How to write a literary analysis. Artwork Analysis Plan
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Copyright Contest -K2
Table of contents:
1. Techniques for analyzing literary text
2. Criteria for the artistry of a work (general and specific)
3. Assessment of the plot of the work
4. Assessment of the composition of the work
5. Off-plot elements
6. Narration, description, reasoning as ways of presentation
7. Assessment of language and style. Speech errors.
8. Character rating
9. Evaluating artistic details
10. Features of the analysis of the story as a form artwork
A literary text is a way of perception and reconstruction by the author of the surrounding reality.
The author reflects the world in a special artistic-figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, allows you to understand the development human characters, connections and relationships.
A literary work must be considered as a systemic formation, regardless of whether there is an established system or not, whether this formation is perfect or imperfect.
When assessing, the main thing is to grasp the uniqueness of the structure of a specific work and show where the solution of images, situations does not correspond to the plan, creative manner the writer, the general structure of the work.
METHODS OF ANALYSIS OF ARTISTIC TEXT
When analyzing a text, it is always necessary to correlate the whole with the particular - that is, how general design works, its theme, structure, genre are realized through the plot, composition, language, style, images of characters.
The task is not easy.
To solve it, you need to know some tricks.
Let's talk about them.
The first method is to MAKE A PLAN of the work, at least mentally.
I refer you to the reviews of Alex Petrovsky, who always uses this technique. ALEX SPRAYS the text. If you describe his actions in clever words, then Alex highlights the pivotal semantic points in the text and reveals their subordination. It helps to see and correct the actual and logical errors, contradictions, unsubstantiated judgments, etc.
The "translation" of the text into "own" language works very well. This is the criterion for understanding the text.
There is also a method of ANTICIPATION - anticipation, anticipation of the subsequent presentation.
When the reader understands the text, he kind of presupposes. Foresees the direction of development, anticipates the thoughts of the author.
We understand that everything is good in moderation. If the plot and actions of the heroes are easily seen, it is not interesting to read such a work. However, if the reader cannot follow the author's thought at all and guess at least general direction her movements, this is also a signal of trouble. The process of anticipation is violated when the logic of presentation is violated.
There is one more method - this is the STATEMENT OF THE PRELIMINARY QUESTIONS, which our esteemed Boa loves so much.
What became of it minor hero? Why did the other character do this? What is hidden behind the heroine's mysterious phrase?
It is necessary that the necessary majority of such questions be answered in the text. All storylines must be complete, mutually linked or logically cut off.
It is curious that the reader and the author move in opposite directions, as it were. The author goes from concept to structure, and the reader, on the contrary, evaluating the structure must get to the bottom of the idea.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "Kitten named Woof"? When a kitten and a puppy ate a sausage and met exactly in the middle? You will laugh, but in literature everything is exactly the same.
What dangers lie in wait for the authors = the most vulnerable link in the process. Reader - what? He snorted, closed the book and went on to himself, and the author suffers.
Strange as it may seem, there are two dangers. First, the reader did not understand the author's intention at all. The second - the reader has put in his own idea (instead of the author's, which turned out to be a side). In any case, there was no communication, no emotional transmission.
What to do? Analyze text! (back to the beginning of the article). See where the uncoordination took place, and the idea (theme \ structure \ genre) diverged from the embodiment (plot \ composition \ style \ images of characters).
CRITERIA FOR ARTISTIC WORK
They are divided into general and private.
GENERAL CRITERIA
1. The unity of the content and form of the work.
An artistic image does not exist outside a certain form. An unsuccessful form discredits the idea, may raise doubts about the truth of what was said.
2. The criterion of artistic truth = undistorted recreation of reality.
The truth of art is not just the truth of fact. We often see how the author, defending his work (usually unsuccessful), puts forward an iron (in his opinion) argument - I described everything as it actually happened.
But a work of fiction is not just a description of events. This is a certain aesthetics, a certain degree of artistic generalization and understanding of reality in images that convince by their aesthetic power. The critic does not assess the reliability of realities - he assesses whether the author was able to achieve the necessary emotional impact with the cited facts and images.
The author's handwriting is a synthesis of the objective and the subjective.
Objective reality is refracted in the individual perception of the author and is reflected in the content, which the author reveals in an original form that is inherent in him. This is the author's attitude, his special vision, which is expressed in special stylistic methods of writing.
4. Emotional capacity, associative richness of the text.
The reader wants to empathize with the events together with the hero - to worry, rejoice, be indignant, etc. Empathy and co-creation are the main purpose of the artistic image in literature.
The emotions of the reader should be caused by the image itself, and not imposed by the author's statements and exclamations.
5. The integrity of the perception of the story.
The image appears in consciousness not as a sum of separate elements, but as an integral, unified poetic picture. M. Gorky believed that the reader should perceive the images of the author immediately, as a blow, and not ponder over them. A.P. Chekhov added that fiction should fit in a second.
The criterion of integrity applies not only to elements designed for simultaneous perception - comparisons, metaphors - but also to those components that may be located in the text at a considerable distance from each other (for example, portrait strokes).
This is important when analyzing the characters of the heroes. There are frequent cases among novice authors when descriptions of actions, thoughts of a character do not create in the reader's imagination a picture of him the spiritual world... Facts dazzle in the eyes and imagination, but the whole picture does not work.
PRIVATE CRITERIA
They relate to individual components of the work - subject matter, plot, speech of characters, etc.
EVALUATION OF THE PLOT OF THE WORK
Plot is the main vehicle that recreates the movement of events. The optimal variant can be considered when the intensity of action is determined not only by unexpected events and other external methods, but also by internal complexity, deep disclosure of human relationships, the significance of the problems posed.
It is necessary to understand the relationship between the plot and the images of the heroes, to determine the significance of the situations created by the author for the disclosure of characters.
One of the important requirements of artistry is the persuasiveness of the motivations of actions. Without this, the plot becomes sketchy and far-fetched. The author freely builds the story, but he must strive for persuasiveness so that the reader would believe him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the old hero in the new adult person.
The plot is a concept of reality (E.S.Dobin)
Plots arise, exist, are borrowed, translated from the language of one type of art to another (dramatization, film adaptation) - and thus reflect the norms of human behavior inherent in a particular type of culture. But this is only the first side of the life-art relationship: plots not only reflect the cultural state of society, but they shape it: "By creating plot texts, a person learned to distinguish plots in life and, thus, to interpret this life for himself" (c)
Plot is an inherent quality of a work of art; it is a chain of events that are inevitably present in a given type of work. Events, in turn, consist of the actions and deeds of the heroes. The concept of an act includes both outwardly tangible actions (came, sat down, met, went, etc.), and internal intentions, thoughts, experiences, sometimes pouring out into internal monologues, and all kinds of meetings that take the form of a dialogue of one or several characters ...
The assessment of the plot is very subjective, however, there are certain criteria for it:
- the integrity of the plot;
- the complexity, intensity of the plot (the ability to captivate the reader);
- the significance of the problems posed;
- originality and originality of the plot.
Types of plots
There are two types of plots - dynamic and adynamic.
Signs of a dynamic plot:
- the development of the action is intense and rapid,
- the events of the plot contain the main meaning and interest for the reader,
- the plot elements are clearly expressed, and the denouement carries a huge content load.
Signs of an adynamic plot:
The development of the action is slowed down and does not strive for a denouement,
- the events of the plot do not contain any particular interest (the reader does not have a specific tense expectation: "What will happen next?"),
- the elements of the plot are expressed indistinctly or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the denouement is either completely absent, or is purely formal,
- in the overall composition of the work there are many non-plot elements that shift the center of gravity of the reader's attention to themselves.
Examples of adynamic plots - " Dead Souls"Gogol," The Adventures of the Gallant Soldier Schweik "by Hasek, etc.
There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be re-read from any place, works with a dynamic plot - only from beginning to end.
Naturally, with an adynamic plot, the analysis of plot elements is not required, and sometimes completely impossible.
COMPOSITION EVALUATION
Composition is the construction of a work, uniting all its elements into a single whole, it is a way of revealing content, a way of systematic organization of content elements.
The composition must correspond to the specifics of the work and publication, the volume of the work, the laws of logic, a certain type text.
The rules for constructing a composition of a work:
- the sequence of parts must be motivated;
- the parts must be proportionate;
- the methods of composition should be determined by the content and nature of the work.
Depending on the relationship between the plot and the plot in a particular work, they talk about different types and methods of plot composition.
The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. This composition is also called DIRECT or FABULOUS SEQUENCE.
More complicated is the technique in which we learn about an event that happened before the others at the very end of the work - this technique is called DEFAULT.
This technique is very effective, since it allows you to keep the reader in the dark and in suspense until the very end, and at the end to amaze him with the unexpectedness of the plot twist. Due to these properties, the technique of default is almost always used in works of the detective genre.
Another technique for breaking chronology or plot sequence is the so-called RETROSPECTION, when, in the course of the development of the plot, the author makes retreats into the past, as a rule, at the time preceding the beginning and beginning of the given work.
For example, in "Fathers and Children" by Turgenev, in the course of the plot, we are faced with two significant retrospections - the prehistories of the life of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev's intention to start a novel from their youth, because it would clutter up the composition of the novel, and it seemed necessary to the author to give an idea of the past of these heroes - therefore, the method of retrospection was applied.
The story sequence can be broken in such a way that events of different times are mixed; the narrative all the time returns from the moment of the performed action to different previous time layers, then again turns to the present in order to immediately return to the past. This composition of the plot is often motivated by the memories of the heroes. It's called FREE COMPOSITION.
When analyzing a literary text, one should consider the motivation for the use of each technique from the point of view of composition, which should be supported by the content and figurative structure of the text.
Many of the disadvantages of composition are explained by the violation of the requirements of the basic laws of logic.
The most common disadvantages of the composition include:
- incorrect division of the work into the largest structural parts;
- going beyond the topic;
- incomplete disclosure of the topic;
- incommensurability of parts;
- crossing and mutual absorption of the material;
- repetition;
- haphazard presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- unsuccessful breakdown of the text into paragraphs.
It must be remembered that in fiction adherence to a phased logical plan is not at all necessary, sometimes in violation of the logic of the plot development one should see not a compositional flaw, but a special technique compositional construction works designed to enhance its emotional impact. Therefore, when evaluating the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.
OUTSIDE ELEMENTS
In addition to the plot, in the composition of the work there are also so-called extra-plot elements, which are often no less, if not more important, than the plot itself.
Non-story elements are those elements that do not move the action forward, during which nothing happens, and the characters remain in the same positions.
If the plot of a work is the dynamic side of its composition, then the non-plot elements are static.
There are three main types of off-plot elements:
- description,
- lyrical (or author's) digressions,
- plug-in episodes (otherwise they are called plug-in novellas or plug-in plots).
DESCRIPTION is a literary image outside world(landscape, portrait, world of things, etc.) or a stable way of life, that is, those events and actions that take place regularly, from day to day and, therefore, also have no relation to the movement of the plot.
Descriptions are the most common type of off-plot elements, they are present in almost every epic work.
LYRICAL (or AUTHOR'S) DEPARTURES are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; at the same time, these statements do not characterize individual characters or the relationship between them.
The author's deviations are an optional element in the composition of the work, but when they do appear there (Eugene Onegin by Pushkin, Dead Souls by Gogol, The Master and Margarita by Bulgakov, etc.), they usually play an important role and are subject to mandatory analysis.
INSERT EPISODES are relatively complete fragments of the action, in which other characters act, the action is transferred to a different time and place, etc.
Sometimes inserted episodes begin to play and the piece even big role than the main plot: for example, in “ Dead souls"Gogol and" The Adventures of the Gallant Soldier Schweik "by Hasek.
ASSESSMENT OF SPEECH STRUCTURES
Fragments are distinguished in the work by belonging to any type of text - narrative, descriptive or explanatory (text-reasoning).
Each type of text is characterized by its own type of presentation of the material, its own internal logic, the sequence of arrangement of elements and composition as a whole.
When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the prevailing type.
It is necessary to analyze the fragments in terms of their correspondence to the characteristics of the type, that is, to check whether the narrative, description or reasoning is structured correctly.
NARRATION - a story about events in a chronological (temporal) sequence.
The story is about action. Comprises:
- key moments, that is, the main events in their duration;
- ideas about how these events changed (how there was a transition from one state to another).
In addition, almost every story has its own rhythm and intonation.
When assessing, it is necessary to check how correctly the author has chosen the key moments so that they correctly reflect the events; how consistent the author is in presenting them; whether the connection of these main points to each other is thought out.
The syntactic structure of a narrative is a chain of verbs, so the center of gravity in the narrative is shifted from words related to quality to words that convey movements, actions, that is, to a verb.
There are two ways of storytelling: epic and scenic.
The epic way is a complete story about the events and actions that have already taken place, about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, the story of the events of the Great Patriotic War in the history textbook).
The scenic method, on the contrary, requires that events are presented clearly, the meaning of what is happening in front of the reader's eyes is revealed through gestures, movements, words actors... At the same time, the attention of readers is drawn to the details, in particular (for example, the story of A.S. Pushkin about a winter blizzard: "Clouds rush, clouds curl ... The moon is invisibly illuminated by flying snow ...").
The most common flaw in the construction of the story: its overload with little meaningful facts and details. It is important to remember that the significance of an event is determined not by its duration, but by its importance in terms of meaning or for the sequence in which events are presented.
When analyzing descriptions in a work of fiction, there is no rigid framework. It is in the descriptions that the author's individuality is most clearly manifested.
JUDGMENT is a series of judgments that relate to a certain subject and follow each other in such a way that others follow from the previous judgment and, as a result, an answer to the question posed is obtained.
The purpose of the reasoning is to deepen our knowledge about the subject, about the world around us, since the judgment reveals the internal signs of objects, the relationship of signs with each other, proves certain provisions, reveals the reasons.
A feature of the reasoning is that it is the most complex type of text.
There are two ways of reasoning: deductive and inductive. Deductive is reasoning from the general to the particular, and inductive is from the particular to the general. The inductive or synthetic type of reasoning is considered to be simpler and more accessible to the general reader. There are also mixed types of reasoning.
Analysis of reasoning involves checking the logical correctness of the construction of reasoning.
Characterizing various ways of presenting, experts emphasize that the main part of the author's monologue speech is narration. “Narration, storytelling is the essence, soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell interesting and exciting stories "
The author's appeal to other speech structures that increase the tension of the storyline depends on the individual style, genre and subject of the image.
LANGUAGE AND STYLE ASSESSMENT
There are different styles different types literature: journalistic, scientific, fiction, official business, industrial, etc. At the same time, the boundaries between the styles are rather unstable, the styles of the language themselves are constantly evolving. Within the same type of literature, you can see some differences in the use of linguistic means, depending on the purpose of the text and its genre features.
Linguistic and stylistic errors come in many varieties. We list only the most common and most common ones.
1. MORPHOLOGICAL ERRORS:
Incorrect use of pronouns
For example. “You have to be really lucky to win a large art canvas for a few rubles. It turned out to be a technician Alexei Stroyev. " In this case, the incorrect use of the pronoun "im" creates a second anecdotal meaning of the phrase, since it means that Alexei Stroyev turned out to be an artistic canvas.
Use plural nouns instead of singular. For example. "They carry baskets on their heads."
Endings errors.
For example. “A school, a bathhouse and a kindergarten will be built here next year.
2. LEXICAL ERRORS:
Inaccuracy in the choice of the word, the use of words that cause unwanted associations. For example. "Classes are held without warning, in a family atmosphere" - Instead of "no invitation", "relaxed".
Inappropriate use of phraseological phrases.
For example. "Our troops have crossed the line" - Instead: "Our troops have reached the line / Our troops have crossed the line."
The use of expressions in relation to animals, usually characterizing the actions of people or human relationships.
For example. "At the same time, the rest of the bulls gave excellent daughters."
3. SYNTAX ERRORS:
Wrong word order in a sentence.
For example. "With joy Avdeev felt his heart beat faster."
Improper control and abutment.
For example. "More attention should be paid to the safety of young people."
The use of syntactically unformed sentences.
For example. "Her whole little FIGURE is more like a student than a teacher."
Punctuation errors that distort the meaning of the text.
For example. "Sasha ran around the gardens with the children, played grandmother sitting at his desk, listened to the stories of the teachers."
4. STYLISTIC ERRORS:
- "stationery" style
For example. “As a result of the work of the commission, it was established that there are significant reserves in the further use of materials and, in this regard, their reduction in consumption per unit of production” - Instead of “The Commission found that materials can be used better and, therefore, reduce their consumption”
Speech cliches are a rather complex phenomenon that is widespread due to the stereotyped thought and content. Speech stamps can be represented:
- words with a universal meaning (worldview, question, task, moment),
- in paired words or companion words (initiative-response),
- stamps - style decorations (blue screen, black gold),
- stencil formations (to keep the watch of honor),
- stamps - compound words (giant oven, miracle tree).
The main feature of a stamp is its lack of meaningfulness. A stamp must be distinguished from a linguistic cliché, which is a special type of linguistic means and is used in business, scientific and technical literature for a more accurate transmission of the circumstances of an event or phenomenon.
EVALUATION OF ARTISTIC DETAILS
An artistic detail is a detail that the author has endowed with a significant semantic and emotional load.
Artistic details include mainly subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, action and speech.
Through a well-found part, you can transfer specific traits a person's appearance, speech, demeanor, etc .; convexly and visibly describe the situation, place of action, any object, and finally, a whole phenomenon.
Artistic detail may be necessary or, on the contrary, excessive. Excessive attention to detail, typical of aspiring writers, can lead to a heap of details that interfere with the perception of the main and therefore tire the reader.
There are two typical miscalculations in use. artistic detail:
It is necessary to distinguish artistic detail from simple details, which are also necessary in the work.
The writer must be able to select precisely those details that will give a complete, vivid, bright picture... By creating a text “visible” and “audible” for the reader, the writer uses real details, which in the work can be considered as a detail.
Excessive enthusiasm for details makes the picture colorful, deprives the narrative of integrity.
Black Stick
SOME THOUGHTS OF AN ORDINARY READER ABOUT ARTISTIC DETAILS
FEATURES OF ANALYSIS OF STORY AS A FORM OF ARTISTIC WORK
The story is the most concise form of fiction. The story is difficult precisely because of its small volume. “There is a lot in small things” - this is the main requirement for small forms.
The story requires a particularly serious, in-depth work on the content, plot, composition, language, because in small forms, flaws are more clearly visible than in large ones.
A story is not a simple description of an incident from life, not a sketch from nature.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. Essential and author's position, the significance of the topic.
The story is a one-sided work, it contains one storyline. One incident from the life of the heroes, one vivid, significant scene can become the content of the story, or a juxtaposition of several episodes covering a more or less long period of time.
Too slow development of the plot, prolonged exposure, excessive details harm the perception of the story.
Although there is also the opposite case. Sometimes, with an excessive laconic presentation, new shortcomings arise: the lack of psychological motivation for the actions of the heroes, unjustified failures in the development of the action, schematic character, devoid of memorable features.
N.M.Sikorsky believes that there is a thoughtful and unjustified brevity, that is, gaps in the presentation of events that are easily reconstructed by the reader's imagination - and empty voids that violate the integrity of the narrative. It is important to notice when figurative display is replaced by simply informational messages about events. That is, the story should not only be short, it should have a truly artistic conciseness. And here special role an artistic detail plays in the story
In a story usually does not happen a large number characters and many storylines. Overloading with characters, scenes, dialogues are the most common shortcomings of stories by novice authors.
Evaluation of a work is carried out in order to clarify the originality of a particular work.
The analysis is carried out in several aspects:
1. Correlation between performance and design (an image as an expression of the author's thoughts and feelings);
2. Pictorial accuracy (image as a reflection of reality);
3. Emotional accuracy of the impact of the text on the imagination, emotions, associations of the reader (image as a means of aesthetic empathy and co-creation).
The result of the assessment is the creation of some recommendations that will improve the unsuccessful components of the text that do not correspond to the intention, the general structure of the work and the creative manner of the author.
A skillfully carried out transformation should not violate the integrity of the text. On the contrary, the liberation of its structure from the elements introduced by side influences will clarify the idea of the work.
In the course of stylistic editing, inaccuracies, speech errors in the manuscript, roughness in style are eliminated;
when shortening the text, all unnecessary things that do not correspond to the genre and functional belonging of the work are removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted, which are necessary for coherence, a logical sequence of presentation.
“You carefully remove the excess, as if you were removing a film from a decal, and gradually a bright drawing emerges at hand. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation "(c)
Information for thought.
Before you two versions of the text of the beginning of L. Tolstoy's story "Hadji Murad".
FIRST OPTION
I was returning home in the fields. It was the very middle of summer. The meadows were cleared away and they were just about to mow the rye. There is an adorable selection of colors of this season: fragrant cereals, red, white, pink, love-not-love. pink fluff plantain and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wildflowers with their subtlety of decoration and slightly noticeable, not for everyone, their delicate and healthy scent. I typed big bouquet and already on the way back, I noticed in the ditch a wonderful crimson burdock in full bloom, the sort that we call a Tatar and which the mowers diligently mow or throw out of the hay so as not to prick their hands on it. I took it into my head to rip this burr, put it in the middle of the bouquet. I climbed down into the ditch and drove the bumblebee that had climbed into the flower, and since I had no knife, I began to tear off the flower. Not only did he prick from all sides, even through the handkerchief with which I wrapped my hand, his stem was so terribly strong that I fought with him for about 5 minutes, tearing the fibers one by one. When I tore it off, I crumpled the flower, then it was lurid and did not go to the delicate delicate flowers of the bouquet. I regretted that I ruined this beauty, and threw the flower. “What energy and strength of life,” I thought, approaching him ...
FINAL OPTION
I was returning home in the fields. It was the very middle of summer. The meadows were cleared away and they were just about to mow the rye. There is an adorable selection of colors for this season: red, white, pink, fragrant, fluffy porridge; insolent daisies; milky white with a bright yellow "love or dislike" center with its rotten spicy stench; yellow rape with its honey smell; high standing purple and white tulip bells; creeping peas; yellow, red, pink, purple, neat scabiosa; with a slightly pink fluff and a barely audible pleasant smell of plantain; cornflowers, bright blue in the sun and in "youth, and blue, and reddening in the evening and in old age; and tender, with an almond scent, immediately fading, dodder flowers. I picked up a large bouquet of different flowers and walked home when I noticed in the ditch a wonderful crimson, in full bloom, burdock of the sort that we call "Tatar" and which is carefully mowed, and when it is accidentally mowed, the mowers are thrown out of the hay so as not to prick hands on it. I climbed down into the ditch and, having driven off the shaggy bumblebee that had sunk into the middle of the flower and sweetly and sluggishly asleep there, I began to pluck the flower. hand - he was so terribly strong; that I fought with him for about five minutes, tearing the fibers one at a time. When I finally tore off the flower, the stem was already all in tatters, and the flower no longer seemed so fresh and beautiful. Moreover, he is rude and lurid awn did not match the delicate flowers of the bouquet. I regretted that I had in vain destroyed the flower, which was good in its place, and abandoned it. “What, however, is the energy and strength of life,” I thought, Remembering the efforts with which I tore off the flower. "How he strenuously defended and sold his life dearly."
© Copyright: Copyright Contest -K2, 2013
Certificate of publication No. 213052901211
reviews
Reviews
Analysis - Criticism third, positive
Quote - Evaluation of the plot is very subjective, however, there are certain criteria for it:
- the significance of the situation for revealing the characters of the heroes;
...
Subject elements are the stages in the development of a literary conflict (exposition, setting, development of action, culmination and denouement). The selection of these elements is possible only in connection with a conflict.
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Instructions
Familiarize yourself well with the work that you are going to analyze, because the correctness and clarity of the result depend on it. Most likely it will be a classic describing the abundance of social and moral issues, multifaceted and controversial work of the writer. Perhaps something modern, relevant and dynamic. Choice works is yours.
Begin analyzing the book by formulating common theme works, describe the problems raised by the author, reveal the main ideas. At the same time, try not to break the logic of your reasoning, express your thoughts consistently, without jumping from one thought to another.
Pay attention to the originality of the genre. For example, Gogol named his “Dead Souls” a poem, despite all the rules, and “Eugene Onegin” was described by Pushkin as a novel. In such cases, the mass. Among other things, the linguistic features of the narrative inherent in this particular author, and the means of artistic expression used by him, will not be at all superfluous.
Next, make a description artistic images presented in the work is another part of the analysis that requires weighty reasoning. Literature is filled with ordinary and generally accepted types of people, the habits and habits of which he still has today, and sometimes non-standard and surprising. Therefore, try to describe in the most detail and give your assessment of the characters of the heroes.
After that, smoothly move on to the plot. works, touch on his conflict, state the conclusions adopted either by the author himself or by the character on whose behalf the problematic issues are raised. A plus will be the presentation of your opinion on this matter.
At the end of your analysis, write about the importance and relevance works in the work of the author, on the contribution he made to Russian and literature. Depending on the required amount of analysis, you can insert some details from the biography of the writer in this part, especially his.
Check the text for grammatical and spelling errors. Edit all the points. Enter your changes correctly if necessary. Try to achieve consistency and consistency in the overall story.
Sources:
- The content and constituent elements of the analysis of literary
Analyze lyric work not very simple, since much depends on the personal subjective perception of poetry. However, there are certain analysis schemes that help to structure the analysis more clearly. There is no single scheme or plan for the analysis of a poetic text, but in any case, it should show how well and deeply the reader understood the poem.
You will need
- Poem text, sheet of paper, pen
Instructions
Indicate the topic of the poem. Ask yourself: "What is the poet talking about in this?" Poetic works can be, patriotism, politics. Some describe landscapes and the beauty of nature, others are reflections on philosophical topics.
In addition to the topic, sometimes it is necessary to define also an idea or main idea works. Think what exactly the poet wanted to convey to the reader, what "message" is hidden in his words. The main idea reflects the attitude of the poet to the written, it is a key factor for true understanding literary work... If the author of the work raised several problems at once, list them and highlight one as the main problem.
Write down what artistic means and stylistic techniques the author resorted to in this work. Give specific ones from the poem. Indicate for what purpose the author used this or that technique ( stylistic figures, etc.), i.e. what effect was achieved. For example, rhetorical questions and appeals increase the reader's attention, and the use of irony speaks of the author's derisive attitude, etc.
Analyze the features of the composition of the poem. It has three parts. It is the size, and the rhythm. The size can be indicated schematically so that you can see which syllable is stressed. For example, in iambic tetrameter, the stress falls on every second syllable. Read one line of the poem out loud. This will make it easier for you to understand how the stress falls. The way of rhyming is usually indicated using the notation "a" and "b", where "a" is one type of end of a line of the poem, and "b" is the second type.
Indicate the features of the image of the lyric hero. It is advisable not to skip this point in the analysis of the poem. Remember that in any work the author's "I" is present.
Sources:
- Poem Analysis Plan
Any lyric work reflects the poet's worldview, therefore, in order to analyze poem, you need to know about the features of the creative method in which it was written. In addition, it is important to carefully read the poem, since its analysis should be carried out at all linguistic levels: from phonetic to syntactic. To structure the written analysis verse, use the instructions.
Instructions
Begin the analysis of a lyric work by determining the date of writing and. Collect material on the creative history of the poem, tk. the factual side is very important for understanding its topic. Indicate to whom it is dedicated, if it has an addressee.
Determine the theme of the piece, i.e. what he writes about: about nature, love, the relationship between the lyric hero and society, about philosophical categories, etc. Answer the question how the theme of the poem is related to its title.
Trace the movement of the lyric plot: how the mood of the lyric hero changes throughout the poem, his attitude to what the author talks about. Words that express feelings will help you with this: sadness, admiration, passion, bitterness, despondency, etc.
Determine the features of the composition of the work, i.e. its construction. Find the basic compositional technique used by the author: repeat, contrast, match by association, etc.
Tell us about the lyric, which is revealed through the specific state of mind, experiencing a certain life situation v this moment... Answer the question, what position does the author take in relation to his lyric hero... Please note that you should not always identify his hero.
Consider the visual means of the work at different linguistic levels: sound writing (phonetic means of expressiveness), vocabulary (stylistically colored, the presence of synonyms, antonyms, paronyms), poetic syntax.
Define the idea of the work, identified as a result of the analysis. Answer the question with what message the author is addressing the reader.
Consider the rhythmic organization of the poem, determine its size and types of rhyme.
Finishing the written one, determine how the peculiarities of the poetics of the creative method, within the framework of which the work was created, were reflected in it. To do this, using a literary dictionary, get acquainted with different directions in the history of literature (romanticism, realism, symbolism, acmeism, futurism).
Sources:
- how to write you don't change
Alexander Sergeevich Pushkin, perhaps, will forever retain his reputation the greatest poet in the entire history of Russian literature. This was facilitated, of course, by the special talent of the writer, who lived from 1799 to 1837 and, unfortunately, died early in a tragic duel. So what works are included in literary heritage Pushkin?
When analyzing a work of art, one should distinguish between the ideological content and the artistic form.
A. Ideological content includes:
1) subject matter works - socio-historical characters chosen by the writer in their interaction;
2) issues- the most essential for the author properties and sides of the already reflected characters, highlighted and strengthened by him in the artistic image;
3) pathos works - the ideological and emotional attitude of the writer to the depicted social characters (heroism, tragedy, drama, satire, humor, romance and sentimentality).
Pathos- the highest form of ideological and emotional assessment of the life of a writer, revealed in his work. The assertion of the greatness of the feat of an individual hero or a whole group is an expression heroic pathos, and the actions of the hero or collective are distinguished by free initiative and are aimed at the implementation of high humanistic principles. The prerequisite for the heroic in fiction is the heroism of reality, the struggle against the elements of nature, for national freedom and independence, for the free labor of people, the struggle for peace.
When the author affirms the deeds and experiences of people who are inherent in a deep and irreparable contradiction between the striving for a lofty ideal and the fundamental impossibility of achieving it, then we have tragic pathos. The forms of the tragic are very diverse and historically changeable. Dramatic pathos is distinguished by the absence of a principled character of a person's confrontation with impersonal hostile circumstances. Tragic character always marked by exceptional moral height and significance. The differences in the characters of Katerina in The Thunderstorm and Larisa in Ostrovsky's Dowry clearly demonstrate the difference in these types of pathos.
Gained great importance in the art of the XIX-XX centuries romantic pathos, with the help of which the significance of the individual's striving for the emotionally anticipated universal ideal is affirmed. Close to romantic sentimental pathos, although its range is limited to the family and everyday sphere of manifestation of the feelings of the heroes and the writer. All these types of pathos carry affirmative start and realize the sublime as the main and most general aesthetic category.
The general aesthetic category of denial of negative tendencies is the category of the comic. Comic is a form of life that claims to be significant, but has historically outlived its positive content and therefore laughing... Comic contradictions as an objective source of laughter can be recognized satirically or humorous. The angry denial of socially dangerous comic phenomena determines the civic character of the pathos of satire. A mockery of comic contradictions in the moral and everyday sphere of human relations evokes a humorous attitude towards what is portrayed. The ridicule can be either denying or affirming the depicted contradiction. Laughter in literature, as in life, is extremely diverse in its manifestations: smile, mockery, sarcasm, irony, sardonic grin, Homeric laughter.
B. Artistic form includes:
1) Details of subject art: portrait, actions of characters, their experiences and speech (monologues and dialogues), everyday environment, landscape, plot (sequence and interaction of external and internal actions of characters in time and space);
2) Composite details: order, method and motivation, narratives and descriptions of the depicted life, author's reasoning, digressions, inserted episodes, framing ( composition of the image- the ratio and location of object details within a separate image);
3) Stylistic details: figurative and expressive details of the author's speech, intonational-syntactic and rhythmic-stanza features of poetic speech in general.
Scheme of the analysis of a literary and artistic work.
1. History of creation.
2. Topic.
3. Problems.
4. Ideological orientation of the work and its emotional pathos.
5. Genre originality.
6. The main artistic images in their system and internal connections.
7. Central characters.
8. The plot and features of the structure of the conflict.
9. Landscape, portrait, dialogues and monologues of characters, interior, setting of action.
11. The composition of the plot and individual images, as well as the general architectonics of the work.
12. The place of the work in the work of the writer.
13. Place of the work in the history of Russian and world literature.
The general plan of the answer to the question about the meaning of the writer's work.
A. The place of the writer in the development of Russian literature.
B. Place of the writer in the development of European (world) literature.
1. The main problems of the era and the attitude of the writer to them.
2. Traditions and innovations of the writer in the field:
b) topics, problems;
c) creative method and style;
e) speech style.
V. Evaluation of the writer's work by the classics of literature, criticism.
A rough outline of the characteristics of the artistic image-character.
Introduction. The place of the character in the system of images of the work.
Main part. Characterization of a character as a certain social type.
1. Social and financial situation.
2. External appearance.
3. The originality of the worldview and worldview, the range of mental interests, inclinations and habits:
a) the nature of the activity and basic life aspirations;
b) influence on others (main sphere, types and types of influence).
4. Area of feelings:
a) the type of attitude towards others;
b) features of internal experiences.
6. What personality traits of the hero are revealed in the work:
c) through the description of other actors;
d) with the help of background or biography;
e) through a chain of actions;
f) in speech characteristics;
g) through "neighborhood" with other characters;
h) through the environment.
Conclusion. What social problem led the author to create this image.
The plan for the analysis of a lyric poem.
I. Date of writing.
II. Real biographical and factual commentary.
III. Genre originality.
IV. Ideological content:
1. Leading theme.
2. Main thought.
3. Emotional coloring of feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The predominance of social or personal intonations.
V. The structure of the poem:
1. Comparison and development of basic verbal images:
a) by similarity;
b) by contrast;
c) by contiguity;
d) by association;
e) by inference.
2. The main pictorial means of allegory used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, lithote, irony (as a trope), sarcasm, paraphrase.
3. Speech features in terms of intonational and syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, address and exclamation.
4. The main features of rhythmics:
a) tonic, syllabic, syllabo-tonic, dolnik, free verse;
b) iambic, trochee, pyrrhic, spondeus, dactyl, amphibrachium, anapest.
5. Rhyme (masculine, feminine, dactylic, exact, imprecise, rich; simple, compound) and rhyme methods (pair, cross, ring), the game of rhymes.
6. Strophica (couplet, three-line, five-line, quatrain, sextine, septim, octave, sonnet, Onegin stanza).
7. Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.
How to keep a short record of the books read.
2. The exact title of the work. Dates of creation and appearance in print.
3. The time depicted in the work, and the place of the main events taking place. The social environment, the representatives of which are deduced by the author in the work (nobles, peasants, urban bourgeoisie, bourgeoisie, commoners, intelligentsia, workers).
4. Epoch. Characteristics of the time in which the work was written (from the side of economic and socio-political interests and aspirations of contemporaries).
5. Brief outline of the content.
The category of genre in the analysis of a work of art is somewhat less important than the category of genus, but in some cases, knowledge of the genre nature of the work can help in the analysis, indicate which aspects should be paid attention to.
In literary studies, genres are called groups of works within literary genera, united by common formal, meaningful or functional features.
It should be said right away that not all works have a clear genre nature. Thus, in a genre sense, Pushkin's poem "Night haze lies on the hills of Georgia ..."
But even in those cases when a genre can be defined quite unambiguously, such a definition does not always help the analysis, since genre structures are often identified by a secondary feature that does not create a special originality of content and form. This applies mainly to lyric genres, such as elegy, ode, message, epigram, sonnet, etc.
In epic genres, it is primarily the opposition of genres in terms of their volume that matters. The existing literary tradition distinguishes here genres of large (novel, epic), medium (story) and small (story) volume, however, in typology, the distinction between only two positions is real, since the story is not an independent genre, gravitating in practice or towards the story ("Belkin's Tale "Pushkin), or to the novel (his" The Captain's Daughter ").
But the distinction between large and small volume seems essential, and above all for the analysis of a small genre - the story. Yu.N. Tynyanov rightly wrote: "The calculation for a large form is not the same as for a small one." The small volume of the story dictates the peculiar principles of poetics, specific artistic techniques. First of all, this is reflected in the properties of literary depiction.
The story is highly characteristic of the "economy mode", it cannot contain long descriptions, therefore, it is characterized not by details-details, but by details-symbols, especially in the description of a landscape, portrait, interior. Such a detail acquires increased expressiveness and, as a rule, refers to the creative imagination of the reader, suggests co-creation, speculation.
According to this principle, Chekhov, the master of artistic detail, built his descriptions; Let us recall, for example, his textbook depiction of a moonlit night: “In descriptions of nature, one must grasp at small details, grouping them in such a way that, after reading, when you close your eyes, a picture is given.
For example, you get a moonlit night if you write that a glass of glass flashed on the mill dam with a bright star from broken bottle and a black shadow of a dog or a wolf rolled like a ball ”(Letter to Al.P. Chekhov dated May 10, 1886). Here the details of the landscape are conjectured by the reader based on the impression of one or two dominant symbolic details.
The same happens in the field of psychologism: for a writer it is important here not so much to reflect the mental process in its entirety as to recreate the leading emotional tone, atmosphere inner life hero at the moment. The masters of this psychological story were Maupassant, Chekhov, Gorky, Bunin, Hemingway, and others.
In the composition of the story, like any small form, the ending is very important, which is either character plot denouement or emotional ending... Also noteworthy are those endings that do not resolve the conflict, but only demonstrate its insolubility; the so-called "open" finals, as in "The Lady with the Dog" by Chekhov.
One of the genre varieties of the story is the short story. A short story is an action-packed narration, the action in it develops quickly, dynamically, strives for a denouement, which contains the whole meaning of what was told: first of all, with its help, the author gives an understanding of the life situation, pronounces a "judgment" on the characters depicted.
In short stories, the plot is compressed, the action is concentrated. The rapidly developing plot is characterized by a very economical system of characters: there are usually just as many of them as needed so that the action could develop continuously. Episodic characters are introduced (if introduced at all) only to give impetus to the plot action and then immediately disappear.
In the novel, as a rule, there are no subplots, author's deviations; from the past of the heroes, only what is absolutely necessary for understanding the conflict and the plot is communicated. Descriptive elements that do not advance the action are minimized and appear almost exclusively at the beginning: later, towards the end, they will interfere, inhibiting the development of the action and distracting attention.
When all these tendencies are brought to their logical conclusion, the short story acquires a pronounced structure of an anecdote with all its main features: very small volume, unexpected, paradoxical "shock" ending, minimal psychological motivation for actions, lack of descriptive moments, etc. The story-anecdote was widely used by Leskov, early Chekhov, Maupassant, O'Henry, D. London, Zoshchenko and many other novelists.
A novel, as a rule, is based on external conflicts, in which contradictions collide (set), develop and, reaching in development and struggle to highest point(culmination) are resolved more or less rapidly. In this case, the most important thing is that the colliding contradictions must and can be resolved in the course of the development of the action.
For this contradictions must be sufficiently definite and manifested, the heroes must have some psychological activity in order to strive at all costs to resolve the conflict, and the conflict itself must, at least in principle, yield to immediate resolution.
Let us consider from this point of view the story of V. Shukshin "The Hunt to Live". A young city guy comes into the hut to the forester Nikitich. It turns out that the guy escaped from prison.
Suddenly, the district authorities come to Nikitich to hunt, Nikitich tells the guy to pretend to be asleep, puts the guests down and falls asleep himself, and wakes up to find that "Kolya the professor" has left, taking Nikitich's gun and his tobacco pouch with him. Nikitich rushes after him, overtakes the guy and takes his gun from him. But Nikitich generally likes the guy, he is sorry to let him go alone, in winter, unaccustomed to the taiga and without a gun.
The old man leaves the guy a gun so that when he reaches the village he will hand it over to Nikitich's godfather. But when they had already gone each in their own direction, the guy shoots Nikitich in the back of the head, because “it will be better this way, father. More reliable. "
The clash of characters in the conflict of this novel is very sharp and clear. The incompatibility, the opposition of Nikitich's moral principles - principles based on kindness and trust in people - and the moral norms of "Kolya the professor", who "wants to live" for himself, "better and more reliable" - also for himself, - the incompatibility of these moral attitudes intensifies in the course of the action and is embodied in a tragic, but inevitable, according to the logic of the characters, the denouement.
Let's note the special significance of the denouement: it not only formally completes the plot action, but exhausts the conflict. The author's assessment of the characters depicted, the author's understanding of the conflict are concentrated precisely in the denouement.
The major genres of the epic - the novel and the epic - differ in their content, primarily in terms of problems. The substantive dominant in the epic is the national one, and in the novel - the novelistic problematic (adventurous or ideological and moral).
It is therefore extremely important for a novel to determine which of the two types it belongs to. The poetics of the novel and the epic are also constructed depending on the genre dominant content. The epic gravitates towards plot, the image of the hero in it is built as the quintessence of the typical qualities inherent in a people, ethnic group, class, etc.
In the adventure novel, the plot also clearly predominates, but the image of the hero is already constructed in a different way: he is emphatically free from class, corporate and other ties with the environment that gave birth to him. In an ideological and moral novel style dominants there will almost always be psychologism and discord.
Over the past century and a half, a new genre of large volume has developed in the epic - the epic novel, which combines the properties of these two genres. This genre tradition includes such works as "War and Peace" by Tolstoy, " Quiet Don"Sholokhov," Walking through the agony "by A. Tolstoy," The Living and the Dead "by Simonov," Doctor Zhivago "by Pasternak and some others.
The epic novel is characterized by a combination of national and ideological and moral problems, but not a simple summation of them, but an integration in which the ideological and moral search for a personality is correlated primarily with the people's truth.
The problem of the epic novel becomes, as Pushkin put it, "the fate of man and the fate of the people" in their unity and interdependence; critical events for the entire ethnos give the hero's philosophical search a special acuteness and urgency, the hero is faced with the need to determine his position not just in the world, but in national history.
In the field of poetics, the epic novel is characterized by a combination of psychology with plot, a compositional combination of general, average and close-ups, the presence of many storylines and their interweaving, author's digressions.
Esin A.B. Principles and techniques of the analysis of a literary work. - M., 1998.
Methodists identify 4 types of analysis of a literary work:
Type 1: analysis of the development of an action - it is based on work on the plot and its elements, that is, parts and chapters. It involves working on the plot of a literary work and its elements (episode, chapter), while the teacher's task is to find, together with the children, the features of integrity in each part of the work and the organic connection of the part with the whole.
Type 2: problem analysis - a problematic question is put at the head of the analysis in the course of searching for an answer to it, different points vision, which are confirmed by reading into the text. To turn the problematic issue into problem situation, it is necessary to exacerbate the contradictions, compare different variants answers. Asking questions of a problematic nature is advisable when reading those works where there are situations that suggest a different understanding of the characters, their actions, deeds, ethical issues raised by the writer.
Features of problematic issues:
1) the presence of a contradiction and the possibility of different answers;
2) children's interest in the topic at hand;
3) the ability to compare different answers to a question.
Type 3: analysis of artistic images - in the center of the analysis are images of heroes or a landscape Analysis of artistic images.
Basic principles.
1. in the analysis, we bring to the children that the character is a representative of a certain social group of people, an era, and at the same time it is a living concrete person.
2. in the character of the hero, we determine the leading features.
4. Promotes empathy for children, their personal relationship to the hero.
Sequence of work:
1.Emotional perception of heroes:
After the initial reading, what can you say about the hero? Did you like it or not? How?
2. the analysis of images is carried out in the course of repeated reading:
1) reading an episode or words that say something about the hero - a conversation: how does this characterize the hero, his words, actions. The selection of words describing the character's trait is a generalization conclusion, that is, a story about the hero.
2) the teacher or students name the quality of the hero - confirmation of the text and conclusion - drawing up a story about the hero.
Outline of the story of the hero.
1. who is he? (when, where he lived, lives, his age, gender)
2. the appearance of the hero.
3.what actions does he do and how does it characterize him
6. my attitude.
Techniques for working on the characterization of a hero:
1. the teacher names the quality of the hero, the children confirm with the text.
2. children independently name a character trait and confirm with text.
3. the heroes of the same work or similar subjects are compared.
6. linguistic experiment: exclusion from the text of words containing the author's assessment.
7.output ( main idea- the meaning of the work)
in the process of parsing, students must understand both the characteristics of the image (hero, landscape), and the meaning of this image, that is, the load that it carries in general structure works.
Type 4: stylistic (linguistic) analysis is an analysis visual media language used by the author in this work.
Purpose of the analysis: to help children understand the thoughts and feelings of the author, expressed primarily in figurative words, the development of imagination, expressive reading.
Method of work:
1. highlighting a word or figurative expression.
2. definition of the thought and feeling contained in them (why does the poet call it that way ... what picture do you present at the same time? What feeling does the author feel? What is the author comparing with what? Why?)
3. techniques of stylistic analysis:
1.comparison of poetry and prose, devoted to the same topic
2.comparison different works one author. Purpose: highlighting the characteristic features of creativity.
So, work on a word should be aimed at helping children understand the figurative meaning of the work, the thoughts and feelings of the writer, which are embodied in the selection of vocabulary, in the rhythm of the phrase, in every artistic detail. Therefore, for linguistic analysis, words and expressions are selected that help to better understand the figurative meaning of the work (they draw pictures of nature, reveal the author's feelings) and at the same time are the most expressive and accurate. After highlighting a word or expression, their role in the text is realized, and it is determined what feelings (thoughts) are contained in them.
Main reception of all types of analysis is a conversation over the text.
Which analysis to choose depends on the nature (genre) of the work, on the capabilities of the students, but nevertheless, the analysis of artistic images can be considered more common and expedient.
Analysis of characters' images
In primary literary education, when analyzing a work of art, the attention of younger students is focused on the analysis of the character's image. The term "image" in primary school not used, it is replaced by the words "hero of the work", "character", "character".
There is no detailed definition of the term "character" in literary criticism.
A character is not the sum of the details that make up the image of a person, but an integral personality that embodies the characteristic features of life and evokes a certain attitude of the reader towards itself. This attitude is "set" by the creative will of the author. “Characters of a work of art are not just doubles of living people,” noted B. Brecht, “but images outlined in accordance with the author's ideological intent.
« Literary character- as L. Ginzburg notes, - this is, in essence, a series of successive manifestations of one person within a given text. Throughout one text ... it can be found in the most different forms: mentioning other characters about him, the author's or narrator's narration about events related to the character, analysis of his character, depicting his experiences, thoughts, speeches, appearance, scenes in which he takes part in words, gestures, actions. " E.V. Khalizev believes that the term "hero" emphasizes the positive role, brightness, uniqueness, and uniqueness of the person being portrayed.
“A character, a character,” according to L.I. Timofeeva, - the concepts by which we designate the person depicted in the work ... "
In the book "Introduction to Literary Studies" ed. GN Pospelova says: “Characters, in their totality, make up a system, are, as you can see, the side of a literary and artistic work, the most closely connected with the content. And when understanding the idea of an epic or dramatic work, it is important to understand, first of all, the function of the character system - its meaning and meaning. It is with this that it is natural to begin consideration of a short story or novel, comedy or tragedy.
On some aspects of the character system, A.G. Zeitlin in the book "The Work of a Writer". First, the characters in a work of art act in some way, that is, they do things, and therefore are in a certain relationship. Further: "The writer strives ... to ensure that the state of mind of the characters would become clear from his actions." The system of characters is "constantly changing", while a certain "hierarchy of characters" is observed. In addition, there is a grouping that “within the system of characters each time corresponds to the correlation of certain social forces”; this is how the principle of "representativeness" of characters is implemented.!
The concept of a character system is used by many researchers without a special definition, although it should be noted that it comes mainly about the system of images, as A.G. Zeitlin, where the image means the image of a person in a work of art.
Without using the term "character system", Yu.V. Mann writes about the different kinds of connections between the characters. Paying attention to the importance of the “motive for leaving, leaving”. In his work, it is important to note, firstly, the identification of various connections between characters, and secondly, the establishment of a connection between the "ideological confrontation" and a wide range of relationships that make up the event-psychological basis of the character system.
When analyzing epic and dramatic works much attention has to be paid to the composition of the system of characters, that is, the characters in the work. For the convenience of approach to this analysis, it is customary to distinguish between the main characters (who are in the center of the plot, have independent characters and are directly related to all levels of the content of the work), minor ones (also quite actively participating in the plot, having their own character, but which are given less author's attention; in in some cases, their function is to help reveal the images of the main characters) and episodic (appearing in one or two episodes of the plot, often not having their own character and standing on the periphery of the author's attention; their main function is to give the right moment an impetus to the plot action or to set off certain features of the main and secondary characters).