Composite parts of the story. Fundamentals of the composition: Elements and techniques

So, we armed with knowledge of some techniques that are used in artistic literature. We now have an idea of \u200b\u200bhow to write. We have an idea, idea, we came up with the heroes, know what they will do and deal with, but ... But how are you to build our work? In what sequence will we express our story? After all, it depends on it whether we can intrigue the reader, take possession of his interest, with the maximum accuracy and force to convey to it what you wanted to say. It is very important - to be able to build. In order to understand this issue, let's introduce such concepts like Fabul, the plot and composition of the literary work. Exist various interpretations The concepts of "Fabul" and "plot". We will take those that are based on the following ideas. Suppose we have the idea of \u200b\u200bthe work. That is, we are in general features We know what we will tell about. This means that we know Fabul. Fabul is the events taking place in literary workbut built in their natural chronological orderSo they would happen or could happen in reality. That is, this is our story, the story or novel outlined "simply", "directly", in one or several phrases. For example, a simplified fabul shakespearean tragedy "Hamlet" we could formulate this way: "The brother of the Danish king secretly kills his brother, captures the crown and marries the royal widow. To the son of the killed, Prince Hamletu, is the ghost of his father and talks about the perfect villain. Hamlet is trying to take revenge the kingle killer, but dies per duel. " Just and understandable. But in the "Gamlet" actions unfold in a completely different sequence! For example, the first scene of the tragedy is the phenomenon of the ghost of Hamlet's father before guarding the castle and a friend of Hamlet, Horatio. And the murder of the king takes place long before the action of Shakespeare begins, and then "for the scenes", there is no place in the play. We can observe it only in the interpretation of travels to the royal castle of actors, which Hamlet asked (in the third act of the tragedy) to play a play on the script suggested by him. If we are in retelling, we will strictly follow the author's sequence of presentation, then we will tell the plot. The plot is an artisticly expedient system of the described events that the author sets out in such a sequence and using such literary forms and techniques that most fully meet his creative task. It is clear that it is not easy to tell the plot of the plot - as not exactly the author "lined up" the work. After all, the direction of the event plan in the plot may coincide with the headquarters (and then Fabul is "equal to the" plot), but most often different from him (as in the "Gamlet"). Therefore, Fabul is also called the "straightened" plot, and in the case when it is not equal to the plot, they talk about the reverse scene composition. So we came to the concept of "composition". From work TT Davydova, V.A. Pronin "Theory of Literature": "Composition - building, location of all elements artistic form. The composition is external and internal. To the sphere exterior Composition include division epic Work On books, parts and chapters, lyrical - part and stanza, lyrol-epic - on songs, dramatic - on acts and paintings. Region internal Composition Includes all static elements of the work: - different types descriptions- portrait, landscape, description of the interior and household text of the life of heroes, summing up the characteristic; - empty elements - exposition (Prolog, entry, "prehistory" of the Hero's life), epilogue ("Subsequent" Hero's Life Story), plug-in episodes, novels; -- all sorts of retreat (lyrical, philosophical, journalistic); - motivation of narration and descriptions; forms of speech of heroes: monologue, dialogue, letter (correspondence), diary, notes; - forms of narration, called points of view (the position with which the story is told or with which the event is perceived by the history of the story of the narration. The concept of point of view in the literature is similar to the concept of an angle in painting and cinema) ". But this is just what includes the composition. How does it" works"? From the work of M.Veller "Technology of the story": "Composition (Building, structure, architectonics) Story - This is the location of the selected material in this order that the effect of greater impact on the reader is achieved than it would be possible with a simple message of the facts. . Changes in the sequence and neighborhood of episodes cause different associative, emotional semantic perception of material as a whole. A successful composition allows you to achieve a maximum of semantic and emotional load at a minimum of volume. 1. Direction composition. The most ancient, simple and traditional way Material transfer: some simple story with a minimum amount of significant acting persons It is described in the sequence of events associated with a single causal chain. For such a composition, neutrality and detailed presentation is characteristic: such a thing did something, and then it was so. It allows you to deepen in the psychology of the hero, gives the reader the opportunity to identify himself with the hero, to fit into his skin, sympathize and empathize. The outer simplicity, as if infidelity and the undescrossability of such a construction, cause additional trust of the reader, the uniform thread of the story allows not to disperse attention and fully focus on the depicted. So, for example, the story of Yu.Cazakova "Blue and Green" is built - a nostalgic history of the first youthful love: eternal chap, Banal material, simple urban language, but, staying together with a hero day after day, the reader rejoices, sadness, whips. 2. Ocoltovka. It is usually different from the composition of the previous type only one: copyright in early and at the end. It is like a story in the story, where the author represents the reader of the hero, serving in the future story. Thus, a double copyright look at the story is created: because the narrator first characterizes, then in the stories itself can "take an amendment on the story" - the images of the author and the narrator are deliberately fought. The author is usually wiser and infidel to the narrator, he acts as a judge and commentator of his own history. The benefits of such a reception is that a) the narrator can speak any language - not only with rude spacious, which is excusable, but also by literary stamps, which is sometimes beneficial to the author, because it is simply intelligible: the author unleashed hands, possible accusations of the primitiveness of the language, bad taste, cynicism, antigumanism, etc. He shifts his own non-teller on his shoulders, and he himself can dissociate himself and even condemn; b) Additional reliability is achieved: the framing is deliberately simply, ordinary, from the first person - the reader is how it is prepared for further history; c) "Double Look" can play a provocative role: the reader does not agree with the opinion of both the narrator and the author, he seems to be involved in the discussion, it is pushing to his own reflections and estimates, if it does not receive a single assessment in a finished form. As examples - such famous storieslike "Moopassana's Happiness", "under deck awning" London, "The Fate of Man" Sholokhov; Reception is common. Occoltovka is applied with more complex species Compositions, but less often. 3. Point (novelist) composition. It is distinguished by the fact that some number of minor details and circumstances fan is tied to one event of a minor scale. The trinity of time, place and action is observed. Characteristic for household prose. The author seems to bring a magnifying glass one point and intently looks at her and the nearest surrounding space. In the "point" novel, neither the development of characters nor changes in the situation: it is a picture of life. This is most brightly pronounced in Shukshin and Zoshchenko. Here is the story Shukshina "cut". The village says, about the family of the zhuravlev, about Gleb Kapustin: Background, characters, circumstances. Then - the essence; A festival conversation when Gleb "proves" candidate of science "non-formation". Details, vocabulary, emotional stress transform genre sketch into a fundamental collision of triumphant and envious rudeness with naive intelligence. It can be said that the point novel is one small touch of life, under the gaze of the author, the income and the depth of the artistic work. These are famous short stories Hemingway. Across the gesture, view, replica of a single and externally minor case turns into the show of everything inner world Hero, all its surrounding atmosphere. The difference in the direct-flow and point composition is that in the latter "nothing happens." 4. Wicker composition. There is an action in it, there is a sequence of events, but the rumble of the narrative is blurred into the network of the streams, the author's thought is still returning to the last time and runs into the future, moves in space from one hero to another. This achieves spatial-temporal scale, the relationship of various phenomena and their mutual influence is revealed. On the limited space of the story to do it is not easy, this technique is characteristic of such novelists like Thomas Wolfe. However, the late Namelistics of Vladimir Lydin is an example of a successful application of a composite "braided", where for non-good deeds ordinary people It is all their past, the whole range of interests and sympathies, memory and imagination, the influence of acquaintances and traces of the former events. If each type of composition is imagined in the form of a graphic-illustration, then the long thread "braid" will write a lot of lace, while it will get to the ultimate goal. 5. Accessory composition. Its essence is that the most significant event is placed at the very end of the narration, and on whether it will happen or not, the life or death of the hero will have. As an option, the confrontation of two heroes, which is permitted at the very end. In short - the climax is a junction. In general, this is a commercial, speculative move - the author plays natural human curiosity: "How will it all end?" According to such a scheme, the chase thrillers are being built, on such a reception the most famous Haley - "Airport" from Romanov is built: blow up an attacker a plane or not? Interest in this causes the reader to greedily swallow the novel, polished by the mass of adverse details. In themenestics, such an admission is clearly manifested in Stephen King. 6. Detective composition. Not at all adequate to the previous one. Here, the central event is a major crime, an extraordinary incident, murder - puts out for braces, and all further narration - as if the return path to what has already happened before. In front of the author of the detective, there are always two tasks: first, come up with a crime, secondly, come up with how to reveal it, - exactly in this order, in no way in the opposite! All steps and events are initially predetermined by the crime, as if strips stretch from each segment of the path to a single organizing point. Building a detective - as if mirrored: the action is that the heroes are simulating and recreated already a former action. From commercial considerations, the authors of detectives deliver them to the volume of novels, but initially created by Edgar software and canonized Conan Doyle, the detective was a story. 7. Two-way composition. The most spectacular, perhaps reception in building prose. In the literature first halves XIX. The century met in this form: some described event turns out to be a dream, and then the work ends in a completely different way than the reader was believed (Pushkin's Utermaker). The most famous sample is the story of Ambros Birs "case on the bridge over the Sovic Creek": Scouts hang, the rope is broken, it falls into the water, it saves from shooting and harassment, after serious tests reaches a native home, - but all this seemed to him only in the last Migi Life, "The body was swayed under the railing of the bridge." Building such akin to the inquisitorial "torture hope": the sentence is provided to run, but in the last moment he falls into the arms of jailers waiting for him at the very possible freedom. The reader is configured by promotional outcome, competes with the hero, and the strongest contrast between happy endingTo which the story was already reached, and the tragic, which turns out to be in reality, gives rise to a huge emotional impact. Here, in the nodal moment, the story is splitting, and the reader offers two options for continuing and ending: first prosperous and happy, then crossed it, declaring slept dreamand give the second, real. 8. Inversion composition. The effect of it, as well as the previous, is based on the contrast. Some event is removed from the natural chronological chain and is placed next to the opposite tonality; As a rule, an episode from the future of heroes is transferred to the present, and the neighborhood of complete hopes and fun of youth - and tired, a lot of not achieving old age give rise to a dedicated feeling of the speed of life, vanity of hopes, the fraternity of being. In the play, the "Time and Family of Conway" in the first action young people are building plans, in the second - ten years later - styling, in the third, which is the immediate tomorrow's continuation of the first, continue to hope and fight (and the viewer knows that they are not destined to hope come true). Usually, two-time and inversion compositions are used to create a tragic tonality, " bad ends"Although, in principle, it is possible on the contrary - to approve a light end, completing a gloomy event with a life-affirming episode from another temporary layer. 9. Hinged composition. Classic sample - Novelistics O. Genry. The most interesting hybrid using the elements of a detective, false stroke and inversion. In the assembly point of development, the most important significant event He is withdrawn by the author and communicates for the very end. A completely unexpected ending attaches to everything the story that the reader saw it before: the actions of the heroes acquire a different motivation, other are their goal and result. The author to the last lines as it were to fool the reader, who is convinced that he did not know the main thing in the story. Such a composition could be called reverse: the ending of the story is inverse what the reader expects. The bottom line is that any story O. Henry could well exist without a "coronal" ending. At the end, like on a hinge, the story turns the other by his side, turning into actually into the second story: it could be like this, but in fact, for example. The detective turns out to be a rogue, manual lion - wild, etc. 10. Counterpoint. Similarly music term - parallel development of two or more lines. Classic sample - "42th parallel" Dos Passos. Stranger people live every life, in contact with only occasionally. In general, such a construction is more typical of a long prose, novel. There are two options for counterpoint: a) two or three not related to the plot lines are combined through a spatial-temporal principle - both, both, and the third takes place here and now: As a result of this installation, there is a completely new associative, emotional, meaningful Coloring (so, in the famous scene of the explanation of Rhodolph and Emma in Madame Bovari Flaubers Interlacing phrases of the seductor passages from the agricultural report creates a sense of vulgarity - and at the same time the Emma's desire to escape from this vulgarity); b) line from the past, the story of the former life is moving out with the front plan, explaining the behavior of the hero in currently, revealing his inner world, - the past seems to live in the present (as, say, in the story of Sergey Voronin "Roman without love"). 11. Revolving composition. Here the event is shown with different points vision from the eyes of several heroes, just as a detail, brought to necessary form, alternately processed by several cutters supplied by a rotating rope. This allows and dialectically consider what is happening, and show the heroes both from the side and inside, their own eyes. In one case, a) each of the heroes repeats its version of the same event ("in more often" acutagava); In another b), the narrators are replaced as actions develop, as in the relay ("Senorite Cora" Kortasar) ".

"ABC of literary creativity, or from the sample of the pen to the master of the word" Igor Getmansky

The concept of composition is wider and versatile than the concept of the plot. The plot fits into the overall composition of the works, occupying in it or another, more or less important place depending on the intentions of the author.

Depending on the ratio of the plot and the fabul, in a particular product, talk about different types and receptions compositions plot. The simplest case is the one when events are linearly located in a direct chronological sequence without any changes. Such a composition is called yet straight or stabuli sequence.

The plot composition also includes a certain order of the report to the reader about what happened. In works with a large volume of text, the sequence of plot episodes usually reveals the author's thought gradually and steadily. In novels and the ones, poems and drams, each subsequent episode opens something new to him for him - and so right up to the final, which is usually as if the reference point of the plot composition.

It should be noted that temporary coverage in the works can be wide enough, the pace of narrative is uneven. There is a difference between compressed copyright, accelerating running scenetime and "dramatized" episodes, compositionthe time of which is "foot in foot" with plot time.

In some cases, writers depict parallel theaters of action (that is, they paint plot lines parallel to each other). So, the neighborhood of the heads of "War and Peace" L.N. Tolstoy, dedicated to the dying of old Bolkonsky and cheerful names in the house of growth, externally motivated by the simultaneity of these events carrying a certain meaning. This technique adjusts readers to the LAD of the Tolstsky pondering and inseparable life and death.

Writers do not always talk about events in direct sequence. Sometimes they seem to intrigue readers, for some time holding them in ignorance about the true essence of events. This composite reception is called default. This technique is very effective because it allows you to keep the reader in ignorance and stresses until the very end, and in the end to hit the surprise of the story turn. Thanks to these properties, the default techniques are almost always used in adventurous-plutical works and works of a detective genre, although, of course, not only in them. Realistic writers also sometimes hold the reader in the ignorance of what happened. So, for example, the default story A.S. Pushkin "Misel". Only at the very end of the story, the reader learns that Marya Gavrilovna was notified with a stranger, which, as it turns out, was Burmin. In the novel "War and Peace" author for a long time forces the reader together with the Bolkonsky family to think that Prince Andrei died during Austerlitsky battle, and only at the time of the hero appeared in the Bald Mountains it turns out that this is not.

An important means of the story composition becomes chronological rearrangements events. Often, these permutations are dictated by the desire of the authors to switch the attention of readers from the outside of what happened (what happens to the heroes on?) On the inner, deep ones. So, in the novel M.Yu. Lermontov "Hero of Our Time" Composition of the plot serves as gradual penetration into the secrets of the inner world of the main hero. First, readers learn about Pechorin from the story of Maxim Maximich ("Bal"), then - from the narrator giving detailed portrait Hero (Maxim Maximych), and only after that Lermontov introduces the diary of the Pechorin itself (Taman's story, "Princess Mary", "Fatalist"). Thanks to the chosen author of the sequence of heads, the reader's attention is transferred from the adventurous adventure to the mystery of its character, "unrastable" from a story to the story, right up to the "Fatalist".

Another technique of disorders of chronology or phabuli sequence is the so-called retrospection, When the plot is in the course of the development of the plot, the author does retreat in the past, as a rule, during preceding the stronger and the beginning of this work. This kind of "retrospective" (facing back, to the earlier) composition of the plot involves the presence in the works of the detailed prehistory of the heroes given in independent plot episodes. In order to fully detect the continuity of epochs and generations to reveal complex and hard ways The formation of human characters, writers often resort to a kind of "installation" of the past (sometimes quite distant) and real characters: the action is periodically transferred from one time to another. So, in "fathers and children" I.S. Turgenev in the course of the plot readers face two significant retrospects - the prehistory of the life of Pavel Petrovich and Nikolai Petrovich Kirsanov. Starting an affair from their youth was not included in the intentions of Turgenev, and the composition of the novel would clupe, and the concept of the past of these heroes seemed to be the author, nevertheless necessary - therefore, the reception of retrospection was used.

The phaance sequence can be broken in such a way that the time-based events are given in advance; The story is all the time returning from the moment of accomplishment of action in different previous temporary layers, then turns to the present again in order to return to the past. Such a scene composition is often motivated by the memories of heroes. It is called free composition And in one way or another, it is used by different writers quite often. However, it happens that the free composition becomes the main and determining principle of building a plot; In this case, it is customary to talk about the free composition ("shot" by A.S. Pushkin).

Internal, emotional-semantic, that is, composite, the links between the plot episodes are sometimes functionally even more important than the relationship of the actual plot, causal-temporary. The composition of such works can be called active, or by using the term cinematographers, " installation" The active, the assembly composition allows the writers to embody the deep, directly observed links between life phenomena, events, facts (an example is Roman M.A. Bulgakov "Master and Margarita"). The role and purpose of this kind of composition can be characterized by the words A.A. Block from the preface to the poem "Retribution": "I used to compare facts from all areas of life available to my sight at this time, and I am confident that all of them together always create a single musical pressure" (full. Coll. Op. In 8th TT. T.3 - M., 1960, p.297).

In addition to the plot, there are also the so-called works in the composition empty elementswhich often happen at least, or even more important than the plot itself. If the plot works are dynamic side His compositions, the extrapty elements - static.

Empty They are called such elements that do not promote actions forward, during which nothing happens, and the heroes remain in the same provisions. Distinguish three main varieties Increased elements: description, author's retreats and plug-in episodes (otherwise they are called still inserted novels or plug-in plots).

Description- This is an image of the outside world (landscape, portrait, world of things) or sustainable lifefriend, that is, those events and actions that are committed regularly, day-to-day and, therefore, are also not related to the movement of the plot. Descriptions are the most common type of extra-made elements, they are present in almost every epic work.

Author's retreats- These are more or less deployed author's statements of philosophical, lyrical, autobiographical, etc. character; At the same time, these statements do not characterize individual characters or relationships between them. The author's retreats are an optional element in the composition of the work, but when they still appear there (Evgeny Onegin A.S. Pushkin, " Dead Souls"N.V.Gogol," Master and Margarita "M.A. Bulgakov et al.), They play, as a rule, a crucial role, serve as a direct expression of writing position.

Putting episodes- These are relatively complete fragments of the action in which other characters appear, the action is transferred to another time and place, etc. Sometimes the plug-in episodes begin to play the work even a large role than the main story, such as, for example, in " Dead souls»N.V. Gogol.

In some cases, the psychological image can also be attributed to the extraptworking elements, if the mental state or reflection of the hero is not a consequence or the cause of plot events, turn off from the story chain (for example, most of the internal monologues of Pechorin in the "Hero of Our Time"). However, as a rule, internal monologues and other forms of the psychological image are somehow included in the plot, since they determine the further actions of the hero and, consequently, the further flow of the plot.

When analyzing the overall composition, the work should first of all determine the ratio of the plot and extra-wing elements, determining that they are more important and on the basis of this, continue the analysis in the appropriate direction. So, when analyzing the "Dead Souls" N.V. Gogol extra warfare should be given primary attention.

At the same time, it should be borne in mind that there are such cases when the plot is equally important in the work, and extra-wing elements - for example, in Evgenia Onegin A.S. Pushkin. In this case special meaning Acquires the interaction of scene and extrapturate fragments of the text: as a rule, the extrapty elements are placed between the plot events not in an arbitrary, but strictly logical order. So, the retreat of A.S. Pushkin "We are all looking at Napoleons ..." Could appear only after readers have quite learned the character of Onegin from his actions and only in connection with his friendship with Lensky; The retreat of Moscow is not only formally dedicated to the arrival of Tatiana to the old capital, but also complicatedly correlated with the event of the plot: the image of "Native Moscow" with her historical roots opposed to the tenderness of Onegin in Russian life, etc. In general, the extrapty elements often have a weak or purely formal connection with the plot and are a separate composite line.

Summing up all the above, it is necessary to indicate that in the most general form you can select two types of composition - it can be called conventionally called simple and difficult. In the first case, the composition of the composition is reduced only to the combination of parts of the work into a single whole, and this union is always the simplest and natural way. In the field of plotting, it will be a direct chronological sequence of events, in the area of \u200b\u200bthe narration - a single narrative type throughout the text, in the field of subject parts - their simple list without the allocation of particularly important, reference, symbolic parts, etc.

With a complex composition in the construction of the work, in order of combining its parts and elements, a special artistic meaning is embodied. So, for example, a consistent change of narratives and a violation of the chronological sequence in the "Hero of Our Time" M.Yu. Lermontov focuses on the moral and philosophical nature of Pecherin's character and allow you to "get it" to her, gradually solving the character. In the Chekhovsky story "Ionch" immediately for the description of the "salon" of Turkish, where Vera Josephovna reads his novel, and the cat is struggling to the piano keys, it does not accidentally mention the knocking knives and the smell of the fried onion - in this composite part of the parts is concluded Special meaning, expressed by the author's irony. An example of a complex composition of speech elements can be revealed to the "History of the same kind" M.E. Saltykov-Shchedrin: "It seemed that a disaster cup of nutrition to the bottom. AN No: Increasing the whole ears. " Here, the first and second proposals are composed, creating a contrast between the solemn, high stylistics (and the corresponding intonation) of the metaphorical turnover of the "Bowl of Disaster to DNA" and the colloquial vocabulary and intonation ("AN NO", "EAST"). As a result, the necessary comic effect arises.

Simple I. complex types Compositions are sometimes difficult to identify in a specific artistic workSince the differences between them turn out to be determined purely quantitative: we can talk about a greater or less complexity of a composition of a particular product. There are, of course, clean Types: So, the composition of Basen I.A. Krylova is simple in all respects, and "ladies with a dog" A.P.chekhova or "Master and Margarita" M.A. Bulgakov in all parameters is complex. But here, for example, such a story A.P. Chekhov, as "home with mezzanine" fairly simple from the point of view of the story and narrative composition and is complex in the field of speech and parts composition. All this makes the question of the type of composition quite complicated, but at the same time it is very important, since simple and complex types of composition can become stylized dominants of the work and, thus, to determine its artistic peculiarity.

The plot and composition are the main components of the literary work. In this article, on certain examples, we will look at what it is and why it is paramount importance in the theory of literature.

The plot is a system of events and relationships between heroes, developing in time and space. M. Gorky determined the plot as "communications, contradictions, sympathy, antipathy and in general the relationship of people - the history of growth and organization of one or another nature, such as".

The plot consists of the actions of the characters, from the image system. In the development of the plot, the features of characters characteristics are manifested, their evolution. Sometimes the plot is identified with the content of the work. However, the content is wider than the plot and is not limited to the retelling of what is happening. In the plot, the individuality and skill of the writer manifests itself, his worldview and position are affected.

The plot is an image of events as it is given in the work. In this case, events are not always in the work are located in the causal and time sequence. The work can begin with the event that happened later than what is described on.

So, what to do? , N. Chernyshevsky begins with death hero, and Then tells about everything that preceded it. In the novel "Hero of our time" M. Lermontov also violated the temporary sequence of events, which is done by a writer in order to switch the reader's attention from external events to inner life Pechorin.

The consistent transmission of the events depicted in their causal relationship is called a fabul. Often, Fabul and the plot coincide, and then we are talking only about the plot. There are scenes are chronicle and concentric. In the chronicle plots, the events correspond to the time in time, and in the concentric between them the causal relationship prevails. The difference between these types of scenes is well illustrated by such an example: in the phrase "the king died, and the queen died soon" recreates chronikal plotBut if we say: "The king died, and the queen died from grief," it will be the formula concentric plot. This type of plot can prevail in the work, and there may be chronicle and concentric beginnings to coexist in one work.

Plots can be unilinear or folded from several simultaneously arising lines, which merging, then developing in parallel. The plot as a complex integer consists of elements, each of which has its own function. The plot elements are the exposition, the tie, the development of action and culmination, the omission and the epilogue. It is not necessary that all the elements of the plot are in the work. IN modern literatureAs a rule, there is no prologue and an epilogue, there may be somewhat culminating and even there is no discord. Tie, development, the interchange is determined by the conflict.

The conflict is a collision of contradictory phenomena, goals, aspirations of heroes or a contradiction in the hero itself, for example, between feeling and debt, desire and impossibility of its execution. The conflict can act as a contradiction between the hero and society, character and circumstances, various sides of the character. On the conflict between the hero and society built "the hero of our time" M. Yu. Lermontov, the mountain from the mind of A. S. Griboyedov. The contradiction between the nature of Raskolnikov and the circumstances of reality is formed by the conflict "Crime and Punishment" F. M. Dostoevsky; In the same novel presented and internal conflict As a struggle in the soul of the hero. In each literary direction - His dominant conflicts. In classicism, this conflict of good and evil, enlightenment and ignorance ("inexpensive" D. I. Fonvizina). In romanticism, the foundation of the conflict is a contradiction between the hero and society ("Gypsy" A. S. Pushkin, "MTSI" M. Yu. Lermontov). The range of conflicts in the works of realism is more widely: social, psychological, socio-psychological, mustic conflicts Forming the plot base of works. The plot finds an expression in the composition.

The composition is the construction of the product, the correlation of the components of the artistic form connected into a single whole. The composition is due to the content and genre of the work. The composition may be simple, linear when individual episodes are rolled out, follow one after another and are associated with the main hero. An example is the composition of the poem N. A. Nekrasov to live well in Russia. Events here develop in chronological sequence. Another type of composition includes a variety of plot lines that can go in parallel or crossing. The chronological principle of construction can be combined with the permutation of events according to the author's logic of the disclosure of character. The violation of chronology in this case and in the form of retrospection - appeals back ("the hero of our time" M. Yu. Lermontov, "Fathers and Children" I. S. Turgenev). The composition may be ring, i.e. The beginning and the end seems to be closed. They are repeated or close to each other.

An important component of the composition is an artistic framing - the creation of paintings converging on the principle of an analogy, similarities with the basic nature or event of the work. In the story of L. N. Tolstoy "Haji Murat" Episode with a ruin, which has long resisted strong handwho tried to disrupt him brings to history with Haji Murat last sigh Boring for your life. A composite role can play the interior and landscape if they are not an object of the image, and serve for disclosure ideological design Works. In the "dead souls" N. V. Gogol, details of the home environment allow you to judge the characters of Manilov, Sobesevich, boxes, Plushin. In the composition, therefore, the following main elements differ: 1) general construction 2) Character system 3) Event system 4) Incover elements.

Prologue is called the introductory part of the work. She either predicts scene line Or the main motifs of the work, or is the events preceding the ones described on the pages.

The exposition in something is akin to the Prologue, however, if the Prologue does not have much influence on the development of the plot of the work, then directly introduces the reader into the atmosphere. It gives a characteristic time and place of action, central characters and their relationship. The exposure may be both at the beginning (direct exposure) and in the middle of the work (delayed exposition).

With a logically clear construction behind the exposure, the tie is an event that begins and provokes the development of the conflict. Sometimes the tie is preceded by exposure (for example, L.N. Tolstoy "Anna Karenina"). In detective novels, which are distinguished by the so-called analytical construction of the plot, the cause of events (i.e. zag) is usually opened by the reader after it generated by it.

Behind the risk traditionally, the development of action, consisting of a number of episodes, in which the characters seek to resolve the conflict, but it only exacerbates.

Gradually the development of action is suitable for its highest pointwhich is called climax. Culmination is called a clash of characters or a turning point in their fate. After the climax, the action is uncontrollabically moving towards the junction.

An exposure is completed or at least conflict. As a rule, the junction occurs at the end of the work, but sometimes appears at the beginning (for example, I.A. Bunin "Light breathing").

Often, the work is completed with an epilogue. This is the final part that usually describes the events following the completion of the main plot, and further fate Characters. These are epilogs in Romanov I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy.

Lyrical deviations

Also in compositions may be present elements, for example, lyrical deviations. In them, he appears in front of the reader, expressing its own judgments on various issues that are not always directly related to action. Of particular interest are lyrical deviations in Evgenia Onegin A.S. Pushkin and in the "Dead Souls" N.V. Gogol.

All listed allow us to give artistic integrity, logicality and fascination.

In addition to external connections, temporary and causal, between the depicted events there are internal communication, emotional-semantic. They are

basically and make up the sphere of the composition of the plot. Thus, the neighborhood of the Heads of "War and Mira", dedicated to the dying of old Bezuhov and the funny names in the house of growth, externally motivated by the simultaneousness of these events, carries a certain meaningful load. This composite reception Adjusts the reader to the LAD of the Tolstsky thought about the inseparalism of life and death.

In many works, the composition of the plot episodes is becoming crucial. Such, for example, Roman T. Manna "Magic Mountain". Consistently, without any chronological permutation, imprinted the course of life of the Castorp Hans in a tuberculous sanatorium, this novel, at the same time, contains meaningful and complex system comparisons between the events depicted, facts, episodes. No wonder T. Mann advised people interested in his work, read the "magic mountain" twice: for the first time - to understand the relationship between the heroes, i.e. the plot; In the second - to penetrate into the internal logic of clutches between the chapters, i.e., understand the artistic meaning of the story of the plot.

The plot composition is also a certain order of the report to the reader about what happened. In works with a large volume of text, the sequence of scene episodes usually reveals the author's idea gradually and steadily. In novels and the ones, poems and drams, truly artistic each subsequent episode opens something new for him - and so right up to the final, which is usually as if the reference point of the plot composition. "The impact force (artistic) refers to the end," said D.Furmenov (82, 4, 714). Especially the role of the final effect in small over the volume of single-acting plays, novels, fables, ballads is responsible. The ideological meaning of such works is often detected suddenly and only in last rows text. So the novels are built: often their finals turn inside out previously said.

Sometimes a writer as if intriguing his readers: for a while keeps them in ignorance about the true essence of the events depicted. This composite reception is called default and the moment when reading the tel finally, together with the heroes, learns about what happened earlier - learn (the last term belongs

life Aristotle). We will remind the tragedy of the Sofokla "Edip-Tsar", where neither the hero nor the viewer and readers do not realize that the Oedip itself is responsible for the murder of Liya. In a new time, such composite techniques are used primarily in adventurous-plotting and adventure genres, where it is primarily important, as V. Shklovsky, "Mystery technique".

But the realist writers sometimes hold the reader in the ignorance of what happened. The default story of Pushkin "Blizzard". Only at the very end, the reader finds out that Maria Gavrilovna is applied with a stranger, which, as it turns out, was Burmin.

Defaults about events can give an action to the action of greater tensions. So, reading the "war and the world" for the first time, we long, together with the Bolkonsky family, we believe that Prince Andrei after Austerlitsky battle died, and only at the time of his appearance in the Bald Mountains we learn that it was not. Such defaults are very characteristic of Dostoevsky. In the "Brothers of Karamazov", for example, the reader for some time believes that Fyodor Pavlovich killed his son Dmitry, and only the story of Mehdhakova puts the end of this delusion.

An important means of the story composition becomes photological rearrangements of events. Usually they (like defaults and recognition) intriguing the reader and this gives the action greater enact. But sometimes (especially in realistic literature) permutations are dictated by the desire of the authors to switch readers from the outside of what happened (what happens to the heroes on?) On his deep attack. Thus, in the Roman Lermontov "Hero of our time", the composition of the plot serves as gradual penetration into the secrets of the inner world of the main hero. First we will learn about Pechorin from Maximych's story ("Bal"), then - from the narrator author who gives a detailed portrait of the hero ("Maxim Maximych"), and only after that Lermontov introduces the diary of Pechorin himself (Taman, "Princess Mary "," Fatalist "). Thanks to the chosen by the author of the sequence of chapters, the reader's attention is transferred from the adventurous adventure on the mystery of its character, "unnecessary" from a story to the story.

For realistic literature XX century. Characterized works with deployed prehistory of heroes,

given in independent plot episodes. In order to fully detect the continuity of the eras and generations to reveal the complex and difficult ways to form human characters, writers often resort to a kind of "installation" of the past (sometimes far distant) and real characters: the action is periodically transferred from one time to another. This kind of "retrospective" (facing back, to the earlier) composition of the plot is characteristic of the work of Green and W. Falkner. She meets in some dramatic works. So, the heroes of the drama ibsen often tell each other about long-standing events. In a row modern drama What the characters recall are depicted directly: in the stage episodes that interrupt the main line of action ("death of the commivoy" A. Miller).

Internal, emotional-semantic links between the plot episodes are sometimes more important than the relationship of the actual plot, causal-temporary. The composition of such works can be called active, or, using the term cinematographers, "assembly". The active, assembly composition allows writers to embody the deep, directly observed links between life phenomena, events, facts. It is characteristic of the works of L. Tolstoy and Chekhov, Breht and Bulgakov. The role and purpose of this kind of composition can be characterized by the words of the block from the preface to the "Retribution" poem: "I used to compare facts from all areas of life available to my vision in this timeand I am confident that all of them together always create a single musical pressure " (32, 297).

The compositions of the plot in the system of artistic means of epic and drama, thus, belongs to a very responsible place.

Positioning Characters

The most important side of the subject image of the epic and drama make up the statements of the characters, i.e. their dialogues and monologues. In epics and novels, the ones and novels, the speech of heroes occupies a very significant, Iiog even most. In the dramatic kind of literature, she preigns to certainly and absolutely.

Dialogues and monologues are expressive significant statements, as if emphasizing, showing their "author's" affiliation. The dialogue is invariably connected with the mutual, bilateral communication, in which the speaker is considered to be the direct reaction of the listening, the main thing - activity and passivity transfers from some participants in communications to others. An oral form of contact is most favorable for the dialogue, its relaxed and non-ionic nature: the lack of social and spiritual distances between the speakingrs. For a dialogical speech, an alternation of short statements of two (sometimes more) persons are characterized. The monologue, on the contrary, does not require anyone immediate response and proceeds regardless of the reactions perceive. This is not interrupted by the "alien" speech speaking. Monologists can be "secluded and" who have a place out of direct contact of the speaker with anything: they are pronounced (loud or about themselves) alone or in the atmosphere of psychological isolation of speech carrier from those present. But monologues are much more common, designed to actively influence the consciousness of the listeners. These are speeches of speakers, lecturers, teachers in front of students 1.

In the early stages of the formation and development of verbal arts (in the myths, parables, fairy tales), the statements of the characters were usually practically significant replicas: the pictures (or animals) briefly reported each other about their intentions, expressed their desires or requirements. Easily conversational dialogues were present in comedies and farce.

However, in the lead high genres Oratoric, declamation, rhetoric-poetic speech of characters, a lengthy, solemn, externally effective, most effective, prevailed the pre-realistic literature.

With which words, Hekuba is drawn to Hektra to his son, briefly leaving the battlefield and came to his house:

What are you, about my son, come, leaving a fierce battle?

True, the hated men of the Ahaeis are cruelly

Towing close walls? And you rushed to us the heart:

Do you want from the castle of Trojan, hands to get to the Olympic?

But I took, my Hector, I will endure the bowl

Zeus is the father to annoy other deities in the enemy.

After and you yourself, when you wish to eat, strengthen;

Husband, labor intense, strength wine updates;

You, my son, was deprived of his citizens of their hiking.

And Hector responds even more extensively why he will not bother to deliver Zeus Wine "Non-Mother Hand".

Such a conditional declamination, rhetorical, executed pattics is especially characteristic of tragedy: from Eschila and Sofokla to Schiller, Sumarkova, Lake. It was also characterized by characters of a number of other genres of the pre-realistic epoch. As part of this speech, monologue principles, as a rule, took the top of the dialogic: rhetoric and the declamation were pushed into the background, and then we reduced a relaxed partition. We are ordinary, unaccusted used mainly in comedies and satiirs, as well as in the works of parody.

At the same time, the so-called one-name prevailed in the literature: the characters were expressed in that speech manner, which was required by the literary (primarily genre) tradition 1.

The saying of the character still in a low degree became his speech characteristic. A variety of speech manners and styles in the pre-market epochs imprinted only in a few outstanding works - in " Divine Comedy.»Dante, Rabela's Hands, pieces of Shakespeare, Don Quixote Cervantes. According to the observations of one of the famous translators, the novel "Don Quixote" displaced and multifaceted: "... here and the language of the peasants, and the language of the" intelligentsia ", and the language of the clergy, and the language of the nobility, and student jargon, and even" Blouth Music " (68, 114).

Realistic creativity XIX-XX explosive inherent

1 Note that modern literary study The dialogic speech is often understood by expansion as any contact, so that it is attached to universality. At the same time, monologic speech is considered as having secondary meaning And in its pure form, almost no existing. This kind of sharp and unconditional preferences of the dialogic speech takes place in the works of M. M. Bakhtin.

1 "Speech of the acting person - writes D. S. Likhachev about old Russian literature- This is the speech of the author for him. Author of a kind of doll. Doll is dedicted own Life and your own voice. He tells the author with his voice, his tongue and the usual style. The author as it would re-describe what the actual person said or could say ... This is achieved by a peculiar meaning of the acting persons, despite their external ambiability "(in Sat: XVIII century in world literary development. M., 1969. With . 313).

disgrace. Here, more than ever, the socio-ideological and individual characteristics of the characteristics of the characters who have found their own "voices" have widely become mastered here. At the same time, the inner world of the character is detected not only by the logical meaning of the said, but also the manner itself, the very organization of speech.

He thinks: "I will be her Savior. I will not bearing, so that there is a flawless heart and sigh and praise a young heart sick; So that the worm is despicable, poisonous sharpened the lilets of the stalk; So that the two-time flower faded another half-walled. " All this meant, friends: I shoot my friend.

These lines from Evgenia Onegin are perfectly characterized by Lensky's soul, which brings his experiences on a romantic pedestal and therefore inclined to emphasizedly elevated, conditionally poetic speech, syntactically complicated and abundant metaphoric turnover. These features of the spellings of the hero are particularly sharply abandoned thanks to the relatively free, everybody is a pretty, absolutely "non-leaturated" narrative comment ("All this meant, friends: || I shoot a friend."). And on a romantically spectacular monologue of Lena lies in the seal of irony.

Writers of the XIX-XX centuries. (And in this, their greatest artistic achievement) with an unprecedented dotol latitude was introduced into their works a relaxed speaking speech, mainly dialogic. A lively conversation in his social reconnaissance and wealth of individual-expressive principles and aesthetic organization was reflected in the "Eugene Onegin", in the narrative works of Gogol, Nekrasov, Leskov, Meshekova-Pechersky, in the drama of Griboedov, Pushkin, Ostrovsky, Turgenev, Chekhov, Gorky.

The speech of the acting persons often transfers their unique psychological states; Spellings, speaking by the words G. O. Vinokura, are built on "Circular expression" (39, 304). "The spelling of the heart" (the expression from the novel "Poor people") is not characterized by the heroes of Dostoevsky. This mental ability of a person is mastered by many realist writers.

"To think" figurative "and write so, it is necessary to

the heroes of the writer spoke each of their tongue, peculiar to their position ... - N. S. Leskov said. - A person lives with words, and you need to know which moments of psychological life who of us will have words ... I carefully listened to the sponge and pronunciation of Russian people at different steps of their social status. They all say with me in its ownhim, A.not in literary "(82, 3, 221). This tradition is inherited by many Soviet writers: "In their own way, and not in the literary" say the heroes of Sholokhov and Zoshchenko, Shukshina and Belov.