The plot of the literary artwork. Categories of art form

Event in the artistic text. Scene and unmavable narration. Features of building a plot: plot components (tie, action, culmination, omission - if they are), the sequence of the main components. The ratio of the plot and fabul. Scene motives. The system of motifs. Types of plots.

Difference between " plot"And" faboy"Determined in different ways, some literary critches do not see the principal difference between these concepts, for the other" Fabul "- this is a sequence of events, as they occur, and the" plot "is the sequence in which the author has them.

Fabul - The actual side of the narrative, those events, cases, actions, states in their cause-chronological sequence. The term "Fabul" denote what is preserved as "base", the "core" of the narration.

Plot- This is a reflection of the dynamics of reality in the form of an action deployed in the work, in the form of intra-bound (causal-time links) of the actions of the characters, the events forming the unity that make up some completed whole. The plot is the form of deployment of the topic - the artistic distribution of events.

The driving force of the plot development is usually conflict (literally "collision"), conflict life situation set by the writer in the center of the work. In a broad sense conflict The system of contradictions should be called, which organizes an artistic work into a certain unity, the struggle of images, characters, ideas, which is particularly widely and fully deployed in epic and dramatic works

Conflict - more or less acute contradiction or a clash between characters with their characters, or between characters and circumstances, or inside the nature and consciousness of the character or a lyrical entity; This is the central moment not only an epic and dramatic action, but also a lyrical experience.

There are various types of conflicts: between individual characters; between the character and the medium; psychological. The conflict may be an external (the struggle of the hero with opposing the forces) and the inner (struggle in the consciousness of the hero with himself). There are plots based only on internal conflicts ("psychological", "intellectual"), the action of the action in them is not the events, but the peripetics of feelings, thoughts, experiences. In one product there may be a combination of different types of conflicts. A sharply pronounced contradictions, the opposite of force acting in the work, is called collisions.

Composition (Architectonics) is the construction of a literary product, composition and sequence of the location of its individual parts and elements (prologue, exposure, tie, development, culmination, junction, epilogue).

Prologue - introductory part of the literary work. The Prologue reported on events that predict and motivate the main action, or clarifies the artistic design of the author.

Exposition- Part of the work that precedes the start of the plot and directly connected with it. Exposure should be aligned acting persons And the circumstances are developing, the reasons that the story conflict "launch" are shown.

Vazka In the plot - an event that served as the beginning of the conflict in the artistic work; An episode that determines the entire subsequent deployment of action (in the "Auditor" N.V. Gogol, for example, the string is the message of Governing about the arrival of the auditor). Zaguka is present at the beginning of the work, denotes the beginning of development action. As a rule, it immediately introduces works into the main conflict, determining the continues of all the narration and the plot. Sometimes the tie goes before the exposure (for example, the novel novel "Anna Karenina" L. Tolstoy: "Everything was mixed in the house of the Blond"). The choice of writer of a type of string is determined by the style and genre system, in the plan of which it declares its work.

Culmination - the point of the highest lift, voltage in the development of the plot (conflict).

Junction- resolution of the conflict; It completes the struggle of contradictions that make up the content of the work. The junction marks the victory of one side over another. The effectiveness of the junction is determined by the significance of the entire preceding struggle and the culmination of the episode preceding the interchange.

Epilogue - The final part of the work that briefly reports the fate of the heroes after the events depicted in it, and sometimes the moral, philosophical aspects of the depicted ("Crime and Punishment" of F.M.Dostoevsky) are discussed.

The composition of the literary work includes and empty elements– author's retreats, plug-in episodes, various descriptions (Portrait, landscape, world of things), etc., serving the creation of artistic images, the disclosure of which serves, in fact, all the work.

So, for example, episode As a relatively completed and independent part of the work, which depicts a complete event or an important point in the fate of a character, can become an integral link in the problem of the work or an important part of its common idea.

Scenery In the artistic work is not just a picture of nature, a description of the part of the real situation in which the action unfolds. The role of the landscape in the work is not reduced to the image of the site. It serves as a definite mood; It is a way of expression copyright (For example, in the story I.S.Turgenev "Date"). The landscape may emphasize or transmit the mental state of the characters, while the inner state of the person is likened or opposed to the life of nature. The landscape is rural, urban, industrial, marine, historical (paintings of the past), fantastic (the appearance of the future), etc. The landscape can also perform a social function (for example, landscape by the 3rd chapter of the Roman I.S.Turgenev "Fathers and Children", the city landscape in the Roman F.M.Dostoevsky "Crime and Punishment"). In lyrics, the landscape usually has an independent value and reflects the perception of nature by lyrical hero or lyrical subject.

Even Malaya Artistic detailin literary work Often plays an important role and performs diverse functions: it can serve as an important addition to the characteristics of heroes, their psychological state; be an expression of the author's position; can serve as creating common picture morals, have a symbol value, etc. Art details in the work are classified on the details of the portrait, landscape, the world of things, psychological.

Basic literature: 20, 22, 50, 54,68, 69, 80, 86, 90

Additional literature: 27, 28, 48, 58

features of the artwork are taken into account in the editorial analysis.

the work of the artistic, artistic object can be considered from two points of view - from the point of view of its meaning (as aesthetic object) and from the point of view of its form (as an external work).

the meaning of the artistic object enclosed in a certain form is aimed at reflecting an understanding by the artist of the surrounding reality. And the editor must, when evaluating the composition, proceed from the analysis of the "Plan of Meaning" and "Plan of Fact" of the work (M.M. Bakhtin).

the artistic object is the point of interaction between the meaning and fact of art. Artistic object demonstrates the world, passing it in aesthetic form and revealing the ethical side of the world.

for editorial analysis, this approach to consideration is productive artistic workIn which labor is investigated in its connection with the reader. It is the influence of the work on the identity should be a point of reference in the assessment of the art belt.

the artistic object includes three stages: the stage of creating a work, the stage of its alienation from the master and independent existence, the stage of perception of the work.

as the initial point of the unifying began, the work of the artistic process in the editorial analysis should be considered the intention of the work. It was the idea that all the stages of the art facility merge. This indicates the attention of the artist, musician, writer to the selection of the relevant expressive means When creating works that are aimed at expressing the plan of the wizard.

in the book "How the Word of Our will call" a writer Yu. Trifonov notes: "The highest intention things, - that is, why this whole damage is a paper - is in you constantly, this is a given, your breath, which you do not notice, but without which you can not live."

improtected in the work of art, the plan, it was the idea, first of all, perceived by the reader, stage of perception artistic creativity.

and all art process It is, as already mentioned, the dialogic process of communication of the artist with those who perceive the work.

the writer assesses what surrounds him, and indicates what I would like to see reality. Rather, not "says", but reflects the world in such a way that the reader understands it. In the work of art, the presence and clerk of life is being implemented, the artist is interpreted life values. It is the idea that the values \u200b\u200bof the writer absorbs the value or determines the selection of life material for the work.

but the concept of plan not only characterizes the main meaning of the work. The idea is the main component of the effect of the work of art at the time of his perception.

thus, the subject of art is not only a person and his connection and relations with the world. The subject area of \u200b\u200bthe work includes the identity of the author of a book that assessing the surrounding reality.

assessing the plan, the editor determines how used by the author the material is consistent with the plan. So, a large, large-scale intent requires a large form, for example, it can be implemented in the genre of the novel. The plan revealing the intimate parties of the fate of a person in the magnitude of the story, Novels. considering the genre of the work, the editor is responsible for the most main questionrelated to the assessment of the quality of the work - the question of the completeness of the disclosure of the plan. Thus, having considered the work plan of the work, the editor analyzes the fact of the fact. Read more Evaluation by the editor of the plan and genre peculiarity Artistic will be discussed below. Having answered the question that the author said, the editor appreciates how he said, that is, analyzes the skill of the writer. At the same time, the editor focuses on basic laws, patterns, nature of art.

in art artistic image is a means of knowledge of the surrounding reality, a means of mastering the world, as well as a means of recreating reality in the artistic work - in art object.

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Delighted in the historical distance of a question about the plot (from FR. sujet. - The content, development of events in time and space - in epic and dramatic works, sometimes in lyrical) and Fabul, we discover theoretical reasoning on this occasion for the first time in the "poetics" of Aristotle. Aristotle does not use the terms "plot" or "Fabul", but exhibits interest in his arguments to what we now mean by the plot, and expresses a number of most valuable observations and comments on this. Not knowing the term "plot", as well as the term "Fabul", Aristotle uses the term close to the concept of "myth". Under it, he understands the combination of facts in their attitude towards verbal expression, vividly represented before the eyes.

When translating Aristotle PA Russian, sometimes the term "myth" translates as "Fabul". But it is inaccurate: the term "Fabul" Latin in its origin, "Fabulare", What does it mean to tell, narrow, and in exact translation means story, narration. The term "Fabul" in Russian literature and literary criticism Begins to be used approximately from the middle of the XIX in "i.e. Somewhat later than the term "plot".

For example, "Fabul" as a term meets at Dostoevsky, who said that in the novel "Demes" he took advantage of the Fabulous "Nechaev", and at A. N. Ostrovsky, who believed that "under the plot often, of course, completely ready-made content ... with all the details, and Fabul has short story About any incident, case, story, devoid of all sorts of paints. "

In the novel of G. P. Danilevsky "The World", written in 1875, one of the characters, wanting to tell another funny story, says: "... And you listen to the comedan guards!". Despite the fact that the effect of the novel occurs in mid XVIII in. And the author monitors the speech reliability of this time, he uses the word newly appeared in the literary use.

The term "plot" in his literary sense was widely introduced by representatives of French classicism. In the "Poetic Art" Baual read: "You are us, the ns bag must plot Enter. // The unity of the place in it you should observe, // than an endless, senseless story // We are tiring ears and indignant our mind. "In critical articles Cornel dedicated to theaterAlso found the term "plot" ( sujet).

Absorbing french tradition, Russian critical literature Uses the term plot in a similar sense. In the article "On the Russian Tale and the Rights of N. V. Gogol" (1835) V. Belinsky writes: "Thought - this is the subject of his (modern lyrical poet) inspiration. As the words are written in the music opera and inventing the plot, so it creates The will of his fantasy form for his thought. In this case, one hundred copyright is infinite. "

Subsequently such a major theoretical literature second halves XIX. c., like A. N. Veselovsky, marked start theoretical study The plot in Russian literary criticism is limited only by this term.

Clearing the plot to composite elements - the motives, traced and explaining their origin, Velovsky gave his definition of the plot: "The plots are complex schemes, in the imagery of which they summarized famous acts human life and psyche in alternating forms of household reality. With a generalization, the action, positive and negative, is already connected. And then makes conclusion: "Under the plot, I will understand the scheme in which different positions - motifs. "As you can see, in Russian criticism and literary tradition Both term are used for quite a long time: "Plot" and "Fabul", although without distinguishing their conceptual and categorical essence.

The most detailed development of these concepts and terms was made by representatives of the Russian "formal school". It was in the works of its participants who were first distinctly delimited by the categories of the plot and fabul. In the writings of formalists, the plot and Fabul have been thoroughly studying and comparison. B. Tomashevsky in the "Theory of Literature" writes: "But it is not enough to invent an entertaining chain of events, limiting them by the beginning and end. It is necessary to distribute these events, you need to build them in some order, set them out, make a literary combination from the headbong material. Artistic events distribution In the work is called the plot. "

Thus, Fabul is understood here as something predetermined as any story, an incident, an event taken from the life or works of other authors.

So, for quite a long time in Russian literary criticism, the term "plot", originating and borrowed from French historians and theoretics of literature, is applied. Along with him, the term "Fabul" is also used, quite widely used since the middle of the XIX century. In the 1920s. The value of these concepts is terminologically divided within one product.

At all stages of the development of literature, the plot held a central place in the process of creating a work. But to the middle XIX century, having received a brilliant development in the Romans of Dickens, Balzak, Standal, Dostoevsky and many others, the plot as if he starts to take some novelists ... "What I think beautiful and that I would like to create, - writes in one of the letters of 1870, Great French in one of the letters Stylist Gustave Flaubert (novels whose novels are perfectly organized plot) - this is a book that almost did not have plot Or such, at least in which the plot would be almost invisible. Self beautiful works Those in which the least of the matter ... I think the future of art in these prospects ... ".

In the desire of Flaubert free from the plot noticeably desire for free plot form. Indeed, in the future in some novels of the XX century. The plot no longer has such a dominant value as in Dickens novels, Tolstoy, Turgenev. The genre of lyric confession, memories with in-depth analysis received the right to exist.

But one of the most common genres today is a genre of a detective novel, made a rapid and unusually acute plot with its basic law and the only principle.

Thus, the modern scene arsenal of the writer is so huge, at its disposal as many plot techniques and principles of construction and the location of events that it gives it inexhaustible opportunities for creative solutions.

Not only plot principles became complicated, incredibly complicated in the XX century. Metal method itself. In the novels and the posts of G. Hesse, X. Borges, the city of Marquez the basis of the narration becomes complex associative memories and reflections, the displacement of different, far-distinguished episodes, multiple interpretations of the same situations.

Events B. epic work can be combined different ways. In the "Family Chronicle" S. Aksakova, in the Ham Tolstoy "Tolstoy", "adolescence", "Youth" or in the Don Quixote, Survantes, scene events are related to a purely temporary connection, as one after the other long period time. Such an order in the development of the occurrence of events, the English novelist Forster presented in a short figurative form: "The king died, and then died Queen." Such a type of plots became known as chronic, unlike concentric, where basic events are concentrated around one central moment, are related to the close causal relationship and develop in a short time period. "The king died, and then the queen died from grief" - so continued his thought about concentric plots The same Forster. Of course, a sharp line between the plots of two types is impossible to carry out, and this separation is very conditional. Most bright example The novel concentric could be called the novels of F. M. Dostoevsky. For example, in the novel "Brothers Karamazov" plot events rapidly unfold within a few days, interconnected exclusively causal tie And concentrate around one central moment of killing the old man F. P. Karamazov. The most common plot type is the most commonly used and in modern literature - Type of chronically concentric, where events are in causal communication.

Today, having the opportunity to compare and study classic samples Plot perfection (M. Bulgakov novels, M. Sholokhov, V. Nabokova), we will hardly imagine that in our development the plot passed the numerous stages of formation and produced its principles of organization and formation. Already Aristotle noted that the plot should have "the beginning that suggests further action, the middle that assumes both the previous and subsequent, and the final, which requires the previous action, but does not have the subsequent. "

Writers always had to face many plot and composite problems: How to introduce new characters to the unfolding effect, how to lead them from the pages of the narration, how to group and distribute them in time and space. Such, it would seem necessary for the necessary plot moment, as culmination, was for the first time truly developed only by the English novelist Walter Scott, the creator of intense and fascinating plots.

The plot consists of structurally organized by different ways of episodes. These plot episodes: differently Participate in the preparation of plot climax and in connection with this have different degrees of "accent" or tension.

Specifically narratives Episodes are a narrative of specific events, actions of characters, their actions, etc. These episodes can only be scenic, as they depict only what happens before the reader's eyes currently.

Total narratives Episodes are narrated by events in general featurestaking place as a present scene timeand with large retreats and excursions in the past, along with the author's comments, passing characteristics, etc.

Descriptive Episodes almost completely consist of descriptions of the most different nature: landscape, interior, time, place of action, certain circumstances and situations.

Psychological Episodes depict the internal experiences, the processes of the psychological state of the characters, etc.

Such are the main varieties of episodes, of which the plot is built in the epic work. However, it is much more important to the question of how every episode of the plot is built and from which narrative components it consists. After all, each story episode has its own composition of those forms of the image, of which it is built. Such a composition is best called design Scene episodes.

Options for the designs of episodes and use in them various narrative components There are a great set, by each author they are usually repeated. It should be noted that the components of the plot episode different writers Possess varying degrees of expressiveness and intensity. Thus, in the novel, F. M. Dostoevsky "Brothers of the Karamazov" you can select relatively few components that participate in the designs of various but the nature of the episodes and alternate among themselves in a certain order. These are prehistory, conversations of two characters (with a witnessed or without it), dialogues, triologists and crowded fees fees. Conversations of two characters in constructive form are divided into conversations in the form of confession of one of the heroes (this constructive-narrative form can be called confession) and conversations-dialogues. Separate narrative components can be considered an image of external actions of characters and various descriptions. All other components are not clearly expressed, they only serve as a link and cannot be allocated to independent.

Similarly, it is possible to highlight and classify the use of narrative components from other novelists.

The stages of the movement of the conflict underlying it are traced in the plot. They are indicated by the terms:

• - "Prologue" (entry separated from action);
• - "Exposure" (image of life in the period directly preceding the stronger);
• - "Tie" (the beginning of action, the emergence of conflict);
• - "Development of action", "Culmination" ( the highest point stress in developing events);
• - "Disagreement" (the end of the action);
• - Epilogue (final, separate from the action of the main part of the text).

However, it should not mechanically dismember the plot of any work on these elements. Options Here are very different and interesting. For example, the work can begin with a prolobe (" Bronze Horseman"A. S. Pushkin) or from an epilogue (" What to do? "N. G. Chernyshevsky), from the exposition (" Ionch "A. P. Chekhov) or immediately from the risk (" Auditor "N. V. Gogol). The exposition for reasons of ideologically, artistic expressiveness can move (Biography Chichikov, a story about the childhood of Oblomov, etc.). At the same time, it would be wrong to consider these elements of the plot only as the external movement of what is happening as connecting links as the admission of events. They play a significant role in ideologically-artistic attitude: the writer shows in them the characters, the logic of the relationship between people, allowing to understand the typical conflict of the depicted era, and gives them their assessment.

IN large workAs a rule, several plot lines are contained, which are either intertwined, or merge, or develop in parallel (for example, in the novels of F. M. Dostoevsky and L. N. Tolstoy). The plot can have one or more climax. So, in Roman I. S. Turgenev "Fathers and Children" in the storyline Evgeny Bazarov - Pavel Petrovich Kirsanov is a scene of a duel. In the storyline of the Bazarov - Odenty Culmination is the scene when the hero is recognized by Anna Sergeyevna in love and rushes to her in a rustling of passion ...

No matter how difficult the literary work, what plot lines it would have had, everything in it is directed to a single goal - to the expression of a through idea that unites all the filaments of the plot into one.

Prologue, exposure, tie, climax, junction, epilogue - all these inalienable composite parts of the plot that can be submitted in a particular combination.

In ancient times, plot schemes were moved from one job to another, and writing to the same plot to different authors was a matter of usual and literary legalized. For example, tragic fate Antihas in the plot interpretation of Sofokla and Euripid. Traditional plot schemes passed from the country to the country, from literature literature, became the basis of many epic and dramatic works. Such plots were named stray. History Don Juan, for example, bypassed almost everything european literature And it became the basis of the plots of works of various genres.

In the epic product, the plot is considered as an object-visual side of the form, since the image of the characters, developing from a variety of different parts: actions, statements, external descriptions Etc., and the temporary sequence of these actions itself, one or another relationship of events is an individual expression of the general properties of life in their author's understanding and evaluation. The sequence of its development plot reveals characters, issues, ideological-ethnic evaluation of events in the work. The connection of the plot with the content is a certain nature, which is best to designate as functional, because the plot performs various feature features but the attitude to the content expressed.

Each time the unique and individual sequence of events and acts of characters is the result of creative typing of characters in their life situations and relationships. In the typical of characters and situations, hyperbolization and creative development. Above the plot of works is almost always the most painful and painstaking work. After all, it is the plot that reveals the essence of the pictures of characters, serves as highlation, strengthening, the development of the parties of life, which is most significant for the writer.

The plot almost never occurs immediately. Before accepting the finished and permanent shape, it changes many times, processes, turns new facts from the life of characters, plot clutches and motivations, whether to turn into one of the future options in creative imagination Writer. For example, in drafts to the novel "Demes" Dostoevsky looks through the numerous possibilities of relationships of several characters. There are numerous variants of the same event. Scene options for the disclosure of the secret marriage Stavrogina with a chromium about eight.

When creating a plot, the creative expressiveness and emotionality of the image plays an active role. The character needs to be most fully and finished to express itself in the events found and invented by the author. In connection with these events, experiences, reasoning, actions, self-disclosures of the heroes, who serve to disclose and embody their characters. Thus, the plot is created by the creative fantasy of the artist to express the main ideological content And it is connected to it functionally.

The disclosure of characteristics can be realized only in action, in acts and events, in the sequence of these events, or in plot. Development of the relationship of characters, individual motivation, biographical, love stories, experiences - in other words, the entire individual-dynamic range and is the plot of the works.

Usually the writer in the process of development of the plot depicts those sides of the nature of their character, which seem to be the most significant, revealing perhaps further idea Works and which can only be manifested in certain events and their sequences. Revealing its plot, the author cannot, and does not aim to equally cover all the plot links, episodes, relationships, etc. Concentrating its attention on the central, nodal events, choosing for a detailed image one of them and sacrificing others, the writer can build the development of the plot by the most families. And this purposeful, consistent selection of events and relationships, part of which is placed in the center of the story story, and the other serves as a link or a minor passing point, is the most important for building the plot.

The author's assessment may be different in the scene narration. It may be direct author's intervention, author's authors and morals, the election of one or more characters by the author, a peculiar judge of what is happening. But in any case, the whole course of events, all the causes of these events is built but the principle of the most expressive expression in their ideological assessment of characters.

Each scene, each episode, the plot technique has a specific function. In each plot, all the main and minor charactersBy performing its meaningful function, simultaneously represent a certain hierarchy, in each case, individual, opposition, confrontation, plexus, combined according to a certain artistic system.

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

Omen- hints that foreshadow further development plot.

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

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

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

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

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

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

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

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

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

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

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

Believable

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

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

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

God from the car

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

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

Terminology subsection

Plot Fabul

Scene scheme: Completed, unfinished

Scene technique: Returnable, complicated, framing, linear

Exposition Tie Development Development Culmination Union Ending

Exposure: Direct, pending, scattered, reverse

Prolog Epiloga

Tie: Motivated, Sudden

Peripetia

Culmination: Event, Psychological

Joice: Motivated, Unmotivated, Zero

Additional Information; separated by spaces from the main one.

Plot and Fabul

As already mentioned, in the works of dramatic and epic, events are depicted in the life of characters, their actions flowing in space and time. This side of artistic creativity (the course of events, usually from the actions of heroes, i.e. the spatial-temporal dynamics of the depicted) is denoted by the term with the YE T.

Plot (from FR. sujet) - chain of events depicted in the literary work, i.e. The life of characters in its spatial-temporary changes, in contented each other, the provisions and circumstances.

Ø Plots are often taken from mythology, historical legend, from the literature of the past epochs, while processed, change, are complemented.

Ø The plot is usually put forward in the test test, it determines its construction (composition). But sometimes the image of events is inferior to the impressions, thinking, experiences of heroes, descriptions external world and nature.

Like the character system, the plot carries a number of meaningful functions.

1. Reuses and characterizes the connection of a person with his environment, i.e., its place in reality and fate, creates a picture of the world.

2. Restates life contradictions (it is difficult to present the plot without conflict).

Plots are organized in different ways. There are plots with a predominance of purely temporal connections (chronic) and plots with the predominance of causal relationships (concentric).

Cf. The king died, and the queen died - A chronic plot.

The king died and the queen died from grief - Concentric plot.

One way or another, the plots are folded from the actions of characters.

Act - manifestation of emotions, thoughts and human intentions in his actions, movements, pronounced words, gestures, facial expressions.

Literature is known different types actions. During the process of the relationship between heroes, their fate, social understanding is changed in one direction or another. In Ni, the action involves such a behavior of the characters, in which they show feelings in behavior, words, gestures, but do not make anything to change their lives.

IN traditional plotswhere the action moves from the tie to the junction, a significant role is played by a significant role in various turns from happiness in unhappiness, from failure to good luck.

Ø Peripetia had great value In the heroic legends of antiquity and in magic fairy tales, in comedies and tragedies of antiquity and rebirth, in early novels and novels (love-knight and adventurous-pluts), later - in adventure and detective literature.

In plots with the peripetias embodies the idea of \u200b\u200bthe power of accidents over people.

There are two types of event sequence in the work: logical, it is causing a temporary, (event A - event B - event C - event D) and designed by the author (eg. Event D - Event A - Event B - Event C). For example, in the story of L. N. Tolstoy "Death of Ivan Vasilyevich", the reader first sees the Hero's corpse, and then meets the history of his life. So in literature there are two concepts: the plot and plot.

According to B. V. Tomashevsky, plot - artistically built distribution of events in the work, and fabul - A set of events in their internal communication.

However, in the literature, the concept of plot and fabuls often identify or do not distinguish. Strictly speaking, such a distinction is necessary only in some cases: the author when working on the work, the reader for a competent retool, a specialist when analyzing the work, especially if the event row is complex.

As an example, consider the story M. Yu. Lermontov "Hero of our time."

Such a location is special artistic tasks: In particular, first Pechorin is shown by the eyes of Maxim Maximich, and only then we see it from the inside, according to the records from the diary.

Remember the story of the story I. A. Bunin "Easy Breath" and restore His Stabul.