happiness in the consciousness of people is primarily associated with love, then romantic minigration is likely to be felt at the time of approaching love or hope for her. The image of romanticized heroes we meet in the works of I.S. Turgenev, for example, in his story "Asya", where heroes (Asya and Mr. N.), close to each other in spirit and culture, are joy, emotional ascent, which is expressed in the enthusiastic perception of nature, art and themselves, in joy Communication with each other. However, in the end, although it is very unexpected, they break up, which leaves a dramatic trace in the soul and the fate of everyone. And this once again proves that the dramatic tonality rarely passes the fate of people and therefore it often makes itself felt in artistic works.

The combination of heroes and romance is possible in cases where the hero makes or want to make a feat, and it is perceived by them as something sublime, noble, raising him in his eyes, causing gust and inspiration. Such an interweaving of heroes and romance is observed in the "war and peace" in the behavior of Petit Rostov, who was obsessed with the desire to personally take part in the fight against the French, which led him to death. Another example is Roman A.A. Fadeeva "Young Guard", in which the writer tried to show how spiritualized himself treated his heroes - schoolchildren of senior classes, who estimated their struggle with the fascists not as a sacrifice, but as a natural feat.

Underlining romantic, dramatic, tragic and, of course, the heroic moments in the life of heroes and their moods in most cases becomes form of expression of sympathy for heroes, way to support and protect them by the author. There is no doubt that V. Shakespeare is experiencing along with Romeo and Juliet about the circumstances that prevent their love, A.S. Pushkin regrets Tatiana, not understood by Onegin, F.M. Dostoevsky grims about the fate of girls such as Dunya and Sonya, A.P. Chekhov sympathize with the suffering of Gurov and Anna Sergeyevna, who fell in love with each other very deeply and seriously, but they have no hope for the combination of their destinies.

However, it happens that the image of romantic sentiment becomes the method of debuning the hero, sometimes even his condemnation. So, for example, Lensky's foggy verses cause a light Irony A.S. Pushkin, romantic vine of pear - eating mockery M.Yu. Lermontov. Image F.M. Dostoevsky dramatic workers of Raskolnikova is a large form of a conviction of the hero, conceived a monstrous version of the correction of life and confused in his thoughts and feelings. The tragic collision of Boris Godunova, shown by A.S. Pushkin in the tragedy "Boris Godunov", also intends to condemn the hero - intelligent, talented, but unjust received the royal throne.

Much more often, humor and satire are in the discredit role. Under humor and satiare In this case, one more emotional or type of issues is meant. And in life, and in the art of humor and satire are generated by such characters and situations that call comic. The essence of the comic consists in detecting and identifying the incomprehensibility of the real possibilities of people (and, accordingly, characters) and their claims, or the inconsistencies of their essence and visibility.

Imagine a student who has no knowledge of literature or mathematics, and he behaves as if he knows them better than everyone. This can not not cause a mocking relationship to him, because the desire to appear knowing that there is no real soil. Or another example. Imagine a public figure who does not have any mind nor abilities, but claims to lead the society. This behavior is likely to make a bitter smile. Mockingly appraisal attitude to comicities and situations called irony. The irony may be light, unbelievable, but can become an unkind, condemning. Deep irony, causing a smile and laughter in the usual sense of the word, and a bitter experience, referred to sarcasm.

Reproduction of comic characters and situations accompanied by an ironic assessment leads to the emergence of humorous or satirical artworks. Moreover, humorous and satirical can not only be the works of verbal art (parody, jokes, fables, stories, stories, plays), but also pictures, sculptural images, mimic representations, consider several examples.

The speeches of the circus clowns are mostly humorous, causing good laugh of the audience, because they, as a rule, simulate the numbers of professional acrobats, juggles, trainers and deliberately emphasizes the difference in these numbers by masters and clowns. In the story S.Ya. Marshak about how "a man scattered from the street" sat down not at that car and could not get to Moscow, also depicts the comic error situation "designed for good laugh. In the above examples, irony is not a means of condemning someone, but exposes the nature of comic phenomena, which is based on, as already mentioned, the inconsistency of what is, what should be.

In the story A, p. Chekhov "Death of the Officer" Comic manifests itself in the ridiculous behavior of Ivan Dmitrievich Chervikhakova, who, being in the theater, inadvertently sneezed on Lysina General and was afraid that he began to pushing him with his apologies and pursued until he had caused the real anger of the general that And led an official to death. Relightness in the inconsistency of the perfect act (sneezed) and the reaction caused to them (repeated attempts to explain to the general that he, worms, did not want to offend him). In this story, it is mixed with a sad, as a similar fear of a high face is a sign of the dramatic position of a small official in a system of service relations.

Fear can generate unnatural in human behavior. Such a situation is reproduced by N.V. Gogol in the comedy "Auditor", where it is shown as the city and other "hosts of the city" from fear before the auditor makes such actions that cannot but cause laughter of the audience. Accentuation of absurdities in this work is evidence of no sympathy for heroes, as in the story of the AP. Chekhov, and the way they are convicted. The fact is that in the face of Governing and His environments, there are significant persons designed to respond to the life of the city, but not relevant to their position and therefore the frightened outcrops of their sins - bribery, korestoloby, indifference to the fate of the subjects. The identification of serious contradictions in the behavior of heroes, generating clearly negative attitude towards them, becomes a distinctive sign of satire.

Classic Satira samples gives creativity M.E. Saltykov-Shchedrin, in whose works - fairy tales and poses - there is an image of the stupid landlords who would like to get rid of the peasants, but, being unsuitable for any lessons, they are celebrating (" Wild landmark"); Stupid generals, who, like the landowners mentioned, do not know anything, thinking that the bells on the trees grow, and therefore they are able to die from hunger, if not a man who fed them ("as a man of two generals I was punished"); the cowardly intellectuals that are afraid of all, they are hidden from life and thus cease to be intellectuals ("Wheel Pescar"); Thoughtless townships, whose mission take care of the city and the people, but none of the persons shown in the Tale of this mission is not able to be in virtue of their stupidity, limitations ("History of one city"), in a word, characters who deserve an evil irony and sharp condemnation. An example of satire in Russian literature of the 20th century is the work of MA Bulgakov, where the subject of ridiculous and exposure are different sides of the Russian life of the 20s and 30s, including the bureaucratic orders of Soviet institutions depicted in the negotiation of the "Deviliad"; or the atmosphere of literary life in Moscow, where the talentless writers and critics are ready to strive talented artistsAnd their own interests are focused exclusively on money, apartments and all kinds of benefits that give membership in Massolite ("Master and Margarita"), the limited and aggressiveness of people like Sharicov, who become dangerous when they receive power ("dog heart").

Of course, the delimitation of humor and satire is not definitely. Very often they are woven together, complementing each other and supporting ironic color of the depicted. So, for example, when, speaking of Manilov, N.V. Gogol draws attention to the ridiculous position of his house, the wonderful names of his kids (alkid and themistocleus), gentle by the polite form of his communication with his wife and the guest, it causes a unlocked smile of readers. But when it is reported that neither manifers nor his manager know how many peasants died in the estate, or as the same manilan, hitting the check of Chichikov, still agrees to enter into a deal and sell the "dead", the smile ceases to be good-natured: humor develops in Satira.

The desire to comprehend the deficiencies and loosencies of life does not always lead to the creation of large literary and artistic works, it may find an expression in other forms, for example, in very common satirical miniatures, which sounded with pop, an example of which M. Zhvanetsky can serve as performances. M. Torny and some other authors. Spectators actively react to the humorous and satirical meaning of their performances, for they will find out in their characters and situations are ridiculous, sometimes ugly and therefore comic features Our daily life.

Satirical works may include fiction elements, that is, implausing in the image of the world. With fantastic heroes and situations we meet not only in fairy tales. Fantastic start is present, for example, in famous Romana English writer D. Swift "Travel of Gullyer" and even comedy N.V. Gogol "The Auditor": because it is difficult to believe that all the officials have been deceived and believed in Khlezkov as an auditor. In the literature and in art as a whole, the special form of fiction, where life proportions are particularly violated, and the image is based on sharp contrasts and exaggeration, called grotesque. An example of Grotesque in painting can serve as the web of the Spanish artist Goya, many paintings of the modern avant-garde, in the literature - works of M.E. Saltykov-Shchedrin and in particular "the history of one city".

The concepts discussed above are drama, tragedy, heroic, romance, humor, satire - do not cover all variations of the problem-emotional orientation of literary works. In addition, many types of emotional orientation can be gossipped, overlap one to another, forming a kind of alloy. As a result, the problem of the work is often very rich and multifaceted.

And now we turn to the consideration of what makes the form, that is, the fine-expressive side of the work. Given the close proximity of the epic and dramatic works, which it was possible to feel when analyzing the content, we will not, in this case, share them in principle, although we show the differences in their artistic organization.

Meaning form of epic and dramatic works

In this paragraph reader will get acquainted with the concepts: portrait, interior, plot, landscape, lyrical retreat, composition, tie, junction, climax, episode, scene, dialogue, monologue.

Heroes involved in the epic work, usually appear somehow outlined. A description of their appearance, including clothing, manner, poses, gestures, facial expressions given by the narrator or heroes themselves, is portrait. So, for example, in the novel M.Yu. Lermontov "Hero of Our Time" Portrait of Bale is given by Maxim Maximych ("And it was precisely good: high, thin, black eyes, like a mountain sulfur, and looked into your soul"), Portrait of Pechorina - the words of the storyteller ("He was average Growth; slender, thin mill and wide shoulders argued strong addition, able to transfer all the difficulties of nomadic life and change climates, not defeated neither by the depravity of the capital's life, nor the storms ... "), and Grushnitsky and Princess Mary - Pechorin (" Grushnitsky - Junker ... he is well complicated, Mujl and Chernovolos; he is in appearance you can give twenty-five years old, although he is hardly twenty-one ... ";" This princess Meri is a lot ... she has such velvet eyes ... the lower and top eyelashes are so long that the sun rays Do not reflect in its pupils ").

A certain place, greater or less, depending on the nature of the heroes and the situation, occupies interior, i.e., a description of the life, which includes the appearance of the house, furnishings, furniture, in a word, its decoration. As an example, we give the description of the office of Onegin: "I will depict the Picture of the right // a secluded cabinet, // where the mod pupil is approximate // dressed, will weaken and dressed again? // Amber on Tsaregad tubes, // porcelain and bronze on the table, // and, feelings of raw fad, // Perfumes in a granded crystal; // Fights, steel files, // Straight scissors, curves, // and brushes of thirty genera // and for nails, and for teeth. "

Interior N.V. is especially discharged. Gogol in the poem " Dead Souls»:" Peace was a famous kind; For the hotel was also a famous kind, that is, exactly as there are hotels in the provincial cities, where for two rubles per day passing the deceased room with cockroaches, looking like prunes, of all corners, and the door in the nearby room, always forced to be a chest where a neighbor is satisfied, silent and calm person, but an extremely curious "or:" looked around the room, Chichikov threw casual two views: the room was covered with old striped wallpaper; between windows ancient small mirrors with a dark framework in the form of curved leaves; Behind every mirror were laid or a letter, or an old deck of cards, or stocking; Wall clock with drawn clocks on the dial ... "; Continuing the inspection of the internal interior of the house of the box, "Chichikov noticed that there were not all birds in the paintings: the portrait of Kutuzov and a written oil colors Some old man with beautiful abbreasses on the uniform, as embroidered with Pavel Petrovic. "

Concerning landscape It can perform the function of the interior, the place of action, and may be the object of observation or emotional experiences of the heroes. Giving a picture of the night at the beginning of the story "Taman" and including some details of life, M.Yu. Lermontov helps to present the circumstances in which Pechorine had to be in this city: "Full month shone on a reed roof and white walls of my new dwelling; ... in the yard, circled with a cobblestone, there was another lach tune, less and ancient first. The coast of the cliff went down to the sea by almost the most walls of it, and at the bottom with the continuous ropot, the dark blue waves splashed. The moon was quietly looked at the restless, but submissive her element, and I could distinguish with her, far from the coast, two ships. "

And "Princess Mary" begins with the description of the view opened from the window of Pechorin's house in Pyatigorsk, giving the opportunity to see the situation in which the action will occur: "I have a wonderful view from three sides. To the West, the five-key Beste will shine like the "last cloud of scattered storm"; North rises Masha K, like the Persian hat, and closes the whole part of the skyscland; To the east, look more fun: downstairs in front of me the pure, the new town, the healing keys are noisy, the cumulative crowd. " On the pages of the same story, a little later, "Pechorin (here he is a storytellor) resorts to landscape moments to transfer his condition:" Returning home, I sat down and picked up in the steppe; I love ride on a hot horse on high grass, against a desert wind; I gloomily swallowed with gloomy air and rushing the eyes into the blue difference ... Whatever bitterness lay on the heart, whatever concern is a thought, everything will be dispelled; The soul will be easy, body fatigue will win the alarm of the mind. There is no female gaze, whom I would not forget at the sight of curly mountains, illuminated by the southern sun, at the sight of a blue sky or the noise of the flow falling from the rock on the cliff. "

In a dramatic work portrait detailsThe interior or landscape is outlined in the author's remarks, which predeter the beginning of the action, or the replicas of the heroes, and are implemented by actors, grimers, decorator artists, directors. At the same time, the appearance of heroes can be found from the replica of other heroes or their themselves.

The necessary principle of the image of the heroes in the epic and dramatic works is to reproduce events that make up from the actions of the characters, which is plot. The plot consists of events, and the events from the actions of the characters.

Concept act Includes and externally tangible actions transmitted, in particular, verbs (came, entered, sat down, met, spoke, headed), and internal intentions, meditation, experiences. It is from the actions of individuals or groups grow events of personal or historical plans. So, recreated L.N. The Tolstoy War of 1812 is an event that develops out of a thousand actions and, accordingly, the microdiasis of its participants is soldiers, generals, marshals, civilians. A combination of actions in their movement and development forms a chain of episodes, or a plot, literary work.

The designation of actions as a certain chain may seem not accurate enough, since in some cases the so-called oNNOLINEY The plot, that is, the plot that can be represented graphically in the form of consistently interconnected units of one chain, in others - multineseThat is, such that should be presented in the form of a complex network and intersecting lines. In this case, episodes can be different plan or volume, that is, with the participation of a different number of characters and miscellaneous number The time displaced by this episode. Therefore, sometimes distinguish episode and scenewhich is a more deployed episode.

The first, that is, a one-centered one, the plot version is easier to imagine, remembering some small story, for example, "Misel" A.S. Pushkin, the plot begins with the report that the noble girl of Marya Gavrilovna and the army ensign Vladimir Nikolayevich, who lived in the neighboring estates, are in love. Because of the ban on parents, they secretly rewrite, swear in eternal love to each other and in the end came to thoughts secretly married. Wedding was appointed in a small church on the winter day of 1812. In the story detail all the actions of the other hero are recreated, that is, how anyone was going and traveled to the Church. Marya Gavrilovna reached on time, Vladimir was prevented by a blizzard. While he traveled, by leaving the officer, who was next to the bride in the Dark Church, and the priest, who did not notice the substitution, married Marree Gavrilovna with him. Understanding immediately what happened, Marya Gavrilovna fell ill. Vladimir went to the army and participated in the Borodino battle. After some time, Marya

Gavrilovna and a strange officer were inadvertently met (they lived in one submit), love each other and shared every secret. Happy junction came.

To reproduce the plot, you need to recreate all the episodes that follow one after another. In each episode there is some kind of action, whether it is a receipt of the letter, the decision to be married, arrival in the church, etc. Therefore, listing some of them, we used words denoting any actions, that is, verbs. IN this story These episodes are brief, unnewned, but they constitute an event number of works, that is, the plot. At the same time, it is the plot that takes in this story, as in other "Peters of Belkin", a very large place.

Consider a more difficult case on the example of Roman A.S. Pushkin "Eugene Onegin".

The first words that the novel begins and which belong to Onegin ("My uncle of the most honest rules, // When not in a joke, Zalenor, // He mold himself // and could not reveal it," actually denote the beginning of action that will unfold later . After the words of the Hero, instead of a story about the arrival in the village, the author reports his father, about the upbringing and, very detailed, about the type of life of a 18-year-old young man in St. Petersburg society. It is reproduced by almost one day of such a lifestyle, which is said: "Will be wondering for the bottom, and again // until the morning, his life is ready. / / Single and Pestera. // And tomorrow is the same as yesterday. " In parallel, his outer portrait is thrown out, a suit, a manner of dressing, a cabinet decoration. In the 52nd stanza of the first chapter, a message appears again: "Suddenly he received in fact // from the ruler report, // that uncle in death in the bed // and would be happy to say goodbye to him." This time information is preceded by the cited words of the hero. She makes him go to the village, where, buried the uncle, Onegin remains to live, accidentally meets Lensky, then periodically meets with him; Thanks to Lensky, it falls into the family of Larina, causes universal interest and Tatiana emotions, as a result of which receives a letter and after a while he drives to explain to Tatiana. The next big episode, more precisely, the scene: Name Day Tatiana - with quarrels, challenge on a duel. Then a duel, departure of Onegin from the village and the disappearance of it before the appearance in St. Petersburg. These events take a few months - from summer to winter, more precisely, until the end of January, when Tatiana is celebrated. Larina continue to live in the village, give Olga married, hopelessly try to give Tatyana and the next winter go to Moscow. After Marriage, Tatiana moves to St. Petersburg, settling in one of the aristocratic houses of the capital. At the time of the appearance of Onegin in this house it turns out that it is married for about two years. After their new meeting takes another half of the year. Thus, more than four years have passed since the start of action.

We drew attention to this example to show that the action (plot) is developing here and moves in one direction, making a kind of chain of episodes and scenes. Naturally, not all episodes constituting this chain were named here, but it was shown that it was precisely the event, that is, the plot sphere of the romance structure.

Fixing events is accompanied by a description of various attributes of the Petersburg, provincial and Moscow life, everyday lifestyle, portrait of heroes, as well as nature. The time of action can be calculated precisely on the change of landscapes, that is, the seasons of the year. In addition, in this novel a lot of direct statements of the author who are called lyrical retreats. Lyrical deviations Sometimes it seems from the story or descriptions. Reporting on the visit of Onegin theater, the poet can not not include his thoughts about this "magic region", where "Fonvizin shone, friend of freedom", was raised, Pieces of Princess, Lake, Katrenina, Shakhovsky, where Semenova danced, found the fame of the famous ballet show Didlo. Describing the atmosphere of the St. Petersburg Bala, Pushkin cannot do not exclaim: "On the days of amazing and desires // I was crazy about balls." And so in most cases. Very often, the descriptions of nature, without which this novel is unthinkable, because out of nature (passengers, fields, meadows, forests) is unthinkable by the life of the Russian landlord family, go to his own reflections: "Flowers, love, village, idleness, // Fields! I am devoted to you soul. " The abundance of such deviations is the peculiarity of this novel, in which the poet wanted to directly express many of his thoughts, and the poetic form of speech was very promoted.

Arguing about different components of the text (plot, landscape, portrait), we entered the area compositions, Which may include different elements, but in the epic work the integrity of the building, which call the artwork, keeps on the plot. The plot is the main fastening start, cementing the text of the work.

In plot episodes and scenes can take part miscellaneous number Characters, there are different forms of implementation and interaction of heroes: reflections to themselves or loud, alone or in the presence of listeners (monologue)or conversations of two ( dialogue) or more (polylog) of heroes, as well as meetings of a different kind, including fights, duels, collisions in battles, in everyday life, etc. At the same time, the verbal communication and self-expression of heroes belongs to the most important place both in the epic and dramatic Therefore, therefore, dialogues and monologues, being one of the most important ways of representing heroes, mostly included in the plot as its components.

Let's try to present another version of the plot-composite organization of the epic work on the material of the story A.S. Pushkin "Captain's daughter".

This story, as well as the "blizzard", is extremely saturated with the event elements, i.e., the actions and actions of the characters constituting the plot. These include episodes from the personal life of heroes and historical events, whose participants they are. Landscape sketches Mostly woven into the story about events: remember how Buran in the steppe caused the meeting of the main characters - Greeneva and Pugachev.

The plot recreates the vital situation, revealing the characters participating in it and their understanding by the author. The life situation of the "Captain Daughter" includes many actors, and a plot effect, despite the small volume of text, covers a large period of time. The events presented here leak from the winter of 1772-1773, when the Grinee is first found with Pugachev, until the autumn of 1774, when, after traveling to St. Petersburg, his bride Marya Ivanovna and her meetings with Empress Greeneva are freed from arrest, Pugacheva is executed, and Marya Ivanovna returns to the parents of Greens. The story ends with the publisher's message that, after liberation, the Grinenel married Marie Ivanovna and "their offspring is gracious in the Symbirian province. In thirty versts from *** there is a village owned by decider's landlords. - In one of the Barsky Flygels, show the Catherine II's own letter behind the glass and in the frame. It is written to the father of Peter Andreevich and contains the excuse of his son and praise the mind and heart of the daughter of Captain Mironov, "this is an epilogue of the story, in which the characters are no longer involved, but it is said about one of the grandchildren who brought the publisher to his grandfather

Peter Andreevich Grneeva. Such an epilogue is essentially not included in the plot.

What is the originality of this type of plot?

The fate of the young nobleman was the usual theme of novels and the lead in Russian literature of the 20s and 30s of the XIX century. The image of historical events, such as the peasant movement, was unusual and new. The inclusion of heroes in the historical situation allowed otherwise to look at traditional heroes, such as Grine, and to acquaint with such as Pugachev and his comrades. If the official version of Pugachev is a villain and a traitor, then for A.S. Pushkin - the figure is more complicated. But how to show it? And S. Pushkin found this opportunity, presenting his essay in shaped witness notes - P.A. Greeneva, a man of honest and truthful, sincere and moral.

Already in the first chapters, we learn that Grinemen is decent (relations with Zurin), noble (duel in defense of Masha Mironova), a bit and attentive to an unfamiliar person, even the naughty title (gratitude to the courteance), as well as very observable. Starting with the VI chapter, he appears as a participant "strange," according to his words, the incidents began in the fall of 1773, when the Cossacks occurred.

As a member of all incidents, the officer Grinev, who gave oath by Empress, tries to be objective and trying to understand Pugachev, to penetrate his thoughts, assess his actions. Thanks to the observation of Greeneva, it turns out that the villain of Pugachev is a smart, that it supports a huge part of the Cossack population, that he is typical of the desire for justice, sober understanding of the situation and the natural desire to feel at least free person. From the story of Greeneva, other characters are also charged - Pugachev's associates, captain of Mironov, Marya Ivanovna, Schvabrin, General, Commander of the Tsarist Forces in Orenburg. The totality of all actions and actions of heroes in their connection and the sequence is the plot, the beginning and end of which is said above. Within the designated time, the course of action is not violated by chronologically.

At the same time, the narrator realizes and emphasizes the distance between the time of the events and the time of their description. Therefore, he leads a story last time and complements it with comments that are the result of his personal analysis of those events. These comments are few, but important, for example, in the part where hero reminds that he "was engaged in literary work; His experiments, for the then time, were pretty, and Alexander Petrovich Sumarokov, a few years later, very much they praise. " Greennev's considerations are especially important at the beginning of the VI chapter, where it is said that the beginning pugachev Uprising and the appearance of Cossacks at the walls Belogorsk Fortress Preceded the outrage of the Cossacks in their main town. "The reason for this was strict measures taken by General Traubenberg, in order to bring the army to proper obedience. The consequence was the barbaric killing of Traubenberg, a self-wired change in the management and finally the doubt of the rebellion of the coach and cruel punishments. " Certificate of cruelty on the part of the authorities is torture, which was then used everywhere, as opposed to "from the meek reign of Emperor Alexander", in connection with which Grinev writes: "Young man! If my notes get into your hands, remember that the best and strongest changes are those that occur from improving morals, without any violent shocks. "

Thus, the originality and content and form of the presentation depends on this work not only from the material itself, but also from the choice of the narrator. In addition to the objective presentation of the events, the storyteller includes the narrative of the letter and notes of various actors to show a written communication manner at the time. And here everyone is written in Russian, although the correspondence in noble society that time was often conducted in French. All fourteen chapters are equipped with epigraphs. The meaning of the epigraphs in addition, in the enrichment of the author's text, proverbs, sayings, fragments of songs of famous poets of that time and folk.

As already mentioned, the details of the plot, portrait, interior, landscape, etc., are in a certain way, arranged, are associated, forming composition Works. The immediate "culprit" of one or another composition is the narrator. He should not be identified with the author, which is the initiator and the creator of all that is happening, but in the text we are dealing with the narrator, which in some cases is very close or identical to the author ("Eugene Onegin"), in others - is different from him ("Karamazov brothers "). It is the author that entrusts the role of the narrator Grinevo (in " Captain's daughter"), Two heroes (Varnika and Makar in" poor people "), several heroes (passing officer, Maxim Maksimych, Pechorin in the" Hero of Our Time ")) or a special person who does not participate in action, and watches heroes or hears them History (travel official in the "Station County").

The role of the narrator is determined by what it reports to the actions of heroes, about their meetings, about the events that occurred between meetings, etc. For example, in Evgenia Onegin, the narrator informs about the arrival of Onegin to the village, about his friendship with Lensky, On their visit to Larina, about the duel, about the Larina's trip to Moscow, etc. In the same novel, the narrator recreates the prehistory of Onegin, describing his life in St. Petersburg before arriving in the village. It has been transferred to the situation of action, the appearance of most heroes is described and judgments are expressed in the course of the narrative, which are called lyrical deviations.

Concerning dramatic works, There are no narrator in them, there is practically no binding text, except in cases where there are remarks about heroes and actions. Here, all information comes from the characters themselves, pronounced monologues, dialogues and separate replicas. The absence of a narrator and its speech is filled with the stage capabilities, in the choice of which the director plays a decisive role. Therefore, the literary text, which makes up the verbal fabric of the future performance, in the process of setting is complemented by gestures and movements of actors (Mimic and Pantomimim), their costumes and appearance, decorations performed by the artist-designer, sound effects and some other factors, often predetermined plan of playwright, but implemented by the propacker. Consequently, the analysis of the stage representation is the region not only literary critic, but also theatersdran. However, the strategic structure of the dramatic work gives us the right to analyze it, as in the epic work.

So, if the writer is standing before the reader of the epic work, which represents heroes and events from his point of view, then there is no such intermediary in the drama. In the drama, the characters themselves act on the stage, and the viewer himself makes the findings that flow out of their actions and experiences. The time of the action depicted in the drama should coincide with the stage of the stage presentation. A play, as a rule, continues no more than three to four hours. This affects the amount of dramatic text and on the plot. Pieces plots must be compact, and conflicts are more or less naked. Unlike the epic in dramatic ideas about the plots, "that is, no one tells about action. Actions are represented by heroes themselves in dialogues and monologues. Therefore, it acquires a "drama a special meaning, and the main dramatic text - This is a chain of dialogical replicas and monologues of the acting persons themselves.

We will try to consider structure of the plot of dramatic work, meaning the nature of dialogs and monologues, from which the plot folds, contacting the play by A.N. Ostrovsky "Thunderstorm". In some cases, such as the Katerina dialogue and barbarians in the first act of the play and the Katerina Montologist "with the key", they should be recognized by dynamic or driving components of the plot, for they become a certain point in the development of action. Another option of the ratio of words and actions can be observed in the scenes of recognition of Boris himself about his love in Katerina or the recognition of Katerina Varvar about her love for Boris, where monologues reveal the inner state of heroes and thereby do not detect explicit dynamics. Episodes, similar to those where Boris tells Kulizhin, and Katerina Varvar about his last LifeIt is important primarily from the point of view of clarifying the characters of heroes, being a prehistory of events, and serve as an exposition of action.

Continuing the conversation about the plot, it is necessary to add that in some literary works, in particular in the discussed play by A.N. Ostrovsky, we meet with the plot, in which the beginning of the love of Katerina and Boris) and horses (death of Katerina) actions are pretty clearly marked. Such points, or moments, are called the plot stronger and junction. Of course, in the plot of any work there is the beginning and horses of action, but not always it is advisable to designate the specified terms. It should be said about the string when the contradictions and conflicts that are the source of the event of events, a kind of engine of the plot, are scheduled and tied in front of the reader. For example, in the "thunderstorm" such a source is the love of Katerina and Boris and the circumstances preventing it.

Consider once again at this angle of view Comedy A.S. Griboedov "Woe from Wit". Chatsky who came from abroad unexpectedly notices for himself that Sophia is not glad to him that she has some kind of mystery that defines her actions. Trying to understand the reasons for her behavior and finding in the house of Famusov, he meets with his households and guests, as a result of which the chain of episodes arises. The junction comes when both Chatsky and Famuses learn what the mystery of Sofia and what mutual relations are in the house.

In this play, there is another contradiction - antipathy towards the Chatkoma not only on the part of Sophia, but also of other characters and hostility to them is not for personal, and ideological moral motives, which increases and speeds up the clash of Sofia and Chatsky, allowing her to attract it to him The wary of our guests and call him crazy. However, this is a contradiction, in contrast to the above, does not have a junction in the play, it only provokes the deterioration of heroes relations. The denouement is to find the personal relationship of Sofia, Famousov, Molchalin and Lisa, opening the gaze of Chatsky, who hears the last conversation of Lisa, Molchalin and Sophia, says the final monologue and leaves the Famousov's house.

Take the third case and find that the beginning and end of action are not always becoming stronger and union. So, in the play A.P. Chekhov "Cherry Garden" Waiting for the arrival of Ranevskaya and even the notice of the leopard about selling her estates is hardly worth named with stronger. According to the Ranevskaya itself, she returned to Russia because of the failures in personal life, longing for her daughter and a bad mood. She is unable to take real participation even in the salvation of the manor, and not very concerned about it. The greatest changes in the case of the sale of estates are threatened by Vare and Fours, who live in a balm house. The rest, as we suggest, will leave the house, without feeling harsh changes in his fate and without having experienced a particularly negative emotion from parting with each other. An union can be considered a common emotional mood associated with the disappearing of the face of the cherry garden as a kind of historical and cultural value that is no one to save now. It is possible that the audience or readers feel even stronger than the participants of the stage action.

So, in each of the considered works, there is some kind of life situation that unfolds and modifies in front of readers. But the nature of the changes is different depending on the problems, that is, from the author's understanding of the situation, which causes type of plot. As it was possible to make sure, in the plots of "thunderstorms" and "grief from the mind" there is something in common in principle of action, namely the presence of a string, causal communication between episodes and junction. Here, the action unfolds around the relationship between several heroes, and the relationship themselves are built under the influence of an inner push, which are complex relationships between heroes.

In other cases, in particular in the "Cherry Garden", there is no focus of action on two to three heroes; In action, several actually equal characters are involved, in which the fate of which, as a rule, does not occur noticeable changes. As a result, there is no obvious risk here, the temporary connection between episodes prevails, that is, they do not follow one of the other, and, as it were, when we kyut one to another on the basis of chronological sequence.

These patterns in the organization of the plot and the ratio of words and action are traced in epic works.Among the leaders and stories (about the novel, it will be discussed below) are found and those who like the type of plot resemble the "grief from the mind" or "thunderstorm", and those who are closer to the "Cherry Garden".

An example of the leaders with a sufficiently clear string can be the "Tale of Belkin" A.S. Pushkin and in particular "shot", where the string is the meeting in the shelf of Silvio and the graph, which posted the beginning of their rivalry, and then a duel, during which only one shot was made, and the second - Silvio was left behind him. The junction is a new meeting of the heroes, held in six years, "when Silvio, having come to the house of the graph, finally did his shot, saw the confusion of the owner and left, having exercised his plan. In that a small story There is a brief message about the subsequent fate of Silvio, which is an epilogue.

The plot of a different type - with the lack of pronounced stronges, with weakened causal bonds between episodes, with the predominance of temporary motivations in the development of action - presented in many stories A.P. Chekhov, I.A. Bunin and other writers. We give as an example story I.A. Bunin " Cold fall"Where only two and a half of the text pages are reproduced by a heroine life in thirty years. In the story of the story you can select several episodes - the scene of the engagement of heroes, the scene of their farewell day after the engagement in the cold autumn evening, departure the groom to the front (we are talking about World War II) and receiving news of his death; Then on behalf of the heroine are only called and listed the main moments of her life - marriage, the death of a husband, departure from Russia and as a result of a lonely existence in Nice. It clearly dominates the chronic principle in the organization of action, and the sensation of the integrity of the narration is created by a dramatic tonality, which paints the fate of the heroine since the loss of the groom and ending with the loss of Russia and all close.

A.P. Chekhov has been developed fundamentally new for that time and the very productive principle of organization of action, which is viewed in many of the signs and stories of the writer. One of the most characteristic and committed in its kind is his story "Ionch". Judging by the title, in the center of the story, the fate of the chief hero of Dmitry Ionchcha Startsev, which was shown for about ten years, although the narrative of this story takes only 18 pages. However, in addition to the story about the fate of the hero, during which it is fixed, as from a doctor, a dedicated treatment for patients in Zemskoy, that is, a free hospital "he turns into a practitioner who already owns three houses and continues to acquire new, here very much attention The characteristic of the mental-moral atmosphere in the city of S., which largely led the nature of the evolution of the hero, but which is important and in itself as a symptom of the general state of the Russian provincial life of the end of the last century.

The atmosphere of the city turns out first of all by the example of the "most educated and talented" Turkish family "which includes Paperto Ivan Petrovich, Mama faith Iosifovna and daughter Katya, and then on the example and other residents who are called the hero and the author are called ordinary people. The talent of the daughter was in the ability to play a piano loudly (what was uncomfortable to remember her after a few years), Mama's giftedness was in writing a lagging and no one interesting novels; And the indispensability of PAPENKA as the owner of an interesting and cultural house - in the "ability" to entertain guests with stupid jokes, pretentiously ridiculous jokes and words, like the following: "Hello, please"; "Bonzurt"; "You do not have any Roman law ... it's very perpendicular to you, repeated from year to year.

As for other inhabitants of the city, their level was lower than any criticism. "The elders were in different homes and met a lot of people ... the man in the streets, their conversations, lifestyles and even their views were annoyed. The experience taught him little-ate that while you play cards with the ordinary woman or climbing with him, then this is a peaceful, complacent and even a nonsense person, but it is only worth talking to him about anything inedible, for example, about politics or science as he It becomes a dead end or makes such a philosophy, stupid and evil that remains only hand to hate and move away. When the elders tried to speak even with a liberal man in the street, for example, that mankind, thank God go ahead and that over time it will do without passports and without death penalty, then the man in the street glanced at him, and incredulously and asked: "So, then anyone can cut on the street anyone?" And the elders avoided conversations. "

The need to convey the atmosphere of the provincial city, as italizes the nomanic events in the life of Startsev, who in the first year of his stay in the city fell in love with Kattenka and made her an offer, but her conviction in his talent and the desire to go to the conservatory forced her to refuse to offer them, topics were over novel. After returning it in a few years, the proposal did not happen. These were limited to the externally notable events and changes in the Hero's life.

Therefore, a significant part of the story episodes and before and after the noman explanations of Startsev with Katten, those in the form of everyday meetings, conversations "of the evening in the house of Turkish demonstrate the established, well-established structure of the life of the city of S. with its cosnosis, mental limitations, real absence Culture. Dr. Elders perfectly understands what this life is worth, he continues to treat patients, but it does not communicate with anyone and is limited to receiving bills, although it is hardly satisfied with this, but there can be no other option of life, because for this it would be necessary to change the whole way of urban Life. The emphasis on the image of life, more precisely the lifestyle, and creates a feeling of staticness and lack of noticeable dynamics in the development of action. But the tension of the story from this does not weaken, it "feeds on" the mood, which arises from the reader, the mood, mostly painted in dramatic tones, however, sometimes with an admixture of humorous.

Such life situations are reproduced in other works of Chekhov, for example, in the story of the Teacher of Literature. There is also a love story here, the main person of which is the teacher of the gymnasium Sergey Vasilyevich Nikitin. He falls in love with Masha, younger daughter in the family of rustle, which is considered in the city one of the most intelligent, open, hospitable. The beginning of the events described belongs to May, when lilac flowers and acacia, and the end - by March next year. Nikitin, as well as elders, happy with this family, is fascinated by Masha-Matnius - Maria Godfru. And although the author-narrator all the time draws his attention to the oddities of life in this house, Nikitin is still not perceived by their critically. And there are a lot of oddities.

First, the house is full of cats and dogs, which are annoyed by guests, for example, the fact that dirt pants or beat on the feet of solid, like a stick, tail. Pateka continuously speaks: "This is rudeness! Rudeness and nothing else! ". Sister Varya for anyone climbs the dispute, even when it comes to the weather, it makes faults to any words and all makes comments, repeating: "This is old!"; "This is flat!"; "Army sharpness!". Other city inhabitants are also very peculiar. The teacher of the gymnasium IPPOLITY IPPOLITYCH may think only by capital truths. As the director of the credit society, Sobaldin's credit society, wants to demonstrate his erudition, having learned that Nikitin did not read the "Hamburg playwright of the German scholarship lescing, came to indescribable horror:" I turned my hands, as if my fingers would have burned my fingers, and I died from Nikitina. " Favorite Manyusya raised three cows, but does not give her husband at his request of a glass of milk.

Therefore, Nikitin was enough for several months to understand that his happiness in marriage with Matnius not only Efemerno, but simply impossible, and he dreams of escape, but where? .. His thoughts are limited to the softer to live a few days in a hotel in Neglinnaya in Moscow, where he It seemed to be very uncomfortable.

Scene episodes differ in the degree of strength of action. The action can develop vigorously and dynamically, as in the A.S. play Griboedov; Maybe much calmer, as in Pieces A.P. Chekhov. A similar picture takes place in narrative works. For example, in the novels F.M. Dostoevsky action is intense, dramatic, often mysteriously, almost detective; U L.N. Tolstoy - externally calmly and smoothly. Now all cases in the course of action arise culminated moments, i.e. points of particularly strong manifestation of contradictions and possible turning of events. So, Duel Lensky and Onegin could lead not only to the departure of Onegin, but also by the end of the action. But it turned out to be one of the climax, followed by which, according to the author's plan, the action continued to develop until new emotional-strained meetings of Onegin with Tatiana, who had determined the interchange of their relationship and the end of the action, i.e. the finality of the plot. On this we completed reflections on the plot and compositions of the epic and dramatic works, offering to think about the features of artistic speech in such works.

Artistic speech in epic and dramatic works

The concepts are specified in this paragraph: dialogue, monologue, replica, narrative speech, and then characterized by language features, which are used in artistic speech, giving it one or another appearance: emotionally painted words (neologisms, historians, Slavs, dialectisms); Types of verbal allegory (metaphors, metonimias, epithets, hyperboles, lithots); various syntactic designs (inversion, repeats, rhetorical issues, exclamations, appeals, etc.).

In the preceding section, it has already been said that dialogues and monologues, being the statements of characters and at the same time episodes in the life of heroes, as a rule, are included in the plot as its components. At the same time, in the epic, the expressions of the heroes are accompanied by the speech of the author-narrator, and in the drama they represent a solid dialogically - monologue chain. Therefore, in the epic, we see a complex speech structure, in which there are statements of characters, reflecting the nature of each of them, and the speech of the narrator, whoever he could. It follows from this that the speech itself may also have an object of analysis.

The speech of the characters mostly acts in the form of a dialogue, deployed, extensive or having a form of replicas. The functions of the dialogs can be different: these are reports of what is happening, and the exchange of views, and the methods of self-expression of heroes. If the words of one character in communicating with another or even other actors clearly grow up, they seem to grow into a monologue. Such, for example, Skolnikov's statements in "Crime and Punishment" F.M. Dostoevsky "When it turns out to be alone with Petrovich or Sonya Porphyria. In such cases, Raskolnikova has a listener, the presence of which affects his speech, giving it an emotionally convincing character:

"- I need you, because I came to you.

- I do not understand - Sonya whispered.

- then understand. Didn't you do the same? You also crossed ... I was able to cross. You put your hands on my own, you ruined your life ... (it's all the same!). You might live in spirit and mind, but you end in the hay ... but you can't stand it, and if you stay alone, you will go crazy, like i. You're already as an obsessed; Therefore, we go together, on one road. Let's go to!"

A large place is held in the same novel Monologists Raskolnikov, which he utters to himself or loud, but alone with himself: lying in the Camork, the thieves in St. Petersburg and comprehending his thoughts. Such monologues are more emotional and less logically organized. Here is just one example of his reflection after the scene on the bridge, where he witnessed the suicide of a woman. "Well, this is the outcome! He thought, quietly and sluggishly walking along the ditch embankment. - Still, camp, because I want ... Is the outcome, however? And anyway! Arshin space will be, hee! What, however, the end! Is it really an end? I will tell you Il I will not say? E ... Damn! Yes, and I'm tired: I will lie somewhere or sit down as soon as possible! Just as shy, which is very stupid. Yes, do not care and it. Fu, what nonsense come to mind ... "

The monologic type speech is characteristic of the heroes of "War and Peace" L.N. Tolstoy, especially for Bolkonsky and Bezukhov. Their monologues are different, depending on the situation, but, as a rule, they are not so emotional: "No, life is not over the thirty-one," said Prince Andrei uninterruptedly decided. Not only that I know everything that is in me, it is necessary, so that everyone knew this: and Pierre, and this girl who wanted to fly into the sky, it is necessary that everyone knows me so that I wanted my life for one thing so that they do not live like this girl, regardless of my life, so that she reflected on all and so that they all live with me together! "

Heroes of the Dead Dui Gogol are occupied by completely different problems, and their conversations are characteristic of the provincial nobility environment, which A.S. Pushkin wrote in his novel: "Their conversation is prudent // About the Senokos, about wine, // about Cherne, about his relatives, // Of course, he did not shine, // not poetic fire, // Neither the urgent, nor mind, // Neither a hostel art. " There are such heroes in Evgenia Onegin. But there are also those in whose souls there are some impulses for the better. And these gusts are poured from Lensky into foggy verses ("I will forget the world of me; but you // you will come, the Virgin of beauty, // Sprove a tear over the earlier in the eye // and think: he loved me, // he dedicated to me, dawn // The sad life is violent! .. "), and Tatyana - in full romantic emotion to a beloved person, where she, in particular, says:" Other! .. No, I would not give my heart to anyone! // then in the highest destination Council ... / To the will of the sky: I am yours; // My whole life was pledged // Svidanya faithful with you; // I know you are sent to me by God; // Before the coffin, you are my keeper ... "

So, the speech of the heroes is very diverse, but the main task is to imagine the hero with his character and the warehouse of the mind. The speech of the narrator is more multiety. As mentioned above, it is the narrator notifying about everything that happens, he will very often introduce himself to the situation of action, with the appearance of heroes, he also conveys the thought of heroes sometimes in direct speech, quoting their dialogues and monologues, and sometimes in the form of an incoming and direct speech, Staining the speech of the heroes with his intonation, sometimes it is divided with his own considerations. Depending on the meaning of the depicted and attitude towards him of the author-narrator, his speech may be different - more or less neutral and expressive. In most cases, the emotionality of the narrator is implicit, hidden, noticed only with attentive reading. And the reason for this is the specificity of works epic RodaThis is to recreate a figurative picture of life, that is, the subject world, which develops from the appearance of heroes, their relationship, that is, actions, actions surrounding their nature or the situation created by them. The expressiveness of the speech of the narrator should not obstruct the expressity of the most depicted world. The reader follows how heroes live, as they look, what they think, etc. The words of the author - the story storyteller should help the implementation of this particular task. But the works are different and tasks and writer too. We give several examples that allow you to submit different types of speech narrator At the same time, to illustrate ways of interaction between subject items of various emotional significance and their verbal designation.

"Princess Helen smiled; She rose with the same unchanged smile quite a beautiful woman with whom entered the living room. Slightly noise with its shiny robes, spoiled spit and moss, and glossy white captive, gloss of hair and diamonds, she passed between the broken men " ("War and Peace" L.N. Tolstoy). The portrait of the heroine is reconstructed here with the help of substantive-visual details, the epithets perform a descriptive function and devoid of additional expressiveness, including allegorizing, play a significant role in the designation.

"Olga Ivanovna hung all the walls completely with his own and strangers in the frames and without frames, and near the piano and furniture arranged a beautiful closeness of Chinese umbrellas, easels, multicolored rags, daggers, bustiks ... in the dining room… lapti hung and sickles, put in the corner of the braids and rakes " ("Pumping" by A. P. Chekhov). The ironic color of this picture is created, firstly, a special kind of details, unusual for the city living room, and secondly, using expressive vocabulary (rags, busts, beautiful tesne).

"While all people have risen from one service to another, Comrade Korotkov served in the head central base (the main central base of matchmaking materials) as a job proceedler. Putting in Spiemate, gentle, quiet blond shorts completely finished in his mind, the thought that exists in the light of the vicinity of fate, and instilled in return to her confidence that he - short to serve on the basis of the end of life on the globe " ("Deviliada" MA Bulgakov). Ironic intonation, prevailing and in this passage, arises, in particular, at the expense of fashionable, the abbreviations (chief mainstream), peculiar metaphors (people jumping, pulled the thought, depraved confidence), the usual then phraseology (until the end of life on the globe).

"They go out of memory, these years shoved by a roaring waterfall. Having collapsed on us your foamy whirlpool, they made us in a quiet lake, and on his sleepy stroy we gradually forget the stormy songs. Memory drops the links of memories, the events float into non-existence, as the water poured into the lattoon"(" Count Publkin "B.A. Lavreneva). Sad romantic tonality arises here, mainly due to speech metaphoricity. The first one and a half of the phrase are a deployed metaphor, where the main concept of "years". They are accompanied by other metaphors (stormy songs, memory drops the links of memories, the events are floating), epithets (roaring waterfall, foamy whirlpool, sleepy surface), comparison. The impression is complemented by the syntactic features - peculiar repetitions, where the manner of the narrator speech is evaporated.

So, artistic speech, whether it is a speech of characters in the epic and drama or speech of the narrative in epic works, manifests itself in a variety of forms and variations. This implies and necessitates the consideration of certain language features that form one or another nature of speech. These features include: the choice of words that can be neutral and emotional, consuming them in direct and portable values, giving them different sound color, as well as the ability to create certain syntactic structures. Consider some cases using examples from different types of works.

I. Words used in direct value are neutral (child, house, eyes, fingers) and emotionally painted (child, dwelling, eyes, fingers). Emotional color is achieved in different ways:

a) using words with decreasing and magnifying suffixes: a soldier, a bride, the domain ("And by the way: Larina is simple, // But a very nice old woman" - A.S. Pushkin);

b) involvement slavs, i.e. words, phraseologisoms and individual elements in the composition of the words of Old Slavic origin, the indicator of which is the use of incomplete forms ("Whether grad. Petrov, and stand // Nepolebimo, like Russia "; "Where, where did you retreave, // my spring chisty days "- A.S. Pushkin; "You coldno Quick to my lips // your silver rings "; "Now for me, my reader, // in the capital of the North Patient, // for remote Finnish breg"- A.A. Block);

d) use dialectismsIn other words, language features characteristic of territorial dialects (" Celebratenow for the Green - the first thing "; "She rushed bACH»- I.A. Bunin);

d) Inclusion outdated words, i.e., words that came out of the active consumption existing in passive reserve and mostly understandable native speakers, among which differ historismswho came out of use in connection with the loss of the concepts of concepts and archaisms or words calling existing realities, but displaced for any reason from active use of synonyms ("at that time it seemed to

road noisy and brilliant cavalcade: ladies in black and blue amazon, Cavalers in the costumes constituting a mixture of Cherkessky with Nizhny Novgorod "- M.Yu.Lermonts; "Well, why did you decide, finally, for something? Kavalegard Will you be or diplomat? " - L.N. Tolstoy; "The flore accompanied ... a girl, fifteen years old" dressed as young lady, in krinolina in mantilka, in gloves "- F.M. Dostoevsky; " Furnsties light as sleep // my zenitzhe touched. // Cleared True zenitsy, // like a frightened eagle "- A.S. Pushkin);

e) using and inclusion in the text of borrowed words, spacious words and expressions (put, verdict, kilometer, ridiculitis, business), jargonism (Vidk, Cool, Tusovka) etc.

2 when drinking words and portable meaning There are different forms of allegations, among which the main are:

but) metaphor, or word in a figurative value. Then occurs when in the consciousness of the poet or any person, the correlation of different, but in something similar objects, phenomena, states, and, due to their similarity, is to replace the name of one name of the other. In the stitching of the poem A.S. Pushkin "Bee from Celi wax flies for the tribute to the field") cells are named Cales, and pollen collection - tribute. One kind of metaphor is eliminationwhere there is a liquefaction of non-living phenomena ("October came", "the sky is breathing in autumn" - A.S. Pushkin);

b) metonymy. Arises as a result of the replacement of something with something, but, unlike metaphor, not on the basis of similarity, but on the basis of communication, dependence, adjacency of objects, their parts, as well as phenomena, states. We give examples from the works of A.S. Pushkin, "All flags to visit us will be in mind all countries and ships. Or: "And the shine, and the noise, and the talk of the balls, and at the hour of the pirushki idle hiss of the foam glasses and the punch flame of blue,", of course, the noise and the talk of people and the hiss of wine;

in) hyperbola, i.e. exaggeration ("Rare bird will take up to the middle of the Dnieper" - N.V. Gogol;

d) litotes, i.e. the denial ("peasant with marigolds" - on. Nekrasov);

e) irony, i.e. the use of the word or expression in the opposite sense ("there was, however, the color of the capital; // and know, and fashion samples, // everywhere there are faces, t. d.

3. The syntax structures also make a number of expressive features. Among them:

but) inversion, i.e. violation of the usual word of words ("At that time, Eugene came from guests young"; "Rises dawn in the MGL cold "- A.S. Pushkin);

b) reints The same words, groups of words or entire syntax periods ("I love mad weight, // and cramped, and shine, and joy, // and the ladies delivered outfit"; gait is solid, quiet, smooth // four switched steps, // Four mortal steps "- A.S. Pushkin);

in) rhetorical questions, appeals, exclamations ("Dreams, dreams! Where is your sweetness?;" Enemies! How long have each other // their thirst for blood spread? "- A.S. Pushkin).

4. An expressive role is performed and epitts, i.e. artistic definitions. They differ from the logical, denoting the necessary quality, which separates one object or phenomenon from the other ("Who is there in the raspberry with the Spanish ambassador?") By the fact that they allocate and emphasize some sign with an emotional goal ("and before junior Capital of Farmer oldMoscow"; " Smart sinner, Dmitry Larin ").

Narrative and dramatic works can be written by verses, i.e., rhythmically organized by speech ("Boris Godunov", "Evgeny Onegin", "Mount from the mind", the tragedy of Shakespeare), but this happens infrequently.

Artistic image

In this paragraph, the concept of "artistic image" is substantiated in correlation with the concepts of "hero", "character" and "character", it is shown in it its specificity.

At the end of the conversation about the epic and dramatic works, let us try to introduce another concept - artistic image - and explain what it means and in what case is used in the analysis of works. This concept is advisable to consider, putting it in a row with the concepts of the character (hero) - character (type) - image. These three words really designate different facets of the same phenomenon, so in scientific and pedagogical practice they are often used as synonyms, which is not always justified. The character can walk, speak, fall in love - it is quite natural. But in relation to the image, such a word is unacceptable. As for character, it is often replaced by the concept of image, when they say, for example, the "image of Pechorina", having in mind the character of Pechorina or any other hero. Such a replacement is more reasonable, as the use and image and character is emphasized by the generalization inherent in the hero or artician. However, such a substitution of concepts is far from always justified, and that is why.

The concepts of "character" and "characterity", as mentioned above, are designed to designate and fix the presence of some common, repetitive features in the appearance and people, and the heroes that manifest themselves or are exposed in their appearance "behavior, a manner to speak and think. The presence in the literary dictionary of the concept "image" implies that a particular hero (character), be it Pechorin, Duckers, Oblons, Raskolnikov or Melekhov, being generalized and at the same time a concrete person that can be imagined and submitted, created by the artist with The help of artistic agents. For painter with such means are pencil, watercolor, gouache, butter, canvas, paper, cardboard, etc., for sculptor - gypsum, stone, marble, wood, cutting, hammer, etc., for a writer - Word. At the same time, the word acts as it were in three functions. First, the word, as we have already seen, there is a component of dialogues and monologues, i.e., the statements of heroes; secondly, a means of reconstructing the external and internal appearance of characters, their behavior, portrait, home apparel, landscape; Third, a way to transfer the author's comments and remarks.

The concept of the image applies primarily to the characters of epic and dramatic works (about lyrics will be discussed in the next chapter). It should not be forgotten that the characters are not real faces, but those like them or very close (if it comes to the historical and memoir literature), they have developed in the mind and imagination of the artist and are depicted in the work with the help of available artistic literature on which We are talking about the specifics of the meaningful form of epic and dramatic works.

If animals, birds, plants appear as characters, they, as a rule, personify people and their individual properties. Therefore, as already mentioned, animal habits are taken into account in Krylov's bass (fox cunning, curiosity of monkeys, the habit of wolves attack the lambs, etc.), but the characteristic of human relations and thereby creates an allegorical-shaped picture of human weaknesses.

Often say O. collective images: The image of Russia, the image of the people, the image of the city, etc. This is possible, but it should be borne in mind that the idea of \u200b\u200bthe city, country, etc. It seems from the impressions that are born as a result of the perception of individual characters, as well as the situation, The atmosphere, which is created by the same character narrator. Consequently, an artistic image is a concrete and at the same time a generalized person or a holistic picture, which have an emotional meaning and reproduced with words.

Check questions

Name literary childbirth and tell how their origin is explained.

What is characteristic and what is his difference from the typical?

What are different and, on the contrary, the subject, problem and idea come closer?

What are the types of emotional orientation? Give the category characteristic: dramatic, tragic, heroic, romantic, comic and irony.

What is the specificity of humor and satire?

What is an artistic image? What are the signs of an artistic image in epic and dramatic works?

What is a meaningful form?

What concepts are used to designate different sides of the artistic form of a literary work?

Describe the plot, portrait, interior, landscape.

What forms of statements of heroes do you know?

What is the relationship between dialogs, monologues and scene action?

What is the composition of the epic work?

Who can be a narrator in an epic work?

What is the difference between the structure of narrative and dramatic works?

What is the difference literary text Dramatic work from the performance?

What verbal techniques determine the specific speech speech?

How do the subject world and verbal fabric in the epic work correlate?

II.

Lyrical work

This paragraph substantiates the specificity of the lyrical work, in connection with which the concepts are introduced: the subjective world, the lyric hero, lyrical experience, lyrical motive, types of lyrical works.

Another (third) clan literature constitutes lyrical works that are often identified with poems, meanwhile, as a poem there is only one of the signs of a lyrical work. In addition, the poetic type of speech is also in epic, and in dramatic works, and the lyrics can exist in the form of prose (for example, "Russian language" by Turgenev).

Lyrical works are different from epic and dramatic in volume and structural appearance. The main person with whom we meet in lyrical works are called lyrical hero. The lyrical hero is also possessed by character, but its nature is disclosed not in actions and actions, as in the epic work and in thought and emotions. The main purpose and peculiarity of the lyrics is that it comes to us thoughts, feelings, emotions, moods, meditation, experience, word, inner, subjective state of personality, which, using a generalized concept, is often called lyrical experience.

The inner, the subjective state of the lyrical hero can manifest itself in different ways. In some cases (let's call conditional the first type of lyrics) The reader directly passes the flow of emotions or reflections of a lyrical hero, which is close to the author or adequate to him, as in the poems "" Duma "or" and boring, and sad "M.Yu. Lermontov, "Love, the Hope of Quiet Glory" or "I have erected a monument to myself" A.S. Pushkin, "I was a voice" or "Not with those I who threw the land" A.A. Ahmatova. In the listed poems there are no visible or imaginary paintings, there are almost no messages about the facts of personal or public life. The lyrical hero of "Duma" is divided by its emotional-colored reflections, which replace each other, obeying the logic of thought. It is worried about the mental-moral appearance of his generation, while it is clearly the best part of it, to which, apparently, the poet ranks itself:

So pray for your liturgy

After so many trivial days.

To cloud over the dark Russia

Became a cloud in glory rays.

The community of this with the previous poem of Lermontov is that here the statement of the lyrical character is a monologue, a description of the mental state, and not external facts or events.

Recall the poem second type Such as the "village", "Volynity", "Prophet", "Autumn" AS. Pushkin, "Sail", "On the death of the poet", "Dagger" M.Yu. Lermontov, "On Valleys, about the exploits, about glory" A.A. Block, "Letter of Mother" S.A. Yesenin and many others. In each of them there are some facts, events, nature descriptions. I will first pay attention to the "sail" M.Yu. Lermontov, in which the first two lines of each stanza reproduce some kind of picture ("whites sail ...", "Play waves - the wind is fistilized ...", "under it a jet of light lazuries ..."), and the second two transmit the mental state ("What is looking for Is he in the country far? "," Alas! He does not seek happiness ... "," And he, rebellious, asks storms ... "). Here rhythmically combined the visual and actually lyrical start. In other cases, the ratio of these started more complex.

The poem "to death" is called and mentioning different facts associated with the death of the poet (evil slander, the killer, abandoned to Russia by the will of Rock, the poet, the Pushkin, and the fight, like he, society that does not suffer someone else's glory and freedom) However, all these facts do not constitute a holistic picture, that is, the plot, they appear as if torn, fragmentary and are essentially a reason, stimulus, material for lyrical thought-experiences. "The poet died!" - exclaims M.Yu. Lermontov and after a few lines repeats: "Killed, what is now sobbing," neither in any case does not detail the circumstances of the death of Pushkin, but seeing its goal in the transfer of an emotional-thought state that arose in connection with the death of the poet.

Third type Lyrical works to which Borodino can be attributed by M.Yu. Lermontov, Anchar A.S. Pushkin, "Reflections at the front entrance" N.A. Nekrasov, "Comrade Nette, steamer and man" V.V. Mayakovsky, arises when a more or less holistic picture is recreated in the poem. However, and here the main emotional charge is carried by the facts themselves, and the thoughts and moods are born by them, and therefore it is hardly worth seeing in the soldiers leading a conversation in front of the Borodino fight, in a slave, sent for the poison, in men standing at the entrance of the House of Petersburg Velmazby, in Theodore Netta, whose name is called steamer, characters and try to comprehend their characters as such. Therefore, it should be borne in mind that the lyrical hero should be considered the wrong person referred to, but that, as if he says, thinks (remembers). Take another example - the poem of N.A. Nekrasov "Memory Dobrolyubova", in which the appearance of the devotee, a patriot, devoted to his work, a clean and honest worker - Dobrolyubov and is expressed about the poet himself. The lyrical hero here is not a Dobrolyubov of Nekrasov, who, through the admiration for the life of his friend and the associate, managed to convey the globility and the mindset of the democratic intelligentsia of his time.

But an example of creativity A A. Akhmatova - the poem "about poems":

In this text, there are no external hints on the emotional state of lyrical heroine, but for all the above, the ultimate mental and spiritual stress, which arises at the moment of poetic creativity.

So, in the lyrics it is necessary to see thoughts, feelings, emotions, moods, experiences, meditation, in a word, the inner state of some personality. Such a person is most often the poet who shares his experiences that arose in connection with some circumstances of his life. Not accidentally, biographers seek to find out or guess these circumstances. But even when the experience was born on the basis of the Personal life of the poet, it may be close and clear and other people. For example, the feeling of joy and at the same time sorrow in the poem A.S. Pushkin "My first friend, my friend is invalid", dedicated to the arrival in the Mikhailovskoye friend I. Pushchina, as well as the memories of the past love in poems "I loved you," "I remember the wonderful moment" A.S. Pushkin or "I met you" F.I. Tyutchev is consonant with many people. And this means that in poetic experiences there is a generalization, that is, the characterity.

We give another example from the poem A.A. Ahmatova "Husband chucks me in patterned", proving that the lyrical hero and the author is not necessarily identical.

Husband whipped me patterned

Twice as folded strap.

For you in the window with stem

I'm sitting all night with fire.

Content of lyrical work

This paragraph refines an idea of \u200b\u200bthe essence of the lyrical product by explaining the structure of lyrical content, in particular the value of the motive as a source of lyrical experience; The main provisions are confirmed by analyzing individual poems of different poets, in particular N.A. Nekrasov.

Consideration of the lyrical work, as well as epic, implies an analytical approach and conditional allocation of content and form. Restable in lyrics mental state is always something generated, provoked or due. In other words, emotional reflection or mood is some reason or a source designated in the work itself or molding in the consciousness of the poet. After reading the poem A.S. Pushkin "Flower?" Can be represented by a mechanism for the occurrence of lyrical experience. Recall its first lines:

As for the essence of themes and motives, they include a variety of thoughts and parties to the lives of people, nature, society as a whole. For example, historical events (Borodino M.Yu. Lermontov), \u200b\u200bthe state of the country ("Motherland" M.Yu. Lermontov, "Russia" A.A. Bloka, "Love, Hope, Quiet Fame" A.S. Pushkin) , fate of poetry ("Prophet" A.S. Pushkin, "Prophet" M.Yu. Lermontov, "Poet and citizen" N.A. Nekrasova, "Muza" A.A. Akhmatova), who has departed or true love ("I I loved you, "" I remember the wonderful moment "A.S. Pushkin," I am sad because I love you "M.Yu. Lermontov," On Denles, about the exploits, about glory "A.A. Bloka), friendship ("My first friend, my friend is invaluable", "in the depths of Siberian ores" by A.S. Pushkin, "Memory A.I. Odoyevsky" M.Yu. Lermontov), \u200b\u200bNature's life ("Autumn" A.S. Pushkin, "Autumn" S.A. Yesenina), etc.

But themes and motifs always generate this or that emotional state or reflection. Due to this, the lyric content is an alloy of motives with their emotional thinking, thinking, mood.

Of course, the motives can be gossip and cause complex, ambiguous thoughts and moods. So, in mentioned above the poem M.Yu. Lermontov "On the death of the poet" we catch both the pain and suffering caused by the death of the poet, and frank hatred for a murderer who did not see the national genius in Pushkin, and admire the talent of the Great Poet, and anger about the reaction to this death of the conservative part of society. Let us give another example - the poem of S.A. Yesenin "Letter of Mother"; Where the poet remembers his mother, imagines her appearance ("What do you often go to the road // in the old-fashioned Old Shushun"), understands the reason for her sadness, anxiety, anxiety, inspires a feeling of calmness, reminds of her tenderness and love for her ("I The same gentle "), speaks of his desire to return to his home home, but realizes that this is only a dream that he himself has become different - the changed, who has been able to disappointed, lonely and hoping only for" help and repel "maternal love. Naturally, when reading a poem, an emotional state of bitterness occurs, longing, disappointment in combination with warmth, as a moutigation, a feeling of inner care for his native man.

Let's try to present the originality of the lyrical character and the motives and moods characteristic of him on the material of N.A. Nekrasov.

Feature of poetry N.A. Nekrasov is its limit image. People and paintings, which have become the subject of lyrical experiences, appear in front of the reader very visibly, clearly, almost as in the epic works. Therefore, when analyzing Nekrasovskaya poetry, the question often arises: which is more important and more significant - reproduce a variety of paintings and situations like the fact that they are given in "reflections from a parade entrance" and "railway", or experiences of the lyrical hero? The facts described here are significant and the emotional response to them. However, it is not by chance that N.A. Nekrasov calls the poem not "at the front entrance", but "reflections from the front entrance", thereby aiming reading attention to the lyrical type of content.

What is worried about the lyrical hero N.A. Nekrasova? First, the life of the author himself, his personal suffering and thoughts on the difficult childhood, the death of the mother ("Motherland"), a difficult poetic fate ("MY Poems, Witnesses Live"), loneliness on the slope of the years ("I will die soon") , insecurity in their forces ("Knight per hour").

But in most other works, the lyrical hero of the poet is concerned about the thoughts not about himself, but about the people around them. At the same time, he pays the focus on the poor, disadvantaged, unfortunate to his contemporaries whose share becomes the subject of his constant thought. Among their dysfunction guys, the builders of the railway, a poor mother, who is not to bury the child ("Do I go through the dark street at night); A rustic grandfather, who was predicted by a messy fate ("Troika"), a sick peasant, who is unable to remove his field ("uncompressed strip").

Experienced for humiliated and sympathy to them addressed his eyes to those of their contemporaries, whom he called folk intercessors and who devoted their lives to concerns about the good of the people. So there are poems in which N.A. Nekrasov recalls the fate of Belinsky, admiring his advantages ("naive and passionate soul, // in the comments of the beautiful boiled") and suffering from the oblivion of his memory; He expresses his respect Chernyshevsky, who, according to him, "sees the inability to serve good, without sacrificing himself." Deeply tender lines devotes and Dobrolyubov ("Nature-mother, when b such people // You sometimes did not send the world, // stalled by the Niva of Life"). To the number of folk intercessors, the poet considered it possible to attribute himself: "I dedicated to the people to the Liru. // Perhaps I will die, unknown to him. // But I served him and the heart I am calm. "

Did not disregard N.A. Nekrasov and the theme of poetry ("poet and citizen", "yesterday's hour in the sixth" and others). Recreecting the image of the muse, he compares her with a peasant, which tied executioners: "And I said, I said: Look! // Your native sister. "

Reflecting on the motives of the poetry N.A. Nekrasov, it should be said that, along with the civil lyrics, he has poems, dedicated to friends, women whom he met and loved ("We are with you stupid people", "I do not like your irony").

The moods that are divided by the lyrical hero is rarely joyful and optimistic, his lyrics are full of bitterness and sadness. It is such a mood that causes the Duma about the hungry family, about the unlucky field, about the unfortunate men, about the workers who were tortured on the railway, about the fellow intellectuals who died from diseases like Belinsky and Dobrolyubs, or those who were rejected from the normal life like Chernyshevsky and Shevchenko.

At the same time, Nekrasov tried to find a reason to inspire contemporaries joy and hope. Most often it was when his thoughts appealed to children - intelligent, talented, thirsty ("schoolboy", "peasant children"), or to those who gave their strength to art, - Gogol, Turgenev, Shevchenko and others.

Substantive form of lyric work

This paragraph shows the specificity of the artistic image in the lyrical product, it is explained in which its concreteness, generalization and which artistic means form the structure of the lyrical work. In this regard, the concept of a composition, verbal organization is specified, the concept of a rhythmic organization and its components is introduced - type of verse (tonic, sillyabic, silhlor-tonic, free, dolnik), foot, size (kernel, yamb, dactyl, amphibery, anapest), Rhyme, rhymes, stroke.

A meaningful specificity of the lyrical work, in particular, the question of what its meaning and content, we think about what the specificity of the image in lyrics and what means is it created?

In epic and dramatic works, the image is associated with the character, and the necessary images of the image are generalization, emotionality and concreteness. Let's see if these qualities are manifested in lyrics, and if so, then exactly. On the characterity, that is, generalization, lyrical experiences were mentioned above. Here is another fragment from poem A. with Pushkin, which can serve as a sample generalization Transmitted in the face of the experiences, since the emotional statement present here is undoubtedly expensive to many people:

Two feelings are wildly close to us -

In them finds the heart I write:

In lyrics. As already noted, the inner world of the person cannot be seen and even imagine. Meanwhile, emotional meditation or state always belong to some person - and in this sense we can talk about concreteness. Therefore, it is not by chance that at the perception of many poems there is a sense of the momentaryness of the experiences who visited the lyrical hero, as, for example, in the poem A.A. Feta:

On the chair beating, looking at the ceiling,

Where, on Zador Imagin.

Above the lamp is a quiet suspended circle

Split a ghostly shadow.

Everything said indicates that both in the lyrics have its own image - meditation, image-experience, image-condition.What means is it reproduced?

In the lyrical work, you should not look for the name of the lyrical character, the place and time of thinking of thinking.

In the text of lyric poems, portrait sketches can be portrait, as, for example, in poems by A.S. Pushkin: "You came before me, // as a fleeting vision, My ", - But they relate to the face that arose in the memoirs or the momentary thinks of the lyrical hero and became the source of thought-experiences.

As already noted, in lyrical works, we rarely find a detailed course of events, here a cup of individual facts are called, sometimes events that are not always associated externally and often not constituting a serial line. At the same time, certain facts, events, circumstances, actions, memories and impressions mentioned in the text of the poem, as a rule, are mixed with thoughts and emotions that we tried to show on the example of the poem M.Yu. Lermontov "Sail". The change of such layers indicates movement, dynamics and thereby about composition lyrical text. The composition is based on the composition, as a rule, the course of thought or experiences of the lyrical hero, the chain of the pondering and emotions, on which the facts and impressions are notified.

Let's see it for another example, remembering the poem A.S. Pushkin "Whether I go along the streets of noisy." It consists of eight quit. The main idea that permeates the whole text is the idea of \u200b\u200bthe limb of life ("We will all go under the eternal vaults"). It defines the sequence of paintings that replace each other ("Baby of Cute I caress", "I look at the oak solitary"), and then reflections about that "where death will send a judine," that "closer to the cute limit // I wanted to rest everything, "and that the departure of one person does not mean the end of life in general (" and let the sobility entry // Mladai will be the life of playing, // and in-neraky nature // Krasoy Eternally shine).

The composition of the lyrical work is largely determined by the verbal moments, such as rhythm, rhyme, syntactic features and a stubbic organization.

As already mentioned, any speech, including artistic, consists of words in their direct meaning, from words and expressions in a figurative value; Words are combined into syntactic structures with those or other features, and if verses are in rhythmically organized periods. Due to the fact that the lyric work is a reflection of the emotionally thoughtative, inner state of the lyrical hero, his verbal organization is extremely emotional. We illustrate this on the example of the poem A.S. Pushkin "Winter Evening", where the sad state of a person who lives in the wilderness, torn off from big World and comforting himself with work and communication with his nanny. The poem is written in the form appeals To the nurse, which is repeated four times during the four stanza - quatrain. Here is present emotional painted vocabulary(lachozhka, old woman, girlfriend), when describing nature appear wanted ("The heaven of the heaven of the sky is Croins, // Worky Snow Crupes", "Heart will be fun") and personifying comparison ("The way, as a beast, it will win, // then pay as a child, // then on the roof of the dilapidative // \u200b\u200bsuddenly the straw covers, // then, as a traceset, // to us will stand in the window). In addition, there are epitts, Including personification (poor youth, Old Towjack, good girlfriend).

The emotional saturation of the text is created and due to the syntax features, which can be attributed to the use of repeats of one word ("Pull"), repeats a whole design ("How the Beast, she will win, // then pay as a child"), repeats at the beginning of the lines, that is anaphors ("The way, like a beast ... how traveler ... then on the roof ..."), inversion ("On the roof of the dilapidative", "trader is late", "whirlwinds of snow", "Buri wrestling"), rhetorical issues and appeals ("What are you, my old woman, attacked the window?" Or "drink with grief, where is the mug?"). These questions do not require and do not assume an answer, but allow you to strengthen one though or mood.

The emotional nature of speech is strengthened and its rhythmic organization: In this case, used korera - double-dimensional size with emphasis on odd syllables in stanza:

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The time of creating a work, the history of the plan, a brief description of the era.

Communication of the play with any literary direction or cultural era (antiquity, revival, classicism, enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did they manifest themselves in the work of this direction? one

The view and genre of the dramatic work: tragedy, comedy (morals, characters, provisions, raincoats and swords; satirical, household, lyrical, buffonad, etc.), drama (social, household, philosophical, etc.), waterville, Farc, etc. The meaning of these terms specify the reference book.

The specificity of the organization of the drama action: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in the drama M. Bulgakov "Run").

Piece poster (acting persons). Name features (for example, "speaking" names). Main, minor and extratent characters.

Features of the dramatic conflict: tragic, comic, dramatic; Social, household, philosophical, etc.

Features of dramaturgical action: external - internal; "On the scene" - "behind the scene", dynamic (actively developing) - static, etc.

Features of the composition of the play. The presence and specificity of the main elements: exposure, an increase in emotional stress, conflict and its permission, a new increase in emotional stress, climax, etc. How are all the "sharp points" (especially emotional scenes) of the work related to each other? What is the composition of individual components of the play (acts, actions, phenomena)? Here you need to call specific episodes that are these "sharp points" actions.

The specificity of the creation of a dialogue in the play. Features of the sound of the theme of each character in dialogues and monologues. (A brief analysis of the dialogical composition of one episode according to your choice).

Themes of the play. Leading topics. Key episodes (scenes, phenomena), helping to reveal the subject of the work.

Problems of work. Leading problems and key episodes (scenes, phenomena), in which the problems are particularly acutely stated. Copyright vision of solving problems.

the actions of the characters (the game of actors);

situation on stage, costumes and scenery;

mood and idea scene or phenomena.

The meaning of the name of the play.

1. Artistic image. Types of imagery.

2. Birth and genres of literature.

Hood. There is a specific form of reality transformation. The category of aesthetics, which characterizes the sharp decryption (artist) of any Yavl-I, the process in characteristic of one or another way of lawsuit, objectified in the form of a priciation as a whole or its separation. Fragments.

From the point of view of the theory of knowledge, the concept is also an image. However, there is a difference m \\ do thin. A manifold and concept: the concept allocates general, essential features, it is not individually. Hood The image is reproduced in its integrity, the image is individual.

There are sensually - shaped and conceptual - logical form of development of the world. There are figurative views as a phenomenon of consciousness and their own images as a sensual embodiment of ideas (visual and auditory).

Sv-vo. Image.

1) Typic. Carries a generalization. Even if the image is sketch, is short-lived - he carries integrity. Owns. The names of the heroes become a Narice. Because of the generalizing sense of Hood. Image. Creative typification - the selection of certain sides of the life of the life of the life and their underscore, hyperbolization in Hood. image. Gogol "Nose", S-Sh. Two options describing: a) The writer can describe, creating the illusion of believability b) secondary convention - the deliberate destruction of truth, grotesque and fantasy.

2) Expressiveness (expressive): The image usually exceeds the reasoning by emotion. Rate estimates. Idean emotion. Evaluation of the author -\u003e The division of heroes on the widespread, deny, is controversial. (conditionally). Forms Auto expressions Estimates: a) obvious (Pushkin - Tatiana). b) implicit (Pushkin - Onegin). Evaluation help express trails, st. Figures. Creation. objective world.

3) self-sufficiency, the image is alive by itself. Being an embodiment of the general, essential in individual, Hood. The image can generate various things, interpretations.

Multivality Hood. Image.

The formation of the claim creates objective prerequisites for disputes on the sense of the prnia, for its various interpretations, sometimes phared cultural concepts. The authors often do not want to determine the idea of \u200b\u200btheir products-th -\u003e disputes. Turgenev "O and D".

Internal images - Bear, window.

Interior word - increment of meaning.

For the image it is necessary to own the key, literary code.

Form - appearance, view, method (means) with which literature is carrying out its mission (see the previous lecture).

As part of psychology and philology images - specific ideas, i.e., the reflection of the human consciousness of single objects, facts, events, in their sensually perceived guise.

They [images] are opposed to abstract concepts that fix the general constant properties of reality, ignore individual traits.

Outcome: There is a sensual-shaped and political and logical form of development of reality.

Distinguish:

1. figurative views as the phenomenon of consciousness;

   actually "images" as the sensual embodiment of ideas.

Distinguish images:

scientific illustrative;

factographic;

informational journalisticwho inform about really the facts that;

artisticare created with the active participation of imagination: they do not simply reproduce single facts, but concentrate, concentrate essential for the author side of life, in the name of its estimated understanding.

The imagination of the artist is not only a psychological stimulus of his creativity, but also some prescription.

In the imagination there is a fictional objectivity that does not have full conformity in reality.

In modern science there is a concept of badge.

Sign - Material object, speaking as a representative, deputy other subject, properties.

Defining an artistic image - their more than 70!

One of the points of view:

Artistic image - Specifically sensual form of reproduction and transformation of reality.

By the nature of the generalization of artistic images divide on:

individual(originality, uniqueness. Meet romantics and science writers);

characteristic(is generalizing. It contains general traits of characters and morals inherent in that time);

typical(The highest stage of the image of the characteristic. This is the most likely, exemplary for a certain era. The image of typical images was one of the main goals, achievements of the objectives of realistic literature. Sometimes in the artistic image, socio-historical objects of the era can be captured, and the general human character traits - eternal images);

motive images(go beyond the framework of individual images of heroes), (this is steadily repeated in the work of the writer, expressed by different aspects, using variation);

topes(place, terrain, general place), (denote general and typical images created in the literature of the whole era, nation, and not in the work of a separate writer);

archetypes (beginning, image)(Start 19th century, German romance. Junga - understood the archetype as a common human image, unconsciously transmitted from generation to generation. Most often mythological images. Universal symbols: fire, sky, house, road, garden, etc.).

Image Structure:

sounding, rhythmic surface of speech;

artistic speech (sequence of words and their relationship);

the plot is the purpose of the movement of people, things;

fabul - system of basic purposes;

interacting images;

comprehension of the life sense of the image.

Artistic image - This is a popular term that is used in different sciences. The most common definition is a subjective reflection of the objective world. The artistic image has an overlap - it is always a certain thought embodied in the art form. This is not just a description. Example: Pinocchio. The image is always concrete, pictorial. But this concreteness always expresses something in common, some thought. The image is plastic, emotional, he expresses the condition of the hero, everything in it is in unity. That in reality can be an antithesis, in the image converges. Example: Drawing a heart from lovers in response to an abstract feeling. Fleetza: "If we are given a poetic image, then we ask ourselves what a circle of ideas, observations, thoughts, comments, perceptions from which this image arose? He could arise from direct observations, he could arise from legend, that is, with other images. " Abstract, philosophical ideas are depicted through substantive realities, most often from nature. Example: Venerevitinov's poem "Branch". Nature observation is a source of artistic images. Turgenev has many prototypes: Rudin - Bakunin, Bazarov - Dobrolyubov. But the image, even if he is written off from nature, not literally, he is always an autonomist, self-sufficient, he lives his own life.

Classification of images.

There are conditional and life-like images. Life-like is a reality, a mirror-like life. Conditional is violations, deformation, there are two plans in them - depicted and implied. Life-like - character and type, conditioned - symbol, allegory, grotesque.

Subject classification.

1 step. Details from odnalous details before the detailed descriptions (interior, landscape, appearance, etc.). They are static and fragmented.

2 step. Phana Stroy: Events, Acts, Mood, Human aspirations. This is dynamism and evolution.

3 Stage. Subjectory: characters, characters, image of the author, narrator, choir.

4 step. The image of the world.

Nature - Man - Society

Landscape portrait family

Interior system environment

Exterior characters people

Generalized-semantic: motive, topos, archetype.

The motive is a word or a complex of words that are repeated (in the work of the writer, writers or era).

Topos - the designation of the place is repeated within the culture or nation (Peter. Forest, steppe).

Archetype (according to K. G. Yung) - ancient mythological symbol generated by archaic collective consciousness. Example: the image of the prodigal son, Cain and Abel, Agasfer, Faust.

Internal image structure:

1) The inner form of the word. Example: Ink.

2) Comparison: A \u003d B

3) CO and opposition: not equally or equal to B.

Everything is figurative - both the word, and people and action.

- Small form of imagery.

From the point of view of many researchers, only what was created with the help of a word was shaped. The possibilities and features of the word - the topic of discussions, so there is futurism. The word in the artistic work behaves not as in the usual speech - the word begins to implement aesthetic function in addition to nominative (called) and communicative. The purpose of the usual speech is communication, discourse, information transfer. The aesthetic function is different, it does not simply transmit information, but creates a specific attitude, transfers spiritual information, a certain superchable, idea. The Word itself manifests itself differently. The context, a combination, rhythmic beginning (especially in verses) is important. Bunin: "punctuation signs - music signs." Rhythm and meaning are combined. The word in the artwork does not have a certain value as in everyday speech. Example: crystal vase and crystal time in Tyutchev. The word does not appear in its meaning. The same stream of associations with the author. Crystal time - Description of sounds in autumn. The word in the artistic context creates individual associations. If the author's and yours coincides - everything is remembered, no - no. Any artistic trail is a deviation from the rules. Yu. Tynyanov "The meaning of the poems". "The word - chameleon, in which every time there are not only different shades, but also different paints." Emotional coloring words. The word is an abstraction, a set of values \u200b\u200bof individual.

All methods for changing the main value of the word - trails. In the word there is not only direct, but also figuratively. The definition is usually given in textbooks, not quite complete. Tomashevsky "Poetics of Speech". Example: the name of the story of Shmelev "Man from the Restaurant". First, a person means a waiter, and the word is used, as a client usually calls it. Then the action is developing, the hero reflects that the elite of society is vicious. He has his temptations: the money he returns. The waiter cannot live with sin, the main word becomes "man" as a crown of nature, a spiritual being. The metaphor of Pushkin "burns the East Zareu New" - and the beginning of a new day and the appearance of a new powerful state in the east.