Composition work of art
Composition- this is the construction of all elements and parts of a work of art in accordance with the author’s intention (in a certain proportion, sequence; compositionally designed figurative system characters, space and time, event sequence in the plot).
Compositional and plot parts literary work
Prologue- what led to the emergence of the plot, previous events (not in all works).
Exposition- designation of the original space, time, heroes.
The beginning- events that give development to the plot.
Development of action- development of the plot from beginning to climax.
Climax- the moment of the highest tension of the plot action, after which it moves towards the denouement.
Denouement- termination of action in a given conflict area when contradictions are resolved or removed.
Epilogue- "announcement" further developments, summing up.
Composition elements
Compositional elements include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (created by the author’s imagination of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (Oblomov’s dream in Goncharov’s novel “Oblomov”, letters from Tatyana to Onegin and Onegin to Tatyana in Pushkin’s novel “Eugene Onegin”); all artistic descriptions (portraits, landscapes, interiors).
Compositional techniques
Repeat (refrain)- the use of the same elements (parts) of the text (in poems - the same verses):
Keep me, my talisman,
Keep me in the days of persecution,
In days of repentance and excitement:
You were given to me on the day of sorrow.
When the ocean rises
The waves are roaring around me,
When the clouds burst into thunder -
Protect me, my talisman...
(A.S. Pushkin “Keep Me, My Talisman”)
Depending on the position, frequency of appearance and autonomy, the following compositional techniques are distinguished:
Anaphora- repeat at the beginning of the line:
Past the lists, temples,
past temples and bars,
past gorgeous cemeteries,
past the big markets...
(I. Brodsky “Pilgrims”)
Epiphora- repeat at the end of the line:
My horse, don’t touch the earth,
Don’t touch my star’s forehead,
Don't touch my sigh, don't touch my lips,
The rider is a horse, the finger is a palm.
(M. Tsvetaeva “The Khan is full”)
Simploca- the next part of the work begins in the same way as the previous one (usually found in folklore works or stylizations):
He fell on the cold snow
On the cold snow, like a pine
(M.Yu. Lermontov “Song about Tsar Ivan Vasilyevich ...”)
Antithesis- opposition (works at all levels of text from symbol to character):
I swear by the first day of creation,
I swear by his last day.
(M.Yu. Lermontov “Demon”)
They got along. Wave and stone
Poetry and prose, ice and fire...
(A.S. Pushkin “Eugene Onegin”)
Compositional techniques related with time shifts(combination of time layers, retro jump, insert):
Retardation- stretching a unit of time, slowing down, braking.
Retrospection- returning the action to the past, when the reasons for the narrative taking place at the present moment were laid (the story about Pavel Petrovich Kirsanov - I.S. Turgenev “Fathers and Sons”; the story about Asya’s childhood - I.S. Turgenev “Asya”).
Changing “points of view”- a narration about one event from the point of view of different characters, character and narrator (M.Yu. Lermontov “Hero of Our Time”, F.M. Dostoevsky “Poor People”).
Parallelism- the arrangement of identical or similar in grammatical and semantic structure of speech elements in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words.
Your mind is as deep as the sea
Your spirit is as high as the mountains
(V. Bryusov “Chinese poems”)
An example of compositional parallelism in prose text The work of N.V. can serve as an example. Gogol "Nevsky Prospekt".
Main types of composition
- Linear composition: natural time sequence.
- Inversion (retrospective) composition: reverse chronological order.
- Ring composition: repetition of the initial moment in the finale of the work.
- Concentric composition: plot spiral, repetition of similar events as the action progresses.
- Mirror composition: a combination of repetition and contrast techniques, as a result of which the initial and final images are repeated exactly the opposite.
Significantly influences the expression of his ideas. The writer focuses his attention on those who attract him to given time life phenomena and embodies them through artistic image characters, landscapes, mood. At the same time, he strives to connect them in such a way that they are truly convincing and really reveal what he wanted to show, so that they encourage the reader to think.
Belinsky constantly pointed out in his works that composition in literature significantly influences the revelation of the writer’s ideological plan. He believed that main idea The author must meet the following criteria: isolation and completeness of the whole, completeness, proportionate distribution of roles between the characters of the work of art. Thus, composition in literature is determined by the author’s positions: ideological and aesthetic. But idea and theme can only be harmoniously combined in mature work.
The composition of the text is considered by literary scholars from different points of view. And on general definition they have not agreed to this day. Most often, composition in literature is defined as the construction of a correlation of all its parts with a single whole. It is known that it has many components that writers use in their works to complete the depiction of life pictures. The main elements that make up a composition in literature are lyrical digressions, portraits, inserted episodes, epigraphs, titles, landscapes, and surroundings.
Epigraphs and titles carry a special load.
The title usually indicates the following aspects of the work:
Subject (for example, Bazhov “Malachite Box”);
Images (for example, George Sand “Countess Rudolfstadt”, “Valentine”);
Issues (E. Bogat “What moves the Sun and luminaries”).
An epigraph is a kind of additional title, which is usually associated with the main idea of the work or hints at the striking features of the main character.
Lyrical digressions stand apart from the storyline. With their help, the author has the opportunity to express his own attitude to the events, phenomena and images that he depicts. There are also lyrical digressions in which the experiences of several characters merge, but at the same time it is still clear that here the writer expressed his feelings and thoughts. For example, as in the digression about mother’s hands in the novel “The Young Guard” by Fadeev.
Choosing a Connection Sequence listed elements, their own principles of “assembly”, each author creates unique work. And he uses the following:
- Ring composition, or framing composition. The writer repeats artistic descriptions, stanzas at the beginning of the work, and then at the end; the same events or characters at the beginning of the story and at the end. This technique is found in both prose and poetry.
- Reverse composition. When the author places the ending at the beginning of the work, and then shows how events developed, explains why it is this way and not otherwise.
- Using the technique of retrospection is when the writer places readers in the past, when the reasons for the events that happened in the past were formed. at the moment. Sometimes the retrospective is presented in the form of memories of the main character or his story (the so-called “story within a story”).
- A compositional break in events, when one chapter ends at the most intriguing moment, and the next begins with a completely different action. This technique is more often found in works of the detective and adventure genre.
- Using exposure. It may precede the main action, or it may be completely absent.
Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel...), but also a literary cycle, that is, a group of poetic or prose works, united common hero, general ideas, problems, etc., even the general place of action (for example, the cycle of stories by N. Gogol “Evenings on a Farm near Dikanka”, “Belkin’s Tales” by A. Pushkin; the novel by M. Lermontov “A Hero of Our Time” is also a cycle of individual short stories , united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their interrelation are called COMPOSITION:
COMPOSITION(from Latin Сompositio, composition, composition) - construction, structure of a work of art: selection and sequence of elements and visual techniques works that create an artistic whole in accordance with the author's intention.
TO composition elements A literary work includes epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (extra-plot images created by the author’s imagination), dialogues, monologues, episodes, inserted stories and episodes, letters, songs ( for example, Oblomov's Dream in Goncharov's novel "Oblomov", a letter from Tatyana to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets..." in Gorky's drama "At the Lower Depths"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.
When creating a work, the author himself chooses layout principles, “assemblies” of these elements, their sequences and interactions, using special compositional techniques. Let's look at some principles and techniques:
- the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; this composition is called reverse(this technique was used by N. Chernyshevsky in the novel “What is to be done?”);
- the author uses composition framing, or ring, in which the author uses, for example, repetition of stanzas (the last repeats the first), artistic descriptions(the work begins and ends with a landscape or interior), the events of the beginning and ending take place in the same place, the same characters participate in them, etc.; This technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in “Poems about a Beautiful Lady”) and in prose (“ Dark alleys"I. Bunin; "Song of the Falcon", "Old Woman Izergil" by M. Gorky);
- the author uses the technique retrospections, that is, the return of the action to the past, when the reasons for the narrative taking place at the present moment were laid (for example, the author’s story about Pavel Petrovich Kirsanov in Turgenev’s novel “Fathers and Sons”); Often, when using flashback, an inserted story of the hero appears in a work, and this type of composition will be called "a story within a story"(Marmeladov’s confession and Pulcheria Alexandrovna’s letter in “Crime and Punishment”; chapter 13 “The Appearance of the Hero” in “The Master and Margarita”; “After the Ball” by Tolstoy, “Asya” by Turgenev, “Gooseberry” by Chekhov);
- often the organizer of the composition is the artistic image, for example, the road in Gogol's poem" Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival to Korobochka - road - tavern, meeting with Nozdryov - road - arrival to Nozdryov - road - etc.; it is important that the first volume ends with the road; this is how the image becomes the leading structure-forming element of the work;
- the author can preface the main action with exposition, which will be, for example, the entire first chapter in the novel “Eugene Onegin,” or he can begin the action immediately, abruptly, “without acceleration,” as Dostoevsky does in the novel “Crime and Punishment” or Bulgakov in “ The Master and Margarita";
- the composition of the work may be based on symmetry of words, images, episodes(or scenes, chapters, phenomena, etc.) and will appear mirror, as, for example, in A. Blok’s poem “The Twelve”; mirror composition often combined with framing (this principle of composition is characteristic of many poems by M. Tsvetaeva, V. Mayakovsky, etc.; read, for example, Mayakovsky’s poem “From Street to Street”);
- the author often uses the technique compositional "gap" of events: breaks off the narrative at the most interesting point at the end of the chapter, and a new chapter begins with a story about another event; for example, it is used by Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita. This technique is very popular among the authors of adventure and detective works or works where the role of intrigue is very large.
Composition is form aspect literary work, but its content is expressed through the features of the form. The composition of a work is an important way to embody the author's idea. Read A. Blok’s poem “The Stranger” in full for yourself, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas, listening to their sound:
The first stanza sounds sharp and disharmonious - due to the abundance of [r], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It cannot be otherwise, because Blok here paints a picture of disgusting philistine vulgarity, " scary world", in which the soul of the Poet toils. This is how the first part of the poem is presented. The seventh stanza marks the transition to new world- Dreams and Harmonies, and the beginning of the second part of the poem. This transition is smooth, the accompanying sounds are pleasant and soft: [a:], [nn]. So in the construction of the poem and using the technique of the so-called sound recording Blok expressed his idea of the opposition of two worlds - harmony and disharmony.
The composition of the work can be thematic, in which the main thing is to identify the relationships between the central images of the work. This type of composition is more characteristic of lyrics. There are three types of such composition:
- sequential, which is a logical reasoning, a transition from one thought to another and a subsequent conclusion at the end of the work (“Cicero”, “Silentium”, “Nature is a sphinx, and therefore it is truer...” by Tyutchev);
- development and transformation of the central image: central image is examined by the author from various angles, its striking features and characteristics are revealed; such a composition assumes a gradual increase in emotional tension and a culmination of experiences, which often occurs at the end of the work (“The Sea” by Zhukovsky, “I came to you with greetings...” by Fet);
- comparison of 2 images that entered into artistic interaction(“The Stranger” by Blok); such a composition is based on the reception antitheses, or oppositions.
Composition(from Lat. soshro - fold, build) - this is the construction of a work of art.
The multi-story and multi-faceted nature of Dostoevsky's novels amazed his contemporaries, but the new compositional form that emerged as a result of this was not always understood by them and was characterized as chaotic and inept. Famous critic Nikolai Strakhov accused the writer of not being able to cope with a large amount of plot material and not knowing how to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You pointed out the main drawback terribly accurately,” he wrote. - Yes, I suffered from this and continue to suffer: I am completely incapable of, and still have not learned to cope with, my means. Many separate novels and stories fit side by side into one, so there is no measure, no harmony.”
“To build a novel,” Anton Pavlovich Chekhov later wrote, “you need to know well the law of symmetry and balance of masses. A novel is a whole palace, and the reader must feel free in it, not be surprised and not bored, as in a museum. Sometimes you need to give the reader a break from both the hero and the author. A landscape, something funny, a new plot, new faces are good for this...”
There can be a lot of ways to convey the same event, and they, these events, can exist for the reader in the form of an author’s narration or memories of one of the characters, or in the form of a dialogue, monologue, a crowded scene, etc.
The use of various compositional components and their role in creating the overall composition for each author has a certain originality. But for narrative compositions it is important not only how the compositional components are combined, but also what, how, when and in what way is highlighted and emphasized in general construction narratives. If, say, a writer uses the form of dialogue or static description, each of them can shock the reader or pass unnoticed, appear as a “rest,” as Chekhov noted. The final monologue, for example, or a crowded scene where almost all the heroes of the work are gathered, can grow unusually above the work and be its central, key moment. So, for example, the “trial” scene or the “In Mokroye” scene in the novel “The Brothers Karamazov” are climactic, that is, they contain highest points plot tension.
Compositional emphasis in the narrative, the most striking, highlighted or intense plot point should be considered. Usually this is a moment in plot development that, together with other accentuating moments, prepares the most intense point in the narrative - the climax of the conflict. Each such “emphasis” must relate to previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) relate to each other. A certain systematic arrangement of such accent moments is the most important task of narrative composition. It is this that creates “harmony and balance of the masses” in the composition.
The hierarchy of narrative components, some of which are highlighted more brightly or muted, strongly accentuated or have a auxiliary, passing meaning, is the basis of the composition of the narrative. It also includes narrative balance. story episodes, and their proportionality (in each case its own), and the creation of a special system of accents.
When creating compositional solution The main thing of an epic work is the movement towards the climax of each scene, each episode, as well as the creation of the desired effect by combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of the narrative can be defined as a combination within the epic work of narrative forms of image of different duration, having different strengths of tension (or emphasis) and constituting a special hierarchy in their sequence.
When deciphering the concept of “plot composition,” we must proceed from the fact that at the level of objective representation, the plot has its original composition. In other words, the plot of a separate epic work is compositional even before its narrative design, for it consists of an individual sequence of episodes chosen by the author. These episodes constitute a chain of events from the lives of the characters, events taking place in a certain time and located in a certain space. Composition These plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on their own.
At the level of plot composition, it is possible to divide episodes into “on-stage” and “off-stage”: the first tells about events that are directly occurring, the second - about events that happen somewhere “behind the scenes” or happened in the distant past. This division is the most general at the level of plot composition, but it necessarily leads to a further classification of all possible plot episodes.
The composition of literary works is closely related to their genre. The most complex are epic works, the defining features of which are many plot lines, a diverse coverage of life phenomena, broad descriptions, large number characters, the presence of the image of the narrator, the author’s constant intervention in the development of the action, etc. Features of the composition dramatic works- a limited amount of “intervention” by the author (during the course of the action the author inserts only stage directions), the presence of “off-stage” characters that allow for a broader coverage of life material, etc. Basis lyrical work It is not the system of events occurring in the lives of the heroes, not the arrangement (grouping) of characters, but the sequence of presentation of thoughts and moods, expressions of emotions and impressions, the order of transition from one image-impression to another. You can fully understand the composition of a lyrical work only by finding out the main thought and feeling expressed in it.
The most common three types of composition: simple, complicated, complex.
A simple composition is based, as they sometimes say, on the principle of a “string with beads”, that is, on “layering”, connecting individual episodes around one character, event or object. This method was developed back in folk tales. At the center of the story is one hero (Ivanushka the Fool). You need to catch the Firebird or win a beautiful maiden. Ivan hits the road. And all events are “layered” around the hero. This is the composition, for example, of N. A. Nekrasov’s poem “Who Lives Well in Rus'.” The search for truth-seekers for the “happy” gives the poet the opportunity to show Rus' from different sides: both in breadth and depth, and at different times.
A complex composition also has a main character at the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. Connecting these storylines and amounts to compositional basis works. This is the composition of “Eugene Onegin”, “Hero of Our Time”, “Fathers and Sons”, “The Golovlev Lords”. A complex composition is the most common type of composition of a work.
A complex composition is inherent in the epic novel (“War and Peace”, “ Quiet Don"), such a work as "Crime and Punishment". Many storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines here, which either develop in parallel, then intersect in their development, or merge. The complex composition includes both “layering” and retreats into the past - retrospection.
All three types of composition have a common element - the development of events, the actions of the characters in time. Thus, composition is the most important element of a work of art.
Often the main compositional device in a literary work is contrast, which allows the author’s intention to be realized. For example, L. N. Tolstoy’s story “After the Ball” is based on this compositional principle. The scenes of the ball (definitions with a positive emotional connotation predominate) and the execution scenes (the opposite stylistic connotations and verbs expressing action predominate) are contrasting. Tolstoy's contrasting technique is structural and ideologically and artistically decisive. The principle of opposition in the composition of M. Gorky’s story “Old Woman Izergil” (the individualist Larra and the humanist Danko) helps the author to embody his aesthetic ideal in the text of the work. The technique of contrast underlies the composition of M. Yu. Lermontov’s poem “How often, surrounded by a motley crowd...”. The poet’s pure and bright dream is contrasted with a deceitful society and images of soulless people.
Unique compositional techniques also include narration, which can be conducted on behalf of the author (“The Man in a Case” by A. P. Chekhov), on behalf of the hero, that is, in the first person (“The Enchanted Wanderer” by N. S. Leskov), on behalf of “folk storyteller” (“Who lives well in Rus'” by N. A. Nekrasov), on behalf of the lyrical hero (“I the last poet villages...” S. A. Yesenin), and all these features also have their own author’s motivation.
The work may include various digressions, inserted episodes, detailed descriptions. Although these elements delay the development of the action, they allow us to draw the characters in a more multifaceted way, to more fully reveal the author’s intentions, and to express the idea more convincingly.
The narrative in a literary work can be constructed in chronological sequence(“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies L.N. Tolstoy and M. Gorky, “Peter the First” by A.N. Tolstoy, etc.).
However, the composition of a work may not be determined by the sequence of events, not biographical facts, but by the requirements of ideological logic and psychological characteristics the hero, thanks to which he appears before us with various facets of his worldview, character, and behavior. The purpose of breaking the chronology of events is to objectively, deeply, comprehensively and convincingly reveal the character and inner world hero (“Hero of Our Time” by M. Yu. Lermontov).
Of particular interest is this compositional feature literary work, as lyrical digressions that reflect the writer’s thoughts about life, his moral position, his ideals. In digressions, the artist addresses topical social and literary issues, they often contain characteristics of the characters, their actions and behavior, and assessments of the plot situations of the work. Lyrical digressions allow us to understand the image of the author himself, his spiritual world, dreams, his memories of the past and hopes for the future.
At the same time, they are closely connected with the entire content of the work and expand the scope of the depicted reality.
The digressions that make up the unique ideological and artistic originality of the work and reveal the features of the writer’s creative method are varied in form: from a brief passing comment to a detailed argument. By their nature, these are theoretical generalizations, social and philosophical reflections, assessments of heroes, lyrical appeals, polemics with critics, fellow writers, appeals to their characters, to the reader, etc.
The themes of lyrical digressions in A. S. Pushkin’s novel “Eugene Onegin” are varied. The leading place among them is occupied by the patriotic theme - for example, in the stanzas about Moscow and the Russian people (“Moscow... How much has merged in this sound for the Russian heart! How much has echoed in it!”), about the future of Russia, which the poet saw to a patriot in the din of transformation and rapid movement forward:
The Russian highway is here and here,
Having connected, they will cross,
Cast iron bridges over water
They step in a wide arc,
Let's move mountains, underwater
Let's dig through the daring vaults...
IN lyrical digressions the novel passes and philosophical theme. The author reflects on good and evil, eternity and transience human life, about the transition of a person from one phase of development to another, higher one, about egoism historical figures(“We all look at Napoleons...”) and general historical destinies humanity, about the law of natural generation change on earth:
Alas! on the reins of life
Instant generational harvest
By the secret will of providence,
They rise, mature and fall;
Others are following them...
The author also speaks about the meaning of life, about ruined youth, when it passed “without a goal, without work”: the poet teaches youth a serious attitude towards life, evokes contempt for existence “in the inaction of leisure”, strives to infect with his tireless thirst for work, creativity, inspired labor that gives the right and hope for the grateful memory of descendants.
The artist’s literary and critical views were clearly and fully reflected in the lyrical digressions. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Naso. The author writes about Fonvizin, who satirically depicted nobility XVIII century, calls the playwright “a brave ruler of satire” and “a friend of freedom”, mentions Katenin, Shakhovsky, Baratynsky. A picture is given in the digressions literary life Russia at the beginning of the 19th century, the struggle of literary tastes is shown: the poet sneers at Kuchelbecker, who opposed elegies (“...everything in an elegy is insignificant; // Its empty purpose is pitiful...”) and called for writing odes (“Write odes, gentlemen” , “...the purpose of the ode is high // And noble...”). The third chapter contains an excellent description of the “moral” novel:
Your own syllable in an important mood,
Used to be a fiery creator
He showed us his hero
Like a sample of perfection.
Noting the significant influence that Byron had on him (“...By the proud lyre of Albion // he is familiar to me, he is dear to me”), the poet ironically remarks about romanticism:
Lord Byron by a lucky whim
Cloaked in sad romanticism
And hopeless selfishness.
The author reflects on the realistic method artistic creativity(in “Excerpts from Onegin’s Journey”), defends a realistically precise language of poetry, advocates the liberation of language from superficial influences and trends, against the abuse of Slavicisms and foreign words, as well as against excessive correctness and dryness of speech:
Like rosy lips without a smile,
No grammatical error
I don't like Russian speech.
The lyrical digressions also express the author’s attitude towards characters and events: more than once he speaks with sympathy or irony about Onegin, calls Tatyana a “sweet ideal”, speaks with love and regret about Lensky, condemns such a barbaric custom as a duel, etc. The digressions (mainly in chapter one) also reflected the author’s memories of his past youth: about theatrical meetings and impressions, about balls, the women he loved. The lines dedicated to Russian nature are imbued with a deep feeling of love for the Motherland.
Artistic time and space. Reverence for the egoistic principle. Realism is fidelity to life, this is a manner of creativity. Acmeists or Adamists. Fantasy means the special nature of works of art. Sentimentalism. Artistic method in literature and art. Artistic fiction - depicted in fiction events. Content and form. Historical and literary process.
"Questions on the theory of literature" - Inner monologue. Description of the character's appearance. Type of literature. Intentional use of identical words in a text. Grotesque. A tool that helps describe the hero. Events in the work. Exposition. Term. Periphrase. Flame of talent. Symbol. Expressive detail. Description of nature. Interior. Epic works. Plot. A way to display internal state. Allegory. Epilogue.
“Theory and History of Literature” - With the help of detail, the writer highlights an event. Implicit, “subtextual” psychologism. K.S. Stanislavsky and E.V. Vakhtangov. The psychologism of Tolstoy and Dostoevsky is artistic expression. Tiya, in which all sectors of society inevitably participate. Psychologism has not left literature. Theory of literature. A. Gornfeld “Symbolists”. Subtext is the meaning hidden “beneath” the text. Psychologism reached its maximum in the works of L.N. Tolstoy.
“Theory of Literature” - Hymn. Stages of action development. Satire. Humor. Novel. Consonances of the ends of poetic lines. Sonnet. The fate of the people. Character. Inner monologue. Tragic. Tragedy. Artistic detail. Author's position. Damage. Style. Symbol. Grotesque. Detail. Composition. Epic. Essay. Epigram. Message. Ode. Story. Literary genera and genres. Comedy. Character. Lyrical hero. Fable. Assignments. Scenery. Artistic technique.
“Theory of literature at school” - Epic genres. Space. Acmeism. Speaking surnames. Portrait. Stages of development of action in a work of art. Content and form of a literary work. Lyrics. Genre system of folklore. Artistic image. Plot. Dramatic genres. Theme of the work of art. Biographical author. Composition. Symbolism. Lyrical genres. The idea of a work of art. Artistic time.
“Fundamentals of Literary Theory” - Two ways to create speech characteristics. Speech characteristics hero. Characters. Eternal image. Temporary sign. Theory of literature. Development of the plot. Historical figures. Fable. Monologue. Inner speech. Eternal themes. Pathos consists of varieties. Eternal themes in fiction. Contents of the work. Pathos. Way. An example of opposition. Pushkin. Fabular development. Emotional content of a work of art.
