History in a work of art is a document and plot. What is a plot and what does it consist of?


Two things make a book fascinating - character and his fate. If you managed to create something bright, charming and original, then half the battle is actually done. Reader's interest in your book is guaranteed. For the first hundred pages. But to justify it is the task of the plot.

What is a plot?

In Russian-language literature there are two concepts - plot and plot. They mean approximately the same thing, but there are differences.

To put it briefly and simply:

  • the plot is the facts of your history, bare and impartial, arranged in chronological order;
  • the plot is that (through the eyes of which character they were shown, what assessment they gave, maybe even changed the chronological order, i.e. first they talked about what happened, and then showed the reason for what happened).

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For example, in Dostoevsky’s novel “Crime and Punishment” the plot is as follows:

A poor student committed the murder of an old moneylender. Afterwards he suffered for a long time and repented. He confessed, went to hard labor and found peace and happiness.

And the plot is more complicated:

A poor student, reflecting on the latest philosophical concepts of his time, perceives the old moneylender as an impersonal evil who stands in his way, the path of an enlightened and potentially great man, and everything in his life depends on his determination and courage to admit that he superior to her and has the right to destroy her in order to achieve all that he can; can he be a real person, and not a trembling creature.

To prove to himself that he is a man and not a creature, the student kills the old woman - with an ax, ineptly and with horror; the murder scene shocks him so much that he falls into a state of shock and gradually slides into mental disorder… and so on.

I think this is enough for you to understand the difference between plot and plot.

The plot (as opposed to the plot) can be internal and external.

The internal plot is what happens in the head and heart. The path of his character development. After all, you already know that a hero is a hero because his character, his personality changes during the course of the work. These changes are the internal plot.

The external plot is what happens around the main character and with his direct participation. These are all the actions that happen in your story. Actions that affect the people you are talking about. Actions that generate facts.

Most often, these two types of plot coexist peacefully and support each other. But, of course, there are also stories where one of the plots prevails.

In the above novel by Dostoevsky, the advantage, as you understand, is on the side of the internal plot.

But in stories about Conan the Barbarian, the external plot prevails.

In many ways, the ratio of internal and external plots story depends on the literary niche you intend to write for.

If your goal is the mainstream, then the stories should be brought into balance. If - or, in other words, entertaining - literature, then it is better to work hard on the external plot. If you intend to get into elite literature, then you can safely study only inner world your hero!

However, remember: the best books of any of these directions are always built on an organic fusion of both types of plot. Rich spiritual world the main character, his active inner life acute conflicts in the external world also stimulate.

And vice versa.

Inspiration and good luck to you!


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The idea of ​​a work of art.

Idea(from the Greek idea - prototype, ideal) - the main idea of ​​the work, expressed through its entire figurative system. It is the method of expression that distinguishes the idea of ​​a work of art from a scientific idea.

The main thesis of statements about the art of V.G. Plekhanov – “art cannot live without an idea” - and he repeats this thought several times, analyzing this or that work of art. “The dignity of a work of art,” writes Plekhanov, “is ultimately determined by the specific gravity of the feeling, the depth of the idea that it expresses.”

For educational literature XU111th century. was characterized by a high ideological level, due to the desire to reorganize society on the principles of reason. At the same time, the so-called salon, aristocratic literature “in the Rococo style”, devoid of high citizenship, also developed.

And in the future, two parallel ideological currents have always existed and exist in literature and art, sometimes touching and mixing, but more often separating and developing independently, gravitating towards opposite poles.

In this regard, the problem of the relationship between “ideological” and “artistry” in a work seems extremely important. But even outstanding word artists are not always able to translate the idea of ​​a plan into a perfect artistic form. Most often, writers who are completely “absorbed” in the implementation of this or that idea, stray into ordinary journalism and rhetoric, leaving artistic expressiveness in the second and third plans. This is in equally applies to all genres of art. According to V.G. Belinsky, the idea of ​​a work “is not an abstract thought, not a dead form, but a living creation.”

1. 1. Theme of the work of art .

Subject(from the Greek theme) - what is the basis, the main problem and the main circle of life events depicted by the writer. The theme of the work is inextricably linked with its idea. The selection of material, formulation of problems (choice of topic) is dictated by the ideas that the author would like to express in the work.

It was about this connection between the theme and the idea of ​​a work that M. Gorky wrote: “A theme is an idea that originated in the author’s experience, is suggested to him by life, but nests in the container of his impressions still unformed, and requiring embodiment in images, arouses in him a urge to work its design."

Along with the term “topic”, the term “subject”, which is close in meaning to it, is often used. subject matter" Its use indicates that the work includes not only the main one, but also a number of auxiliary themes and thematic lines; or the themes of many works are in close connection with one, or a set of several related themes, forming a broad theme of one class.



The plot of a work of art.

Plot(from French sujet - subject) - the course of the narrative about events unfolding and happening in work of art. As a rule, any such episode is subordinated to the main or subplot.

However, in literary criticism there is no uniform definition of this term. There are three main approaches:

1) plot is a way of developing a theme or presenting a plot;

2) plot is a way of developing a theme or presenting a plot;

3) plot and plot have no fundamental difference.

The plot is based on a conflict (a clash of interests and characters) between the characters. That is why where there is no narrative (lyrics), there is no plot.

The term “plot” was introduced in the 11th century. classicists P. Corneille and N. Boileau, but they were followers of Aristotle. Aristotle called what is called “plot” “legend”. Hence the “course of the narrative.”

The plot consists of the following main elements:

Exposition

Action development

Climax

Denouement

Exposition(Latin expositio - explanation, presentation) - a plot element containing a description of the lives of the characters before they begin to act in the work. Direct exposure located at the beginning of the story, delayed exposure fits anywhere, but I must say that modern writers rarely use this plot element.

The beginning- the initial, starting episode of the plot. She usually appears at the beginning of the story, but this is not the rule. So, about Chichikov’s desire to buy dead Souls we find out only at the end of Gogol's poem.

Development of action flows “at will” characters storytelling and author's intention. The development of action precedes the climax.

Climax(from Latin culmen - top) - the moment of the highest tension of action in the work, its turning point. After the climax comes the denouement.

Denouement- the final part of the plot, the end of the action, where the conflict is resolved and the motivation for the actions of the main and some is revealed minor characters and their psychological portraits are clarified.

The denouement sometimes precedes the plot, especially in detective works, where in order to interest the reader and capture his attention, the story begins with a murder.

Other supporting plot elements are prologue, backstory, author's digression, inserted novella And epilogue.

However, in the modern literary process we often do not encounter detailed expositions, prologues and epilogues, or other elements of the plot, and sometimes even the plot itself is blurred, barely outlined, or even completely absent.

4. The plot of a work of art.

Fabula (from Latin fabula - fable, story) - a sequence of events. This term was introduced by ancient Roman writers, apparently referring to the same property of storytelling that Aristotle spoke about.

Subsequently, the use of the terms “plot” and “fable” led to confusion, which is almost impossible to resolve without introducing other, clarifying and explanatory terms.

IN modern literary criticism The interpretation of correlation and plot, proposed by representatives of the Russian “formal school” and discussed in detail in the works of G. Pospelov, is more often used. They understand the plot as “the events themselves,” chronologically recorded, while the plot is “a story about events.”

Academician A.N. Veselovsky in his work “Historical Poetics” (1906) proposed the concept of “ motive ", giving it the meaning of the simplest narrative unit, similar to the concept of "element" in the periodic table. Combinations of the simplest motifs form, according to Veselovsky, the plot of a work of art.

5. Composition(from Latin compositio - composition, linking) - the construction, arrangement of all elements of the form of a work of art, determined by its content, nature and purpose and largely determining its perception by the viewer, reader, listener.

Composition can be internal or external.

To the sphere internal composition include all static elements of the work: portrait, landscape, interior, as well as extra-plot elements - exposition (prologue, introduction, background), epilogue, inserted episodes, short stories; digressions (lyrical, philosophical, journalistic); motivations for narration and description; forms of speech of the characters (monologue, dialogue, correspondence, diary, notes; forms of narration (spatial-temporal, psychological, ideological, phraseological.

TO external composition include the division of an epic work into books, parts and chapters; lyrical - into parts and stanzas; lyric-epic - for songs; dramatic - on acts and pictures.

Much is known today about composition, as well as about other elements of the plot of a work of art, but not every author manages to create an ideal composition. The point, obviously, is not so much in “knowing” how to do it, but in having the talent, taste and sense of proportion of the artist.

To the utmost general view The plot is a kind of basic scheme of the work, which includes the sequence of actions occurring in the work and the totality of the character relationships existing in it. Typically, a plot includes the following elements: exposition, plot, development of action, climax, denouement and postposition, and, in some works, prologue and epilogue. The main prerequisite for the development of the plot is time, and how historical period actions and the passage of time during the work.

The concept of plot is closely related to the concept of the plot of the work. In modern Russian literary criticism (as well as in the practice of school teaching of literature), the term “plot” usually refers to the very course of events in a work, and the plot is understood as the main artistic conflict, which develops in the course of these events. Historically, there were other views on the relationship between plot and plot, different from the one indicated. In the 1920s, representatives of OPOYAZ proposed to distinguish between two sides of the narrative: they called the very development of events in the world of the work “plot”, and the way these events are depicted by the author - “plot”.

Another interpretation comes from Russian critics mid-19th century and was also supported by A. N. Veselovsky and M. Gorky: they called the plot the very development of the action of the work, adding to this the relationships of the characters, and by the plot they understood the compositional side of the work, that is, how exactly the author communicates the content of the plot. It is easy to see that the meanings of the terms “plot” and “fable” in this interpretation, compared to the previous one, change places.

There is also a point of view that the concept of “plot” has no independent meaning, and to analyze a work it is quite enough to operate with the concepts of “plot”, “plot diagram”, “plot composition”.

Typology of plots

Repeated attempts have been made to classify the plots of literary works, divide them according to various criteria, and highlight the most typical ones. The analysis allowed, in particular, to highlight large group so-called “wandering plots” - plots that are repeated many times in different designs different nations and in different regions, mostly in folk art (fairy tales, myths, legends).

There are several attempts to reduce the diversity of plots to a small, but at the same time comprehensive set of plot schemes. In the famous short story “The Four Cycles,” Borges claims that all plots come down to just four options:

  • On the assault and defense of the fortified city (Troy)
  • About the Long Return (Odysseus)
  • About the search (Jason)
  • About the suicide of a god (Odin, Atis)

see also

Notes

Links

  • The meaning of the word “plot” in the Great Soviet Encyclopedia
  • Brief summaries of literary works by various authors
  • Lunacharsky A.V., Thirty-six plots, “Theater and Art” magazine, 1912, No. 34.
  • Nikolaev A.I. The plot of a literary work // Fundamentals of literary criticism: a textbook for students of philological specialties. – Ivanovo: LISTOS, 2011.

Wikimedia Foundation.

2010.:
  • Synonyms
  • Aloy

Chen Zaidao

Exposition - time, place of action, composition and relationships of characters. If the exposure is placed at the beginning of the work, it is called direct, if in the middle - delayed.

Omen- hints that foreshadow further development of the plot.

The plot is an event that provokes the development of a conflict.

Conflict is the opposition of heroes to something or someone. This is the basis of the work: no conflict - nothing to talk about. Types of conflicts:

  • person (humanized character) versus person (humanized character);
  • man against nature (circumstances);
  • man against society;
  • man versus technology;
  • man versus supernatural;
  • man against himself.

Rising Action- a series of events that originates from a conflict. The action builds up and reaches its peak at the climax.

Crisis - the conflict reaches its peak. The opposing sides meet face to face. The crisis occurs either immediately before the climax or simultaneously with it.

The climax is the result of a crisis. This is often the most interesting and significant moment in the work. The hero either breaks down or grits his teeth and prepares to go to the end.

Descending action- a series of events or actions of heroes leading to a denouement.

Denouement - the conflict is resolved: the hero either achieves his goal, is left with nothing, or dies.

Why is it important to know the basics of plotting?

Because over the centuries of the existence of literature, humanity has developed a certain scheme for the impact of a story on the psyche. If the story does not fit into it, it seems sluggish and illogical.

In complex works with many storylines, all of the above elements may appear repeatedly; moreover, key scenes novels are subject to the same laws of plot construction: let us remember the description of the Battle of Borodino in War and Peace.

Plausibility

Transitions from initiation to conflict to resolution must be believable. For example, you cannot send a lazy hero on a journey just because you want to. Any character must have a good reason to act one way or another.

If Ivanushka the Fool mounts a horse, let him drive strong emotion: love, fear, thirst for revenge, etc.

Logic and common sense are necessary in every scene: if the hero of the novel is an idiot, he, of course, can go into a forest infested with poisonous dragons. But if he man of sense, he will not meddle there without a serious reason.

God ex machina

The denouement is the result of the characters' actions and nothing else. In ancient plays, all problems could be resolved by a deity lowered onto the stage on strings. Since then, the absurd ending, when all conflicts are eliminated with a wave of the wand of a sorcerer, angel or boss, is called “god ex machina.” What suited the ancients only irritates the moderns.

The reader feels deceived if the characters are simply lucky: for example, a lady finds a suitcase with money just when she needs to pay interest on a loan. The reader respects only those heroes who deserve it - that is, they did something worthy.

1. Plot and plot. 2. Types of plots. 3. Composition of the plot. 4. Question about the plot in the lyrics. 5. Motive, its functions and types

We consider plot as a particular aspect of the composition of a literary work. One of the best domestic literary critics B.O. Corman, showing the plot in the text, called the composition "a network of relationships between stories, covering together the entire work." The events recreated by writers, along with the characters, form the basis of the objective world of the work. The plot is the organizing principle of most dramatic and epic works.

The origin of the word is French (sujet - subject, object). In everyday speech, in conversations, we use this particular word to denote a sequence of events. The plot is usually called a sequential change of situations, actions that are held together general idea. It is believed that the plot can be summarized in a few words. But in the science of literature, plot means other things.

1. Plot and plot

The understanding of plot as a set of events recreated in a work goes back to the works of A.N. Veselovsky. In the view of the author of the work “Historical Poetics,” a plot is a scheme of actions, a complex of motives. The patterns themselves can be repeated by many artists, and the smallest units of action, motives, can “wander” from one writer to another.

It is this understanding that is manifested in those modern research, where no distinction is made between categories such as plot and plot.

But there is a tradition of separating these concepts. The theorists of the formal school terminologically distinguished between the natural course of events and their artistic processing. B. Shklovsky called the plot material for plot design. According to B. Tomashevsky, the plot is a set of motives in their logical cause-time relationship.

According to V. Kozhinov, to designate a system of main events that can be retold, it is better to use Greek word“plot”, this term was used by Aristotle in his work “Poetics”. Fabula (lat. fabula- story, narration) for Aristotle meant action. Kozhinov calls it the subject of the image, the main plan for the course of the action of the epic. or dramatic a work that has already been artistically organized and in which the arrangement of characters and central motifs have been identified.

A supporter of the formal method in literary criticism M.M. Bakhtin wrote: “The plot is the general course of events that can be taken from an actual life incident.” G. Pospelov, the author of the textbook “Fundamentals of the Theory of Literature,” who was influenced by Shklovsky’s theory, considers it a delusion when the plot of a work is replaced by a retelling of events. Plot is a sequence of events in a figurative narrative conveyed artistic speech and received aesthetic, artistic significance. The plot is in artistically neutral. Therefore, no retelling can convey all the imagery, all the details of the plot. Transfiguration a simple story into a work of art occurs because the event outline is overgrown with artistic speech, acquiring not only informative, but also aesthetic significance.

The plot is based on information of a non-artistic nature. This is simply a conflict “scheme” that can be periodically repeated, borrowed and each time find a new specific embodiment. An example of a conflict pattern: a man, by force of circumstances, leaves his beloved for for a long time, but his thoughts bifurcate: either he realizes the inviolability of her fidelity, or he imagines betrayal; finally, he decides to return secretly to check her feelings and deeds - he will either reward her for devotion or punish her for betrayal. This scheme can be complicated by any circumstances, have different endings, different variants artistic treatment and ideological and thematic load. The plots can be similar, but the plots are always unique, because they are connected with a single work, with a theme revealed in a specific way.

If the theme is the vital material that forms the basis of the work, then the plot determines the thematic orientation of the work. The plot makes up the basic outline of the plot; these are events occurring in a natural chronological sequence. Its formula can be expressed in the sentence: “The king died and then the queen died.” With this understanding, the plot grows out of the plot; it represents a more complex artistic system. IN plot order « Easy breath"Bunin's story should have begun with the heroine's youth and ended with death, but a change was made in the plot. Plot is the sequence of events in which the author places them, with the main emphasis being on their causal relationship. Therefore, the plot is a series of actions, carefully thought out by the author, which lead through struggle to a climax and denouement. “The king died and the queen died of grief” is already a plot formula. The plot may coincide with the plot ("Ionych" by Chekhov), or maybe, as in the case of the considered Bunin's story, be different from her.

Modern scientist V. Khalizev gives his own, simpler definition of plot: “The chain of events depicted in a literary work, i.e. the life of the characters in its spatio-temporal changes, in changing positions and circumstances.” Considering different interpretations, we can offer our own, more adapted definition: plot is a system of events in a literary work that reveals the characters of the characters and the specific relationships between them.

Methods plot construction are different. There may be an inversion of plot elements, delays in action, foreshadowing, digressions, omissions, and introductory episodes.

2. Types of plots

Depending on the nature of the connections between events, there are two types of plots. Plots with a predominance of purely temporal connections between events are chronicles. They are used in epic works large shape("Don Quixote"). They can show the adventures of heroes (“Odyssey”), depict the development of a person’s personality (“Childhood Years of Bagrov the Grandson” by S. Aksakov). A chronicle story consists of episodes. Plots with a predominance of cause-and-effect relationships between events are called plots of a single action, or concentric. Concentric plots are often built on such a classic principle as unity of action. Let us recall that in Griboyedov’s “Woe from Wit” the unity of action will be the events associated with Chatsky’s arrival at Famusov’s house. By using concentric plot one is being carefully examined conflict situation. In drama, this type of plot structure dominated until the 19th century, and in epic works small form is still in use today. A single knot of events is most often untied in short stories, short stories Pushkin, Chekhov, Poe, Maupassant. Chronical and concentric principles interact in the plots of multilinear novels, where several event nodes appear simultaneously (“War and Peace” by L. Tolstoy, “The Brothers Karamazov” by F. Dostoevsky). Naturally, chronicle stories often include concentric micro-plots.

There are plots that differ in the intensity of the action. Event-filled plots are called dynamic. These events contain an important meaning, and the denouement, as a rule, carries a huge meaningful load. This type of plot is typical for Pushkin’s “Tales of Belkin” and Dostoevsky’s “The Gambler.” And vice versa, plots weakened by descriptions and inserted structures are adynamic. The development of action in them does not strive for a denouement, and the events themselves do not contain any particular interest. Adynamic plots in " Dead souls"Gogol, "My Life" by Chekhov.

3. Composition of the plot.

The plot is the dynamic side artistic form, it implies movement, development. The engine of the plot is most often a conflict, an artistically significant contradiction. The term comes from Lat. conflictus - collision. A conflict is an acute clash of characters and circumstances, views and life principles, underlying the action; confrontation, contradiction, clash between heroes, groups of heroes, the hero and society, or the internal struggle of the hero with himself. The nature of the collision can be different: it is a contradiction of duty and inclination, assessments and forces. Conflict is one of those categories that permeate the structure of the entire work of art.

If we consider A. S. Griboedov’s play “Woe is Wit,” it is easy to see that the development of the action here clearly depends on the conflict that lurks in Famusov’s house and lies in the fact that Sophia is in love with Molchalin and hides it from daddy. Chatsky, in love with Sophia, having arrived in Moscow, notices her dislike for himself and, trying to understand the reason, keeps an eye on everyone present in the house. Sophia is unhappy with this and, defending herself, makes a remark at the ball about his madness. Guests who do not sympathize with him gladly pick up this version, because they see in Chatsky a person with views and principles different from theirs, and then it is very clearly revealed that it is not just family conflict(Sophia’s secret love for Molchalin, Molchalin’s real indifference to Sophia, Famusov’s ignorance of what is happening in the house), but also the conflict between Chatsky and society. The outcome of the action (denouement) is determined not so much by Chatsky’s relationship with society, but by the relationship of Sophia, Molchalin and Liza, having learned about which Famusov controls their fate, and Chatsky leaves their home.

In the vast majority of cases, the writer does not invent conflicts. He draws them from primary reality and transfers them from life itself into the realm of themes, issues, and pathos.

Several types of conflicts can be identified that are at the heart of dramatic and epic works. Frequently encountered conflicts are moral and philosophical: the confrontation between characters, man and fate (“Odyssey”), life and death (“The Death of Ivan Ilyich”), pride and humility (“Crime and Punishment”), genius and villainy (“Mozart and Salieri "). Social conflicts consist in the opposition of a character’s aspirations, passions, and ideas to the way of life around him (“ Stingy Knight", "Storm"). The third group of conflicts are internal, or psychological, those that are associated with contradictions in the character of one character and do not become the property of the outside world; this is the mental torment of the heroes of “The Lady with the Dog”, this is the duality of Eugene Onegin. When all these conflicts are combined into one whole, they speak of their contamination. IN to a greater extent this is achieved in novels (“Heroes of Our Time”) and epics (“War and Peace”). The conflict can be local or insoluble (tragic), obvious or hidden, external (direct clashes of positions and characters) or internal (in the soul of the hero). B. Esin also identifies a group of three types of conflicts, but calls them differently: conflict between individual characters and groups of characters; the confrontation between the hero and the way of life, the individual and the environment; internal conflict, psychological, when we're talking about about the contradiction in the hero himself. V. Kozhinov wrote almost the same about this: “ TO. (from Latin collisio - collision) - confrontation, contradiction between characters, or between characters and circumstances, or within character, underlying the action of lit. works. K. does not always speak clearly and openly; For some genres, especially idyllic ones, K. is not typical: they only have what Hegel called “situation”<...>In an epic, drama, novel, short story, K. usually forms the core of the theme, and the resolution of K. appears as the defining moment of the artist. ideas...” “Artist. K. is a clash and contradiction between integral human personalities" "TO. is a kind of source of energy lit. production, because it determines its action.” “During the course of action, it can worsen or, conversely, weaken; in the end the conflict is resolved one way or another.”

The development of K. sets the plot action in motion.

The plot indicates the stages of action, the stages of the existence of the conflict.

An ideal, that is, complete, model of the plot of a literary work may include the following fragments, episodes, links: prologue, exposition, plot, development of action, peripeteia, climax, denouement, epilogue. There are three mandatory elements in this list: the plot, the development of the action and the climax. Optional - the rest, that is, not all of the existing elements must take place in the work. The components of the plot can appear in different sequences.

Prologue(gr. prolog - preface) is an introduction to the main plot actions. It may give the root cause of events: the dispute about the happiness of men in “Who Lives Well in Rus'.” It clarifies the author's intentions and depicts the events preceding the main action. These events may affect the organization artistic space- scene.

Exposition(from Latin expositio - presentation, display) is an explanation, a depiction of the life of the characters in the period before the conflict. It gives the arrangement and relationships of the characters in a play, novel, story, short story, poem. For example, the life of young Onegin. It may contain biographical facts and motivate subsequent actions. An exposition can set the conventions of time and space and depict events preceding the plot. A. Kvyatkovsky’s “Poetic Dictionary” also speaks about the exhibition in lyric poem: “Exposition is usually given in the first stanza, where the initial idea is expressed, which is developed in subsequent stanzas.” We think that the term in such a context takes on a metaphorical meaning rather than retaining its main meaning.

The beginning– this is conflict detection.

Development of action is a group of events necessary for the conflict to occur. It presents twists that escalate the conflict.

Unexpected circumstances that complicate a conflict are called twists and turns.

Climax - (from Latin culmen - top ) - the moment of the highest tension of action, the utmost aggravation of contradictions; the pinnacle of conflict; K. reveals the main problem of the work and the characters of the characters most fully; after it the effect weakens. Often precedes the denouement. In works with many storylines It is possible that there is not one, but several K.

Denouement- this is the resolution of the conflict in the work; it completes the course of events in action-packed works, for example, short stories. But often the ending of works does not contain a resolution to the conflict. Moreover, in the endings of many works, sharp contradictions between the characters remain. This happens both in “Woe from Wit” and in “Eugene Onegin”: Pushkin leaves Eugene at “an evil moment for him.” There are no resolutions in “Boris Godunov” and “The Lady with the Dog.” The endings of these works are open. In Pushkin's tragedy and Chekhov's story, with all the plot incompleteness, in last scenes contained emotional endings, climax.

Epilogue(gr. epilogos - afterword) is the final episode, usually following the denouement. In this part of the work, the fate of the heroes is briefly reported. The epilogue depicts the final consequences arising from the events shown. This is a conclusion in which the author can formally complete the story, determine the fate of the heroes, and summarize his philosophical, historical concept (“War and Peace”). The epilogue appears when resolution alone is not enough. Or in the case when, upon completion of the main story events need to express a different point of view (“ Queen of Spades"), to evoke in the reader a feeling about the final outcome of the depicted life of the characters.

The events related to the resolution of one conflict of one group of characters make up the storyline. Accordingly, if there are different storylines, there may be several climaxes. In “Crime and Punishment” this is the murder of a pawnbroker, but this is also Raskolnikov’s conversation with Sonya Marmeladova.

4. Question about the plot in the lyrics.

Having a plot in a literary work is sometimes problematic. From most definitions it is clear that the plot is artistic method organization of events, which means it is associated primarily with the epic and dramatic works. To a lesser extent, the plot manifests itself in the lyrics. IN epic work The plot has its own form of existence - narration. In drama it is the development of action. What about the lyrics? After all, poetry has more expressiveness, and the word denotes events and objects to a lesser extent.

Lydia Ginzburg and Boris Korman proposed to talk about the specifics of the lyrical plot, by which we mean that the word itself in a short work becomes an event and the plot in the lyrics is a combination of such words-events. The poem “I loved you...” depicts the movement of a person’s feelings, and not a change in events. More precisely, the event in the poem is a change in the soul. This is a love story that lives only in the heart, without pouring out into the objective, external world.

Scientists therefore say that there are no specific plots in the lyrics, but there is a lyrical, that is, psychological, plot, non-fable motives. In many works of “pure lyricism” there is a chain of mental movements objectified by speech, there is the reality of experiences, states human soul. There is nothing to retell in them.

The plot that appears in a lyrical work transforms it into a lyric-epic or lyric-dramatic plane. This is typical for ballads and poems. B. Tomashevsky wrote: “Fabulous motives are rare in lyric poetry. Static motives appear much more often, unfolding into emotional series. If the poem talks about some action, the act of a hero, an event, then the motive of this action is not woven into the causal-temporal chain and is devoid of plot tension that requires a plot resolution. Actions and events appear in the lyrics in the same way as natural phenomena, without forming a plot situation.” “Lyrics are a non-story genre. The lyrics convey the poet's feelings; elements of the story, action, plot are dissolved here in emotional experience,” and events, facts are only a reason for the poet’s experiences, and they are completely dissolved in these experiences. The poet’s immersion in his emotional experiences, in a lyrical state, allows him to reduce the plot to a minimum and even eliminate it completely.

The paradox associated with the fate of the concept WITH. in the twentieth century, is that as soon as philology learned to study it, literature began to destroy it. So, if in ancient and medieval literature the plot grew out of the plot, then in the literature of the 19th century and later, its basis may be different. Tolstoy, for example, speaking about the structure of Anna Karenina, emphasized not the plot significance, but the role of “internal connection”. V. Kozhinov explains that internal connection should be understood as “a certain correlation of characters and circumstances, a specific connection of artistic thoughts.”

Russian scientists and representatives of the formal school played a decisive role in the study of the plot. Writers of modernism and postmodernism played a role in the destruction of the plot (see, for example, new novel, theater of the absurd).

5. Motive, its functions and types

Scientists call the motive either the smallest event unit of the plot, or the unit of the plot, or an element of the text in general, regardless of the plot or plot. Let's try to figure it out different interpretations one of the most common terms.

There are many opinions on the origin of the motif: from him. motive, French motif, from lat. moveo - moving, from French. motif – melody, tune.

In the Russian science of literature, A.N. was the first to turn to the concept of motive. Veselovsky. Analyzing myths and fairy tales, he came to the conclusion that the motive is the simplest narrative unit, which cannot be further decomposed. From our point of view, this category has a plot character.

The thematic concept of the motif is developed in the works of B. Tomashevsky and V. Shklovsky. In their understanding, a motive is the themes into which a work can be divided. Each sentence contains motives - small topics

Most folklore and literary works have a motif, being the smallest element of the plot. The outstanding Russian folklorist V. Ya. Propp played a huge role in the study of the plot. In his book “The Morphology of the Fairy Tale” (1929), he demonstrated the possibility of the existence of several motives in a sentence. Therefore, he abandoned the term motive and resorted to his own category: the functions of the characters. He built a model of the plot of a fairy tale, consisting of sequences of elements. According to Propp, there are a limited number of such functions of heroes (31); Not all fairy tales have all the functions, but the sequence of the main functions is strictly observed. The fairy tale usually begins with the parents leaving the house (absentee function) and turning to the children with a ban on going outside, opening the door, or touching anything (prohibition). As soon as the parents leave, the children immediately violate this prohibition (violation of the prohibition), etc. The meaning of Propp's discovery was that his scheme was suitable for all fairy tales. Everyone has the motive of the road, the motive of searching for the missing bride, the motive of recognition. fairy tales. From these numerous motives various plots are formed. IN given value the term motive is more often used in relation to works of oral folk art. “Morozko acts differently than Baba Yaga. But the function, as such, is a constant quantity. To study a fairy tale, the question is important What do fairy tale characters, and the question Who does and How does - these are questions of only incidental study. The functions of the characters represent those components with which Veselovsky’s “motives” can be replaced...”

In most cases, a motif is a repeated word, phrase, situation, object or idea. Most often, the term “motive” is used to designate a situation that is repeated in various literary works, for example, the motive of parting with a loved one.

Motifs help create images and have various functions in the structure of the work. Thus, the mirror motif in V. Nabokov’s prose has at least 3 functions. Firstly, epistemologically: the mirror is a means of characterizing the character and becomes a way of self-knowledge of the hero. Secondly, this motif carries an ontological load: it acts as a boundary between worlds, organizing complex spatio-temporal relationships. And thirdly, the mirror motif can perform an axiological function, express moral, aesthetic, artistic values. Thus, the hero of the novel “Despair” turns out to have a favorite word for mirror, he likes to write this word backwards, loves reflections, similarities, but is completely unable to see the difference and goes so far as to mistake a person with a dissimilar appearance for his double. Nabokovsky's Herman kills in order to mystify those around him, to make them believe in his death. The mirror motif is invariant, that is, it has a stable basis that can be filled with new meaning in a new context. Therefore he appears in various options in many other texts where the main ability of a mirror is in demand - to reflect, to double an object.

Each motive generates an associative field for the character, for example, in Pushkin’s story “ Stationmaster» motive prodigal son is set by pictures hanging on the walls of the caretaker’s house, and is revealed with particular poignancy when his daughter comes to his grave. The motif of the house can be included in the space of the city, which, in turn, can consist of motifs of temptation, seduction, demonism. The literature of Russian emigrants is most often characterized by a mood that is revealed in the motifs of nostalgia, emptiness, loneliness, and emptiness.

A motive is an essential semantic (content) element of the text for understanding the author’s concept (for example, the motive of death in “The Tale of dead princess..." by A.S. Pushkin, the motive of loneliness in the lyrics of M.Yu. Lermontov, the motive of cold in "Easy Breathing" and " Cold autumn"I.A. Bunin, the motif of the full moon in "The Master and Margarita" by M.A. Bulgakov). M., as a stable formal-contain. component lit. text, can be selected within one or several. prod. writer (for example, a certain cycle), and in the complex of his entire work, as well as k.-l. lit. direction or an entire era.” The motif may contain elements of symbolization (a road by N.V. Gogol, a garden by Chekhov, a desert by M.Yu. Lermontov). The motif has a direct verbal (in lexemes) fixation in the text of the work itself; in poetry, its criterion in most cases is the presence of a key, supporting word that carries a special semantic load (smoke in Tyutchev, exile in Lermontov).

According to N. Tamarchenko, each motive has two forms of existence: a situation and an event. A situation is a set of circumstances, a position, a situation in which the characters find themselves. An event is something that happened, a significant phenomenon or a personal fact, public life. An event changes the situation. A motif is the simplest narrative unit that connects the events and situations that make up the lives of the characters in a literary work. An event is something that happened, a phenomenon, a fact of personal or public life. The situation is a set of circumstances, positions in which the characters find themselves, as well as the relationship between them. The event changes this ratio. Motives can be dynamic or adynamic. Motives of the first type accompany changes in the situation, as opposed to a static motive.

IN last years In literary criticism, a synthesis of approaches to understanding motive is planned. This movement was largely determined by the works of R. Yakobson, A. Zholkovsky and Yu. Shcheglov. The motive is no longer considered as part of the plot or plot. Having lost its connection with the event, the motive is now interpreted as almost any semantic repetition in the text - a repeating semantic spot. This means that the use of this category is quite legitimate when analyzing and lyrical works. The motive can be not only an event, a character trait, but also an object, sound, or landscape element that has increased semantic significance in the text. A motive is always a repetition, but the repetition is not lexical, but functional-semantic. That is, in a work it can be manifested through many options.

Motives can be varied, among them are archetypal, cultural and many others. Archetypal ones are associated with the expression of the collective unconscious (the motive of selling the soul to the devil). Myths and archetypes represent a collective, culturally authoritative variety of motifs to which French thematic criticism devoted itself to the study of the 1960s. Cultural motifs were born and developed in works verbal creativity, painting, music, and other arts. Italian motifs in Pushkin’s lyrics are a layer of the diverse culture of Italy mastered by the poet: from the works of Dante and Petrarch to the poetry of the ancient Romans.

Along with the concept of motive, there is the concept of leitmotif.

Leitmotif. A term of Germanic origin, literally meaning "leading motive". This is a frequently repeated image or motif that conveys the main mood; it is also a complex of homogeneous motifs. Thus, the leitmotif of “the vanity of life” usually consists of motives of temptation, seduction, and anti-home. The leitmotif of “return to lost heaven“is characteristic of many of Nabokov’s works in the Russian-language period of his creativity and includes motifs of nostalgia, longing for childhood, and sadness about the loss of a child’s outlook on life. In Chekhov's "The Seagull" the leitmotif is a sounding image - the sound of a broken string. Leitmotifs are used to create subtext in a work. When combined, they form the leitmotif structure of the work.

Literature

1. Fundamentals of literary criticism: Textbook. manual for philological faculties of pedagogy. university / Under the general ed. V. P. Meshcheryakova. M.: Moscow Lyceum, 2000. pp. 30–34.

2. Tomashevsky B.V. Theory of Literature. Poetics. M., 1996. pp. 182–185, 191–193.

3. Fedotov O.I. Introduction to literary criticism: Textbook. allowance. M.: Academy, 1998. pp. 34–39.

4. Khalizev V. E. Introduction to literary criticism. Literary work: basic concepts and terms / Under. ed. L. V. Chernets. M., 1999. pp. 381–393.

5. Tselkova L.N. Motive // ​​Introduction to literary studies. Literary work: basic concepts and terms / Under. ed. L. V. Chernets. M., 1999. pp. 202–209.

additional literature

1. History and narration: Sat. articles. M.: New Literary Review, 2006. 600 p.

2. Materials for the “Dictionary of Plots and Motives of Russian Literature”: from plot to motive / Ed. V.I. Tyupy. Novosibirsk: Institute of Philology SB RAS, 1996. 192 p.

3. Theory of literature: Textbook. manual: In 2 volumes / Ed. N. D. Tamarchenko. – M.: Publishing house. Center "Academy", 2004. T. 1. P. 183–205.


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Corman B.O. Integrity of a literary work and experimental vocabulary literary terms. P.45.

Medvedev P.N. Formal method in literary criticism. L., 1928. P.187.

Plot // Introduction to literary criticism. P.381.

Kozhinov V.V. Collision // KLE. T. 3. Stlb. 656-658.

Tomashevsky B.V. Theory of literature. Poetics. pp. 230-232.

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Tolstoy L.N. Full collection cit.: In 90 volumes. M., 1953. T.62. P. 377.

Kozhinov V. S. 456.

Propp V.Ya. Morphology of a fairy tale. C.29.

Nezvankina L.K., Shchemeleva L.M. Motive // ​​LES. P. 230



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