Scientists call the motive either the smallest eventual unit of the plot, or the unit of the plot, or the element of the text in general, irrespective of the plot or storyline. We will try to understand different interpretations one of the most common terms.

There are many opinions about the origin of the motive: from him. motive, French motif, from lat. moveo - moving, from the French. motif - melody, melody.

In the Russian science of literature, A.N. Veselovsky. Analyzing myths and fairy tales, he came to the conclusion that the motive is the simplest narrative unit that cannot be further decomposed. From our point of view, such a category has a plot character.

The thematic concept of the motive is developed in the works of B. Tomashevsky and V. Shklovsky. In their understanding, the motive is the themes into which it is possible to divide the work. Each sentence contains motives - small topics

The motive, being the smallest element of the plot, is found in most folklore and literary works. The outstanding Russian folklorist V. Ya. Propp played a huge role in the study of the plot. In his book Morphology of a Tale (1929), he demonstrated the possibility of multiple motives in a sentence. Therefore, he abandoned the term motive and resorted to his own category: the functions of the characters. He built a model for the plot of a fairy tale, which consisted of sequences of elements. According to Propp, there are a limited number of such functions of heroes (31); not all fairy tales contain all functions, but the sequence of basic functions is strictly observed. The tale usually begins with the parents being removed from the house (function of absence) and turning to the children with the prohibition to go out, open the door, touch anything (prohibition). As soon as the parents leave, the children immediately violate this prohibition (violation of the prohibition), etc. The point of Propp's discovery was that his scheme was suitable for all fairy tales. All fairy tales have the motive of the road, the motive of the search for the missing bride, the motive of recognition. From these many motives, various plots are formed. In this sense, the term motive is often used in relation to the works of oral folk art. “Morozko acts differently from Baba Yaga. But the function, as such, is a constant value. To study a fairy tale, the question is important what make fairytale characters, and the question who does and how does - these are questions of just an incidental study. The functions of the actors are those components that can replace Veselovsky's “motives” ... ”10

In most cases, a motive is a repeating word, phrase, situation, object, or idea. Most often, the term "motive" is used to refer to a situation that is repeated in various literary works, for example, the motive of parting with a loved one.

Motives help to create images, have various functions in the structure of the work. So, the motive of the mirror in V. Nabokov's prose has at least 3 functions. First, epistemological: a mirror is a means of characterizing a character, it becomes a way of self-knowledge of the hero. Secondly, this motive carries an ontological load: it acts as a border between the worlds, organizing complex spatio-temporal relations. And thirdly, the motive of the mirror can fulfill an axiological function, express moral, aesthetic, and artistic values. So, the hero of the novel "Despair" turns out to be a favorite word, he likes to write this word the other way around, loves reflections, similarities, but is completely unable to see the difference and comes to the point that he takes a person with a dissimilar appearance for his double. Nabokovsky German kills in order to mystify others, to make them believe in his death. The motive of the mirror is invariant, that is, it has a stable basis that can be filled with new meaning in a new context. Therefore, he appears in various versions in many other texts, where the main ability of the mirror is in demand - to reflect, to double the object.

Each motive generates an associative field for the character, for example, in Pushkin's novel The Station Keeper, the motive of the prodigal son is given by pictures hanging on the walls of the caretaker's house, and is revealed with particular shrillness when the daughter comes to his grave. The motive of the house can be included in the space of the city, which, in turn, can consist of motives of temptation, temptation, devilry. The literature of Russian emigrants is most often characterized by a mood that reveals itself in the motives of nostalgia, emptiness, loneliness, emptiness.

A motive is a semantic (meaningful) element of the text that is essential for understanding the author's concept (for example, the motive of death in "The Tale of the Dead Princess ..." by A.S. Pushkin, the motive of loneliness in the lyrics of M.Yu. Lermontov, the motive of cold in "Light breath "and" Cold Autumn "by IA Bunin, the motive of the full moon in" The Master and Margarita "by MA Bulgakov). M. as stable formally-contain. component lit. text, can be selected as within one or several. manuf. the writer (for example, a certain cycle), and in the complex of all his work, as well as candidate - l. lit. directions or a whole era 11 ”. The motive may contain elements of symbolization (the road by N.V. Gogol, the garden by Chekhov, the desert by M.Yu. Lermontov). The motive has a direct verbal (in lexemes) fixation in the text itself; in poetry, its criterion in most cases is the presence of a key, supporting word that carries a special semantic load (smoke in Tyutchev, exile in Lermontov).

According to N. Tamarchenko, each motive has two forms of existence: a situation and an event. A situation is a set of circumstances, a position, an environment in which the characters find themselves. An event is called something that happened, a significant event or fact of personal, social life. The event changes the situation. A motive is the simplest narrative unit that connects events and situations that make up the life of the heroes of a literary work. An event is called something that happened, a phenomenon, a fact of personal or public life. A situation is a set of circumstances, situations in which the characters are, as well as the relationship between them. The event changes this ratio. Motives can be dynamic or adynamic. Motives of the first type accompany changes in the situation, as opposed to the static motive.

In recent years, a synthesis of approaches to understanding motive has been outlined in literary criticism. This movement was largely determined by the works of R. Yakobson, A. Zholkovsky and Y. Shcheglov. The motive is no longer seen as part of the plot or storyline. Losing its connection with the event, the motive is now interpreted as practically any semantic repetition in the text - a repetitive semantic spot. This means that the use of this category is quite legitimate when analyzing and lyric works... The motive can be not only an event, a character trait, but also an object, sound, element of the landscape, which have increased semantic significance in the text. The motive is always a repetition, but the repetition is not lexical, but functional and semantic. That is, in a work, it can be manifested through many options.

Motives are diverse, among them archetypal, cultural and many others are distinguished. Archetypal ones are associated with the expression of the collective unconscious (the motive of selling the soul to the devil). Myths and archetypes are the collective, culturally authoritative variety of motives that French thematic criticism devoted itself to in the 1960s. Cultural motives were born and developed in works of verbal creativity, painting, music, and other arts. Italian motifs in Pushkin's lyrics are a layer of the various Italian culture mastered by the poet: from the works of Dante and Petrarch to the poetry of the ancient Romans.

Along with the concept of motive, there is the concept of a leitmotif.

Leitmotif. Term of Germanic origin, literally meaning "leading motive". This is a frequently repeated image or motive that conveys the main mood, it is also a complex of homogeneous motives. So, the leitmotif of "the vanity of life" usually consists of the motives of temptation, temptation, anti-home. The leitmotif of "returning to the lost paradise" is characteristic of many of Nabokov's works in the Russian-speaking period of creativity, and it includes motives of nostalgia, longing for childhood, sadness about the loss of a child's outlook on life. In Chekhov's The Seagull, the leitmotif is a sounding image - the sound of a broken string. Leitmotifs are used to create subtext in a work. When combined, they form the leitmotif structure of the work.

Literature

Fundamentals of Literary Studies: Textbook. manual for philological faculties ped. un-v / Under total. ed. V.P. Meshcheryakova. M .: Moscow Lyceum, 2000. S. 30–34.

Tomashevsky B.V. The theory of literature. Poetics. M., 1996. S. 182-185, 191-193.

Fedotov OI Introduction to literary criticism: Textbook. allowance. M .: Academy, 1998. S. 34–39.

Khalizev V.E. Introduction to literary criticism. Literary work: basic concepts and terms / Under. ed. L. V. Chernetz. M., 1999. S. 381–393.

Tselkova L.N. Motive // ​​Introduction to literary criticism. Literary work: basic concepts and terms / Under. ed. L. V. Chernetz. M., 1999. S. 202–209.

additional literature

1. History and narration: Sat. articles. Moscow: New Literary Review, 2006.600 p.

2. Materials for the "Dictionary of plots and motives of Russian literature": from plot to motive / Ed. V. I. Tyupa. Novosibirsk: Institute of Philology SB RAS, 1996.192 p.

3. Theory of literature: Textbook. allowance: In 2 volumes / Ed. ND Tamarchenko. - M .: Publishing house. Center "Academy", 2004. T. 1. P. 183–205.

1 Kozhinov V. Plot, plot, composition. S. 408-485.

2Korman B.O. The integrity of a literary work and an experimental dictionary of literary terms. P.45.

3Medvedev P.N. Formal method in literary criticism. L., 1928.S. 187.

4Plot // Introduction to literary criticism. P.381.

5 Kozhinov V.V. Collision // KLE. T. 3. Stlb. 656-658.

6Tomashevsky B.V. Literature theory. Poetics. S. 230-232.

7 Zhirmunsky V.M. Introduction to Literary Studies: A Course of Lectures. P. 375.

8Tolstoy L.N. Full collection cit .: In 90 volumes, Moscow, 1953.Vol. 62. P. 377.

9 Kozhinov V.S. 456.

10Propp V.Ya. The morphology of the tale. C.29.

11 Nezvankina L.K., Schemeleva L.M. Motive // ​​LES. S. 230

The meaning of the word MOTIV in the Dictionary of Literary Terms

Motive

- (from French motif - melody, melody) -

1) In the works of oral folk art: the smallest element of the plot, the simplest significant component of the narrative (for example, the motive of the road, the motive of the search for the missing bride, the motive of recognition, etc.). Various plots are formed from numerous M. In folklore, the comparison of similar M. is used to reconstruct the original form of the plot and trace its migration in fairy tales, epics and myths of the peoples of the world.

2) Secondary, additional topic works (a kind of micro theme), the task of which is to supplement or emphasize the main one (for example, M. loneliness, wandering, exile in the lyrics of M.Yu. Lermontov, M. cold in I.A.Bunin's stories "Cold Autumn" and "Light Breathing", M. death in "The Tale of the Dead Princess ..." by A. Pushkin, M. full moon in "The Master and Margarita" by M. Bulgakov)

Dictionary of literary terms. 2012

See also interpretations, synonyms, meanings of the word and what is MOTIVE in Russian in dictionaries, encyclopedias and reference books:

• Motive in the Newest Philosophical Dictionary:
  (lat. movere - to induce, set in motion) is one of the concepts that describe the sphere of motivation of the subject to activity - along with ...
• Motive in the Dictionary of Economic Terms:
  CRIMES - an immediate internal incentive for a criminal act (for example, self-interest, jealousy, revenge). The motive is an element of the subjective side of the crime. V …
• Motive in the Literary Encyclopedia:
  [from Latin moveo - "move"] - a term transferred to literary criticism from music, where it means a group of several notes, rhythmically ...
• Motive in the Big Encyclopedic Dictionary:
  (French motif from Latin moveo - move), in poetics: 1) the simplest dynamic semantic unit of narration in a myth and a fairy tale (for example, a motive ...
• MOTIV OF MUSES.
  (from Lat. movere - to move, motive, reason), in music - a group of two, three or more notes with rhythmic content. ...
• MOTIVE IN FINE ARTS v Encyclopedic Dictionary Brockhaus and Euphron:
  something essential in content or in artistic idea works of painting, sculpture or architecture, which determines the nature of the impression they produce. M. ...
• Motive in the Modern Encyclopedic Dictionary:
  
• Motive
  in poetics: 1) the simplest dynamic semantic unit of narration in myth and fairy tale (for example, the motive of "taking the bride away") in a narrative text (where ...
• Motive in the Encyclopedic Dictionary:
  I a, m. 1. Melody, melody. Vesely m. Motivchik (colloquial) - decrease. from m. 2. The simplest component of the plot, theme ...
• Motive in the Encyclopedic Dictionary:
  1, -a, m. 1. A motivating reason, a reason for something. action. For cast reasons. Important m. 2. An argument in favor of something. Bring ...
• Motive in the Big Russian Encyclopedic Dictionary:
  MOTIV (French motif, from Latin moveo - move), in poetics: the simplest dynamic. semantic unit of narration in myth and fairy tale (for example, ...
• Motive in the Complete Accentuated Paradigm by Zaliznyak:
  mochi "v, mochi" you, mochi "va, mochi" wow, mochi "woo, mochi" you, mochi "in, mochi" you, mochi "vom, mochi" you, mochi "ve, ...
• Motive in the Popular Explanatory and Encyclopedic Dictionary of the Russian Language:
  I-a, m. 1) The reason, the motivating reason for actions, basis. The motive of the action. [Saburov] repeated all the motives for which he decided ...
• Motive in the Dictionary for solving and compiling scanwords:
  The reason for ...
• Motive in the Thesaurus of Russian Business Vocabulary:
  1. Syn: motivation, reason, reason, reason, stimulus, push, impulse 2. ‘consideration given in evidence’ Syn: argument, argument, motivation, reason ...
• Motive in the New Dictionary of Foreign Words:
  (fr. motif) 1) a motivating cause, a reason for smb. action; argument in benefit of smth..; 2) in fiction - the simplest ...
• Motive in the Dictionary of Foreign Expressions:
  [fr. motif] 1. motive, reason for smb. action; an argument for smth .; 2. in fiction - the simplest unit ...
• Motive in the Thesaurus of the Russian language:
  1. Syn: motivation, reason, reason, reason, stimulus, push, impulse 2. ‘consideration given in evidence’ Syn: argument, argument, motivation, reason (...
• Motive in Abramov's Dictionary of Synonyms:
  see motivation, ...
• Motive in the dictionary of Synonyms of the Russian language:
  Syn: motivation, reason, reason, reason, stimulus, impulse, impulse consideration given in evidence Syn: argument, argument, motivation, reason ...
• Motive in the New explanatory and derivational dictionary of the Russian language by Efremova:
  1. l. Motive, reason for smb. action. 2. m. 1) a) The simplest rhythmic unit of a melody, usually consisting of two or three ...

THE CONCEPT OF "MOTIVE" AND ITS INTERPRETATION IN THE THEORY OF LITERATURE AND MUSIC

S. G. SHALYGINA

The article is devoted to the consideration of the concept of motive and its interpretation in the theory of literature in comparison with musical art. The main approaches to the study of this concept in the context of research by leading literary theorists are considered, the way of understanding this concept in the practice of scientific theoretical thought is traced.

Keywords: motive, theory of motive, structure of motive, level of realization of the motive.

Music and literature are perhaps the most mutually enriching and complementary fields of art. Literature and music are song, opera, theater, cinema. A piece of music can be conditionally compared with a literary one. Each work has a specific concept, idea and content, which become clear with a gradual presentation. In a piece of music, the content is presented in a continuous stream of sounds. A work of musical art is attributed with such concepts as syntax, period, sentence, caesura, drama, lyrics, epic. Just as in fiction, thought is expressed in sentences consisting of separate words, so in the melody, sentences are divided into smaller structures - phrases and motives.

A motive in music is the smallest part of a melody that has a definite expressive meaning and which can be recognized when it appears. There is usually one accent in a motive (like one stress in a word), therefore the most typical volume of a motive is one measure. Depending on the tempo, rhythm, indivisible two-beat motives can be formed.

By analogy with the name of the poetic feet, the motives have the names - iambic and trore. Yamb is a motive that starts with a weak beat. Characteristic feature iamba - striving for the subsequent strong beat. Iambic motives have a strong ending and sound active, energetic.

Chorea is a tune that starts with a strong beat. A characteristic feature of chorea is the transition from a strong beat to a weak beat. Choreic motives have a weak ending and sound softer and more lyrical.

This concept, one of the pivotal ones in musicology, also has a responsible place in the science of literature. It is present in almost all

modern European languages, goes back to the Latin verb "moveo" (move) and in modern science has a very wide range of meanings.

The leading meaning of this literary term is difficult to define. In the works of V.E.Khalizev, one can find following definition of the concept we are analyzing: “A motive is a component of works that has increased significance (semantic richness). He is actively involved in the theme and concept (idea) of the work, but he is not identical to them. " According to the scientist, the motive is somehow localized in the work, but at the same time it is present in a variety of forms. It can denote a single word or phrase, repeated and varied, or it can be represented as something designated by means of various lexical units; act in the form of a title or epigraph, or remain only guessed, gone into subtext. Focusing on the above, the researcher summarizes: “It is legitimate to assert that the sphere of motives is made up of the links of the work, marked with internal, invisible italics, which should be felt and recognized by a sensitive reader and literary analyst. The most important feature of the motive is its ability to be semi-realized in the text, incompletely revealed in it, mysterious. "

Beginning with turn of XIX- XX centuries, the term "motive" is widely used in the study of subjects, especially historically early, folklore. So

A. N. Veselovsky in his unfinished Poetics of Plots wrote about the motive as the simplest, indivisible unit of narration: important or recurring impressions

laziness of reality ". Veselovsky presents the main feature of motives as "figurative single-term schematism". Such, the scientist gives examples of motives, the abduction of the sun or beauty, dried up water in the spring, the extermination of an evil old woman, etc. Such motives, according to the scientist, could arise independently in multi-tribal environments; their homogeneity or their similarity cannot be explained by borrowing, it is explained by the homogeneity of living conditions and deposited in them mental processes... The motive in the works of Veselovsky grows into a plot, thereby being the fundamental principle of the narrative. Motives, according to Veselovsky, are historically stable and infinitely repeatable. In the form of an assumption, the scientist asserted: “... is it not limited poetry known certain formulas, stable motives, which one generation adopted from the previous one, and this is from the third<...>? Each new poetic era does not work on the bequest images from time immemorial, necessarily revolving within their boundaries, allowing itself only new combinations of old ones and only filling them<.>new understanding of life<...>?» .

The concept of motive, developed by A. N. Veselovsky in "Poetics of Plots", was categorically criticized by V. Ya. Propp in "Morphology of a Tale". However, at the same time, the researcher replaced the criterion of indecomposability of a motive, so he criticized the concept of a motive in such an interpretation that was never in the works of A.N. Veselovsky.

If for A. N. Veselovsky the criterion for the indecomposability of a motive is its “figurative single-term schematism” (the motive is indivisible from the point of view of its “imagery” as an integral and aesthetically significant semantics), then for V. Ya. Propp, such a criterion is a logical relation.

The author himself reasoned: “Those motives which he (A. N. Veselovsky) cites as examples are unfolding. If a motive is something logically whole, then every phrase in a fairy tale gives a motive. It would not be so bad at all if the motives did not really decay. This would make it possible to compile an index of motives. But let's take the motive “the serpent kidnaps the Tsar’s daughter” (not Veselovsky's example). This motive is decomposed into 4 elements, of which each individually can vary.<... >Thus, contrary to Veselovsky, we must assert that the motive is not single-term, not indecomposable. The last decomposable unit, as such, does not represent a logical whole. "

Thus, the change of the semantic criterion to the logical one in V. Ya. Propp's criticism led to the destruction of the motive as a whole.

However, having subjected the concept of motive to criticism from the standpoint of the logical criterion of indecomposability,

V. Ya. Propp in "The Morphology of a Tale" generally rejected this concept and introduced into circulation a fundamentally different, in his opinion, unit of the narrative - "the function character":" The very way of performing functions can change: it is a value of a variable.<...>But the function, as such, is a constant value.<...>The functions of the actors are those components that can replace Veselovsky's "motives".

The concept of the actor's function, introduced by the scientist, not only did not replace, but significantly deepened the concept of motive, and precisely in the semantic interpretation of the latter. From the point of view of the semantics of the motive and the plot as a whole, the function is nothing more than one of the semantic components of the motive. In essence, the function of the actor is a generalized meaning of the motive, taken in abstraction from the multitude of its plot versions. In this regard, V. Ya. Propp theoretically consistently carried out the operation of generalizing motives.

IV Silantyev noted on this occasion that “a function is a general seme, or a set of general semes, which occupy a central and invariant position in the structure of the variable meaning of a motive. Therefore, a function as a key component of a motive, as its semantic invariant, cannot replace a motive, as a part cannot replace the whole. "

That is why the opinions of modern scientists on the relationship between motive and function are not in favor of the categorical view of V. Ya. Propp.

B. I. Yarkho, in the Methodology of Exact Literary Studies, written in the 1930s, defines the motive as “an image in action (or in a state)”, which, at first glance, gives some reason to see in the scientist's thought the following interpretation of the motive as a "figurative unit" according to A. N. Veselovsky. However, the remarks following this definition delimit the views of B. I. Yarkho and A. N. Veselovsky.

First, the researcher denies the status of a narrative unit to the motive. “The motive,” writes B.I. Yarkho, - ... there is a certain division of the plot, the boundaries of which are determined by the researcher arbitrarily. " Secondly, the scientist denies the semantic status to the motive.

The result of BI Yarkho's statements is the denial of the real literary existence of the motive. The researcher speaks about the motive within the framework of the understanding

tial construct that helps the literary critic to establish the degree of similarity of various plots.

It should be noted that A.L.Behm comes to a similar conclusion, albeit from the side of the semantic approach. Having discovered the invariant principle in the structure of the motive, the scientist reduces the semantic whole of the motive to this invariant, and relates the variant semantics of the motive to the plan of the concrete content of the work and, on this basis, refuses the motive in the reality of literary existence: “motives are fictions obtained as a result of abstraction from the concrete content ".

Thus, B.I. Yarkho and A.L.Behm, each from their own position, do not accept the principle of the dual nature of the motive as a unit, which is clarified in other works. artistic language endowed with a generalized meaning, and as a unit artistic speech endowed with specific semantics.

AI Beletsky in his monograph "In the Studio of the Artist of the Word" (1923) also comes to the problem of the relationship between the invariant meaning of a motive and the multiplicity of its specific plot variants. At the same time, the scientist does not deny the motive its own literary status (as A.L.Behm and B.I. Yarkho do) and does not reject the very concept of motive (as V. Ya. in a constructive manner.

The scientist distinguishes between two levels of realization of the motive in the plot narration - “schematic motive” and “real motive”. "Real motive" is an element of the plot-event composition of the plot of a particular work. The "schematic motive" is no longer related to the plot itself in its concrete plot form, but to an invariant "plot scheme". This scheme is made up, according to A. I. Beletsky, "relationship-action."

Illustrating his thought, A. I. Beletsky obviously relies on the observations of A. L. Bem and cites the following pair of real and schematic motives: “The plot of the“ Prisoner of the Caucasus ”, for example, is divided into several motives, of which the main one will be:“ The Circassian woman loves Russian prisoner "; in a schematic form: "a foreigner loves a prisoner."

The foregoing suggests that the ideas of A.L.Behm, despite his negative position regarding the literary status of the motive, objectively contributed to the development of precisely dichotomous representations, because the scientist was the first to come to the identification of the motivational invariant - the very “schematic motive”, the concept of which a little later was formulated by A.I.Beletsky.

The need to differentiate the concept of motive in the structural and plot-classification plans was emphasized in his works by A. Dandes. Acting as a direct successor to Propp in the study of fairy tales, A. Dandez addresses the problem of motive and suggests solving it on the basis of two fundamentally different approaches - emic and ethical. He presents the first approach as uniquely contextual, structural. "Emic units" - "points of the system" - do not exist in isolation, but as parts of a "functioning component system". They are not invented by the researcher, but exist in objective reality. Dundes offers two emic levels: motif and allomotive. The concept of motifem corresponds to the function of J. Propp, but it is terminologically related to the lower level. Allomotive is a specific textual implementation of a motifem.

The concept of "motive", according to Dandes, has no emic meaning, it is a purely classification category that allows the researcher to operate with classes and units of material and is convenient for comparative analysis.

Dundes' ideas are partly developed by L. Parpulova, but with the difference that both emic and ethical approaches are equally important for her. Following Dandes, she leaves structural meanings for the terms “motifem” and “allomotive”, and on the ethical level suggests the following gradation: 1) the theme of the motive, corresponding to the motif; 2) the motive itself, expressed in a predicative form; 3) a variant of the motive corresponding to the allomotive, that is, the presentation of the concrete realization of the motive in the given text; 4) an episode, that is, the actual fragment of the text in its real form.

BN Putilov, continuing the theory of motive, in his work "Motive as a plot-forming element" defines a motive as "one of the components of an epic plot, an element of an epic plot system." “The motive,” writes the scientist, “functions as part of the system, here it finds its definite place, here its concrete content is fully revealed. Together with other motives, this motive creates a system. Any motive in a certain way correlates with the whole (plot) and at the same time with other motives, that is, with parts of this whole. "

However, BN Putilov puts his reasoning in opposition to Dandes's statements about the role of motive as a purely classification category. According to the former, a motive as an invariant scheme that generalizes the essence of a number of allomotives can only partly be regarded as an “invention” of the researcher. The motive acts as an element that objectively existed and was "discovered" by the researcher, which

is proved both by the presence in the motives of their own stable semantics, and by the existence of undoubted connections between motives and facts of ethnographic reality. In this regard, Putilov writes about the possibility of asserting that it is the motives that turn out to be directly related to archaic ideas, institutions, while allomotives appear in the form of their later transformations.

He, like A. N. Veselovsky, speaks of motive primarily in the context of the plot, developing the idea of ​​the driving, dynamic role of the motive. Of no small importance are Putilov's statements about the way of realizing the motive in the work (in some way consonant with the thoughts of Khalizev), which present the concept we are considering as an element of three levels: lexical, syntactic and level associated with the forms of "consciousness of the collective that creates and stores the epic." In other words, a motive can also be a separate word or a combination of words, it can manifest itself in a sentence, or it can be realized in the spiritual and moral sphere, which performs the function of a kind of cultural code of the nation. However, the semantic richness is revealed only when considering the motive at all the above levels.

To clarify the concept of plot and plot, BV Tomashevsky introduces several auxiliary concepts, among which he distinguishes the theme and motive. Moreover, in the final definition, he somewhat synthesizes the last two concepts. He writes: “The theme of the irreducible part of a work is called a motive. In essence, each proposal has its own motive. " Making a reservation, the scientist draws attention to the fact that the term "motive" used in historical poetics - in the comparative study of wandering subjects (for example, in the study of fairy tales), differs significantly from the one introduced by him, although it is usually defined in the same way. These motives are entirely transferred from one plot structure to another. In comparative poetics, it does not matter whether they can be decomposed into smaller motives. “The only important thing,” the researcher emphasizes, “is that within the limits of the studied genre, these“ motives ”are always found in an integral form. Consequently, instead of the word "indecomposable" in comparative study, one can speak of historically indecomposable, about retaining its unity in wandering from work to work. However, many motives of comparative poetics retain their significance precisely as motives in theoretical poetics ”.

According to Tomashevsky, motives, combined with each other, form a thematic connection of the product

denia. From this point of view, the plot is the totality of motives in their logical causal-temporal connection, the plot is the totality of the same motives in the same sequence and connection in which they are given in the work. For the plot, it does not matter in which part of the work the reader learns about the event. In the plot, it is precisely the introduction of motives into the field of attention of the reader that plays a role. According to Tomashevsky's statements, only connected motives matter for the plot. In the plot, however, it is sometimes free motives that play the dominant role that determines the construction of the work. These "lateral" motives are introduced in order to artistic construction story and carry a wide variety of functions. The input of such motives is largely determined by literary tradition, and each school has its own list of motives, while related motives are found in the same form in a variety of schools.

The article by A. P. Skaftmov “Thematic composition of the novel“ The Idiot ”(first published in 1924; reprinted in 1972) develops a system of figurative-psychological analysis of a narrative work. This analysis is based on the author's model of the composition of the work, which is built in the direction of the actor - episode - motive.

AP Skaftmov writes: “In the question of the analytical division of the whole [literary work] under study, we were guided by those natural knots around which its constituent thematic complexes were united.<...>The protagonists of the novel seem to us to be such the main major links of the whole. The internal division of holistic images took place according to the categories of the most isolated and highlighted episodes in the novel, then going back to smaller indivisible thematic units, which we designated in the presentation by the term "thematic motive."

AP Skaftmov's model implicitly includes, along with the system of heroes, one more "upper" level interacting with the level of "characters" - the plot of the work. The researcher presents the hero as a whole not in this or that episode, but in the plot as a semantic generalization of the system of episodes. We consider it necessary to give several examples of the motives that A.P. Skaft-mov defines when analyzing the novel. With regard to Nastasya Filippovna, the motive of the consciousness of guilt and insufficiency, the motive of the thirst for the ideal and forgiveness, the motive of pride and the motive of self-justification are distinguished. With regard to Hippolytus - the motive of envious pride, the motive of attracting love. With regard to Rogozhin - the motive of selfishness in love. Applicable

to Aglaya - "the motive of childhood gives Aglaya freshness, spontaneity and a kind of innocence, even in angry outbursts." With reference to Ghana Ivolgin: "the motive of" inability to surrender to the impulse. "

AP Skaftmov's motive is thematic and at the same time integral and indivisible as a fundamental moment of the psychological whole in the subject of the work - the actual "character" in the terminology of the scientist. Thus, the motives of pride and self-justification form in the image of Nastasya Filippovna "the theme of combining pride and a tendency to self-justification." Elsewhere, "the construction of the image of Nastasya Fillipovna is entirely determined by the themes of pride and moral purity and sensitivity."

However, the interpretation of the concept of motive, which is positioned by the Skaftmov, seems to us not completely clear and logically vague.

In our opinion, the synthesis of such basic concepts in literary criticism as the theme of the work and the motive of the work requires a fairly solid argumentation. The scientist, presenting the various types of motives that he discovered in the novel of one of the classics of world literature, nominates pride both as the theme of the work and as a motive, without outlining the range of differences between these concepts. The rather frequent use of the word "motive" in Skaftymov's works not only does not provide practical confirmation of its definition due to the load of the word "semantic", but also raises the question of the relevance and persuasiveness of the concept introduced by the scientist.

One of the most important characteristics of the motive L. E. Khvorova calls its properties of mobility (remember the Latin translation of the term). In her opinion, it is important as “moving, passing (from plot to plot throughout a single artistic whole literary space a formal-semantic core (a kind of macrostructure), which is a bunch of properties of a different order, including spiritual and axiological properties. A motive can carry object-subject information, or it can have the value of a feature or action. "

Throughout last decades motives began to actively correlate with the individual creative experience, considered as the property of individual writers and works.

I would like to note that the term "motive" is used in a different sense. So, the themes and problems of the writer's work are often called motives (for example, the moral revival of man, the illogism of the existence of people).

In modern literary criticism, there is also an idea of ​​the motive as a non-structural

chale - as the property not of the text and its creator, but of the unrestricted thought of the person who perceives the work.

However, whatever semantic tones are attached to the word "motive" in literary criticism, the unconditional significance and true relevance of this term remains self-evident, which fixes the really (objectively) existing facet of literary works.

Literature

1. Beletsky A. I. In the studio of the artist of the word // Beletsky A. I. Selected works on the theory of literature. M., 1964.

2. Boehm A. On the clarification of historical and literary concepts // News of the department of Russian language and literature. AN. 1918.Vol. 23.Kn. 1.SPb., 1919.

3. Veselovsky A. N. Poetics of plots. Introduction and chap. I. // Veselovsky A. N. Historical poetics. L., 1940.

4. Popova I. M., Khvorova L. E. Problems modern literature... Tambov, 2004.

5. Propp V. Ya. Morphology of a fairy tale. M., 1969.

6. Putilov BN Motive as a plot-forming element // Typological research in folklore: collection of articles. Art. in memory of V. Ya. Propp. M., 1975.

7. Silantyev IV The theory of motive in Russian literary criticism and folkloristics: an essay on historiography. M., 1999.

8. Skaftymov AP Thematic composition of the novel "The Idiot" // Skaftymov AP Articles about Russian literature. Saratov., 1958.

9. Tomashevsky BV Theory of literature. Poetics. M., 1927.

10. Khalizev VE Theory of literature. M., 2002.

11. Yarkho BI Methodology of exact literary criticism (outline of the plan) // Context. M., 1983.

12. Dandes A. From etic to emic untis in the structural study of Folktales // Journal of American Folklore. 1962. Vol. 75.

THE CONCEPT "MOTIVE" AND ITS INTERPRETATION IN THEORY OF LITERATURE AND MUSIC

The article is devoted to the concept of motive and its interpretation in the theory of the literature in relation to musical art. The basic approaches to the study of this concept in the context of the research of the leading theorists of literature, traced the path of understanding of the concepts in the practice of scientific theoretical thought are considered.

Key words: motive, theory of motive, structure of motive, level of implementation of the motive.

Topic 15. Plot and motive: between the “theme” and the text. "Complex of motives" and types of plot schemes

I. Dictionaries

Theme 1) Sierotwiński S.Theme... The subject of processing, the main idea developed in a literary work or scientific discussion. The main theme of the work... The main meaningful moment in the work, which forms the basis of the construction of the depicted world (for example, the interpretation of the most general foundations of the ideological meaning of the work, in the plot work - the fate of the hero, in the dramatic - the essence of the conflict, in the lyric - the dominant motives, etc.). Secondary theme of the work... The theme of the part of the work, subordinate main theme... The theme of the least meaningful integrity, into which it was possible to divide the work, is called the motive ”(p. 278). 2) Wilpert G. von. Theme(Greek - presumed), the main leading idea of ​​the work; in a certain development of the subject under discussion. Common in spec. literature concept in German terminology material history(Stoffgeschichte), which distinguishes only the material (Stoff) and the motive, in contrast to the English. and French, has not yet entered. It is offered for motives of such a degree of abstractness that they do not conceal the seed of action: tolerance, humanity, honor, guilt, freedom, identity, mercy, etc. " (S. 942-943). 3) Dictionary of literary terms. a) Zundelovich J. Theme. Stlb. 927-929. " Theme- the main idea, the main sound of the piece. Representing that indecomposable emotional and intellectual core, which the poet, as it were, tries to decompose with each of his works, the concept of a theme is by no means covered by the so-called. content. The theme in the broadest sense of the word is that holistic image the world that defines the artist's poetic perception of the world.<...>But depending on the material through which this image is refracted, we have this or that reflection of it, that is, this or that idea (a specific theme), which defines this particular work ”. b) Eichengolts M. Subject. Stlb. 929-937. " Subject- a set of literary phenomena that make up the subject-semantic moment of a poetic work. The following terms, connected with the concept of subject matter, are subject to definition - theme, motive, plot, plot of a literary work ”. 4) Abramovich G... Topic // Dictionary of literary terms. S. 405-406. " Theme<...> what is the basis, the main idea literary work, the main problem posed in it by the writer ”. 5) Maslovsky V.I. Topic // LES. S. 437. " Theme<...>, the circle of events that form the lifeblood of the epic. or dramatic. manuf. and at the same time serving for the production of philosophy., social, ethical. and other ideological problems ”. Motive 1) Sierotwiński S. Słownik terminów literackich. S. 161. " Motive. The theme is one of the smallest meaningful wholes that stand out in the analysis of the work ”. " The motive is dynamic. The motive that accompanies the change in the situation (which is part of the action) is the opposite of a static motive ”. " The motive is free. The motive not included in the system of the causal plot is the opposite of the motive of the connected ”. 2) Wilpert G. von. Sachwörterbuch der Literatur. " Motive(lat . motivus - prompting),<...>3. content-structural unity as a typical, meaningful situation that covers general thematic representations (as opposed to a specific and formalized through specific features material , which, on the contrary, can include many M.) and can become the starting point of the human content. experiences or experiences in symbolic. form: regardless of the idea of ​​those who are aware of the formalized element of the material, for example, the enlightenment of an unrepentant killer (Oedipus, Ivik, Raskolnikov). It is necessary to distinguish situational M. with a constant situation (seduced innocence, returning wanderer, triangle relations) and M.-types with constant characters (miser, murderer, intriguer, ghost), as well as spatial M. (ruins, forest, island) and temporary M. (autumn, midnight). The intrinsic value of M. is conducive to its repetition and often its design in a certain genre. There are mainly lyric. M. (night, goodbye, loneliness), dramatic M. (enmity between brothers, murder of a relative), ballad motives (Lenora-M .: the appearance of a deceased lover), fairy motives (ring test), psychological motives (flight, double), etc. d., along with them constantly returning M. (M.-constants) of an individual poet, separate periods of the work of the same author, traditional M. of entire literary eras or entire peoples, as well as independently of each other simultaneously acting M. ( community M.). The history of M. (P. Merker and his school) investigates the historical development and spiritual-historical significance of traditional M. and establishes essentially different meaning and the embodiment of the same M. in different poets and in different eras. In drama and epics, they are distinguished by their importance for the course of action: central or pivotal M. (often equal to the idea), enriching side M... or bordering M., leith-, subordinates, detailing filling- and “blind” M. (that is, rejecting, irrelevant for the course of action) ... ”(S. 591). 3) Mö lk U. Motiv, Stoff, Thema // Das Fischer Lexicon. Literatur. B. 2. “The name that the interpreter gives to the identified motive influences his work, regardless of whether he wants to make an inventory of the motives of a certain body of texts or plans an analytical study of the motives of a separate text, a comparative or historical study of them. Sometimes the motives-formulas widespread in a certain era hide the fact that they bring together completely different phenomena: “ange-femme” (woman-angel) means, for example, in French romance both a beloved stylized as an angel and a female angel; only if both phenomena are recognized as two different motives, the prerequisites for further understanding are obtained. How significant the consequences of a name of its own in identifying a motive can be is shown by an example of the question, is it better about “ Of a simple heart"Flaubert speaks of" a woman and a parrot "or" a woman and a bird "; here only a broader designation opens the interpreter's eyes to certain meanings and their variants, but not a narrower one ”(S. 1328). 4) Barnet S., Berman M., Burto W. Dictionary of Literary, Dramatic and Cinematic Terms. Boston, 1971. " Motive- a repeating word, phrase, situation, object or idea. Most often, the term "motive" is used to refer to a situation that is repeated in various literary works, for example, a motive get rich quick poor man. However, the motive (in the meaning of "leitmotif" from the German "leading motive") can arise within a separate work: it can be any repetition that contributes to the integrity of the work, recalling the previous mention of the given element and everything that was associated with it ”(p. 71). 5) Dictionary of World Literary Terms / By J. Shipley. " Motive... A word or mental model repeated in the same situations, or in order to evoke a certain mood within one work, or in different works of the same genre ”(p. 204). 6) The Longman Dictionary of Poetic Terms / By J. Myers, M. Simms. " Motive(from Latin “to move”; can also be referred to as “topos”) - a theme, image or character that develops with the help of various nuances and repetitions ”(p. 198). 7) Dictionary of Literary Terms / By H. Shaw. " Leitmotif... German term literally meaning "leading motive". It denotes a theme or motive associated in a musical drama with a certain situation, character or idea. The term is often used to refer to a major impression, central image, or recurring theme in a work of fiction, such as “practicality” in Franklin’s Autobiography or “revolutionary spirit” by Thomas Pine ”(p. 218-219). eight) Blagoy D. Motive // ​​Dictionary of literary terms. T. 1. Stlb. 466 - 467. " M.(from moveo - move, set in motion), in the broadest sense of the word, is the main psychological or figurative seed that underlies every work of art ”. “... the main motive coincides with the theme. So, for example, the theme of "War and Peace" by Leo Tolstoy is the motive of historical fate, which does not interfere with the parallel development in the novel of a number of other, often only remotely connected with the theme of secondary motives (for example, the motive of the truth of collective consciousness - Pierre and Karataev. ..) ”. “The whole set of motives that make up a given work of art forms what is called plot his". nine) Zakharkin A. Motive // ​​Dictionary of literary terms. S.226-227. " M... (from the French motif - melody, melody) is an obsolete term denoting the minimum significant component of the narrative, the simplest component of the plot of a work of art ”. ten) Chudakov A.P. Motive. KLE. T. 4. Stlb. 995. " M... (French motif, from Latin motivus - mobile) is the simplest meaningful (semantic) unit of the artist. text in myth and fairy tale; basis, on a cut by the development of one of the members of M. (a + b turns into a + b1 + b2 + b3) or a combination of several. motives grow plot (plot), which is a large level of generalization ”. “Applied to the artist. the literature of modern times M. is most often called abstracted from specific details and expressed in the simplest verbal formula schematic. presentation of the elements of the content of the work, participating in the creation of the plot (plot). The content of M. himself, for example, the death of a hero or a walk, the purchase of a pistol or the purchase of a pencil, does not speak of his significance. The scale of M. depends on his role in the plot (main and secondary M.). Main M. are relatively stable (love triangle, betrayal - revenge), but one can speak about the similarity or borrowing of M. only at the plot level - when the combination of many secondary M. and the methods of their development coincides. eleven) Nezvankina L.K., Schemeleva L.M. Motive // ​​LES. S. 230: “ M... (German Motive, French motif, from Latin moveo - move), stable formal-contain. component lit. text; M. can be distinguished as within one or several. manuf. the writer (for example, a certain cycle), and in the complex of all his work, as well as candidate - l. lit. direction or an entire era ”. "A more strict meaning of the term" M. " receives when it contains elements of symbolization (the road by N.V. Gogol, the garden by Chekhov, the desert by M.Yu. Lermontov<...>). The motive, that is, in contrast to the theme, has a direct verbal (and subject) fixation in the text of the work itself; in poetry, its criterion in most cases is the presence of a key, supporting word that carries a special semantic load (smoke in Tyutchev, exile in Lermontov). In the lyrics<...>the circle of M. is most clearly expressed and defined, therefore the study of M. in poetry can be especially fruitful. To narrate. and dramatic. works that are more action-packed are characterized by plot M .; many of them have a history. universality and repeatability: recognition and insight, testing and retribution (punishment) ”.

II. Textbooks, tutorials

1) Tomashevsky B.V. Literature theory. Poetics. (Topic). “The theme (what is being said) is the unity of the meanings of the individual elements of the works. You can talk about both the theme of the entire work and the themes of individual parts. Every work written in a language with meaning has a theme.<...>In order for the verbal construction to represent single work, it should have a unifying theme that unfolds throughout the work ”. “... the theme of a work of art is usually emotionally colored, that is, it evokes a feeling of indignation or sympathy, and is developed on an evaluative basis” (pp. 176-178). “The concept of a topic is a concept summarizing combining the verbal material of the work.<...>separation from works of parts, uniting each part with a special thematic unity, is called the decomposition of the work.<...>By decomposing the work into thematic parts in this way, we finally come to the parts non-degradable, to the smallest fragmentation of thematic material.<...>The theme of the indecomposable part of the work is called motive <...>From this point of view, a plot is a set of motives in their logical causal connection, a plot is a set of the same motives in the same sequence and connection in which they are given in the work<...>With a simple retelling of the plot of the work, we immediately discover that it is possible lower <...>Non-excludable motives are called bound; motives that can be eliminated without violating the integrity of the causal-temporal course of events are free "... “The motives that change the situation are dynamic motives, motives that do not change the situation - static motives”(S. 182-184). 2) Introduction to literary criticism / Ed. G.N. Pospelova. Ch. IX. General properties of the form of epic and dramatic works.<Пункт>Plots are chronicle and concentric (Author - V.E.Khalizev). “The events that make up the plot can relate to each other in different ways. In some cases, they are only in a temporal relationship with each other (B happened after A). In other cases, in addition to temporary events, there are also causal relationships (B occurred due to A). So, in the phrase The king died and the queen died connections of the first type are recreated. In the phrase The king died and the queen died of grief before us is a connection of the second type. Accordingly, there are two types of plots. Plots with a predominance of purely temporary connections between events are chronicles. Plots with a predominance of cause-and-effect relationships between events are called plots of a single action, or concentric”(P. 171-172). 3) Grekhnev V.A. Verbal image and literary work. “The theme is usually called the circle of phenomena of reality embodied by the writer. This is the simplest, but also common definition, as it were, pushes us to the idea that the theme is entirely located beyond the line of artistic creation, staying in reality itself. If this is true, it is only partially. The most essential thing is that this is a circle of phenomena that artistic thought has already touched. They became the subject of her choice. And this is the most important thing, even if this choice is still, perhaps, not associated with the idea of ​​a specific work ”(p. 103-104). “The direction of the choice of theme is determined not only by the individual preferences of the artist and his life experience, but also the general atmosphere of the literary era, aesthetic preferences literary directions and schools<...>Finally, the choice of the theme is conditioned by the horizons of the genre, if not in all kinds of literature, then at least in the lyrics ”(pp. 107-109).

III. Special studies

Motive , theme and plot 1) Veselovsky A.N. Poetics of plots // Veselovsky A.N. Historical poetics. "The word" plot "requires the nearest definition<...>it is necessary to agree in advance what to mean by the plot, to distinguish the motive from the plot as a complex of motives ”. "Under motive I mean a formula that at first answered the questions of the public that nature posed to man everywhere, or that reinforced especially vivid, seemed especially important or repeated impressions of reality. The sign of a motive is its figurative single-term schematism; such are the elements of lower mythology and fairy tales that are not further decomposed: the sun is kidnapped by someone<...>marriages with animals, transformations, an evil old woman harasses a beauty, or someone kidnaps her and has to be obtained by force and dexterity, etc. ”(p. 301). 2) Propp V.Ya. The morphology of the tale. “Morozko acts differently from Baba Yaga. But the function, as such, is a constant value. To study a fairy tale, the question is important what make fairytale characters, and the question who does and how does - these are questions of just an incidental study. The functions of the actors are those components that can replace Veselovsky's “motives” ... ”(p. 29). 3) Freidenberg O.M. Poetics of plot and genre. M., 1997. “Plot is a system of metaphors deployed into verbal action; the whole point is that these metaphors are a system of allegories of the main image ”(p. 223). “After all, the point of view put forward by me no longer requires either consideration or comparison of motives; she says in advance, proceeding from the nature of the plot, that under all the motives of a given plot there is always a single image - hence they are all tautological in the potential form of their existence; and that in design one motive will always be different from another, no matter how much they are brought together ... ”(224-225). 4) Cavelty J.G. Study of literary formulas. S. 34-64. “A literary formula is the structure of narrative or dramatic conventions used in a very large number of works. This term is used in two meanings, combining which we get an adequate definition of the literary formula. First is traditional way descriptions of certain specific objects or people. In this sense, some Homeric epithets can be considered formulas: "Achilles the swift-footed", "Zeus the Thunderer", as well as a number of comparisons and metaphors characteristic of him (for example, "a talking head falls to the ground"), which are perceived as traditional formulas of wandering singers, easy to fit into a dactylic hexameter. With an expansive approach, any culturally determined stereotype that is often found in the literature - redheaded Irish people, eccentric detectives with remarkable analytical skills, chaste blondes, passionate brunettes - can be considered a formula. It is only important to note that in this case we are talking about traditional constructs determined by a specific culture of a certain time, which outside this specific context may have a different meaning.<...>... Second, the term “formula” is often referred to as story types. It is this interpretation that we will find in manuals for aspiring writers. where you can find clear instructions on how to play twenty-one win-win plots: a young man meets a girl, they do not understand each other, a young man gets a girl. These general patterns are not necessarily culture-specific and time-specific.<...>In essence, they can be seen as an example of what some researchers call archetypes, or patterns, that are common in different cultures.<...>Creating a western requires more than some understanding of how to build a fun adventure storyline. but also the ability to use certain images and symbols characteristic of the 19th and 20th centuries, such as cowboys, pioneers, robbers, border forts and saloons, along with relevant cultural themes and mythology: the opposition of nature and civilization, the moral code American West or law - lawlessness and arbitrariness, etc. All this allows you to justify or comprehend action. So formulas are ways. with the help of which specific cultural themes and stereotypes are embodied in more universal narrative archetypes ”(pp. 34-35). 5) Zholkovsky A.K., Shcheglov Yu.K. Works on the poetics of expressiveness. (Appendix. Basic concepts of the "Theme - PV - Text" model). “1.2. Theme... Technically speaking, a theme is the original element of the output. Substantially, this is some value setting, with the help of PV ("techniques of expressiveness" - N. T.) "Dissolved" in the text, is the semantic invariant of the entire set of its levels, fragments and other components. Examples of themes include: the theme of the ancient Babylonian "Dialogue between a master and a slave about the meaning of life": (1) the futility of all earthly desires; the theme of "War and Peace": (2) the undoubted in human life, simple, real, and not artificial, far-fetched, values, the meaning of which becomes clear in crisis situations ...<...>All these topics represent one or another statement about (= situations from) life. Let's call them the themes of the first kind. But themes can be value attitudes not about "life", but about the very instruments of artistic creation - a kind of statement about language of literature, about genres, plot structures, styles, etc. Let's call them - themes of the second kind.<...>Usually the theme of a literary text consists of one or another combination of themes of the I and II kind. In particular, this is true of works that not only reflect "life", but also resonate with other ways of reflecting it. "Eugene Onegin" is an encyclopedia of both Russian life, styles of Russian speech and styles of artistic thinking. So, a theme is a thought about life and / or about the language of art that permeates the entire text, the wording of which is the starting point of the description-output. In this formulation, all semantic invariants of the text should be explicitly recorded, that is, everything that the researcher considers to be meaningful quantities present in the text and, moreover, not deduced by means of PV from other quantities already included in the topic "(p. 292) ... 6) Tamarchenko N.D. Motives of crime and punishment in Russian literature (Introduction to the problem). "The term" motive "in research literature correlate with two different aspects of a literary work. On the one hand, with such plot element(event or position) that repeats in its composition and / or is known from tradition. On the other hand, with the chosen one in this case verbal designation this kind of events and provisions, which is included as element is no longer part of the plot, but in composition of the text... The need to distinguish between these aspects in the study of the plot for the first time, as far as is known, was shown by V.Ya. Propp. It was their discrepancy that made the scientist introduce the concept of "function". In his opinion, the actions of the characters in a fairy tale, which are the same in terms of their role for the course of action, can have a variety of verbal designations.<...>Thus, underneath the outer layer of a particular plot, an inner layer is found. Functions in their necessary and always the same, according to V.Ya. Proppa, the sequences form nothing more than a single plot scheme. The verbal designations of its constituent "nodes" (such as dispatch, crossing, difficult tasks etc.); the narrator (narrator) chooses one or another variant from the general arsenal of traditional formulas ”. “The main situation directly expressed in the type of plot scheme. How do the complexes of the most important motives that vary in this scheme, characteristic of different genres, relate to it: for example, for a fairy tale (shortage and dispatch - crossing and the main test - return and liquidation of a shortage) or for an epic (disappearance - search - finding)? This problem in our science was posed and solved in a very clear form by O.M. Freudenberg. In her opinion, “the plot is a system of metaphors deployed in action<...>When an image is expanded or verbally expressed, it is thereby already subject to a certain interpretation; expression is putting on form, transmission, transcription, therefore, already known allegory. " What is the interpretation of which "main image" is the plot recognized here? Somewhat below it is said that this is “an image the cycle of life-death-life»: It is clear that we are talking about the content of the cyclical plot scheme. But this scheme can have various variations, and the differences in the motives that realize it do not negate the fact that "all these motives are tautological in the potential form of their existence." The difference is "the result of distinguishing metaphorical terminology", so that "the composition of the plot depends entirely on the language of metaphors." Comparing the apparently complementary ideas of V.Ya. Propp and O.M. Freudenberg, one can see a “three-layer” or “three-level” structure: (1) the “main image” (that is, the situation generating the plot in its meaningfulness); (2) the interpretation of this image in one or another version of the complex of schema-forming motives and, finally, (3) the interpretation of this version of the plot scheme in multiple verbal designations characteristic of one or another "system of metaphors". This approach to the problem of motive, plot and its basis (situation) can be compared with the distinction between the concepts of “Motiv”, “Stoff” (plot) and “Thema”, which is characteristic of the German tradition, according to the increasing degree of abstraction ”(pp. 41-44). Complex of motives and plot scheme 1) Veselovsky A.N. Poetics of Plots // Historical Poetics. “The simplest kind of motive can be expressed by the formula a + b: the wicked old woman does not like the beauty - and sets her a life-threatening task. Each part of the formula is capable of mutation, especially subject to the increment b; tasks can be two, three (favorite folk number) or more; there will be a meeting along the path of the hero, but there may be several of them. So the motive grew into plot. <..>”(P. 301). “But the schematism of the plot is already half conscious, for example, the choice and schedule of tasks and meetings is not necessarily conditioned by the theme given by the content of the motive, and presupposes a certain freedom; the plot of a fairy tale, in a sense, is already an act of creativity.<...>the less one or the other of the alternating tasks and meetings was prepared by the previous one, the weaker their internal connection, so that, for example, each of them could stand in any queue, the more confidently we can assert that if in different popular environments we meet the formula with an equally random sequence<...>we have the right to talk about borrowing ... ”(p. 301-302). " Plots are complex schemes, in the imagery of which generalized known acts of human life and psyche in alternating forms of everyday reality. The evaluation of the action, positive or negative, is already connected with the generalization.<...>”(P. 302). “The similarity of the outlines between the fairy tale and the myth is explained not by their genetic connection, and the fairy tale would have been a bloodless myth, but in the unity of materials and methods and schemes, only timed differently” (p. 302). “The same points of view can be applied to the consideration of poetic plots and motives; they present the same signs community and repeatability from myth to epic, fairy tale, local saga and novel; and here it is allowed to speak about the dictionary of typical schemes and provisions ... "" Under plot I mean a theme in which different positions-motives are scurrying ... ”(p. 305) /“ I do not want to say that a poetic act is expressed only in a repetition or a new combination of typical plots. There are anecdotal plots suggested by some random incident ... ”(p. 305-306). 2) Zelinsky F.F. The origin of the comedy // Zelinsky F. From the life of ideas. “As you can see, there is no common, central dramatic motive that would dominate the entire play (meaning the comedy of Aristophanes“ Aharnians ”- N. T.), as is customary in our comedy; in short, we can say that with Aristophanes we have stringing drama, as opposed to centralizing drama of modern comedy. I must make a reservation that, in ascribing the centralizing drama of modern comedy, I do not intend to deny it among the ancients: we find it in a developed form in Plautus and Terence ... ”(p. 365-366). 3) Shklovsky V. Connection of plot-building techniques with general style techniques // Shklovsky V. On the theory of prose. S. 26-62. "... it is completely incomprehensible why a random sequence of motives should be preserved during the borrowing." “The coincidences are explained only by the existence of special laws of plot formation. Even the assumption of borrowing does not explain the existence of identical fairy tales at a distance of thousands of years and tens of thousands of miles ”(p. 29). “Constructions of the type a + (a = a) + (a (a + a)) + ... etc., that is, according to the formula of an arithmetic progression without reducing similar terms. There are fairy tales built on a kind of plot tautology like a + (a + a) (a + (a + a) + a2), etc. " (Further, an example: "chain" fairy tale "Hammer-hazel-hazel" - N. T.) (p. 44). “The action of a literary work takes place in a certain field; types-masks, the role of modern theater will correspond to chess pieces. The plots correspond to gambits, that is, the classic rallies of this game, which players use in variants. The tasks and twists and turns correspond to the role of the opponent's moves ”(p. 62). 4) Propp V.Ya. The morphology of the tale. "A function is understood as an act of an actor, determined from the point of view of its significance for the course of action." “... in what grouping and in what sequence do these functions occur?<...>Veselovsky says: “The choice and routine tasks and meetings (examples of motives) presupposes an already known freedom» <...>“. "The sequence of functions is always the same"(p. 30-31) . “ Morphologically, any development from sabotage (A) or shortage (a) through intermediate functions to a wedding (C *) or other functions used as a denouement can be called a fairy tale ”(p. 101). “... it is easy to imagine a magical, enchanting, fantastic fairy tale, constructed in a completely different way (cf. some Andersen's tales, Brentano, Goethe's tale of a snake and a lily, etc.). On the other hand, and not fairy tales can be built according to the above scheme ”(p. 108). “... the same composition can underlie different plots. Whether the serpent kidnaps a princess or the devil a peasant or a priest's daughter is indifferent from the point of view of composition. But these cases can be considered as different plots”(P. 125). 5) Freidenberg O.M. Poetics of plot and genre. “The composition of the plot depends entirely on the language of metaphors ...” (p. 224-225). “What is removal and return in solar compositions, death and Sunday in vegetative compositions; there are exploits, here are passions, there is struggle, here is death. " “Thus, in any archaic plot, we will certainly find the figure of a bifurcation-antithesis, or, as it could be called, a figure of symmetrical reverse repetition” (pp. 228-229). 6) Bakhtin M.M. Forms of time and chronotope in the novel // Bakhtin M. Literature and aesthetics. “The plots of all these novels<...>show tremendous similarities and, in essence, are composed of the same elements (motives); in individual novels, the number of these elements changes, their specific gravity the whole plot, their combinations. It is easy to draw up a consolidated typical plot scheme ... ”(p. 237). “Such motives as meeting-parting (separation), loss-finding, searching-finding, recognition-unrecognition, etc., are included, as constituent elements, in the plots of not only novels different eras and different types, but also literary works of other genres (epic, dramatic, even lyrical). These motives are by their nature chronotopic (albeit in different genres in different ways) ”(p. 247). “But also the main complex of motives - meeting - parting - searching - finding- is only another, so to speak, a reflected plot expression of the same human identity ”(p. 256). " The image of a fabulous man- with all the huge variety fairy tale folklore- is always based on motives transformations and identities(as, in turn, the specific content of these motives is varied) ”(p. 262-263).<О романе “Золотой осел”>“Thus, the adventurous series with its randomness is here completely subordinated to the encompassing and comprehending series: guilt - punishment - redemption - bliss. This series is governed by a completely different, not adventurous logic ”(p. 269). 7) Todorov Tsv. Poetics / Per. A.K. Zholkovsky // Structuralism: “for” and “against”. “Causality is closely related to the temporal sequence of events; it is even very easy to confuse them with each other. This is how Forster illustrates the difference between them, believing that in any novel both are present, and causal connections form its plot, and temporary connections form the story itself: "The king died and the queen died after him" - this is a story; “The king died and after him the queen died of grief” - this is the plot ”. “Temporal, chronological organization, devoid of any causality, prevails in the historical chronicle, chronicle, private diary and ship's log<...>In the literature, an example of causality in pure form the genre of portrait and other descriptive genres, where a time delay is obligatory, can serve (a typical example is Kafka's short story "The Little Woman"). Sometimes. on the contrary, a literature based on temporal organization does not obey - at least at first glance - causality. Such works can take the direct form of a chronicle or saga, such as, for example, Budenbrooks ”(pp. 79-80). eight) Lotman Yu.M. The origin of the plot in typological coverage // Lotman Yu.M. Fav. Articles: B 3 vol. T. I. S. 224-242. “For the typologically initial situation, we can assume two fundamentally opposite types of texts. In the center of the cultural massif there is a myth-generating text device. The main feature of the texts it generates is their subordination to cyclical temporal movement ”(p. 224). “This central text-generating device performs the most important function - it builds a picture of the world<...> <Порождаемые тексты>"They reduced the world of excesses and anomalies that surrounded man to norm and order." "They interpreted not about one-time and regular phenomena, but about events that are timeless, infinitely reproducible and, in this sense, motionless." “As a counterparty mechanism, it (this device - N. T.) needed a text-generating device, organized in accordance with linear temporal movement and fixing not regularities, but anomalies. Such were the oral stories about "incidents", "news", various happy and unhappy excesses. If the principle was fixed there, then this is the case ”(p. 225).

QUESTIONS

1. Which of the given definitions of the concept "theme" emphasize in it a) the objectivity, towards which the author's creative intention and assessments are directed; b) subjectivity, that is, precisely the assessments and intentions themselves; c) a combination of both? Note that in the latter case, it is necessary to distinguish between eclectic, ill-conceived mixing of different approaches and thoughtful solution, conscious avoidance of one-sidedness. In what judgments you examined emphasize the "objectivity" of the topic (its presence in tradition, and even outside of art) and where, on the contrary, the term characterizes the work itself or the specifics of creative consciousness? 2. Try to correlate the given definitions of "motive" with three theoretically possible options solutions to the problem: motive is an element of the topic (understood as a characteristic of the reader of the subject of the image or statement); motive - an element of the text, that is, the author's verbal designation of a particular event or situation; finally, a motive is an element of an event series or a series of situations, that is, it is part of the storyline (or plot). 3. Are there any judgments in the selected materials that delimit the verbal designation of the motive (verbal formula) from the role of the act or event designated in this way in the plot; separate the motive as an act or position - from that image of a person or the world, the reflection or even interpretation of which is a number of motives? 4. Find and compare the opinions of different authors that the plot is, in essence, a complex of motives. Select among them those who consider the sequence of motives a) a random combination of them; b) the result of an individual author's, conscious combination; c) the manifestation of the necessity inherent in the tradition, the expression of the traditionally established meaning and, thereby, a certain plot “language”. 5. Which of the above statements distinguish and distinguish between the types of plot schemes? What are their types and on what grounds are they differentiated? Compare solutions to the problem by different authors.

motive