Plan for the analysis of an epic (prose) work. Comprehensive analysis of prose and lyric works

recommended along with reading fiction as the leading form of independent work of students; is the basis for working in practical classes, preparing reports, abstracts and written work of all kinds.

Complex analysis artistic text aimed at understanding author's intention: to comment on the directly perceived layers of the text and to identify its implicit (hidden) meanings, to establish internal connections, echoes between its components, to form students' special attitude to the work of art under study - as to "a single, dynamically developing and at the same time internally complete the world" 4 .

A complex (philological) analysis of a literary text is carried out taking into account the reader's direct perception and is based on the methods of literary, linguistic and linguo-stylistic analysis, which allows to overcome the subjectivism and impressionism of the initial conclusions and observations on the text.

Literary analysis involves the identification of the genre nature and problems of the text, its system of images and the nature of the composition of the work;

Linguistic And linguistic and stylistic analysis considers the linguistic elements that form the text, as well as the phenomenon of combining linguistic elements into a single artistic image, i.e. studies “how the figurative structure is expressed in the artistic speech system of the work” 5 .

The work on the implementation of a complex (philological) analysis involves the “shuttle” (L.Yu. Maksimov) nature of the study: constant transitions from content to form and vice versa, constant fixation of multidirectional connectionsbetween different aspects of content and different aspects of form. For this reason, the proposed analysis plan is purely schematic, preliminary in nature and involves repeated reference to each item of the work.

The main points of a comprehensive analysis of a literary work:

Genre of the text (“as a kind of canon of the work, which determines the reader's expectations and features of the form of the text”) 6 .

Image Subject (“the theme of the work” in the narrow sense of the term, the range of phenomena and events that form the lifeblood of the work).

The subject of artistic comprehension (“the theme of the work” in the broad sense of the term, “everything that has become the subject of the author’s interest, understanding and evaluation” 7).

When working with this item, it should be remembered that the subject matter of truly artistic works is multifaceted, as a rule, is not limited to any one position.

V.E. Khalizev names in this regard the following possible aspects of the topic:

1. So-called. eternal themes- moments that are explicitly or implicitly present in the works of all countries, eras, aesthetic systems. Eternal topics include:

Ontological universals– ideas about certain universal and natural principles, properties and states of Being, the universe (chaos and space, movement and immobility, life and death, etc.);

Anthropological universals– ideas about the fundamental properties and states of a person and the human world, namely:

about spirituality human being(pride and humility, a tendency to create or destroy, alienation and involvement, etc.);

about the spiritual and physical aspirations of a person (love attraction, thirst for power, craving for material goods etc.);

about the features of consciousness and the unconscious, determined in people by their gender (masculinity and femininity);

O age periods human life(the phenomenon of childhood, old age, etc.);

about historically stable forms of human existence (work and leisure, weekdays and holidays, peaceful life and periods of social upheaval, life at home and abroad, etc.)

2. Topics defined the specifics of a particular historical moment(i.e. the specifics of different mentalities and cultural traditions, features of the everyday way of life of nationalities, phenomena of historical time and modernity).

3. Themes defined by the phenomenon the presence of the author in the text (this aspect of the topic includes: the author's recreation of his own personality and fate in the text artwork comprehension by him of his own presence in the world, concrete historical reality and relations with them). 8

Determine the ratio of possible aspects of the subject matter in the analyzed text (which of the topics are most important for the author, which ones receive less attention?), comment on the arrangement of semantic accents in the work.

The direction of artistic comprehension (problematics of the work: what questions does the author raise in connection with the topics of interest to him?).

The specifics of the conflict of the work : What components of the artistic world are in opposition? "External" / "internal"; does the single/multiple character have conflict, does its quality change as the story progresses? How does the conflict manifest itself (in plot clashes / confrontations of characters, life positions / off-plot: in compositional contrast, stylistic antithesis)? What is the structure of the plot of the work in its correlation with the conflict (outset, climax, denouement)? What is the nature of the conflict resolution and the type of reader reaction expected to the denouement?

M.N. Epstein notes the following options in this regard:

“reconciliation or collapse of opposing forces, forcing the reader to rise above their one-sidedness (denouement-catharsis);

the victory of one of the forces, which makes one believe in its rightness and viability (“tendentious” or “engaging” denouement”);

the impossibility of reconciliation or victory, leaving forces in mutual isolation and bringing the conflict beyond the limits of the work into life, raising the question of the possible outcome of the conflict before the reader himself (problem denouement)” 9 .

What is the author's attitude to the various sides of the conflict and the nature of its resolution? How does the conflict determine the aesthetic content of the work, its pathos (tragic, comic, heroic, satirical, idyllic)?

Important: when working with this paragraph of the analysis of a work of art, pay special attention to generic text(the term "Conflict" certainly applies to the epic and dramatic genres of literature, while lyrical works can in some cases be characterized by a weakened or even absent conflict), as well as its relation to the cultural and historical era, aesthetic system(works united on these grounds have a certain similarity of conflicts, ways of resolving them, and author's intentions in this regard).

Plot works:

The source of the plot of a work of art (traditional / based on autobiographical or other events / individual author's fiction); plot type (concentric / chronicle / multi-line). The plot as the main area for the realization of characters characters works: plot And plot works, their correlation, structural parts of the plot (outset, climax, denouement) and plot (prologue, framing the plot, ups and downs, epilogue); internal division of the plot as a reflection of the dynamics of life circumstances / the inner life of the hero. The plot as the main form of expression conflict; intra-plot (local and transient, resolvable) conflicts and stable (unresolvable) conflict states 10 .

Important: when working with this point of analysis, pay special attention to the generic affiliation of the work: in lyrics the role of the plot can be weakened.

Temporal and spatial organization of the text:

Important: this item does not imply analysis of the nature of the depicted era (its main components, its influence on human life, social groups, etc.), as well as the semantic load of the details of the subject environment (as the beginning that characterizes the characters, the era, etc.). It is dedicated to the analysis tricks, allowing the author to construct the artistic world of the work as more or less lifelike, accessible to the reader,– i.e. with temporal and spatial characteristics.

Artistic space of the work: the number of spatial spheres, the exponent of each of them (from whose point of view is this or that spatial sphere depicted?), in the case of the coexistence of several spatial spheres within one work - the type of their interaction (are they isolated / not isolated from each other, which of the characters and how does he make contact between them?) and the nature of their relationship in the work (rapprochement, opposition, etc.). Elements that create an image of space (or several spaces), the nature of the connection of elements among themselves (mosaic / holistic picture of the world; open / closed space; expanding / narrowing in relation to the character), degree of lifelikeness / conventionality of the artistic space;

Artistic time of the work: "calendar" time of the text; its one-dimensionality / multidimensionality;

(one-dimensionality of time is a phenomenon in which the time of depicted events and the time of telling about them, their perceptions are equal or close to each other, it takes place, for example, in some lyric poems, structural parts of dramatic works; a more common case is multidimensional artistic time: period , which is described in the work, is not equal to the time of storytelling, perception).

In the case of the multidimensionality of artistic time: variants, methods of temporary displacements ( display time reduction: informative “omissions”, highlighting central events to close-ups to the detriment of creating a complete picture, etc.; display time stretch: description of simultaneous events, comparison of events, increase in artistic imagery when depicting events); linear (sequential) / non-linear nature of the depiction of events, the division of a literary text into periods and the nature of the relationship between them (causal, linear, associative), the speed of the passage of time in each of the periods.

The figurative structure of the work:

Character system of the work: central characters and characters of the second plan; individual characters and collective characters. Characters in the artistic world of the work (the semantic load of the images of literary heroes, their point of view on reality, themselves and other characters; varieties artistic functions literary characters: characters-twins, characters-antagonists, heroes-reasoners, anti-heroes, characters-carriers of aspects of the author's attitude, etc.). Characters literary work as self-valuable images: their inner world and value orientation, ways of its expression: forms of behavior, speech, portrait characteristic; psychologism of the image of characters.

Images of reality outside of man: nature, everyday life, historical, political, social, cultural reality, etc.: artistic details, as well as central and secondary characters (their statements, actions, characters) that determine the specifics of these images. Objective-dispassionate or subjective-emotional, consistent or selective nature of the image of these areas. The episodic or constant nature of the presence of images of reality outside of a person in a work. Artistic load of images in the work. Self-valuable nature of the images in the work: questions, reflections and experiences of the author in their connection.

Compound individual images of a work of art into images fate, world, life(education art model world), character artistic concept works:

What are the principles that form being?

What is its appearance? (is being chaotic or orderly? accessible or inaccessible to objective reconstruction? does it have or does not have meaning, purpose? has an aesthetic or anti-aesthetic appearance?)

What place among them does the human world occupy?

What is the relationship between man and the universe? (is a person rooted in being or is he torn away from it? Are the laws of existence, the realization of being, clear to a person, or are they incomprehensible to him? What is the nature of a person’s stay in the world: active-transforming / contemplative / devastated-passive; )

Narrative structure - as the number and nature of the organization of narrative "points of view" in the depiction of events and objectivity.

By "points of view" we mean the bearer/carriers of artistic consciousness and speech, whose monologues form the text of the work. Such carriers of consciousness can be narrator(acts as one of the characters artistic world: eyewitness, participant in events, bearer of memories), narrator-commentator(acts as a beginning, external to the artistic world, as a rule, takes the position of "omniscience", offers the reader his own interpretation of events), as well as literary characters.

Important: when working with this item, pay special attention to the generic affiliation of the work. The epic and dramatic kind of literature suggest a distance between the consciousness of the author of the work and the "points of view" of the narrator, the narrator, the voices of the characters; while the lyric and related forms of literature, such as lyrical prose, are based on a greater convergence of these principles.

Features of the organization of each of the narrative "points of view": the type of narration (from the first person / from the third person), the nature of the vision and reproduction of the world by the carrier of each of the points of view: reliable / unreliable, detailed-specific / generalized-speculative; limited by space-time limits / free from these restrictions; external in relation to the narrator, character / close to his inner world, personally significant for him.

The nature of the intended addressee of the text: what aspects of the reader's personality does the text address? For a person of what mental warehouse is it designed? Are there any methods of establishing direct contact with the reader in the text of the work, what are they?

Philological structure of the text - linguistic elements that form each of the narrative "points of view":

Lexical organization of the text: What is the ratio of neutral and emotional words in the text? Are the words of limited use of lexical groups used in the text (historicisms, archaisms, dialect vocabulary, slang vocabulary, colloquial vocabulary, words marked by belonging to a certain functional style)? Does the text follow the rules of lexical combinability of words?

Phonetic organization of the test: Presence / absence of alliterations and assonances, repetitions and echoes of sound sequences.

Grammatical organization of the text: Words of what parts of speech prevail and why? In what forms are the words of the prevailing parts of speech? What is the predominant use of tense forms of verbs? What is the relationship of participles and gerunds with them? What is the role of adjectives and adverbs in concretizing the subject of speech, its action, state named by nouns and verbs?

Syntactic organization of the text: What is the ratio of complex and simple sentences in the text? Are they of the same type / different type in structure? What types of sentences (by the purpose of the statement, by emotional coloring) are used in the text? Presence / absence of unions and their role in the text? Are there any repetitions or omissions of words, sentences?

Use of tropes, rhetorical figures, stylistic figures.

Use the method of stylistic experiment to determine the specifics of the style of narrative "points of view": artificially replace, suggest your own version of the word / phrase / speech figure / grammatical construction, etc. to prove the expediency of selection by the author language tools, to determine their semantic load in the embodiment of artistic design.

The system of verbal images of the work - as a set of aesthetic units that form each of the narrative "points of view".

This paragraph involves the identification of key images for the work and the analysis of their existence in the work: the connection of each image with other elements of the text, the “deployment” (“increment”) of the meaning of each of the images and their mutual correlation.

The origin of images - through which artistic device images arise: artistic transfer of names (paths) / special emotional, semantic load artistic detail, the author's attitude to her special status in the work.

The nature of the images - how they are motivated in the text: the depicted reality / literary tradition / consciousness of the bearer of the narrative “point of view”.

Do verbal images correlate with the plot of the work (precede it / perform a prospective function 12 , i.e. refer to the omitted links of the narrative)?

What is the correlation of verbal images with the depicted world, which of its aspects do they reveal: the visually perceived side / the inner essence of its phenomena, events / the susceptibility of all components of the world to subjective perception?

The verbal images of the text have a single character, or they are correlated with each other; How is their correlation manifested (significant repetitions of images)?

Composition of the work - "as the mutual correlation and arrangement of the units of the depicted and artistic and speech means of the work" 13 .

External composition of the work- dividing it into structural parts: the main text (which includes - depending on the type of literature - chapters, paragraphs, stanzas, acts, actions, phenomena, etc.) and the frame of the work (the total designation of the components surrounding the main text: name / pseudonym of the author, title and subtitle, epigraphs, dedications, preface, afterword, notes, table of contents, date and place of creation of the work). The semantic load and the interconnectedness of the elements of the external composition of the work or their significant absence.

The internal composition of the work- organization of the text as a string of techniques that guide the perception of a literary work and reveal the specifics of the author's intention. Artistic load of the main compositional techniques:

Repetitions (at different language levels: phonetic, semantic, syntactic, compositional, etc.), comparisons and contrasts in the structure of the work.

Motives (as repeating literally or approximately “details, figurative turns, intonations that arise as a way of characterizing a character, position, experience” 14).

"Distribution and correlation of detailed images and generalized (summarizing) descriptions" 15 (subjectivity, external circumstances and events of a person's internal life) in the structure of the work.

Narrative structure: the order of "points of view" in the depiction of events and objectivity.

The number, sequence and correlation with each other and with the plot of the work of extra-plot elements (inserted short stories, lyrical digressions, etc.).

The leading principle of connecting significant parts of the text: causal (dictated by the logic of the depicted circumstances) / montage.

Ways of expression author's position in the work: key (repeating) units of the text, combining them into motives, dominants (thematic, emotional) of the text, the nature of the title of the text, the semantics of proper names in the work, remarks in dramatic works, verbal motives and features of lyrical intonation in poetic works.

Intertextual connections of the work (references to various kinds of literary sources stated in the analyzed text).

Elements of a literary text that establish intertextual connections:

Title referring to another work /

Epigraphs /

Marked and unmarked quotations included in the text, reminiscences(as mentioned works of literature, their authors, characters, motives, etc. outside of direct quotation) and allusions(as mentions of non-literary, most often historical, socio-political facts without direct quotation) as a kind of literary intertextuality /

so-called. "point quotes" - the names of literary heroes or mythological characters included in the text /

Plot or stylistic parody of someone else's text /

Retelling of someone else's text included in the work in question /

The genre of the work - in the event that it refers to the facts of previous literature.

Type of literary citation: conscious reference to a literary source / unconscious reproduction of a literary template / random coincidence 16 .

Character of a literary citation: self-sufficient-playful / dialogical (in this case, the author purposefully creates a kind of "roll call" between his own and someone else's text, emphasizing certain emotional and semantic aspects of each of them).

Artistic results of the work: a work as an embodiment of aesthetic values, a work as an embodiment of the author's ideas about the world and a person in it, a work as an embodiment of the author's emotional attitude to the world and a person in it.

TOPICS OF LECTURES, BASIC CONCEPTS OF THE COURSE

Prose Analysis Plan

1. History of creation.
2. Storylines: highlight, number and name for each line:
   • DL (actors);
   • events.
3. Plot scheme (not all elements must be present):
   • exposition - the conditions and circumstances that led to the conflict;
   • plot - the beginning or manifestation and aggravation of the conflict;
   • action development - event series, actions that lead to a climax;
   • climax - highest point conflict, what will happen next is unknown;
   • interchange;
   • epilogue - events after the conflict.
4. Composition:
   • the sequence and interconnectedness of all parts of the work (sections, episodes, scenes, introductory episodes, lyrical digressions, pictures, images), unfolding of actions and grouping and placement of characters;
   • ways of arranging the artistic world: portrait, landscape, interior, lyrical digression;
   • ways of depiction: story, narration, description, monologue, internal monologue, dialogue, polylogue, replica, remark, "stream of consciousness";
   • point of view of the subjects of a work of art: author, narrator, narrator, characters;
   • adheres to the author or not causal relationship.
5. DL images(main): characters, relationships between characters, typicality (uniqueness) of characters.
6. Style: the specificity of the writing of each individual writer: worldview, life experience, character, common culture cause:
   • choice of topic and its disclosure;
   • development of favorite genre forms;
   • language;
   • use of artistic means ().
7. sentimentalism, romanticism, realism (critical, magical (for example, G. G. Marquez "One Hundred Years of Solitude", F. Kafka "The Metamorphosis"), socialist, neorealism), naturalism, symbolism, aestheticism, neo-romanticism, impressionism (a trend in the work of authors belonging to different literary trends- Guy de Maupassant, O. Wilde, K. Hamsun), avant-gardism, modernism, postmodernism, existentialism, "theater of the absurd", "stream of consciousness school" (J. Joyce, M. Proust, T. Mann, W. Faulkner and others ).
8. Genre features : epic in general is an alternation of plot events.
   • story(opovidannya) - small epic form: in the center - 1 event, DL are grouped around it, the characters of DL are in the formed form, there are few descriptions and they are concise, not big size works (usually several pages);
   • short story- small epic form: in the center - 1 unusual event, unexpected ending, conciseness. Kinds:
     1. short story of events - O "Henry, J. London, I. Babel, J. Collier;
     2. short story "mood" with a psychological plot - A. Chekhov, Maupassant, Akutagawa Ryunosuke;
   • story- medium epic form: 1 storyline, the life story of 1 person in collisions with the fate of other people, covers a relatively short period of time from the life of heroes;
   • novel- large epic form: several storylines, large size, many actors, the history of the formation of the characters of many characters is revealed, life events are widely covered. The novel is the most widespread epic in the 20th century. genre variety, conditionally distinguish:
     1. social and domestic- man and the social environment, socially conditioned forms of being;
     2. moral and psychological- collisions inner peace man and the outer world;
     3. historical- about the events of the past;
     4. philosophical- disclosure of the main problems of human existence, the creation of a holistic picture of the world;
     5. novel-myth- creation of a symbolic model of the existence of man and humanity ("One Hundred Years of Solitude" by Marquez);
     6. a dystopian novel (G. Wells), a parable novel (The Plague by A. Camus), a chronicle novel of one family (The Thibault Family by R.M. du Gard), an anecdote novel (The Life and Extraordinary Adventures of Soldier Ivan Chonkina" V. Voinovich), etc.
   • epic- large action space, a large number of characters, often covers all segments of the population, a significant amount, a moment in history is chosen that is important for the fate of the people / state (mandatory!).

Keep in mind that this plan is exemplary. During the analysis, it is not necessary to dwell on each of its points, you are free to deviate from the requirements of the plan, choose for analysis only the most significant funds expressiveness or elements of a literary text, without focusing on secondary ones.

Prose Analysis Plan

1. History of creation.
2. Storylines: highlight, number and name for each line:
   • DL (actors);
   • events.
3. Plot scheme(not all elements must be present):
   • exposition - the conditions and circumstances that led to the conflict;
   • plot - the beginning or manifestation and aggravation of the conflict;
   • development of action - a series of events, actions that lead to a climax;
   • the climax is the highest point of the conflict, what will happen next is unknown;
   • interchange;
   • epilogue - events after the conflict.
4. Composition:
   • the sequence and interconnectedness of all parts of the work (sections, episodes, scenes, introductory episodes, lyrical digressions, pictures, images), unfolding of actions and grouping and placement of characters;
   • ways of arranging the artistic world: portrait, landscape, interior, lyrical digression;
   • ways of depiction: story, narration, description, monologue, internal monologue, dialogue, polylogue, replica, remark, "stream of consciousness";
   • point of view of the subjects of a work of art: author, narrator, narrator, characters;
   • adheres to the author or not causal relationship.
5. DL images(main): characters, relationships between characters, typicality (uniqueness) of characters.
6. Style: the specificity of the writing of each individual writer: worldview, life experience, character, general culture determine:
   • choice of topic and its disclosure;
   • development of favorite genre forms;
   • language;
   • use of artistic means ().
7. Literary direction: sentimentalism, romanticism, realism (critical, magical (for example, G. G. Marquez "One Hundred Years of Solitude", F. Kafka "The Metamorphosis"), socialist, neorealism), naturalism, symbolism, aestheticism, neo-romanticism, impressionism (a trend in creativity authors belonging to different literary movements - Guy de Maupassant, O. Wilde, K. Hamsun), avant-garde, modernism, postmodernism, existentialism, "theater of the absurd", "school of the stream of consciousness" (J. Joyce, M. Proust, T. Mann, W. Faulkner and others).
8. Genre features: epic in general is an alternation of plot events.
   • story(opovidannya) - a small epic form: in the center - 1 event, DL are grouped around it, the characters of the DL are in a formed form, there are few descriptions and they are concise, the work is small in size (as a rule, several pages);
   • short story- small epic form: in the center - 1 unusual event, unexpected ending, conciseness. Kinds:
     1. short story of events - O "Henry, J. London, I. Babel, J. Collier;
     2. short story "mood" with a psychological plot - A. Chekhov, Maupassant, Akutagawa Ryunosuke;
   • story- medium epic form: 1 storyline, the life story of 1 person in collisions with the fate of other people, covers a relatively short period of time from the life of heroes;
   • novel- large epic form: several storylines, large size, many characters, the history of the formation of the characters of many characters is revealed, life events are widely covered. The novel is the most common epic genre variety in the 20th century, conventionally distinguished:
     1. social and domestic- man and the social environment, socially conditioned forms of being;
     2. moral and psychological- clashes of the inner world of man and the outer world;
     3. historical- about the events of the past;
     4. philosophical- disclosure of the main problems of human existence, the creation of a holistic picture of the world;
     5. novel-myth- creation of a symbolic model of the existence of man and humanity ("One Hundred Years of Solitude" by Marquez);
     6. a dystopian novel (G. Wells), a parable novel (The Plague by A. Camus), a chronicle novel of one family (The Thibault Family by R.M. du Gard), an anecdote novel (The Life and Extraordinary Adventures of Soldier Ivan Chonkina" V. Voinovich), etc.
   • epic- a large space of action, a large number of characters, often covers all segments of the population, a significant volume, a moment in history is chosen that is important for the fate of the people / state (mandatory!).

Please note that this plan is indicative only. During the analysis, it is not necessary to dwell on each of its points, you are free to deviate from the requirements of the plan, choose for analysis only the most significant means of expression or elements of a literary text, without focusing on secondary ones.

1. The history of the creation of the work.
2. The genre of the work.
3. Subject and idea of ​​the work. (It is important to understand that there can be many topics in a work, but the main one is only one, the main one).
4. Problems of the work. As a rule, in Russian literature, the problems raised by the author are eternal, inherent in many works.
For example:

1. The problem of finding a positive hero.
2. The problem of the meaning of life/happiness.
3. The problem of feeling and duty, the problem of love.
4. The problem of fathers and children.
5. The problem of good and evil.
6. What is true beauty?
7. Ecological problems.
8. Problems of historical memory.

5. Figurative system. Here you need in the most detailed way to understand why this or that character is needed, to understand its function and role.
6. Conflict (what kind, how many conflicts, how they are shown in the work).
7. Artistic features.

1. Composition (form, construction of the work): exposition, plot, climax, denouement.
2. Artistic techniques.
   • Portrait.
   • Scenery.
   • Interior.
   • Psychologism: the image of the actions of the characters, their experiences (confession, monologue, dialogue, author's speech, comments, opinions of other characters).
   • The role of artistic details for the characterization of the hero.
   • receiving antithesis.
   • Humor, satire, irony, grotesque, fantasy.

8. Controversy around the work or the point of view of critics and contemporaries.

You can use a bright and memorable quote to start (or end) the work.

Naturally, not all the aspects mentioned above can be covered in the analysis, but only those that most fully and accurately reveal the specifics of the work.

Analysis plan for a prose work - option 2

1. Theme of the work (what is it about?), problems (for what? why?)
2. Genre of the work (story, short story, novel).
3. Plot and plot composition (arrangement of plot deployment)
4. Image system
5. Artistic details
6. Chronotope (organization of time and space)
7. Paths and figures
8. Verbal instrumentation of the text, rhythm, intonation.
9. The ideological orientation of the work, its pathos.

The first three components are, as a rule, dominant, absorbing all the others. All components of the analysis converge at one point, exist as units in order to eventually reach the author's idea in the work. The author's idea is the purpose of the analysis. There is no universal plan of analysis. Each work is original, requires an individual approach, but it is possible to conditionally distinguish the stages of analysis of works:

1. The role of the end and beginning of the work. The significance of the first sentence (What does it set you up for? What emotional atmosphere does it create? With the help of what details does the emotional atmosphere of the work create? How does the beginning of the work prepare for the perception of the work?).
2. Identification of episodes and events that make up the plot, their analysis. Understanding the importance of each episode and event.
3. Identification of the logic of the sequence of episodes (How is the author's thought revealed through this sequence?).
4. Image system.

Hero: first appearance literary hero; what we expect from him author's attitude; portrait details; speech characteristic(what and how he says); manifestations of the hero in actions, actions, motives of actions; relationships with other people; the inner world of the hero (feelings, thoughts, fantasies); life orientations, values ​​of the hero.

Landscape (not only natural, but also urban): a color and light palette that creates a certain atmosphere of the world where something will happen; the sound of the depicted world; movements of the depicted world; connection with the characters; the role of the landscape in the narrative (as the author's thought, the author himself is visible in the landscape).

Interior (description of the situation): through artistic details to comprehend the characters of the characters; the atmosphere of human life in this world (whether the hero is happy or not).

Object-Subject Relations(if there is a narrator): features of the narrator's vision of the world (Why did the author need this? How similar is the narrator with the author? What is the distance between them?).

At the Literature Olympiad (regional stage) there will be 2 options for tasks. Option 1 - a comprehensive analysis of the prose text, Option 2 - a comparative analysis of poems

Analysis of a lyric poem

The method of analysis is dictated by the ideological and artistic features of the work, takes into account the intuitive-irrational, poetic comprehension and theoretical-logical principle. Exist general principles scientific analysis poetic works based on the typological properties of genres, types of lyrical compositions, etc. Analysis should not be random, fragmentary, should not be reduced to a simple transfer of impressions or retelling.

The analysis of a lyrical poem reveals the correspondence between the distribution of grammatical categories and metric, strophic correlations, and the semantics of the text. Below is an approximate scheme of a holistic (multi-aspect) analysis of a lyrical poem in the unity of its formal and content aspects (in accordance with poetic world and the artistic system of the author).

Parsing scheme

Extratext links

creative history works (date of writing, textual criticism); the place of the poem in the creative evolution of the poet; historical-literary, everyday context; real-biographical commentary, history of critical evaluations.

Idea content.

Thematic structure. Motivation. Keynotes.

Type of lyrical poem (meditative, meditative-pictorial, pictorial lyrics).

The specificity of the genre form (elegy, ballad, sonnet, message, etc.).

Pathos.

The semantics of the title, its connection with the main poetic idea.

The construction (structure) of the verse

Architectonics.

Composition. Repetitions, contrasts, oppositions. Composition types. Ending. Comparison and development of the main verbal images (by similarity, by contrast, by association, by inference).

Morphological aspect of the poetic model. Distribution of grammatical categories, parts of speech.

Lyric hero. Speech subject and addressee of lyrics.

Forms of speech communication (dialogue, monologue).

Poetic vocabulary.

Rhythm and metrics.

Fonika. Sound (phonological) structure (alliteration, assonance, sound repetition, paronymic attraction and other types of sound instrumentation). Euphonia (euphony).

In the scheme for parsing a lyrical poem proposed below, the sequence of points is not strictly observed, the main requirement is to take into account (if possible) all of these components.

An important aspect in the study of a literary work is the definition of methods of analysis and methods of its interpretation. Modern philological studies creatively use and complement each other the methodologies of various scientific systems, each of which is significant in its own way in the history of critical thought.

Samples 1) holistic (systemic); 2) formal; 3) structural-semiotic and 4) linguistic and poetic analysis of poems, see the following literature:

1) Muryanov M.F. Questions of interpretation of anthological lyrics (Pushkin's poem "The fire of desire burns in the blood") // Analysis of a literary work. L., 1976. S.173-212; Analysis of one poem. L., 1985; Girshman M.M. Rhythmic composition and stylistic originality of poetic works // Girshman M.M. Literary work: Theory artistic integrity. M., 2002, S.215-247; Broitman S.N. Secret poetics of A.S. Pushkin. Tver. 2002. P.13-43 (see: A. Pushkin “On the hills of Georgia lies the darkness of the night”, “For the shores of the distant homeland”, “What is in my name for you?”).

2) Jacobson R. Pushkin's poems about the virgin statue, the bacchante and the humble; About “poems composed at night during insomnia”, Texture of one quatrain by Pushkin // Yakobson R. Works on poetics. M., 1987. S. 181-197; S.198-205; pp.210-212.

3) Lotman Yu. M. Analysis poetic text. L., 1972. S.133-270; Ivanov Vyach. Sun. The structure of Khlebnikov's poem "They carry me on elephants" // Russian literature. From the theory of literature to the structure of the text: Anthology. M., 1997. S.245-257; Levin Yu.I. O. Mandelstam. Analysis of six poems; B. Pasternak. Analysis of three poems; A.S. Pushkin. "To the portrait of Zhukovsky"; G. Ivanov "It's good that there is no tsar ..." // Levin Yu.I. Selected works. Poetics. Semiotics. M., 1998. S.9-51; pp.156-174; pp. 267-270; pp. 271-275; Taranovsky K. Essays on the poetry of O. Mandelstam // Taranovsky K. On poetry and poetics. M., 2000; Lotman M. On the death of Zhukov // How Brodsky's poem works. Sat. Art. M., 2002. S. 64 -76.

4) Fateeva N.A. “When streams sing romances almost with human words” // Language as creativity. M., 1996. S. 170-189; Shestakova L.L. language tricks formation of the text in the poetry of E. Baratynsky (on the material of "Reassurance" // Language as creativity. M., 1996. P. 118-125; Shestakova L. L. Osip Mandelstam. "Sisters heaviness and tenderness, your signs are the same" // Russian Language at School, 2000, No. 2, pp. 69-75.

2. Analysis of the prose text

The scheme of complex philological analysis of the text (prosaic, first of all) includes the following stages: a generalizing characteristic of the ideological and aesthetic content, the definition of the genre of the work, the characteristics of the architectonics of the text, the consideration of the structure of the narrative, the analysis of the spatio-temporal organization of the work, the system of images and poetic language, the identification of elements of intertext .

Parsing scheme

Introduction. Creative history (textology), the history of critical evaluations, the place of a work (story, essay, story, short story) in the creative evolution or artistic system of the writer, in the history of the literary process.

Problem-thematic aspect.

Text analysis.

Semantics (symbols) of the name. The breadth of the semantic area through the prism of the title.

Architectonics.

Spatio-temporal organization of the artistic world: the image of time and space ("chronotope", spatio-temporal continuum, relations between the character and the place of action). Spatial and temporal oppositions (up / down, far / close, day / night, etc.).

Composition. Compositional techniques (repetition, editing, etc.). Reference "points" of the composition.

Plot. metadescriptive snippets.

Rhythm, tempo, tone, intonation of the story.

Functional-semantic types of speech (description, narration, reasoning).

Stylistic originality. Visual media system.

Image system. Heroes speech.

Portrait.

Artistic detail (external, psychological, symbolic detail). Functional detail. Detail.

Scenery. Interior. World of things. Zoologisms.

The role of subtext and intertextual connections.

Analysis of a literary work. L., 1976.

Girshman M.M. Rhythmic composition and stylistic originality of prose works (“After the Ball”, “The Death of Ivan Ilyich” by L.N. Tolstoy; “The Meek” by F.M. Dostoevsky; “Student” by A.P. Chekhov) and others // Girshman M. M. Literary work: Theory of artistic integrity. M., 2002, S.314-407.

Esaulov I. A. The spectrum of adequacy in the interpretation of a literary work (“Mirgorod” by N. V. Gogol). M., 1995.

Nikolina N.A. Philological analysis of the text. M., 2003 (aspect analysis of the text - “Other Shores” by V. Nabokov: genre originality of the text; “Bezhin Meadow” by I.S. Turgenev: figurative structure of the text; I.A. Bunin’s story “Cold Autumn”: conceptualization of time; “ The Sun of the Dead" by I. S. Shmeleva: key words in the structure of the text; Intertextual connections of T. Tolstoy's story "Do you love - do not love"; complex analysis of the prose text - I. A. Bunin's story "The Gentleman from San Francisco").

Shcheglov Yu.K. Poetics of Chekhov ("Anna on the neck") // Zholkovsky A.K., Shcheglov Yu.K. Works on the poetics of expressiveness: Invariants - Theme - Techniques - Text. M., 1996. S. 157-189.

Yablokov E.A. Text and subtext in the stories of M. Bulgakov ("Notes of a young doctor"). Tver, 2002.

Benchmarking poems by M. Yu. Lermontov "The Cross on the Rock" and A. S. Pushkin "The Monastery on Kazbek"

Cross on the rock

(M-lle Souchkoff)

In the gorge of the Caucasus I know a rock,

Only the steppe eagle can fly there,

But the wooden cross turns black over her,

It rots and bends from storms and rains.

And many years have passed without a trace

Since it is visible from the distant hills.

And each hand is raised up,

As if he wants to grab the clouds.

Oh, if only I could get there,

How I would pray and cry then;

And then I would throw off the chain of being

And with a storm I would call myself a brother!

MONASTERY ON KAZBEK

High above the seven mountains

Kazbek, your royal tent

Shines with eternal rays.

Your monastery behind the clouds

Like an ark flying in the sky,

Soaring, barely visible, over the mountains.

A distant, longed-for shore!

There b, saying, forgive the gorge,

Rise to the free height!

There b, in the sky-high cell,

In the neighborhood of God hide me! ..

It would be tempting to assume that M.Yu. Lermontov was familiar with the text of the poem "Monastery on Kazbek" (1829). Then it would be possible to write about the polemical response of a daring teenager to a great contemporary. But, most likely, a number of coincidences on different levels, which we will fix in a comparative analysis, are due to the specifics of the romantic method by which both works were written.

The commonality is noticed already at the first glance at the titles of the poems. The opening lines of the texts immediately set the general theme and flavor. (Caucasus). It is clear that both authors have lyrical heroes at the foot (rocks, mountains), and their views and thoughts are directed upwards. Thus, by the very location of the characters, the romantic antithesis of "here" and "there" is set. A. S. Pushkin's poem was created at a time when the poet himself regularly declared his departure from the romantic method. For example, in one of his private letters, he comments in detail on the progress of the creation of " winter morning”, published in the same 1829, explains why all the editing went from the “Cherkasy horse” to the “brown filly”, that is, to the more “prosaic” figurative system, vocabulary, syntax, and so on.

Luckily, gone are the days when we tried to straighten creative way any author and were looking for evidence that all the great poets moved "from romanticism to realism." This implied that realistic method is, of course, better.

The Caucasus in almost all Russian lyricists and in any of them " creative period"awakened and awakens a romantic attitude.

The lyrical hero of Pushkin, standing at the foot of a high mountain, looks at the top of Kazbek and thinks about eternity, about God, about freedom...

In M. Yu. Lermontov's poem "The Cross on the Rock" (1830), the lyrical hero is also shocked by the Caucasian landscape, but his thoughts and feelings are completely different. The named work of M. Yu. Lermontov, like many other poems of 1830, is dedicated to E. A. Sushkova, (later Countess Rostopchina.) It should be noted that this woman was a poetess, so Lermontov turned to her not only poems on love theme, but he hoped that his girlfriend would share, understand the thoughts and moods that his lyrical hero experienced.

Images of rocks, cliffs, mountains run through all of Lermontov's work; this author has repeatedly declared his love for the mountains of the Caucasus. But love for nature, like love for a woman, young poet gloomy and poignant.

The lyrical hero of the "early" Lermontov calls his "familiar" and favorite place in the Caucasus a rock, on top of which there is someone's nameless grave with a simple wooden cross on it. The cross turned black and almost rotted from the rains, but 6 out of 12 lines of text are given to the description of this gloomy detail of the landscape.

This poem is very simple in “form”: it is written in four-foot amphibrach with a caesura, it consists of three quatrains with adjacent rhymes, and the rhymes are precise and banal. The work is divided into two parts: two quatrains are a description of a cross on a rock, the last four verses are an emotional response.

In the first lines, an eagle, beloved by romantics, appears, which - fortunately for him - can fly so high that he rests on the top of a rock. The lyrical hero is languishing because he cannot climb the rock, and the personified cross, resembling a man from below, stretches even higher, as if "he wants to grab the clouds." Thus, one direction of movement passes through the whole poem: from below - upwards. There are two contrasting color spots in the work: a black cross and white, unattainable clouds.

The last quatrain is one exclamatory sentence, almost entirely composed of romantic cliches and beginning, of course, with "Oh!".

The hero rushes “there”, “above”, there he will begin to “pray and cry”, because, probably, from here, from below, God does not hear his lamentations. The young romantic wants to "throw off the chain of being", get rid of the shackles and fraternize with the storm (it is worth remembering Mtsyri).

The last quatrain is written in the subjunctive mood and the repeated “would”, together with the words “threw”, “being”, “with a storm”, “brother” give a sonorous alliteration.

In general, this poem seems to me weaker than "Sail" or "The Beggar", created around the same time. The paradox is that, although the analyzed text is imitative, at the same time it is very characteristic of the early Lermontov's worldview and his style, which, according to E. Maimin, was "the standard of romanticism."

Pushkin's poem creates a completely different mood in the reader. Yes, the lyrical hero also dreams of getting “there”, to the top of the mountain, where the old Georgian church is located. But he aspires just not to storms, but to peace. The top of Kazbek "shines with eternal rays", and light clouds are needed only so that not everyone can see the reserved place. The sky, like the sea, for Pushkin is a free element, so it is so natural to compare a barely visible church with a “floating ark”, in which only the elect must be saved.

Pushkin's work is also divided into two parts, corresponding to two stanzas, but the second stanza consists of five lines, which, obviously, by the rhyming system itself, puts one of the lines in a "strong position". Here is the exclamation: “Distant, longed-for shore!” The image of the desired and unattainable shore (and even more solemnly - the archaic, eternal "shore") is also quite logical after the description of the ship-symbol. The lyrical hero of Pushkin is not looking for storms, for him happiness is "peace and freedom." He aspires to the “transcendental cell”, and it is in solitude that he hopes to find freedom, for it is inside the soul, and not bestowed from outside.

It is no coincidence that the lyrical hero dreams of the "neighborhood of God." He does not ask the Almighty for anything, he himself is almost equal to him.

The entire poem is written in traditional iambic tetrameter, with big amount pyrrhic, facilitating the verse. In the first stanza, the adjacent rhyme unobtrusively divides the sextine into couplets. But the very first line of the five-line rhyme is associated with the first part, and the remaining four verses are rhymed "cross". All this, as we have already noted, highlights the key line - the impulse of the spirit to the distant, radiant, divine "shore".

In the second stanza, Pushkin, like Lermontov, concentrates a maximum of emotions. The quintet of Pushkin's text consists of three exclamatory sentences, two of which begin romantic impulse: “There b ...!” This desire from the gorge to the top is recognized by the lyrical hero as a natural impulse of the spirit. The unattainability of this dream is also natural. Pushkin's poem is bright and wise, without youthful anguish and pain.

Thus, the comparison of the two "Caucasian" works of Pushkin and Lermontov once again emphasizes the difference in both the attitudes and the idiostyles of these Russian classics.

"MONUMENT" OF G. R. DERZHAVIN AND "MONUMENT" OF V. YA. BRYUSOV

(methodological aspect of comparative analysis)

Theme of the monument, methodological aspect, comparative analysis, poetics, figurative system

The theme of the monument takes great place in the work of Russian poets, so this topic is given considerable attention in school programs. Comparative analysis of poems by G.R. Derzhavin and V. Ya. Bryusov will help students understand the originality of the solution to the theme of the monument in the work of the poet of the 18th and 20th centuries, to reveal the individuality of style, the worldview of artists.

These two poems are based on one theme, one source - Horace's ode "Monument". The poems of G. R. Derzhavin and V. Ya. Bryusov can hardly be called translations of Horace's ode in the exact sense - it is rather a free imitation or alteration of the latter, which allows literary critics to consider these works as independent and original.

Derzhavin's poem "Monument" was first published in 1795 under the title "To the Muse. Imitation of Horace". "Monument" Bryusov was written in 1912. The teacher asks the students to read the poems, compare them and answer the questions:

What exactly did each poet recognize in his work as deserving of immortality?

Compare the figurative structure of poems, rhythmic organization, stanza, syntax. How does this affect the overall pathos of the poems?

What is the originality of the lyrical hero of poems?

Pay attention to geographic names. How do they define the space of the poems? Derzhavin sees his merits in the fact that:

That I was the first to dare in a funny Russian syllable

Proclaim the virtues of Felitsa,

In the simplicity of the heart to talk about God

And tell the truth to kings with a smile.

Students comment that the poet made the Russian syllable simple, sharp, cheerful. He "dared" to write not about greatness, not about exploits, but about the virtues of the empress, seeing in her ordinary person. The poet managed to keep human dignity, sincerity, truthfulness.

Bryusov speaks of his merits in the fourth stanza:

For many I thought, for all I knew the torments of passion,

But it will become clear to everyone that this song is about them,

And distant dreams in invincible power

Glorify proudly every verse.

According to the author, he managed to convey human thoughts and passions in the "singing" words of his creations.

The poems of Derzhavin and Bryusov converge not only thematically, but also in external features their constructions: both are written in four-line stanzas (Derzhavin has 5 stanzas, Bryusov has 6) with male and female rhymes, alternating in all stanzas according to the scheme: avav. The meter of both poems is iambic. Derzhavin's iambic is six-meter in all lines, Bryusov's is six-meter in the first three lines and four-meter in the fourth line of each stanza.

Students note the difference at the syntactic level. Bryusov's poem is complicated not only by exclamatory forms, but also by rhetorical questions, which gives the intonation some expressiveness and tension.

In Derzhavin's poem, the image of the lyrical hero connects all the stanzas, only in the last one does the image of the muse appear, to which the hero addresses with the thought of immortality. In Bryusov, already in the first stanza, the image of the lyrical hero is opposed to those who did not understand the poet, to the “crowd”: “My monument stands, from the stanzas of consonant complex. / Shout, run amok, you won’t dump it!”. This opposition gives rise to the tragic attitude of the lyrical hero.

It is interesting to compare the spatial plans of the poems. Derzhavin: "The rumor will spread about me from the White Waters to the Black Waters, / Where the Volga, Don, Neva, the Urals pour from the Riphean; ..". Bryusov writes that his pages will fly: "To the gardens of Ukraine, to the noise and bright dream of the capital / To the thresholds of India, to the banks of the Irtysh." In the fifth stanza, the geography of the verse is enriched with new countries:

And, in new sounds, the call will penetrate beyond

Sad homeland, and a German, and a Frenchman

Dutifully repeat my orphaned verse,

Gift of supportive muses.

Students come to the conclusion that the space of the symbolist poem is much wider: it is not only the expanses of Russia, but also European countries - Germany, France. The symbolist poet is characterized by exaggeration of the theme of the monument, the scale of influence of both his own poetry and poetry in general.

The next stage of the work can be associated with a comparison of the figurative and expressive means used by the classicist poet and the symbolist poet. Students write epithets, comparisons, metaphors in a notebook, summarize examples and draw conclusions. They note the dominance of Derzhavin's epithets: "wonderful monument, eternal", "fleeting whirlwind", "uncountable peoples", "just merit", etc., as well as the use of the inversion technique, which gives solemnity, distinctness, objectivity of the image. For Bryusov, metaphors play a significant role in the poem: "the decay of melodious words", "a gift of supportive muses", etc., which, as it were, emphasizes the scale of style, a tendency to generalize. In the poem of the classical poet, the image of the empress and the theme of power associated with her are natural. The symbolist is not interested in the images of statesmen, kings, generals. Bryusov shows the inconsistency of the real world. In his poem, the “poor man’s closet” and the “king’s palace” are contrasted, which introduces a tragic beginning into the work of the symbolist poet.

The teacher can draw students' attention to vocabulary, sound and color of poems. Finding common and differences, students come to the conclusion about the continuity of traditions in Russian literature and about the diversity and richness of styles, methods, trends.

The leading principle of Bryusov's poetry is thought. The vocabulary of his poems is sonorous, close to public speaking. The verse is concise, strong, "with developed muscles" / D. Maksimov /. Thought dominates in the poem of the classicist poet, whose style is characterized by rhetoric, solemnity, monumentality. And at the same time, in the work of each of them there is something of their own, unique.

This form of work contributes to an increase in the level of perception of the lyrics of Derzhavin and Bryusov, complex and subtle images of poetry, allows you to form and consolidate students' ideas about the theory and practice of classicism and symbolism.

1. Analysis of a work of art

1. Determine the theme and idea / main idea / of this work; the issues raised in it; the pathos with which the work is written;

2. Show the relationship between plot and composition;

3. Consider the subjective organization of the work /artistic image of a person, methods of creating a character, types of images-characters, a system of images-characters/;

5. Determine the features of the functioning of the visual and expressive means of the language in this work of literature;

6. Determine the features of the genre of the work and the style of the writer.

Note: according to this scheme, you can write an essay-review about the book you read, while also presenting in the work:

1. Emotional and evaluative attitude to what is read.

2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.

3. Detailed substantiation of the conclusions.

2. Analysis of a prose literary work

When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. At the same time, it is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case, it means

Literary trends of the era;

The place of this work among the works of other authors written during this period;

Creative history of the work;

Evaluation of the work in criticism;

The originality of the perception of this work by the contemporaries of the writer;

Evaluation of the work in the context of modern reading;

Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, the content plan is considered - what the author wanted to say and the expression plan - how he managed to do it).

Conceptual level of a work of art

(themes, problems, conflict and pathos)

Theme is what in question in the work, the main problem posed and considered by the author in the work, which unites the content into a single whole; these are those typical phenomena and events of real life that are reflected in the work. Does the theme resonate with the main issues of its time? Is the title related to the topic? Each phenomenon of life is a separate topic; a set of topics - the theme of the work.

The problem is that side of life that is of particular interest to the writer. The same problem can serve as the basis for setting different problems(the theme of serfdom is the problem of the serf's internal lack of freedom, the problem of mutual corruption, mutilation of both serfs and serf-owners, the problem of social injustice...). Issues - a list of issues raised in the work. (They may be complementary and subject to the main problem.)

Paphos is the emotional and evaluative attitude of the writer to the narrated, which is distinguished by a great strength of feelings (maybe affirming, denying, justifying, elevating ...).

The level of organization of the work as an artistic whole

Composition - the construction of a literary work; unites the parts of the work into one whole.

The main means of composition:

The plot is what happens in the work; system of major events and conflicts.

Conflict is a clash of characters and circumstances, views and principles of life, which is the basis of action. The conflict can occur between the individual and society, between characters. In the mind of the hero can be explicit and hidden. Plot elements reflect the stages of development of the conflict;

Prologue - a kind of introduction to the work, which tells about the events of the past, it emotionally sets the reader up for perception (rare);

The exposition is the introduction into action, the image of the conditions and circumstances that preceded the immediate start of the action (it can be expanded and not, whole and “broken”; it can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the situation, time and circumstances of the action;

The plot is the beginning of the plot movement; the event from which the conflict begins, subsequent events develop.

The development of action is a system of events that follow from the plot; in the course of the development of the action, as a rule, the conflict escalates, and the contradictions appear more and more clearly;

The climax is the moment highest voltage action, the pinnacle of the conflict, the climax presents the main problem of the work and the characters of the characters very clearly, after which the action weakens.

The denouement is a solution to the depicted conflict or an indication of possible ways to resolve it. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental insolubility.

Epilogue - the final part of the work, which indicates the direction of further development of events and the fate of the characters (sometimes an assessment is given to the depicted); This short story about what happened to the characters of the work after the end of the main plot action.

The plot may be:

In direct chronological sequence of events;

With digressions into the past - a retrospective - and "excursions" into

Future;

In a deliberately altered sequence (cf. artistic time in the work).

Non-plot elements are:

Insert episodes;

Their main function is to expand the scope of what is depicted, to enable the author to express his thoughts and feelings about various phenomena of life that are not directly related to the plot.

Artwork may be missing individual elements plot; sometimes it is difficult to separate these elements; sometimes there are several plots in one work - in other words, storylines. Exist various interpretations concepts of "plot" and "plot":

1) plot - main conflict works; plot - a series of events in which it is expressed;

2) plot - the artistic order of events; plot - the natural order of events

Compositional principles and elements:

The leading compositional principle (the composition is multifaceted, linear, circular, "thread with beads"; in the chronology of events or not...).

Additional composition tools:

Lyrical digressions - forms of disclosure and transmission of the writer's feelings and thoughts about the depicted (they express the author's attitude to the characters, to the depicted life, they can be reflections on any occasion or an explanation of their goal, position);

Introductory (plug-in) episodes (not directly related to the plot of the work);

Artistic previews - the image of scenes that, as it were, predict, anticipate further development events;

Artistic framing - scenes that begin and end an event or work, complementing it, giving additional meaning;

Compositional techniques - internal monologues, diary, etc.

The level of the internal form of the work

The subjective organization of the narration (its consideration includes the following): The narration can be personal: on behalf of the lyrical hero (confession), on behalf of the hero-narrator, and impersonal (on behalf of the narrator).

1) The artistic image of a person - typical phenomena of life that are reflected in this image are considered; individual traits inherent in the character; reveals the originality of the created image of a person:

External features - face, figure, costume;

The character of the character - it is revealed in actions, in relation to other people, manifested in a portrait, in descriptions of the feelings of the hero, in his speech. Depiction of the conditions in which the character lives and acts;

An image of nature that helps to better understand the thoughts and feelings of the character;

Image of the social environment, the society in which the character lives and acts;

The presence or absence of a prototype.

2) 0 basic techniques for creating an image-character:

Characterization of the hero through his actions and deeds (in the plot system);

Portrait, portrait characteristic of the hero (often expresses the author's attitude to the character);

Psychological analysis - a detailed, in detail recreation of feelings, thoughts, motives - the inner world of the character; here the depiction of the “dialectics of the soul” is of particular importance, i.e. movements of the hero's inner life;

Characterization of the hero by other characters;

Artistic detail - a description of objects and phenomena of the reality surrounding the character (details that reflect a broad generalization can act as symbolic details);

3) Types of images-characters:

Lyrical - in the event that the writer depicts only the feelings and thoughts of the hero, without mentioning the events of his life, the actions of the hero (found mainly in poetry);

Dramatic - in the event that the impression arises that the characters act "on their own", "without the help of the author", i.e. the author uses the technique of self-disclosure, self-characteristics (found mainly in dramatic works) to characterize the characters;

Epic - the author-narrator or narrator consistently describes the characters, their actions, characters, appearance, the environment in which they live, relationships with others (found in epic novels, stories, short stories, short stories, essays).

4) The system of images-characters;

Separate images can be combined into groups (grouping of images) - their interaction helps to more fully present and reveal each character, and through them - the theme and ideological meaning of the work.

All these groups are combined into a society depicted in the work (multifaceted or one planned from a social, ethnic, etc. point of view).

Artistic space and artistic time (chronotope): space and time depicted by the author.

Artistic space can be conditional and concrete; compressed and voluminous;

Artistic time can be correlated with historical or not, intermittent and continuous, in the chronology of events (epic time) or the chronology of the characters’ internal mental processes (lyrical time), long or instantaneous, finite or endless, closed (i.e. only within the plot , out of historical time) and open (against the background of a certain historical epoch).

The way of creating artistic images: narrative (image of events occurring in the work), description (consistent enumeration of individual features, traits, properties and phenomena), forms oral speech(dialogue, monologue).

The place and significance of the artistic detail (artistic detail that enhances the idea of ​​the whole).

External form level. Speech and rhythm-melodic organization of a literary text

The speech of the characters - expressive or not, acting as a means of typing; individual characteristics speech; reveals the character and helps to understand the attitude of the author.

Narrator's speech - assessment of events and their participants

The originality of the word of use of the national language (the activity of the inclusion of synonyms, antonyms, homonyms, archaisms, neologisms, dialectisms, barbarisms, professionalisms).

Techniques of figurativeness (tropes - the use of words in a figurative sense) are the simplest (epithet and comparison) and complex (metaphor, personification, allegory, litote, paraphrase).

Poem analysis plan

1. Elements of a commentary on a poem:

Time (place) of writing, history of creation;

Genre originality;

The place of this poem in the poet's work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);

Explanation of obscure places, complex metaphors and other transcripts.

2. Feelings expressed by the lyrical hero of the poem; the feelings that the poem evokes in the reader.

4. Interdependence of the content of the poem and its artistic form:

compositional solutions;

Features of self-expression of the lyrical hero and the nature of the narrative;

The sound range of the poem, the use of sound recording, assonance, alliteration;

Rhythm, stanza, graphics, their semantic role;

Motivation and accuracy of the use of expressive means.

4. Associations caused by this poem (literary, life, musical, pictorial - any).

5. The typicality and originality of this poem in the poet's work, deep moral or philosophical meaning works, opened as a result of the analysis; the degree of "eternity" of the issues raised or their interpretation. Riddles and secrets of the poem.

6. Additional (free) reflections.

Analysis of a poetic work

(scheme)

Starting the analysis of a poetic work, it is necessary to determine the direct content of the lyrical work - experience, feeling;

Determine the "belonging" of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed);

Determine the subject of the description and its connection with the poetic idea (direct - indirect);

Determine the organization (composition) of the lyrical work;

Determine the originality of the use of visual means by the author (active - mean); determine the lexical pattern (vernacular, bookish and literary vocabulary ...);

Determine the rhythm (homogeneous - heterogeneous; rhythmic movement);

Determine the sound pattern;

Determine intonation (the attitude of the speaker to the subject of speech and the interlocutor).

Poetic vocabulary

It is necessary to find out the activity of use individual groups words of common vocabulary - synonyms, antonyms, archaisms, neologisms;

Find out the degree of closeness of the poetic language with the colloquial;

Determine the originality and activity of the use of trails

EPITET - artistic definition;

COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other;

ALLEGORY (allegory) - the image of an abstract concept or phenomenon through specific objects and images;

IRONY - hidden mockery;

HYPERBOLE - Artistic exaggeration used to enhance an impression;

LITOTA - artistic understatement;

PERSONATION - the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel;

METAPHOR - a hidden comparison, built on the similarity or contrast of phenomena, in which the word "as", "as if", "as if" are absent, but implied.

Poetic Syntax

(syntactic devices or figures of poetic speech)

Rhetorical questions, appeals, exclamations - they increase the reader's attention without requiring an answer from him;

Repetitions - repeated repetition of the same words or expressions;

Antitheses - oppositions;

Poetic phonetics

The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech.

Alliteration - repetition of consonant sounds;

Assonance - repetition of vowel sounds;

Anaphora - unity of command;

Composition of a lyrical work

Necessary:

Determine the leading experience, feeling, mood reflected in the poetic work;

Find out harmony compositional construction, its subordination to the expression of a certain thought;

Determine the lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner lack of freedom, etc.)

Determine the life situation that, presumably, could cause this experience;

Highlight the main parts of a poetic work: show their connection (identify the emotional "picture").

Analysis of a dramatic work

Scheme for analyzing a dramatic work

1. general characteristics Keywords: history of creation, vital basis, design, literary criticism.

2. Plot, composition:

The main conflict, stages of its development;

The nature of the denouement /comic, tragic, dramatic/

3. Analysis of individual actions, scenes, phenomena.

4. Collecting material about the characters:

character's appearance,

Behavior,

speech characteristic

Manner /how?/

Style, vocabulary

Self-characterization, mutual characteristics of the characters, author's remarks;

The role of scenery, interior in the development of the image.

5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality.

dramatic work

The generic specificity, the “borderline” position of the drama (Between literature and the theater) obliges it to be analyzed in the course of the development of dramatic action (this is the fundamental difference between the analysis of a dramatic work from an epic or lyrical one). Therefore, the proposed scheme is conditional, it only takes into account the conglomeration of the main generic categories of drama, the peculiarity of which can manifest itself in different ways in each individual case, namely in the development of the action (according to the principle of a untwisted spring).

1. General characteristics of the dramatic action (character, plan and vector of movement, tempo, rhythm, etc.). "Through" action and "underwater" currents.

2. Type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), "vertical" and "horizontal" plan of the drama.

3. The system of actors, their place and role in the development of dramatic action and conflict resolution. Main and minor characters. Off-plot and off-stage characters.

4. The system of motives and the motive development of the plot and micro-plots of the drama. Text and subtext.

5. Compositional-structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Assembly principle.

6. Features of poetics (the semantic key of the title, the role of the theater poster, stage chronotype, symbolism, stage psychologism, the problem of the finale). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc.

7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author.

9. Contexts of drama (historical and cultural, creative, dramatic).

10. The problem of interpretations and stage history