Holistic analysis of poetic text. Holistic text analysis in literature

Analysis poetic text always in the center of attention of teachers of Russian language and literature. Turning to the lyrics of I.A. Bunin, I tried to create a holistic picture of the poet’s poetic revelation. Well-known literary scholars and critics helped me with this.

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Suboch Raisa Ivanovna, teacher MBOU

"Average comprehensive school №27

with in-depth study of individual subjects"

Balakovo, Saratov region

Holistic analysis lyrical work

(poems by I.A. Bunin “ Green color sea wave...")

The formation of the reader’s aesthetic ideal occurs under the influence of the entire wealth of thoughts and experiences with which Russian poetry of the 19th-20th centuries enriched the spiritual culture of the people. Turning to the aesthetic education of youth, I.A. Bunin saw its basis in the development of fine literature: the study of “selected poems and poems can have serious educational and developmental significance both for youth and for everyone thinking man" (Bunin I.A. Collected works. In 6t.-M.: Fiction, 1988.-T. 6.-P.592-593.) The specificity of poetry, and above all lyrics as a kind of verbal art, is manifested here in that the emergence of defining, preferred, vital emotions is significantly different from the corresponding process of perceiving prose (of the epic kind). In the totality of lyrical experiences, “the expression of an emotional-volitional reaction and assessment can be not only intonation and rhythm, but also all moments of the artistic whole and all aspects of the word: images, objects, and concepts,” writes M. M. Bakhtin. (Bakhtin M.M. Author and hero: Towards the philosophical foundations of the humanities. - St. Petersburg: Azbuka, 2000. – P. 16.)

Thus, verse, that is, a system of emotional and aesthetic speech purposefully created by man (teleological - Yu.N. Tynyanov), becomes a formative factor (“factotum” - M. Gadamer) lyrical kind V verbal art. At the same time, the verse acquires the role of a creator, a bearer of an emotionally effective principle in the education of a social and personal attitude to a real, endlessly changing reality. The great and diverse philosophers of the 19th century (F. Schlegel, F. Hegel, F. Engels) did not hesitate to call world history the greatest, unsurpassed Poetess, who creates naturally, and not arbitrarily, the beautiful and the ugly, the tragic and the comic.

From the position of literary theory, the fundamental idea should be considered the idea of verse as a unified speech system, where the means artistic expression can be understood and assessed in their interrelation and conditionality.

In this regard, the task is put forward to create a methodology for a holistic analysis of a poetic work. By holistic analysis we mean such an analysis of a poetic work in which the artistic image is in the center of attention. IN literary and methodological In relation, the task of a literature teacher is to find principles that would introduce schoolchildren to the poetic world of experiences, instill a desire to independently penetrate it, and form the necessary skills and abilities for this.

With a holistic study of poetry, the main thing is achieved, what actually constitutes the goal of mastering poetry in school - a figurative perception of life, precisely in images and reproduced by the poet. On this path, it is possible to solve the second problem that arose in the school teaching of literature when studying poetry. It must be seen in the development of emotional-imaginative thinking itself, that is, in the formation of mental abilities leading to comprehensive development reader's personality. The study of poetry is based on the idea of a poetic work as an artistic whole with a unique completeness of its individual parts.

From the point of view of enriching the educational process, there is a significant requirement to avoid repetition of methods and techniques in their standard combinations. The most desirable option is for everyone to poetic work The literature scholar has found a somewhat unique way of studying. Special meaning acquire methods and techniques of study that develop skills in perceiving a poetic work, prepare for independent analysis and evaluation of poetic text. This should include expressive reading in its three varieties (expressive reading by a teacher, a student, teaching expressive reading), identifying a direct impression of a work, analyzing a work, justifying and clarifying a direct emotional assessment, tasks to develop perception skills, memorizing poetry and teaching “ technique" of learning by heart.

The captivating harmony of poetic speech (I.A. Bunin), the spirituality and sublimity of the feelings expressed in it create an artistic world filled with bright, unearthly love. In such a spiritually stable, complete harmony, the world breaks through and the vital, natural-earthly basis of human experiences; she cheats on herself the world, and its “characters” - living people, those who surround us. It is worth heartily enjoying the beauty, captivating sweetness, and effectiveness of poetic speech, which constitute its artistry and expressiveness. My choice of poem for a holistic analysis was made in favor of the work of I.A Bunin not by chance. I love the works of this master (not only poetry, but also prose) for the clarity and simplicity of the language, for the sounding music of the verse, for the depth of comprehension of the surrounding world. The artistic world of Ivan Alekseevich Bunin is multifaceted and interesting. The more I read, the more he attracts me. For the poet, nature is a healing and beneficial force that gives a person everything: joy, wisdom, beauty, a sense of the infinity, diversity and integrity of the world, a sense of one’s unity, kinship with it.

Happiness, according to Bunin, is complete merging with nature. It is accessible only to those who have penetrated its secrets, who are attentive, who “see and hear.” But Bunin’s vision and hearing were special. His lyrical calendar of nature affirms the unique value of every minute lived by a person under the open sky. Let's try to see the natural world through the eyes of a poet, try to feel the harmony of this world.

The poem “Sea Green…” Despite its small volume (only 2 stanzas), the poem chosen for analysis contains all the main features of the poet’s unique artistic world.

Sea green
Through the glassy sky,
Diamond of the Dawn Star
Glistens in his transparent womb.,

And, like a child after sleep,
The star trembles in the fire of the morning star,

And the wind blows in her eyelashes,
So that she doesn't close them.

Based on the research of L.S. Vygotsky, concerning, on the one hand, the psychology of the perception of art and, on the other, the patterns of development of thinking and imagination of children, it seems most appropriate to turn to the non-verbal, figurative thinking of schoolchildren and find “duality, multidirectionality” emotional perception» lyric poem. According to L.S. Vygotsky, as a result of the further development of our emotions, it is discovered that in the end “there is, as it were, a short circuit of two opposite currents, in which this very contradiction explodes, burns out and is resolved.” (Vygotsky L.S. Psychology of Art. M., 1968. P. 185). The researcher calls this “explosion” and resolution of the aesthetic conflict the ancient – Aristotelian – word “catharsis”, and the process of emotional movement from the emergence of a contradiction through the struggle of opposing emotions to their mutual destruction, which carries aesthetic pleasure, is defined as the basic psychological law of aesthetic perception.

Thus, based on this law, any analysis of a work of art should begin with a search for these two poles, which evoke opposite emotions in us. These can be contrasting images or emotionally opposite motives, it can be a confrontation between the colors of the palette, points of space and time, even sound lines - they are united precisely by the multidirectionality of the emotions they evoke, belonging to different emotional poles.

I confess: this path is closer to me than elucidating the feelings and mood that permeate poetic lines, especially since they can be quite contradictory and not always immediately perceptible. During the analysis, we will definitely come to the feelings and mood of the poet himself. But a little later, but for now let’s turn specifically to identifying the two poles. Let's just add that there is one more important feature our psyche, which can help in learning to analyze a poetic text, is the ability to associative thinking. Psychological Science knows different types associations, for a deep perception of works of art, a special type of association is very important - these are associations “by emotion”, that is, the unification among themselves of certain ideas, images, objects, events, not by real similarity, not by some connections that exist in reality , but only by the commonality of emotions that they evoke. It is clear that the ability to make associations of this type can be correlated with the work of the imagination and is directly related to the perception of a literary text. L. Vygotsky calls this phenomenon “the law of the emotional reality of the imagination” and claims that “it is this psychological law that should explain to us why works of art created by the imagination of the authors have such a strong effect on us.” Images are fictitious and unreal, but the emotions they evoke are real, and the brighter the artistic image, the stronger its emotional impact on our imagination, the more associations from different spheres of our own life it calls.

Let's return to the poem. It easily reveals the very two figurative and lexical poles that evoke multidirectional emotions in the reader: this is the sea, represented by the “green color of the sea wave,” and the star on the “glassy horizon.” Around each of the poles, we will try to build certain, also multidirectional lexical series, correlated in meaning with the original lexemes and expanding, clarifying the basic emotional impression, enriching it with new shades of meaning. Surprisingly, the image of the star is presented visibly, in all the brilliance of an expanded metaphor (“the diamond of the morning star”) and an unexpected comparison (“like a child after sleep”). The star “shins”, “trembles”. But the sea - “sea green” - “sees through.” It would seem that the topic can be exhausted with these two images. But this is the topmost, simplest layer of the text - only the basis that gives impetus to the movement of poetic thought. Our task is to trace this movement, to reach more important, deeper - philosophical - layers of the work, that is, to move from the primary - emotional perception of the text to a deeper reading of it.

The ability for associative thinking will come to our aid. The brightness of the description (especially the stars, and this is fundamentally important) activates our emotions, turns on the imagination, and awakens associations.

In the poem itself there are no words “sea”, “man”, “sky”, but if we try to identify the associations that we have in the text “sea green”, “diamond of the morning star”, “child after sleep”, then, undoubtedly, we will come to these images that are significant for I.A. Bunin.

“The green color of the sea wave” is perceived by us not only as the poet’s appeal to the image of the sea, but also mental admiration of the beauty and freshness of the sea wave also entails an association with some kind of riddle, the secret of this water space, which romantic poets often associated with the concept of freedom, unbridled elements. For Bunin, the sea is calm, so “the green color of the sea wave / Shows through...”, the metaphor leads us to the idea that it (the color) is barely noticed, but is still found “in the glassy horizon.” The epithet “glass horizon” allows us to associate with a motionless and empty space in which only the reflection of a sea wave exists. But this is far from the case, because the expanded metaphor “The diamond of the dawn star / Shines in its transparent bosom” draws our attention to another image - the image of a star. Unlike the sea wave, the image of a star is bright, it attracts our attention with its light, beauty, and superiority over another image. Thanks to the verb “glitters” we capture the features of this difference, positive traits image. The obsolete word "womb" is associated with both the width and depth of celestial space. We feel the sublimity of style, we are imbued with a sense of something important, valuable for lyrical hero.

Transparent associations with human, not with natural environment evokes in us an extensive comparison “like a child after sleep,” it leads us to perceive a star not only as a natural phenomenon, but also mainly at the time of human childhood, youth, naivety, the beginning of a person’s life path. That is, perhaps, why the star “trembles”, because it trembles before the impending changes awaiting it in this fleeting life. The inversion confirms our assumption, and also makes it possible to pay attention to the features of this process (“the star trembles in the fire of the star”). High style, obsolete word“Dennitsa” (meaning “morning dawn”) further emphasizes the importance of the image of a star, its correlation with human life. And the metaphorical personification (“And the wind blows through her eyelashes, / So that she does not close them”) is associated with those changes that are associated with youth, with the dawn of life and occur under the influence of the natural cycle of life. The word "star" has another meaning related to human nature - celebrity, for example, rising star. And perhaps this association is more important than the ideas about this image associated with a celestial body.

By building associative figurative chains from each of the two “opposite” images and the lexical rows adjacent to them, we discover deeper layers of artistic meaning and look into the secret of the poet’s artistic world.

However, there remains one more image, which, at first glance, is related to the image of a star - this is the image of the wind, appearing in the penultimate line of the poem. The personification of “the wind blows” brings us to an associative connection with the wind of change, with life changes, without which not a single person can do. And, perhaps, this image echoes the second line of the poem, with the verb “through,” because in one of the meanings the verb has a direct relationship to the movement of air. One gets the impression that thanks to this image, both the “sea green” and the “diamond of the morning star” are inextricably linked into a single whole, an image of the Universe, open to the understanding of a person who only needs to feel his closeness to nature, to feel an inextricable connection with it.

Analyzing the poem, we must go through the path, as it were the opposite of that which the author went through, restore the chain of his associations, guess what he was experiencing, thinking, feeling, imagining when he created this or that image, choosing the only necessary word.

It is clear that the same emotions of joy, pleasure, fear, sadness, etc. can be caused by many different impressions. Accordingly, an infinite number of associative connections can arise between objects and phenomena that are correlated with each other only in the imagination this person, born only of his individual emotions. Each of us is a unique individual, each builds his own, unique series, and that is why there cannot be an absolutely accurate, only correct reading of a work of art. We bring something of our own to it, prompted by our personal life and emotional experiences. This is especially true for reading classics that are distant in time: we are not sufficiently familiar with the realities of historical existence, with the peculiarities of thinking and imagination of people of previous centuries. And the task of a literate reader is to get as close as possible to author's intention, to the movement of author's associations, the work of his imagination, and ultimately to the development of his artistic thought.

And here we will be helped by turning to artistic details, attention to some minor elements of the text, down to its syntactic features, sound organization, etc. There can no longer be a single recipe: each text itself suggests to us the path of research, as if hinting at the meaning of this or that artistic element. It is on this path that the most unexpected and, perhaps, the most interesting discoveries await us.

The originality of poetic speech is most fully revealed in its rhythm (although this is not its only feature). Let us turn to Bunin's poem from this point of view. Before us is iambic tetrameter. However, not all lines can withstand complete division into regular, full-impact feet. In the above example, only the second and fourth feet are maintained in all lines. On the third foot the stress is skipped (2.3 lines of the first quatrain, 1 line of the second quatrain). This affects the rhythm of the poem. The second and third lines of the first quatrain bear the pyrrhic on the third foot, and the first and fourth lines of the second quatrain on the first. Pyrrichation in two-syllable meters is a very common phenomenon, but it is not the only means by which the poet achieves the necessary variety of rhythm.

The purpose of iambic trimeter lines in the poem has a specific meaning. They are often used in combination with tetrameter lines and carry the role of strophic, syntactic, meaningful completion of intonation. The poem consists of two sentences, but what kind!

Rhythm is closely connected with other aspects of spoken speech. And above all, with sound repetition at the end of the line - rhyme. The appearance of rhyme emphasizes the special significance of the lines. Gives them increased expressiveness. This is a rhymed verse, and the rhyme is exact (sky - bosom, sleep - she, morning star - eyelashes), with the exception of the wave - star, in in this case It is the absence of exact rhyme that the poet draws our attention to these images; it is no coincidence that at the very beginning of the analysis we focused our attention on them. The poet abandoned exact rhyme, perhaps in order for the poetic speech in these lines to reach its highest tension.

Often poets use sound repetition in the depths of a poetic line; it plays an equally important semantic and organizational role. In the first quatrain, alliteration (z-s) conveys a casual play of sounds. These sounds, together with the assonances of open vowels, create the impression of silence, spaciousness, and freshness. In the second quatrain, the poet repeats the sound “z” in the words “star”, “closed”, adding lines with abundant alliteration on “r” - “child”, “trembles”, “wind”, “eyelashes”, “did not close”. The sound effect is enhanced by the contrast that this sound introduces in the last lines of the poem. IN last word both sounds “merged”, and this gives us the opportunity to assume that the main action expected from a star is associated with the continuation of its life, its continuous light, brilliance, and the feeling of the joy of being.

Line endings, counting from the last stressed syllable, are called clauses. The alternation of male and female clauses gives the poem its originality. This emphasizes the naturalness and clarity of poetic speech.

Rhymes, like clauses, differ in the place of the last stress in the line. In the first stanza, lines 1 and 3 are masculine rhyme; 2 and 4 – female; The rhyme in this quatrain is cross. In the second stanza, 1 and 4 are male, 2 and 3 are female; encompassing rhyme (circular or belted).

The poet used a stanza of four lines with a different rhyme system, common in Russian versification - a quatrain. In both the first and second quatrains the lines form a single phrase. But in the first case it is non-union difficult sentence, consisting of 2 simple, common sentences with direct word order, and in the second we have a complex syntactic whole, consisting of two parts: 1- a simple sentence, common, complicated by a comparative phrase, the use of inversion draws our attention to the action of the subject; 2 – complex sentence with subordinate purpose. It is the second sentence that enhances the sensations, intensifies the emotions associated with the image of the star, and makes this image more vivid and impressive. The sound organization of the verse also serves the same purpose.

We see that the stanzas are constructed in different ways; this organization of the verse gives each stanza a unique sound. Thus, the construction of the stanza is closely related to the content of the poem and its character. We became convinced of this while working on the content of the work.

Thus, herself art system poem, literally all the features of its form give us an answer to an important substantive question: what image is important for the lyrical hero: a sea wave or a star in the sky. And it seems that the star is closer to him than the sea element. This is emphasized by all previous work on the poem.

If we turn to Bunin’s work, to his other poems, we will see that it was the stars that more than once became the heroes of his poetic revelations. One of the poems begins like this: “I will not tire of chanting you, stars!” and this once again proves that the image of a star does not appear in the analyzed poem by chance.

In general, the lyrical hero of the poem, endlessly feeling a living connection with nature, demonstrates a living knowledge of the world. Only by speaking with nature in its language, you can fully enter its endless and mysterious world, noticing the amazing subtleties and facets of its beauty. The lyrical hero feels a blood connection with nature, with each of its manifestations, be it a sea wave or a dawn star, he himself is inseparable from them, being one of the manifestations of the many-sided existence of nature.

The poem “Sea Green...” can be safely attributed to landscape lyrics, characteristic of Bunin’s poetry at the turn of the century, although here it is already evident philosophical character lyric poetry: the poet finds an element of the “all-human” (which he spoke about, in relation to Pushkin, in his famous speech Dostoevsky). The feeling of the universality of life, its eternal cycle “in myriads of invisible beings” continues in the later poems of the poet, who clearly follows the Tyutchev tradition.

Earthly life, the existence of nature and man are perceived by the poet as part of a great mystery, a grandiose “action” unfolding in the vastness of the Universe.

And maybe I will understand you, stars,

And the dream, perhaps, will come true,

What are earthly hopes and sorrows

Destined to merge with the heavenly mystery!

Tasks school stage

All-Russian Olympiad literature for schoolchildren

Academic year

Class

Running time - 300 minutes

Total maximum score - 100 points

Exercise 1.

The maximum score for the task is 70.

Complete the tasks of option 1 or option 2 to choose from.

Option

Perform a holistic analysis of the proposed work. Your work should be a coherent, coherent, complete text.

K.G. Paustovsky

glassmaker

Grandma Ganya lived on the outskirts, in a small hut. Ganya was lonely. Her only grandson Vasya worked in Gus-Khrustalny at a glass factory. Every autumn he came on vacation to his grandmother, bringing her cut blue glasses as a gift, and for decoration - small glass samovars, shoes and flowers. He blew them himself.

All these cunning trinkets stood in the corner on the stand. Grandma Ganya was afraid to touch them.

On holidays, the neighborhood kids came to visit her. She allowed them to look at these magical things, but did not give them anything in their hands.

“This thing is as fragile as ice,” she said. - The hour is not even certain - you will break it. Your hands are clumsy. You don’t know how to hold a cap, but you also pester: “Let me hold it and let me touch it.” You have to hold them weakly, weakly, like a sparrow. Why can you do that? And if you can’t, then look from afar.

And the guys, sniffling and wiping their noses on their sleeves, looked “from afar” at the glass toys. They shimmered with a slight shine. When someone stepped on a shaky floorboard, they rang long and thinly, as if they were talking to each other about something of their own - glassy and incomprehensible.

In addition to glass toys, in Grandma Ganya’s hut there lived a red dog named Zhek. It was an old, toothless dog. All day he lay under the stove and sighed so much that dust rose from the floor.

Grandma Ganya often came to Zhek and me to sit on the porch, bask in the autumn sun, talk about various things, and complain about old age.

“I have become completely weak, I hardly eat anything,” she said. -The sparrow will also pinch more in a day than I do.

One day she asked me to write a paper to the village council. She dictated it herself. It was apparently difficult to dictate to Grandma Gana.

“Write, my dear,” she said. - Write exactly as I say: “I, Agafya Semenovna Vetrova, a resident of the village of Okoemova, inform the village Council that in the event of my death, I leave my house with all its furnishings to my grandson Vasily Vetrov, a glass master, and priceless glass items made for fun , please take me to school for the kids. Let them see what miracles a person can perform if he has golden hands. Otherwise, all our men know is to plow, trim, and mow, and that’s not enough for a man. He must also know what kind of skill there is.

My grandson is such a master that he cannot make only the earth and the sky, but everything else can be cast from glass of wonderful beauty. My Vasya is not married, he doesn’t drink. I'm afraid that he won't be dear to me in life. On this occasion, I humbly ask our authorities not to leave him concerned, so that the gift given to him from childhood does not disappear, but grows larger and larger. Therefore, I am informing you that my grandson came up with the idea of making a certain thing out of heavy glass - in the city it is called a piano, but in our village we have not seen or heard of it for a long time. He expressed this very dream to me, and if I lose it, there could be trouble. Therefore, I ask: help him in any way you can. And let the pharmacist, Ivan Yegorych, take Zhek’s dog, he’s kind to animals. I remain with this, the widow Agafya Vetrova.”

When we wrote this paper, Zhek sat at the table and sighed - he must have felt that his fate was being decided.

Grandma Ganya folded the paper in four, wrapped it in a cotton scarf, bowed low, like an old man, and left.

The next morning, I and my friend, an artist, went by boat to Prorva, a deep, quiet river. We spent three days on the banks of the Prorva, fishing.

It was the end of September. We spent the night in a tent. When we woke up at dawn, the tent panels sagged overhead and crunched - there was heavy frost on them. We crawled out of the tent and immediately made a fire. Everything I touched—the axe, the pot, the branches—was icy and burned my fingers.

Then the sun rose in the silence of the thickets, and we did not recognize Prorva - everything was sprinkled with frosty dust.

Only by noon did the frost melt. Then the meadows and thickets acquired their former colors, even brighter than always, since the flowers and grasses were wet from the melted frost. The gray carnation turned red again. White, as if candied, rosehips turned into orange, and the lemon leaves of birches lost their silver coating and rustled into the clear sky for a year.

On the third day, Grandfather Pakhom came out of the rosehip thickets. He collected rose hips from a bag and took them to the pharmacist - after all, although not rich, he still made money. It was enough for tobacco.

- Great! - said the grandfather. “I can’t understand what you’re doing here, my dears.” They came up with their own prison companies.

We sat down by the fire to drink tea. Over tea, grandfather started difficult conversation about vitamins.

“I have shortness of breath,” said the grandfather. “I asked the pharmacist, Ivan Ggorych, for bee alcohol, but he swears that there is no such medicine. He even got angry with me. “You are always inventing God knows what,” he says, Pakhom. Bee alcohol consumption is prohibited according to state science. You should, he says, drink better than caraway seeds.”

- What? – I asked.

- Well, he recommends consuming some caraway seeds there. Rosehip infusion. From him, he says, comes long life. By God, I'm not lying. I’ll pour two glasses of these berries, make an infusion, drink it myself and take it to Grandma Gana - she made a mistake with us.

- The second day she lies in the hut, tidied, quiet, putting on a new blanket. He wants to die. But I’ll tell you straight out that there’s no need for me to die. You, my dears, will still hear a lot of different conversations from me. You won't regret it!

We immediately folded the tent, packed up and returned to the village. Grandfather was puzzled by our haste. He had seen many illnesses and deaths in his lifetime and treated these things with an old man's calmness.

“Once we are born,” he said, “we will all die.”

In the village, my grandfather and I immediately went to Grandma Gana. The huts and courtyards were empty: everyone had gone to the gardens to dig potatoes.

Zhek met us on the porch of Ganina’s hut, and we realized that something had happened to Ganya. Zhek, seeing us, lay down on his stomach, tucked his tail, squealed and did not look into the eyes.

We entered the hut. Grandma Ganya was lying on a wide bench, her hands folded on her chest. In her hands she held a paper folded in four - the one that I wrote with her. Before her death, Ganya put on her best old clothes. For the first time I saw a white Ryazan shushun, a brand new black scarf with white flowers tied on my head, and a blue checkered blanket.

Grandfather stepped on a shaky floorboard, and the glass toys immediately began to sing pitifully.

“Eternal peace,” said the grandfather and pulled the torn cap from his head. “I didn’t have time to prepare caraway seeds for her.” She was a soulful old woman, strict, without silver.

He turned to Zhek and said angrily, wiping his face with his cap:

- Why didn’t you pay attention to the hostess, you shaggy devil!

Zhek lowered his head and timidly waved his tail. He didn't understand why they were angry with him.

Grandma Ganya’s grandson, Vasya, arrived only on the tenth day, when Gakyu had long been buried and the neighbor’s children ran to her grave every day and scattered crumbled bread on it - for sparrows and all other birds. This was the custom in the village - to feed the birds at the graves, so that old cemetery It was fun from the birds chirping.

Vasya came to see us every day. He was a quiet man, like a boy, sickly - “kvely”, as they said in the village - but with gray stern eyes, the same as those of Grandma Ganya. He spoke little, listened more and smiled.

For a long time I did not dare to ask him about the glass piano. His cherished dream seemed impossible.

But one day at dusk, when the first snow was falling thickly outside the windows and birch firewood was firing in the stoves, I finally asked him about this Royal.

“Every master,” Vasya answered and smiled shyly, “has in his soul the dream of making such a magnificent thing that no one has done before.” That's why he's a master!

Vasya was silent.

“There are different types of glass,” he said. – There is rough, bottle and window. And there is thin, lead glass. In our opinion it is called flint glass, but in yours it is called crystal. Its shine and ring are very clean. He plays with rainbows like a diamond. Previously, it was a shame to work good things out of crystal - it was very brittle and required careful handling, but now they have found a secret to make such crystal that it is not afraid of fire, frost, or battle. It was from this crystal that I decided to cast my piano.

- Transparent? – I asked.

“That’s what we’re talking about,” Vasya answered. – You, of course, looked inside the piano and you know that the structure in it is complex. But, despite the fact that the piano is transparent, this device will only be slightly visible.

- Why?

- But because the shine from polishing and the crystal play will overshadow it. This is necessary, because another person cannot receive impressions from music if he sees how it happens. I will give the crystal a faint smoky color with a golden tint. Only the second keys will be made of black crystal, otherwise the whole piano will be like snow. It should glow and ring. I don't have the imagination to tell you what kind of ringing it must be.

From then until Vasya’s departure, we often talked with him about this piano.

Vasya left at the beginning of winter. The days were cloudy and mild. At dusk we went out into the garden. The last leaves were falling onto the snow. We talked about the piano, about how it would be most beautiful in winter - sparkling, singing as clearly as water sings, ringing on the first ice.

I even dreamed about it sometimes, this piano. It reflected the candle flames vintage portraits composers, heavy golden frames, snow outside the windows, a gray cat - he loved to sit on the lid of the piano - and, finally, the black dress of the young singer and her lowered hand. I dreamed of the voice of a crystal piano echoing through the halls, like an echo.

I dreamed of a composer with gray eyes, a graying beard and a calm face. He sat down, struck a chord with his cold fingers, and the piano began to sing familiar words:

When the fields were silent in the morning.

The sound of the pipes was sad and simple,

Have you heard?

I woke up and felt that wonderful tightness in my heart that always arises when thinking about the talent of the people, their songs, their great musicians and humble glassmakers.

The snow fell more and more thickly and covered the grave of Grandma Ganya. And more and more winter took hold of the forests, our garden, and our whole lives.

And all this Ryazan land seemed especially sweet to me now. The land where Grandma Ganya and Grandfather lived, where yesterday’s village boy dreamed of a crystal piano and where the red bunches of rowan berries left over from the fall glowed among the snowy forests.

K.G. Paustovsky (1892-1968) - Russian Soviet writer, classic of Russian literature.

Option

Perform an analysis of the proposed poem (theme, idea of the poem, plot, artistic media(tropes, stylistic figures, poetic phonetics), the image of a lyrical hero, literary direction, genre). Your work should be a coherent, coherent, complete text.

Anna Akhmatova

Summer garden

I want to go to the roses, to that only garden,

Where the best in the world stands from the fences,

Where the statues remember me young,

And I remember them under the Neva water.

In the fragrant silence between the royal linden trees

I imagine the creaking of ship masts.

And the swan, as before, swims through the centuries,

Admiring the beauty of your double.

And hundreds of thousands of steps sleep dead

Enemies and friends, friends and enemies.

And the march of shadows has no end in sight

From a granite vase to the door of a palace.

My white nights whisper there

About someone's high and secret love.

And everything burns with mother-of-pearl and jasper,

But the source of light is mysteriously hidden.

Task 2

Write an article "NOVELLA" for the dictionary literary terms. Give examples.

The maximum score for the task is 30 points

Related information.

Largely under the influence of Asafiev’s ideas and their implementation in some of his works, the concept was put forward holistic analysis, owned by L.V. Kulakovsky, V.A. Tsukkerman, L.A. Mazel and I.Ya. Ryzhkin (early 30s). The term “holistic analysis,” as L. A. Mazel writes about it, belongs to V. A. Tsukkerman, although Tsukkerman himself denies this 40 . But, ultimately, the issue of priority in this case is not so important. Another thing is important: both Zuckerman and Mazel throughout their entire career defended, implemented and propagated this concept with their own scientific works, seeing in it both the method and the ultimate goal of an analytical approach to the art of music.

The essence of this approach to the study of a musical work is that at each stage analysis a piece of music is shown as whole, as uni-

cal artistic object. Moreover, it is also expected to go beyond of this essay: numerous connections and his relationships with others who are somewhat close to him are considered, or, on the contrary, opposition in relation to those distant from him, in other words, the interaction of the work with the context in which it is immersed. Thus, holistic analysis the name itself contains a contradiction, since it, first of all, indicates a gravitation towards synthesis, to restoration integrity.

Therefore, the tasks that such an analysis poses to the researcher are extremely complex. It requires not only fundamental knowledge and mastery of the entire technological arsenal of musicology, not only the undeniable talent of an interpretive musician (Mazel writes: “Holistic analysis is also a musicological interpretation works" 41), but also - and no less important - requires the presence of undeniable literary talent, since the story about a work of art, according to Zuckerman, "must at least to some extent bear a reflection of artistry... and mature, experienced musicologists do not always achieve success in synthesizing content and literature..." 42.

The best samples holistic analysis (some of them appeared even before the formulation of this theoretical concept) indicate that the transmission of musical impressions in the language of words requires, in fact, magical mastery of language, an accurate hit in the choice of the words themselves and their combinations, and therefore requires a combination of talents listener, interpreter and true talent broadcaster. Such works include books by R. Rolland about Beethoven, books by B. V. Asafiev (“ Symphonic studies" and "Eugene Onegin. Lyrical scenes of P. I. Tchaikovsky. Experience of intonation analysis of style and musical dramaturgy”), books by L. A. Mazel (“Chopin’s Fantasy in f-moll. Experience of analysis”) and V. A. Tsukkerman (“Glinka’s “Kamarinskaya” and its traditions in Russian music” and “Sonata B minor by F. Liszt") and a number of others. All these works, undoubtedly, brought a lot of new things to our understanding of the works described and put forward many fruitful ideas that enriched musicology as a whole.

However, the concept of holistic analysis - musicological interpretation piece of music, which gave abundant fruit as a manifestation of the individual talent of individual researchers, showed that its use is not only a scientific understanding of a unique artistic creation, but at the same time - the fruit a unique, artistic interpretation of it, that is, it does not quite fit into the framework of Sciences.

A different path was planned later. In the second half of the 20th century. in Russian musicology, works began to appear, also inspired by Asafiev’s ideas, but aimed not at analyzing an individual artistic creation, but at comprehending those patterns, which in principle mark the entire field of typical musical structures. This path was all the more difficult because, returning to seemingly long-studied material - typical forms, it was necessary to defend and justify completely new approach, a new position in relation to them. The main question of analysis in this understanding can be formulated as follows.

If a musical form is result the process of formation of a musical work, and not his reason As Asafiev proved, if every truly artistic musical work is unique and inimitable, then how and how to explain the existence typical musical structures? How can we explain their existence? invariants?

The same question can be asked differently.

Over the course of many decades, hundreds and thousands of sonatas and symphonies, small and large instrumental and vocal works were created according to a single compositional plan, according to uniform laws, for a long time unwritten and even now not fully realized. And among the authors of these creations are great authors! - there were very few conformists who obediently followed tradition; on the contrary, their uniqueness lay in the fact that they endlessly violated the so-called school rules and were not at all inclined to follow any pre-given guidelines without sufficient reason. Why, despite the fact that eras, trends, and stylistic models changed, composers continued (and even now to some extent continue) to use the same Are invariants typical structures?

The task that faces analysis as a science, therefore, is not simply to describe these structures with greater or less detail and detail,

but to open those patterns, which led to their appearance, to their crystallization and to such a long historical life.

But every typical structure is a property that belongs to the work as whole, and not some particular part of it. And therefore, another possible answer to the question posed in the title of the previous paragraph: analysis of a musical work is the path to the discovery of the patterns that underlie typical structures, to their comprehension and to testing their effect on each time new, specific musical material.

There are also certain achievements along this path. A notable milestone was the work of L. A. Mazel and V. A. Tsukkerman, V. P. Bobrovsky, O. P. Sokolov, Yu. N. Kholopov, E. A. Ruchyevskaya; It is precisely this scientific and theoretical approach that marks the textbook “Musical Form,” created by a group of professors and teachers of the St. Petersburg Conservatory, edited by Professor Yu. N. Tyulin.

Let's consider the main scientific ideas that currently make up the arsenal of analysis as a science.

Largely under the influence of Asafiev’s ideas and their implementation in some of his works, the concept was put forward holistic analysis, owned by L.V. Kulakovsky, V.A. Tsukkerman, L.A. Mazel and I.Ya. Ryzhkin (early 30s). The term “holistic analysis,” as L. A. Mazel writes about it, belongs to V. A. Tsukkerman, although Tsukkerman himself denies this. But, ultimately, the issue of priority in this case is not so important. Another thing is important: both Zuckerman and Mazel throughout their entire career defended, implemented and propagated this concept with their own scientific works, seeing in it both the method and the ultimate goal of an analytical approach to the art of music.

The essence of this approach to the study of a musical work is that at each stage analysis a piece of music is shown as whole, as uni-

cal artistic object. Moreover, it is also expected to go beyond the scope of this work: numerous connections and its relationships with others that are somewhat close to it are considered, or, on the contrary, opposition in relation to those distant from it, in other words, the interaction of the work with the context in which it's immersed. Thus, holistic analysis the name itself contains a contradiction, since it, first of all, indicates a gravitation towards synthesis, to restoration integrity.

Therefore, the tasks that such an analysis poses to the researcher are extremely complex. It requires not only fundamental knowledge and mastery of the entire technological arsenal of musicology, not only the undeniable talent of an interpretive musician (Mazel writes: “Holistic analysis is also a musicological interpretation works"), but also - which is no less important - requires the presence of undeniable literary talent, since the story about a work of art, according to Zuckerman, “must at least to some extent bear a reflection of artistry ... and mature, experienced musicologists do not always achieve success in the synthesis of meaningfulness and literature...”

The best examples of holistic analysis (some of them appeared even before the formulation of this theoretical concept) indicate that the transmission of musical impressions in the language of words requires, in fact, magical mastery of language, an accurate hit in the choice of the words themselves and their combinations, and therefore requires combining the talents of listener, interpreter and genuine talent broadcaster. Such works include books by R. Rolland about Beethoven, books by B. V. Asafiev (“Symphonic Etudes” and “Eugene Onegin. Lyrical scenes of P. I. Tchaikovsky. Experience of intonation analysis of style and musical dramaturgy”), books by L. A Mazel (“Fantasia in f-moll by Chopin. Experience of analysis”) and V. A. Tsukkerman (“Glinka’s “Kamarinskaya” and its traditions in Russian music” and “Sonata in B minor by F. Liszt”) and a number of others. All these works, undoubtedly, brought a lot of new things to our understanding of the works described and put forward many fruitful ideas that enriched musicology as a whole.

However, the concept of holistic analysis - a musicological interpretation of a musical work, which has yielded abundant fruit as a manifestation of the individual talent of individual researchers - has shown that its use is not only a scientific understanding of a unique artistic creation, but at the same time - the fruit a unique, artistic interpretation of it, that is, it does not quite fit into the framework of Sciences.

A different path was planned later. In the second half of the 20th century. In Russian musicology, works began to appear that were also inspired by Asafiev’s ideas, but were not aimed at analyzing an individual artistic creation, but to comprehend those patterns, which in principle mark the entire field of typical musical structures. This path was all the more difficult because, returning to seemingly long-studied material - typical forms, it was necessary to defend and justify a completely new approach, a new position in relation to them. The main question of analysis in this understanding can be formulated as follows.

The same question can be asked differently.

Over the course of many decades, hundreds and thousands of sonatas and symphonies, small and large instrumental and vocal works were created according to a single compositional plan, according to uniform laws, unwritten for a long time and even now not fully realized. And among the authors of these creations are great authors! - there were very few conformists who obediently followed tradition; on the contrary, their uniqueness lay in the fact that they endlessly violated the so-called school rules and were not at all inclined to follow any pre-given guidelines without sufficient reason. Why, despite the fact that eras, trends, and stylistic models changed, composers continued (and even now to some extent continue) to use the same Are invariants typical structures?

The task that faces analysis as a science, therefore, is not simply to describe these structures with greater or less detail and detail,

but to open those patterns, which led to their appearance, to their crystallization and to such a long historical life.

There are also certain achievements along this path. A notable milestone was the work of L. A. Mazel and V. A. Tsukkerman, V. P. Bobrovsky, O. P. Sokolov, Yu. N. Kholopov, E. A. Ruchyevskaya; It is precisely this scientific-theoretical approach that marks the textbook “ Musical form", created by a group of professors and teachers of the St. Petersburg Conservatory, edited by Professor Yu. N. Tyulin.

Let's consider the basic scientific ideas that make up the currently arsenal of analysis as a science.

For the first time D.S. Likhachev in his article “The Inner World of a Work of Art” wrote that “every work of art reflects the world of reality in its own creative perspective. And these angles are subject to comprehensive study in connection with the specifics of the work of art and, above all, in their artistic whole.” D.S. Likhachev proposed an approach to the study of a work of art, in which the style of the work, direction, era is examined, attention is paid to what world the writer immerses us in, what its space, time, psychological, moral world and social relations, movement of ideas, "what are those general principles, on the basis of which all these individual elements are connected into a single artistic whole." It is with this approach that the researcher examines Russian fairy tales and inner world works by F.M. Dostoevsky.

Following Likhachev, P.V. took up a similar analysis of the work. Palievsky. In the article “A Work of Art,” he wrote that “having crossed the threshold of the work, we thus find ourselves within a wholeness that is so hostile to dismemberment that even the very fact of reasoning about it contains a contradiction.” Exploring the story by L.N. Tolstoy's "Hadji Murat", Palievsky pays special attention to the idea, composition, space-time relations. He also writes that the work has an extension, its own artistic time, order in alternation and transition from one “language” to another (plot, character, circumstances, etc.).

T.I. Silman paid special attention to subtext. In one of her 1969 articles, “Subtext as a Linguistic Phenomenon,” she wrote that subtext is the unexpressed in words, latent, but tangible for the reader, meaning of any event in a work of art; the subtext is nothing more than a dispersed, distanced repetition. This is a complex phenomenon representing a unity different levels language, lexical and syntactic, which is included in the plan of general compositional connections of a literary work.

In the second article, “Subtext is the depth of the text,” T. Silman argued that subtext cannot be understood in a simplified way. This is a latent storyline that makes itself felt only indirectly, most often at the most crucial, psychologically significant moments of plot development. The author of the article examined the subtext using the example of Goethe’s “The Sorrows of Young Werther”, the works of Chekhov, and Hemingway, since she believed that subtext began to be used in literature in the late 19th - early 20th centuries.

B.A. Uspensky in his 1970 book “The Poetics of Composition: The Structure of Literary Text and Typology” compositional form", offered his own approach to isolating the structure of the work. This is an approach associated with determining the points of view from which the narrative is told in a work of art. The point of view in this work is central problem composition of a work of art that combines a variety of art forms. B. Uspensky considered points of view in terms of ideology, phraseology, space-time characteristics and in terms of psychology, as well as their relationships at different levels of a work of art.

The next was a monograph by A.P. Chudakov’s 1971 “The Poetics of Chekhov,” in which he wrote that in dividing an artistic system into levels, one should proceed from understanding it as the relationship between the material (facts, events depicted by the writer in the work) and the form of its organization. The dual aspect of the artistic system determines the dual nature of division. The first division is based on the material, and the following levels are distinguished: subject, plot-plot and level of ideas. The second division is based on highlighting the organization of the narrative. The organization of the text in relation to the “descriptor” - the narrator, or storyteller - is narration. At each stage, the analysis is carried out based on the unity of content and form. Chudakov studied the poetics of A.P. Chekhov, highlighting subjective and objective narration in the structure of the narrative, explores the plot, plot and depicted world in the works of A.P. Chekhov.

In the book by V.M. Zhirmunsky “Theory of Literature. Poetics. Stylistics" included the article "Tasks of Poetics" in 1919. In its first part, the author paid special attention to the content of the work (what is expressed) and its form (how this something is expressed), since these two categories are fused: all content appears in art as form and any change in form is a disclosure of content. In the second part of his article, V.M. Zhirmunsky spoke about two types speech activity- poetic and prosaic language, since both of them perform different tasks. He illustrated this using the example of a poem by A.S. Pushkin and Turgenev's story. The author also considered it important to study the theme of the work, its composition, semantics, and stylistics.

In 1977, Zoltan Kanyo published an article “Notes on the question of the beginning of the text in literary storytelling". At the beginning of the article, Kanyo writes that the text is a special linguistic structure, since it has been proven that the text is somehow closed on both sides. The purpose of his work is the analysis of the beginning of a text in one type of speech, or, in other words, the analysis of literary texts with in certain ways speech. The author writes that the function of the beginning of the text is determined by the fact that it reveals one or another linguistic affiliation with one of the methods of narration, which are based on pragmatic aspects. The author also focuses on the fact that the beginning of the text does not coincide with the actual beginning literary text. For comparison, the author studies the function of the beginning in Boccaccio's Decameron, arguing that the study of this work difficult, and in fairy tales, since the text of the fairy tale is simpler.

L.Ya. Ginzburg devoted her 1979 monograph “On the Literary Hero” to the problem of depicting a person in fiction. In her work, Lidia Yakovlevna argued that with a literary hero the writer expresses his understanding of a person; The first meeting with a literary hero should be distinguished by recognition. Ginzburg refers to the typological and psychological identification of the character.

In the second chapter of the monograph, the researcher draws attention to direct speech, since she believed that among all the means of literary depiction of a person (appearance, gestures, actions) special place belongs to external and internal speech characters. The direct speech of the characters has the potential to reliably testify to their psychological state.

In the chapter “The Structure of a Literary Hero” L.Ya. Ginzburg wrote that a literary character is a series of successive appearances of one person within of this text. Repeating, more or less stable features form the properties of a character. The author also drew attention to the fact that the main moving mechanism of the behavior of a literary hero is the principle of contradiction, since the plot of a literary work is a unity moving in time, and movement is always a contradiction, a conflict.

MM. Girshman's 1982 article “The Problem of the Specificity of Rhythm literary prose” dedicates itself to rhythm. He calls rhythm the prerequisite and fundamental principle of thinking and poetic knowledge of the world. Girshman draws attention to the fact that rhythm in prose can manifest itself not in the verbally rhythmic fabric, but in other properties of the prose narrative: in the change of fragments, in the harmony of construction, in all elements of the composition. He also writes that rhythm is not an end in itself and not a separate, isolated problem; awareness of rhythm is inseparable from the holistic process of creating a verbal and artistic structure. In the second part of his article, the author writes that the most obvious unit of division of a prose utterance is the sentence-phrase, and also draws attention to beginnings and endings, arguing that a particularly significant rhythmic contrast in them is the contrast between stressed and unstressed forms. Particularly important in the system of rhythmic-syntactic connections, according to Girshman, is the opposition of simple and complex, allied and non-allied syntactic constructions.

L.S. Levitan and L.M. Tsilevich studied the plot in the structure of a holistic analysis of the work. Their book “Plot in the artistic system of a literary work” is devoted to this topic. In the introduction, the authors come to the conclusion that the artistic system of a literary work is a unity of speech structure and plot, organized by composition and possessing rhythmic and spatiotemporal properties. In their work, Levitan and Tsilevich consider the plot-fable unity (here the authors write that this unity should be considered from two points of view: the transition of reality into the plot - through the plot; the transition of the plot into the plot - through the word); plot-speech unity (since the word and the plot are in a relationship of interpenetration), plot-thematic unity (by analyzing the plot, we analyze the process of implementation, deployment, development of the theme of the work); plot-compositional unity (development of action, as well as the location and relationship of parts).

In their latest monograph, the authors distinguish between lyrical and dramatic plots, drawing attention to the fact that dramatic plot, unlike the lyrical one, is based on the plot. In conclusion, Levitan and Tsilevich come to the conclusion that the features of the plot are determined by the principles of artistic method, genre, style, but these principles themselves are embodied only in the plot.

Studying the problem of holistic analysis, each of the literary scholars offers their own system of studied layers of the work, or pay attention to only one aspect. In our analysis, we will try to study all of the above levels of the work.