Composition (lat. Compositio - compilation, combination, creation, construction) is the plan of the work, the ratio of its parts, the relationship of images, paintings, episodes. A work of art should have as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author's explanations - from the conversations, actions, actions of the characters could understand what was happening.

The essential quality of the composition is accessibility. A work of art should not contain unnecessary pictures, scenes, episodes. L. Tolstoy compared a work of art with a living organism. "In a real work of art - poetry, drama, painting, song, symphony - one cannot take out one verse, one measure from its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if one takes out one organ from its place and insert into another "." According to K. Fedin, the composition is "the logic of the development of the theme." Reading a work of art, we must feel where, at what time the hero lives, where is the center of events, which of them the main ones and which ones are less important.

A necessary condition for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The writer must depict the world in as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of the writer turns out to be in the mastery of the composition of a work of art.

There are two types of composition - event-plot and nepodia, carrying or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).

V. Lesik notes that the essence of the chronological form of the event composition "is that the events ... go one after another in chronological order - as they happened in life. There may be temporary distances between individual actions or pictures, but there is no violation natural sequence in time: what happened earlier in life, and in the work is served earlier, and not after subsequent events. Therefore, there is no arbitrary movement of events, there is no violation of the direct movement of time. "

The peculiarity of the retrospective composition is that the writer does not adhere to the chronological sequence. The author can tell about the motives, causes of events, actions after their implementation. The sequence in the presentation of events can be interrupted by the memories of the characters.

The essence of the free (montage) form of event composition is associated with violations of causal and spatial relationships between events. The connection between the episodes is more often associative-emotional than logical-semantic. The montage composition is characteristic of the literature of the 20th century. This type of composition is used in the novel by Y. Japanese "Horsemen". Here the storylines are connected at the associative level.

A variation of the event type of composition is event-narrative. Its essence lies in the fact that the author, narrator, narrator, characters tell about the same event. The event-narrative form of composition is typical for lyric-epic works.,

The descriptive type of composition is typical for lyrical works. "The basis for the construction of a lyrical work," notes V. Lesik, "is not a system or development of events ... but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensual image to another "." The lyrical works describe the impressions, feelings, experiences of the lyrical hero.

Yu. Kuznetsov in the "Literary Encyclopedia" distinguishes plot-closed and open composition. The plot is closed characteristic of folklore, works of ancient and classic literature (three repetitions, a happy ending in fairy tales, alternation of choir performances and episodes in ancient Greek tragedy). “The composition is fabulously open,” Yu. Kuznetsov notes, “devoid of a clear outline, proportions, flexible, taking into account the genre and style opposition that arises in the specific historical conditions of the literary process. In particular, in sentimentalism (sternivska composition) and in romanticism, when works became a negation of the closed, classic ... ".

What determines the composition, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landlords. First, he wrote a story called "Chipka", in which he showed the conditions for the formation of the character of the hero. Subsequently, the writer expanded the idea of ​​\u200b\u200bthe work, required a complex composition, so the novel "Do oxen roar when the manger is full?"

Features of the composition are determined by the literary direction, the Classicists demanded three unities from dramatic works (the unity of place, time and action). Events in a dramatic work were supposed to take place during the day, grouped around one hero. Romantics portrayed exceptional characters in exceptional circumstances. Nature was more often shown at the time of the elements (storms, floods, thunderstorms), they often took place in India, Africa, the Caucasus, and the East.

The composition of the work is determined by the genus, type and genre, the basis of lyrical works is the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:

a) the starting point (observation, impressions, thoughts or state that became the impetus for the development of feeling);

b) development of feeling;

c) culmination (the highest tension in the development of feelings);

In the poem by V. Simonenko "Swans of motherhood":

a) starting point - to have a lullaby sung to the son;

b) development of feelings - the mother dreams about the fate of her son, how he will grow up, hit the road, meet friends, wife;

c) climax - the mother's opinion about the possible death of her son in a foreign land;

d) summary - One does not choose one's homeland, love for one's native land makes a person a person.

The Russian literary critic V. Zhirmunsky distinguishes seven types of composition of lyrical works: anaphoristic, amoebeina, epiphoristic, refrain, ring, spiral, joint (epanastrophe, epanadiplosis), pointe.

An anaphoristic composition is characteristic of works that use anaphora.

You have renounced your native language. You

Your land will cease to give birth,

A green branch in a pocket on a willow,

Withered by your touch.

You have renounced your native language. Zaros

Your way and disappeared in a nameless potion...

You don't have tears at the funeral,

You don't have a song at your wedding.

(D. Pavlychko)

V. Zhirmunsky considers anaphora an indispensable component of the amoeba composition, but it is absent in many works. Describing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, "but in the identities of the syntactic structure, replicas or counterreplicas of two interlocutors or, in a certain pattern, the roll call of two choirs." Ludwig Ulanda:

Have you seen the castle high

A castle over the Sea Shire?

Silently floating clouds

Pink and gold over it.

In the mirror waters, peaceful

He would like to bow

And climb into the evening clouds

In their radiant ruby.

I saw a castle high

Castle over the sea world.

Hail fog deep

And the moon stood over him.

(Translated by Mikhail Orest)

Amebane composition is common in the troubadours' tentsons and pastorals.

An epiphoric composition is characteristic of poems with an epiphoric ending.

Breaks, breaks and fractures...

Our spines were broken in circles.

Understand, my brother, finally:

Before heart attacks

We had - so, do not touch!

Soul heart attacks... soul heart attacks!

There were ulcers, like infections,

There were images to disgust -

One bad thing, my brother.

So drop it, go and don't touch it.

We all have, mind you:

Soul heart attacks... soul heart attacks!

In this bed, in this bed

In this scream to the ceiling

Oh don't touch us my brother

Don't touch paralytics!

We all have, mind you:

Soul heart attacks... soul heart attacks!

(Yu. Shkrobinets)

The refrain composition consists in the repetition of a group of words or lines.

How quickly everything in life passes.

And happiness only flickers with a wing -

And he's no longer here...

How quickly everything in life passes,

Is this our fault? -

It's all about the metronome.

How quickly things go by...

And happiness only flickers with a wing.

(Lyudmila Rzhegak)

The term "ring" I. Kachurovsky considers unsuccessful. “Where better,” he notes, “is a cyclic composition. The scientific name of this tool is anadiplosive composition. Moreover, in cases where anadiplosis is limited to any one stanza, this does not refer to composition, but to style.” Anadiplosis as a compositional means can be complete or partial, when a part of a stanza is repeated, when the same words are in a changed order, when part of them is replaced by synonyms. Such options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.

Evening sun, thank you for the day!

Evening sun, thank you for the fatigue.

The calm of the forests is enlightened

Eden and for the cornflower in the golden rye.

For your dawn, and for my zenith,

and for my burned zeniths.

Because tomorrow wants greenery,

For the fact that yesterday managed to oddzvenity.

Heaven in the sky, for children's laughter.

For what I can and for what I must

Evening sun, thank you all

who did not defile the soul.

For the fact that tomorrow is waiting for its inspiration.

That somewhere in the world blood has not yet been shed.

Evening sun, thank you for the day

For this need, words are like prayers.

(P. Kostenko)

The spiral composition creates either a "chain" stanza (tercina) or stropho-genres (rondo, rondel, triolet) i.e. acquires stropho-creative and genre features.

The name of the seventh type of composition I. Kachurovsky considers indecent. More acceptable, in his opinion, is the name of epanastrophe, epanadiplosis. A work where the repetition of a rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik's poem "Kanev". Each dvenadtsativir-Shova stanza of the poem consists of three quatrains with rhymes, which pass from quatrain to quatrain, the last verse of each of these twelve verses rhyming with the first verse as follows:

And home will step in here and time

Electricity: and the newspaper rustled

Where once the prophet and poet

The great spirit behind the darkness has dried up

And be reborn in millions of masses,

And not only look from the portrait,

Competition immortal symbol and omen,

Apostle of truth, peasant Taras.

And since my ten phrases

In the dull collection of an anchorite,

As for the times to come for show,

On the shores lies the indifferent Leta...

And the days will become like the lines of a sonnet,

Perfect...

The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. This may be an unexpected turn of thought or a conclusion from the entire previous text. The means of pointe composition is used in the sonnet, the last poem of which should be the quintessence of the work.

Exploring lyrical and lyric-epic works, I. Kachurovsky found three more types of composition: symplocial, gradation and main.

A composition in the form of a symplok I. Kachurovsky calls symplokial.

Tomorrow on earth

Other people walking

Other loving people -

Kind, gentle and evil.

(V. Simonenko)

Gradation composition with such types as descending climax, growing climax, broken climax is quite common in poetry.

The gradation composition was used by V. Misik in the poem "Modernity".

Yes, perhaps, in the time of Boyan

Spring time has come

And the rains rained down on youth,

And the clouds were moving in from Tarashche,

And the hawks stole over the horizon,

And the cymbals resounded,

And blue cymbals in Prolis

Gazing into the heavenly strange clarity.

Everything is like then. And where is she, modernity?

She is in the main: in you.

The main composition is typical for wreaths of sonnets and folk poetry. Epic works tell about the life of people during a certain time. In novels, stories, events and characters are revealed in detail, comprehensively.

In such works there can be several storylines. In small works (stories, short stories) there are few storylines, few characters, situations and circumstances are depicted succinctly.

Dramatic works are written in the form of a dialogue, they are based on action, they are small in size, because most of them are intended for staging. In dramatic works there are remarks that perform a service function - they give an idea of ​​the scene, the characters, advice to the artists, but are not included in the artistic fabric of the work.

The composition of a work of art also depends on the characteristics of the artist's talent. Panas Mirny used complex plots, digressions of a historical nature. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws portraits of heroes and nature in detail. Let's remember "Kaidasheva family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves, accumulates tragic episodes.

The composition of works is influenced by the traditions of folklore. At the heart of the fables of Aesop, Phaedrus, La Fontaine, Krylov, Glebov "The Wolf and the Lamb" is the same folklore plot, and after the plot - morality. In Aesop's fable, it sounds like this: "The tale proves that even a just defense is not valid for those who undertook to do a lie." Phaedrus concludes the fable with the words: "This tale is written about people who seek to destroy the innocent by deceit." The fable "The Wolf and the Lamb" by L. Glebov begins, on the contrary, in morality:

The world has been going on for a long time,

The lower it bends before the higher,

And more than a smaller party and even beats

1. The concept of the composition of a literary work.

2. Compositional techniques.

3. Elements of composition and their role in revealing the ideological and artistic content of the work.

Bibliography

1) Borev Yu.B. Aesthetics. Theory of Literature: Encyclopedic Dictionary of Terms. - M., 2003.

2) Introduction to literary criticism: textbook / ed. L.M. Krupchanov. - M., 2003.

3) Esin A.B. Principles and methods of analysis of a literary work. - 4th ed. - M., 2002.

4) Literary encyclopedic dictionary / ed. V.M. Kozhevnikova, P.A. Nikolaev. - M., 1987.

5) Literary encyclopedia of terms and concepts / ed. A.N. Nikolyukin. - M., 2003.

6) Dictionary of literary terms / ed. L.I. Timofeev, S.V. Turaev. - M., 1973.

7) Timofeev L.I.. Fundamentals of the theory of literature. - M., 1976.

A work of art is a complex whole, a series of images, a chain of their actions, events that happen to them. The writer must organize all these separate elements of the narrative into a coherent and organized whole that is fascinating to the reader. This one the organization of a work, proportionality and consistency, the ratio of all its parts and elements in literary criticism is usually called a composition.

A.I. Revyakin gives the following definition of composition: Composition (from lat. compositio - addition, composition, compono - to add, make up) - construction of a work of art, a certain system of means of disclosure, organization of images, their connections and relationships that characterize the life process shown in the work ».

Thus, the composition includes both the arrangement of characters in the work, and the order of reporting on the course of events, and the change in narrative techniques, and the correlation of the details of the depicted, and portrait and landscape sketches, and the message about the place and time of the events taking place, and the division of the work into parts. etc. In other words, composition is nothing but the structure of a work of art.

Whatever work we take, it has a certain composition - it is organized on the basis of the complexities of the real life situation that it reflects, and that understanding of life connections, causes and effects, which is inherent in this writer and determines his compositional principles. The composition of a work is determined primarily by the real patterns of reality depicted in the work, the ideological and aesthetic tasks set by the author, as well as the artistic method, genre features, the writer's worldview, his creative manner.

Many literary scholars, speaking about the composition of a work, distinguish its two main forms: event (plot) and non-event (non-plot). The eventful form of the composition is more typical for epic and dramatic works, the non-eventive form for lyrical ones.

Since the main unit of the literary and artistic reflection of life is character, the composition of a work of art can be comprehended and studied precisely in connection with the characters depicted in it.

How the writer builds this or that character, how he correlates it with others, in what sequence he arranges the events in the work, what causes and effects he brings to the fore in the depicted life, how in connection with this he organizes the work externally - all this as a whole is the composition of the work, is determined by the creative principles of the writer.

The main requirements for the composition of a highly artistic work are life and artistic motivation and strict subordination of all elements of the work to the theme and idea.

In modern literary criticism, there is a tradition of highlighting such compositional techniques as repeat, amplify and mounting . About compositional reception repeat they speak mainly in the case when the first and final poetic lines echo, giving the work a compositional harmony, creating a ring composition. A classic example of the use of a ring composition can serve as A. Blok's poems "Night, street, lamp, pharmacy ...", S. Yesenin "Shagane, you are mine, Shagane ..." others.

Reception amplification used in cases where a simple repetition is not enough to create an artistic effect. For example, the description of the interior decoration of Sobakevich's house in "Dead Souls" by N.V. Gogol. Here, every new detail reinforces the previous one: “everything was solid, clumsy to the highest degree, and had some strange resemblance to the owner of the house; in the corner of the drawing-room stood a pot-bellied walnut bureau, not preposterous on four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and most restless quality—in a word, every object, every chair seemed to say: “Me, too, Sobakevich!” or “and I also look a lot like Sobakevich!”.

Reception mounting characterized by the fact that two images located side by side in the work give rise to a new meaning. For example, in A. Chekhov's story "Ionych", the description of the "art salon" is adjacent to the mention of the smell of fried onions and the clinking of knives. These details create the atmosphere of vulgarity that the author tried to convey to the reader's mind. In some works (M. Bulgakov's The Master and Margarita, Ch. Aitmatov's Block, etc.), montage becomes the compositional principle of organizing the entire work.

Along with the concept of compositional device in literary criticism, we are talking about composition elements . Following V.V. Kozhinov and other scientists, we single out the following compositional elements: prelude, silence, chronological permutations, artistic framing, antithesis, landscape, portrait, interior, dialogue, monologue, lyrical digressions, introductory episodes.

Preliminary- notification in advance about something - this is an artistic device when the writer precedes the image of future events with episodes. An example of a prelude is an episode from the novel by A.S. Pushkin "Eugene Onegin", when Tatyana has a dream that Onegin kills Lensky (Chapter 5, stanza 21):

Argument louder, louder; suddenly Eugene

Grabs a long knife, and instantly

Defeated Lensky; scary shadows

Thickened; unbearable cry

There was a sound... The hut staggered...

And Tanya woke up in horror...

An example of anticipation in Mordovian literature can be found in N. Erkay's poem "Moro Ratordo" (the scene of the discovery of human bones by the main character in the hollow of a century-old oak, presented at the beginning of the work).

Artistic framing- the creation of paintings and scenes that are close in essence to the depicted phenomena and characters. "Hadji Murad" L.N. Tolstoy begins with a landscape sketch. The author tells how, having collected a large bouquet of different flowers, he decided to decorate it with blooming raspberry burdock, popularly called "Tatar". However, when he plucked it with great difficulty, it turned out that the burdock, due to its coarseness and coarseness, does not fit the delicate flowers of the bouquet. Further, the author shows a newly plowed field, on which not a single plant was visible, except for one bush: “The Tatarina bush consisted of three shoots. One was torn off, and the rest of the branch stuck out like a severed hand. The other two had a flower each. These flowers were once red, but now they were black. One stalk was broken, and half of it, with a dirty flower at the end, hung down; the other, although smeared with black earth mud, still stuck up. It was evident that the whole bush had been run over by a wheel and after that it rose and therefore stood sideways, but still stood. It was as if a piece of his body had been torn out, his insides turned out, his arm was torn off, his eye was gouged out. But he still stands and does not surrender to the man who destroyed all his brothers around him. “What energy! I thought. “Man conquered everything, destroyed millions of herbs, but this one does not give up.” And I remembered one old Caucasian story, some of which I saw, some I heard from eyewitnesses, and some I imagined. This story, as it has developed in my recollection and imagination, that's what ... ".

An example of an artistic frame from Mordovian literature is an excerpt from the prologue of the novel in verse by A.D. Kutorkin "Apple tree near the high road":

Kavto Enov pryanzo kaysi Umarina poksh kint krayse. Paksyant kunshkas, teke stuvtovs, Those sulei maksytsya feeling, Tarkaks is the meadow of the musus. Laishiz varmat, frost narmunt. Tsyarakhmant baked some eisenze. Yalateke son viysenze Kirds calf lamo yakshamot, Ace orshnevemat, lyakshamot, Nachko lively trowel live. But tsidyards feel - ez sive, Staka davol marto arguing, Lamo Viy rushed the shadow of the koryas. You marinated kas ush pokshsto, Zardo sonze veike boxto Ker vatkakshnost petkel petne, Taradtkak syntrest chirketne, Right shovels kodaz lokshotne, But eziz mue makshotne Te chuvtont. Sleep keme, whole. Bogatyren shumbra body Nulan pack istya neyavkshny, Koda selms yala kayavkshny Te uminant komelse Se tarkas, costly petkelse Kener panks mind lutavkshnos. Pars tundos chuvtonten savkshnos. Erva tarads kodaz-kodavst, Mazy die news modas ...

The apple tree at the high road nods its head in both directions. In the middle of the field, as if forgotten, This is a tree giving a shadow, I chose a green meadow as a place. The winds mourned her, the birds sang over her. The hail beat her. At the same time, with her strength, she resisted the winter cold, glaciation, hoarfrost, In rainy times - cold sweat. But the tree withstood - it did not break, Arguing with a strong hurricane, It became stronger even more. The apple tree had already grown, When on one side the bark was torn off with a pestle, And the branches were broken in arcs, The leaves were torn off with a wicker whip, But the tree did not wither, It is healthy, whole. Sometimes so heroic strong body Peeps through the tatters, When it catches the eye By the apple tree on the trunk That place where the pestle Has long been torn off the skin. Spring came to the yard for this tree. On each branch, intertwining with each other, Beautiful apples bowed to the ground ...

Default- an artistic technique when the writer in the work deliberately does not say anything. An example of default is a stanza from a poem by S.A. Yesenin "Song of the Dog":

She ran through the snowdrifts,

Running after him...

And so long, long trembling

Unfrozen waters.

Chronological permutations- such an element of the composition, when the writer in his work tells about events, violating the chronological sequence. A classic example of this kind of composition is the novel by M.Yu. Lermontov "A Hero of Our Time".

Quite often, writers include in their works the memories of heroes about the days of the past. This technique also serves as an example of chronological permutations. In A. Doronin's novel "Bayagan Suleyt" ("Shadows of the Bells"), which tells about the life of Patriarch Nikon, there are several such episodes:

“... Vladykaten flattered, meiste merrily left the code dream pongs tezen, vasolo enksoni usiyatnes. Those ulnes 1625 yen tundostont, zardo sonze, order to popont, ve clean kirga ormado kulost kavto tserkanzo. Te rizkstan Olda nize ez tsidardo, tus nun. Dy songak arces-teys pryanzo naravtomo. Kochkize Solovkan monastery, horse net ietnesteyak Rusen keles baked sodavixel. Ansyak code tey packodems? Syrgas Nizhny Novgorod. Kems, tosto mui Arkhangelskoent marto syulmavoz lomant dy Rav leygant syrgi martost od ki langov. (“Vladyka remembered how it all began and how he got here, to these remote places. It happened in the spring of 1625, when, as a rural priest, two of his sons died one day from a sore throat. From such grief, his wife Olda could not stand it, she became a nun. He, too, on reflection, decided to take monastic vows. He chose the Solovetsky Monastery, which was already very famous in Russia in those days. But how to get there? Went to Nizhny Novgorod. He hoped that he would find people there who would are connected with Arkhangelsk, and along the Volga the river will follow a new path with them.

Antithesis- a contradiction, a sharply expressed opposition of concepts or phenomena. N.A. Nekrasov in the poem "To whom it is good to live in Russia" there are the following lines:

You are poor, you are abundant,

You are powerful, you are powerless,

Mother Russia.

An excerpt from D. Nadkin's poem "Chachoma ele" called "Iznyamo or Kuloma" ("Victory or Death") is also built on the antithesis:

Landscape- a description of nature in a literary work that performs various functions. Landscape sketches entered fiction a long time ago: we meet them in the works of ancient and medieval literature. Already in the Homeric poems there are small landscape paintings that serve as the background of the action, for example, references to the coming night, the sunrise: “Then the dusk descended to the earth”, “The young woman with purple fingers Eos got up”. In the work of the Roman poet Lucretius “On the Nature of Things”, nature is also personified and acts both as a character and as a background of action:

Winds, goddess, run before you; with your approach

The clouds are leaving from heaven, the earth is a masterful lush

A flower carpet is laid, sea waves are smiling,

And the azure sky shines with spilled light ....

In the 18th century, in the literature of sentimentalism, landscapes began to perform a psychological function and were perceived as a means of artistic development of the inner life of a person (Goethe's "The Sufferings of Young Werther", Karamzin's "Poor Liza").

Nature among romantics is usually restless, corresponds to the stormy passions of the characters and acts as a symbol (Lermontov's "Sail", etc.).

In realistic literature, landscapes also occupy a significant place and perform various functions, they are perceived both as a background of action, and as a subject of the image, and as a character, and as a means of artistic exploration of the inner world of heroes. As an example, let's cite an excerpt from N. Erkay's story "Alyoshka": Maryavi fox is just a weirdo chudikerksent sholnemazo. Sleep, the use of tseks, praise the smeared kizen valskent. Kaldastont kaiseti skaltenen stakasto lexemast dy porksen poremast. Leent chireva lugant langa rosas ashti because baygex. Break another skein of aras ... Koshtos dull, vanks dy ekshe. Leksyat eisenze, kodayak and peshkedyat.

Lomantne, narmuntne, mik tikshetneyak, weighty nature, sirey shozhdyne less scary. Mik teshtneyak pale avol baked waldo tolso, songak chamonit, ezt mesh udytsyatnenen ”(The river is not visible, it is wrapped in thick fog. You can hear the murmur of a stream flowing from a spring. He, like a nightingale, praises the beauty of a summer morning. From the fence come the sighs of cows chewing The morning dew lies on the meadow along the river, people are still nowhere to be seen... The air is thick, clean and cool.

People, birds, grass, all nature sleeps under a light firmament. Even the stars do not burn brightly, they do not interfere with the sleepers.

Portrait- description of the appearance, appearance of the characters. Pre-realistic literature is characterized by idealizing descriptions of the appearance of heroes, outwardly bright and spectacular, with an abundance of figurative and expressive means of language. Here is how Nizami Ganjavi describes the appearance of her beloved in one of the ghazals:

Only the moon can compare with this maiden from Khotan,

Her charms captivated a hundred Yusufs from Hanan.

Eyebrows are arched like arches, eyes look like the sun,

Brighter than Aden rubies, her ruddy cheeks color.

Proudly decorating a blooming garden with a scarlet rose,

She eclipsed the cypress with a regal high figure ....

Similar portraits take place in romantic literature. In realistic literature, a portrait has become widespread, which performs a psychological function, helping to reveal the spiritual world of characters (M. Lermontov "A Hero of Our Time", L. Tolstoy "War and Peace", A. Chekhov "Lady with a Dog" ...).

Quite often, it is through a portrait that one can reveal the attitude of the author towards his hero. Let us give an example from the story of S. Platonov “Kit-yant” (“Ways-roads”): “Vera orshazel kizen shozhda platiinese, horse stazel ​​serenze koryas dy sedeyak mazylgavts in the form of kilen kondyamo elgan rungonzo. Vasen varshtamsto sonze chamazo unaware avol ush ovse baked mazytnede. Ist chamast vese od teterkatnen, kinen and umok topodst kemgavksovo iet such set tundostont vasentseks blooming kuraksh alo lily of the valley tsetsineks. But Boti Silence Vanat Vanat Verand Chamas, Alamon-Alamon Liyakstomi, Teevye Coldsu Valdamgadi, Khilisema Enksos, Zoryava Vir Equesste or poking Chiren Tobalde, Syrezhditsa Kirkses, Dyeyak Pek Maneigado, Nalxestevo Miso-Miso-Zero Mizhoma, Zero Mizdema, Zero Mizordo But sehte remember sonze with gray selmenze, konat langozot vanomsto you don’t show steel kondyamox, maile alamon-alamon yala senshkadyt, mumbledly guess dy mik chopolgadyt, teev potmakstomoks. Vanovtonzo koryas ovse and charkodevi ezhozody meleze - paro te arsi or beryan. But varshtavksozo zardoyak a stuvtovi ”(“ Vera was dressed in a light summer dress, tailored to her height and emphasizing her slender figure. At first glance, her face cannot be classified as very beautiful. Most young girls who have recently turned eighteen have such faces and they blossomed for the first time, like forest lilies of the valley, but if you peer into Vera's face, it gradually changes, turns pale and brightens, like the dawn, when the first rays of the sun appear from behind the forest or from the side of the field, and becomes even more beautiful with a smile. Most of all, her gray eyes are remembered, which at first glance seem to be steel, then gradually darken and become bottomless. From her look it is impossible to understand her mood and thoughts - whether she wishes you well or not. But her look cannot be forgotten").

After reading this passage, the reader feels that the author's sympathies are on the side of the heroine.

Interior- an image of a closed space, a human habitat, which he organizes in his own image, in other words, this is a description of the environment in which the characters live and act.

The description of the interior or the material world has entered Russian literature since the time of A. Pushkin (“Eugene Onegin” is a description of the hero’s office). The interior serves, as a rule, as an additional means of characterizing the characters of the work. However, in some works it becomes the dominant artistic means, for example, in N.V. Gogol: “A wonderful man Ivan Ivanovich! He loves melons very much. This is his favorite food. As soon as he dine and goes out in one shirt under a canopy, he now orders Gapka to bring two melons. And he will cut it himself, collect the seeds in a special piece of paper and begin to eat. Then he orders Gapka to bring an inkwell and himself, with his own hand, makes an inscription over a piece of paper with seeds: "This melon was eaten on such and such a date." If at the same time there was some guest, then "participated such and such."

The late Judge Mirgorodsky always admired Ivan Ivanovich's house. Yes, the house is very good-looking. I like that sheds and canopies are attached to it on all sides, so that if you look at it from afar, you can see only the roofs planted one on top of the other, which is very similar to a plate filled with pancakes, and even better, like sponges growing on tree. However, the roofs are all covered with an outline; willow, oak and two apple trees leaned on them with their spreading branches. Between the trees, small windows with carved whitewashed shutters flicker and even run out into the street. From the above passage it is clear that with the help of the interior, the world of things, in a Gogolian way, the Mirgorod inhabitants-landlords are sarcastically ridiculed.

Let us give an example from Mordovian literature, a description of the room in which V. Kolomasov's character Lavginov lives after a divorce from his wife: Arsyan, natoy skalon kardos sede vanks. Koshtos sonze kudosont istya kols, mik oymet and targavi. Kiyaksos - roujo fashion. Kov ilya varshta - mazyn kis vovodevst shanzhavon kodavkst. And wow! Awkward - mezeyak and maryat, prok meksh commanded to owl kudonten. Stenasont, obliquely sonze atsaz tarkinese, lazkstne peshkset kendyaldo, ceilingont ezga pixit cockroach ”(You should have seen what kind of house he has now. I think your cow yard is cleaner. The air in the house has deteriorated so much that it is impossible to inhale. The floor is black earth. Wherever you look, cobwebs hang everywhere for beauty. And flies! Buzzing - you can’t hear anything, as if a swarm of bees flew into the house. In the wall, near which now his bed, the cracks are full of bedbugs, cockroaches crawl on the ceiling). This kind of interior helps the reader to better understand the lazy nature of the depicted hero.

Sometimes the interior also performs a psychological function. Here is how L. Tolstoy describes the interior of the prison office, which Nekhlyudov came to after meeting with Katyusha Maslova in court: “The office consisted of two rooms. In the first room, with a large protruding shabby stove and two dirty windows, there was a black yardstick in one corner to measure the growth of the prisoners, in the other corner hung - a constant accessory to all places of torment, as if in mockery of his teachings - a large image of Christ. There were several guards in this first room. In the other room, twenty men and women sat on the walls in separate groups or in pairs and talked quietly. There was a desk by the window. Such descriptions help reveal the state of mind of the characters.

Lyrical digressions- emotional reflections of the author about the events depicted. There are many lyrical digressions in Don Juan by D.G. Byron; "Eugene Onegin" A.S. Pushkin, "Dead Souls" N.V. Gogol; in "Apple Tree by the High Road" by A.D. Kutorkina:

A kind of lyrical digressions are also found in dramatic works, in particular, in the plays of B. Brecht there are a lot of songs (zongs) that interrupt the depicted action.

Dialogues and monologues- these are significant statements, as if emphasizing, demonstrating their "author's" affiliation. Dialogue is invariably associated with mutual, two-way communication, in which the speaker takes into account the direct reaction of the listener, while activity and passivity pass from one participant in the communication to another. Dialogue is characterized by the alternation of brief statements by two or more persons. A monologue is an uninterrupted speech by one person. Monologues are "solitary”, in the case when the speaker does not have direct contact with anyone, and "converted designed to actively influence listeners.

Opening episodes literary scholars are sometimes referred to as insert stories. These are the tale of Cupid and Psyche in Apuleius' novel "Metamorphoses" ("The Golden Ass"), the story of Captain Kopeikin in "Dead Souls" by N.V. Gogol.

In conclusion, it should be noted that any work of art has its own composition, a special structure. Depending on the goals and objectives that he has set for himself, the writer chooses certain elements of the composition. At the same time, all the elements of the composition listed above cannot be present even in large epic works. Such components as preliminaries, artistic framing, and introductory episodes are rarely found in fiction.

TEST QUESTIONS:

1. Which of the following definitions of composition is closer to you and why?

2. What terminology denoting the construction of a work can be used in the process of analyzing a work?

3. What are the main elements of the composition of a literary work?

4. Which of the elements of composition are less common than others in Mordovian literature?

Any literary work is a single whole, which helps to unite the composition. Any literary work consists of separate components that are interconnected. The structure, rhythm, storyline, a certain sequence in the arrangement of the parts of the work is determined by the composition. The development of the plot can be very different. It can have a sequential or cyclic structure, development can also go in a spiral. With her help, the author tries to build a storyline in his work. In this article, we will consider what composition is in literature.

The means or methods of the composition include:

• epigraphs,
• storytelling,
• description of images and portraits,
• dialogues or monologues of characters,
• characteristics,
• copyright digressions,
• landscapes,
• plot of the story.

Let's define composition

The word comes from the Latin Compositio, which literally means composition, compilation. Composition is the construction of the structure of a literary work: a sequence of elements, selection, descriptive writing techniques that create a single whole according to the author's intention.

Accessibility is an essential quality composition. A literary work should not contain unnecessary pictures, scenes, episodes. Leo Tolstoy compared literary narrative to a living organism. He said that in a verse, drama, picture, symphony, one cannot take out part of the verse or put it in another place in a literary work without violating the meaning of such a work. And it is impossible not to disrupt the life of a well-established organism if one organ is taken out of its place and placed in another.

An important condition is the achievement of perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The author should describe the world using as few words as possible. No wonder A. Chekhov called: "Brevity is the sister of talent." In the art of composition of literary writing, the talent of the writer plays an important role.

Two types are distinguished in the composition - event-driven plot and event-free, non-plot or descriptive.

• Event-driven is characteristic of dramatic and epic narratives. In the composition of dramatic and epic writings, it has temporal-spatial and causal forms.
• Event composition in literature can be in three forms: chronological, retrospective and free.

One of the varieties of event plot type is event-narrative. The bottom line is that you can tell about the same event on behalf of the author, narrator or character. The event-narrative form is typical for lyric-epic works. The descriptive type is characteristic of lyrical literary novels. In lyrical works, as a rule, they describe the impressions, experiences, feelings of the lyrical hero.

Today we are talking on the topic: "Traditional elements of composition." But first you need to remember what a "composition" is. For the first time we meet this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, we stir up the old, and we fill in the missing gaps.

Composition in literature

What is composition? First of all, we turn to the explanatory dictionary for help and find out that in a literal translation from Latin, this term means “composing, writing”. Needless to say, without "composition", that is, without "composition", no work of art is possible (examples follow) and no text as a whole. From this it follows that the composition in literature is a certain order in which the parts of a work of art are arranged. In addition, these are certain forms and methods of artistic representation that are directly related to the content of the text.

The main elements of the composition

When we open a book, the first thing we hope for and look forward to is a beautiful entertaining story that will either surprise us or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, a writer is a true artist who primarily shows rather than tells. He avoids direct text like: "And now I will tell." On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such skill?

Compositional elements - this is the palette in which the artist - the master of the word, mixes his colors in order to get a bright, colorful plot in the future. These include: monologue, dialogue, description, narration, system of images, author's digression, inserted genres, plot, plot. Further - about each of them in more detail.

monologue speech

Depending on how many people or characters in a work of art are involved in speech - one, two or more - monologue, dialogue and polylogue are distinguished. The latter is a kind of dialogue, so we will not dwell on it. Let's consider only the first two.

A monologue is an element of the composition, which consists in the use by the author of the speech of one character, which does not imply an answer or does not receive one. As a rule, she is addressed to the audience in a dramatic work or to herself.

Depending on the function in the text, there are such types of monologue as: technical - a description by the hero of events that have occurred or are currently taking place; lyrical - the hero conveys his strong emotional experiences; acceptance monologue - the internal reflections of a character who is faced with a difficult choice.

The following types are distinguished by form: the author's word - the author's appeal to readers, most often through one or another character; stream of consciousness - the free flow of the hero's thoughts as they are, without obvious logic and not adhering to the rules of literary construction of speech; dialectics of reasoning - the hero's presentation of all the pros and cons; dialogue in solitude - a mental appeal of a character to another character; apart - in dramaturgy, a few words aside, which characterize the present state of the hero; stanzas are also in dramaturgy the lyrical reflections of a character.

Dialogic speech

Dialogue is another element of composition, a conversation between two or more characters. Usually, dialogic speech is the ideal means of conveying the collision of two opposing points of view. It also helps to create an image, revealing personality, character.

Here I want to talk about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aidyn Asadullaevich "Goryanka" is a vivid confirmation of this.

Description

What is a person? This is a special character, and individuality, and a unique appearance, and the environment in which he was born, brought up and exists at the moment of his life, and his house, and the things with which he surrounds himself, and people, far and near, and the environment. its nature... The list is endless. Therefore, when creating an image in a literary work, the writer must look at his hero from all possible sides and describe, without missing a single detail, even more - create new “shades” that cannot even be imagined. In the literature, the following types of artistic descriptions are distinguished: portrait, interior, landscape.

Portrait

It is one of the most important compositional elements in literature. He describes not only the external appearance of the hero, but also his inner world - the so-called psychological portrait. The place of a portrait in a work of art is also different. A book can begin with it or, conversely, end with it (A.P. Chekhov, "Ionych"). maybe immediately after the character performs some act (Lermontov, "A Hero of Our Time"). In addition, the author can draw a character in one fell swoop, monolithically (Raskolnikov in "Crime and Punishment", Prince Andrei in "War and Peace"), and another time and disperse the features in the text ("War and Peace", Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he grants this right to one of the characters, for example, Maxim Maksimych in the novel A Hero of Our Time, so that he describes Pechorin as accurately as possible. The portrait can be written ironically satirically (Napoleon in "War and Peace") and "ceremonially". Under the "magnifying glass" of the author, sometimes only the face, a certain detail or the whole become - a figure, manners, gestures, clothes (Oblomov) falls.

Description of the interior

The interior is an element of the composition of the novel, allowing the author to create a description of the hero's home. It is no less valuable than a portrait, since a description of the type of premises, furnishings, atmosphere prevailing in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the entire depth of the created image. The interior also reveals a close connection with which is the part through which the whole is known, and the individual through which the plural is seen. So, for example, Dostoevsky in the novel "The Idiot" in the gloomy house of Rogozhin "hung" Holbein's painting "The Dead Christ", in order to once again draw attention to the irreconcilable struggle of true faith with passions, with unbelief in Rogozhin's soul.

Landscape - description of nature

As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, a lot is hidden in it: the soul, and freedom, and love, and language. The same can be said about the landscape in a literary work. The author, with the help of such an element of composition as a landscape, depicts not only nature, locality, city, architecture, but thereby reveals the state of the character, and contrasts the naturalness of nature with conditional human beliefs, acts as a kind of symbol.

Remember the description of the oak during Prince Andrei's trip to the Rostovs' house in the novel "War and Peace". What he (oak) was at the very beginning of the journey - an old, gloomy, "contemptuous freak" among birch trees smiling at the world and spring. But at the second meeting, he suddenly blossomed, renewed, despite the hundred-year-old hard bark. He still submitted to spring and life. The oak tree in this episode is not only a landscape, a description of nature reviving after a long winter, but also a symbol of the changes that have taken place in the prince’s soul, a new stage in his life, which managed to “break” the desire to be an outcast of life until the end of his days, which was already almost rooted in him. .

Narration

Unlike the description, which is static, nothing happens in it, nothing changes, and in general it answers the question “what?”, the narrative includes action, conveys the “sequence of occurring events” and the key question for it is “what happened ? Speaking figuratively, the narrative as an element of the composition of a work of art can be represented as a slide show - a quick change of pictures illustrating a plot.

Image system

As each person has his own network of lines on the fingertips, forming a unique pattern, so each work has its own unique system of images. This includes the image of the author, if any, the image of the narrator, the main characters, antipode heroes, minor characters, and so on. Their relationship is built depending on the ideas and goals of the author.

Author's digression

Or a lyrical digression is the so-called extra-plot element of the composition, with the help of which the author's personality, as it were, breaks into the plot, thereby interrupting the direct course of the plot narrative. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer no longer acts as a storyteller, but opens his soul, raises deeply personal questions, discusses moral, aesthetic, philosophical topics, shares memories from his own life. Thus, the reader manages to take a breath before the flow of the following events, to stop and delve deeper into the idea of ​​the work, to think about the questions posed to him.

Plug-in genres

This is another important compositional element, which is not only a necessary part of the plot, but also serves as a more voluminous, deeper disclosure of the hero’s personality, helps to understand the reason for his particular life choice, his inner world, and so on. Any genre of literature can be inserted. For example, stories are the so-called story in a story (the novel "The Hero of Our Time"), poems, novellas, poems, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be either their own composition or someone else's.

Plot and plot

These two concepts are often either confused with each other, or they mistakenly believe that they are one and the same. But they must be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all parts are interconnected and follow one after another in the order that is necessary for the full realization of the author's intention, the disclosure of the idea. In other words, the events in the plot can take place in different time periods. The plot is that basis, but in a more concise form, and plus - the sequence of events in their strictly chronological order. For example, birth, maturity, old age, death - this is the plot, then the plot is maturity, memories from childhood, adolescence, youth, lyrical digressions, old age and death.

Story composition

The plot, just like the literary work itself, has its own stages of development. At the center of any plot there is always a conflict around which the main events develop.

The book begins with an exposition or prologue, that is, with an “explanation”, a description of the situation, the starting point from which it all began. This is followed by a plot, one might say, foresight of future events. At this stage, the reader begins to realize that a future conflict is just around the corner. As a rule, it is in this part that the main characters meet, who are destined to go through the coming trials together, side by side.

We continue to list the elements of the plot composition. The next stage is the development of the action. Usually this is the most significant piece of text. Here the reader already becomes an invisible participant in the events, he is familiar with everyone, he feels the essence of what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, slowly, unexpectedly for himself, he finds himself in the very center of the whirlpool. The climax comes - the very peak, when a real storm of feelings and a sea of ​​\u200b\u200bemotions falls upon both the main characters and the reader himself. And then, when it is already clear that the worst is behind and you can breathe, the denouement softly knocks on the door. She chews everything, explains every detail, puts all things on the shelves - each in its place, and the tension slowly subsides. The epilogue draws the final line and briefly outlines the further life of the main and secondary characters. However, not all plots have the same structure. The traditional elements of a fairy tale composition are completely different.

Story

A fairy tale is a lie, but there is a hint in it. Which? The elements of the composition of the fairy tale are radically different from their "brothers", although when reading, easy and relaxed, you do not notice this. This is the talent of a writer or even an entire people. As Alexander Sergeevich instructed, it is simply necessary to read fairy tales, especially folk tales, because they contain all the properties of the Russian language.

So, what are they - the traditional elements of a fairy-tale composition? The first words are a saying that sets you in a fabulous mood and promises a lot of miracles. For example: “This fairy tale will be told from morning until lunch, after eating soft bread ...” When the listeners relax, sit down more comfortably and are ready to listen further, it is time for the beginning - the beginning. The main characters, the place and time of the action are introduced, and another line is drawn that divides the world into two parts - real and magical.

Next comes the tale itself, in which repetitions are often found to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia to animals, dialogues - all these are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at the infinity of the magical world: "They live, live and make good."