Analysis of the conflict situation from fiction. The concepts of "conflict" and "image" in literary criticism
Conflict is in literature - a clash between characters or between characters and the environment, a hero and fate, as well as a contradiction within the consciousness of a character or subject of a lyrical utterance. In the plot, the plot is the beginning, and the denouement is the resolution or statement of the insolubility of the conflict. Its character determines the originality of the aesthetic (heroic, tragic, comic) content of the work. The term "conflict" in literary criticism has supplanted and partially replaced the term "collision", which G.E. Lessing and G.W.F. Hegel used as a designation for sharp collisions, primarily characteristic of drama. Modern theory Literature considers collisions to be either a plot form of manifestation of the conflict, or its most global, historically large-scale variety. Large works, as a rule, have many conflicts, but a certain main conflict, for example, in "War and Peace" (1863-69) by L.N. Tolstoy - the conflict of the forces of good and the unity of people with the forces of evil and separation, according to the writer, is positively resolved by life itself, its spontaneous flow. The lyrics are much less conflicting than the epic.A. G. Ibsen's experience prompted B. Shaw to reconsider the classical theory of drama. the main idea his essay "The Quintessence of Ibsenism" (1891) is that at the heart of modern play there should be a "discussion" (disputes of characters on issues of politics, morality, religion, art, serving as an indirect expression of the angor's beliefs) and a "problem". In the 20th century, philosophy and aesthetics based on the concept of dialogue developed.
In Russia, these are primarily the works of M. M. Bakhtin. They also prove the excessive categoricalness of statements about the universality of the conflict. At the same time, the totalitarian culture in the USSR of the 1940s gave rise to the so-called “conflict-free theory”, according to which the ground for real conflicts disappears in socialist reality and they are replaced by “conflicts between the good and the best.” This had a disastrous effect on post-war literature. But the massive criticism of the "conflict-free theory" inspired by I.V. Stalin in the early 1950s was even more semi-official. The latest theory of literature the concept of conflict seems to be one of the discredited. An opinion is expressed that the concepts of exposition, plot, development of action, climax, denouement associated with it are fully applicable only to criminal literature and only partially to drama, while the basis of the epic is not a conflict, but a situation (in Hegel, the situation develops into a collision) . However, there are different types conflicts. Along with those that are expressed in collisions and arise from random situations, literature reproduces a stable conflict of being, often not manifested in direct clashes of characters. From the Russian classics, A.P. Chekhov constantly brought out this conflict - not only in plays, but also in stories and novels.
With a phenomenon called conflict (from lat. conflictus - clash), i.e., an acute contradiction that finds its way out and resolution in action, struggle, we are in Everyday life we meet constantly. Political, industrial, family and other types social conflicts of different scale and level, sometimes taking away from people great amount physical, moral and emotional forces overwhelm our spiritual and practical world - whether we like it or not.
It often happens like this: we strive to avoid certain conflicts, remove them, "defuse" or at least mitigate their effect - but in vain! The emergence, development and resolution of conflicts depend not only on us: in every clash of opposites, at least two sides participate, fight, expressing different, and even mutually exclusive interests, pursuing goals that cross each other, committing differently directed, and sometimes even hostile actions. The conflict finds expression in the struggle between the new and the old, the progressive and the reactionary, the social and the antisocial; contradictions life principles and positions of people, public and individual consciousness, morality, etc.
The same thing happens in literature. The development of the plot, the clash and interaction of characters taking place in constantly changing circumstances, the actions performed by the characters, that is, in other words, the entire dynamics of the content of a literary work is based on artistic conflicts, which are ultimately a reflection and generalization of the social conflicts of reality. Without understanding by the artist of actual, burning, socially significant conflicts genuine art the word does not exist.
Artistic conflict, or artistic collision (from lat. collisio - clash), is the confrontation of those acting in literary work multidirectional forces - social, natural, political, moral, philosophical - receiving ideological and aesthetic embodiment in artistic structure works as a contrast (opposition) of characters to circumstances, individual characters - or various parties of the same character - to each other, themselves artistic ideas works (if they carry ideologically polar principles).
The artistic fabric of a literary work at all its levels is permeated with conflict: speech characteristics, the actions of the characters, the ratio of their characters, artistic time and space, the plot-compositional construction of the narrative contain conflicting pairs of images that are connected with each other and make up a kind of "grid" of attractions and repulsions - the structural backbone of the work.
In the epic novel "War and Peace", the Kuragin family (together with Sherer, Drubetsky, etc.) is the embodiment high society- a world that is organically alien to Bezukhov, Bolkonsky, and Rostov. For all the differences between the representatives of these three noble families beloved by the author, they are equally hostile to pompous officialdom, court intrigues, hypocrisy, falsehood, self-interest, spiritual emptiness, etc., flourishing at the imperial court. Therefore, the relations between Pierre and Helene, Natasha and Anatole, Prince Andrei and Ippolit Kuragin, etc. are so dramatic, fraught with insoluble conflicts.
In a different semantic plane, a hidden conflict unfolds in the novel between the wise people's commander Kutuzov and the conceited Alexander I, who took the war for a special kind of parade. However, it is not by chance that Kutuzov loves and singles out Andrei Bolkonsky among the officers subordinate to him, and Emperor Alexander does not hide his antipathy towards him. At the same time, Alexander (like Napoleon in his time) does not accidentally "notice" Helen Bezukhova, honoring her with a dance at the ball on the day of the invasion of Napoleon's troops in Russia. Thus, tracing the chains of connections, "links" between the characters of Tolstoy's work, we observe how all of them - with varying degrees of obviousness - are grouped around the two semantic "poles" of the epic that form the main conflict of the work - the people, the engine of history, and the king, "slave of history" In the author's philosophical and journalistic digressions, this supreme conflict of the work is formulated with purely Tolstoyan categoricalness and directness. Obviously, in terms of the degree of ideological significance and universality, in terms of its place in the artistic and aesthetic whole of the epic novel, this conflict is comparable only with the military conflict depicted in the work, which was the core of all events. Patriotic War 1812. All the rest, private conflicts that reveal the plot and plot of the novel (Pierre - Dolokhov, Prince Andrei - Natasha, Kutuzov - Napoleon, Russian speech - French, etc.), are subordinate to the main conflict of the work and constitute a certain hierarchy of artistic conflicts .
Each literary work develops its own, special multi-level system of artistic conflicts, which ultimately expresses the author's ideological and aesthetic concept. In this sense artistic interpretation social conflicts is more capacious and meaningful than their scientific or journalistic reflection.
IN " Captain's daughter» Pushkin, the conflict between Grinev and Shvabrin because of their love for Masha Mironova, which forms the visible basis of the actual novelistic plot, fades into the background before the socio-historical conflict - the Pugachev uprising. The main problem Pushkin's novel, in which both conflicts are refracted in a peculiar way, is a dilemma of two ideas about honor (the epigraph of the work is “Take care of honor from a young age”): on the one hand, the narrow framework of class honor (for example, a noble, officer oath of allegiance); with another - human values decency, kindness, humanism (loyalty to the word, trust in a person, gratitude for the good done, the desire to help in trouble, etc.). Shvabrin is dishonest even from the point of view of the nobility code; Grinev rushes between two concepts of honor, one of which is imputed by his duty, the other is dictated by a natural feeling; Pugachev turns out to be above the feeling of class hatred for a nobleman, which would seem completely natural, and meets the highest requirements of human honesty and nobility, surpassing in this respect the narrator himself - Pyotr Andreevich Grinev.
The writer is not obliged to present the reader with a ready-made future historical resolution of the social conflicts he depicts. Often such a resolution of socio-historical conflicts reflected in a literary work is seen by the reader in a semantic context unexpected for the writer. If the reader acts as literary critic, he can define both the conflict and the way to resolve it much more accurately and far-sightedly than the artist himself. So, N. A. Dobrolyubov, analyzing the drama of A. N. Ostrovsky "Thunderstorm", managed to consider the sharpest social contradiction all of Russia - a “dark kingdom”, where, among general humility, hypocrisy and silence, “tyranny” reigns supreme, the sinister apotheosis of which is autocracy, and where even the slightest protest is a “ray of light”.
The meaning of the word CONFLICT in the Dictionary of Literary Terms
CONFLICT
- (from lat. conflictus - clash) - a sharp clash of characters and circumstances, views and life principles, which is the basis for the action of a work of art. K. is expressed in confrontation, contradiction, clash between heroes, groups of heroes, the hero and society, or in the internal struggle of the hero with himself. The development of K. sets the plot action in motion. K. can be solvable or insoluble (tragic K.), explicit or hidden, external (direct clashes of characters) or internal (confrontation in the soul of the hero). As an element of the plot, it is of particular importance in dramatic works (see drama).
Dictionary of literary terms. 2012
See also interpretations, synonyms, meanings of the word and what is CONFLICT in Russian in dictionaries, encyclopedias and reference books:
- CONFLICT in the Dictionary of Analytical Psychology:
(Conflict; Konflikt) - a state of indecision, uncertainty, accompanied by internal tension. (See also opposites and transcendental function) - CONFLICT in the Newest Philosophical Dictionary:
(lat. conflictus - collision) - in a broad sense, a collision, confrontation of the parties. The philosophical tradition considers K. as a special case of contradiction, his ... - CONFLICT
INTERESTS - a situation where a person or company acts simultaneously in several persons, whose goals do not coincide, for example, when ... - CONFLICT in the Dictionary of Economic Terms:
(lat. conflictus - clash) - a clash of opposing interests, a contradiction in views and in ... - CONFLICT in the Basic terms used in A.S. Akhiezer's book Criticism of historical experience:
- the inevitable manifestation of the inconsistency of the life of society, the result of different attitudes of groups to entropic processes, to disorganization, to the challenge of history. K. can ... - CONFLICT in the Literary Encyclopedia:
[literally "collision"]. - In a broad sense, K. should be called that system of contradictions, which organizes piece of art into a certain unity, that ... - CONFLICT in the Pedagogical Encyclopedic Dictionary:
(lat. conflictus - clash), an extremely aggravated contradiction associated with acute emotional experiences. K. are divided into internal (intrapersonal) and external (interpersonal ... - CONFLICT in the Big Encyclopedic Dictionary:
(from lat. conflictus - clash) clash of parties, opinions, ... - CONFLICT in big Soviet encyclopedia, TSB:
(from lat. conflictus - clash), clash of opposing interests, views, aspirations; a serious disagreement, a sharp dispute leading to ... - CONFLICT
[from Latin conflictus clash] clash of opposing interests, views, aspirations; strife, disagreement, dispute, threatening ... - CONFLICT in the Encyclopedic Dictionary:
a, m. 1. Collision, serious disagreement, dispute. Enter the family k. k. on the border. Conflict - characterized by conflict, relating to ... - CONFLICT V encyclopedic dictionary:
, -a, m. Collision, serious disagreement, dispute. Enter into the family k. Armed k. on the border. II adj. conflict, -th, ... - CONFLICT in the Big Russian Encyclopedic Dictionary:
ARTISTIC CONFLICT (artistic conflict), confrontation, contradiction between those depicted in the production. operating forces: characters, character and circumstances, decomp. sides of character. Directly… - CONFLICT in the Full accentuated paradigm according to Zaliznyak:
conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, ... - CONFLICT in the Dictionary of Epithets:
Uncompromising, fruitless, meaningless, absurd, lengthy, long-term, dramatic, lingering, eternal, bloody, bloody, large, petty, ridiculous, unreasonable, incessant (usually pl.), frivolous, never-ending, ... - CONFLICT in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
-a, m. Collision of opposing interests, opinions, views; serious disagreement, dispute. Family conflict. Military conflict. Come into conflict with the law. Settle… - CONFLICT in the Thesaurus of Russian business vocabulary:
- CONFLICT in the New Dictionary of Foreign Words:
(lat. confl ictus clash) clash of opposing interests, views; serious disagreement, acute ... - CONFLICT in the Dictionary of Foreign Expressions:
[ clash of opposing interests, views; serious disagreement, acute ... - CONFLICT in the Russian Thesaurus:
Syn: collision, clash, contradiction, contradiction, duality, discrepancy, inconsistency, mutual exclusion Ant: agreement, ... - CONFLICT in the Dictionary of synonyms of Abramov:
cm. … - CONFLICT in the dictionary of Synonyms of the Russian language:
Syn: collision, clash, contradiction, contradiction, duality, discrepancy, inconsistency, mutual exclusion Ant: agreement, ...
UDC 82.0
Lukov Vl. A. The Conflict in the Literary Work
annotation♦ The article considers conflict as one of the central categories of literary criticism.
Keywords Keywords: conflict, literary criticism, literary work.
Abstract♦ The article considers the conflict as one of the central categories in literary studies.
keywords: conflict, literary studies, literary work.
Conflict (in literary criticism), or artistic conflict, is one of the main categories that characterize the content of a literary work (primarily dramas or works with vividly presented dramatic features).
The origin of the term is related to Latin word conflictus - clash, blow, fight, fight (found in Cicero).
A conflict in a work of art is a contradiction that forms a plot, forms a system of images, a concept of the world, a person and art, features of a genre, expressed in composition, leaves an imprint on the speech and ways of describing characters, and can determine the specific impact of a work on a person - catharsis.
In Lessing's drama theory and Hegel's aesthetics, the term "collision" was used, later replaced by the term "conflict" (collision is considered either a plot form of conflict manifestation, or, on the contrary, the most general type of conflict).
Usually in works (especially in large forms) there are several conflicts that form a system of conflicts. It is based on a certain typology of conflicts, which can be open and hidden, external and internal, acute and protracted, resolvable and insoluble, etc.
By the nature of pathos, conflicts can be tragic, comic, dramatic, lyrical, satirical, humorous, etc., participating in the design of the corresponding genres.
According to the plot resolution, conflicts in literary works are military, inter-ethnic, religious (inter-confessional), inter-generational, family, forming the sphere of social conflicts and thereby determining social (social-psychological) genre generalization (for example, ancient epics: the Indian "Mahabharata", "Iliad » Homer; new epics and historical novels: novels by V. Scott, V. Hugo, "War and Peace" by L. N. Tolstoy; social romance in the works of O. Balzac, C. Dickens, M. E. Saltykov-Shchedrin; novels about generations: "Fathers and Sons" by I. S. Turgenev, "Teenager" by F. M. Dostoevsky; "family chronicles": "Buddenbrooks" by T. Mann, "The Forsyte Saga" by D. Galsworthy, "The Thibault Family" by R. Martin du Gard; genre of "production novel" in Soviet literature and etc.).
The conflict can be transferred to the sphere of feelings, defining a psychological genre generalization (for example, the tragedies of J. Racine, “Suffering young Werther» J. W. Goethe, psychological novels J. Sand, G. Maupassant and others).
The conflict can characterize not a system of characters, but a system of ideas, becoming philosophical, ideological and forming philosophical, ideological genre generalizations (for example, philosophical drama P. Calderon, philosophical novel and the short story by T. Mann, G. Hesse, M. A. Bulgakov, the ideological novel by N. G. Chernyshevsky "What to do", the novel by F. M. Dostoevsky "Demons", the sociological novel by A. A. Zinoviev "Global Human Clerk", etc. .). The conflict is present in all kinds of literature, children's, "women's", detective, fantasy, as well as in documentary, biographical, journalistic, etc.
The points of development of the conflict (outset, climax, denouement) determined the corresponding elements of the plot (where they are characterized from the content side, the development and decline of the action are located between them) and the composition (where they are characterized from the side of the form).
Some art systems associated with the formulation of a cross-cutting (main) conflict. In classicism, such a conflict was the conflict between feeling and duty (for the first time it was highly artistically revealed in P. Corneille's “Side”, rethought in the tragedies of J. Racine, later modified in the tragedies of Voltaire, etc.). Romanticism replaced the main conflict of art, formulating the conflict between the ideal and reality. In the 1940s and 50s, the problem of conflict-free literature, the conflict between the good and the best, etc. was discussed in Soviet literary criticism. On the contrary, in contemporary literature(especially in "mainstream fiction") the conflict is often exaggerated to enhance the external effect.
The conflict is most clearly presented in the drama. In the dramaturgy of W. Shakespeare and A. Chekhov, two poles are revealed in this respect: Shakespeare has an open conflict, Chekhov has a conflict hidden by everyday life. At the turn of the 19th and 20th centuries, a special form of the presentation of the conflict in the drama was developing - “discussion” (“ Dollhouse”G. Ibsen, dramas by D. B. Shaw, etc.), later continued and rethought in the existentialist drama (J.-P. Sartre, A. Camus, J. Anouilh) and in the “epic theater” of B. Brecht and challenged , brought to the point of absurdity in the modernist anti-drama (E. Ionesco, S. Beckett and others). The combination of Shakespearean and Chekhovian lines in one work is also widespread (for example, in the dramaturgy of M. Gorky, in our time - in the theatrical trilogy The Coast of Utopia by T. Stoppard). Category "conflict" in Lately is supplanted by the category of "dialogue" (M. Bakhtin), but here one can see temporary fluctuations in relation to the fundamental categories of literary criticism, because behind the category of conflict in literature is the dialectical development of reality, and not just the actual artistic content.
NOTE
See: Sakhnovsky-Pankeev V. Drama: Conflict - Composition - Stage Life. L., 1969; Kovalenko A. G. Artistic conflict in Russian literature. M., 1996; Kormilov S. I. Conflict // Literary Encyclopedia terms and concepts. M., 2001.
BIBLIOGRAPHY
Kovalenko A. G. Artistic conflict in Russian literature. M., 1996.
Kormilov S.I. Conflict // Literary encyclopedia of terms and concepts. M., 2001.
Sakhnovsky-Pankeev V. Drama: Conflict - Composition - Stage Life. L., 1969.
A literary work of art, whether prosaic or lyrical, can do without many traditional features artistry. It would seem that a work is always based on a plot, but look at the experimental literature of modernism - the author, who is brave enough and confident in his own powers, precisely as an artist of the word, discards the plot without hesitation or reduces it to a minimum.
An example of this would be the texts of Virginia Woolf or James Joyce. Describe one second 40 pages? Easy. So about the plot, how about fundamental force artistic literary work, it is impossible to say. Maybe then the basis is literary language, the tool with which the author conveys this or that thought to his reader? But then how to explain that works that are written very simply or even frankly in a bad style are very popular?
Actually the answer is simple. At the heart of any literary work is conflict.
Conflict in literature is a fairly broad concept. There is a classic understanding of conflict. In this case, it is perceived as a confrontation between good and evil, sublime and low, spiritual and carnal. These phenomena and functions embody the characters of the work or the "voice of the author", that is, those judgments of the all-seeing author-narrator that lie outside the plot, but comment on it, explain it.
There are also more complex conflicts, for example, a conflict between the author's personality and the real outside world which somehow does not suit him. Such works cannot be considered outside of this conflict, because they simply lose their meaning. An example is the work of the Dadaists, poets of the most experimental type. They wrote meaningless collections of words and sounds, symbolizing the madness of the world, captured by the war. If we deprive the works of the Dadaists of this common conflict for them - the conflict human soul needing order in the world, and a crazy planet captured by bloodshed, then the set of words and sounds embodying the idea based on the antagonism of these concepts will become a meaningless set of words and sounds.
A work needs a conflict as a justification for the very existence of this work, its ideological core.
Types of conflicts
The type of conflict in the literature is distinguished by who is involved in the conflict. According to the oppositions "aspect of personality - another aspect of the same personality", "personality - another personality", "personality - environment", "personality - circumstances, fate, etc."
Internal conflict
The internal conflict in a literary work is a conflict over the opposition "an aspect of the personality - another aspect of the personality." Quite a popular conflict in Russian literary classics. An example is Maxim Gorky's epic novel The Life of Klim Samgin. Throughout the story for main character torn between unwillingness to participate in revolutionary movements late 19th and early 20th century, for the reason that the ideologies of these times are anti-individualistic (and he is an extreme individualist) and between the desire to command respect and admiration, which is easy to achieve by taking part in the uprising. He experiences both rejection of what is happening and painful interest. More famous example Raskolnikov from Dostoyevsky's Crime and Punishment. There, the intellectual position put forward by the hero comes into conflict, declaring exclusive rights strong personality(the right to kill) and his moral sense of guilt.
interpersonal conflict
It is also called personality conflict. This is a kind of conflict over the opposition "personality - personality". Enter into confrontation real people and groups of people. The most typical example of interpersonal conflict in literature is the familiar conflict of Chatsky, the “new man” with fresh ideas and reformist spirit and Famus Society”, retrograde and closed on itself. If we talk about the conflict between the two heroes, then this is the conflict between Onegin and Lensky - a duel from purely personal motives. Separately among interpersonal conflicts is the conflict of "fathers and children". The confrontation of generations, the cultural and ideological gap between which is prohibitively large. Such conflicts arise in times of great social upheaval, when the course of life changes too quickly and radically. In addition to Turgenev's novel of the same name to the conflict, an example of such a contradiction is Dostoevsky's novel "The Teenager", in which the protagonist dreams of great wealth, since money is power, and the father is torn between extreme religiosity and noble altruism. Naturally, people of such different worldviews do not find common ground and conflict.
Impersonal conflict
This type of conflict is the most indefinite and ambiguous. The hero here does not contradict anyone in particular or himself. He enters into a confrontation with fate, life circumstances, the system, perhaps with divine forces. An example of such a conflict can be considered the play by Maxim Gorky "At the Bottom". The heroes of the work are in constant confrontation with their low social position and inevitably lose in this fight. Such conflicts lie at the heart of fairy tales. In addition to having fairy tale hero there are real enemies (Koschei, a cannibal, a dragon - it doesn’t matter), there is also the concept of a series of trials, a certain path that must be passed. The path of a fairy-tale hero, on which various real enemies meet or simply obstacles like an impenetrable forest, is also a literary conflict.
More than one type of conflict can occur in one work. Even more than that, in good work capable of holding the reader's attention, there are usually several types of conflicts. Consider the example of "Eugene Onegin". interpersonal conflict used for development storyline- this, as mentioned above, is a duel between the title character and the poet Lensky, followed by the murder of the latter. Internal conflict, commonly used to reveal inner peace hero, are Yevgeny's feelings for Tatyana. The hero himself does not really understand what is going on in his heart. The non-personal conflict is Eugene as a product of the environment. He is a dandy, a playboy, an aristocrat. He can do nothing with these characteristics of his existence, even though he is immensely bored with living like this.
In addition to the types of conflict in traditional literary criticism, a typology of literary conflicts is distinguished. There are much more types than types and it is much more difficult to classify works according to them.
Type of conflict in a literary work
Speaking as simply as possible, the type of conflict is the soil on which it arose, the sphere of existence of the contradiction. There are the following types of literary conflicts: psychological, social, love, symbolic, philosophical and ideological, there may be more, depending on the classification.
Psychological conflict- it is almost certainly internal conflict. This type of conflict is often used in Romantic literature and in the modern intellectual novel. For example, double life the concierges from Barbary Muriel's The Elegance of the Hedgehog. The woman possesses developed mind and subtle artistic taste, but considers herself obliged to live up to the simple and rude image of a narrow-minded woman, since she left school at the age of 12 and worked all her life as a low-skilled worker.
Social conflict is a conflict public relations. For example, you can take early work Dostoevsky "Poor people". Makar Devushkin's poverty clashes with his desire to help another disadvantaged being, Varvara. As a result, he drives himself into an even more disastrous state, and is unable to help the girl. His good intentions are shattered by social injustice.
love conflict are interactions between two loving friend friend characters or confrontation loving - the rest of the world. This, of course, is Romeo and Juliet.
Symbolic conflict It is a conflict between the image and the real world. As an example, we can take Guillaume Apollinaire's play "Breasts Theresa". Enters into conflict real world where Teresa is a girl and the world is surreal, where she releases her breasts - Balloons into the sky and becomes a man - Teresius.
philosophical conflict- conflict of worldviews. An example is the worldview of the Karamazov brothers from the work of the same name by Dostoevsky. They argue about politics, god and human nature at every opportunity, as their views are radically different.
Ideological conflict close to philosophical, but rather aimed not at comprehending the essence of things, but at attributing oneself to a group. Especially popular in the literature of critical eras. Thus, Russian prose writers of the late 19th and early 20th centuries often resorted to ideological conflict to describe the pre-revolutionary years. Maxim Gorky in the story "The Song of the Falcon" allegorically contrasts the revolutionary (falcon) and the tradesman (snake). They will never understand each other, since the element of one is freedom, and the other is vegetation in the earth and dust.
As well as types, there can be several types of conflicts in one work. But here you have to feel fine line between a rich versatile work that touches on various topics, and superficial reading, which is obtained when the author tries to use absolutely all the literary resources known to him, regardless of expediency. In writing, taste and measure are very important.
