The category of genre in the analysis of the artwork has a slightly lower value than the category of kind, but in some cases, the knowledge of the genre nature of the work can help in the analysis, indicate which directions attention should be paid.

In literary criticism, genres are groups of works within literary classes, united by common formal, meaningful or functional signs.

It should be immediately said that not all works have a clear genre nature. So, indefunted in the genre sense, Pushkin's poem "on the hills of Georgia is a night blame ...", Lermontov "Prophet", Plays of Chekhov and Gorky, "Vasily Terkin" Tvardovsky and many other works.

But in cases where the genre can be defined quite unequivocally, such a definition does not always help the analysis, since genre structures are often recognized by a secondary basis that does not create a special imperative content and form. This concerns mainly lyrical genres, such as Elegy, Oda, Message, Epigram, Sonnet, etc.

In epic genres, it is primarily the opposition of genres by their volume. The current literary tradition highlights the genres of a large (novel, epic) of the average (story) and a small (story) volume, but really in typology distinguishes only two positions, as the story is not an independent genre, in practice or to the story ("Tale of Belkin "Pushkin), or to the novel (his" Captain's daughter ").

But here the distinction of a large and small volume is essential, and above all to analyze the small genre - the story. Yu.N. Tynyanov fairly wrote: "The calculation for a large form is not the one that is small." A small amount of story dictates peculiar principles of poetics, specific artistic techniques. First of all, this is reflected on the properties of literary pictusivity.

It is highly characteristic of the "economy regimen", it cannot be long descriptions, therefore it is not characterized by details, and details, especially in the description of the landscape, portrait, interior. Such a part acquires increased expressiveness and, as a rule, appeals to the creative fantasy of the reader, suggests creation, representation.

According to this principle, it was building its descriptions, in particular, the Master of the artistic detail of the Chekhov; Recall, for example, its shittomatic image of the moon night: "In the descriptions of nature, it is necessary to grab the minor particular, grouping them in such a way as to read when you clutch your eyes, a picture was given.

For example, you will get a moonlight, if you write that a glass of a broken bottle flashed in a bright star from a broken bottle and rolled the black shadow of a dog or a wolf "(Letter Al.P. Chekhov dated May 10, 1886). Here the landscape details are speculated by the reader on the basis of the impression of one or two dominant characters.

The same happens in the field of psychologism: for the writer it is important here not so much to reflect the mental process in all its completeness, how much to recreate the lead emotional tone, the atmosphere of the inner life of the hero at the moment. Masters of this psychological story were Maupassan, Chekhov, Gorky, Bunin, Hemingway, and others.

In the composition of the story, as well as any small form, the ending is very important, which wears either the nature of the story junction, or the emotional finals. Noteworthy and those endings that are not allowed to conflict, but only demonstrate its insoluability; The so-called "open" finals, as in the "lady with a dog" Chekhov.

One of the genre varieties of the story is the novel. Novel is a witness story, the action in it develops quickly, dynamically, strives for the junction, which concludes the whole point of the told: first of all, with its help, the author gives understanding the life situation, makes a "sentence" with the characters.

In themelles plot compressed, the action is concentrated. The rapidly developing plot is characterized by a very economical character system: they are usually exactly as much as it is necessary that the action can continuously develop. Episodic characters are introduced (if they are generally entered) only in order to give the impetus to the plot action and then disappear immediately.

In the novel, as a rule, there are no side plot lines, author's retreats; From the past heroes, only what is absolutely necessary for understanding the conflict and the plot is reported. Descriptive elements that are not promoting the ahead are minimized and appear almost exclusively at the beginning: then, closer to the end, they will interfere, braking the development of action and distracting attention.

When all these trends are brought to a logical end, Novella acquires a pronounced joke structure with all its main signs: a very small volume, unexpected, paradoxical "shock" ending, minimal psychological motivations of actions, lack of descriptive moments, etc. Leskov, early Chekhov, Maucean, O'Henry, D. London, Zoshchenko and many other novelists were widely used by the story-anecdote.

Novel, as a rule, is based on external conflicts, in which contradictions face (prison), develop and, reaching the development and struggle to the highest point (climax), more or less resolved. At the same time, the most important thing is that facing contradictions must and can be resolved during the development of action.

The contradictions for this should be sufficiently defined and manifested, the heroes must have some psychological activity to strive for anything to resolve the conflict, and the collision itself should at least in principle agree to immediately resolve.

Consider at this angle of view the story of V. Shukshina "Hunting Live". To the forester Nikitich enters the hut young city guy. It turns out that the guy fled from prison.

Suddenly, the district authorities arrive at Nikitich, Nikitich Meld a guy to pretend to be sleeping, puts the guests and falls asleep himself, and waking up, it discovers that Kohl-Professor left, taking a rifle of Nikitich and his pussy with tobacco. Nikitich rushes after, overtakes the guy and takes his gun from him. But the guy in general, I like Nikitich, it's a pity to let him go to the same, in winter, unusual to the taiga and without a gun.

The old man leaves a guy a gun to the one when it comes to the village handed him to Kum Nikitich. But when they have already gone each in their direction, the guy shoots Nikitich in the head, because "it will be better, father. Reliable. "

The collision of characters in the conflict of this novel is very sharp and clear. Incompatibility, the opposite of Nikitich's moral principles - principles based on kindness and trust in people - and the moral norms of "Coli Professor", which "hunting to live" for himself, "better and more reliable" - also for yourself, - incompatibility of these moral installations Intensifying in the course of action and embodied in the tragic, but inevitable in the logic characteristics of the decoupling.

We note the special significance of the junction: it does not simply formally complete the plot effect, but exhausts the conflict. The author's assessment of the pictures of characters, the author's understanding of the conflict is focused precisely in the junction.

Large epic genres - novel and epic - differ in their own content, first of all on issues. The substantial dominant in the epopea is national, and in the novel - the novel problem (adventurous or ideological-moral).

For novel, respectively, it is extremely important to determine to which of the two types it refers. Depending on the genre substantial dominant, the poetics of the novel and epic is also constructed. The epic looks towards the story, the image of the hero in it is built as a quintessence of typical qualities inherent in the people, ethnos, class, etc.

In an adventurous novel, the story is also prevailing, but the image of the hero is already being built differently: it is emphasized free from the estate, corporate and other connections with the medium that thorms it. In the novel, the ideological and moral style dominants will almost always be psychologism and dissection.

Over the past one and a half centuries, the epine has developed a new genre of large volume - the Roman-epic, which combines the properties of these two genres. To this genre tradition, such works as "War and Peace" of Tolstoy, "Quiet Don" Sholokhov, "Walking on the Flock" A. Tolstoy, "Living and Dead" Simonov, "Dr. Zhivago" Pasternak and some others.

For novel epic, a combination of national and ideological-moral issues is characterized, but not simple summation, but such an integration in which ideological and moral search of the person is correlated primarily with the People's Truth.

The problem of Roman-epic becomes, according to Pushkin's expression, the "fate of human and fate of people" in their unity and interdependence; Critical for the whole ethnos event give the philosophical search of the hero special sharpness and urgency, the hero stands before the need to determine its position not just in the world, but in national history.

In the field of poetics for Roman-epic is characterized by a compound of psychologism with the story, a composite combination of common, secondary and close-ups, the presence of many plot lines and their interlacing, author's retreats.

Esin AB Principles and techniques for analyzing the literary work. - M., 1998.

Principles and techniques for analyzing the literary work of the Esin Andrei Borisovich

1 Analysis of the work in the aspect of the genus and genre

Analysis of the work in the aspect of the genus and genre

Literary classes in literary studies are called large classes of works - epos, lyrics, drama (drama), as well as the intermediate form of lyri-epics. Belonging the work towards one way or another imposes an imprint on the analysis itself, dictates certain techniques, although it does not affect the general methodological principles. The differences between literary clauses almost do not affect the analysis of artistic content, but almost always affect the analysis of the form to one degree or another.

Among the literary clauses, Epos has the greatest visual features and the richest and developed structure of the form. Therefore, in the preceding chapters (especially in the section "The structure of the artwork and its analysis"), the presentation was carried out in relation to the epic genus. Let's see now, what changes in the analysis will have to be submitted, taking into account the specifics of drama, lyrics and lyri-epics.

The drama is largely similar to the epic, so the main techniques of analysis for it remain the same. But it should be borne in mind that in the drama, unlike the epic, there is no narrative speech, which deprives the drama of many artistic opportunities inherent in the Epos. This is partly compensated by the fact that the drama is mainly intended for setting on stage, and, entering into a synthesis with the art of actor and director, acquires additional visual and expressive opportunities. In the actual literary text of the drama emphasis moves to the actions of heroes and their speech; Accordingly, the drama is to such stylistic dominant as the story and dissection. Compared with the epic drama, also has an increased degree of artistic convention related to theatrical action. The conventionality of the drama consists in features such as the illusion of the "fourth wall", the replica "to the side", monologues of the heroes alone with themselves, as well as in the increased theatricalness of speech and gesture-mimic behavior.

Specifically in the drama and building the depicted world. We receive all information about him from the conversations of the heroes and from the author's remarks. Accordingly, the drama requires the reader of a greater work of fantasy, the skill of stingy hints to imagine the appearance of heroes, the subject world, landscape, etc. Over time, the playwrights make their remarks in more detail; There is also a tendency to introduce a subjective element in them (so, in the remark to the third action of the play "On the bottom", Gorky introduces an emotional and evaluation word: "In the window in the earth - ryg.Bubnova "), an indication appears on the overall emotional tone of the scene (the sad sound of the string in the" Cherry Garden "of Chekhov), sometimes entering remarks expand to the narrative monologue (B. Show). The image of the character is drawn by more encouraging than in the epic, but also brighter, strong means. The characteristic of the hero across the plot, through the actions, and the actions and words of the heroes are always psychologically saturated and thereby characterized. Another leading technique of creating an image of a character is his speech characteristic, a speech manner. Auxiliary techniques are the portrait, self-character meter and its characteristic in the speech of other characters. To express the author's assessment, the characteristic is mainly used through the plot and individual speech manner.

Peculiar in drama and psychologism. It is deprived of such forms common in the epic, as a copyright psychological narration, an inner monologue, the dialectics of the soul and the flow of consciousness. The inner monologue is derived outward, is drawn up in external speech and therefore the character's psychological world itself turns out in the drama more simplified and rationalized than in the Epos. In general, the drama is mainly to bright and catchy ways to express strong and relief mental movements. The greatest difficulty in the drama is the artistic development of complex emotional states, the transfer of the depth of the inner world, the vague and fuzzy ideas and sentiment, the spheres of the subconscious, etc. With this difficulty, the playwrights learned to cope only by the end of the XIX century; The psychological plays of Hauptman, Meterlinka, Ibsen, Chekhov, Gorky, etc. are indicative here.

The main thing in the drama is the action, the development of the initial position, and the action is developing due to the conflict, so the analysis of the dramatic work is advisable to begin with determining the conflict, tracing its movement in the future. The development of the conflict is subject to the dramatic composition. The conflict is embodied either in the plot or in the system of composite opposition. Depending on the embodiment of the conflict, dramatic works can be divided into plays Actions(Fonvizin, Griboedov, Ostrovsky), pieces of mood(Meterlink, Hauptman, Chekhov) and plays-discussions(Ibsen, bitter, show). Depending on the type of play, a specific analysis is moving.

So, in the drama of Ostrovsky "Thunderstorm" conflict embodies in the system of action and events, that is, in the plot. Conflict Pieces of Bibolanov: On the one hand, these are contradictions between the rulers (wild, kabaniha) and subjects (Katerina, Varvara, Boris, Kuligin, etc.) is an external conflict. On the other hand, the action is moving thanks to the inner, psychological conflict of Katerina: she passionately wants to live, love, be free, clearly realizing at the same time that all this sin leading to the death of the soul. Dramatic action is developing through a chain of actions, peripetias, one way or another changing the initial situation: Tikhon leaves, Katerina is being resolved with Boris, it is in public and finally rushes in the Volga. The dramatic tension and the attention of the viewer is supported by interest in the development of the plot: what will happen next how the heroine will do. Scene elements are clearly visible: the tie (in the Katerina and Kabani dialogue in the first action, the external conflict is found in the Katerina dialogue and barbarians - internal), a number of climax (at the end of the second, third and fourth actions and, finally, in the last monologue of Katerina in the fifth action ) And the junction (suicide of Katerina).

The plot is mainly implemented by the content of the work. Socio-cultural issues are revealed through the action, and the actions are dictated by dominant in the Nravami, relations, ethical principles. The plot is also expressed and the tragic pathos of the play, the suicide of Katerina emphasizes the impossibility of safe resolution of the conflict.

Some otherwise built plays of mood. In them, as a rule, the basis of a dramatic action is a conflict of the hero with a hostile lifestyle to him, which goes into the conflict psychological, which is expressed in the inner unallowability of heroes, in the feeling of mental discomfort. As a rule, this feeling is not characteristic of one, but for many characters, each of whom develops its conflict with life, so in the play of mood it is difficult to allocate the main characters. The stage of stage action is not concentrated in the plot of therapy, but in the change of emotional tonality, the event chain only strengthens this or that mood. This kind of plays usually have one of the stylistic dominant psychologism. The conflict is not developing in plot, but in composite opposition. The reference points of the composition are not the elements of the plot, but the climax of psychological states, which are usually at the end of each action. Instead of the strings - the detection of some source mood, conflict psychological state. Instead of junction - emotional chord in the final, as a rule, not allowing contradictions.

So, in the play of Chekhov "Three sisters" there is practically no pass-through event row, but all scenes and episodes are associated with each other with a common mood - quite heavy and hopeless. And if in the first action still flashes the mood of light hope (the monolog of Irina "when I woke up today ..."), then in the further development of the stage action, it is drowning with anxiety, longing, suffering. Stage action is based on the deepening of the experiences of the heroes, on the fact that each of them gradually refuses the dream of happiness. There are no external fate of three sisters, their brother Andrei, Vershinina, Tuzenbach, Chebutyukina, leaves the city of the regiment, in the House of Prozovy, the vulgarity in the face of the "rough animal" of Natasha, and not to be three sisters in the desired Moscow ... All events not related friend With a friend, it is intended to strengthen the overall impression of disadvantages, unpleasuries of being.

Naturally, psychologism is played an important role in the style in the style of the mood in style, but psychologism is peculiar, subtext. Chekhov himself wrote about this: "I wrote Meyerhold and convinced not to be sharp in the image of a nervous person. After all, the huge majority of people are nervously, the majority suffer, the minority feels acute pain, but where - on the streets and in the houses - do you see the swollen, jumping, grab yourself for your head? Suffering to express the way they are expressed in life, that is, not legs and not hands, but tone, look; Not gesticulation, but a grace. Thin mental movements inherent in intelligent people, and externally needed to express fine. You will say: Conditions of the scene. No conditions allow lies "(Letter O.L. Knipper dated January 2, 1900). In his plays and, in particular, in the "three sisters", stage psychologism relies on this principle. The depressed mood, longing, suffering of heroes is only partly expressed in their replicas and monologues, where the character "displays outside" his experiences. In no less important admission of psychologist, the inconsistency of external and internal - mental discomfort is expressed in nothing significant phrases ("Lukomorya Oak Green" Masha, "Balzac was married in Berdichev" Chebutykina, etc.), in unreasonable laughter and tears, in silence and t . P. The important role is played by the author's remarks, emphasizing the emotional tone of the phrase: "remaining one, longing", "nervously", "folding", "through tears", etc.

Third type - play-discussion. The conflict here is a deep, based on the difference in worldview plants, issues, as a rule, philosophical or ideological moral. "In the new plays," wrote B. Shaw, "the drama conflict is built not around the vulgar tendencies of a person, his greed or generosity, resentment and ambition, misunderstandings and accidents, and everything else that in itself does not generate moral problems, but around the collision of various Ideals. " The dramatic action is expressed in the collision of points of view, in the compositional opposition of individual statements, therefore, paramount attention should be paid to the analysis. A number of heroes are often drawn into the conflict, each with its vital position, therefore, in this type of play, it is difficult to highlight the main and secondary characters, it is also difficult to distinguish positive and negative heroes. I was able to show again on the show: "The conflict" ... "is not going between right and blamed: the villain here may be the same as conscientious as the hero, if not more. In fact, the problem that makes the play interesting "..." is to find out who is here a hero, and who is the villain. Or, in other words, there are no villains, nor heroes. " The event chain is mostly a reason for the saying of characters, provokes them.

These principles are built, in particular, the play M. Gorky "at the bottom." The conflict here in the collision of different points of view on the nature of a person, for lies and the truth; In general, this conflict is an elevated, but unreal with low-lyual; Problems of philosophical. In the first action, this conflict is tied, although in terms of the plot it is no more than exposure. Despite the fact that no important events in the first action occurs, the dramatic development has already begun, has already entered the conflict rough truth and an elevated lie. On the very first page it sounds this keyword "True" (the replica of the Quashny "Ah! Do not tolerate the truth!"). Here, satin contrasts the sound "human regulations", but meaningless "organon", "Siksbr", "macrobiotic", etc. Here, Nastya reads "Fatal Love", the actor remembers Shakespeare, Baron - coffee in bed, and all this Cutting contrast with everyday life at night. In the first action, one of the positions in relation to life appeared quite to life and the fact that you can call the "truth fact" after the author of the plays. This position, cynical and antagumanny essentially, is in the play of the Bubnov, calmly stateing something absolutely indisputable and as cold ("noise - death is not a hindrance"), skeptically laugging over the romantic phrases of the ashes ("And the threads are rotten!"), Positioning his position in reasoning about his life. In the first action, the Antipode of the Bubnova - Luke appears, opposing his philosophy of love and compassion to the neighbor, which is no place for anything ("in my opinion, not a single flea - is not bad: everything is black, everyone - skipping ... "), comforting and encouraging people of the bottom. In the future, this conflict develops, retracting all new and new points of view into dramatic effect, arguments, reasoning, parables, etc., sometimes - in the support points of the composition - pouring into a direct dispute. The conflict reaches the culmination in the fourth action, which is already an open discovery, practically not related to the plot of the discussion about Luke and his philosophy, moving into a dispute about the law, the truth, the understanding of man. We draw attention to the fact that the last action passes after the completion of the plot and the junction of the external conflict (killing of Kostyleva), which is in the play auxiliary nature. The final of the plays is also not a story junction. It is associated with a discussion on the truth and man, and the suicide actor serves as another replica in the dialogue of ideas. At the same time, the final is open, he is not intended to resolve the philosophical dispute running on stage, and as it would be aware of the reader and the viewer to do it by himself, arguing only the idea of \u200b\u200bthe unbearableness of life without an ideal.

Lyrics as literary genus is opposed to Epos, and dramaturgy, therefore, when it is analyzed, the generic specificity should be considered to the highest. If the epic and drama reproduce the human being, the objective side of life, then the lyrics are human consciousness and subconscious, subjective moment. Epos and drama are depicted, the lyrics expresses. It can even be said that the lyrics belongs to another group of arts than epos and dramaturgy - not visual, but to expressive. Therefore, many techniques for analyzing epic and dramatic works are not applicable to the lyrical work, especially for its form, and literary criticism has developed their techniques and approaches to analyze lyrics.

The above applies primarily by the world, which in the lyrics are built at all as in Epos and Drama. The style of dominant, to which Lyrics, is psychologism, but psychologism is peculiar. In the epic and partly in the drama, we are dealing with the image of the inner world of the hero as it were from the side, in the lyrics, psychologism is expressive, the subject of the statement and the object of psychological image coincide. As a result, the lyrics are mastering the inner world of a person in a special perspective: she takes the advantage of the sphere of experience, feelings, emotions and reveals it, as a rule, in statics, but it is more deeply and alive than this is done in the epic. Sustained lyrics and sphere of thinking; Many lyrical works are built on the deployment of non-experience, and reflections (though, it is always painted with one way or another). Such a lyrics ("Will I go along the streets of noisy ..." Pushkin, "Duma" Lermontov, "Wave and Duma" Tyutchev, etc.) called meditative.But in any case, the world's lyrical work depicted is primarily the psychological world. This circumstance should be especially considered when analyzing individual visuals (it would be more correct to call them "pseudo-formative") details that may occur in lyrics. We note primarily that the lyric work can do without them without them - for example, in the poem of Pushkin "I loved you ..." Everything without exception, the psychological details, the subject detail is completely absent. If the subject-visual parts appear, then they perform the same function of the psychological image: either indirectly creating an emotional mood of the work, or becoming the impression of a lyrical hero, the object of its reflection, etc. These are, in particular, the landscape details. For example, in the poem A. Feta "Evening" no, it seems none of the actual psychological detail, and there is only a description of the landscape. But the function of the landscape here is - using the selection of parts to create a mood of rest, peacekeeping, silence. Landscape in the poem Lermontov "When the yellowing Niva is worried ..." is an object of understanding, given in the perception of a lyrical character, changing paintings of nature make up the content of lyrical reflection, ending with an emotional-shaped output - generalization: "Then the soul of my alarm ...". We note by the way that in the landscape of Lermontov there is no accuracy required from the landscape in the epic: the valley, plum and yellowing Niva cannot coexist in nature, as they treat different seasons, from which it can be seen that the landscape in lyrics, actually, and not landscape Such, but only the impression of the lyrical hero.

The same can be said about the details of the portrait and peace of things found in the lyrical works - they are performed in lyrics an exceptionally psychological function. Thus, the "red tulip, a tulip in you in the loop" in the poem A. Akhmatova "confusion" becomes a vivid impression of lyrical heroine, indirectly denoting the tensions of lyrical experience; In her poem "The Last Meeting" poem, the subject detail ("I put a glove on the right hand with a left hand") serves as a form of indirect expression of an emotional state.

The greatest difficulty for analysis represent those lyrical works in which we meet with some similarity of the plot and the characters system. Here, there is a temptation to move the principles and techniques for the analysis of the appropriate phenomena in the epic and drama, which is fundamentally wrong, because the "pseudo-seating", and "pseudopersons" have a completely different nature in the lyrics and another function - first of all, a psychological one. Thus, in the poem Lermontov "Beggar", it would seem, an image of a character that has a certain social situation, appearance, age, that is, the signs of existent definiteness, which is characteristic of the epic and drama. However, in fact, the Being of this "Hero" is discontented, ghostly: the image is only part of the detailed comparison and, it became used to more convincingly and expressively convey the emotional production of the work. No matter what the fact of being is not here, there is only a rejected feeling transmitted by allegory.

In the poem of Pushkin "Arion" there is something like the plot, there is some kind of dynamics of actions and events. But it would be meaningless and even ridiculous to look for the "plot" of the concerns, culmination and junction, to look for the conflict expressed in it, etc. The event chain is understanding the lyrical hero of Pushkin's events of the recent political past, given in an allegorical form; In the foreground, there are not a deed and events here, but the fact that this "plot" has a certain emotional painting. Consequently, the plot in the lyrics does not exist as such, but only acts as a means of psychological expressiveness.

So, in lyrical work, we do not analyze neither the plot, nor the characters or subject items outside their psychological function, that is, we do not pay attention to what is fundamentally important in the epic. But in the lyrics, the analysis of the lyrical hero acquires a fundamental importance. Lyrical hero -this is an image of a person in lyrics, a carrier of experience in lyrical work. As every image, the lyrical hero carries not only the unique-unique features of the person, but also a certain generalization, so it is unacceptable to his identification with a real author. Often, the lyrical hero is very close to the author in the person's warehouse, the nature of the experiences, but nevertheless the difference between them is fundamental and maintained in all cases, since in each particular work the author actualizes in a lyrical hero of any part of his personality, typifying and Summarizing lyrical experiences. Thanks to this, the reader easily identifies himself with the lyrical hero. It can be said that the lyrical hero is not only the author, but also any, reading this work and especially experiencing the same experiences and emotions as the lyrical hero. In some cases, a lyrical hero is only very weakly correlated with a real author, discovering a high degree of conventionality of this image. So, in the poem of the Twardovsky "I killed under Rzhev ..." The lyric narrative is conducted on behalf of the fallen soldier. In rare cases, the lyrical hero appears even to the author's antipode ("moral person" Nekrasov). Unlike the character of an epic or dramatic work, the lyrical hero does not possess, as a rule, by existing definitude: he does not have a name, age, the traits of the portrait, sometimes even unclear, to the male or female floor he belongs. The lyric hero almost always exists outside of normal time and space: its experiences flow "everywhere" and "always".

Lyrics to a small volume and, as a result, to a tense and complex composition. In the lyrics more often than in the epic and drama, composite techniques of repeat, opposition, strengthening, installation are used. The exceptional importance in the composition of the lyrical work is acquired by the interaction of images, often creating biscordability and multi-faceted artistic meaning. So, in the poem of Yesenin "I am the last poet of the village ..." The tension of the composition is created, first, by the contrast of color images:

On the trail bluefield

Soon the Iron Guest will be released.

Oatmeal grace, shed, spilled,

His gathers blacka handful of.

Secondly, the gain is drawn to the reception: constantly repeated images related to death. Thirdly, compositely significant is the opposition to the lyrical hero of the "Iron Guest". Finally, the cross-cutting principle of the personification of nature binds together individual landscape images. All this together creates a rather complex form-semantic structure in the work.

The main reference point of the composition of the lyrical work is in its final, which is especially felt in the works of small in volume. For example, in Tyutchev's miniature, "I cannot understand Russia's mind ..." The entire text is as if preparing for the latest word, which enters the idea of \u200b\u200bthe work. But in more voluminous creatures, this principle is often withstanding - let's call as examples of Pushkin, "when the yellowing Niva is worried ..." Lermontov, "on the railway" of the block - poems, where the composition is a direct upward development from the beginning to the latter, shock stanza.

Style dominants lyrics in the field of artistic speech are monologism, rhetoric and poetic form. The lyrical work in the overwhelming majority of cases is built as a monologue of the lyrical hero, so we do not need to allocate a narrative speech in it (it is missing) or give a speech characteristic of the characters (there are also no). However, some lyrical works are built in the form of the dialogue of "acting persons" ("Customer's conversation with a poet", "Scene from Pushkin," Journalist, Reader and Writer "Lermontov). In this case, the "characters" entering the dialogue embody the various verge of lyric consciousness in themselves, so they do not have their own speech manners; The principle of monologism is maintained here. As a rule, the speech of the lyrical character is characterized by literary correctness, therefore, it is also no need to analyze it from the point of view of a special speech manner.

Lyrical speech is usually a speech with the increased expressiveness of individual words and speech structures. In the lyrics, there is a greater proportion of paths and syntactic figures compared with epic and drama, but this pattern is only visible in the overall array of all lyrical works. Separate lyric poems, especially the XIX-XX centuries. may differ and lack of rhetoricity, nominative. There are poets whose stylistics consistently alien to rhetoricity and nominative - Pushkin, Bunin, Tvardovsky, - But it is rather an exception to the rule. Exceptions such as the expression of the individual identity of lyrical style are subject to mandatory analysis. In most cases, analyzes and individual techniques of speech expressiveness are required, and the general principle of the organization of the speech system. So, for the block, the general principle will be symbolization, for Yesenin - the personification of metaphorism, for Mayakovsky - extractance, etc. In any case, the lyric word is very exccoation, concludes "condensed" emotional meaning. For example, in the poem Annensky "among the worlds", the word "star" makes sense, clearly superior vocabulary: it is not in vain written from the capital letter. The star has a name and creates a multi-valued poetic image, followed by the fate of the poet, and a woman, and mystical secret, and an emotional ideal, and perhaps another number of other values \u200b\u200bpurchased by the word in the process of free, albeit the text of the associations.

By virtue of "concentration" of poetic semantics of Lyrics, a rhythmic organization, a poetic embodiment, since the word in the verse is more loaded with emotional meaning than in prose. "Poetry, compared with prose, has an increased capacity of all components of its elements" ... "The very movement of words in verse, their interaction and comparison in the conditions of rhythm and rhymes, distinct identification of the sound side of the speech given by the poetic form, the relationship of the rhythmic and syntactic structure and etc. - all this is inherent in an inexhaustible semantic possibilities, which, the prose, in essence, is deprived of "..." Many beautiful poems, if they shifted prose, they will be almost meaningful, for their meaning is created mainly by the interaction of the poetic form with words. "

The case when lyrics use no verse, but a prose form (the genre of the so-called poems in prose in the works of A. Berran, Turgenev, O. Wilde) is subject to compulsory study and analysis, since it indicates an individual artistic peculiarity. "The poem in prose", without being rhythmically organized, maintains such common features of lyrics as "a small volume, increased emotionality, usually an unmavable composition, a general installation to an expression of a subjective impression or experience".

An analysis of the poetic features of lyrical speech is largely an analysis of its tempo and rhythmic organization, which is extremely important for a lyrical work, as the temperithm has the ability to determine certain moods and emotional states and with the need to call them in the reader. So, in the poem A.K. Tolstoy "Kohl to love, so without a reason ..." The four-stranded kernel creates a cheerful and cheerful rhythm, which also contributes to the adjacent rhymes, syntactic parallelism and end-to-end anaphor; Rhythm corresponds to the cheerful, cheerful, mischievous mood of the poem. In the poem of Nekrasov "Reflections from the Paradinary Podge", a combination of three- and four-stranded anapest creates a slow, severe rhythm, in which the corresponding pathos of the work is embodied.

In Russian resentment, only a four-stranded yamb does not require special analysis - this is the most natural and common size. Its specific meaningality consists only that the verse in its temper is approaching prose, without turning, however, in it. Nevertheless, the rest of the poetic sizes, not to mention the dolnica, declamation and tonic and free verse, possess its specific emotional meaning. In general, the content of poetic sizes and poems systems can be designated in this way: short lines (2-4 feet) in double sizes (especially in the desire) give verse energy, cheerful, well-pronounced rhythm, express, usually a light feeling, joyful mood (Svetlana Zhukovsky, "Winter is no wonder ..." Tyutchev, "Green Noise" Nekrasov). An elongated to five-six and more stops, the yamba lines pass, as a rule, the process of reflection, the intonation is epic, calm and measured ("monument" of Pushkin, "I do not like the irony of your ..." Nekrasova, "O Friend, not a cruel sentence ... »Feta). The presence of sponders and the absence of Pyrrhicheyev takes the verse and vice versa - a large number of pyrierhiyev contributes to the emergence of free intonation, close to conversational, gives venism lightness and fraud. The use of three-sided sizes is associated with a rhythm clear, usually heavy (especially with increasing the number of stops to 4-5), expressing often, deep and heavy experiences, often pessimism, etc. Mooding ("and boring, and sad" Lermontov, " Wave and Duma "Tyutchev," That for no year - the forces are reduced ... "Nekrasova). Dolnic, as a rule, gives the rhythm nervous, torn, whimsically-capricious, expressing the mood uneven and anxious ("Girl sang in the church choir ..." Blok, "confusion" of Akhmatova, "No one took anything ..." Tsvetaeva). The application of the declamination and tonic system creates a rhythm clear and at the same time free, intonation energetic, "offensive", the mood is sharply outlined and, as a rule, increased (Mayakovsky, Aseev, Kirsanov). However, it should be remembered that the specified rhythm compliance with a poetic meaning exist only as trends and in individual works may not be manifested, there is a lot of much on the individual-specific rhythmic identity of the poem.

The specificity of lyrical kind has an impact on a meaningful analysis. Having dealing with a lyrical poem, it is primarily to comprehend its pathos, catch and define a leading emotional attitude. In many cases, the correct definition of pathos makes an unnecessary analysis of the remaining elements of artistic content, especially the ideas that often dissolve in pathos and does not have an independent existence: so, in the poem of Lermontov "Farewell, unwashed Russia" is enough to determine the pathos inventories, in Pushkin's poem "went out the day Light ... "- Paphos of romance, in the poem of the block" I am Hamlet; Blood cold ... "- Paphos tragedy. The formulation of the idea in these cases becomes unnecessary, but practically impossible (the emotional side is significantly dominated over rational), and the definition of other parties content (subjects and issues in the first place) optional and auxiliary.

Laroeepica

Laro-epic works are, as can be seen from the name, the synthesis of the epic and lyrical began. From epic, Liro-Epic takes the presence of a story, the story (albeit weakened), the system of characters (less developed than in the Epos), reproduction of the objective world. From lyrics - an expression of subjective experience, the presence of a lyrical character (combined with a narrator in one person), a relatively small volume and poetic speech, often psychologism. In the analysis of lyri-epic works, special attention should be paid to not to delimit epic and lyrical principles (this is the first, preliminary stage of analysis), and their synthesis within the framework of one artistic world. For this, the image of the image of a lyric hero narrator is of fundamental importance. So, in the poem of Yesenin "Anna Snegina" lyrical and epic fragments are separated quite clearly: when reading, we easily highlight the plot and descriptive parts, on the one hand, and saturated with psychologism lyrical monologues ("War I have seized the whole soul ...", "Luna laughed, Like a clown ... "," our homeland is meek ... "and others). The narrative speech is easily and inconspicuous turns into a speech expressive-lyrical, narrator and lyrical hero - inseparable faces of the same image. Therefore, it is very important - the lyrism is imbued with the story about things, about people, events, we feel the intonation of the lyrical character in any text fragment of the poem. Thus, the epic transmission of the dialogue between the hero and the heroine ends with lines: "Dahn thickened, Daughters mist ... I don't know why I tried her gloves and shawl," here the epic start instantly and imperceptibly goes into lyrics. In description, as if purely external suddenly appear lyrical intonation and subjective-expressive epithet: "We arrived. The house with mezzanine slightly sat down on the facade. Restrainably smells of his jasmine's Plentry Palisada. " And the intonation of a subjective feeling slippers in an epic narration: "In the evening they left. Where to? I do not know where ", or:" Survaya, Terrible Years! But is it all described? "

Such penetration of lyrical subjectivity into an epic story is the most difficult to analyze, but at the same time, the most interesting case of the synthesis of epic and lyrical began. It is necessary to learn to see the lyrical intonation and a hidden lyrical character in an objective-epic in front of the text. For example, in the poem D. Kedina "architect" lyrical monologues as such, but the image of the lyrical hero is nevertheless you can "reconstruct" - it is manifested primarily in the lyrical emotion and solemnity of artistic speech, in the love and sincere description of the Church and its builders, In an emotionally rich final chord, excess in terms of the plot, but necessary to create a lyrical experience. It can be said that the library of the poem is manifested in how the famous historical plot is told. There are in text and places with a special poetic tension, in these fragments, the emotional heat and the presence of a lyrical hero is especially clear - the subject of the narrative. For example:

And over all this effort

That church was -

Like the bride!

And with his own

With turquoise rings in the mouth

Digging girl

Stood at the frontal place

And, having missed

Like a fairy tale

I looked at that beauty ...

And then sovereign

Commanded to blind these architects,

So that in the ground it

Stood one like that

To in the Suzdal lands

And in the lands of Ryazan

Did not put the best temple

Than the temple of the cover!

We will pay attention to the external ways of expressing lyrical intonation and subjective emotion - a breakdown of a string on rhythmic segments, punctuation marks, etc. We note that the poem is written quite rarely the size of a five-stranded solemptom - solemnity and depth. As a result, we have a lyrical story about an epic event.

Literary genres

The category of genre in the analysis of the artwork has a slightly lower value than the category of kind, but in some cases, the knowledge of the genre nature of the work can help in the analysis, indicate which directions attention should be paid. In literary criticism, genres are groups of works within literary classes, united by common formal, meaningful or functional signs. It should be immediately said that not all works have a clear genre nature. So, indefunted in the genre sense, Pushkin's poem "on the hills of Georgia is a night blame ...", Lermontov "Prophet", Plays of Chekhov and Gorky, "Vasily Terkin" Tvardovsky and many other works. But in cases where the genre can be defined quite unequivocally, such a definition does not always help the analysis, since genre structures are often recognized by a secondary basis that does not create a special imperative content and form. This concerns mainly lyrical genres, such as Elegy, Oda, Message, Epigram, Sonnet, etc. But still sometimes the category of genre matters, indicating a substantive or formal dominant, some features of the problems, pathos, poetics.

In epic genres, it is primarily the opposition of genres by their volume. The prevailing literary tradition highlights the Great Genres here (Roman, epic)medium (Tale)and small (story)the volume, however, is real in typology distinguishes only two positions, since the story is not an independent genre, in practice either to the story ("Tale of Belkin" Pushkin), or to the novel (his "Captain's daughter"). But here the distinction of a large and small volume is essential, and above all to analyze the small genre - the story. Yu.N. Tynyanov fairly wrote: "The calculation for a large form is not the one that is small." A small amount of story dictates peculiar principles of poetics, specific artistic techniques. First of all, this is reflected on the properties of literary pictusivity. It is highly characteristic of the "economy regimen", it cannot be long descriptions, therefore it is not characterized by details, and details, especially in the description of the landscape, portrait, interior. Such a part acquires increased expressiveness and, as a rule, appeals to the creative fantasy of the reader, suggests creation, representation. According to this principle, it was building its descriptions, in particular, the Master of the artistic detail of the Chekhov; Recall, for example, its shittomatic image of the moon night: "In the descriptions of nature, it is necessary to grab the minor particular, grouping them in such a way as to read when you clutch your eyes, a picture was given. For example, you will succeed in the moonlight, if you write that a glass of a broken bottle flashed a bright star on the mill dam and rolled the black shadow of a dog or wolf "(Letter Al. P. Chekhov dated May 10, 1886). Here the landscape details are speculated by the reader on the basis of the impression of one or two dominant characters. The same happens in the field of psychologism: for the writer it is important here not so much to reflect the mental process in all its completeness, how much to recreate the lead emotional tone, the atmosphere of the inner life of the hero at the moment. Masters of this psychological story were Maupassan, Chekhov, Gorky, Bunin, Hemingway, and others.

In the composition of the story, as well as any small form, the ending is very important, which wears either the nature of the story junction, or the emotional finals. Noteworthy and those endings that are not allowed to conflict, but only demonstrate its insoluability; The so-called "open" finals, as in the "lady with a dog" Chekhov.

One of the genre varieties of the story is novel.Novel is a witness story, the action in it develops quickly, dynamically, strives for the junction, which concludes the whole point of the told: first of all, with its help, the author gives understanding the life situation, makes a "sentence" with the characters. In themelles plot compressed, the action is concentrated. The rapidly developing plot is characterized by a very economical character system: they are usually exactly as much as it is necessary that the action can continuously develop. Episodic characters are introduced (if they are generally entered) only in order to give the impetus to the plot action and then disappear immediately. In the novel, as a rule, there are no side plot lines, author's retreats; From the past heroes, only what is absolutely necessary for understanding the conflict and the plot is reported. Descriptive elements that are not promoting the ahead are minimized and appear almost exclusively at the beginning: then, closer to the end, they will interfere, braking the development of action and distracting attention.

When all these trends are brought to a logical end, the novella acquires a pronounced joke structure with all its main signs: a very small volume, unexpected, paradoxical "shock" ending, minimal psychological motivation of actions, lack of descriptive moments, etc. The story-anecdot is widely We used fishing racks, early Chekhov, Maupassan, O'Henry, D. London, Zoshchenko and many other novelists.

Novel, as a rule, is based on external conflicts, in which contradictions face (prison), develop and, reaching the development and struggle to the highest point (climax), more or less resolved. At the same time, the most important thing is that facing contradictions must and can be resolved during the development of action. The contradictions for this should be sufficiently defined and manifested, the heroes must have some psychological activity to strive for anything to resolve the conflict, and the collision itself should at least in principle agree to immediately resolve.

Consider at this angle of view the story of V. Shukshina "Hunting Live". To the forester Nikitich enters the hut young city guy. It turns out that the guy fled from prison. Suddenly, the district authorities arrive at Nikitich, Nikitich Meld a guy to pretend to be sleeping, puts the guests and falls asleep himself, and waking up, it discovers that Kohl-Professor left, taking a rifle of Nikitich and his pussy with tobacco. Nikitich rushes after, overtakes the guy and takes his gun from him. But the guy in general, I like Nikitich, it's a pity to let him go to the same, in winter, unusual to the taiga and without a gun. The old man leaves a guy a gun to the one when it comes to the village handed him to Kum Nikitich. But when they have already gone each in their direction, the guy shoots Nikitich in the head, because "it will be better, father. Reliable. "

The collision of characters in the conflict of this novel is very sharp and clear. Incompatibility, the opposite of Nikitich's moral principles - principles based on kindness and trust in people - and the moral norms of "Coli Professor", which "hunting to live" for himself, "better and more reliable" - also for yourself, - incompatibility of these moral installations Intensifying in the course of action and embodied in the tragic, but inevitable in the logic characteristics of the decoupling. We note the special significance of the junction: it does not simply formally complete the plot effect, but exhausts the conflict. The author's assessment of the pictures of characters, the author's understanding of the conflict is focused precisely in the junction.

Major epic genres - noveland epic -differ in their content, first of all on issues. The substantial dominant in the epopea is national, and in the novel - the novel problem (adventurous or ideological-moral). For novel, respectively, it is extremely important to determine to which of the two types it refers. Depending on the genre substantial dominant, the poetics of the novel and epic is also constructed. The epic looks towards the story, the image of the hero in it is built as a quintessence of typical qualities inherent in the people, the ethnos, the class, etc. In the adventurous novel, the story is also clearly dominated, but the image of the hero is already being built differently: it is emphasized free from the estate, corporate and other relationships with the medium thoring. In the novel, the ideological and moral style dominants will almost always be psychologism and dissection.

Over the past one and a half centuries, the epine has developed a new genre of large volume - the Roman-epic, which combines the properties of these two genres. To this genre tradition, such works as "War and Peace" of Tolstoy, "Quiet Don" Sholokhov, "Walking on the Flock" A. Tolstoy, "Living and Dead" Simonov, "Dr. Zhivago" Pasternak and some others. For novel epic, a combination of national and ideological-moral issues is characterized, but not simple summation, but such an integration in which ideological and moral search of the person is correlated primarily with the People's Truth. The problem of Roman-epic becomes, according to Pushkin's expression, the "fate of human and fate of people" in their unity and interdependence; Critical for the whole ethnos event give the philosophical search of the hero special sharpness and urgency, the hero stands before the need to determine its position not just in the world, but in national history. In the field of poetics for Roman-epic is characterized by a compound of psychologism with the story, a composite combination of common, secondary and close-ups, the presence of many plot lines and their interlacing, author's retreats.

Bassni genre is one of the few canonized genres that retained real historical existence in the XIX-XX centuries. Some features of the bass genre can suggest promising analysis directions. This is, first, a large degree of convention and even direct fantastic system. The plot is conditioned in the Basne, so it is although it can be analyzed by elements, but nothing is interesting to such an analysis. Basni's figurative system is based on the principle of allegory, its characters denote any abstract idea - the authorities, justice, ignorance, etc. Therefore, the conflict in the Basna should look for not so much in the collision of real characters as in the confrontation of ideas: so, in " Wolf and lamb "Krylov conflict is not between wolf and a lamb, but between ideas of strength and justice; The plot is moving not so much by the wishes of the wolf dine, how much to give it to this case "legal appearance and sense".

History and typology of the diary genre to write - it means to read yourself. Max Frish origins and the Genre Genre in Russia. The literary diary is growing from the ship's magazine or prison diary, travel or scientific records. May be long, reflecting all your life like

Searches for the genre (1972) Artist of the original genre Pavel Durov spends the night at the penalty area of \u200b\u200bthe GAI provincial town. The bumper of his "Zhiguli" is broken by "zil" -polivka, to do it for the night he has nowhere. Reflecting on why he struck all the country without a visible goal, Durov