The plot is what? Examples of exciting plots in the literature. Types of plot: concentric and chronic
Plots of world literature (36 scenes)
Literature is primarily art, but at the same time - information, although very specific. And the information volume of world artistic literature is continuously increasing, growing up to more and more impressive sizes. But, unlike science and technology, from ideology, in the artistic literature, new information does not cancel and does not push the former. (All masterpieces of world literature in a brief statement. Plots and characters. Russian literature of the XIX century: encyclopedic edition. - M.: Olympus; Publishing Act, 1996. - 832 p., P.11)
Thus, growing over time, the volume of world literature does not change in essence - repetitive stories are used, reflecting the basic plot lines of people's lives.
Each new era adds only the update of the stylistics and some characteristic features of this era, including minor changes in the application of language and preferences.
Systematization, schematization, cataloging of global book wealth occupied analysts of all eras ... In the 9th century, Konstantinople Patriarch Fothy began her, who was "mineobibilion" (translated as "many books" or as a "library") - a meeting of brief descriptions of the works of Greek and Byzantine authors, Including church literature, secular, historical, medical. It is noteworthy that the idea of \u200b\u200bsuch a universal, comprehensive library again became a relevant one hundred years later. In the works of Hermann Hesse and especially in Novgory, Luis Borheses, the image of the "World as a Library" arises.(All masterpieces of world literature in a brief statement. Plots and characters. Russian literature of the XIX century: Encyclopedic edition. - M.: Olympus; Publishing Act, 1996. - 832 S.S.12)
Famous writer Jorge Luis Borheses stated that there is only four The plot and, accordingly, the four heroes, whom he described in his novel "Four Cycles".
1. The oldest story is the story of a deposited city, which storm and defend the heroes. Defenders know that the city is doomed and resistance is useless. This is a story about Three, and the main character - Achille, knows that he will die and not see victory. The hero of the rebel, the very fact of the existence of which is to call the surrounding reality. In addition to Achille, the heroes of this plot are Siegfried, Hercules, Sigurd and others.
2. The second story - about return. The story of Odyssey, who walked around the seas to go home in an attempt. The hero of these stories is a man rejected by society, infinitely wandering in trying to find himself - Don Quixote, Beowulf.
3. The third story is about finding. This story is something similar to the second, but in this case the hero is not rejected and does not oppose himself to society. The most famous example of such a hero is Jason, floating behind the golden rune.
4. The story is the fourth - about the suicide of God. Atis cripples and kills himself, one sacrifices himself, to himself, nine days hanging on a tree, deurpressed by a spear, Roman legionnaires will cunt Christ. The hero of the "death of gods" is losing or finding faith in finding faith - Zarathustra, Bulgakovsky Master, Bolkonsky.
Another famous author Christopher Booker
In his book "The Seven Basic Plots: Why We Tell Stories" ("Seven main scenes: why we tell the story") described seven Basic plots, on the basis of which, in his opinion, are written all the books in the world.
1. "From the dirt in the prince" - the name speaks for itself, the most vivid example, who knows everything since childhood - Cinderella. Heroes - ordinary people who open up something unusual in themselves due to their own efforts or by coinciding the circumstances provided "on top".
2. "Adventure" - a difficult journey in search of a difficult target. According to the Booker, they fall here and Odyssey, and Jason, in addition, the "copy of King Solomon" fall into this category, and "around the world for eighty days."
3. "There and back." Attempts to come home from the usual world at the heart of the plot attempts to go home. This is "Robinson Cruzo", and "Alice in the Looking Gala", and many others.
4. Comedy is not just a general term, this is a certain type of plot, which develops according to its own rules. All novels Jane Austin fall into this category.
5. "Tragedy" - the culmination is the death of the main character because of any nature drawbacks, usually love passion or thirst for power. This is, first of all, "Macbeth", "King Lire" and "Faust".
6. "Sunday" - the hero is under the rule of curse or dark forces, and from this state it takes a miracle. A vivid example of this plot is also familiar with everyone since childhood - Sleeping Beauty, awakened by the Kisses of the Prince.
7. "Victory over the monster" - out of the name it is clear what is the plot - the hero fights the Monster, wins it and receives a "prize" - treasure or love. Examples: Dracula, David and Goliath.
About a hundred years ago, the playwright of Georges Pleistedplots from thirty-six items (by the way, the first number is thirty Six were offered to the Aristotle and much later supported by Viktor Hugo). Thirty-six plots and the most polly covered, mostly dramaturgy and tragedy. Around this list were argued, it was repeatedly criticized, but nobody tried to protest the number 36.
1. Molver. Elements of the situation: 1) Persecutor, 2) pursued and begging on protection, help, asylum, forgiveness, etc., 3) The force on which the protection detends to provide, etc., with the power, not immediately deciding , fluctuating, insecure in itself, why and you have to begone (increasing the emotional impact of the situation), the more it hesitates and is not solved to assist. Examples: 1) A sprinkling flight begs someone who can save him from enemies, 2) Begs about asylum to die in it, 3) The victim of the shipwreck asks the shelter, 4) asks the power of it for expensive, close people, 5) asks one relative for another relative, etc.
2. THE RESCUE. Elements of the situation: 1) unfortunate, 2) threatening, haunting, 3) Savior. This situation differs from the previous one that there a persecuted resorted to the strength of the fluctuating, which was to be silent, and here the Savior appears unexpectedly and saves the unfortunate without hesitation. Examples: 1) Delivery of the famous fairy tale about the blue beard. 2) Salvation sentenced to death or generally located in mortal hazard, etc.
3. Revenge, having a crime. Elements of situations: 1) Avenger, 2) guilty, 3) crime. Examples: 1) blood revenge, 2) revenge in the opponent or rival or lover, or his mistress on the soil of jealousy.
4. Revenge of a close man for another close man or loved ones. Elements of the situation: 1) Live memory of the resentment caused by another close person, harm, about the victims incurred by the sake of their loved ones, 2) a remedy, 3) guilty of these insults, harm, etc. - relative. Examples: 1) Revenge Father for the mother or mother for the Father, 2) Revenge of the brothers for His Son, 3) Father for her husband, 4) husband for his son, etc. Classic example: Hamlet's revenge to her stepfather and mother for his killed father .
5. PURSUED. Elements of the situation: 1) a dedicated crime or rock error and expected Kara, Payback, 2) Covering from punks, payback for a crime or error. Examples: 1) Passed by the authorities for politics (for example, "Robbers" Schiller, the history of the revolutionary struggle in the underground), 2) pursued for the robbery (detective history), 3) pursued for a mistake in love ("Don Juan" Moliere, Alimen Stories and etc.), 4) The hero pursued by the superior force ("chained Prometheus" of Eschil, etc.).
6. Sudden disaster. Elements of situations: 1) The winner's enemy appears independent; Or a messenger, bringing a terrible message about defeat, collapse, etc., 2) defeated by the winner or combat the lizel's news, a powerful banker, an industrial king, etc. Examples: 1) Drop Napoleon, 2) "Money" Zola, 3 ) "End of Tartarna" Anfons Dode, etc.
7. Sacrifice (i.e. anyone, the victim of some other person or people or the victim of any circumstances, any misfortune). Elements of the situation: 1) the one who can affect the fate of another person in the sense of his oppression or any misfortune. 2) weak, which is a victim of another person or misfortune. Examples: 1) Rolled or operated by those who had to take care and defend, 2) previously beloved or close, convinced that he was forgotten, 3) unfortunate, who lost all hope, etc.
8. Perturbation, rebellion, rebellion. Elements of the situation: 1) tyran, 2) conspirator. Examples: 1) Conspiracy of one ("Conspiracy of Fiese" Schiller), 2) Conspiracy of several, 3) Perturbation of one ("Egmond" Goethe), 4) Naturalness of many ("Wilhelm Tel" Schiller, "Zerminal" Zola)
9. Cheeky attempt. Elements of situations: 1) Daring, 2) object, i.e., what the daring to be solved, 3) the enemy, the face opposing. Examples: 1) The abduction of the object ("Prometheus - the kidnapper of fire" Eschila). 2) Enterprises related to the dangers and adventures (Jul novels are true, and generally adventure plots), 3) a dangerous enterprise in connection with the desire to achieve a beloved woman, etc.
10. Abduction. Elements of the situation: 1) The kidnapper, 2) abductable, 3) guarding the abducted and being an obstacle to the abduction or opposing abduction. Examples: 1) The abduction of a woman without its consent, 2) the abduction of a woman with her consent, 3) kidnapping, comrade from captivity, prisons, etc. 4) the abduction of the child.
11. The mystery (i.e., on the one hand, the mystery setting, and on the other handasked, the desire to solve the riddle). Elements of the situation: 1) A mysterious mystery, hiding anything, 2) seeking to solve a riddle, learn something, 3) the subject of riddles or ignorance (mysterious) examples: 1) Under the fear of death, you need to find any person or subject, 2 ) Look lost, lost, 3) Under the fear of death, resolve a riddle (Oedip and Sphinx), 4) to make all sorts of tricks of a person open what he wants to hide (name, gender, mental state, etc.)
12. Achieve something. Elements of the situation: 1) the striving for something to achieve something, having something, 2) that the achievement of something, refusing or helping, intermediary, 3) can be from consent or helping, intermediary, 3). Examples: 1) Try to get a thing from the owner or any other life benefit, marriage, position, money, etc. Cook or power, 2) try to get something or achieve anything with the help of eloquence (right facing the owner of the thing or - to the judge, arbitrators, on which the award depends)
13. Hate to loved ones. Elements of the situation: 1) hated, 2) hated, 3) the cause of hatred. Examples: 1) Hate between loved ones (for example, brothers) from envy, 2) Hate between loved ones (for example, son, hated father) for considerations of material benefits, 3) hatred of mother-in-law to the future daughter-in-law, 4) shaky to the son-in-law, 5) to stepdaughter and so on.
14. Rivalry of loved ones. Elements of the situation: 1) One of the loved ones - preferred, 2) Other - neglected or thrown, 3) The subject of rivalry (at the same time, it seems that the peripetia is possible first the preferred turns back to be neglected and vice versa) Examples: 1) Rivalry of the brothers ("Pierre and Jean »Moopassana), 2) rivalry sisters, 3) Father and Son - because of women, 4) mother and daughters, 5) rivalry of friends (" Two Verona "Shakespeare)
15. Aduilter (i.e. adultery, marital treason), leading to the murder. Elements of the situation: 1) One of the spouses, violating the marital loyalty, 2) another of the spouses - deceived, 3) violation of the marital loyalty (i.e. someone is the third - lover or lover). Examples: 1) Kill or allow your lover to kill her husband ("Lady McBet Mtsensky County" Leskov, "Teresa Raken" Zola, "Power of Darkness" Tolstoy) 2) Kill a lover who confessed his mystery ("Samson and Dalila") and others .
16. MADNESS. Elements of the situation: 1) fell in madness (insane), 2) the victim of a person in madness, 3) a real or imaginary reason for madness. Examples: 1) In the fit of the madness kill her lover ("Prostitute Eliza" of the Honor), a child, 2) in the fit of madness to burn, destroy his or someone else's work, the work of art, 3) in a drunken form to give a secret or commit a crime.
17. Rock negligence. Elements of the situation: 1) careless, 2) the victim of negligence or lost object, it sometimes joins 3) a good adviser, cautioning from negligence, or 4) an instigator, or the other. Examples: 1) Due to negligence to be the cause of one's own misfortune, dishonserted yourself ("Money" of Zola), 2) Due to negligence or a challenge to cause the misfortune or death of another person close to (Bible Eva)
18. Unwitting (by ignorance) The crime of love (in particular the bloodstream). Elements of the situation: 1) Lover (husband), lover (wife), 3) recognition (in the event of a heightened) that they are in close degrees of kinship, preventing love relationships according to the law and the acting morality. Examples: 1) Find out what he married his mother ("EDIP" Eshil, Sofokla, Cornel, Voltaire), 2) Find out that the mistress - sister ("Messinskaya Bride" Schiller), 3) a very banal case: find out what a mistress - Married.
19. Unwitting (by ignorance) killing close. Elements of the situation: 1) Killer, 2) Unrecognal Victim, 3) Exposing, recognition. Examples: 1) involuntarily contribute to the murder of her daughter, from hate to her lover (the "king is having fun" of the Hugo, the play, on which the Opera "Rigoletto", 2) is not knowing her father, to kill him ("fucking" Turgenev with the fact that the murder Replaced with an insult), etc.
20. Self-sacrifice in the name of the ideal. Elements of the situation: 1) Hero sacrificing, 2) Ideal (word, debt, faith, conviction, etc.), 3) Sacrifice. Examples: 1) Donate your well-being for the sake of debt ("Resurrection" of Tolstoy), 2) to sacrifice your life in the name of faith, beliefs ...
21. Self-sacrifice for loved ones. Elements of the situation: 1) the hero sacrificing, 2) is close to whom the hero sacrifice, 3) what the hero sacrifice. Examples: 1) Donate your ambition and success in life for the sake of a loved one ("Zemgano Brothers" of the Horcard), 2) to sacrifice with their love for the sake of a child, for the sake of a native person, 3) to sacrifice their chastity for the life of a loved one or a loved one ("longing" sorf ), 4) sacrifice the life for the life of a native or loved one, etc.
22. Donate everyone - for the sake of passion. Elements of the situation: 1) Love, 2) The subject of fatal passion, 3) what is sacrificed. Examples: 1) Passion destroying the vow of religious chastity ("Bug of Abbot Moore" Zola), 2) Passion, destroying power, Power ("Anthony and Cleopatra" Shakespeare), 3) Passion, pushed by the price of life ("Egyptian Nights" Pushkin) . But not only a passion for a woman, or women to a man, but also a passion for the run, a card game, guilt, etc.
23. Donate your loved ones due to necessity, inevitability. Elements of the situation: 1) Hero, sacrificing a close man, 2) A close to sacrifice. Examples: 1) the need to sacrifice the daughter for the sake of public interest ("Iphigations" of Eschil and Sophocla, "Iphigations in Tavrida" of Eurypid and Racina), 2) the need to sacrifice close or their supporters for their faith, convictions ("93 years" Hugo) and t d.
24. Rivalry unequal (as well as almost equal or equal). Elements of the situation: 1) One rival (in the case of unequal rivalry - the lowest, weaker), 2) another rival (the highest, stronger), 3) subject of rivalry. Examples: 1) Rivalry of the winner and its concluded ("Maria Stewart" Schiller), 2) rivalry of the rich and poor. 3) rivalry of a person who loves, and a person who has no right to love ("Esmeralda" V. Hugo), etc.
25. Adulter (adultery, violation of marital loyalty). Elements of situations: the same as in Ajulter, leading to the murder. Not counting the adulter capable of creating a situation - in itself, Peli considers it as a private cause of theft, aggravated betrayal, and indicates three possible cases: 1) Lover (CA) more than pleasant, rather than a deceived spouse (aya) ), 2) The lover (CA) is less sympathetic than the deceived (aya) spouse (a), 3) deceived (aya) Sugtroy (a) Avenge. Examples: 1) Madame Bovari Flaubert, Creicherova Sonata L. Tolstoy.
26. Crime of love. Elements of situations: 1) Love (AA), 2) Favorite (Aya). Examples: 1) Woman in loved in her husband's husband ("Fedra" of Sofokla and Racina, "Ippolit" of Eurypid and Seneki), 2) Blood mixing passion of Dr. Pascal (in the zola's novel), etc.
27. Learning about dishonorous or loved ones (sometimes associated with what the sentence learned is forced to say, punish a loved one or relative). Elements of the situation: 1) recognition, 2) guilty beloved or close, 3) wines. Examples: 1) Learn about the dishonle of your mother, daughters, wives, 2) to discover that the brother or son's killer, a departure of the Motherland and be forced to punish him, 3) to be forced by virtue of the oath about the murder of Tirana - to kill his father, etc. .
28. An obstacle to love. Elements of situations: 1) Lover, 2) Mistress, 3) obstacle. Examples: 1) Marriage, frustrated due to social or property inequality, 2) Marriage upset by enemies or random circumstances, 3) Marriage is upset due to hostility between parents from the other side, 4) Marriage upset due to Nightness of the characters of lovers and so on.
29. Love for the enemy. Elements of the situation: 1) the enemy, who excited love, 2) loving enemy, 3) the reason why the beloved is an enemy. Examples: 1) Favorite - the opponent of the party, to which loving, 2) beloved - the killer of his father, her husband, or a relative of that who loves him ("Romeo and Jvletta",), etc.
30. Ambolism and authority. Elements of the situation: 1) ambition, 2) what he wishes, 3) an opponent or rival, that is, a person opposing. Examples: 1) ambition, greed, leading to crimes ("Macbeth" and "Richard 3" Shakespeare, "Career Rugs" and "Earth" of Zola), 2) Ambolism, leading to Bunta, 3) ambition, which is opposed by a close person, Friend, relative, their own supporters, etc.
31. Bog care (struggle against God). Elements of the situation: 1) man, 2) God, 3) reason or subject of struggle. Examples: 1) Fighting God, stocking with him, 2) Fighting faithful to God (Julian Apostate), etc.
32. Unconscious jealousy, envy. Elements of the situation: 1) Revnier, envious, 2) The subject of his jealousy and envy, 3) the intended rival, the applicant, 4) a reason for delusion or the culprit of it (traitor). Examples: 1) Jealousy is caused by a traitor who encourages hatred ("Othello") 2) Traitor acts from the benefit or jealousy ("Deceit and love" of Schiller), etc.
33. JUDGEMENT MISTAKE. Elements of the situation: 1) One who is mistaken, 2) Victims of errors, 3) The subject of error, 4) True criminal Examples: 1) The judicial mistake is provoked by the enemy ("Paris" Zola), 2) a judicial mistake provoked by a close man, the victim's brother ("Robbers" Schiller), etc.
34. REMORSE. Elements of the situation: 1) guilty, 2) victim of the guilty (or its mistake), 3) Wanting guilty, trying to expose it. Examples: 1) A remarks of the killer's conscience ("Crime and Punishment"), 2) Conscience remorse due to the mistake of love ("Madeleine" Zola), etc.
35. Lost and found. Elements of the situation: 1) Lost 2) Found (OE), 2) Found. Examples: 1) "Children of Captain Grant", etc.
36. Loss of loved ones. Elements of the situation: 1) The deceased close man, 2) who lost a loved one, 3) the perpetrator of the death of a loved one. Examples: 1) Aless to take something (save your loved ones) - witness their death, 2) being a bound professional secret (medical or secret confession, etc.) he sees the misfortune of loved ones, 3) to predict the death of loved ones, 4) On the death of the ally, 5) in despair from the death of his beloved (oh) lose all interest in life, go down, etc.
Disputes about how many and which plots exist in the literature are still being carried out. Different options are offered, different numbers, but researchers cannot come to a common opinion. In principle, each person can find its own options for this list and, with a proper desire, having got rid of all extra, leaving only the "skeleton", to find confirmation of his version in all works of world literature.
In our studies, with the help of factor analysis of 36 scenes, only 5 were allocated:
1. Adulter (adultery, treason) with revenge
2. Restoration of justice
3. Search, achievement.
4. Victim in the family and for the sake of family
5. Victim for the sake of idea.
At least 4 of them are very similar to the stories offered by Borges.
From the point of view of psychology, preference or selection of one or another plot in the literature or in the cinema is reflected by the Caulmimm of the state of the person and as a maximum of its psychological (value, goals, norms, interests, abilities) and psychophysiological (features of perception, information processing, depending on the physiological type The functioning, from the type of the leading nervous system, the method of response) of the human type, the continuation of which is its worldview, which includes "addiction" to certain storylines of life, and literature in particular. In addition, it is interesting to consider the scenes, which are repeated in all works, as a symbolic reflection of genetic programs laid and evaluated in the non-specific department of the nervous system.
Therefore, your preference for scenes in connection with psychophysiological data is interesting.
Analysis.
In this case, this questionnaire should be considered by you as a reflection of your interests to the plot lines. Your task to consider the closest and most rejected plots in connection with your type of activation. In the analysis of data when describing its type, enable the descriptions of the plots not interested in and the plots of interest to you with the refinement of possible reasons for this and the relationship between them, as well as try to summarize the storylines and associate them with your type of activation and other psychological data, that is, explain these relationships.
The number of plots in world literature is limited. With this fact, almost every person faces, who decided once to do the writer's craft. And this amount is not only limited, but also calculated! There are several typologies that give a rather convincing answer to the question: "How much of the entire plots are in stock?"
For the first time, the Byzantine writer (and part-time Constantinople Patriarch) Fotius became interested in this problem, in the 9th century, the meeting of the brief descriptions of the works of the ancient Greek and Byzantine authors, including church literature, secular, historical.
A thousand years later, an interest in this problem flashed with a new force, and now the list of plots sought to draw up as brief as possible!
Jorge Louis Borges stated that there are only four plots and, accordingly, four heroes, which he described in his novel "four cycles".
1. The oldest story is the story of a deposited city, which storm and defend the heroes. Defenders know that the city is doomed and resistance is useless. (This is a story about three, and the main character - Achille, knows that he will die, never seeing victory. The hero of the rebel, the very fact of the existence of which is to call the surrounding reality.
2. The second story - about return. The story of Odyssey, who walked around the seas to go home in an attempt. The hero of these stories is a man rejected by society, infinitely wandering in trying to find himself - Don Quixote, Beowulf.
3. The third story is about finding. This story is something similar to the second, but in this case the hero is not rejected and does not oppose himself to society. The most famous example of such a hero is Jason, floating behind the golden rune.
4. The story is the fourth - about the suicide of God. Atis cripples and kills himself, one sacrifices himself, to himself, nine days hanging on a tree, deurpressed by a spear, Roman legionnaires will cunt Christ. The hero of the "death of gods" is losing or finding faith in finding faith - Zarathustra, Bulgakovsky Master, Bolkonsky.
* * *
Christopher Booker in his book "The Seven Basic Plots: Why We Tell Stories" ("Seven main plots: why we tell stories") described how to guess, seven basic plots, on the basis of which, in his opinion, wrote all the books in world.
1. "From the dirt in the prince" - the name speaks for itself, the most vivid example, who knows everything since childhood - Cinderella. Heroes - ordinary people who open up something unusual in themselves due to their own efforts or by coinciding the circumstances provided "on top".
2. "Adventure" - a difficult journey in search of a difficult target. According to the Booker, they fall here and Odyssey, and Jason, in addition, the "copy of King Solomon" fall into this category, and "around the world for eighty days."
3. "There and back." Attempts to come home from the usual world at the heart of the plot attempts to go home. In the interpretation of the buter is both "Robinson Cruzo", and "Alice in the Looking Game", and many others.
4. "Comedy" is a certain kind of plot, which develops according to its own rules. All novels Jane Austin fall into this category.
5. "Tragedy" - the culmination is the death of the main character because of any nature drawbacks, usually love passion or thirst for power. This is, first of all, "Macbeth", "King Lire" and "Faust".
6. "Sunday" - the hero is under the rule of curse or dark forces, and from this state it takes a miracle. A vivid example of this plot is a sleeping beauty, awakened by the Kisses of the Prince.
7. "Victory over the monster" - out of the name it is clear what is the plot - the hero fights the Monster, wins it and receives a "prize" - treasure or love. Examples: Dracula, David and Goliath
* * *
But the most sensational was the list of scenes, composed by the playwright George Plete, who included thirty-six items (by the way, the first number of thirty-six was asked to the Aristotle and much later supported by Viktor Hugo). Thirty-six plots and the most polly covered, mostly dramaturgy and tragedy. There were disputes around this list, it was repeatedly criticized, but nobody tried to protest the number 36 itself.
1. Molver. Elements of the situation: 1) Persecutor, 2) pursued and begging on protection, help, asylum, forgiveness, etc., 3) The force on which the protection detends to provide, etc., with the power, not immediately deciding , fluctuating, insecure in itself, why and you have to begone (increasing the emotional impact of the situation), the more it hesitates and is not solved to assist. Examples: 1) A sprinkling flight begs someone who can save him from enemies, 2) Begs about asylum to die in it, 3) The victim of the shipwreck asks the shelter, 4) asks the power of it for expensive, close people, 5) asks one relative for another relative, etc.
2. Salvation. Elements of the situation: 1) unfortunate, 2) threatening, haunting, 3) Savior. This situation differs from the previous one that there a persecuted resorted to the strength of the fluctuating, which was to be silent, and here the Savior appears unexpectedly and saves the unfortunate without hesitation. Examples: 1) Delivery of the famous fairy tale about the blue beard. 2) Salvation sentenced to death or generally located in mortal hazard, etc.
3. Revenge, having a crime. Elements of situations: 1) Avenger, 2) guilty, 3) crime. Examples: 1) blood revenge, 2) revenge in the opponent or rival or lover, or his mistress on the soil of jealousy.
4. Revenge of a loved one for another close man or loved ones. Elements of the situation: 1) Live memory of the resentment caused by another close person, harm, about the victims incurred by the sake of their loved ones, 2) a remedy, 3) guilty of these insults, harm, etc. - relative. Examples: 1) Revenge Father for the mother or mother for the Father, 2) Revenge of the brothers for His Son, 3) Father for her husband, 4) husband for his son, etc. Classic example: Hamlet's revenge to her stepfather and mother for his killed father .
5. Pursued. Elements of the situation: 1) a dedicated crime or rock error and expected Kara, Payback, 2) Covering from punks, payback for a crime or error. Examples: 1) Passed by the authorities for politics (for example, "Robbers" Schiller, the history of the revolutionary struggle in the underground), 2) pursued for the robbery (detective history), 3) pursued for a mistake in love ("Don Juan" Moliere, Alimen Stories and etc.), 4) The hero pursued by the superior force ("chained Prometheus" of Eschil, etc.).
6. Sudden disaster. Elements of situations: 1) The winner's enemy appears independent; Or a messenger, bringing a terrible message about defeat, collapse, etc., 2) defeated by the winner or combat the lizel's news, a powerful banker, an industrial king, etc. Examples: 1) Drop Napoleon, 2) "Money" Zola, 3 ) "End of Tartarna" Anfons Dode, etc.
7. The victim (i.e., anyone, the victim of some other person or people or the victim of any circumstances, any misfortune). Elements of the situation: 1) the one who can affect the fate of another person in the sense of his oppression or any misfortune. 2) weak, which is a victim of another person or misfortune. Examples: 1) Rolled or operated by those who had to take care and defend, 2) previously beloved or close, convinced that he was forgotten, 3) unfortunate, who lost all hope, etc.
8. Outrage, rebellion, rebellion. Elements of the situation: 1) tyran, 2) conspirator. Examples: 1) Conspiracy of one ("Conspiracy of Fiese" Schiller), 2) Conspiracy of several, 3) Perturbation of one ("Egmond" Goethe), 4) Naturalness of many ("Wilhelm Tel" Schiller, "Zerminal" Zola)
9. Cutting attempt. Elements of situations: 1) Daring, 2) object, i.e., what the daring to be solved, 3) the enemy, the face opposing. Examples: 1) The abduction of the object ("Prometheus - the kidnapper of fire" Eschila). 2) Enterprises related to the dangers and adventures (Jul novels are true, and generally adventure plots), 3) a dangerous enterprise in connection with the desire to achieve a beloved woman, etc.
10. Abduction. Elements of the situation: 1) The kidnapper, 2) abductable, 3) guarding the abducted and being an obstacle to the abduction or opposing abduction. Examples: 1) The abduction of a woman without its consent, 2) the abduction of a woman with her consent, 3) kidnapping, comrade from captivity, prisons, etc. 4) the abduction of the child.
11. Riddle (i.e., on the one hand, the mystery setting, and on the other - the ask, the desire to solve the riddle). Elements of the situation: 1) A mysterious mystery, hiding anything, 2) seeking to solve a riddle, learn something, 3) the subject of riddles or ignorance (mysterious) examples: 1) Under the fear of death, you need to find any person or subject, 2 ) Look lost, lost, 3) Under the fear of death, resolve a riddle (Oedip and Sphinx), 4) to make all sorts of tricks of a person open what he wants to hide (name, gender, mental state, etc.)
12. Achieving something. Elements of the situation: 1) the striving for something to achieve something, having something, 2) that the achievement of something, refusing or helping, intermediary, 3) can be from consent or helping, intermediary, 3). Examples: 1) Try to get a thing from the owner or any other life benefit, marriage, position, money, etc. Cook or power, 2) try to get something or achieve anything with the help of eloquence (right facing the owner of the thing or - to the judge, arbitrators, on which the award depends)
13. Hatred for loved ones. Elements of the situation: 1) hated, 2) hated, 3) the cause of hatred. Examples: 1) Hate between loved ones (for example, brothers) from envy, 2) Hate between loved ones (for example, son, hated father) for considerations of material benefits, 3) hatred of mother-in-law to the future daughter-in-law, 4) shaky to the son-in-law, 5) to stepdaughter and so on.
14. Rivalry of loved ones. Elements of the situation: 1) One of the loved ones - preferred, 2) Other - neglected or thrown, 3) The subject of rivalry (at the same time, it seems that the peripetia is possible first the preferred turns back to be neglected and vice versa) Examples: 1) Rivalry of the brothers ("Pierre and Jean »Moopassana), 2) rivalry sisters, 3) Father and Son - because of women, 4) mother and daughters, 5) rivalry of friends (" Two Verona "Shakespeare)
15. Aduilter (i.e. adultery, marital treason), leading to the murder. Elements of the situation: 1) One of the spouses, violating the marital loyalty, 2) another of the spouses - deceived, 3) violation of the marital loyalty (i.e. someone is the third - lover or lover). Examples: 1) Kill or allow your lover to kill her husband ("Lady McBet Mtsensky County" Leskov, "Teresa Raken" Zola, "Power of Darkness" Tolstoy) 2) Kill a lover who confessed his mystery ("Samson and Dalila") and others .
16. Madness. Elements of the situation: 1) fell in madness (insane), 2) the victim of a person in madness, 3) a real or imaginary reason for madness. Examples: 1) In the fit of the madness kill her lover ("Prostitute Eliza" of the Honor), a child, 2) in the fit of madness to burn, destroy his or someone else's work, the work of art, 3) in a drunken form to give a secret or commit a crime.
17. Rocking carelessness. Elements of the situation: 1) careless, 2) the victim of negligence or lost object, it sometimes joins 3) a good adviser, cautioning from negligence, or 4) an instigator, or the other. Examples: 1) Due to negligence to be the cause of one's own misfortune, dishonserted yourself ("Money" of Zola), 2) Due to negligence or a challenge to cause the misfortune or death of another person close to (Bible Eva)
18. Unwitting (by ignorance) a crime of love (in particular the healing). Elements of the situation: 1) Lover (husband), lover (wife), 3) recognition (in the event of a heightened) that they are in close degrees of kinship, preventing love relationships according to the law and the acting morality. Examples: 1) Find out what he married his mother ("EDIP" Eshil, Sofokla, Cornel, Voltaire), 2) Find out that the mistress - sister ("Messinskaya Bride" Schiller), 3) a very banal case: find out what a mistress - Married.
19. Unwitting (by ignorance) killing close. Elements of the situation: 1) Killer, 2) Unrecognal Victim, 3) Exposing, recognition. Examples: 1) involuntarily contribute to the murder of her daughter, from hate to her lover (the "king is having fun" of the Hugo, the play, on which the Opera "Rigoletto", 2) is not knowing her father, to kill him ("fucking" Turgenev with the fact that the murder Replaced with an insult), etc.
20. Self-sacrifice in the name of the ideal. Elements of the situation: 1) Hero sacrificing, 2) Ideal (word, debt, faith, conviction, etc.), 3) Sacrifice. Examples: 1) Donate your well-being for the sake of debt ("Resurrection" of Tolstoy), 2) to sacrifice your life in the name of faith, beliefs ...
21. Self-sacrifice for loved ones. Elements of the situation: 1) the hero sacrificing, 2) is close to whom the hero sacrifice, 3) what the hero sacrifice. Examples: 1) Donate your ambition and success in life for the sake of a loved one ("Zemgano Brothers" of the Horcard), 2) to sacrifice with their love for the sake of a child, for the sake of a native person, 3) to sacrifice their chastity for the life of a loved one or a loved one ("longing" sorf ), 4) sacrifice the life for the life of a native or loved one, etc.
22. Donate everyone - for the sake of passion. Elements of the situation: 1) Love, 2) The subject of fatal passion, 3) what is sacrificed. Examples: 1) Passion destroying the vow of religious chastity ("Bug of Abbot Moore" Zola), 2) Passion, destroying power, Power ("Anthony and Cleopatra" Shakespeare), 3) Passion, pushed by the price of life ("Egyptian Nights" Pushkin) . But not only a passion for a woman, or women to a man, but also a passion for the run, a card game, guilt, etc.
23. Donate your close man due to necessity, inevitability. Elements of the situation: 1) Hero, sacrificing a close man, 2) A close to sacrifice. Examples: 1) the need to sacrifice the daughter for the sake of public interest ("Iphigations" of Eschil and Sophocla, "Iphigations in Tavrida" of Eurypid and Racina), 2) the need to sacrifice close or their supporters for their faith, convictions ("93 years" Hugo) and t d.
24. Rivalry unequal (as well as almost equal or equal). Elements of the situation: 1) One rival (in the case of unequal rivalry - the lowest, weaker), 2) another rival (the highest, stronger), 3) subject of rivalry. Examples: 1) Rivalry of the winner and its concluded ("Maria Stewart" Schiller), 2) rivalry of the rich and poor. 3) rivalry of a person who loves, and a person who has no right to love ("Esmeralda" V. Hugo), etc.
25. Adulter (adultery, violation of marital allegiance). Elements of situations: the same as in Ajulter, leading to the murder. Not counting the adulter capable of creating a situation - in itself, Peli considers it as a private cause of theft, aggravated betrayal, and indicates three possible cases: 1) Lover (CA) more than pleasant, rather than a deceived spouse (aya) ), 2) The lover (CA) is less sympathetic than the deceived (aya) spouse (a), 3) deceived (aya) Sugtroy (a) Avenge. Examples: 1) Madame Bovari Flaubert, Creicherova Sonata L. Tolstoy.
26. Crime of love. Elements of situations: 1) Love (AA), 2) Favorite (Aya). Examples: 1) Woman in loved in her husband's husband ("Fedra" of Sofokla and Racina, "Ippolit" of Eurypid and Seneki), 2) Blood mixing passion of Dr. Pascal (in the zola's novel), etc.
27. Learning about the dishonor of a loved one or loved ones (sometimes related to the fact that the sentence learned is forced to pronounce, punish a loved one or loved one). Elements of the situation: 1) recognition, 2) guilty beloved or close, 3) wines. Examples: 1) Learn about the dishonle of your mother, daughters, wives, 2) to discover that the brother or son's killer, a departure of the Motherland and be forced to punish him, 3) to be forced by virtue of the oath about the murder of Tirana - to kill his father, etc. .
28. An obstacle to love. Elements of situations: 1) Lover, 2) Mistress, 3) obstacle. Examples: 1) Marriage, frustrated due to social or property inequality, 2) Marriage upset by enemies or random circumstances, 3) Marriage is upset due to hostility between parents from the other side, 4) Marriage upset due to Nightness of the characters of lovers and so on.
29. Love for the enemy. Elements of the situation: 1) the enemy, who excited love, 2) loving enemy, 3) the reason why the beloved is an enemy. Examples: 1) Favorite - the opponent of the party, to which loving, 2) beloved - the killer of his father, her husband, or a relative of that who loves him ("Romeo and Jvletta",), etc.
30. Ambitious and powerfulness. Elements of the situation: 1) ambition, 2) what he wishes, 3) an opponent or rival, that is, a person opposing. Examples: 1) ambition, greed, leading to crimes ("Macbeth" and "Richard 3" Shakespeare, "Career Rugs" and "Earth" of Zola), 2) Ambolism, leading to Bunta, 3) ambition, which is opposed by a close person, Friend, relative, their own supporters, etc.
31. Bogobility (struggle against God). Elements of the situation: 1) man, 2) God, 3) reason or subject of struggle. Examples: 1) Fighting God, stocking with him, 2) Fighting faithful to God (Julian Apostate), etc.
32. Unconscious jealousy, envy. Elements of the situation: 1) Revnier, envious, 2) The subject of his jealousy and envy, 3) the intended rival, the applicant, 4) a reason for delusion or the culprit of it (traitor). Examples: 1) Jealousy is caused by a traitor who encourages hatred ("Othello") 2) Traitor acts from the benefit or jealousy ("Deceit and love" of Schiller), etc.
33. Judicial error. Elements of the situation: 1) One who is mistaken, 2) Victims of errors, 3) The subject of error, 4) True criminal Examples: 1) The judicial mistake is provoked by the enemy ("Paris" Zola), 2) a judicial mistake provoked by a close man, the victim's brother ("Robbers" Schiller), etc.
34. Conscience remorse. Elements of the situation: 1) guilty, 2) victim of the guilty (or its mistake), 3) Wanting guilty, trying to expose it. Examples: 1) A remarks of the killer's conscience ("Crime and Punishment"), 2) Conscience remorse due to the mistake of love ("Madeleine" Zola), etc.
35. Lost and found. Elements of the situation: 1) Lost 2) Found (OE), 2) Found. Examples: 1) "Children of Captain Grant", etc.
36. Loss of loved ones. Elements of the situation: 1) The deceased close man, 2) who lost a loved one, 3) the perpetrator of the death of a loved one. Examples: 1) Aless to take something (save your loved ones) - witness their death, 2) being a bound professional secret (medical or secret confession, etc.) he sees the misfortune of loved ones, 3) to predict the death of loved ones, 4) On the death of the ally, 5) in despair from the death of his beloved (oh) lose all interest in life, go down, etc.
* * *
I admit honestly, it seems to me that Peli made up his list too common, too smashfully, and although I repeatedly studied this list, I was interested in it, but I could not say that he satisfied me entirely. I agree with the idea that the number of world literature is limited, but from the previously important typologies and lists, none seems to be completely adequate to me.
And therefore, I am ready to offer my typology, or rather my list, and so as not to repeat the elder comrades, I will determine the circle of most common plots, the most popular to which, however, the most of the works of literature, dramaturgy and cinematography are reduced. Moreover, I do not describe the basic topics, not in general, but specifying.
So, the main plots, according to Max Akimov, twelve:
The first plot, the most bridal - Cinderella. It is very stable, all the variations are stacked in a clear plot of "Standalon". The plot is loved by the authors of the ladies' literature, often applied by the scenarios of melodram. Examples are a huge set.
The second story is the Count Monte Cristo - the secret hero, which is revealed to the end of the play, from somewhere receiving wealth, or opportunities. His mission is to take revenge, or accomplish justice! The plot loves the authors of adventure novels and detectives. He appeared long before Alexander Duma, but this novelist was the most successfully "reckoned" this is a plot, and after him many were used and used the above-mentioned plot.
The third story is Odyssey. This plot can be called first, it is unusually popular. Variations based on it can be different, but it is only to look, and the ears are completely obvious. Fantasy, fantasists, the authors of adventure literature, romanov-travel and some other genres love this ancient plot, and sometimes copy and details of an ancient Greek history, which can be considered a starting, reference.
The fourth plot is Anna Karenina. Tragic love triangle. It has roots in the ancient Greek tragedies, but it was most bright and detailed to write it left Nikolaevich. In the twentieth century, especially at the beginning and middle of the century, this plot was one of the most popular, (even ordinary copies written off at Tolstoy, when the craftsmen change only names-names, historical scenery and other entourage, I have seen a few). But a lot of talented variations on this topic.
The fifth plot is Hamlet. Strong personality with a movable psyche. The grooved hero, reflecting and bright, fighting for justice, having born treachery of loved ones and other charms. Nothing, in the final, not seeking, capable only to vulnery himself, but to achieve some spiritual enlightenment and purification, which encourages the audience. Interesting to disgrace.
Here and comments have nothing to give. The plot is stable, very popular, in it there is a lot of worthwesome, (native and close to the Russian heart, and mine in particular). At the present moment, this plot is popular than ever.
Sixth plot - Romeo and Juliet. History of happy love. The total number of repetitions of this plot exceeds the number of repetitions of all other plots, but why there are very few talented works, literally on the fingers can be counted. However, in the current series, in fictionalism (especially female), in drama and song creativity the plot is unusually popular.
The plot, again, is extremely stable, as it went with antiquity, and the bottom, special variations are a bit.
The seventh plot is fathers and children. The origins of his ancient Greek, the plot is complex, and so in it, the space for variations is very large. This can also be conditionally attributed to the story of the Bride of Jason, which is forced to choose between the Father and the Bridegroom, to sacrifice one of them. In short, all the variety of parental egoism encountered with the egoism of children, describes this ancient tangle of plots similar to each other. Altruism of the parents is found, and even less often the altruism of children, but usually it ends with the tragedy (as if he smoothed who all our human race. King Lira Ask you, he will tell you).
The eighth plot is Robinson. Partly echoes the Hamlet, primarily in the sound of the theme of loneliness, and a little with the sameness, but the story of Robinson can be called a separate large plot of world literature. The current writers and screenwriters often copy, the Word for the Word, the work of Daniel Defo. But there are a lot of talented and original variations. The hero, most often, is absolutely alone on the island, but this is not a prerequisite, it happens that several heroes are in some convergence from the big world, trying to survive and remain personality, so that in the end to escape. My favorite variation is the story of Saltykova-Shchedrin "As one man's two generals proceeding."
The ninth plot is the Trojan theme, the topic of war. Confrontation of two systems, enmity and hatred, whose working side is nobility and self-denial. This plot, as a rule, enjoyed on other plots, or they lay on it, but are not uncommon and classic military novels, descriptions of wars in detail, with varying degrees of artisticity. The organic part of this category of plots is the plot of "Spartak" - a story about the fighter, about the hero, whose personality is sometimes the opposite of the characteristics of reflexing heroes, since the essence of Spartacus is a hard struggle as a way of salvation, as a lifestyle and image of thoughts, the struggle is tense, explicit, throwing call.
The tenth plot is a catastrophe and its consequences. Classic antique plot. At this time, he was dragged in such a way that speak reluctance. A lot of mediocre copies, however, occasionally meet and curious. The plot is very narrow in terms of semantic variations, but very broad in terms of descriptive features, entourage and details. But, according to conscience, almost every next novel repeats the previous one, even though you do not go to the fortuneteller!
Eleventh plot - Ostap Bender - Plutovskaya Roman, an adventurous novel. The origins and classic samples are in the Literature of France of the New Time. Extremely popular in our days, most often comedy. The tangle of plots is quite bright, often come across and successful variations, but they all, anyway, copy a couple of templates created at the beginning of the twentieth century.
The similarity of the same plot can be conditionally attributed to numerous novels, stories and stories operating the image of an ironic private detective (or investigator), which acts as "Ostap Bender on the contrary." Today, a certain "plutical detective" is popularly popular (sometimes a "Plutovskaya Action"), whose protagonist discloses crimes, or the scams (and sometimes the secrets of the past).
This plot is often complemented by a literary admission, which can be called "story-rebus", most television series (detective format) are built on it, as well as a lot of book series, in the abundance of shielded shops.
The twelfth story is a time machine, a trip to the future. Its mirror reflection is the stylization of traveling in the past, historical novels. However, this type of works, as a rule, uses the "travel to the past" only as an entourage, and the plot is traced one of those that I listed above, while the "travel to the future" is often a "pure plot", that is, the essence of it comes down it is to describe that how it is all arranged in this unknown future.
Well, this is the approximate list of the most commonly used plot-affected by writers. Often, the plots come across a reference form, but the writer who is smarter who read a lot, he, before sitting down for a written table, tries to find the synthesis of plots, that is, in one product, combine several basic plots, as well as the most modified the original idea plot.
There is also a phenomenon like an unmantively prose, something like the story-sketch, novel-sketch, (it is possible to determine these genres in different ways). The literary advantages of such texts are different, sometimes quite good, philosophical motives, imitation of Ovid and TD sound in them.
But still, there are often pretty clear modifications of those twelve plots that I listed.
There are two, and there is such a dialogue between them:
Listen, I read this book ... She captured so that he could not go away!
Tell me the plot, - immediately asks the second.
There is a completely natural question: the plot is what is it? The answer is below.
Determination without literary sizes and subtleties
This may seem strange, but everyone who tells their friend's events of the work, retells the plot not only in everyday life, but also in the literary sense.
In any science, you can say, there are two varieties of specialists. Some believe that it is necessary to write special books so that no one understands anything, and others, creating the first natural opposition, on the contrary, we are convinced: it is necessary to write so that I understand even the unprofessional. On our happiness, in modern literature, those who adhere to the second opinion are dominated, and not the first. Therefore, we will give an unscientific answer to the question of what is the plot in the literature. Definition will be clear to the reader.
Under the plot understand the factual part of the work, i.e. What happens in it with heroes. As we see, everything is simple enough. And most importantly, in modern litertime, it most often turns to such interpretation of the plot as the concepts (see V.E. Khalisyev "Theory of Literature").
Now add a little action and talk about Russian classics, but not in the context of deep moral problems that she certainly raises (schoolchildren are usually moaning), but in the sense of the plot. How interesting is it interesting to read? And all this is directly related to the topic: "The plot is in the literature ..." Definition We will use understandable to everyone.
Dostoevsky as a master detective
Of course, lovers of classics can calculate the subtitle to blaspheme and say: "How can I? This is the great and terrible Dostoevsky! Almost our literature (along with L.N. Tolstim). " Do not avoid worrying. We, so to speak, rely on the shoulders of the giant - the Russian philosopher Lion Sixov. It was he who called the Dostoevsky detector. And in some sense he is right. And we will understand why, answering the question, the plot is in the literature what.
"Crime and Punishment" without nice and spiritual solarms of the main character
Not many schoolchildren mastered this wonderful work. But if he had written not Dostoevsky, it would have been read, perhaps in one breath. And then they would make an empty on it, and it turned out something like "Lieutenant Colombo" in the 19th century.
After all, if you look unbiased, without snob, then the plot is that in the "crime and punishment", which is Petrofiri Petrovich. Let's look only on the chain of events. The reader is immediately known for the criminal, the atrocity, in short, it would seem, no intrigue, but no, Fedor Mikhailovich is not in vain a master of detective prose. The main intrigue of the plot is recognized by the splitters or not. And Porphyry Petrovich skillfully summarizes the criminal, burdened by conscience, to comprehensively recognition, quite like Lieutenant Colombo.
"The Karamazov Brothers" is more dynamic in this sense, and after all, it is not clear to the very end who killed the old man. Is it not a sign of a good detective?
MA Bulgakov like satirik. "Master and Margarita" without Voland
Stephen King argued in an autobiographical essay: "The story begins with the question, and what would happen if ...". By the way, according to the horror king, this is some creative method for creating a plot for adventure literature in principle. Here we interpret the adjective "adventure" in a wide key as a "event".
"Master and Margarita" is a multi-layered novel and permeated with various intertwations between two almost full of its parts, "Soviet" and "Yerschalaim" chapters. It is interesting to the usual reader, first of all, the unique style of MA Bulgakov and the author's fantasy that Satan visited the Soviet Union at such a terrible time (30s).
Of course, perhaps "Gospel" from MA Bulgakova is important, but if it were not for Woland and his adventure, the novel would not have such a deafening success at the modern reader. Because all the problems of Russia who were revealed in an epochal novel, remained in place. However, we will start, and meanwhile it is time to move to another story prose.
Stephen King, Thomas Harris and Joan Rowling
For dessert, we leave books where the plot and heroes (as a constituent of the latter) play a decisive role in popularity of the works of authors.
Stephen King wrote a lot of books. Some of them are successful, some are not very. But some have become a religious reader. For example, a "dead zone", "Pet Cemetery", "Green Mile" and others. In them skillfully combined, on the one hand, the story, and on the other hand, some psychological depth that is absolutely necessary for any good artistic prose.
Thomas Harris created a charming maniac. Hannibal lector is not so much in this sense of rivals. On the one hand, the trilogy about Hannibal is fascinatingly read, but it is very well remembered, because the main character, despite the fact that he is a psychopath causes admiration.
The prepared reader will take not so much time to master all the books of Harris, because they are only 5:
- "Black Sunday" (1975);
- "Red Dragon" (1981);
- "Silence of lambs" (1988);
- "Hannibal" (1999);
- "Hannibal: climbing" (2006).
It is impossible to finally not say about Joan Rowling - the creator of the cult among teenagers character - Harry Potter. In general, like other authors in this subsection, Rowling does not claim the high rank of classic literature (except in his genre), but she writes a good prose, which causes an empathy of the reader. With books about the loss should be familiar with all, and even adults. Remember that children will not read bad literature (such as D.L. Bulls).
Conclusion
We looked at such a phenomenon as the plot. This is in the literature (examples we have chosen a variety of) those events that happen to the character heroes. We hope that the reader has no more questions relating to this topic.
Depending on the nature of the links between events, two varieties of plots are distinguished. Plots with a predominance of pure temporal links between events are chronic. They are used in the epic works of a large form ("Don Quixote"). They can show the adventures of the heroes ("Odyssey"), to portray the formation of a person's personality ("Children's Years of Bagrova-grandson" S. Aksakov). The chronic plot consists of episodes. Plots with the predominance of causal relationships between events are called plots of unified action, or concentric. Concentric plots are often built at such a principle of classic principle as unity of action. Recall that in the Griboedovsky "Woe from Mind" the unity of action will be events related to the arrival of Chatsky to the Famusov House. With the help of a concentric plot, some one conflict situation is carefully examined. In the drama, the plot of this type was dominated by the 19th century, and in the epic works of small forms used now. A single node of events is unleashed most often in themelles, small stories of Pushkin, Chekhov, by, Maupassant. Chronic and concentric principles interact in the plots of multi-core novels, where several events ("War and Peace" of L. Tolstoy, "Brothers of the Karamazov" F. Dostoyevsky are manifested at the same time. Naturally, concentric microsules often include in chronicle plots.
There are scenes that differ intensity of action. Plots rich in events are called dynamic. In these events, an important meaning was concluded, and the junction, as a rule, bears a huge substantive load. Such a type of plot is characteristic of the "History of Belkin" Pushkin, "Player" Dostoevsky. Conversely, plots weakened by descriptions, inserted structures, are adamic. The development of action in them does not seek to be a junction and the events themselves do not enter into independent interest. Adamine plots in the "dead souls" of Gogol, "My life" Chekhov.
3. The composition of the plot.
The plot is the dynamic side of the artistic form, he involves movement, development. The engine is most often conflict, artistic contradiction. The term comes from the lat. Conflictus - collision. The conflict is called a sharp clash of characters and circumstances, views and life principles based on the basis; confrontation, contradiction, clash between heroes, groups of heroes, hero and society or internal wrestling of the hero with himself. The nature of the collision can be different: this is a contradiction of debt and inclinations, assessments and forces. The conflict is one of those categories that permeate the structure of the entire artistic work.
If you consider the play by A. S. Griboyedov "Grief is a mind", it is easy to see that the development of action here clearly depends on the conflict that lies in the house of Famusov and is that Sofia is in love with Molchalin and hides it from Papyk. Chatsky, in love with Sophia, having arrived in Moscow, notices her hostility towards himself and, trying to understand the reason, follows all those present in the house. Sofya is dissatisfied with this and, defending, throws a replica on his ball about his madness. Do not sympathize with his guests with pleasure pick up this version, because they see in a person a person with others, as they look, looks and principles, and then it is extremely clearly exposed not just a family conflict (the secret love of Sofia in Molchalin, the real indifference of the silence to Sofary, ignorance Famusova about pro coming in the house), but also the conflict between Chatsky and society. The outcome of the actions (omission) is determined not so much by the relations of Chatsky with society, how much the relationship of Sofia, Molchalin and Lisa, having learned about which the Moruses manage their fate, and Chatsky leaves their home.
The writer in the overwhelming majority of cases does not invent conflicts. He draws them from the primary reality and translates from the life of the subject matter, problems, pathos.
You can specify several types of conflicts that are based on dramatic and epic works. Frequently found conflicts - moral and philosophical: confrontation of characters, humans and fate ("Odyssey"), life and death ("Death of Ivan Ilich"), pride and humility ("Crime and Punishment"), Geniya and Herication ("Mozart and Salieri "). Social conflicts conclude in the opposition of aspirations, passions, the character of the character, the way of the surrounding life ("stingy knight", "thunderstorm"). The third group of conflict is internal, or psychological, those associated with contradictions in the nature of one character and do not become the property of the world; These are spiritual torments of the heroes "Ladies with a dog", this is the duality of Evgeny Onegin. When all these conflicts are connected to one whole, they are talking about their contamination. To a greater extent, this is achieved in novels ("Hero of our time"), epic ("war and peace"). The conflict can be local or unresolved (tragic), explicit or hidden, external (direct clashes of positions and characters) or inner (in the soul of the hero). B. Esin also distinguishes a group of three types of conflicts, but calls them differently: conflict between individual characters and characters groups; confrontation of the hero and lifestyle, personality and environment; The conflict is internal, psychological when it comes to contradiction in the hero itself. Almost also wrote V. Kolinov: "TO . (from Lat. Collisio - share) - confrontation, contradiction between characters, or between characters and circumstances, or within the nature underlying the action of lit. Work 5 . K. far from always acting clearly and openly; For some genres, especially for idyllic, K. is not characteristic: they are inherent only that Hegel called the "situation"<...> In Epos, Drama, Roman, Novella K. is usually the core of the themes, and the resolution of K. appears as a determining moment of the art. Ideas ... "" Art. K. is a clash and contradiction between holistic human individuals. " "TO. is a kind of source of energy lit. Production, for it determines its action. " "Throughout the action, it can exacerbate or, on the contrary, weakening; In the final, the collision is somehow permitted. "
Development K. leads to a plot action.
The plot is indicated by the stages of action, the stages of the existence of the conflict.
Ideal, that is, the full, model of the plot of the literary work may include the following fragments, episodes, links: prologue, exposure, score, development, peripetia, culmination, junction, epilogue. Three are mandatory in this list: the tie, the development of action and culmination. Optional - the rest, that is, not all of the existing elements should take place in the work. Composite parts of the plot can perform in different sequences ..
Prologue (gr. Prolog - preface) is an entry into the main storylines. It may be given the root cause of events: the dispute about the happiness of men in "Who lives well in Russia." It clarifies the author's intentions, the events preceding the main action are depicted. These events may affect the organization of artistic space - a place of action.
Exposition - This is an explanation, the image of the life of the characters in the period before the designation of the conflict. For example, the life of Young Onegin. In it can be given the facts of biography, the following actions are motivated. The exposure can set the conditionality of time and space, depict the events preceding the string.
Vazka - This is a conflict detection.
Development of action - This is a group of events needed to implement the conflict. It presents turns that injected the conflict.
Unexpected circumstances complicating conflict are called peripetias.
Culmination - (from Lat. Culmen - Top ) - the moment of the highest voltage of action, limiting exacerbation of contradictions; vertex conflict; TO. reveals the main problem of the work and characters of the characters most fully; After it, the action weakens. Often precedes the junction. In the works with many plot lines, there is not one, but several TO.
Junction - This is the resolution of the conflict in the work, it completes the course of the events of plenty of works, for example, the novel. But often the ending of works does not contain conflict resolution. Moreover, in the final of many works, the sharp contradictions between the characters remain. This is happening in the "grief from the mind" and in Evgenia Onegin: Pushkin leaves Eugene in a minute, evil for him. " There is no junction in Boris Godunov and the "lady with a dog". The finals of these works are open. In the Pushkin tragedy and Chekhovsky story, with all phaance incompleteness, in the last scenes contain emotional endings, climax.
Epilogue (Gr. Epilogos - Afterword) - this is the final episode, usually following the interchange. In this part, the work briefly reported the fate of heroes. Epilogue shows the final consequences arising from the events shown. This conclusion in which the author can formally complete the story, identify the fate of heroes, summarize its philosophical, historical concept ("War and Peace"). Epilogue appears when one junction is not enough. Or in the case when, upon completion of the main storyline events, it is necessary to express a different point of view ("Peak lady"), call the reader a feeling about the final results of the heroes of the heroes.
Events associated with the solution of one conflict of one character group constitute a storyline. Accordingly, if there are different plot lines, there may be several climax. In "Crime and Punishment", this is the murder of the incomplete, but this is the conversation of Raskolnikov with Sonya Marmaladova.
Borges saw the four main plotics of literature.
Modern researchers - six.
Booker - seven.
Vonnegut counted eight.
The gathering of writers on the "Litkult" is twelve twelve.
Districted in Polaty - he listed thirty-six.
And now - more!
Four plots Borges
"There are only four stories. And how many time we left, we will retell them - in one way or another. " - notes Jorge Louis Bruges. These stories are: the first - about the fortified city, the second - about the return, the third about the search and the fourth - about the suicide of God. Classic examples of these stories, which lead to Borges himself: Iliad and Odyssey Homer, Jason's journey, crucifixion of Jesus and self-sacrifice Odin.
However, the number of these stories can be reduced to all two, which we will retell in one form or another. Namely: these are stories about a woman and a man and about a man and his way. Ie, the stories in which events rotate around women or women, and the stories in which it costs without it. The history of the fortified city began with several women and one man. The story of return - ended with the return to the woman. Stories about finding rarely managed without women. They were in the history of Cason. And only a story with a crucifix is \u200b\u200bnot tied to women. Of all this stories where everything spins around women, we retell the most. And on the stories about self-sacrifice, no one learns.
The main literary plots turned out to be only six - modern researchers!
The team of scientists from the United States and Australia analyzed the change in emotional coloring in the texts of popular literary works and found several common types of plots in them. Among them, six were the most popular: "From the dirt in the prince", "tragedy", "drop and take off", "Ikar", "Cinderella" and "Oedip".
Booker version: 7 main plots of world literature
"one. From the dirt in the prince: the history of an ordinary person who opens something extraordinary.
Examples: Cinderella, David Copperfield, Jane Eyre. From movies: Golden fever, my beautiful lady.
2. Adventure (Quest): Full Difficulties Journey in search of a difficult to achieve a distant goal. Examples: Odyssey, myth about argonauts, Solomon's king, around the world for 80 days
3. There and back: some event pulls the hero / heroine from the familiar medium. The plot is their attempts to return home. (Why is Odyssey not here, by the way?!) Examples: Alice in the Looking Game, Robinson Crusoe, Time Machine.
4. Comedy : NOT JUST A General Term, But An Identifiable Form of Plat Which Followows Its Own Rules.
(All the same is a very slippery definition). Examples: Tom Jones, all the novels Jane Austin, only girls in Jazz.
5. Tragedy: In the climax, the main character dies because of its lack of character, usually the passion of love, or thirst for power. Examples: Macbeth, Faust, Lolita, King LIR.
6. Resurrection: Hero, under the rule of the dark forces or curses. A miracle displays it from this state of light. Examples: Sleeping Beauty, a Christmas Carol, The Sound of Music
7. Victory over the monster: the hero or heroine fights with a monster, wins it in an unequal battle, and gets treasure or love. Examples: David and Goliath, Nicolas Niklby, Dracula, plots James Bond.
Version D. Johnston
(also 7 types):
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Cinderella (unrecognized virtue),
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Achilles (Rock Error),
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Faust (debt you want to pay)
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Tristan (love triangle),
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Circe (spider and fly)
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Romeo and Juliet,
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Orpheus (selected gift).
Eight plots of world literature - Kurt Vonnegut
Writer Kurt Vonnegut managed to fit all the works of world literature and cinema in eight simple plots. In general, all stories tell us about how people choose from pits, meet their second half or lose everything they could get in this life.
The genius of "Hamlet", according to Wannegut, consists of just in his uncertainty: "Shakespeare told us the truth, and people are so rarely doing it, being too passionate on their own takeoffs and falls. The truth is that we know so little about life that it is not even able to determine what is good for us, but what is bad. "
Here are these 8 plots:
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Man in full ass
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The guy meets the girl
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The history of the creation of the world
· Old Testament
· New Testament
· Cinderella
· Worse and worse
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How to get up
12 plots of world literature
The first plot, the most bridal - Cinderella.
It is very stable, all the variations are stacked in a clear plot of "Standalon". The plot is loved by the authors of the ladies' literature, often applied by the scenarios of melodram. Examples are a huge set.
The second story is the Count Monte Cristo - the secret hero, which is revealed to the end of the play, from somewhere receiving wealth, or opportunities.
His mission is to take revenge, or accomplish justice! The plot loves the authors of adventure novels and detectives. He appeared long before Alexander Duma, but this novelist was the most successfully "reckoned" this is a plot, and after him many were used and used the above-mentioned plot.
The third story is Odyssey.
This plot can be called first, it is unusually popular. Variations based on it can be different, but it is only to look, and the ears are completely obvious. Fantasy, fantasists, the authors of adventure literature, romanov-travel and some other genres love this ancient plot, and sometimes copy and details of an ancient Greek history, which can be considered a starting, reference.
The fourth plot is Anna Karenina.
Tragic love triangle. It has roots in the ancient Greek tragedies, but it was most bright and detailed to write it left Nikolaevich. In the twentieth century, especially at the beginning and middle of the century, this plot was one of the most popular, (even ordinary copies written off at Tolstoy, when the craftsmen change only names-names, historical scenery and other entourage, I have seen a few). But a lot of talented variations on this topic.
The fifth plot is Hamlet.
Strong personality with a movable psyche. The grooved hero, reflecting and bright, fighting for justice, having born treachery of loved ones and other charms. Nothing, in the final, not seeking, capable only to vulnery himself, but to achieve some spiritual enlightenment and purification, which encourages the audience. Interesting to disgrace.
Here and comments have nothing to give. The plot is stable, very popular, in it there is a lot of worthwesome, (native and close to the Russian heart, and mine in particular). At the present moment, this plot is popular than ever.
Sixth plot - Romeo and Juliet. History of happy love.
The total number of repetitions of this plot exceeds the number of repetitions of all other plots, but why there are very few talented works, literally on the fingers can be counted. However, in the current series, in fictionalism (especially female), in drama and song creativity the plot is unusually popular.
The plot, again, is extremely stable, as it went with antiquity, and the bottom, special variations are a bit.
The seventh plot is fathers and children.
The origins of his ancient Greek, the plot is complex, and so in it, the space for variations is very large. This can also be conditionally attributed to the story of the Bride of Jason, which is forced to choose between the Father and the Bridegroom, to sacrifice one of them. In short, all the variety of parental egoism encountered with the egoism of children, describes this ancient tangle of plots similar to each other. Altruism of the parents is found, and even less often the altruism of children, but usually it ends with the tragedy (as if he smoothed who all our human race. King Lira Ask you, he will tell you).
The eighth plot is Robinson.
Partly echoes the Hamlet, primarily in the sound of the theme of loneliness, and a little with the sameness, but the story of Robinson can be called a separate large plot of world literature. The current writers and screenwriters often copy, the Word for the Word, the work of Daniel Defo. But there are a lot of talented and original variations. The hero, most often, is absolutely alone on the island, but this is not a prerequisite, it happens that several heroes are in some convergence from the big world, trying to survive and remain personality, so that in the end to escape. My favorite variation is the story of Saltykova-Shchedrin "As one man's two generals proceeding."
The ninth plot is the Trojan theme, the topic of war.
Confrontation of two systems, enmity and hatred, whose working side is nobility and self-denial. This plot, as a rule, enjoyed on other plots, or they lay on it, but are not uncommon and classic military novels, descriptions of wars in detail, with varying degrees of artisticity.
The tenth plot is a catastrophe and its consequences. Classic antique plot.
At this time, he was dragged in such a way that speak reluctance. A lot of mediocre copies, however, occasionally meet and curious. The plot is very narrow in terms of semantic variations, but very broad in terms of descriptive features, entourage and details. But, according to conscience, almost every next novel repeats the previous one, even though you do not go to the fortuneteller!
Eleventh plot - Ostap Bender - Plutovskaya Roman, an adventurous novel.
The origins and classic samples are in the Literature of France of the New Time. Extremely popular in our days, most often comedy. The tangle of plots is quite bright, often come across and successful variations, but they all, anyway, copy a couple of templates created at the beginning of the twentieth century.
The twelfth story is a time machine, a trip to the future.
Its mirror reflection is the stylization of traveling in the past, historical novels. However, this type of works, as a rule, uses the "travel to the past" only as an entourage, and the plot is traced one of those that I listed above, while the "travel to the future" is often a "pure plot", that is, the essence of it comes down It is to the description of how it is all arranged in this unknown future.
36 plots J. Plete:
· Moluba
· The rescue
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Revenge
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Revenge close for close
· Picted
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Sudden misfortune
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Victim of someone
· Riot
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Brave attempt
· Abduction
· Mystery
· Achievement
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Hate between loved ones
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Rivalry between loved ones
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Adjulter accompanied by murder
· Madness
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Fatal negligence
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Unwanted bleeding
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The unwitting murder of the loved one
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Self-sacrifice in the name of the ideal
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Self-sacrifice for the sake of loved ones
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Victim of immense joy
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Victims close in the name of debt
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Rivalry unequal
· Adjulter
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Crime of love
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The dishonor of a beloved creature
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Love, meeting obstacles
· Love for the enemy
· Changes
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Fight against God
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Ignorable jealousy
· Judgement mistake
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Remorse
· Newly found
· Loss of loved ones