Composition and basic storyline words. Fundamentals of the composition: Elements and techniques

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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 the death of the hero, and then tells about everything that preceded it. In the novel "Hero of our time" M. Lermontov also violated a temporary sequence of events, which is done by the writer in order to switch the reader's attention from external events on the inner life of 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," the chronical plot is reconstructed, but if we say: "The king died, and the queen died from grief," it will be a concentric plot formula. 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, who has long resisted a strong hand, trying to disrupt him, brings to history with Haji-Murat, to 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.

Exposure - time, place of action, composition and relationships of characters. If the exposition is placed at the beginning of the work, it is called straight, if in the middle - detainee.

Omen- hints that foreshadow further development plot.

The tie is an event that provokes the development of the conflict.

Conflict - confrontation of heroes of something or anyone. This is the basis of the work: no conflict - nothing to tell. Types of conflicts:

• man (humanized character) against a person (humanized character);
• man against nature (circumstances);
• man against society;
• man against technology;
• man against supernatural;
• man against himself.

Growing action - A series of events that originates from the conflict. The action is growing and reaches a peak at the point of climax.

The crisis - the conflict reaches a peak. The opposing parties are found to face. The crisis takes place either immediately before culmination, or simultaneously with it.

Culmination is the result of the crisis. Often it is the most interesting and considerable moment in the work. The hero either breaks, or squeezes the teeth and is preparing to go to the end.

Downward action - A series of events or actions of heroes leading to the junction.

The conflict is permitted: the hero is either achieved by the goal or remains with anything or dying.

Why is it important to know the foundations of building a plot?

Because over the century of literature, humanity has developed a specific scheme for the impact of the story on the psyche. If the story does not fit into it - it seems sluggish and illogical.

In sophisticated works with many plot lines, all of the above elements may appear repeatedly; Moreover, key scenes The novel is subject to the same laws of building the plot: remember the description of the Borodino battle in the "War and the World".

Believable

Transitions from tied to the conflict and to its permission should be believable. You can not, for example, send the hero-lazy on the journey only because you want it. Any character should have a serious reason to act one way or another.

If Ivanushka-fool sits on a horse, let them drive them strong emotion: love, fear, thirst for revenge, etc.

Logic and common sense are necessary in every scene: if the hero of the novel is an idiot, he, of course, can go to the forest, sising to poisonous dragons. But if reasonable personHe will not have a serious reason.

God from the car

An isolation is the result of the character actions and in no way. In ancient plays, all problems could solve the deity, a sacrificed on the stage on the ropes. Since then, the ridiculous finale, when all conflicts are eliminated by the wand of the sorcerer, angel or chief, called "God from the car." What came in ancient, only annoying contemporaries.

The reader feels deceived if the heroes are simply lucky: for example, the lady finds a suitcase with money just when she need to pay interest on the loan. The reader respects only those heroes who deserve it - that is, they did something worthy.

Composition (from Latin Compositio - compilation, compound) - building a artistic work. The composition can be organized plot and non-self. Lyrical work Also, it may be plotical for which the epic event plot is characteristic) and not satisfying (the poem of Lermontov "Gratitude").

The composition of the literary work includes:

Alignment of the characteristics and grouping of other images;

Plot composition;

Composition of extrapty elements;

Composition of details (details of the situation, behavior);

Speech composition (stylistic techniques).

The composition of the product depends on its content, genus, genre, etc.

Genre (Fr. Genre - Rod, View) -Type of verbal and artwork, namely:

1) really existing in history national Literature or a number of literature and a variety of works (epic, novel, story, Novel in Epic; comedy, tragedy, etc. in the field of drama; Oda, Elegy, Ballad, and Ave. - in lyrics);

2) "Ideal" type or logically constructed model of a specific literary work, which can be considered as its invariant (this value of the term is present in any determination of a particular J. literature). Therefore, the characteristic of the structure of J. At this historical moment, i.e. In the aspect of synchronization, it must be combined with its illumination in the diachronic perspective. Such, for example, the approach M.M.Bakhtin to the problem genre structure Romanov Dostoevsky. The most important turning point of the history of literature is the change of the genres of canonical, the structures of which they bring up to certain "eternal" images, and non-connical, i.e. not under construction.

Style (from lat. Stilus, Stylus is a pointed wand for a letter) - combined with a certain functional purpose system of language elements, methods for their selection, use, mutual combination and relationship, functional type of lith. Language.

Composition-speech structure C. (i.e., the set of language elements in their interaction and mutual relationship) is due to social tasks of speech communication (speech communication) in one of the main spheres of human activity

C. - Basic, Fundamental concept of functional stylistics and literary language

Functional-style SCU system. Rus. Lit. Language is multidimensional. The components of its functional and style unity (styles, book spectors, public speech, speaking, language art lithing) Easternactive in their significance in speech communication and on the coverage of linguistic material. Along with C. The functional-style sphere is distinguished. This concept is correlated with the concept of "S." And similarly to him. Together

Artistic speech - Speech that implements the aesthetic functions of the language. Artistic speech is divided into prose and poetic. Artistic speech: - formed in oral folk creativity; - allows you to transfer signs from the subject to the subject for the similarity (metaphor) and by adjacency (metonimia); - forms and develops the meaning of the word; - gives speech with a complicated phonological organization

The literary work is a holistic picture of life, recreates any experience. The integrity of the literary work is due to a certain content disclosed in it.

E. In the relevant system of means and methods of expression. Image, genre, rhythm, vocabulary, plot, composition are meaningful, covered by the ideals of the artist.

In the artwork, the content and form are inseparable. The unity of content and forms is dynamic, movable, because art is a living process of reflection of objective reality. Time creates new artistic forms. As wrote

V. Mayakovsky, "... Novelty of the material and reception is obligatory for each poetic work" 94. New rhythms of time demanded from the poet of new forms.

Each literary work is a unique, special artistic world With his own, only inherent in content and with the form expressing this content. Violation of the integrity of the work leads to a decrease in or destroying its artisticity. The criterion of artistic is the harmonious unity of the content and form of the work. The literary work is the aesthetic unity of all sides of his form serving the embodiment of artistic content.

1sh1 Literary Work Structure

The artistic embodiment of a holistic picture of life in all its complexity and contradictions, which manifests itself in events, relations, circumstances, thoughts and feelings of characters, is carried out by very different means.

Creative techniques of each artist are unique, but there are funds common arising from the features of literature. This, by using the Gorky term, the first element of the literature is a language, with which verbal images are created. This is an image of life in its processes, movement, which puts forward to the forefront with Yu E T, in which human characters and community conflicts. This is a composition, i.e., building a literary work, because to embody the ideological artistic plan, the writer has to contact various techniques. And the latter is genre featureswith which the embodiment is always connected creative design artist.

The concept of artistic, as well as the definition of artistic, serves to indicate the specifics of art. The basis of the specifics of art is its aesthetic nature. Artistic is the highest cultural form Aesthetic attitude to the world, for "aesthetic fully performs itself only in art" 95.

In the artistic work, Hegel noticed, "spiritual value, which has a certain event, an individual character, an act ... cleaner and more transparent than it is possible in an ordinary extraordinary reality" 96.

Life fact, becoming an element of art! Prose, transformed into the work, participates in the construction of the plot, which is, by definition of V. Shklovsky, "Reality Research" 97, and according to the formula E. Krotov, "the concept of reality" 98.

With ya? t (Franz. SUJ? T - the subject, content) is a system of events that makes up the content of the literary work; In a broader value, this is the history of the character, shown in a specific event system.

Understanding the plot as the course of events arose in XIX

in. The fact that then scientists, in particular A. Veselovsky, was viewed as a plot, representatives modern literary studies Consider as Fabul (Lat. Fabula - Tale, Bass); The plot they call the artistically treated ground. "A set of events in a mutual internal connection ... Let's call Fabuli. The artisticly built distribution of events in the work is called the plot, "said B. Tomashevsky. He offered such a distinction: Fabul is that "what was really", the plot is, "As the reader learned about this." 99.

The curnt example of the incomprehension of Fabul and the plot is the Lermontov Roman "Hero of Our Time". If you adhere to the fabulous sequence, the story in the novel was to be located in such a way: "Taman", "Princess Mary", "Bal", "Fatalist", "Maxim Maximych". But M. Lermontov distributed the events in the novel in another sequence, following the path of deepening the character of the hero of his time, since he set itself the task of "reveal the history of the human soul."

In the textbook "Introduction to literary criticism", edited by G. Pospelova, the sequence of submission of events in the text of the work (the fact that V. Shklovsky called the "plot") is invited to call the "plot composition", and for the term "plot" to keep the value ascending to the XIX in . L. Timofeev believes that almost in the term "Fabul" there is no need and refuses it, and the plot interprets as one of the forms of composition100. As we see, in literary critic XX

in. The issue of the plot remained in many ways a discussion.

The plot in prose is a system of events, a change of situations, external or internal changes in the heroes. Nattery B. prosaic work - This is a story about events, in the poetic - sequence of copyright emotional statement.

Let's compare the works of M. Lermontov different genres: the poem "Do not cry, do not cry, my child ..." and the story "Bal" from the novel "Hero of Our Time".

The first of them is a story about the events in the life of a girl who loved from boredom who came from the far, alien side of the young man, looking for glory and war, who cares dearly, but the tears of yours will not appreciate! The plot as a system of events or the actions of the heroes is missing here. Events as if transferred beyond the poem. In the center - the reaction to the event that occurred earlier: the consolation of the sadness of the Goringe, the feeling of compassion to it. The dramatic situation is restored: the history of love and parting two people.

The story of the story "Bal" is a story about the tragedy of abandoned Gorianka, the story of her death. Events here have a dominant value. Through their dynamics, the character of Pechorina is revealed and evaluated. And the main conflict, the cause of which was the inner duality of Pechorin, was expressed in his actions. He failed to evaluate the love of Bala, only at some point believed that her feelings would fill the emptiness in his soul. The motive of sympathy, compassion for Bale is present here, but only in the intonation of the narrator - Maxim Maxim.

The events that make up the plot are with each other or in a temporary connection when they follow one after another, as in the "Odyssey" of Homer, in " Ordinary story"I. Goncharov, or for causal communications, as in the novel by F. Dostoevsky" Crime and Punishment ". As a result, there are two types of plots - the plots are chronic and plots concentric, or what else is called, the plots of uniform action.

About these two types of plots also spoke An Aristotle. Each of them possesses special artistic features. CHRONIC Scenes recreate reality in all its diverse manifestations and are more often used in epic works. They allow the writer in more detail about the formation of a human personality ( autobiographical trilogy M. Gorky "Childhood", "In People", "My Universities", Roman N. Ostrovsky "How Steel Holded"), allow you to portray broad layers of life ("Travel from St. Petersburg to Moscow" A. Radishchev, "Artamon Business" M . Gorky). Temporary ties play a major role. IN concentric plots The causal relationships of the events that occur in the lives of heroes, as in the Decameron, Bokcchcho and in Romanov I. Ilf and E. Petrov about Leave Bender.

Concentric and chronic starts can relate to each other. This creates plots of multi-cable ("Anna Karenina" and "War and Peace" L. Tolstoy, "At the bottom" M. Gorky).

There is no doubt that the plot reflects in itself real reality, figuratively discloses life conflicts and it expresses its assessment of their writer.

The plot cannot be identified with the content of the work, since it may also have out-to-wear elements that will be discussed below. The plot mainly develops from the actions of characters. And they can be saturated with external dynamics when there are many events in the life of heroes, rapidly changing, leading to sharp shifts in their destinies (we meet it in magic fairy tales, in tragedies V. Shakespeare, in the works of A. Duma, F. Dostoevsky, M. Sholokhov, A. Fadeeva). But writers often turn to internal action when they show deep changes in the life of their characters not as a result of their decisive acts and rapidly changing events, but as a result of understanding of complex human relationships and reflection over controversial life. In the plots of such works, there are much fewer events, the heroes are less active, more prone to self-filiation (the appeal to the internal action is characteristic of the Pieces A. Chekhov, the Agent in, Likhonosov and Yu. Kazakov, for the novel M. Proust "in search of lost time" and etc.).

The plot of the artwork carries one or another degree of generalization. An Aristotle noticed that the "the task of the poet is not to talk about the really happening, but that it could happen next, about the possible probability or by necessity" 101.

The plot of the work includes not only events from the life of characters, but also the events of the spiritual life of the author. So, the deviations in the "Eugene Onegin" A. Pushkin and in the "dead souls" N. Gogol is the retreat from the Fabul, and not from the plot.

The fact that the plot acts as a system of events in the works is due to the fact that most works explore important public conflicts. M. Gorky said so about the role of the story: "The writer must understand that he not only writes the pen, but - draws words and draws not as a master of painting, depicting a person in motion, and trying to portray people in continuous movement, in action, in endless clashes Between him, in the struggle of classes, groups, units "102. Disclosure in the plot of conflict (in its development and resolution) has great importance. And the most important feature of the plot is the detection of life contradictions, i.e. conflicts.

Conflict (Lat. Sozssch - a clash) in the literature - a clash between the characters, or between characters and the environment, hero and fate, as well as a contradiction within the consciousness of a character or a subject of lyrical statement3.

For the first time the theory of conflict (collisions) was developed by Hegel. In the future, B. Show, L. Vygotsky, M. Bakhtin, M. Epstein, and others were engaged in this issue.

The whole dynamics of the content of the literary work is based on artistic conflicts that are a reflection of the conflicts of reality. , ^

In the literary work in his artistic structure Idean-aesthetic incarnation is obtained by social, philosophical, moral disputes who lead the heroes of these works, and develop multi-level system artistic conflictswhich expresses the author's ideological and aesthetic concept. Scene conflicts and methods for their incarnation are very diverse and due to historical and social reasons. It is in collisions that the characteristics of the characters are found in collisions. Because of this, the plot analysis cannot be tearned from the character's character analysis, which cannot be disclosed outside conflicts.

Scene of the story of A. Solzhenitsyn " Matrenin Poult»Make up episodes from the poor events of the elderly peasant peasant life Matrena Vasilyevna Grigorieva, in which there were few joys: hard work, the difficulties of collective farm life, war, personal grief and, the main thing - loneliness, the solitude of the spiritual, because others (even close people) considered Matre "Yurodiva" because of its disregard for the property: ... and did not chase during the sale; and not careful; And even the piglet did not hold, for some reason I didn't love; And, stupid, helped someone else's for free.

The words are dominated in the characteristic of selfless Matrery: "There was no", "did not have", "did not chase." She had another system of values: she preferred to "give" all to people. The story is built on the opposition of disinterested Matrain "Chasters" (Faddia, stepdaughter Kira with her husband and others). The conflict allows you to comprehend two philosophies of life. From the point of view of the author, the irrepressible thirst for ownership turns out to be a national disaster moral ideals, loss of spiritual values. And one more opposition is in the story: a poor human life and his life, which consists of an inextental suffering, courageous "underdevelopment", quiet resistance to everything that prevents person to remain a person. The initial name of the story was "not worth the village without the righteous." Matroin on the deep essence of his own continues the type of righteous, which appeared in the works of N. Leskova (its proximity to the hero of the stories of "one-grades" is especially acute).

And the character of the Pushkin Hero is revealed in the plot. The severity of the conflict, purposefulness and stripping actions of the hero " Peak Lady"Hermann is due to his character, will. There is no continuous, progressive development, although character central Character And Fabul is closely connected. Past turns out to be involved in the present, the present is seen and evaluated from the past. The nature of the movement of the pilot time is obeying the will of the author, who freely addresses him, breaks his consistent course.

The intermittentness of the epic fabul is born to the need to comprehend the circumstances and characters, motivating the development of action. Thus, the description of the open author's assessments is invaded, the connections of the author and the heroes are changing (he is omniscient and all knows, he is only an observer, "accompanying" his heroes, he simply refuses to comment on some events, then it is extremely objective, telling about his characters). In Pushkin Story - the adhesion of everything with everything, diversity and unity of complex life process.

The artist can not not stop his attention on conflicts that have important For his time, for the people. So, Gogol in his comedy "Auditor" showed not only the conflict between officials and imaginary auditor Khlestakov, but also the conflict between officials and citizens who were in full dependence on them - bribes and casnocrads.

The conflict is the most important substantive category. The choice of conflicts and lining them into the system determine the originality of the writer's position. Through the study of conflicts, you can come to understanding the motives behind the words and actions of the characters, to identify the originality of the copyright, moral position Writer.

Using the term V. Belinsky "Paphos sociality", we can say that in many works conflicts are depicted as a generation of concrete-historical situations. With this we meet in the tragedy of Pushkin "Boris Godunov", in the Roman Turgenev "Fathers and Children", in the poem Nekrasov "Who lives well in Russia", in which the contradictions are arranged between different classes, groups. These are common conflicts. They can be refracted in conflicts of private, as historical and social shocks pass through the fate of each individual, such as Pechorin, the Karamazov brothers, Rudina, Grigory Melekhova, Ivan Denisovich Shukhov.

Conflicts may have not only external, but also internal, psychological character. Recall the spiritual struggle of Arbenina (M. Lermontov Maskarad), Oblomov (A. Goncharov "Oblomov"), discontent with him pushkin Evgenia Onegin.

Very often in the works of conflicts personal and public closely interconnected (A. Griboedov "Mount from Wit"; M. Lermontov "Maskarend"; A. Ostrovsky "Thunderstorm").

Communication of events in the plot (causal and chronicle) and the sequence of the story about these events or their stage presentation in dramatic works - different aspects Compositions.

In the conflict of Chatsky, the struggle of two antagonistic public forces reflected in the conflict of the Famusovskaya Moscow: advanced nobility and destroyers. Griboedov reflected internal contradictions in Russian society quarter XIX. in. Problems of Comedy "Mount from Wit" are connected with the author's thickens about the future of Russia, in particular, about problems public service, the need to educate and upbringing a citizen.

"Woe from the mind" Griboedov is a comedy, in which the plan for the household and the plan is intertwined. It realized both conflicts - public (external) and personal (internal, psychological). They reach climax III actionin which Sofya becomes the culprit of gossip about the madness of Chatsky. A conversation with reheetle (4 -7-E phenomena of IV actions) opens the eyes of the Chatkomu on what happened during his absence in Moscow.

Features of the development of the plot lines of Chatsky - Magovousov (Famusovskoe Society), Chatsky - Sophia contribute to the deeper disclosure of the Chatsky's nature, which, as the plot develops, turns into a passionate intelligibility of an existing order. The interchange of personal intrigue occurs in the 13-14th phenomena of the IV action. There is no formally expressed junction in the play. public conflict, it remains outside the actual stage action. Chats are forced to flee from the capital - Griboedov, as it were, anticipate the political defeat of the Decembrists in 1825 Famusovskoe Society It is not going to endure "Volnodims", "Jacobintsev".

The genre specificity "grief from the mind" is complex and multifaceted - in the text of the social comedy there are elements of the noble satire (monologue of Chatsky "and the judges?"), Civil Elegy (Monologists of the Chatsky are in direct relationship with the problems of the Pushkin "village" with its finishing of serfdom) , Epigrams of the XVIII century, Basni, Waterville. It has elements classic style: The traditional number of acts - their five, compliance with the rules of "three unities" - time, places, actions, the use of "talking" names, traditional roles (Lisa - "Subrete"). But this is a realistic comedy: the characters in it are disclosed deeply and multilaterally, individualized with speech characteristics. The play was extremely topical. V.G. Belinsky saw in her "energetic protest against the vile Russian reality" 1. Ideological meaning Comedy - in the corruption of the immorality of serfs (migrauses), social roots of silence (Molchanin), Arakheyevshchina (Scalyzub).

The conflict plays a special role in dramatic workwhere it becomes the most important meaningful category. Dramatic collisions are an important way to identify life programs and self-discharges of their characters. The conflict necessitates the focus of the story in the play. Drama conflicts for their content and emotional painting are divided into tragic, comic and actually dramatic, which differ from the tragic to what can be solvable.

A.N. Ostrovsky in the drama "Thunderst" managed to detect new nature Dramaism concluded in real public contradictions of time. In the "thunderstorm" "dramatic conflict of the epoch" is inextricably linked with the internal conflict of Katerina, the character of which, as N. Dobrolyubov argued in the article "Light Light in dark kingdom"," Concentrately decisive and selfless in the sense that it is better for him to death than life at such expeses ... ".

During deployment, the conflict can transform. So, in the Roman I. Turgenev "Fathers and Children" social conflict Between the nobles-liberals (the Kirsanov family) and the Bazarovsky's medal storage faces the philosophical conflict - in disputes about life and death, love and hatred, eternal and temporary.

In the stories of M. Gorky, written by him in the 10s of the 20th century, conflicts between people, in a different mutilated self-sufficient-serpentine building ("Chelkash"), in different extent frequently freed from the difficult remnants of the past ("Konovalov", " Spouses Orlov "), or between people who are representatives of different classes and social groups ("Naughty"). There is an internal conflict in the soul of the heroes themselves, whose new ideas and feelings appear ("Pavlen's" Horregheka ").

Aesthetics always gave great value conflict. She allows and intractlessness of the conflict in individual works (For example, in tragedies; so, the infrared conflict in the "Gamlet" of Shakespeare).

As already noted, the conflict underlies the plot. Being the basis of I. driving power Actions, it determines the main stages of the development of the plot.

In accordance with the main stages of the development of the conflict in the plot, the main elements of the plot construction, which are the main points in the development of the depicted life conflict. The birth of the conflict is a tie, its highest exacerbation - climax. The conflict is a relatively complete moment of a vital process that has its beginning, development and end.

The plot includes the following elements: exposure, score, development, culmination, junction and postposition. Some works have a prologue and epilogue. Each of the named elements performs its purpose.

The initial clause of the story organization is the exposition (Lat. Exroyasho - the presentation, explanation) - the prehistory of events underlying the artistic work. Usually it is given the characteristics of the main characters, their arrangement before the start of action, to the tie. The exposition motivates the behavior of the characters in the conflict under consideration.

Place, the nature of the construction of the exposure is determined artistic taskssupplied before the writer. So, in the story of M. Gorky "Mother" in the exposition describes the life of the working settlement. It tells about the difficult life of the workers, about the growing feeling of protest against unbearable living conditions. The factory "with indifferent confidence was waiting for" in the morning workers, and in the evening threw, "accurately worked slag". And "sullen people", "exactly frightened cockroaches", "breathing smoky, oil air," returned home. The exposition of the story leads to the idea that it was impossible to live further that people who would have to change this life had to appear. Thus, it brings to the string - meeting Paul Vlasov with representatives of the revolutionary intelligentsia.

The exposition may be direct, standing at the beginning of the work, as in the Gorky story, but may be detainee, given in the middle or at the end of the work. In this case, she gives artistic work Mystery, ambiguity (Katerina's story about free life in the house of parents in Drama A.N. Ostrovsky "Thunderstorm"; information about the life of Chichikov before his arrival in gubernsky citydata in the last chapter of the first volume "dead souls"

N. Gogol). The exposition should always be considered in its substantive purpose, it will help to establish the relationship between the circumstances and the characters of the characters.

The tie is an event that is the beginning of action. She or discovers already had contradictions, or herself creates ("tying") conflicts. This moment, for example, is the arrival of Luke to the night (M. Gorky "at the bottom"). Breaking in the comedy of Gogol "The Auditor" is the receipt of knowledge of the letter, which reports to the alleged arrival of the auditor. Officials, terribly worried about this news, begin to prepare for a meeting of the auditor: the tie leads to the development of action.