How to compose a composition. What is composition in literature? Plot elements of the internal composition
Composition is the construction of a work of art. It is the composition that determines the effect that the text has on the reader, since the doctrine of composition says: it is important not only to be able to tell amusing stories, but also to present them competently.
It gives different definitions of composition, in our opinion, the simplest definition is as follows: composition is the construction of a work of art, the arrangement of its parts in a certain sequence.
Composition is the internal organization of a text. Composition is about how the elements of the text are arranged, reflecting the different stages of the development of the action. The composition depends on the content of the work and the goals of the author.
Stages of action development (composition elements):
Composition elements- reflect the stages of development of the conflict in the work:
Prologue - introductory text that opens the work, anticipating the main story. As a rule, thematically related to the subsequent action. Often it is the "gate" of the work, that is, it helps to penetrate the meaning of the further narrative.
exposition- the prehistory of the events underlying the work of art. As a rule, the exposition provides a description of the main characters, their arrangement before the start of the action, before the plot. The exposition explains to the reader why the hero behaves in this way. Exposure can be direct or delayed. direct exposure is located at the very beginning of the work: an example is the novel The Three Musketeers by Dumas, which begins with the history of the D'Artagnan family and the characteristics of the young Gascon. delayed exposure is placed in the middle (in I.A. Goncharov’s novel Oblomov, the story of Ilya Ilyich is told in Oblomov’s Dream, that is, almost in the middle of the work) or even at the end of the text (the textbook example of Gogol’s Dead Souls: information about Chichikov’s life before arrivals in the provincial city are given in the last chapter of the first volume). Delayed exposure gives the work a mystery.
The plot of the action is an event that becomes the beginning of an action. The plot either reveals an already existing contradiction, or creates, “sets up” conflicts. The plot in "Eugene Onegin" is the death of the protagonist's uncle, which forces him to go to the village and enter into an inheritance. In the story of Harry Potter, the plot is a letter of invitation from Hogwart, which the hero receives and thanks to which he learns that he is a wizard.
The main action, the development of actions - the events that the characters take after the beginning and before the climax.
climax(from the Latin culmen - peak) - the highest point of tension in the development of action. This is the highest point of the conflict, when the contradiction reaches its greatest limit and is expressed in a particularly acute form. The climax in "The Three Musketeers" is the scene of the death of Constance Bonacieux, in "Eugene Onegin" - the scene of the explanation of Onegin and Tatyana, in the first story about "Harry Potter" - the scene of the fight over Voldemort. The more conflicts in a work, the more difficult it is to reduce all actions to only one climax, so there can be several climaxes. The climax is the most acute manifestation of the conflict and at the same time it prepares the denouement of the action, therefore it can sometimes precede it. In such works, it can be difficult to separate the climax from the denouement.
denouement- the outcome of the conflict. This is the final moment in the creation of artistic conflict. The denouement is always directly connected with the action and, as it were, puts the final semantic point in the narrative. The denouement can resolve the conflict: for example, in The Three Musketeers, this is the execution of Milady. The final denouement in Harry Potter is the final victory over Voldemort. However, the denouement may not eliminate the contradiction, for example, in "Eugene Onegin" and "Woe from Wit" the characters remain in difficult situations.
Epilogue (from the Greekepilogos - afterword)- always concludes, closes the work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky in the epilogue of Crime and Punishment talks about how Raskolnikov changed in hard labor. And in the epilogue of War and Peace, Tolstoy talks about the life of all the main characters of the novel, as well as how their characters and behavior have changed.
Lyrical digression- deviation of the author from the plot, author's lyrical inserts, little or not at all related to the theme of the work. Lyrical digression, on the one hand, slows down the development of the action, on the other hand, allows the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the famous lyrical digressions in Pushkin's Eugene Onegin or Gogol's Dead Souls.
Types of composition:
Traditional classification:
Direct (linear, serial)–
events in the work are depicted in chronological order. "Woe from Wit" by A.S. Griboyedov, "War and Peace" by L.N. Tolstoy.
Ring - the beginning and end of the work echo each other, often completely coincide. In "Eugene Onegin": Onegin rejects Tatyana, and in the finale of the novel, Tatyana rejects Onegin.
Mirror - combining the techniques of repetition and opposition, as a result of which the initial and final images are repeated exactly the opposite. In one of the first scenes of "Anna Karenina" by L. Tolstoy, the death of a man under the wheels of a train is depicted. This is how the main character of the novel takes her own life.
A story within a story - The main story is told by one of the characters in the story. According to this scheme, M. Gorky's story "Old Woman Izergil" is built.
A.Besin's classification (according to the monograph "Principles and methods of analysis of a literary work"):
Linear - events in the work are depicted in chronological order.
Mirror - initial and final images and actions are repeated exactly the opposite, opposing each other.
Ring - the beginning and end of the work echo each other, have a number of similar images, motives, events.
Retrospection - in the process of narration, the author makes "digressions into the past." V. Nabokov's story "Mashenka" is built on this technique: the hero, having learned that his former lover is coming to the city where he now lives, looks forward to meeting her and recalls their epistolary novel, reading their correspondence.
Default - about the event that happened before the rest, the reader learns at the end of the work. Thus, in A.S. Pushkin's The Snowstorm, the reader learns about what happened to the heroine during her flight from home, only during the denouement.
Free - mixed activities. In such a work, one can find elements of a mirror composition, and techniques of default, and retrospection, and many other compositional techniques aimed at holding the reader's attention and enhancing artistic expression.
Composition (lat. sotropère - to fold, build) - the construction, arrangement and ratio of parts, episodes, characters, means of artistic expression in a literary work. The composition holds together all the elements of the work, subordinating them to the author's idea. The constituent elements of the composition: characters, ongoing events, artistic details, monologues and dialogues, portraits, landscapes, interiors, lyrical digressions, inserted episodes, artistic introductions and frames. V. Khalizev singles out such links of the composition as repetitions and variations that become motifs, omissions and recognition. There are different types of compositions. So, the composition of lyrical works can be linear (the poem "Winter. What should we do in the village? I meet ..." A.S. Pushkin), amoeba (regular, symmetrical alternation of two voices or themes - Russian folk songs); it can also often be based on the reception of antithesis (the poem "Demon" by A.S. Pushkin); ring (coincidence of the beginning and ending - a poem by S.A. Yesenin "Honey, let's sit next to ..."); hidden ring (the same theme is given at the beginning and at the end of the work - the theme of a blizzard, both a natural phenomenon and a life cycle in the poem “Snow memory is crushed and pricked ...” by S.A. Yesenin). Prose works are characterized by a wide variety of compositional techniques. There is a linear composition (successive unfolding of events and the gradual discovery of the psychological motivations for the actions of the characters - the novel "An Ordinary Story" by I.A. Goncharov), a ring composition (the action ends where it began - the story "The Captain's Daughter" by A.S. Pushkin) , reverse composition (the work opens with the last event, which gradually begins to be explained to the reader - the novel “What is to be done?” by N.G. Chernyshevsky), mirror composition (images are symmetrical, episodes - the novel in verse “Eugene Onegin” by A.S. Pushkin), associative composition (the author uses the technique of default, the technique of retrospection, the technique of "a story in a story" (the story "Bela" in "A Hero of Our Time" by M.Yu. Lermontov, the story "Asya" by I.S. Turgenev), dotted composition (discontinuity is characteristic in describing the events and psychological motivations, the narrative suddenly breaks off, intriguing the reader, the next chapter begins with a different episode - the novel “Pre step and punishment "F.M. Dostoevsky).
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 of action (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 the 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, compilation) - 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.
The compositional elements of a literary work are epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (off-plot images created by the author's fantasy), dialogues, monologues, episodes, insert stories and episodes, letters, songs (for example, Dream Oblomov 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.
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 inverse(this technique was used by N. Chernyshevsky in the novel "What is to be done?");
the author uses framing composition, 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 end take place in the same place, the same characters participate in them, etc. d.; 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 retrospective technique, that is, the return of an action to the past, when the reasons for the current narrative were laid down (for example, the author's story about Pavel Petrovich Kirsanov in Turgenev's novel "Fathers and Sons"); often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called "a story in 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" Tolstoy, "Asya" Turgenev, "Gooseberry" 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 to Korobochka - road - tavern, meeting with Nozdrev - road - arrival to Nozdrev - 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, what will be, for example, the entire first chapter in the novel "Eugene Onegin", or it can start the action immediately, abruptly, "without overclocking", as Dostoevsky does in Crime and Punishment or Bulgakov in The Master and Margarita;
the composition of the work can be based on symmetry words, images, episodes (or scenes, chapters, phenomena, etc.) and will be a 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 reception of a compositional "gap" of events: breaks the story 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 an aspect of the form of a 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:
1st stanza
EVENING OVER RESTAURANTS
Hot air is wild and deaf,
And ruled by drunken shouts
Spring and decaying spirit.
7th stanza
And every evening, at the appointed hour
(Is this just a dream?)
Maiden's camp, seized by silks,
In the foggy window moves.
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 a new world - Dreams and Harmony, 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 the poem and with the help of the technique of the so-called sound painting, 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, representing 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 various 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 ("Sea" Zhukovsky, "I came to you with greetings ..." Fet);
comparison of 2 images, those who entered into artistic interaction ("The Stranger" by Blok); such a composition is built at the reception of antithesis, or opposition.
Composition (from lat. compositio - compilation, connection) - compound parts, or components, into a whole; the structure of the literary and artistic form. Composition - compound parts, but not the parts themselves; Depending on what level (layer) of the art form we are talking about, there are aspects of the composition. This is the arrangement of characters, and the event (plot) connections of the work, and the installation of details (psychological, portrait, landscape, etc.), and the repetition of symbolic details (forming motives and leitmotifs), and the change in the flow of speech of its forms such as narration, description, dialogue, reasoning, as well as the change of subjects of speech, and the division of the text into parts (including the frame and main text), and the discrepancy between poetic rhythm and meter, and the dynamics of speech style, and much more. Aspects of composition are diverse. At the same time, the approach to the work as aesthetic object reveals at least two layers in the composition of his artistic form and, accordingly, two compositions that combine components that are different in nature.
The literary work appears to the reader as word text, perceived in time, having a linear extent. However, behind the verbal fabric there is a correlation of images. Words are signs of objects (in a broad sense), which in the aggregate are structured in world (objective world) works.
The composition of a literary work. This is the ratio and arrangement of parts, elements in the composition of the work.
The composition of the plot, scenes, episodes. Correlation of plot elements: retardation, inversion, etc.
Retardation(from lat. retardation- deceleration) - a literary and artistic device: a delay in the development of an action by including extra-fable elements in the text - lyrical digressions, various descriptions (landscape, interior, characterization).
Inversion in literature- violation of the usual order of words in a sentence. In analytic languages (for example, English, French), where word order is strictly fixed, stylistic inversion is relatively uncommon; in inflectional ones, including Russian, with a fairly free word order - very significantly.
Gusev "The Art of Prose": reverse time composition(“Easy breathing” by Bunin). Composition of direct time. Retrospective(“Ulysses” by Joyce, “The Master and Margarita” by Bulgakov) - different eras become independent objects of the image. Forcing phenomena- often in lyrical texts - Lermontov.
compositional contrast(“War and Peace”) is the antithesis. Plot-compositional inversion("Onegin", "Dead Souls"). The principle of parallelism- in the lyrics, "Thunderstorm" by Ostrovsky. Composite rings o - "Inspector".
Composition of figurative structure. The character is in interaction. There are main, secondary, off-stage, real and historical characters. Ekaterina - Pugachev are bound together through an act of mercy.
Composition. This is the composition and a certain position of parts of the elements and images of works in time sequence. It carries a meaningful and semantic load. External composition - the division of the work into books, volumes / is auxiliary in nature and serves for reading. More meaningful elements: prefaces, epigraphs, prologues, / they help to reveal the main idea of the work or identify the main problem of the work. Internal - includes various types of descriptions (portraits, landscapes, interiors), non-plot elements, set episodes, all kinds of digressions, various forms of characters' speech and points of view. The main task of the composition is the decency of the image of the artistic world. This decency is achieved through a kind of compositional techniques - repeat- one of the most simple and real, it makes it easy to round off the work, especially the ring composition, when a roll call is established between the beginning and end of the work, it has a special artistic meaning. Composition of motifs: 1. motifs (in music), 2. opposition (combination of repetition, opposition is given by mirror compositions), 3. details, installation. 4. default, 5. point of view - the position from which stories are told or from which the events of the characters or the narrative are perceived. Types of points of view: ideal-holistic, linguistic, space-temporal, psychological, external and internal. Types of compositions: simple and complex.
Plot and plot. Categories of material and reception (material and form) in the concept of VB Shklovsky and their modern understanding. Automation and removal. Correlation between the concepts "plot" and "plot" in the structure of the artistic world. The significance of the distinction between these concepts for the interpretation of the work. Stages in the development of the plot.
The composition of a work as its construction, as the organization of its figurative system in accordance with the concept of the author. The subordination of the composition to the author's intention. Reflection in the composition of the tension of the conflict. Art of composition, composition center. The criterion of artistry is the correspondence of the form to the concept.
Architectonics is the construction of a work of art. The term “composition” is more often used in the same sense, and in application not only to the work as a whole, but also to its individual elements: the composition of the image, plot, stanza, etc.
The concept of architectonics combines the ratio of parts of a work, the location and interconnection of its components (terms), which together form a certain artistic unity. The concept of architectonics includes both the external structure of the work and the construction of the plot: the division of the work into parts, the type of storytelling (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporary or in violation of the chronological principle), introduction to the narrative fabric of various descriptions, author's reasoning and lyrical digressions, grouping of characters, etc. Architectonics techniques constitute one of the essential elements of style (in the broad sense of the word) and, together with it, are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the appearance on the historical scene of new classes and groups. If we take, for example, Turgenev's novels, we will find in them a sequence in the presentation of events, smoothness in the course of the narrative, an orientation towards the harmonious harmony of the whole, and an important compositional role of the landscape. These traits are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are built according to completely different laws: the action begins from the middle, the narration flows quickly, in jumps, and the external disproportion of the parts is also noticed. These properties of architectonics are determined in exactly the same way by the features of the depicted environment - the metropolitan philistinism. Within the same literary style, the methods of architectonics vary depending on the artistic genre (novel, short story, short story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific features that require a unique composition.
27. Language is the fundamental principle of literature. The language is colloquial, literary and poetic.
Artistic speech incorporates a variety of forms of speech activity. For many centuries, the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing, impressing; hence the characteristic speech techniques - numerous repetitions, "decorations", emotionally colored words, rhetorical (!) Questions, etc. Authors competed in eloquence, style was determined by increasingly strict rules, and literary works themselves were often filled with sacred meaning (especially in the Middle Ages). As a result, by the 17th century (the era of classicism), literature was accessible and understandable to a rather narrow circle of educated people. Therefore, since the 17th century, the entire European culture has been evolving from complexity to simplicity. V.G. Belinsky calls rhetoric a "false idealization of life." Elements of colloquial speech penetrate the language of literature. Creativity A.S. Pushkin in this respect is, as it were, at the turn of the two traditions of speech culture. His works are often a fusion of rhetorical and colloquial speech (a classic example is the introduction to The Stationmaster written in an oratorical style, while the story itself is stylistically quite simple).
Colloquial speech connected, first of all, with the communication of people in their private lives, so it is simple and free from regulation. In the XIX - XX centuries. Literature as a whole is perceived by writers and scholars as a peculiar form of conversation between the author and the reader; it is not for nothing that an address like “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-artistic speech (for example, diaries or memoirs), it easily allows deviations from the language norm and implements innovations in the field of speech activity (remember, for example, the word creation of Russian futurists).
Today, in works of art, you can find the most modern forms of speech activity - SMS quotes, excerpts from emails, and much more. Moreover, different types of art are often mixed: literature and painting / architecture (for example, the text itself fits into a certain geometric figure), literature and music (the soundtrack is indicated for the work - a phenomenon undoubtedly borrowed from the culture of live magazine), etc.
Features of the language of fiction.
Language, of course, is inherent not only in literary creativity, it covers all aspects of the surrounding reality, so we will try to determine those specific features of the language that make it a means of artistic reflection of reality.
The function of cognition and the function of communication- two main, closely related sides of the language. In the process of historical development, a word can change its original meaning, so much so that we begin to use some words in meanings that contradict them: for example, red ink (from the word black, blacken) or cut off chunk (break off), etc. These examples show that the creation of a word is the knowledge of a phenomenon, the language reflects the work of a person’s thought, various aspects of life, and historical phenomena. It is estimated that about 90 thousand words are used in modern usage. Each word has its own stylistic coloring (for example: neutral, colloquial, colloquial) and history, and, in addition, the word acquires additional meaning from the words surrounding it (context). An unsuccessful example in this sense was given by Admiral Shishkov: "Carried by fast horses, the knight suddenly fell from the chariot and broke his face." The phrase is funny because words of different emotional coloring are combined.
The task of selecting certain speech means for a work is quite complicated. Usually this selection is motivated by the figurative system underlying the work. Speech is one of the important characteristics of the characters and the author himself.
The language of fiction carries a huge aesthetic beginning, therefore the author of a work of art not only generalizes language experience, but also to some extent determines the speech norm, is the creator of the language.
The language of a work of art. Fiction is a set of literary works, each of which is an independent whole. A literary work that exists as a complete text written in one language or another (Russian, French) is the result of the writer's creativity. Usually the work has a title; in lyrical poems, its function is often performed by the first line. The centuries-old tradition of the external design of the text emphasizes the special significance of the title of the work: when handwriting, and after the invention of printing. Diverse works: typological properties, on the basis of which a work is attributed to a certain literary genus (epos, lyrics, drama, etc.); genre (story, short story, comedy, tragedy, poem); aesthetic category or mode of art (sublime, romantic); rhythmic organization of speech (verse, prose); stylistic dominance (lifelikeness, conventionality, plot); literary movements (symbolism and acmeism).
There are three levels of literary work:
Subject figurativeness - vital material
Composition - the organization of this material
Artistic language is the speech structure of a literary work, at all four levels of artistic language: phonics, vocabulary, semantics, syntax.
Each of these layers has its own complex hierarchy.
The seeming complexity of a literary work is created by the hard work of the writer on all three levels of the artistic whole.
Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to various features and indicators.
A literary text is a communicative, structural and semantic unity, which is manifested in its composition. That is, it is the unity of communication - structure - and meaning.
The composition of a literary text is "mutual correlation and location units of depicted and artistic and speech means. The units depicted here mean: theme, problem, idea, characters, all aspects of the depicted external and internal world. Artistic and speech means are the entire figurative system of the language at the level of its 4 layers.
Composition is the construction of a work, which determines its integrity, completeness and unity.
The composition is "system connections" all of its elements. This system also has an independent content, which should be revealed in the process of philological analysis of the text.
Composition, or structure, or architectonics is the construction of a work of art.
Composition is an element of the form of a work of art.
Composition contributes to the creation of a work as an artistic integrity.
The composition unites all the components and subordinates them to the idea, the idea of the work. Moreover, this connection is so close that it is impossible to remove or rearrange any component from the composition.
Types of compositional organization of the work:
Plot view - that is, plot (epos, lyrics, drama)
Non-plot type - plotless (in lyrics, in epic and drama, created by the creative method of modernism and postmodernism)
The plot view of the compositional organization of a work can be of two types:
Eventive (in epic and drama)
Descriptive (in lyrics)
Let's consider the first type of plot composition - event. It has three forms:
Chronological form - events develop in a straight line of time movement, the natural time sequence is not violated, there may be time intervals between events
Retrospective form - deviation from the natural chronological sequence, violation of the linear order of the passage of events in life, interruption by the memories of the heroes or the author, familiarizing the reader with the background of events and the life of the characters (Bunin, "Light Breath")
Free or montage form - a significant violation of the spatio-temporal and causal relationships between events; the connection between the individual episodes is associative-emotional, not logical-semantic (“Hero of Our Time”, Kafka’s “Trial” and other works of modernism and postmodernism)
Consider the second type of composition - descriptive:
It is present in lyrical works, they basically lack a clearly limited and coherently deployed action, the experiences of a lyrical hero or character come to the fore, and the whole composition is subject to the goals of his image, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of a lyrical hero .
Composition is external and internal
External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes, their arrangement may be different depending on the methods of creating the plot chosen by the author.
External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.
External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in the drama, etc.), this organizes and directs the reader's perception. The architectonics of the text serves as a way of "portioning" the meaning; with the help of ... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of the elements of the text (and hence its content).
External composition: no less significant is the absence of division of the text or its extended fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the non-differentiation, the fluidity of the picture of the world of the narrator or character (for example, in the literature of the “stream of consciousness”).
Internal composition : this is the composition (construction, arrangement) of images - characters, events, action settings, landscapes, interiors, etc.
Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.
Not to be confused: the plot has elements plot, the composition has tricks(internal composition) and parts(external composition) compositions.
The composition includes, in its construction, both all the elements of the plot - plot elements, and extra-plot elements.
Techniques of internal composition:
Prologue (often referred to as the plot)
Epilogue (often referred to as the plot)
Monologue
Character portraits
Interiors
landscapes
Extra-plot elements in the composition
Classification of compositional techniques for the selection of individual elements:
Each compositional unit is characterized by extension techniques that provide emphasis the most important meanings of the text and engage the reader's attention. This is:
geography: various graphic highlights,
repetitions: repetitions of language units of different levels,
amplification: strong positions of the text or its compositional part - promotional positions associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful links between adjacent and distant elements belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningandthe end works (parts, chapters, chapters). With their help, the author emphasizes the most significant elements of the structure for understanding the work and at the same time determines the main “semantic milestones” of one or another compositional part (the text as a whole).
Widespread in Russian literature of the late XX century. montage and collage techniques, on the one hand, led to increased fragmentation of the text, on the other hand, opened up the possibility of new combinations of "semantic planes".
Composition in terms of its connectedness
In the features of the architectonics of the text, such its most important feature is manifested as connectivity. The segments (parts) of the text selected as a result of segmentation correlate with each other, “link” on the basis of common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)
cohesion (from Lat. - “to be connected”), or local connectivity, is a connection of a linear type, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.
coherence(from lat. - “linkage”), or global connectivity, is a connection of a non-linear type that combines elements of different levels of the text (for example, the title, epigraph, “text in the text” and the main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.
In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as "mean increments".
Any literary text is permeated with semantic roll calls, or repetitions. Words related on this basis can take different positions: they can be located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradation series, etc.
Consideration of the semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of "plotless" texts, texts with weakened cause-and-effect relationships of components, texts saturated with complex images. The identification of semantic chains in them and the establishment of their connections is the key to the interpretation of the work.
Extraplot Elements
insert episodes,
lyrical digressions,
artistic advance,
artistic framing,
dedication,
Epigraph,
header
Insert episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and are remembered in connection with the current events of the work (“The Tale of Captain Kopeikin” in “Dead Souls”)
Lyrical digressions- are lyrical, philosophical, journalistic, express the writer's thoughts and feelings directly, in the direct author's word, reflect the author's position, the writer's attitude to the characters, some elements of the theme, problem, idea of the work (in "Dead Souls" - about youth and old age , about Russia as a bird - a troika)
Artistic lead - depiction of scenes that are ahead of the further course of events (
Artistic framing - scenes that begin and end a work of art, most often this is the same scene, given in development, and creating ring composition(“The Fate of a Man” by M. Sholokhov)
Dedication - a short description or lyrical work that has a specific addressee to whom the work is addressed and dedicated
Epigraph - an aphorism or a quotation from another famous work or folklore, located before the entire text or before its individual parts (proverb in The Captain's Daughter)
header- the name of the work, which always contains the theme, problem or idea of the work, a very brief formulation with deep expressiveness, figurativeness or symbolism.
The object of literary analysis in the study of composition different aspects of the composition can become:
1) architectonics, or the external composition of the text, - its division into certain parts (chapters, subchapters, paragraphs, stanzas, etc.), their sequence and interconnection;
2) a system of images of characters in a work of art;
3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that makes "the central problem of composition»; consideration in the structure of the text of different points of view in relation to the architectonics of the work allows us to identify the dynamics of the deployment of artistic content;
4) the system of details presented in the text (composition of details); their analysis makes it possible to reveal ways of deepening the depicted: as I.A. Goncharov, “details that appear fragmentarily and separately in the long term of the general plan,” in the context of the whole, “merge in a common system ... as if thin invisible threads or, perhaps, magnetic currents are operating”;
5) correlation with each other and with other components of the text of its extra-plot elements (inserted novels, stories, lyrical digressions, "scenes on the stage" in the drama).
Compositional analysis thus takes into account different aspects of the text.
The term "composition" in modern philology is very ambiguous, which makes it difficult to use.
To analyze the composition of a literary text, you need to be able to:
To single out repetitions in its structure that are significant for the interpretation of the work, serving as the basis of cohesion and coherence;
Detect semantic overlaps in parts of the text;
Highlight markers - separators of different compositional parts of the work;
Correlate the features of the division of the text with its content and determine the role of discrete (individual parts) compositional units in the whole;
Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.
Determine all the techniques of external and internal composition in F. Tyutchev's poem "Silentium" (namely: parts of the composition, plot type - non-plot, event type - descriptive, vision of individual elements, type of their connection, - NB