Analysis of a prose passage. Comprehensive analysis of prosaic text and comparative analysis of poems
1. The story of the creation of the work.
2. The genre of the work.
3. The theme and idea of \u200b\u200bthe work. (It is important to understand that there can be many topics in a work, but the main thing is only one, the main one).
4. The problems of the work. As a rule, in Russian literature, the problems raised by the author are eternal, characteristic of many works.
For example:
a) The problem of finding a good hero. (A. S. Griboedov “Woe from Wit”, “Hero of Our Time” M. Yu. Lermontov, “Eugene Onegin” A. S. Pushkin, “Fathers and Sons” I. S. Turgenev, “Oblomov” I. A Goncharov, L. N. Tolstoy “War and Peace”, “Crime and Punishment” by F. M. Dostoevsky, etc.)
b) The problem of the meaning of life / happiness (the same works).
c) The problem of feeling and duty (already the problem of love) (A. S. Griboedov, A. N. Ostrovsky, I. S. Turgenev, A. S. Pushkin, L. N. Tolstoy, M. N. Sholokhov, M A. Bulgakov, etc.
d) The problem of fathers and children (Ostrovsky, Turgenev, Tolstoy, Chekhov, Sholokhov, etc.).
5. The shaped system. Here you need to understand in great detail what this or that character is for, to understand its function and role.
6. Conflict (which, how many conflicts, as they are shown in the work).
7. Artistic features.
a) Composition (form, construction of the work): exposition, plot, climax, denouement.
If there are several storylines in a work (for example, “Fathers and Sons”), then all compositional parts for each of them should be disassembled.
So, in the novel Fathers and Sons, at least 3 storylines can be distinguished (the same number of conflicts in the novel). Each of them develops independently.
The storyline of Bazarov is the Kirsanov brothers (socio-political conflict): exposure - arrival and acquaintance, the plot - a dispute, the climax - a duel, the denouement - death.
The storyline of Bazarov - Odintsova (love conflict): exposition - meeting at the ball, the plot - arrival in Nikolskoye, the climax - recognition, denouement - farewell, death.
The storyline of Bazarov is the parents (generational conflict): the exposition is the first visit to the parents and the plot, the climax is the conversation that Bazarov became infected during the autopsy, the denouement is death, the epilogue is when the parents visited Bazarov’s grave.
b) Artistic techniques.
Portrait.
Interior.
Psychologism: depicting the actions of heroes, their experiences (confession, monologue, dialogue, author's speech, comments, opinions of other characters).
The role of artistic details to characterize the hero.
Reception of antithesis.
Humor, satire, irony, grotesque, fiction.
For poetic works:
Metaphorical language;
Epithets, comparisons;
Figurative parallelism;
Alliteration etc.
8. Controversy surrounding a work or the point of view of critics and contemporaries.
For example, about the comedy A.S. Griboedov's “Woe from Wit” was written by I.A. Goncharova "Million torment." You need to know the main points of this article and the most striking statements and characteristics given in it. I.A. Goncharov gives a positive assessment to the protagonist of the comedy: “Chatsky is not only smarter than all other people, but also positively smart ... In a word, this is a person not only smart, but also developed ... Chatsky, as a person, is incomparably higher than Onegin and Lermontov Pechorin ... They end them time, and Chatsky begins a new century - and this is all of its significance and the whole "mind".
Contemporaries A.S. Griboedov A.S. Pushkin: “Everything that he says is very clever. But to whom does he say all this? Famusov? Puffer? At the ball to Moscow grandmothers? Silence? This is unforgivable. ”
Here we see two mutually exclusive points of view. This indicates the inconsistency, ambiguity of the image of Chatsky.
If the work is controversial, if it is possible to relate to its heroes differently, then the examiner is given the choice of which point of view to accept, which of the critics to argue with, and perhaps express his own opinion.
To analyze a work about which there are numerous reviews of contemporaries, critics is much simpler and more interesting.
In addition, you can use a bright and catchy quote and start (or finish) the work.
Naturally, the analysis may not cover all the aspects mentioned above, but only those that most fully and accurately reveal the specifics of the work.
1. The story of the creation of the work.
2. The genre of the work.
3. The theme and idea of \u200b\u200bthe work. (It is important to understand that there can be many topics in a work, but the main thing is only one, the main one).
4. The problems of the work. As a rule, in Russian literature, the problems raised by the author are eternal, characteristic of many works.
For example:
- The problem of finding a good hero.
- The problem of the meaning of life / happiness.
- The problem of feeling and duty, the problem of love.
- The problem of fathers and children.
- The problem of good and evil.
- What is true beauty?
- Ecological problems.
- Problems of historical memory.
5. The shaped system. Here you need to understand in great detail what this or that character is for, to understand its function and role.
6. Conflict (which, how many conflicts, as they are shown in the work).
7. Artistic features.
- Composition (form, construction of the work): exposition, plot, climax, denouement.
- Artistic tricks.
- Portrait.
- Landscape.
- Interior.
- Psychologism: depicting the actions of heroes, their experiences (confession, monologue, dialogue, author's speech, comments, opinions of other characters).
- The role of artistic details to characterize the hero.
- Reception of antithesis.
- Humor, satire, irony, grotesque, fiction.
8. Controversy surrounding a work or the point of view of critics and contemporaries.
You can use a bright and catchy quote and start (or finish) the work.
Naturally, the analysis may not cover all the aspects mentioned above, but only those that most fully and accurately reveal the specifics of the work.
Prose Work Analysis Plan - Option 2
- The theme of the work (what is it about?), Problems (for what? Why?)
- The genre of the work (story, novel, novel).
- The plot and composition of the plot (organization of the deployment of the plot)
- Image system
- Art details
- Chronotope (organization of time and space)
- Trails and figures
- Verbal instrumentation of the text, rhythm, intonation.
- The ideological orientation of the work, its pathos.
The first three components are, as a rule, dominant, absorbing all the others. All components of the analysis converge at one point, exist as units in order to eventually reach the author’s idea in the work. The author’s idea is the goal of analysis. There is no universal analysis plan. Each work is original, requires an individual approach, but it is possible to conditionally distinguish the stages of the analysis of works:
- The role of the end and the beginning of the work. The significance of the first sentence (What sets it up? What kind of emotional atmosphere does it create? With what details is the emotional atmosphere of the work created? How does the beginning of the work prepare for the perception of the work?).
- Identification of episodes and events that make up the plot, their analysis. Understanding the importance of each episode and event.
- Revealing the logic of the sequence of episodes (How is the author's idea revealed through this sequence?)
- The system of images.
Hero: first appearance of a literary hero; what we expect from him, the author's attitude; portrait details; speech characteristic (what and how it says); manifestations of the hero in actions, actions, motives of actions; relationships with other people; the inner world of the hero (feelings, thoughts, fantasies); life guidelines, values \u200b\u200bof the hero.
Landscape (not only natural, but also urban): a color and light palette that creates a certain atmosphere of the world, where something will happen; the sound of the depicted world; movements of the depicted world; communication with characters; the role of the landscape in the story (as the author’s thought, the author himself is visible in the landscape).
Interior (description of the situation): through artistic details to comprehend the characters of the characters; the atmosphere of human life in this world (whether the hero is happy or not).
Object-subject relationship (if there is a narrator): features of the vision of the world by the narrator (Why did the author need this? How does the narrator and the author coincide? What is the distance between them?).
Poem Analysis Plan
1. Elements of the commentary on the poem:
- Time (place) of writing, history of creation;
- Genre originality;
- The place of this poem in the poet’s work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
- Explanation of obscure places, complex metaphors and other transcripts.
2. Feelings expressed by the lyrical hero of the poem; feelings that a poem evokes in the reader.
3. The movement of the author’s thoughts, feelings from the beginning to the end of the poem.
4. The interdependence of the content of the poem and its art form:
- Compositional solutions;
- Features of self-expression of the lyrical hero and the nature of the story;
- The sound of the poem, the use of sound recording, assonance, alliteration;
- Rhythm, stanza, graphics, their semantic role;
- Motivation and accuracy of using expressive means.
4. Associations caused by this poem (literary, vital, musical, pictorial - any).
5. The typicality and originality of this poem in the poet’s work, the deep moral or philosophical meaning of the work, revealed as a result of analysis; the degree of “eternity” of the problems raised or their interpretation. Riddles and secrets of the poem.
6. Additional (free) thoughts.
Analysis of a poetic work
(diagram)
Proceeding to the analysis of a poetic work, it is necessary to determine the immediate content of the lyrical work - experience, feeling;
To determine the “belonging” of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed);
- determine the subject of the description and its connection with the poetic idea (direct - indirect);
- determine the organization (composition) of the lyric work;
- to determine the originality of the use of visual means by the author (active - mean); define the lexical drawing (vernacular - book and literary vocabulary ...);
- determine the rhythm (homogeneous - heterogeneous; rhythmic movement);
- determine the sound pattern;
- determine intonation (the speaker's attitude to the subject of speech and the interlocutor.
Poetic vocabulary
It is necessary to find out the activity of using certain groups of common vocabulary words - synonyms, antonyms, archaisms, neologisms;
- find out the measure of proximity of a poetic language with spoken;
- determine the identity and activity of the use of tropes
EPITETE - artistic definition;
COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other;
ALLEGORY (allegory) - the image of an abstract concept or phenomenon through specific objects and images;
IRONIA - a hidden mockery;
HYPERBALL is an artistic exaggeration used to enhance an impression;
LITOTA - artistic understatement;
PERSONALIZATION - the image of inanimate objects, in which they are endowed with the properties of living things - the gift of speech, the ability to think and feel;
METAPHOR - a hidden comparison based on the similarity or contrast of phenomena, in which the word "how", "as if", "as if" are absent, but implied.
Poetic Syntax
(syntactic techniques or figures of poetic speech)
- rhetorical questions, appeals, exclamations - they increase the reader’s attention, without requiring an answer from him;
- repetitions - repeated repetition of the same words or expressions;
- antitheses - oppositions;
Poetic phonetics
The use of onomatopoeia, sound recording - sound repetitions, creating a kind of sound "drawing" of speech.)
- Alliteration - repetition of consonants;
- Assonance - repetition of vowels;
- Anafora - one-man management;
Lyric composition
It is necessary:
- determine the leading experience, feeling, mood, reflected in the poetic work;
- find out the harmony of compositional construction, its subordination to the expression of a certain thought;
- determine the lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner freedom, etc.)
- identify the life situation that, presumably, could cause this experience;
- highlight the main parts of the poetic work: to show their connection (to determine the emotional "drawing").
Getting to the analysis of a poetic work, it is necessary to determine:
# the immediate content of the lyric work is experience,
feeling;
# “Belonging” of feelings and thoughts expressed in a lyrical work:
lyrical hero (the image in which these feelings are expressed);
# the subject of the description and its connection with the poetic idea (direct - indirect);
# organization (composition) of the lyric work;
# originality of use of figurative - expressive means;
# lexical drawing;
# rhythm
# sound pattern;
# intonation.
It is also important to consider the context in which the poem was created, i.e. historical situation or moments of the author’s biography.
Poetry text analysis algorithm :
- The definition of a genre is pure lyrics, lyrics of thought, role lyrics, descriptive, narrative.
- Identification of the lyrical plot - experiences.
- Theme of the poem.
- Idea.
- The interpretation of the name.
- Analysis of the composition.
- Characterization of images.
- Description of the lyrical hero.
- Analysis of the pictures and situations that caused the experience.
- Organization of poetic speech: size, rhythm, pause, rhyme.
- Stropics analysis.
- Vocabulary. Special visual aids.
- Poetic syntax.
- Analysis of the phonetic system of speech.
The plan of analysis of the lyric poem.
I.Date of creation.
II.Real biographical and factual commentary.
III.Genre originality.
IV.Ideological content:
1. Leading topic.
2. Main thought.
3. The emotional coloring of feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The prevalence of public or personal intonations.
6. Lyrical hero.
V.The structure of the poem:
1. Comparison and development of basic verbal images:
a) by similarity;
b) in contrast;
c) by adjacency;
d) by association;
e) by inference.
2. The main figurative means of allegory used by the author are: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litota, irony (like a trope), sarcasm, periphrase.
3. Speech features in terms of intonational-syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.
4. The main features of rhythm:
a) tonic, syllabic, sillabo-tonic, dolnik, free verse;
b) iambic, trochee, pyrrhichia, spondae, dactyl, amphibrach, anapaest.
5. Rhyme (male, female, dactylic, accurate, inaccurate, rich; simple, compound) and rhyming methods (pair, cross, ring), rhyme playing.
6. Strofika (couplet, three-note, five-note, quatrain, sextine, septima, octave, sonnet, Onegin stanza).
Euphonia (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation
Lyric Poem Analysis
The analysis technique is dictated by the ideological and artistic features of the work, takes into account the intuitive-irrational, poetic comprehension and the theoretical and logical principle. There are general principles for the scientific analysis of poetic works based on the typological properties of genres, types of lyric compositions, etc. The analysis should not be random, fragmented, should not be reduced to a simple transfer of impression or retelling.
The analysis of the lyric poem reveals the correspondence between the distribution of grammatical categories and metric, stanza correlations, semantics of the text. The following is an example of a holistic (multi-aspect) analysis of the lyric poem in the unity of its formal and substantive aspects (in accordance with the poetic world and the author’s artistic system).
Parsing scheme
Out of text communications
Creative history of the work (date of writing, textology); place of the poem in the creative evolution of the poet; historical and literary, everyday context; real biographical commentary, history of critical assessments.
Ideological content.
Thematic structure. Motivation. Keynotes.
Type of lyric poem (meditative, meditative-graphic, graphic lyrics).
The specifics of the genre form (elegy, ballad, sonnet, message, etc.).
Pathos.
The semantics of the title, its connection with the main poetic idea.
The construction (structure) of the verse
Architectonics.
Composition. Repetitions, contrasts, oppositions. Types of composition. The ending. Comparison and development of basic verbal images (by similarity, by contrast, by association, by inference).
Morphological aspect of the poetic model. The distribution of grammatical categories, parts of speech.
Lyrical hero. Speech subject and addressee of the lyrics.
Forms of verbal communication (dialogue, monologue).
Poetic vocabulary.
Rhythm and metric.
Fonika. Sound (phonological) structure (alliteration, assonance, sound repetition, paronymic attraction and other types of sound instrumentation). Euphonia (euphony).
In the scheme of lyric poem analysis below, the sequence of points is not strictly observed, the main requirement is to take into account (if possible) all of these components.
An important aspect in the study of a literary work remains the definition of the analysis methodology and methods for its interpretation. In modern philological studies, methodologies of various scientific systems are creatively used and complement each other, each of which is significant in the history of critical thought.
• Samples 1) holistic (system); 2) formal; 3) structural-semiotic and 4) linguistic-poetic analysis of poems, see the literature below:
1) Muryanov M.F. Questions of interpretation of anthological lyrics (Pushkin's poem “The fire of desire burns in blood”) // Analysis of a literary work. L., 1976. P.173-212; Analysis of one poem. L., 1985; Girschman M.M. Rhythmic composition and stylistic originality of poetic works // Girshman M.M. Literary work: Theory of artistic integrity. M., 2002, S.215-247; Broytman S.N. Secret Poetics A.S. Pushkin. Tver. 2002. S.13-43 (see: A. Pushkin “On the hills of Georgia lies a night haze”, “For the shores of the distant homeland”, “What is in my name?”).
2) Jacobson R. Poems of Pushkin about a virgin statue, a bacchanal and a humble woman; About "poems composed at night during insomnia", The invoice of one quatrain of Pushkin // Jacobson R. Works on poetics. M., 1987. S. 181-197; S.198-205; S.210-212.
3) Lotman Yu. M. Analysis of the poetic text. L., 1972. P.133-270; Ivanov Vyach. Sun The structure of Khlebnikov’s poem “They Take Me to Elephants” // Russian literature. From the theory of literature to the structure of the text: Anthology. M., 1997. S.245-257; Levin Yu.I. O. Mandelstam. Analysis of six poems; B. Pasternak. Analysis of three poems; A.S. Pushkin. "To the portrait of Zhukovsky"; G. Ivanov “It’s good that there is no king ...” // Levin Yu.I. Selected Works. Poetics. Semiotics. M., 1998. S. 9-51; S.156-174; S. 267-270; S. 271-275; Taranovsky K. Essays on the poetry of O. Mandelstam // Taranovsky K. On poetry and poetics. M., 2000; Lotman M. On the death of Zhukov // How Brodsky's poem works. Sat Art. M., 2002.S. 64-76.
4) Fateeva N.A. “When streams sing romances almost with the words of a man” // Language as creativity. M., 1996. S. 170-189; Shestakova L.L. Language techniques for the formation of the text in the poetry of E. Baratynsky (based on the material “Assurances” // Language as Creativity. M., 1996. S.118-125; Shestakova L. L. Osip Mandelstam. “Sisters are heavy and tender, your signs are the same” // Russian language at school. 2000. No. 2. P.69-75.
2. Analysis of the prosaic text
The scheme of complex philological analysis of the text (prosaic, first of all) includes the following stages: a generalization of the ideological and aesthetic content, definition of the genre of the work, characterization of the architectonics of the text, consideration of the structure of the narration, analysis of the spatio-temporal organization of the work, system of images and poetic language, identification of elements of intertext .
Parsing scheme
Introduction Creative history (textology), history of critical assessments, place of a work (story, essay, story, short story) in the creative evolution or artistic system of the writer, in the history of the literary process.
Problematic and thematic aspect.
Text analysis.
Semantics (symbolism) of the name. The breadth of the semantic range through the prism of the title.
Architectonics.
Spatio-temporal organization of the art world: the image of time and space ("chronotope", space-time continuum, the relationship between the character and the scene). Spatial and temporary oppositions (top / bottom, far / close, day / night, etc.).
Composition. Compositional techniques (repetition, installation, etc.). Reference "points" of the composition.
Plot. Meta-descriptive fragments.
The rhythm, pace, tone, intonation of the narrative.
Functional-semantic types of speech (description, narration, reasoning).
Style originality. The system of visual aids.
The system of images. Speech of the heroes.
Portrait.
Artistic detail (external, psychological, symbolic detail). Functional detail. Detail.
Landscape. Interior. The world of things. Zoologisms.
The role of subtext and intertextual communication.
Analysis of a literary work. L., 1976.
Girschman M.M. Rhythmic composition and stylistic identity of prose works (“After the Ball”, “The Death of Ivan Ilyich” by L.N. Tolstoy; “Meek” by F.M. Dostoevsky; “Student” by A.P. Chekhov) and others // M. Girshman M. Literary work: Theory of artistic integrity. M., 2002, S.314-407.
Yesaulov I. A. The adequacy spectrum in the interpretation of a literary work (Mirgorod by N. V. Gogol). M., 1995.
Nikolina N.A. Philological analysis of the text. M., 2003 (an aspectual analysis of the text - “Other Shores” by V. Nabokov: the genre originality of the text; “Bezhin Meadow” by I. S. Turgenev: figurative structure of the text; Story of I. A. Bunin “Cold Autumn”: conceptualization of time; “ The Sun of the Dead ”by I. S. Shmeleva: keywords in the text structure; Intertextual connections of the story by T. Tolstoy“ Do you like - do not like ”; a comprehensive analysis of the prosaic text - The story of I. Bunin“ The Master from San Francisco ”).
Scheglov Yu.K. Poetics of Chekhov (“Anna on the neck”) // Zholkovsky A.K., Scheglov Yu.K. Works on the poetics of expressiveness: Invariants - Theme - Receptions - Text. M., 1996.S. 157-189.
Yablokov E.A. Text and subtext in the stories of M. Bulgakov (“Notes of a young doctor”). Tver, 2002.
Comparative analysis of poems by M. Yu. Lermontov “The Cross on the Rock” and A. S. Pushkin “The Monastery on Kazbek”
Cross on the rock
(M-lle Souchkoff)
In the gorge of the Caucasus, I know the rock,
Only a steppe eagle can fly there,
But a wooden cross blackens over her,
It rots and bends from storms and rains.
And many years have passed without a trace
Since it is visible from distant hills.
And each hand is raised up
As if he wants to grab the clouds.
Oh, if I could climb there,
How I would pray and cry then;
And after that I would drop the chain of being
And with a storm I would call my brother!
KAZBEK MONASTERY
High above the seven mountains
Kazbek, your royal tent
Shines with eternal rays.
Your monastery behind the clouds
Like a flying ark in the sky
Soars, slightly visible, over the mountains.
Distant, longed for Breg!
There b, saying, forgive the gorge,
Climb to the free height!
There b, in a sky-high cell,
I’ll hide in the neighborhood of God! ..
It would be tempting to assume that M.Yu. Lermontov was familiar with the text of the poem "Monastery on Kazbek" (1829). Then one could write about the polemic response of the impudent teenager to a great contemporary. But, most likely, a number of coincidences at different levels, which we will fix in a comparative analysis, are due to the specifics of the romantic method by which both works are written.
Commonness is already noticed at the first glance at the names of poems. The initial lines of texts immediately set the general theme and color. (Caucasus). It is clear that both authors have lyrical heroes at the foot (rocks, mountains), and their views and thoughts are directed upward. So already the very location of the heroes sets the romantic antithesis of "here" and "there." The poem by A.S. Pushkin was created at a time when the poet himself regularly declared his departure from the romantic method. For example, in one of his private letters, he commented in detail on the process of creating “Winter Morning”, published in the same year 1829, explaining why all the edits went from the “Cherkassky horse” to the “brown filly”, that is, to a more “prosaic” figurative system vocabulary, syntax, and so on.
Fortunately, the time is gone when we tried to straighten the creative path of an author and looked for evidence that all the great poets moved "from romanticism to realism." It was implied that the realistic method, of course, is better.
The Caucasus in almost all Russian lyricists and in any of their “creative periods” awakened and awakens a romantic worldview.
The lyrical hero of Pushkin, standing at the foot of a high mountain, looks at the top of Kazbek and reflects on eternity, about God, about freedom ...
In the poem by M. Yu. Lermontov “The Cross on the Rock” (1830), the lyrical hero is also shocked by the Caucasian landscape, but his thoughts and feelings are completely different. The named work of M. Yu. Lermontov, like many other poems of 1830, is dedicated to E. A. Sushkova, (later Countess Rostopchina.) It should be noted that this woman was a poetess, therefore Lermontov turned to her not only poems on a love theme, but he hoped that his girlfriend would share, understand the thoughts and moods that his lyrical hero experienced.
Images of rocks, cliffs, mountains pass through all the works of Lermontov, this author has repeatedly declared his love for the mountains of the Caucasus. But the young poet’s love for nature, like love for a woman, is gloomy and distressing.
The lyrical hero of the “early” Lermontov calls his “familiar” and favorite place in the Caucasus a rock, on top of which there is someone’s nameless grave with a simple wooden cross on it. The cross turned black and almost rotted away from the rains, but 6 of 12 lines of text were given to the description of this gloomy detail of the landscape.
This poem in “form” is very simple: it is written in four-foot amphibrachium with caesura, consists of three quatrains with adjacent rhyme, and rhymes are accurate and banal. The work falls into two parts: two quatrains is a description of the cross on a rock, the last four verses are an emotional response.
In the first lines appears the romantically beloved eagle, which - in his happiness - can fly up so high that it rests on top of a cliff. The lyrical hero is languishing in that he cannot climb a rock, and the personified cross, resembling a man from below, stretches even higher, as if "he wants to grab the clouds." So through the whole poem passes one direction of movement: from bottom to top. The work has two contrasting color spots: a black cross and white, unattainable clouds.
The last quatrain is one exclamatory sentence, almost entirely consisting of romantic cliches and starting, of course, with “Oh!”.
The hero is eager to “go up”, “up”, there he will “pray and cry”, because, probably, from below, from below, God does not hear his lamentations. The young romantic wants to “throw off the chain of being”, get rid of the shackles and fraternize with the storm (it is worth recalling Mtsyri).
The last quatrain is written in the subjunctive mood and repeatedly repeated “would”, together with the words “dropped”, “being”, “with a storm”, “brother” give a sonorous alliteration.
In general, this poem seems to me weaker than the "Sail" or "Beggar", created at about the same time. The paradox is that, although the text being analyzed is imitative, it is, at the same time, very characteristic of the attitude of the early Lermontov and his style, which, according to E. Maimin, was a "standard of romanticism."
Pushkin’s poem creates a completely different mood for the reader. Yes, the lyrical hero also wants to get "there" to the top of the mountain, where the ancient Georgian church is located. But he aspires not just to storms, but to peace. The peak of Kazbek “shines with eternal rays,” and light clouds are needed only so that not everyone can see the reserved place. For Pushkin, the sky, like the sea, is a free element, so the comparison of a slightly visible church with the “flying ark” naturally arises, in which only the elect should be saved.
Pushkin’s work is also divided into two parts, corresponding to two stanzas, but the second stanza consists of five lines, which, of course, by the rhyming system itself, puts one of the lines in a “strong position”. Here is an exclamation: “A distant, longed-for breg!” The image of the desired and unattainable coast (and even more solemnly - the archaic, eternal “breg”) is also quite logical after the description of the symbol ship. The lyrical hero of Pushkin is not looking for storms; for him, happiness is “peace and will.” He strives for a "transcendental cell", and it is in solitude that he hopes to find freedom, for it is within the soul, and not granted from without.
It is no coincidence that the lyrical hero dreams of a "neighborhood of God." He does not ask the Almighty for anything; he himself is almost equal to him.
The whole poem is written by a traditional four-footed iambic, with a large number of pyrrhichs facilitating the verse. In the first stanza, the adjacent rhyme unobtrusively divides sextine into couplets. But the first line of the five-rhyme rhyme is associated with the first part, and the remaining four verses are rhymed "cross". All this, as we have already noted, highlights the key line - a breakthrough of spirit to the distant, beamed with rays, divine "breg".
In the second stanza, Pushkin, like Lermontov, concentrated a maximum of emotions. The quintet of the Pushkin text consists of three exclamatory sentences, two of which begin with a romantic impulse: “Go there ...!” This lyrical hero’s aspiration from the gorge to the top is recognized as a natural outburst. The unattainability of this dream is also natural. Pushkin's poem is bright and wise, without youthful anguish and pain.
So a comparison of the two "Caucasian" works of Pushkin and Lermontov once again emphasizes the difference between the worldview and idiostyle of these Russian classics.
“MONUMENT” BY G. R. DERZHAVIN AND “MONUMENT” by V. Ya. BRYUSOV
(methodological aspect of comparative analysis)
monument theme, methodological aspect, comparative analysis, poetics, figurative system
The theme of the monument occupies a large place in the work of Russian poets, therefore considerable attention is paid to this topic in school curricula. Comparative analysis of poems G.R. Derzhavin and V. Ya. Bryusov will help students understand the uniqueness of the solution to the theme of the monument in the work of the poet of the 18th and 20th centuries, to reveal the individuality of the style and perception of artists.
The basis of these two poems is one theme, one source - the ode to Horace "Monument". It is difficult to call the poems of G. R. Derzhavin and V. Ya. Bryusov the translations of Horace's ode in the exact sense - it is rather a free imitation or alteration of the latter, which allows literary scholars to consider these works as independent and peculiar.
Derzhavin’s poem "Monument" was first published in 1795 under the title "To the Muse. Imitation of Horace." "Monument" Bryusov was written in 1912. The teacher asks students to read poems, compare them and answer questions:
What exactly did each poet recognize in his work deserving immortality?
Compare the figurative system of poems, rhythmic organization, stanza, syntax. How does this affect the general pathos of poems?
What is the peculiarity of the lyrical hero of poems?
Pay attention to geographical names. How do they define the space of poems? Derzhavin sees his merits in that:
That first I dared in a funny Russian syllable
To proclaim the virtues of Felitsa,
In heart simplicity, talk about God
And the truth to the kings with a smile to speak.
Students comment that the poet made the Russian syllable simple, sharp, fun. He “dared” to write not about greatness, not about exploits, but about the virtues of the empress, having seen in her an ordinary person. The poet managed to maintain human dignity, sincerity, truthfulness.
Bryusov speaks about his merits in the fourth stanza:
For many I thought, for all I knew the pangs of passion,
But it will become clear to everyone that this song is about them,
And in distant dreams in invincible power
Every verse will be proudly glorified.
According to the author, it was possible to convey human thoughts and passions in the “melodious” words of his creations.
The poems of Derzhavin and Bryusov come together not only thematically, but also according to the external features of their construction: both are written in four-line stanzas (Derzhavin has 5 stanzas, Bryusov has 6 stanzas) with male and female rhymes, alternating in all stanzas according to the scheme: avav. The meter of both poems is iambic. Derzhavin has a six-foot iambic in all lines, for Bryusov a six-foot in the first three lines and four-foot in the fourth line of each stanza.
Students note the difference at the syntactic level. In Bryusov, the poem is complicated not only by exclamation forms, but also by rhetorical questions, which gives the intonation some expressiveness and tension.
In Derzhavin’s poem, the image of the lyrical hero connects all the stanzas, only in the last appears the image of the muse, which the hero addresses with the thought of immortality. In Bryusov, already in the first stanza, the image of the lyrical hero is contrasted with those who did not understand the poet - the “crowd”: “My monument stands, it’s complicated from the stanzas of stanzas. / Shout, rage, you cannot dump it! This contrast gives rise to the tragedy of the worldview of the lyrical hero.
An interesting comparison of spatial plans of poems. For Derzhavin: "The rumor will pass about me from the White Waters to the Blacks, / Where the Volga, Don, Neva, the Urals are pouring from Riphean; ..". Bryusov writes that his pages will fly: "Into the gardens of Ukraine, into the noise and vivid dream of the capital / To the eve of India, to the shore of the Irtysh." In the fifth stanza, the geography of the verse is enriched in new countries:
And, in new sounds, the call will go beyond
Sad homeland, both German and French
Humbly repeat my orphaned verse,
Gift of supportive muses.
Students come to the conclusion that the space of the symbolist poem is much wider: these are not only the vastness of Russia, but also European countries - Germany, France. The symbolist poet is characterized by hyperbolization of the theme of the monument, the scale of influence of both his own poetry and poetry in general.
The next stage of the work may be associated with a comparison of the expressive means used by the classic poet and the symbolist poet. Students write epithets, comparisons, metaphors in a notebook, summarize examples and draw conclusions. They note dominance of Derzhavin's epithets: “a wonderful, eternal monument”, “a fleeting whirlwind”, “uncountable peoples”, “just merit”, etc., as well as the use of the inversion technique, which gives solemnity, distinctness, and objectivity to the image. In Bryusov, a significant role in the poem is played by metaphors: “the disintegration of singing words”, “the gift of supportive muses”, etc., which, as it were, emphasizes the scale of the style, the tendency to generalize. In the poem of the classic poet, the image of the empress and the theme of power connected with her are logical. The Symbolist is not interested in the images of statesmen, kings, commanders. Bryusov shows the inconsistency of the real world. In his poem, the "poor man's closet" and the "king’s palace" are contrasted, which makes a tragic beginning in the work of the symbolist poet.
The teacher can draw students' attention to vocabulary, to the sound and painting of poems. Finding the general and differences, students come to the conclusion about the continuity of traditions in Russian literature and about the diversity and richness of styles, methods, directions.
The leading principle in Bryusov’s poetry is thought. The vocabulary of his poems is sonorous, close to oratory. The verse is concise, strong, “with developed muscles” / D.Maksimov /. Thought also prevails in the poem of the classicist poet, whose style is characterized by rhetoric, solemnity, and monumentality. And at the same time, the work of each of them has something of its own, unique.
This form of work helps to increase the level of perception of the lyrics of Derzhavin and Bryusov, of the most complex and subtlest images of poetry, and helps to form and consolidate students' ideas about the theory and practice of classicism and symbolism.
1. Analysis of the work of art
1. Define the theme and idea / main idea / of the work; problems raised in it; the pathos with which the work is written;
2. Show the relationship of the plot and composition;
3. To consider the subjective organization of the work / artistic image of a person, methods of creating a character, types of character images, a system of character images /;
5. To determine the features of functioning in this work of literature of the visual and expressive means of the language;
6. Identify the features of the genre of the work and the style of the writer.
Note: according to this scheme, you can write an essay review about the book you have read, and at the same time, submit also:
1. Emotional-evaluative attitude to read.
2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.
3. Detailed justification of the conclusions.
2. Analysis of prose literary work
When starting to analyze a work of art, first of all, it is necessary to pay attention to the concrete historical context of the work during the creation of this work of art. It is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case we have in mind
• literary directions of the era;
• the place of this work among the works of other authors written during this period;
• creative history of the work;
• evaluation of the work in criticism;
• the originality of the perception of this work by contemporaries of the writer;
• assessment of the work in the context of modern reading;
Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, we consider the content plan - what the author wanted to say and the expression plan - how he managed to do this).
Conceptual level of artwork
(subjects, problems, conflict and pathos)
The topic is what the work is about, the main problem posed and considered by the author in the work, which integrates the content into a single whole; these are the typical phenomena and events of real life that are reflected in the work. Is the theme in tune with the main issues of its time? Is the title related to the topic? Each phenomenon of life is a separate issue; the totality of topics is the theme of the work.
The problem is that side of life that the writer is particularly interested in. One and the same problem can serve as the basis for the formulation of various problems (the theme of serfdom is the problem of internal lack of freedom of the serf, the problem of mutual corruption, the ugliness of serfs and serfs, the problem of social injustice ...). Issues - a list of issues raised in the work. (They may be complementary and subject to the main problem.)
Paphos - the writer’s emotional-evaluative attitude to the narrated, characterized by a great power of feelings (maybe affirming, denying, justifying, exalting ...).
The level of organization of the work as an artistic whole
Composition - the construction of a literary work; combines parts of a work into one.
Fixed assets composition:
The plot is what happens in the work; system of major events and conflicts.
Conflict - a clash of characters and circumstances, views and principles of life, laid the foundation for action. Conflict can occur between a person and society, between characters. In the minds of the hero can be explicit and hidden. The plot elements reflect the stages of conflict development;
A prologue is a kind of introduction to a work in which it tells about events of the past, it emotionally sets the reader to perception (rare);
An exposition is an introduction into action, an image of the conditions and circumstances that preceded the immediate onset of action (it can be deployed or not, solid and “torn”; it can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the situation, the time and circumstances of the action;
The plot - the beginning of the plot movement; that event from which the conflict begins, subsequent events develop.
The development of action is a system of events that flow from the plot; as the action develops, as a rule, the conflict escalates, and the contradictions become clearer and sharper;
The climax is the moment of the highest tension of action, the peak of the conflict, the climax represents the main problem of the work and the characters of the characters are very clear, after it the action weakens.
The denouement is a solution to the depicted conflict or an indication of possible solutions. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental insolubility.
Epilogue - the final part of the work, in which the direction of the further development of events and the fate of the heroes is indicated (sometimes an assessment is given to the image); this is a short story about what happened to the characters in the work after the end of the main plot action.
The plot may be outlined:
• In a direct chronological sequence of events;
• With digressions into the past - in retrospect - and “excursions” to
Future;
• In a deliberately altered sequence (see artistic time in a work).
Non-plot elements are:
• False episodes;
Their main function is to expand the scope of the depicted, to enable the author to express his thoughts and feelings about various phenomena of life that are not directly related to the plot.
The work may lack individual elements of the plot; it is sometimes difficult to separate these elements; sometimes there are several plots in one work - otherwise, storylines. There are various interpretations of the concepts of “plot” and “plot”:
1) plot - the main conflict of the work; plot - a series of events in which it is expressed;
2) plot - the artistic order of events; plot - the natural order of events
Compositional principles and elements:
The leading compositional principle (the composition is multifaceted, linear, circular, “string with beads”; in the chronology of events or not ...).
Additional composition tools:
Lyrical digressions - forms of disclosure and transmission of the writer’s feelings and thoughts about the depicted (express the author’s attitude to the characters, to the depicted life, can be reflections on any reason or explanation of his purpose, position);
Introductory (plug-in) episodes (not directly related to the plot of the work);
Artistic anticipations - an image of scenes that seem to predict, anticipate the further development of events;
Artistic framing - scenes that begin and end an event or work, complementing it, giving additional meaning;
Compositional techniques - internal monologues, diary, etc.
The level of the internal form of the work
The subjective organization of the story (its consideration includes the following): The story can be personal: on behalf of the lyrical hero (confession), on behalf of the storyteller, and impersonal (on behalf of the narrator).
1) Artistic image of a person - typical life phenomena that are reflected in this image are considered; individual traits inherent in the character; the originality of the created image of a person is revealed:
• External features - face, figure, suit;
• Character of the character - it is revealed in actions, in relation to other people, manifested in the portrait, in the descriptions of the feelings of the hero, in his speech. Image of the conditions in which the character lives and acts;
• Image of nature, helping to better understand the thoughts and feelings of the character;
• Image of the social environment, the society in which the character lives and acts;
• The presence or absence of a prototype.
2) 0 basic techniques for creating a character image:
• Characterization of the hero through his actions and actions (in the plot system);
• Portrait, portrait characterization of the hero (often expresses the author’s attitude to the character);
• Psychological analysis - a detailed, in-depth recreation of feelings, thoughts, motives - the inner world of the character; here the image of the “dialectic of the soul” is of particular importance, i.e. movements of the hero’s inner life;
• Characterization of the hero by other characters;
• Artistic detail - a description of the objects and phenomena of the reality surrounding the character (details in which a broad generalization is reflected can act as symbolic details);
3) Types of character images:
Lyrical - in the event that the writer depicts only the feelings and thoughts of the hero, without mentioning the events of his life, the actions of the hero (found mainly in poetry);
Dramatic - in the event that the impression appears that the characters act “themselves”, “without the help of the author”, i.e. the author uses self-disclosure to characterize the characters, the characteristics themselves (found mainly in dramatic works);
Epic - the author-narrator or narrator sequentially describes the characters, their actions, characters, appearance, the atmosphere in which they live, relationships with others (found in epic novels, short stories, short stories, short stories, essays).
4) The system of character images;
Separate images can be combined into groups (grouping of images) - their interaction helps to more fully present and reveal each character, and through them - the theme and ideological meaning of the work.
All these groups are united in the society depicted in the work (multifaceted or one planned from a social, ethnic, etc. point of view).
Artistic space and artistic time (chronotope): space and time depicted by the author.
Artistic space can be conditional and concrete; concise and voluminous;
Artistic time can be correlated with historical or not, intermittent and continuous, in the chronology of events (epic time) or the chronology of the internal mental processes of characters (lyrical time), long or instant, finite or infinite, closed (i.e. only within the plot , outside of historical time) and open (against the background of a certain historical era).
• The method of creating artistic images: narration (the image of events occurring in the work), description (sequential listing of individual signs, traits, properties and phenomena), forms of oral speech (dialogue, monologue).
• The place and significance of the artistic detail (artistic detail that reinforces the idea of \u200b\u200bthe whole).
The level of external form. Speech and rhythm-melodic organization of a literary text
Speech characters - expressive or not, acting as a means of typification; individual features of speech; reveals the nature and helps to understand the attitude of the author.
Narrator's Speech - Evaluation of Events and Their Participants
Originality is the word for the use of a nationwide language (the activity of including synonyms, antonyms, homonyms, archaisms, neologisms, dialectisms, barbarisms, professionalisms).
Methods of imagery (paths - the use of words in a figurative meaning) are simple (epithet and comparison) and complex (metaphor, personification, allegory, litota, periphras).
Poem Analysis Plan
1. Elements of the commentary on the poem:
Time (place) of writing, history of creation;
Genre originality;
The place of this poem in the poet’s work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
Explanation of obscure places, complex metaphors and other transcripts.
2. Feelings expressed by the lyrical hero of the poem; feelings that a poem evokes in the reader.
4. The interdependence of the content of the poem and its art form:
Compositional solutions;
Features of self-expression of the lyrical hero and the nature of the story;
The sound series of the poem, the use of sound recording, assonance, alliteration;
Rhythm, stropics, graphics, their semantic role;
Motivation and accuracy of using expressive means.
4. Associations caused by this poem (literary, vital, musical, pictorial - any).
5. The typicality and originality of this poem in the poet’s work, the deep moral or philosophical meaning of the work, revealed as a result of analysis; the degree of “eternity” of the problems raised or their interpretation. Riddles and secrets of the poem.
6. Additional (free) thoughts.
Analysis of a poetic work
(diagram)
Proceeding to the analysis of a poetic work, it is necessary to determine the immediate content of the lyrical work - experience, feeling;
To determine the “belonging” of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed);
Define the subject of the description and its connection with the poetic idea (direct - indirect);
Determine the organization (composition) of the lyrical work;
Determine the originality of the use of visual means by the author (active - mean); define a lexical drawing (vernacular, book and literary vocabulary ...);
Determine the rhythm (homogeneous - heterogeneous; rhythmic movement);
Define sound pattern;
Determine intonation (the speaker's attitude to the subject of speech and the interlocutor).
Poetic vocabulary
It is necessary to find out the activity of using certain groups of common vocabulary words - synonyms, antonyms, archaisms, neologisms;
Find out a measure of proximity of a poetic language with spoken;
Identify the originality and activity of the use of tropes
EPITETE - artistic definition;
COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other;
ALLEGORY (allegory) - the image of an abstract concept or phenomenon through specific objects and images;
IRONIA - a hidden mockery;
HYPERBALL is an artistic exaggeration used to enhance an impression;
LITOTA - artistic understatement;
PERSONALIZATION - the image of inanimate objects, in which they are endowed with the properties of living things - the gift of speech, the ability to think and feel;
METAPHOR - a hidden comparison based on the similarity or contrast of phenomena, in which the word "how", "as if", "as if" are absent, but implied.
Poetic Syntax
(syntactic techniques or figures of poetic speech)
Rhetorical questions, appeals, exclamations - they increase the reader’s attention without requiring an answer from him;
Repetitions - repeated repetition of the same words or expressions;
Antithesis - oppositions;
Poetic phonetics
The use of onomatopoeia, sound recording - sound repetitions, creating a kind of sound "drawing" of speech.
Alliteration - repetition of consonants;
Assonance - repetition of vowels;
Anafora - one-man management;
Lyric composition
It is necessary:
Determine the leading experience, feeling, mood, reflected in the poetic work;
To find out the harmony of compositional construction, its subordination to the expression of a certain thought;
Determine the lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner freedom, etc.)
Identify a life situation that could have caused this experience;
Highlight the main parts of a poetic work: show their connection (determine the emotional "drawing").
Dramatic Analysis
Dramatic Work Analysis Scheme
1. General characteristic: the history of creation, life basis, design, literary criticism.
2. The plot, composition:
The main conflict, the stages of its development;
The character of the denouement / comic, tragic, dramatic /
3. Analysis of individual actions, scenes, phenomena.
4. Collection of material about the characters:
The appearance of the hero
Behavior,
Speech characteristic
Manner / how? /
Style Dictionary
The characteristic itself, the mutual characteristics of the characters, author's remarks;
The role of scenery, interior in the development of the image.
5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. The genre of the work, artistic originality.
Dramatic work
Generic specifics, the “borderline” position of the drama (between literature and theater) requires its analysis in the course of development of dramatic action (this is the fundamental difference between the analysis of a dramatic work and an epic or lyrical one). Therefore, the proposed scheme is conditional in nature, it only takes into account the conglomerate of the main generic categories of drama, the peculiarity of which can manifest itself differently in each individual case precisely in the development of the action (by the principle of a untwisted spring).
1. General characteristics of the dramatic action (character, plan and motion vector, tempo, rhythm, etc.). "Through" action and "underwater" currents.
2. Type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-pronged, external conflict, internal conflict, their interaction), the "vertical" and "horizontal" plan of the drama.
3. The system of actors, their place and role in the development of dramatic action and conflict resolution. The main and secondary characters. Extra-plot and off-stage characters.
4. The system of motives and motivational development of the plot and micro-plots of the drama. Text and subtext.
5. Compositional and structural level. The main stages in the development of dramatic action (exposure, set, development of action, climax, denouement). The principle of installation.
6. Features of poetics (semantic key of the title, the role of the theater posters, stage chronotype, symbolism, stage psychologism, the problem of the ending). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc.
7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscence and innovative solutions by the author.
9. Drama contexts (historical-cultural, creative, proper-dramatic).
10. The Problem of Interpretation and Stage History
N.V. Chipenko, GBOU SOSH № 478, Moscow
The material was developed in order to prepare high school students for the final essay on literature. The system of questions will help to consider the work comprehensively, to see the characteristic features of the style of the writer, to identify the author's position. The proposed speech cliches allow you to correctly formulate your own statement.
Dolbikova Galina Anatolyevna, MBOU secondary school No. 46 of Kaluga
Description of development
Analysis of prosaic text.
1. Historico - biographical commentary .
2. Genre originality.
The story (what?) Is humorous, satirical, philosophical, historical, Christmas, sacred, parable, miniature, sketch, genre scene, etc.
3. The meaning of the name .
Reflects a topic or idea.
Symbolism of the name
4. Theme of the work .
The main theme (the theme of a small person, love, war, childhood, etc.
The story is devoted to the depiction of the relationship between people, the relationship of man to nature, animals, homeland, etc.
Motives (not the main topic) of creativity, historical memory, moral improvement, etc.
Idea of \u200b\u200bthe work .
6. The problems of the work.
Human indifference, inequality, etc.
7. Conflict , its development .
Type of conflict: social, moral - psychological, ideological, personal, internal ...
Conflict Development:
8. The plot, the plot.
A plot is an arrangement of events in their time sequence.
A plot is a sequence of events in a work of art.
9. Composition .
The role of the epigraph.
Denouement: unexpected, prepared by the development of action, etc. What does it change, reveal, emphasize in the hero?
The mental state of the hero at the beginning and at the end of the story, etc.
10. The system of images.
How is the author’s position manifested: through the direct characteristics of the heroes, through significant names and surnames, through irony or satire, through the comic (drama, tragedy) of the situation, through the speech self-characteristics of the heroes, etc.?
12. Chronotope - a characteristic of artistic time and space .
Space - a place of action, expansion and contraction of space, the symbolism of a place, etc.
13. Artistic expressive means .
14. Language, style.
The use of vernaculars, the distortion of words, clericalism, proverbs and sayings, etc. as a means of depicting the wealth or poverty of the hero’s inner world.
15. Place of work in the work of the author .
16. Personal perception.
Most of all I liked ...
Development Content
Analysis of prosaic text. 1. Historical and biographical commentary.
The connection of the work with the era, the biography of the author, his work.
* More than once addressed this topic ...
* The story is dedicated to the acute problem of our time.
2. Genre originality.
The story (what?) Is humorous, satirical, philosophical, historical, Christmas, Christmas, parable, miniature, sketch, genre scene, etc.
3. The meaning of the name.
Reflects a topic or idea.
Contrary to the meaning of the whole story
Symbolism of the name
Etymology, semantics of the words that make up the name
Name roll with works of other authors, associations arising
The meaning of the epigraph, dedication (if any)
4. The theme of the work.
The main theme (the theme of a small person, love, war, childhood, etc.
The story is devoted to the depiction of the relationship between people, the relationship of man to nature, animals, homeland, etc.
The story reveals the “eternal” theme ... How does the author interpret it? How is the approach to the topic changed compared to the traditional disclosure?
Motives (not the main topic) of creativity, historical memory, moral improvement, etc.
- The idea of \u200b\u200bthe work.
The meaning of life, the mission of man
Discrepancies between the desired and the actual
Spiritual poverty, moral imperfection of man
Human indifference, inequality, etc.
7. The conflict, its development.
Type of conflict: social, moral-psychological, ideological, personal, internal ...
The story is based on a clash of representatives of different social classes.
The plot is based on a conflict between the older and younger generations.
Events in the story develop dynamically, because they are based on the contradiction between the desires of the hero and his capabilities.
Conflict Development:
Contrast of the beginning and end of the story
Unexpected turns of events
Gradual or sharp, rapid increase in the severity of the conflict
Features of its resolution: natural (expected) ending, unexpected outcome of events, external incompleteness.
8. The plot, the plot.
A plot is an arrangement of events in their time sequence.
A plot is a sequence of events in a work of art.
The plot and plot may and may not coincide.
The writer begins the story with the most intense moment and immediately captures the attention of readers.
How many parts in the story, how do they relate?
The role of the epigraph.
Explain what the exposition (if any) is, the plot, how the action develops.
Which episode is the climax?
Decoupling: unexpected, prepared by the development of action, etc. What does she change, reveal, emphasize in the hero?
The composition may be circular: the presence of a frame, its role.
The composition can be built on contrast (antithesis):
The outside world and the internal state of the hero
The mental state of the hero at the beginning and at the end of the story, etc.
There may be lyrical digressions. Why are they used?
To note the originality of the composition, what it is.
10. The system of images.
The main character, minor characters, their characteristics;
Their interaction, mutual influence, changes in the process of action;
The presence of off-stage characters, the meaning of their presence in the story;
How is the author’s position manifested: through the direct characteristics of the heroes, through significant names and surnames, through irony or satire, through the comic (drama, tragedy) of the situation, through the speech self-characteristics of the heroes, etc.?
12. Chronotope - a characteristic of artistic time and space.
What timeline does the story cover?
Time can be squeezed, concentrated, one day holds a lifetime.
Historical time may be reflected: past or present.
Space - a place of action, expansion and contraction of space, symbolism of a place, etc.
13. Artistic means of expression.
The dynamism of the story was successful due to the use of inversion, gradation, antithesis, oxymoron, rhetorical questions and appeals.
14. Language, style.
At the heart of the story is dialogue, through it characters are revealed.
The use of vernacular, distortion of words, clericalism, proverbs and sayings, etc. as a means of depicting the wealth or poverty of the hero’s inner world.
* The story is one of the most important in the work.
16. Personal perception.
The story excited, made me think ...
The episode was especially impressive ...
Most of all I liked ...
Good luck!!!
