What is the component of the composition of a work of art. What is composition in literature: techniques, types and elements
Composition (lat. Compositio - compilation, combination, creation, construction) is the plan of the work, the ratio of its parts, the relationship of images, paintings, episodes. A work of art should have as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author's explanations - from the conversations, actions, actions of the characters could understand what was happening.
The essential quality of the composition is accessibility. A work of art should not contain unnecessary pictures, scenes, episodes. L. Tolstoy compared a work of art with a living organism. "In a real work of art - poetry, drama, painting, song, symphony - one cannot take out one verse, one measure from its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if one takes out one organ from its place and insert into another "." According to K. Fedin, the composition is "the logic of the development of the theme." Reading a work of art, we must feel where, at what time the hero lives, where is the center of events, which of them the main ones and which ones are less important.
A necessary condition for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The writer must depict the world in as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of the writer turns out to be in the mastery of the composition of a work of art.
There are two types of composition - event-plot and nepodia, carrying or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).
V. Lesik notes that the essence of the chronological form of the event composition "is that the events ... go one after another in chronological order - as they happened in life. There may be temporary distances between individual actions or pictures, but there is no violation natural sequence in time: what happened earlier in life, and in the work is served earlier, and not after subsequent events. Therefore, there is no arbitrary movement of events, there is no violation of the direct movement of time. "
The peculiarity of the retrospective composition is that the writer does not adhere to the chronological sequence. The author can tell about the motives, causes of events, actions after their implementation. The sequence in the presentation of events can be interrupted by the memories of the characters.
The essence of the free (montage) form of event composition is associated with violations of causal and spatial relationships between events. The connection between the episodes is more often associative-emotional than logical-semantic. The montage composition is characteristic of the literature of the 20th century. This type of composition is used in the novel by Y. Japanese "Horsemen". Here the storylines are connected at the associative level.
A variation of the event type of composition is event-narrative. Its essence lies in the fact that the author, narrator, narrator, characters tell about the same event. The event-narrative form of composition is typical for lyric-epic works.,
The descriptive type of composition is typical for lyrical works. "The basis for the construction of a lyrical work," notes V. Lesik, "is not a system or development of events ... but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensual image to another "." The lyrical works describe the impressions, feelings, experiences of the lyrical hero.
Yu. Kuznetsov in the "Literary Encyclopedia" distinguishes plot-closed and open composition. Fabulously closed is characteristic of folklore, works of ancient and classic literature (three repetitions, a happy ending in fairy tales, alternation of choir performances and episodes in ancient Greek tragedy). “The composition is fabulously open,” Yu. Kuznetsov notes, “devoid of a clear outline, proportions, flexible, taking into account the genre and style opposition that arises in the specific historical conditions of the literary process. In particular, in sentimentalism (sternivska composition) and in romanticism, when open works became a negation of the closed, classic ... ".
What determines the composition, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landlords. First, he wrote a story called "Chipka", in which he showed the conditions for the formation of the character of the hero. Subsequently, the writer expanded the idea of \u200b\u200bthe work, required a complex composition, so the novel "Do oxen roar when the manger is full?"
Features of the composition are determined by the literary direction, the Classicists demanded three unities from dramatic works (the unity of place, time and action). Events in a dramatic work were supposed to take place during the day, grouped around one hero. Romantics portrayed exceptional characters in exceptional circumstances. Nature was more often shown at the time of the elements (storms, floods, thunderstorms), they often took place in India, Africa, the Caucasus, and the East.
The composition of the work is determined by the genus, type and genre, the basis of lyrical works is the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:
a) the starting point (observation, impressions, thoughts or state that became the impetus for the development of feelings);
b) development of feelings;
c) culmination (the highest tension in the development of feelings);
In the poem by V. Simonenko "Swans of motherhood":
a) starting point - to have a lullaby sung to the son;
b) development of feelings - the mother dreams about the fate of her son, how he will grow up, hit the road, meet friends, wife;
c) climax - the mother's opinion about the possible death of her son in a foreign land;
d) summary - One does not choose one's homeland, love for one's native land makes a person a person.
The Russian literary critic V. Zhirmunsky distinguishes seven types of composition of lyrical works: anaphoristic, amoebeina, epiphoristic, refrain, ring, spiral, joint (epanastrophe, epanadiplosis), pointe.
An anaphoristic composition is characteristic of works that use anaphora.
You have renounced your native language. You
Your land will cease to give birth,
A green branch in a pocket on a willow,
Withered by your touch.
You have renounced your native language. Zaros
Your way and disappeared in a nameless potion...
You don't have tears at the funeral,
You don't have a song at your wedding.
(D. Pavlychko)
V. Zhirmunsky considers anaphora an indispensable component of the amoeba composition, but it is absent in many works. Describing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, "but in the identities of the syntactic structure, replicas or counterreplicas of two interlocutors or, in a certain pattern, the roll call of two choirs." Ludwig Ulanda:
Have you seen the castle high
A castle over the Sea Shire?
Silently floating clouds
Pink and gold over it.
In the mirror waters, peaceful
He would like to bow
And climb into the evening clouds
In their radiant ruby.
I saw a castle high
Castle over the sea world.
Hail fog deep
And the moon stood over him.
(Translated by Mikhail Orest)
Amebane composition is common in the troubadours' tentsons and pastorals.
An epiphoric composition is characteristic of poems with an epiphoric ending.
Breaks, breaks and fractures...
Our spines were broken in circles.
Understand, my brother, finally:
Before heart attacks
We had - so, do not touch!
Soul heart attacks... soul heart attacks!
There were ulcers, like infections,
There were images to disgust -
One bad thing, my brother.
So drop it, go and don't touch it.
We all have, mind you:
Soul heart attacks... soul heart attacks!
In this bed, in this bed
In this scream to the ceiling
Oh don't touch us my brother
Don't touch paralytics!
We all have, mind you:
Soul heart attacks... soul heart attacks!
(Yu. Shkrobinets)
The refrain composition consists in the repetition of a group of words or lines.
How quickly everything in life passes.
And happiness only flickers with a wing -
And he's no longer here...
How quickly everything in life passes,
Is this our fault? -
It's all about the metronome.
How quickly things go by...
And happiness only flickers with a wing.
(Lyudmila Rzhegak)
The term "ring" I. Kachurovsky considers unsuccessful. “Where better,” he notes, “is a cyclic composition. The scientific name of this tool is anadiploic composition. Moreover, in cases where anadiplosis is limited to any one stanza, this does not refer to composition, but to style.” Anadiplosis as a compositional means can be complete or partial, when a part of a stanza is repeated, when the same words are in a changed order, when part of them is replaced by synonyms. Such options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.
Evening sun, thank you for the day!
Evening sun, thank you for the fatigue.
The calm of the forests is enlightened
Eden and for the cornflower in the golden rye.
For your dawn, and for my zenith,
and for my burned zeniths.
Because tomorrow wants greenery,
For the fact that yesterday managed to oddzvenity.
Heaven in the sky, for children's laughter.
For what I can and for what I must
Evening sun, thank you all
who did not defile the soul.
For the fact that tomorrow is waiting for its inspiration.
That somewhere in the world blood has not yet been shed.
Evening sun, thank you for the day
For this need, words are like prayers.
(P. Kostenko)
The spiral composition creates either a "chain" stanza (tercina) or stropho-genres (rondo, rondel, triolet) i.e. acquires stropho-creative and genre features.
The name of the seventh type of composition I. Kachurovsky considers indecent. More acceptable, in his opinion, is the name of epanastrophe, epanadiplosis. A work where the repetition of a rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik's poem "Kanev". Each dvenadtsativir-Shova stanza of the poem consists of three rhyming quatrains that go from quatrain to quatrain, the last verse of each of these twelve verses rhyming with the first verse as follows:
And home will step in here and time
Electricity: and the newspaper rustled
Where once the prophet and poet
The great spirit behind the darkness has dried up
And be reborn in millions of masses,
And not only look from the portrait,
Competition immortal symbol and omen,
Apostle of truth, peasant Taras.
And since my ten phrases
In the dull collection of an anchorite,
As for the times to come for show,
On the shores lies the indifferent Leta...
And the days will become like the lines of a sonnet,
Perfect...
The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. This may be an unexpected turn of thought or a conclusion from the entire previous text. The means of pointe composition is used in the sonnet, the last poem of which should be the quintessence of the work.
Exploring lyrical and lyric-epic works, I. Kachurovsky found three more types of composition: symplocial, gradation and main.
A composition in the form of a symplok I. Kachurovsky calls symplokial.
Tomorrow on earth
Other people walking
Other loving people -
Kind, gentle and evil.
(V. Simonenko)
Gradation composition with such types as descending climax, growing climax, broken climax is quite common in poetry.
The gradation composition was used by V. Misik in the poem "Modernity".
Yes, perhaps, in the time of Boyan
Spring time has come
And the rains rained down on youth,
And the clouds were moving in from Tarashche,
And the hawks stole over the horizon,
And the cymbals resounded,
And blue cymbals in Prolis
Gazing into the heavenly strange clarity.
Everything is like then. And where is she, modernity?
She is in the main: in you.
The main composition is typical for wreaths of sonnets and folk poetry. Epic works tell about the life of people during a certain time. In novels, stories, events and characters are revealed in detail, comprehensively.
In such works there can be several storylines. In small works (stories, short stories) there are few storylines, few characters, situations and circumstances are depicted succinctly.
Dramatic works are written in the form of a dialogue, they are based on action, they are small in size, because most of them are intended for staging. In dramatic works there are remarks that perform a service function - they give an idea of the scene, the characters, advice to the artists, but are not included in the artistic fabric of the work.
The composition of a work of art also depends on the characteristics of the artist's talent. Panas Mirny used complex plots, digressions of a historical nature. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws portraits of heroes and nature in detail. Let's remember "Kaidasheva family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves, accumulates tragic episodes.
The composition of works is influenced by the traditions of folklore. At the heart of the fables of Aesop, Phaedrus, La Fontaine, Krylov, Glebov "The Wolf and the Lamb" is the same folklore plot, and after the plot - morality. In Aesop's fable, it sounds like this: "The tale proves that even a just defense is not valid for those who undertook to do a lie." Phaedrus concludes the fable with the words: "This tale is written about people who seek to destroy the innocent by deceit." The fable "The Wolf and the Lamb" by L. Glebov begins, on the contrary, in morality:
The world has been going on for a long time,
The lower it bends before the higher,
And more than a smaller party and even beats
Composition(from lat. soshro - to fold, build) - this is the construction of a work of art.
The multi-story and multifaceted nature of Dostoevsky's novels amazed his contemporaries, but the new compositional form that was built as a result of this was not always understood by them and was characterized as chaotic and inept. The well-known critic Nikolai Strakhov accused the writer of being unable to cope with big amount plot material, does not know how to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You have terribly aptly pointed out the main shortcoming,” he wrote. - Yes, I suffered from this and I suffer: I am completely unable, I still have not learned how to cope with my means. A lot of individual novels and stories side by side fit into one for me, so there is no measure, no harmony.
“In order to build a novel,” Anton Pavlovich Chekhov later wrote, “it is necessary to know well the law of symmetry and balance of masses. The novel is a whole palace, and it is necessary that the reader feel free in it, not be surprised and not bored, as in a museum. Sometimes you need to give the reader a break from both the hero and the author. A landscape is suitable for this, something funny, a new plot, new faces ... "
There can be a lot of ways to convey the same event, and they, these events, can exist for the reader in the form of an author's narration or memories of one of the characters, or in the form of a dialogue, monologue, a crowded scene, etc.
The use of various compositional components and their role in creating the overall composition of each author is distinguished by a certain originality. But for narrative compositions it is important not only how the compositional components are combined, but also what, how, when and in what way is emphasized in general construction storytelling. If, say, a writer uses the form of a dialogue or a static description, each of them can shock the reader or pass unnoticed, be a "rest", according to Chekhov. The final monologue, for example, or a crowded scene, where almost all the heroes of the work are gathered, can unusually grow above the work, be its central, key moment. So, for example, the scene of the "trial" or the scene "In the Wet" in the novel "The Brothers Karamazov" are culminating, that is, containing the highest points of plot tension.
compositional emphasis in the narrative it is necessary to consider the most vivid, highlighted or intense plot moment. Usually this is such a moment of plot development, which, together with other accent moments, prepares the most intense point in the story - the climax of the conflict. Each such "accent" should correlate with the previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) correlate with each other. A certain systemic arrangement of such accent points is the most important task of narration composition. It is this that creates “harmony and balance of masses” in the composition.
The hierarchy of narrative components, some of which are brighter or muted, strongly accented or have an auxiliary, passing meaning, is the basis of the composition of the narrative. It includes both the narrative balance of plot episodes, and their proportionality (in each case, its own), and the creation of a special system of accents.
While creating compositional solution In an epic work, the main thing is the movement to the culmination of each scene, each episode, as well as the creation of the desired effect when combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of a narrative can be defined as a combination within an epic work of narrative forms of representation that are different in duration and have different strength tension (or emphasis) and constituting in their sequence a special hierarchy.
Deciphering the concept of "composition of the plot", we must proceed from the fact that at the level of objective depiction, the plot has its own initial composition. In other words, the plot of a separate epic work is compositional even before its narrative design, because it consists of an individual sequence of episodes chosen by the author. These episodes make up a chain of events from the life of the characters, events taking place at a certain time and located in a certain space. Composition of these plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on its own.
At the level of plot composition, it is possible to divide episodes into “stage” and “off-stage” episodes: the first tells about events that are directly taking place, and the second - about events that take place somewhere “behind the scenes” or took place in the distant past. Such a subdivision is the most general at the level of plot composition, but it necessarily leads to a further classification of all possible plot episodes.
The composition of literary works is closely related to their genre. The most complex are epic works, the defining features of which are many storylines, a versatile coverage of the phenomena of life, broad descriptions, a large number of characters, the presence of the image of the narrator, the author's constant interference in the development of the action, etc. Features of the composition of dramatic works - a limited amount of "intervention" of the author (in the course of the action the author inserts only remarks), the presence of "off-stage" characters, allowing for a wider coverage life material, etc. The basis of a lyrical work is not a system of events occurring in the lives of heroes, not an arrangement (grouping) of characters, but a sequence of presentation of thoughts and moods, expression of emotions and impressions, the order of transition from one image-impression to another. You can fully understand the composition of a lyrical work only by finding out the main thought-feeling expressed in it.
Three types of composition are most common: simple, complicated, complex.
A simple composition is based, as is sometimes said, on the principle of "thread with beads", that is, on "layering", the connection of individual episodes around one hero, event or object. This method was developed in folk tales. In the center of the story there is one hero (Ivanushka the Fool). You need to catch the Firebird or win the beautiful girl. Ivan is on his way. And all the events are "layered" around the hero. Such is the composition, for example, of the poem by N. A. Nekrasov “Who should live well in Rus'”. The search by men-truth-seekers for the “happy” makes it possible for the poet to show Rus' from different angles: both in breadth and depth, and at different times.
A complicated composition also has a main character in the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. The combination of these storylines is the compositional basis of the work. Such is the composition of "Eugene Onegin", "Hero of Our Time", "Fathers and Sons", "Lord Golovlyov". Complicated composition is the most common type of work construction.
A complex composition is inherent in the epic novel ("War and Peace", "Quiet Don"), such a work as "Crime and Punishment". A lot of storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines that either develop in parallel, or intersect in their development, or merge. A complex composition includes both "layering" and retreats into the past - retrospection.
All three types of composition have a common element - the development of events, the actions of the characters in time. So the composition is essential element artistic work.
Often the main compositional device in a literary work is contrast, which allows to realize the author's intention. On this compositional principle, for example, L. N. Tolstoy's story "After the Ball" is built. The scenes of the ball are contrasting (definitions with positive emotional coloring prevail) and executions (opposite stylistic coloring, verbs expressing action dominate). Tolstoy's contrasting technique is structural and ideologically and artistically decisive. The principle of opposition in the composition of M. Gorky's story "The Old Woman Izergil" (the individualist Larra and the humanist Danko) helps the author to embody his aesthetic ideal in the text of the work. The reception of contrast underlies the composition of the poem by M. Yu. Lermontov "As often, surrounded by a motley crowd ...". The false society, the images of soulless people are opposed by the pure and bright dream of the poet.
The narration, which can be conducted on behalf of the author (“The Man in the Case” by A.P. Chekhov), on behalf of the hero, that is, in the first person (“The Enchanted Wanderer” by N.S. Leskov), on behalf of “people's storyteller” (“Who should live well in Russia” by N. A. Nekrasov), on behalf of the lyrical hero (“I am the last poet of the village ...” by S. A. Yesenin), and all these features also have their own author's motivation.
The work may include various digressions, inserted episodes, detailed descriptions. Although these elements delay the development of the action, they make it possible to draw the characters in a more multifaceted way, to reveal the author's intention more fully, and to express the idea more convincingly.
The narrative in a literary work can be built in chronological order (“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies by L. N. Tolstoy and M. Gorky, “Peter the Great” by A. N. . Tolstoy, etc.).
However, the composition of a work can be determined not by the sequence of events, not by biographical facts, but by the requirements of the logic of the ideological and psychological characteristics of the hero, thanks to which he appears before us with different facets of his worldview, character, and behavior. Violation of the chronology of events aims to objectively, deeply, comprehensively and convincingly reveal the character and inner world of the hero (“A Hero of Our Time” by M. Yu. Lermontov).
Of particular interest is such a compositional feature literary work, as lyrical digressions, which reflect the writer's thoughts about life, his moral position, his ideals. In digressions, the artist turns to topical social and literary issues, often they contain characteristics of the characters, their actions and behavior, and assessments of the plot situations of the work. Lyrical digressions allow us to understand the image of the author himself, his spiritual world, dreams, his memories of the past and hopes for the future.
At the same time, they are closely connected with the entire content of the work, expanding the scope of the depicted reality.
Digressions that make up the unique ideological and artistic originality of the work and reveal the features creative method writer, are diverse in form: from a brief incidental remark to a detailed discussion. By their nature, these are theoretical generalizations, socio-philosophical reflections, assessments of heroes, lyrical appeals, polemics with critics, fellow writers, appeals to their characters, to the reader, etc.
The themes of lyrical digressions in A. S. Pushkin's novel "Eugene Onegin" are varied. The leading place among them is occupied by a patriotic theme - for example, in stanzas about Moscow and the Russian people (“Moscow ... How much this sound merged for the heart of the Russian! How much resonated in it!”), about the future of Russia, which the poet saw - to a patriot in the hum of transformation and rapid movement forward:
Highway Russia here and here,
Connecting, cross,
Cast iron bridges across the water
Stepping in a wide arc
Let's move the mountains, under water
Let's dig bold vaults...
In the lyrical digressions of the novel passes and philosophical theme. The author reflects on good and evil, on the eternity and transience of human life, on the transition of a person from one phase of development to another, higher one, on the egoism of historical figures ("We all look at Napoleons ...") and the general historical fate of mankind, on the law natural change of generations on earth:
Alas! on the reins of life
The instant harvest of a generation,
By the secret will of providence,
Rise, mature and fall;
Others follow...
The author also speaks about the meaning of life, about ruined youth, when it passed “without purpose, without labors”: the poet teaches young people a serious attitude to life, causes contempt for existence “in the idleness of leisure”, seeks to infect with his indefatigable thirst for work, creativity, inspiration labor, giving the right and hope for the grateful memory of posterity.
The lyrical digressions clearly and fully reflected the literary-critical views of the artist. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Nason. The author writes about Fonvizin, who satirically depicted the nobility of the 18th century, calls the playwright "a bold ruler of satire" and "a friend of freedom", mentions Katenin, Shakhovsky, Baratynsky. In the digressions, a picture of the literary life of Russia at the beginning of the 19th century is given, the struggle of literary tastes is shown: the poet ironically speaks of Küchelbecker, who opposed elegies (“... everything in an elegy is insignificant; // Its empty goal is pathetic ...”) and called to write odes ( “Write odes, gentlemen”, “... the purpose of the ode is high // And noble ...”). The third chapter contains an excellent characterization of the "moralizing" novel:
Your syllable in an important way of mood,
It used to be a fiery creator
He showed us his hero
Like a perfect example.
Noting the significant influence that Byron had on him (“... By the proud lyre of Albion // he is familiar to me, he is dear to me”), the poet remarks ironically about romanticism:
Lord Byron by a lucky whim
Cloaked in dull romanticism
And hopeless selfishness.
The author reflects on the realistic method artistic creativity(in "Excerpts from Onegin's Journey"), defends the realistically accurate language of poetry, advocates the liberation of the language from superficial influences and trends, against the abuse of Slavic and foreign words, as well as against excessive correctness and dryness of speech:
Like ruddy lips without a smile,
No grammatical error
I do not like Russian speech.
The lyrical digressions also express the author's attitude to the characters and events: more than once, with sympathy or irony, he speaks of Onegin, calls Tatyana a "sweet ideal", speaks of Lensky with love and regret, condemns such a barbaric custom as a duel, etc. The digressions (mostly in chapter one) also reflected the author's memories of his past youth: about theatrical encounters and impressions, about balls, about the women he loved. The lines dedicated to Russian nature are permeated with a deep feeling of love for the Motherland.
The prologue is the introductory part of a work. She either anticipates storyline or the main motives of the work, or represents the events that preceded those described on the pages.The exposition is somewhat akin to the prologue, however, if the prologue does not have a special influence on the development of the plot of the work, then it directly introduces the reader into the atmosphere. It gives a description of the time and place of action, the central characters and their relationships. The exposure can be either at the beginning (direct exposure) or in the middle of the work (delayed exposure).
With a logically clear construction, the exposition is followed by a plot - an event that starts the action and provokes the development of the conflict. Sometimes the plot precedes the exposition (for example, in Leo Tolstoy's novel "Anna Karenina"). In detective novels, which are distinguished by the so-called analytical construction of the plot, the cause of events (i.e., the plot) is usually revealed to the reader after the effect generated by it.
The plot is traditionally followed by the development of the action, consisting of a series of episodes in which the characters seek to resolve the conflict, but it only escalates.
Gradually, the development of the action approaches its highest point, which is called the climax. The climax is a clash of characters or a turning point in their lives. After the climax, the action moves irresistibly towards the denouement.
Resolution is the end of an action, or at least of a conflict. As a rule, the denouement comes at the end of the work, but sometimes it also appears at the beginning (for example, in I.A. Bunin's story "Light Breath").
Often the work ends with an epilogue. This is the final part, which usually tells about the events that followed the conclusion of the main plot, and about further destinies characters. Such are the epilogues in the novels of I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy.
Lyrical digressions
Also, extra-plot elements may be present in the composition, for example, lyrical digressions. In them, the author himself appears before the reader, expressing his own judgments on various issues that are not always directly related to the action. Of particular interest are the lyrical digressions in "Eugene Onegin" by A.S. Pushkin and in Dead souls» N.V. Gogol.All of the above elements of the composition make it possible to give the work artistic integrity, logic and fascination.
Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel ...), but also a literary cycle, that is, a group of poetic or prose works united by a common hero, common ideas, problems, etc., even a common scene (for example , a cycle of stories by N. Gogol "Evenings on a Farm near Dikanka", "Tales of Belkin" by A. Pushkin; M. Lermontov's novel "A Hero of Our Time" is also a cycle of separate short stories united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their relationship are called COMPOSITION:
COMPOSITION(from lat. Сompositio, composition, composition) - construction, structure of a work of art: selection and sequence of elements and visual techniques of a work that create an artistic whole in accordance with the author's intention.
TO composition elements literary work includes epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (non-plot images created by the author's imagination), dialogues, monologues, episodes, insert stories and episodes, letters, songs ( for example, Oblomov's Dream in Goncharov's novel "Oblomov", Tatyana's letter to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets ..." in Gorky's drama "At the Bottom"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.
When creating a work, the author himself chooses layout principles, "assemblies" of these elements, their sequences and interactions, using special compositional techniques. Let's look at some principles and techniques:
- the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; such a composition is called reverse(this technique was used by N. Chernyshevsky in the novel "What is to be done?");
- the author uses composition framing, or ring, in which the author uses, for example, the repetition of stanzas (the last repeats the first), artistic descriptions(the work begins and ends with a landscape or interior), the events of the beginning and the end take place in the same place, the same characters participate in them, etc.; such a technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in "Poems about the Beautiful Lady"), and in prose ("Dark Alleys" by I. Bunin; "Song of the Falcon", "Old Woman Izergil" M. Gorky);
- the author uses the technique flashbacks, that is, the return of the action to the past, when the reasons for the current narrative were laid (for example, the author's story about Pavel Petrovich Kirsanov in Turgenev's novel "Fathers and Sons"); often when using retrospection in a work, an inserted story of the hero appears, and this type of composition will be called "story within a story"(Marmeladov's confession and Pulcheria Alexandrovna's letter in "Crime and Punishment"; chapter 13 "The Appearance of the Hero" in "The Master and Margarita"; "After the Ball" by Tolstoy, "Asya" by Turgenev, "Gooseberries" by Chekhov);
- often the organizer of the composition is an artistic image, for example, the road in Gogol's poem "Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival at Korobochka - the road - the tavern, meeting with Nozdrev - the road - arrival at Nozdrev - the road - etc .; it is important that the first volume ends with the dear one; so the image becomes the leading structure-forming element of the work;
- the author can preface the main action with an exposition, which, for example, will be the entire first chapter in the novel "Eugene Onegin", or he can start the action immediately, abruptly, "without acceleration", as Dostoevsky does in the novel "Crime and Punishment" or Bulgakov in " Master and Margarita";
- the composition of the work may be based on symmetry of words, images, episodes(or scenes, chapters, phenomena, etc.) and will be mirror, as, for example, in A. Blok's poem "The Twelve"; mirror composition is often combined with framing (this principle of composition is typical for many poems by M. Tsvetaeva, V. Mayakovsky and others; read, for example, Mayakovsky's poem "From Street to Street");
- often the author uses the technique compositional "gap" of events: breaks the narrative at the most interesting place at the end of the chapter, and the new chapter begins with a story about another event; for example, Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita use it. This technique is very fond of the authors of adventurous and detective works or works where the role of intrigue is very large.
Composition is form aspect literary work, but its content is expressed through the features of the form. The composition of a work is an important way to embody the author's idea.. Read the poem by A. Blok "The Stranger" on your own, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas, listening to their sound:
The first stanza sounds sharp and disharmonious - because of the abundance of [p], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It is impossible otherwise, because Blok here paints a picture of disgusting philistine vulgarity, a "terrible world" in which the Poet's soul toils. This is the first part of the poem. The seventh stanza marks the transition to new world- Dreams and Harmonies, and the beginning of the second part of the poem. This transition is smooth, the sounds accompanying it are pleasant and soft: [a:], [nn]. So in the construction of a poem and with the help of the so-called sound writing Blok expressed his idea of the opposition of two worlds - harmony and disharmony.
The composition of the work can be thematic, in which the main thing is to identify the relationship between the central images of the work. This type of composition is more characteristic of lyrics. There are three types of such a composition:
- consistent, which is a logical reasoning, the transition from one thought to another and the subsequent conclusion in the finale of the work ("Cicero", "Silentium", "Nature is a sphinx, and so it is more true ..." Tyutchev);
- development and transformation of the central image: the central image is considered by the author from different angles, its bright features and characteristics are revealed; such a composition involves a gradual increase in emotional tension and a culmination of experiences, which often falls on the finale of the work ("The Sea" by Zhukovsky, "I came to you with greetings ..." Fet);
- comparison of 2 images that entered into artistic interaction("Stranger" Blok); such a composition is based on the reception antitheses, or opposition.
1. The concept of the composition of a literary work.
2. Compositional techniques.
3. Elements of composition and their role in revealing the ideological and artistic content of the work.
Bibliography
1) Borev Yu.B. Aesthetics. Theory of Literature: encyclopedic Dictionary terms. - M., 2003.
2) Introduction to literary criticism: textbook / ed. L.M. Krupchanov. - M., 2003.
3) Esin A.B. Principles and methods of analysis of a literary work. - 4th ed. - M., 2002.
4) Literary encyclopedic dictionary / ed. V.M. Kozhevnikova, P.A. Nikolaev. - M., 1987.
5) Literary Encyclopedia terms and concepts / ed. A.N. Nikolyukin. - M., 2003.
6) Dictionary of literary terms / ed. L.I. Timofeev, S.V. Turaev. - M., 1973.
7) Timofeev L.I.. Fundamentals of the theory of literature. - M., 1976.
A work of art is a complex whole, a series of images, a chain of their actions, events that happen to them. The writer must organize all these separate elements of the narrative into a coherent and organized whole that is fascinating to the reader. This one the organization of a work, proportionality and consistency, the ratio of all its parts and elements in literary criticism is usually called a composition.
A.I. Revyakin gives the following definition of composition: Composition (from lat. compositio - addition, composition, compono - to add, make up) - construction of a work of art, a certain system of means of disclosure, organization of images, their connections and relationships that characterize the life process shown in the work ».
Thus, the composition includes the arrangement of characters in the work, and the order of reporting on the course of events, and the change in narrative techniques, and the correlation of the details of the depicted, and portrait and landscape sketches, and the message about the place and time of the events taking place, and the division of the work into parts. and so on. In other words, composition is nothing but the structure of a work of art.
Whatever work we take, it has a certain composition - it is organized on the basis of the complexities of the real life situation that it reflects, and that understanding of life connections, causes and effects, which is inherent in this writer and determines his compositional principles. The composition of a work is determined primarily by the real patterns of reality depicted in the work, the ideological and aesthetic tasks set by the author, as well as the artistic method, genre features, the writer's worldview, his creative manner.
Many literary scholars, speaking about the composition of a work, distinguish its two main forms: event (plot) and non-event (non-plot). The eventful form of the composition is more typical for epic and dramatic works, the non-eventive form for lyrical ones.
Since the main unit of the literary and artistic reflection of life is character, the composition of a work of art can be comprehended and studied precisely in connection with the characters depicted in it.
How the writer builds this or that character, how he correlates it with others, in what sequence he arranges the events in the work, what causes and effects he brings to the fore in the life depicted, how in connection with this he organizes the work externally - all this as a whole is the composition of the work, is determined by the creative principles of the writer.
The main requirements for the composition of a highly artistic work are life and artistic motivation and strict subordination of all elements of the work to the theme and idea.
In modern literary criticism, there is a tradition of highlighting such compositional techniques as repeat, amplify And installation . About compositional reception repeat they speak mainly in the case when the first and final poetic lines echo, giving the work a compositional harmony, creating a ring composition. A classic example of the use of a ring composition can serve as A. Blok's poems "Night, street, lamp, pharmacy ...", S. Yesenin "Shagane, you are mine, Shagane ..." others.
Reception amplification used in cases where a simple repetition is not enough to create an artistic effect. For example, the description of the interior decoration of Sobakevich's house in "Dead Souls" by N.V. Gogol. Here every new part reinforces the previous one: “everything was solid, clumsy to the highest degree and had some strange resemblance to the owner of the house; in the corner of the drawing-room stood a pot-bellied walnut bureau, not preposterous on four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and most restless quality—in a word, every object, every chair seemed to say: “Me, too, Sobakevich!” or “and I also look a lot like Sobakevich!”.
Reception mounting characterized by the fact that two images located side by side in the work give rise to a certain new meaning. For example, in A. Chekhov's story "Ionych", the description of the "art salon" is adjacent to the mention of the smell of fried onions and the clinking of knives. These details create the atmosphere of vulgarity that the author tried to convey to the reader's mind. In some works (M. Bulgakov's The Master and Margarita, Ch. Aitmatov's Block, etc.), montage becomes the compositional principle of organizing the entire work.
Along with the concept of compositional device in literary criticism, we are talking about composition elements . Following V.V. Kozhinov and other scientists, we distinguish the following elements of composition: prelude, silence, chronological permutations, artistic framing, antithesis, landscape, portrait, interior, dialogue, monologue, lyrical digressions, introductory episodes.
Preliminary- notification in advance about something - this is an artistic device when the writer precedes the image of future events with episodes. An example of a prelude is an episode from the novel by A.S. Pushkin "Eugene Onegin", when Tatyana has a dream that Onegin kills Lensky (Chapter 5, stanza 21):
Argument louder, louder; suddenly Eugene
Grabs a long knife, and instantly
Defeated Lensky; scary shadows
Thickened; unbearable cry
There was a sound... The hut staggered...
And Tanya woke up in horror...
An example of anticipation in Mordovian literature can be found in N. Erkay's poem "Moro Ratordo" (the scene of the discovery by the main character in the hollow of a centuries-old oak of human bones, presented at the beginning of the work).
Artistic framing- the creation of paintings and scenes that are close in essence to the depicted phenomena and characters. "Hadji Murad" L.N. Tolstoy begins with a landscape sketch. The author tells how, having collected a large bouquet of different flowers, he decided to decorate it with blooming raspberry burdock, popularly called "Tatar". However, when he plucked it with great difficulty, it turned out that the burdock, due to its coarseness and coarseness, does not fit the delicate flowers of the bouquet. Further, the author shows a newly plowed field, on which not a single plant was visible, except for one bush: “The 'Tatarina' bush consisted of three shoots. One was torn off, and the rest of the branch stuck out like a severed hand. The other two had a flower each. These flowers were once red, but now they were black. One stalk was broken, and half of it, with a dirty flower at the end, hung down; the other, although smeared with black earth mud, still stuck up. It was evident that the whole bush had been run over by a wheel and after that it rose and therefore stood sideways, but still stood. It was as if a piece of his body had been torn out, his insides turned out, his arm was torn off, his eye was gouged out. But he still stands and does not surrender to the man who destroyed all his brothers around him. “What energy! I thought. “Man conquered everything, destroyed millions of herbs, but this one does not give up.” And I remembered one old Caucasian story, some of which I saw, some I heard from eyewitnesses, and some I imagined. This story, as it has developed in my recollection and imagination, that's what ... ".
An example of an artistic frame from Mordovian literature is an excerpt from the prologue of the novel in verse by A.D. Kutorkin "Apple tree near the high road":
| Kavto Enov pryanzo kaysi Umarina poksh kint krayse. Paksyant kunshkas, teke stuvtovs, Those sulei maksytsya feeling, Tarkaks is the meadow of the musus. Laishiz varmat, frost narmunt. Tsyarakhmant baked some eisenze. Yalateke son viysenze Kirds calf lamo yakshamot, Ace orshnevemat, lyakshamot, Nachko lively trowel live. But tsidyards feel - ez sive, Staka davol marto arguing, Lamo Viy rushed the shadow of the koryas. You marinated kas ush pokshsto, Zardo sonze veike boxto Ker vatkakshnost petkel petne, Taradtkak syntrest chirketne, Right shovels kodaz lokshotne, But eziz mue makshotne Te chuvtont. Sleep keme, whole. Bogatyren shumbra body Nulan pack istya neyavkshny, Koda selms yala kayavkshny Te uminant komelse Se tarkas, costly petkelse Kener panks mind lutavkshnos. Pars tundos chuvtonten savkshnos. Erva tarads kodaz-kodavst, Mazy die news modas ... | The apple tree at the high road nods its head in both directions. In the middle of the field, as if forgotten, This is a tree giving a shadow, I chose a green meadow as a place. The winds mourned her, the birds sang over her. The hail beat her. At the same time, with her strength, she resisted the winter cold, glaciation, hoarfrost, In rainy times - cold sweat. But the tree withstood - it did not break, Arguing with a strong hurricane, It became stronger even more. The apple tree had already grown, When on one side the bark was torn off with a pestle, And the branches were broken in arcs, The leaves were torn off with a wicker whip, But the tree did not wither, It is healthy, whole. Sometimes so heroic strong body Peeps through the rags, When it catches the eye At the apple tree on the trunk That place where the skin has long been torn off with a pestle. Spring came to the yard for this tree. On each branch, intertwining with each other, Beautiful apples bowed to the ground ... |
Default- an artistic technique when the writer in the work deliberately does not say anything. An example of default is a stanza from a poem by S.A. Yesenin "Song of the Dog":
She ran through the snowdrifts,
Running after him...
And so long, long trembling
Unfrozen waters.
Chronological permutations- such an element of the composition, when the writer in his work tells about events, violating the chronological sequence. A classic example of this kind of composition is the novel by M.Yu. Lermontov "A Hero of Our Time".
Quite often, writers include in their works the memories of heroes about the days of the past. This technique also serves as an example of chronological permutations. In A. Doronin's novel "Bayagan Suleyt" ("Shadows of the Bells"), which tells about the life of Patriarch Nikon, there are several such episodes:
“... Vladykaten flattered, meiste merrily left the code dream pongs tezen, vasolo enksoni usiyatnes. Those ulnes 1625 yen tundostont, zardo sonze, order to popont, ve clean kirga ormado kulost kavto tserkanzo. Te rizkstan Olda nize ez tsidardo, tus nun. Dy songak arces-teys pryanzo naravtomo. Kochkize Solovkan monastery, horse net ietnesteyak Rusen keles baked sodavixel. Ansyak code tey packodems? Syrgas Nizhny Novgorod. Kems, tosto mui Arkhangelskoent marto syulmavoz lomant dy Rav leygant syrgi martost od ki langov. (“Vladyka remembered how it all began and how he got here, to these remote places. It happened in the spring of 1625, when, as a rural priest, two of his sons died one day from a sore throat. From such grief, his wife Olda could not stand it, she became a nun. He, too, on reflection, decided to take the veil as a monk. He chose the Solovetsky Monastery, which was already very famous in Russia in those days. But how to get there? Nizhny Novgorod. He hoped that he would find people there who are connected with Arkhangelsk, and along the Volga River along with them he would follow a new path.
Antithesis- a contradiction, a sharply expressed opposition of concepts or phenomena. N.A. Nekrasov in the poem "To whom it is good to live in Rus'" there are the following lines:
You are poor, you are abundant,
You are powerful, you are powerless,
Mother Rus'.
An excerpt from D. Nadkin's poem "Chachoma ele" called "Iznyamo or Kuloma" ("Victory or Death") is also built on the antithesis:
Scenery- a description of nature in a literary work that performs various functions. landscape sketches entered fiction a long time ago: we meet them in the works of ancient and medieval literature. Already in the Homeric poems there are small landscape paintings that serve as the background of the action, for example, references to the coming night, the sunrise: “Then the dusk descended to the earth”, “The young woman with purple fingers Eos got up”. In the work of the Roman poet Lucretius “On the Nature of Things”, nature is also personified and acts both as a character and as a background of action:
Winds, goddess, run before you; with your approach
The clouds are leaving from heaven, the earth is a masterful lush
Laying a flower carpet, smiling sea waves,
And the azure sky shines with spilled light ....
In the 18th century, in the literature of sentimentalism, landscapes began to perform a psychological function and were perceived as a means of artistic development of the inner life of a person (Goethe's "The Sufferings of Young Werther", Karamzin's "Poor Lisa").
Nature among romantics is usually restless, corresponds to the stormy passions of the characters and acts as a symbol (Lermontov's "Sail", etc.).
In realistic literature, landscapes also occupy a significant place and perform various functions, they are perceived both as a background of action, and as a subject of the image, and as a character, and as a means of artistic development of the inner world of heroes. As an example, let's cite an excerpt from N. Erkay's story "Alyoshka": Maryavi fox is just a weirdo chudikerksent sholnemazo. Sleep, the use of tseks, praise the smeared kizen valskent. Kaldastont kaiseti skaltenen stakasto lexemast dy porksen poremast. Leent chireva lugant langa rosas ashti because baygex. Break another skein of aras ... Koshtos dull, vanks dy ekshe. Leksyat eisenze, kodayak and peshkedyat.
Lomantne, narmuntne, mik tikshetneyak, weighty nature, sirey shozhdyne less scary. Mik teshtneyak pale avol baked waldo tolso, songak chamonit, ezt mesh udytsyatnenen ”(The river is not visible, it is wrapped in thick fog. You can hear the murmur of a stream flowing from a spring. He, like a nightingale, praises the beauty of a summer morning. From the fence you can hear the sighs of cows chewing chewing gum In the meadow along the river lies morning dew. People are still nowhere to be seen... The air is thick, clean and cool. Breathe them - do not breathe.
People, birds, grass, all nature sleeps under a light firmament. Even the stars do not burn brightly, they do not interfere with the sleepers.
Portrait- description appearance, the appearance of the characters. Pre-realistic literature is characterized by idealizing descriptions of the appearance of heroes, outwardly bright and spectacular, with an abundance of figurative and expressive means of language. Here is how Nizami Ganjavi describes the appearance of her beloved in one of the ghazals:
Only the moon can compare with this maiden from Khotan,
Her charms captivated a hundred Yusufs from Hanan.
Eyebrows are arched like arches, eyes look like the sun,
Brighter than Aden rubies, her ruddy cheeks color.
Proudly decorating with a scarlet rose blooming garden,
She eclipsed the cypress with a regal high figure ....
Similar portraits take place in romantic literature. In realistic literature, a portrait has become widespread, which performs a psychological function, helping to reveal the spiritual world of characters (M. Lermontov "A Hero of Our Time", L. Tolstoy "War and Peace", A. Chekhov "Lady with a Dog" ...).
Quite often, it is through a portrait that one can reveal the attitude of the author towards his hero. Let us give an example from the story of S. Platonov “Kit-yant” (“Ways-roads”): “Vera orshazel kizen shozhda platiinese, horse stazel serenze koryas dy sedeyak mazylgavts in the form of kilen kondyamo elgan rungonzo. Vasen varshtamsto sonze chamazo unaware avol ush ovse baked mazytnede. Ist chamast vese od teterkatnen, kinen and umok topodst kemgavksovo iet such set tundostont vasentseks blooming kuraksh alo lily of the valley tsetsineks. But buti sede forge vanat Veran chamas, sleep alamon-alamon lyakstomi, teevi lovtanyaks dy valdomgady, prok dawn chilisema enksos, zardo vir ekshste or paksia chiren tombalde appear chint syrezhditsa kirkseze, dy sedeyak pek maneigady, nalks ezevi weight valdosonzo, zardo mizoldomadont panzhovit peenze. But sehte remember sonze with gray selmenze, konat langozot vanomsto you don’t show steel kondyamoks, maile alamon-alamon yala senshkadyt, mumbledly dymik chopolgadyt, teev potmakstomoks. Vanovtonzo koryas ovse and charkodevi ezhozody meleze - paro te arsi or beryan. But varshtavksozo zardoyak a stuvtovi ”(“ Vera was dressed in a light summer dress, sewn according to her height and emphasizing her slender figure. At first glance, her face can not be attributed to very beautiful. Such are the faces of most young girls who have recently turned eighteen and have blossomed for the first time, like forest lilies of the valley. But if you peer into the face of Vera, it gradually changes, turns pale and brightens, like the dawn, when the first rays of the sun appear from behind the forest or from the side of the field, and becomes even more beautiful with a smile. Most of all, her gray eyes are remembered, which at first glance seem to be steel, then gradually darken and become bottomless. In her eyes it is impossible to understand her mood and thoughts - whether she wishes you well or not. But you can't forget her look."
After reading this passage, the reader feels that the author's sympathies are on the side of the heroine.
Interior- an image of a closed space, a human habitat, which he organizes in his own image, in other words, this is a description of the environment in which the characters live and act.
The description of the interior or the material world has entered Russian literature since the time of A. Pushkin (“Eugene Onegin” is a description of the hero’s office). The interior serves, as a rule, as an additional means of characterizing the characters of the work. However, in some works it becomes dominant artistic medium, for example, in "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich" N.V. Gogol: “A wonderful man Ivan Ivanovich! He loves melons very much. This is his favorite food. As soon as he dine and goes out in one shirt under a canopy, he now orders Gapka to bring two melons. And he will cut it himself, collect the seeds in a special piece of paper and begin to eat. Then he orders Gapka to bring an inkwell and himself, with his own hand, makes an inscription over a piece of paper with seeds: "This melon was eaten on such and such a date." If at the same time there was some guest, then "participated such and such."
The late Judge Mirgorodsky always admired Ivan Ivanovich's house. Yes, the house is very good-looking. I like that sheds and canopies are attached to it on all sides, so that if you look at it from a distance, you can see only the roofs planted one on top of the other, which is very similar to a plate filled with pancakes, and even better, like sponges growing on tree. However, the roofs are all covered with an outline; willow, oak and two apple trees leaned on them with their spreading branches. Between the trees, small windows with carved whitewashed shutters flicker and even run out into the street. From the above passage it is clear that with the help of the interior, the world of things, in a Gogolian way, the Mirgorod inhabitants-landlords are sarcastically ridiculed.
Let us give an example from Mordovian literature, a description of the room in which V. Kolomasov's character Lavginov lives after a divorce from his wife: Arsyan, natoy skalon kardos sede vanks. Koshtos sonze kudosont istya kols, mik oymet and targavi. Kiyaksos - roujo fashion. Kov ilya varshta - mazyn kis vovodevst shanzhavon kodavkst. And wow! Awkward - mezeyak and maryat, prok meksh commanded to owl kudonten. Stenasont, obliquely sonze atsaz tarkinese, lazkstne peshkset kendyaldo, ceilingont ezga pixit cockroach ”(You should have seen what kind of house he has now. I think your cow yard is cleaner. The air in the house has deteriorated so much that it is impossible to inhale. The floor is black earth. Wherever you look, cobwebs hang everywhere for beauty. And flies! Buzzing - you can’t hear anything, as if a swarm of bees flew into the house. In the wall, near which now his bed, the cracks are full of bedbugs, cockroaches crawl on the ceiling). This kind of interior helps the reader to better understand the lazy nature of the depicted hero.
Sometimes the interior also performs a psychological function. Here is how L. Tolstoy describes the interior of the prison office, which Nekhlyudov came to after meeting with Katyusha Maslova in court: “The office consisted of two rooms. In the first room, with a large protruding shabby stove and two dirty windows, there was a black yardstick in one corner to measure the height of the prisoners, in the other corner hung - a constant accessory to all places of torment, as if in mockery of his teaching - a large image of Christ. There were several guards in this first room. In the other room, twenty men and women sat on the walls in separate groups or in pairs and talked quietly. There was a desk by the window. Such descriptions help reveal the state of mind of the characters.
Lyrical digressions- emotional reflections of the author about the events depicted. There are many lyrical digressions in Don Juan by D.G. Byron; "Eugene Onegin" A.S. Pushkin, "Dead Souls" N.V. Gogol; in "Apple Tree by the High Road" by A.D. Kutorkina:
A kind of lyrical digressions are also found in dramatic works, in particular, in the plays of B. Brecht there are a lot of songs (zongs) that interrupt the depicted action.
Dialogues and monologues- these are significant statements, as if emphasizing, demonstrating their "author's" affiliation. Dialogue is invariably associated with mutual, two-way communication, in which the speaker takes into account the direct reaction of the listener, while activity and passivity pass from one participant in the communication to another. Dialogue is characterized by the alternation of brief statements by two or more persons. A monologue is an uninterrupted speech by one person. Monologues are "solitary”, in the case when the speaker does not have direct contact with anyone, and "converted designed to actively influence listeners.
Opening episodes literary scholars are sometimes referred to as insert stories. These are the tale of Cupid and Psyche in Apuleius' novel "Metamorphoses" ("The Golden Ass"), the story of Captain Kopeikin in "Dead Souls" by N.V. Gogol.
In conclusion, it should be noted that any work of art has its own composition, a special structure. Depending on the goals and objectives that he has set for himself, the writer chooses certain elements of the composition. At the same time, all the elements of the composition listed above cannot be present even in large epic works. Rarely found in fiction components such as prelude, artistic framing, introductory episodes.
CONTROL QUESTIONS:
1. Which of the following definitions of composition is closer to you and why?
2. What terminology denoting the construction of a work can be used in the process of analyzing a work?
3. What are the main elements of the composition of a literary work?
4. Which of the elements of composition are less common than others in Mordovian literature?
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