SCHEME FOR ANALYSIS OF A LYRICAL (POETIC) WORK

Analysis of a lyrical work is one of the options for writing. As a rule, topics of this kind look something like this: “Poem by A.A. Block “Stranger”: perception, interpretation, evaluation.” The formulation itself contains what you need to do to reveal the ideological and thematic content and artistic features of the lyrical work: 1) talk about your perception of the work; 2) interpret, that is, get closer to the author’s intention, unravel the idea embedded in the work; 3) express your emotional attitude to the work, talk about what touched, surprised you, and drew your attention. Here is a diagram of the analysis of the lyrical work.

• facts from the author’s biography related to the creation of a poetic work
• to whom is the poem dedicated (prototypes and recipients of the work)?

2. Genre of the poem. Signs of genre (genres).

3. The title of the work (if any) and its meaning.

4. The image of the lyrical hero. His closeness to the author.

5. Ideological and thematic content:

• leading topic;
• idea (main idea) of the work
• development of the author’s (lyrical hero’s) thoughts
• emotional coloring (direction) of the work and methods of its transmission

6. Artistic Features:

• artistic techniques and their meaning;
• key words and images associated with the idea of ​​the work;
• sound recording techniques;
• presence/absence of division into stanzas;
• features of the rhythm of the poem: meter, rhymes, rhymes and their connection with the author’s ideological intention.

7. Your reader's perception of the work.

SCHEME FOR ANALYSIS OF AN EPIC WORK (STORY, TALE)

1. History of the creation of the work:

• facts from the author's biography related to the creation of this work.
• connection of the work with historical era its creation;
• the place of the work in the author’s work.

2. Genre of the work. Signs of genre (genres).

3. The title of the work and its meaning.

4. On whose behalf is the story being told? Why?

5. Theme and idea of ​​the work. Issues.

6. The plot (storylines) of the work. Conflict. Key episodes.

7. System of images of the work:

• characters of the work (main, secondary; positive, negative;
• features of the names and surnames of the characters;
• the actions of the characters and their motivation;
• household details that characterize the character;
• connection of the character with the social environment;
• the attitude of other characters towards the hero of the work;
• self-characteristics of characters;
• the author's attitude towards the characters and ways of expressing it.

8. Composition of the work:

• dividing the text of a work into parts, the meaning of such division;
• the presence of prologues, epilogues, dedications and their meaning;
• the presence of inserted episodes and lyrical digressions and their meaning;
• the presence of epigraphs and their meaning;
• the presence of lyrical digressions and their meaning.

10. Artistic means, techniques that reveal the idea of ​​the work.

11. Features of the language of the work.

Each of us was once a schoolchild, and, perhaps, each of us, with all our love for such a wonderful subject as literature, did not really like delving into the text, trying to find something that, in fact, was not there. Search operation hidden meaning has an excellent and very interesting name - analysis of a literary work. In this article we will explain in a popular way how to do it.

First of all, in order to make a normal analysis of a work, you need to read it. Ideally, you need to read the full version of the book, but if you are short on time and don’t have the desire to read, an anthology will do. Remember that your best friends while reading should be a small notebook and pencil, where you will methodically write down everything that is useful for analysis. The following may be useful.

The composition of the work is a breakdown into chapters, parts or other logical sections. It is important to understand on what principle the division is based - according to chronology, according to the logic of the plot, according to the location of the action, or in some other way. When analyzing a work, you must first describe what parts it consists of.

However, when dividing the work into separate logical sections, you should not forget that you are still dealing with a single semantic whole, the plot lines of which can run through the entire narrative. That is why, when moving to the second section of this type of work, such as analysis of a work, you need to list all the main characters, and then briefly describe storyline concerning each of them. This will help you quickly structure the content of the work both for yourself and for the person who will read your research.

And then... Then creativity begins! Do not forget that literature is a free matter, and you, by and large, are free to perceive the content of each book you read as you see fit. Describe how reading the book made you feel (however, if the only feeling you had was a sense of hopelessly wasted time, better not mention it), but do not forget that your speech should still be logical and consistent with what you wrote in the first two sections. The combination of strict logic and flights of fancy is what constitutes correct analysis

You also need to pay attention to which ones the author uses in his creation. Yes, yes, you will have to remember and try to extract from your memory the definitions of words such as “epithet”, “metaphor”, “hyperbole” and many others. Without this there is no way - if you do not mention how the author tried to influence the reader’s consciousness, do not explain how he tried to make us think about something that can only be found between the lines, then your work is not an analysis of the work, but only a retelling of it. Agree that a simple retelling of any book, even a very detailed one, will not reach a full analysis. To better understand the difference between analysis and retelling, we recommend reading the samples literary criticism.

And one last thing. Most often, such a voluminous work as an analysis of a work is asked quite long before the due date - as a rule, we are talking about two to three weeks allotted for writing the work. We advise you not to put off completing the task until the last day - as soon as you are given an analysis, immediately read the book and make small notes, after which do not return to the work for several days, but let it “sit” in your mind. This will help you quickly navigate through it when you subsequently use the text of the work while writing an analytical work, and will also form a holistic, established impression of what you read. We wish you successful analytical work!

Copyright Competition -K2
Table of contents:

1. Techniques of analysis literary text
2. Criteria for the artistry of a work (general and specific)
3. Evaluation of the plot of the work
4. Evaluation of the composition of the work
5. Extra-plot elements
6. Narration, description, reasoning as methods of presentation
7. Evaluation of language and style. Speech errors.
8. Character Evaluation
9. Appreciation of artistic details
10. Features of the analysis of the story as a form of fiction

A literary text is the author’s way of perceiving and recreating the reality around him.

The author reflects the world in a special artistic and figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, and allows one to understand the development of human characters, connections and relationships.

A literary work must be considered as a systemic formation, regardless of whether there is an established system or not, whether this formation is perfect or imperfect.
When evaluating, the main thing is to grasp the uniqueness of the structure of a particular work and show where the solution to images and situations does not correspond to the plan, in a creative manner the writer, the general structure of the work.

TECHNIQUES FOR ANALYSIS OF LITERARY TEXT

When analyzing a text, it is always necessary to correlate the whole with the particular - that is, how the general concept of the work, its theme, structure, genre are realized through the plot, composition, language, style, and images of characters.
The task is not easy.
To solve it, you need to know some techniques.
Let's talk about them.

The first technique is DRAFTING A PLAN for the work, at least mentally.

I refer you to the reviews of Alex Petrovsky, who always uses this technique. Alex retells the text. If we describe his actions with clever words, then Alex identifies key semantic points in the text and reveals their subordination. This helps to see and correct factual and logical errors, contradictions, unsubstantiated judgments, etc.
“Translating” text into “your” language works very well. This is the criterion for understanding the text.

There is also a technique of ANTICIPATION - anticipation, anticipation of the subsequent presentation.

When the reader understands the text, he seems to assume. Anticipates the direction of development, anticipates the author’s thoughts.
We understand that everything is good in moderation. If the plot and actions of the characters are easily visible, reading such a work is not interesting. However, if the reader cannot follow the author’s thoughts at all and guess at least general direction her movements, then this is also a signal of trouble. The process of anticipation is disrupted when the logic of presentation is disrupted.

There is one more technique - this is posing PRELIMINARY QUESTIONS, which our dear Boa constrictor loves so much.

What happened to this minor character? Why did the other character do this? What is hidden behind the heroine’s mysterious phrase?
It is necessary that the required majority of these questions find answers in the text. All storylines must be completed, interconnected or logically terminated.

A curious fact is that the reader and the author seem to move in opposite directions. The author goes from concept to structure, and the reader, on the contrary, assessing the structure, must get to the bottom of the concept.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "A Kitten Named Woof"? When did a kitten and a puppy eat a sausage and meet exactly in the middle? You will laugh, but in literature everything is exactly the same.

What dangers await the authors = the most vulnerable link in the process. Reader - what? He snorted, closed the book and moved on, while the author suffered.
Oddly enough, there are two dangers. The first is that the reader did not understand the author’s intention at all. The second is that the reader contributed his own idea (instead of the author’s, which turned out to be on the side). In any case, there was no communication, no emotional transfer either.

What to do? Analyze the text! (back to the beginning of the article). Look where the miscoordination occurred, and the idea (theme\structure\genre) diverged from the implementation (plot\composition\style\character images).

CRITERIA FOR THE ARTISTICITY OF A WORK

They are divided into general and private.

GENERAL CRITERIA

1. Unity of content and form of the work.

An artistic image does not exist outside of a certain form. An unsuccessful form discredits the idea and may raise doubts about the fairness of what was said.

2. The criterion of artistic truth = undistorted recreation of reality.

The truth of art is not just the truth of fact. We often see how an author, defending his work (usually unsuccessful), puts forward an iron-clad (in his opinion) argument - I described everything as it actually happened.
But a work of art is not just a description of events. This is a certain aesthetics, a certain degree of artistic generalization and understanding of reality in images that convince with their aesthetic power. The critic does not evaluate the authenticity of realities - he evaluates whether the author was able to achieve the necessary emotional impact with the facts and images presented.

The author's handwriting is a synthesis of the objective and the subjective.
Objective reality is refracted in the individual perception of the author and reflected in the content, which the author reveals in an original form that is inherent to him. This is the author’s worldview, his special vision, which is expressed in special stylistic devices letters.

4. Emotional capacity, associative richness of the text.

The reader wants to empathize with the events along with the hero - to worry, rejoice, be indignant, etc. Empathy and co-creativity are the main purpose of the artistic image in literature.
The reader's emotions should be evoked by the image itself, and not imposed by the author's statements and exclamations.

5. Integrity of perception of the narrative.

The image appears in the mind not as a sum of individual elements, but as a whole, unified poetic picture. M. Gorky believed that the reader should perceive the author’s images immediately, like a blow, and not think about them. A.P. Chekhov added that fiction should be written in a second.

The criterion of integrity applies not only to elements designed for immediate perception - comparisons, metaphors - but also to those components that can be located in the text at a considerable distance from each other (for example, portrait strokes).
This matters when analyzing the characters' characters. There are often cases among beginning authors when descriptions of a character’s actions and thoughts do not create a picture of his spiritual world in the reader’s imagination. Facts dazzle in the eyes and imagination, but the whole picture does not emerge.

PARTICULAR CRITERIA

They concern individual components of the work - themes, plot, speech of characters, etc.

EVALUATION OF THE PLOT OF THE WORK

The plot is the main means of recreating the movement of events. The optimal option can be considered when the intensity of the action is determined not only by unexpected events and other external techniques, but also by internal complexity, a deep disclosure of human relationships, and the significance of the problems posed.

It is necessary to understand the relationship between the plot and the images of the characters, to determine the significance of the situations created by the author for revealing the characters.

One of the important requirements of artistry is the persuasiveness of the motivations for actions. Without this, the plot becomes schematic and far-fetched. The author freely constructs the narrative, but he must achieve persuasiveness so that the reader believes him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the former hero in the new adult.

The plot is a concept of reality (E.S. Dobin)

Plots arise, exist, are borrowed, translated from the language of one type of art to another (dramatization, film adaptation) - and thereby reflect the norms of human behavior characteristic of a particular type of culture. But this is only the first side of the relationship between life and art: plots not only reflect cultural state society - they shape it: “By creating plot texts, a person has learned to distinguish plots in life and, thus, interpret this life for himself” (c)

Plot is an integral quality of a work of art; this is a chain of events that are inevitably present in this type of work. Events, in turn, consist of the actions and deeds of the heroes. The concept of an act includes both externally tangible actions (came, sat down, met, headed, etc.), and internal intentions, thoughts, experiences, sometimes resulting in internal monologues, and all kinds of meetings that take the form of a dialogue of one or more characters .

Evaluation of the plot is very subjective, however, there are certain criteria for it:

- integrity of the plot;
- complexity, tension of the plot (the ability to captivate the reader);
- the significance of the problems posed;
- originality and originality of the plot.

Types of plots

There are two types of plots - dynamic and adynamic.

Signs of a dynamic plot:
- the development of the action occurs intensely and rapidly,
- the events of the plot contain the main meaning and interest for the reader,
- plot elements are clearly expressed, and the denouement carries a huge meaningful load.

Signs of an adynamic plot:

The development of the action is slow and does not strive for resolution,
- the events of the plot do not contain any particular interest (the reader does not have a specific tense expectation: “What will happen next?”),
- elements of the plot are not clearly expressed or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the outcome is either completely absent or purely formal,
- in the overall composition of the work there are many extra-plot elements that shift the center of gravity of the reader’s attention to themselves.

Examples of adynamic plots are “Dead Souls” by Gogol, “The Adventures of the Good Soldier Schweik” by Hasek, etc.

There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be re-read from any place, works with a dynamic plot - only from beginning to end.

Naturally, with an adynamic plot, analysis of plot elements is not required, and sometimes is completely impossible.

COMPOSITION EVALUATION

Composition is the construction of a work that unites all its elements into a single whole, it is a way of revealing content, a way of systematically organizing elements of content.

The composition must correspond to the specifics of the work and publication, the volume of the work, the laws of logic, and a certain type of text.

Rules for constructing the composition of a work:
- the sequence of parts must be motivated;
- the parts must be proportionate;
- composition techniques should be determined by the content and nature of the work.

Depending on the relationship between plot and plot in specific work talk about different types and techniques of plot composition.

The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. Such a composition is also called a DIRECT or FABUL SEQUENCE.

A more complex technique is in which we learn about an event that happened earlier than the others at the very end of the work - this technique is called DEFAULT.
This technique is very effective, since it allows you to keep the reader in the dark and in suspense until the very end, and at the end, surprise him with the surprise of the plot twist. Due to these properties, the technique of silence is almost always used in works of the detective genre.

Another method of violating chronology or plot sequence is the so-called RETROSPECTIVENESS, when, as the plot develops, the author makes retreats into the past, as a rule, to the time preceding the plot and beginning of this work.
For example, in “Fathers and Sons” by Turgenev, during the course of the plot we are faced with two significant flashbacks - the background to the lives of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev’s intention to begin the novel from their youth, because this would have cluttered the composition of the novel, and it seemed necessary to the author to give an idea of ​​the past of these heroes - therefore, the method of retrospection was used.

The plot sequence can be disrupted in such a way that events at different times are given intermixed; the narrative constantly returns from the moment of the action to various previous time layers, then again turns to the present in order to immediately return to the past. This plot composition is often motivated by the memories of the characters. It's called FREE COMPOSITION.

When analyzing a literary text, one should consider the motivation for using each technique from the point of view of composition, which must be supported by the content and figurative structure of the text.

Many shortcomings of composition are explained by violation of the requirements of the basic laws of logic.

The most common disadvantages of the composition include:
- incorrect division of the work into the largest structural parts;
- going beyond the topic;
- incomplete disclosure of the topic;
- disproportionality of parts;
- crossing and mutual absorption of material;
- repetitions;
- unsystematic presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- unsuccessful division of text into paragraphs.

It must be remembered that in fiction, following a step-by-step logical plan is not at all necessary; sometimes a violation of the logic of plot development should be seen not as a compositional defect, but as a special method of compositional construction of the work, designed to increase its emotional impact. Therefore, when assessing the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.

EXTRA-PLOT ELEMENTS

In addition to the plot, in the composition of the work there are also so-called extra-plot elements, which are often no less, or even more important, than the plot itself.

Non-plot elements are those that do not move the action forward, during which nothing happens, and the characters remain in their previous positions.
If the plot of a work is the dynamic side of its composition, then the extra-plot elements are the static side.

There are three main types of extra-plot elements:
- description,
- lyrical (or author’s) digressions,
- insert episodes(otherwise they are called inserted novellas or inserted plots).

DESCRIPTION is a literary depiction of the external world (landscape, portrait, world of things, etc.) or a stable way of life, that is, those events and actions that occur regularly, day after day and, therefore, are also not related to movement plot.
Descriptions are the most common type of extra-plot elements; they are present in almost every epic work.

LYRICAL (or AUTHOR'S) DISTRACTIONS are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; Moreover, these statements do not characterize individual characters or the relationships between them.
Author's digressions are an optional element in the composition of a work, but when they do appear there (“Eugene Onegin” by Pushkin, “Dead Souls” by Gogol, “The Master and Margarita” by Bulgakov, etc.), they usually play a very important role and are subject to mandatory analysis.

INSERT EPISODES are relatively complete fragments of action in which other characters act, the action is transferred to another time and place, etc.
Sometimes inserted episodes begin to play an even greater role in the work than the main plot: for example, in “ Dead souls"Gogol or "The Adventures of the Good Soldier Schweik" by Hasek.

ASSESSMENT OF SPEECH STRUCTURES

Fragments are distinguished in the work according to their belonging to any type of text - narrative, descriptive or explanatory (discourse texts).
Each type of text is characterized by its own type of presentation of the material, its internal logic, the sequence of arrangement of elements and composition as a whole.

When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the predominant type.
It is necessary to analyze the fragments in terms of their compliance with the characteristics of the type, i.e., check whether the narrative, description or reasoning is constructed correctly.

NARRATION - a story about events in chronological (time) sequence.

Narration is about action. Comprises:
- key moments, that is, the main events in their duration;
- ideas about how these events changed (how the transition from one state to another took place).
In addition, almost every story has its own rhythm and intonation.

When evaluating, it is necessary to check how correctly the author has chosen the key points so that they correctly reflect the events; how consistent the author is in presenting them; whether the connection of these main points with each other has been thought out.

The syntactic structure of the narrative is a chain of verbs, so the center of gravity in the narrative is transferred from words related to quality to words that convey movements, actions, that is, to the verb.

There are two types of storytelling: epic and stage.

The epic method is a complete story about events and actions that have already taken place, and about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, a narrative about the events of the Great Patriotic War in a history textbook).

The stage method, on the contrary, requires that events be presented visually, the meaning of what is happening before the eyes of the reader is revealed through gestures, movements, and words of the characters. At the same time, the readers’ attention is drawn to details, particulars (for example, A.S. Pushkin’s story about a winter blizzard: “Clouds are rushing, clouds are curling... The invisible moon illuminates the flying snow...").

The most common flaw in the construction of a narrative is its overload with insignificant facts and details. It is important to remember that the significance of an event is determined not by its duration, but by its importance in meaning or for the sequence of presentation of events.

When analyzing descriptions in a work of art, there is no rigid scheme. It is in the descriptions that the author's individuality is most clearly manifested.

REASONING is a series of judgments that relate to a specific subject and follow each other in such a way that others follow from the previous judgment and as a result, an answer to the question posed is obtained.

The purpose of reasoning is to deepen our knowledge about an object, about the world around us, since judgment reveals the internal characteristics of objects, the relationship of signs with each other, proves certain provisions, and reveals reasons.
The peculiarity of the argument is that this is the most complex look text.

There are two ways of reasoning: deductive and inductive. Deductive is reasoning from the general to the particular, and inductive is reasoning from the particular to the general. The inductive or synthetic type of reasoning is considered simpler and more accessible to the general reader. There are also mixed types of reasoning.

Analysis of reasoning involves checking the logical correctness of the reasoning structure.

Describing various methods of presentation, experts emphasize that the main part of the author's monologue speech is narration. “Narrative, story is the essence, the soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell an interesting, exciting story.”
The author’s use of other speech structures that enhance the tension of the storyline depends on the individual style, genre and subject of the image.

EVALUATION OF LANGUAGE AND STYLE
There are different styles of different types of literature: journalistic, scientific, fiction, official business, industrial, etc. At the same time, the boundaries between styles are quite fluid; the styles of the language themselves are constantly evolving. Within the same type of literature, one can see some differences in the use of linguistic means depending on the purpose of the text and its genre features.

Linguistic and stylistic errors come in many varieties. We list only the most common and most common of them.

1. MORPHOLOGICAL ERRORS:

Incorrect use of pronouns
For example. “You have to be truly lucky to win a large artistic canvas for a few rubles. It turned out to be technician Alexey Stroev.” IN in this case the incorrect use of the pronoun “im” creates a second anecdotal meaning of the phrase, since it means that Alexey Stroev turned out to be an artistic canvas.

Using plural nouns instead of singular. For example. "They carry baskets on their heads."

Errors in endings.
For example. “A school, a bathhouse, and a kindergarten will be built here next year.

2. LEXICAL ERRORS:

Inaccurate choice of words, use of words that cause unwanted associations. For example. “Classes are held without warning, in a family atmosphere” - Instead of “uninvited”, “relaxed”.

Inept use of phraseological phrases.
For example. “Our troops have crossed the line” - Instead of: “Our troops have reached the line / Our troops have crossed the line.”

The use of expressions in relation to animals that usually characterize the actions of people or human relationships.
For example. “At the same time, the rest of the bulls gave excellent daughters.”

3. SYNTAX ERRORS:

Incorrect word order in a sentence.
For example. “Avdeev felt his heart beat faster with joy.”

Incorrect control and adjacency.
For example. “More attention needs to be paid to the safety of young people.”

The use of syntactically unformed sentences.
For example. “Her whole small FIGURE LOOKS more like a student than a teacher.”

Punctuation errors that distort the meaning of the text.
For example. “Sasha ran around the gardens with the children, played knucklebones while sitting at his desk, and listened to the teachers’ stories.”

4. STYLISTIC ERRORS:

- “office” style
For example. “As a result of the work of the commission, it was established that there are significant reserves for the further use of materials and, in connection with this, reducing their consumption per unit of production” - Instead of “The commission found that materials can be used better and, therefore, their consumption can be reduced.”

Speech cliches are a rather complex phenomenon that is widespread due to the stereotyped nature of thought and content. Speech stamps can be represented by:
- words with a universal meaning (worldview, question, task, moment),
- paired words or satellite words (initiation-response),
- stamps – style decorations (blue screen, black gold),
- stencil formations (keep an honor watch),
- stamps - compound words (giant stove, miracle tree).
The main feature of a stamp is its lack of content. A stamp must be distinguished from a linguistic cliche, which is a special type of linguistic means and is used in business, scientific and technical literature to more accurately convey the circumstances of an event or phenomenon.

EVALUATION OF ARTISTIC DETAILS
An artistic detail is a detail that the author has endowed with significant semantic and emotional load.

Artistic details include mainly subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, action and speech.

By means of a successfully found part you can convey character traits a person’s appearance, speech, behavior, etc.; to concisely and visibly describe the situation, the scene of action, an object, and finally, an entire phenomenon.

Artistic detailing may be necessary or, on the contrary, excessive. Excessive attention to detail, characteristic of beginning writers, can lead to a pile-up of details, which will interfere with the perception of the main thing and therefore tire the reader.

There are two characteristic miscalculations in the use of artistic detail:

It is necessary to distinguish artistic detail from simple details, which are also necessary in the work.

The writer must be able to select exactly those details that will give a complete, vivid, vivid picture. By creating a text that is “visible” and “audible” for the reader, the writer uses real details, which in the work can be considered as detail.
Excessive attention to detail makes the picture motley and deprives the story of integrity.

Black Stick

SOME THOUGHTS OF AN ORDINARY READER ABOUT ARTISTIC DETAILS

FEATURES OF ANALYSIS OF A STORY AS A FORM OF A WORK OF ART

The short story is the most concise form of fiction. The story is difficult precisely because of its small volume. “There is a lot in small things” - this is the main requirement for small forms.

The story requires especially serious, in-depth work on the content, plot, composition, language, because... in small forms the defects are more clearly visible than in large ones.
A story is not a simple description of an incident from life, not a sketch from life.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. The author's position and the significance of the topic are also significant.

A story is a one-dimensional work, it has one plot line. One incident from the life of the characters, one bright, significant scene can become the content of a story, or a comparison of several episodes covering a more or less long period of time.
Too slow plot development, prolonged exposition, and unnecessary details harm the perception of the story.
Although the opposite case also happens. Sometimes, when the presentation is too laconic, new shortcomings arise: the lack of psychological motivation for the actions of the heroes, unjustified failures in the development of action, the sketchiness of characters devoid of memorable features.

N. M. Sikorsky believes that there is thoughtful and unjustified brevity, that is, omissions in the presentation of events that are easily restored by the reader’s imagination, and unfilled voids that violate the integrity of the narrative. It is important to notice when figurative display is replaced by simply informational messages about events. That is, the story should not just be short, it should have truly artistic brevity. And here artistic detail plays a special role in the story.

A story usually doesn't have many characters or many subplots. Overload with characters, scenes, and dialogues are the most common shortcomings of stories by novice authors.

The evaluation of a work is carried out in order to determine the uniqueness of a particular work.

The analysis is carried out in several aspects:

1. Correlation between execution and design (image as an expression of the author’s thoughts and feelings);

2. Visual accuracy (image as a reflection of reality);

3. Emotional accuracy of the text’s impact on the reader’s imagination, emotions, and associations (image as a means of aesthetic empathy and co-creation).

The result of the assessment is the creation of certain recommendations that will improve the unsuccessful components of the text that do not correspond to the concept, the general structure of the work and the creative style of the author.

A skillfully carried out transformation should not disrupt the integrity of the text. On the contrary, freeing its structure from elements introduced by side influences will clarify the idea of ​​the work.

During stylistic editing, inaccuracies, speech errors in the manuscript, and roughness in style are eliminated;
when shortening the text, all unnecessary things that do not correspond to the genre or functional affiliation of the work are removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted, which are necessary for coherence and logical sequence of presentation.

“You carefully remove the excess, as if you were removing film from a transfer, and gradually a bright drawing appears under your hand. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation” (c)

Food for thought.

Here are two editions of the text of the beginning of L. Tolstoy’s story “Hadji Murad”.

FIRST OPTION

I was returning home through the fields. It was the very middle of summer. The meadows had been cleared and they were just about to mow the rye. There is a delightful selection of flowers this time of year: fragrant porridges, red, white, pink, love it or not, with their spicy sweet smell, yellow, honey and sharp-shaped - lilac, tulip-shaped peas, multi-colored scabioses, delicate with a slightly pink plantain fluff and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wildflowers with their subtlety of decoration and slightly noticeable, not for everyone, their delicate and healthy scent. I dialed large bouquet and already on the way back I noticed in the ditch a wonderful crimson burdock in full bloom, the variety that we call Tatar and which the mowed people diligently mow down or throw out of the hay so as not to prick their hands on it. I decided to pick this burdock and put it in the middle of the bouquet. I got down into the ditch and chased away the bumblebee that had climbed into the flower and, since I didn’t have a knife, I began to tear off the flower. Not only did it prick from all sides, even through the scarf with which I wrapped my hand, its stem was so terribly strong that I fought with it for about 5 minutes, tearing the fibers one by one. When I tore it off, I crushed the flower, then it was clumsy and did not suit the delicate delicate flowers of the bouquet. I regretted that I had destroyed this beauty and threw the flower. “What energy and strength of life,” I thought, approaching him...

FINAL OPTION

I was returning home through the fields. It was the very middle of summer. The meadows had been cleared and they were just about to mow the rye. There is a lovely selection of flowers this time of year: red, white, pink, fragrant, fluffy porridges; cheeky daisies; milky white with a bright yellow center “love it or hate it” with its rotten spicy stench; yellow colza with its honey smell; tall purple and white tulip-shaped bells; creeping peas; yellow, red, pink, lilac, neat scabioses; with slightly pink fluff and a slightly audible pleasant smell of plantain; cornflowers, bright blue in the sun and in their youth, and blue and reddening in the evening and in old age; and tender, with an almond scent, immediately withering, dodder flowers. I picked a large bouquet of different flowers and was walking home when I noticed in a ditch a wonderful crimson, in full bloom, burdock of the variety that we call “Tatar” and which is carefully mowed, and when it is accidentally mowed down, they throw out the mows from the hay so as not to prick their hands on it. I decided to pick this burdock and put it in middle of the bouquet. I climbed down into the ditch and, having driven away the shaggy bumblebee that had dug into the middle of the flower and sweetly and sluggishly fallen asleep there, I began to pick the flower. But it was very difficult: not only did the stem prickle from all sides, even through the scarf with which I wrapped hand, - it was so terribly strong that I fought with it for about five minutes, tearing the fibers one by one. When I finally tore off the flower, the stem was already all in tatters, and the flower no longer seemed so fresh and beautiful. Moreover, due to its rudeness and clumsiness, it did not suit the delicate flowers of the bouquet. I regretted that I had in vain destroyed a flower that was good in its place, and threw it away. “What energy and strength of life, however,” I thought, Remembering the efforts with which I tore off the flower. “How he strenuously defended and sold his life dearly.”

© Copyright: Copyright Competition -K2, 2013
Certificate of publication No. 213052901211
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Analysis - Criticism third, positive

Quote - Evaluation of the plot is very subjective, however, there are certain criteria for it:
- the significance of the situation for revealing the characters’ characters;
...

Plot elements are the stages of development of a literary conflict (exposition, plot, development of action, climax and denouement). The identification of these elements is possible only in connection with the conflict.

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Analysis of a work of art

Plan

1. Artistry as the artistic quality of a work of literature.

2. Prerequisites for successful analysis of a work.

3. The main components of the content and form of a literary work.

4. Principles, types, ways and techniques of analyzing a work of literature.

5. Schemes and samples of analysis of epic and lyrical works.

Literary terms: content and form, theme and idea of ​​a work of art, plot and plot, story, story, tropes and their types.

The measure of the perfection of a work of art is the level of its artistry. In a work of art we distinguish content and form. The boundaries between substantive and formal compositions, as we know, are too arbitrary and unclear. However, such a division is necessary for effective comprehension of the work. The main thing in it is the content component. The importance of the content is predetermined by the importance of those life phenomena that are studied in it, the meaning for a person of the ideas that are revealed in it. But the important meaning will be properly perceived by the reader only when it is revealed, embodied in a perfect and appropriate form. So, artistry is the artistic quality of a work, which consists in harmonious combination important content and the perfect form corresponding to it. Only that work in which there is complete correspondence between all its components, there is harmony, organized ideological content, can be called highly artistic.

Artistry as the core of a literary work directly determines the path of its study, i.e. analysis. Analysis of a text is its comprehension, consideration of its constituent elements, identification of themes, ideas, motives, methods of their figurative embodiment, as well as the study of means of creating images. In other words, this is the revelation of the artistry of the text.

The prerequisites for successful analysis of a work are: good knowledge of the theoretical foundations of analysis; possession of the skills to isolate and explore all components of content and form; understanding the patterns of their interaction; a sense of the aesthetic nature of the word; the presence of philological abilities in the person who analyzes; good knowledge of the text. Only under these conditions will painstaking analytical work with a work be rewarded with the joy of discovery, the aesthetic pleasure that an encounter with beauty can bring.

A literary work is the basic unit of fiction. Without reading and knowledge of works there is no knowledge of literature. In the perception and interpretation of literary works, there are two mistakes that are characteristic of a significant part of the readership. The first is that the heroes created by the writer are perceived as people who really lived and had exactly such destinies. Then literature is viewed as “history in images,” as an emotionally charged way of cognition. Literature objectively possesses such capabilities, but they do not exhaust its purpose, for in a work of art the mysterious magic of the word is realized, creative power fantasies possessed by a talented writer. In a realistic work, almost everything is really the same as in real life, because the heroes, their experiences, thoughts, actions, and the circumstances and atmosphere in which those heroes act are basedon impressions of reality. But at the same time, all this, created by the imagination and work of the writer, “lives” behind special aesthetic laws. Each work, no matter what its volume and genre (poem or poem, story or novel, vaudeville or drama), is an artistic whole world where its own laws and patterns operate - social, psychological, temporal-spatial. They differ significantly from the laws of real life, because the writer does not reproduce it photographically, but selects material and aesthetically masters it, focusing on the artistic goal. True, the degree of verisimilitude in different works is not the same, but this does not directly affect the level of their artistry. Let's say that fantasy departs far from reality, but this does not yet take it beyond the boundaries of art. Reflected in a literary work cannot be identified with real life. When we talk about the truthfulness of a work, it is understood that it is a specific form of embodiment of the truth about the world, man and himself that the writer discovered. The second drawback in the perception of the work by readers is the substitution of the thoughts and experiences of the author and characters with their own. This error, like the first one, has objective reasons. What is depicted in the work “comes to life” only thanks to the imagination of the reader, the combination of his experience with the experience of the author, recorded in the text. Therefore, in the imagination of different readers, different images and pictures appear in the same work. Absolutization of this error leads to deformation of what the writer depicts.

It is possible to overcome certain shortcomings only if the reader (primarily the teacher and student) ceases to have a naive and realistic attitude towards literature and perceives it as the art of words. Analysis is one of the ways to adequately, that is, closest to the author’s intention, reading a work.

To successfully conduct literary analysis, you need to have a fine command of the appropriate tools and know the methods and means of its implementation. First of all, we must define the components of the work, a system of concepts and terms to designate those components. According to a long-standing tradition, a work is distinguished between content and form. They merge so closely that it is almost impossible to separate them, although it is necessary to distinguish. The identification of the components of content and form in the process of analysis is carried out only imaginary.

Literary science has developed a harmonious and branched system of concepts and terms, thanks to which it is possible to outline in some detail the components of content and form. Experience convinces: the more fully the researcher, in our case the teacher, knows this system, the more deeply he understands the relationship and interaction between its components, the more successfully he will carry out the analysis, and therefore, the more accurately he will understand the work as a phenomenon of the human spirit.

Contents of the work - this is the vital material aesthetically mastered by the writer, and the problems raised on the basis of this material. Taken together, this constitutes the topic of the essay, as well as the ideas that the author asserts. So, theme and idea are two concepts that signify the main components of the content.

Subject , V in turn, includes:

u vital material covering:events, actions of characters or their thoughts, experiences, moods, aspirations, in the process of unfolding of which the essence of a person is revealed; spheres of application of human strength and energy (family, intimate or social life, everyday life, production, etc.); time imprinted in the work: on the one hand, modern, past or future, on the other - short or long; circle of events and characters (narrow or wide);

u problems raised in the work based on the reflected life material: universal, social, philosophical, moral, religious, etc.

The idea of ​​the work can be characterized:

u behind the stages of embodiment: the author’s ideological plan, aesthetic assessment of what is depicted or the author’s attitude towards what is depicted, the conclusion of the reader or researcher;

u By parameters of the problem: universal, social, philosophical, moral, religious, etc.;

u according to the form of implementation:artistically embodied (through paintings, images, conflicts, subject details), stated directly (by lyrical or journalistic means).

The form of the work itself general view can be defined as artistic media and techniques for embodying the content, that is, the themes and ideas of the work, as well as the method of its internal and external organization.

The form of a literary work has its own components.

AND. Compositional form including:

O plot, subplot elements (epigraph, author's digressions - lyrical, philosophical, etc., inserted episodes, framing, repetitions), grouping of characters (with participation in the conflict, by age, views, etc.), presence (or absence) of a narrator and its role in the structure of the work.

II. The plot form is considered in the following aspects:

O plot elements: prologue, exposition, plot, development of action (conflict - external or internal), climax, retardation, denouement, epilogue;

O relationship between plot and plot, their types : in relation to what is depicted in the work and reality - primary and secondary plots; according to the chronology of the reproduction of events - a chronologically linear plot and a retrospective plot (linear-retrospective, associative-retrospective, concentric-retrospective); behind the rhythm of events - slow, dynamic, adventure, detective stories; for connection with reality - realistic, allegorical, fantastic; according to the ways of expressing the essence of the hero - event-based, psychological.

III. Figurative form (images of characters and circumstances). Taking into account the various principles of classification, the following types of images can be distinguished: realistic, mythological, fantastic, fairy-tale, romantic, grotesque-satirical, allegorical, symbolic, image-type, image-character, image-picture, image-interior.

IV. Vikladian form, which is considered from the point of view of structure and functional role:

O historical and literary aspect:narration, author's story, inner speech (internal monologue, transmission of the hero's thoughts by the author, mental dialogue, parallel dialogue - complete and incomplete, stream of consciousness);

O behind ways of organizing speech: sad poetic, prose, rhythmic prose, monologue, etc.

V. Generic-genre form.

Fundamentals of the division of literature into types and genres: the relationship between object and subject; the relationship between the material and spiritual spheres of life.

O types of lyrics: according to the material of development - intimate, landscape, civil, philosophical, religious-spiritual, didactic, etc.; historically established genre units of lyrics - song, hymn, dithyramb, message, idyll, epigram, lyrical portrait, etc.;

O epic genres: story, short story, short story, essay, folk epic genres (fairy tale, tradition, legend, thought, etc.);

O drama genres: actual drama, tragedy, comedy, vaudeville, sideshow, etc.

VI. The actual verbal form:

O trails ( epithet, comparison, metaphor, metonymy, hyperbole, lithota, oxymoron, periphrase, etc.);

O syntactic figures(elipsis, silence, inversion, anaphora, epiphora, gradation, parallelism, antithesis, etc.);

Osound organization of speech (repetition of sounds - alliteration, asonance, onomatopoeia).

Principles, types, ways and techniques of analysis . Content and form are in an inextricable, organic unity. We highlight them and their components only conditionally - for the convenience of analyzing such a complex object as a work of art.

Of course, not all deadlines for determining the components of the content and form of a literary work are listed. However, these also make it possible to more clearly see and understand, on the one hand, the interaction between the components of content and form within them, and on the other - complex logic relationships between the components of content and components of form. Let's say, the vital material is not only the “soil” from which the problems and ideas of the work “grow”, but also the “magma” that “pours out” into different kinds artistic form: plot (events), figurative (biographies, characters), genre (depending on the volume of material, the relationship between the subject and the object and the principles of mastering the material), vikladova (depending on the method of organizing speech in the work), verbal itself (predetermined by the literary direction , aesthetic preferences of the author, features of his talent).

To reveal the ideological and artistic value of a work, you need to adhere to certain principles, types and ways of analysis.

Principles analysis - these are the most general rules arising from an understanding of the nature and essence of fiction; rules that guide us when carrying out analytical operations with a work. The most important principle is analysis interaction between content and form. It is a universal means of understanding the essence of a work and its individual parts. When implementing this principle, one should be guided mandatory rules: 1) starting the analysis from the components of the content, we move on to characterizing the means of its implementation, that is, the components of the form; 2) when we begin the analysis by considering the components of the form, it is imperative to reveal their content; 3) subordinate analysis to disclosure author's intention, that is, “go” until an adequate reading of the work.

Systeman approachto a work involves considering it as a system of components, i.e. organic unity of all parts in it. A complete, truly scientific analysis must be systematic. This understanding of the principle of systematicity has an objective motivation: on the one hand, the work itself is a system, and on the other, the means of studying it must constitute a certain system.

In literary studies, it becomes particularly relevant the principle of historicism, which involves: research into the socio-historical conditions of writing the work; study of the historical and literary context in which the work appeared before reader; determining the place of the work in the artistic heritage of the writer; assessment of the work from the point of view of modernity (understanding of the problems, the artistic value of the work by new generations of researchers and readers). At a certain moment The implementation of the principle of historicism is the study of the history of writing, publication and research of a work.

Types of analysis - these are approaches to a work from the point of view of understanding the functions of fiction. Some scientists distinguish, in addition to types, methods of analysis. However, science has not developed generally accepted criteria for distinguishing the concepts of “type” and “method”. Historically, methods of analysis have been associated with certain schools of literary criticism.

Sociological analysis is common in Ukrainian literary criticism. Under the influence of the ideology of the populists, and subsequently the socialists, social issues in literature were mainly brought to the fore. But as long as there is social inequality in the world, elements of sociological analysis will be present in literary studies - with an emphasis on moral aspects social issues. Bringing the sociological approach to the point of absurdity - in the form of vulgar sociologism - has caused great harm our literature.

The psychological approach to literature has a fairly wide range. This includes an analysis of the means of psychologism in the work and literature in general; research into the psychology of perception and the impact of a work of art on the reader; studying the psychology of creativity.

Aesthetic analysis involves considering works from the point of view of aesthetic categories: beautiful - ugly, tragic - comic, high - low, as well as moral categories, which are included in the range of value orientations indicated by aesthetics: heroism, loyalty, betrayal etc.

Formal analysis of literature has undergone, like all other types (methods) of analysis, historical evolution. A look at form as a specific feature of literature and an interpretation of the content of form are the achievements of the “formal method” that have not lost their relevance today.

The biographical approach to the analysis of a work involves considering the writer’s biography as an important source of creativity. Undoubtedly, the author both accumulates the ideas of time and creates his own artistic world, then studying the circumstances of his life can help to deeply explore the process of origin and maturation of creative ideas, the writer’s attention to certain topics and ideas. Personal aspects play an important role in the poet’s work.

The comparative approach to the analysis of literary works includes their comparative historical and comparative typological analysis.

Analysis paths - this is the selection of certain components of the work for detailed consideration. When principles and types (methods) guide the researcher’s work as if “from within” their literary experience, then the paths encourage specific research actions. In the process of development of literary criticism, a whole set of ways of analysis was formed. The most common is simultaneous and problem analysis. It is advisable to resort to figurative analysis when the bright characters of the characters are in the foreground in the work.

Ideological and thematic analysis is also called problem analysis. When choosing this path of analysis, one should consider the features of life material, its connection with problems and ideas, analyze the features of the composition and plot, the system of images, characterize the most important artistic details and verbal means.

Holistic analysis is also called comprehensive analysis, or more precisely, analysis of the interaction of content and form, which is most consistent with the nature of a literary work.

Analysis of a work “behind the author” gives the greatest effect when considering works where the author’s position is embodied primarily at the level of its plot, unfolded by the very structure of the work. Such works include, say, the novel in verse “Marusya Churay” by L. Kostenko.

In research and educational practice certain methods of analysis are used that make it possible to reveal some narrower aspects of the work. Thus, “slow reading” - through a detailed movistic examination of the details of the selected episode - opens up the meaningful capacity of the literary text. Thanks to the historical and literary commentary, facts, titles, names, and literary reminiscences are explained, without knowledge of which it is impossible to deeply understand the text. System Review subject details helps to clearly see the movement of an artistic idea in a lyrical work. In poetry (and partly in prose), rhythm in combination with lexical material carries an important load.

The principles, types (methods), ways and techniques of analysis presented here illustrate that such a complex phenomenon as fiction does not lend itself to simplified approaches, but requires thoroughly and extensively developed literary means in order to reveal the mystery and beauty of the literary word.

Scheme of analysis of epic and dramatic works

3. Genre (story, short story, short story, essay, comedy, fairy-tale drama, drama proper, etc.).

4. Life basis (those real facts, which became the impetus and material for the work).

5. Theme, idea, problems of the work.

6. The composition of the work, plot features, their role in revealing problems.

7. The role of plot elements (author’s digressions, descriptions, epigraphs, dedications, title of the work, etc.).

8. The system of images, their role in revealing the problems of the work.

9. The originality of the work (at the level of vocabulary, tropes, syntactic figures, phonics, rhythm).

10. Summary (the artistic value of the work, its place in the author’s work and in literature in general, etc.).

Scheme of analysis of a lyrical work

2. History of writing and publication of the work (if necessary).

3. Genre of the work (landscape, civil, intimate (family), religious lyrics, etc.).

4. The leading motive of the work.

5. Composition of the work (in a lyrical work there is no plot, but attention is focused on a certain feeling; the following compositional stages of feeling are distinguished: a) the initial moment in the development of feeling; b) development of feelings; c) climax (possible); d) summary, or author's conclusion).

6. Key images works (most often the determining factor in the lyrics is the image of the lyrical hero - this is a conventional character, whose thoughts and feelings are revealed in the lyrical work).

7. Language means that contribute to the emotional content of the work (we are talking about vocabulary, tropes, figures, phonics).

8. Versification of the work (rhymes, method of rhyming, poetic meter, type of stanza), its role in revealing the leading motive.

9. Summary.

Sample analysis of an epic work: “Under the Fence” by I. Franko

The story “Under the Fence” belongs to the examples of Ukrainian short psychological prose of the early 20th century. I. Franko considered it one of the most characteristic among autobiographical works, since it gives “a largely truthful image from childhood.” However, in the “Preface” to the collection “Maly Miron” and other stories,” he warned not to perceive these works as parts of his biography, but as “expressive artistic competitions that sought a certain grouping and coverage of autobiographical material.” In “Reason for the Biography” the writer clarified that the story “Pencil”, “Father is a Humorist”, “Red Scripture” and others have “despite the autobiographical basis, it is still predominantly psychological and literary significance» . Researchers of I. Franko’s prose noted the artistic perfection of autobiographical stories, including “Under the Fence.” I. Denisyuk, for example, exploring the development of Ukrainian short prose XIX - early. XX century, summarized: “... None of the writers sketched such a poetic flair on porankovi” young days, days of spring", like Ivan Franko" . “In the story “Under the Fence”,- writes P. Khropko, - “the depth is amazing artistic solution a writer of such an important problem as the harmonious relationship between man and nature, a problem that resonates with particular urgency today.” . Such assessments by literary scholars prompt an attempt at a more in-depth study of the poetics of this work.

The story “Under the Fence” written in 1905. It was included in the collection “In the lap of nature” and other stories.” It is known that this was the time of I. Franko’s creative zenith, a time of intense philosophical understanding of the new turbulent era. On the verge of two centuries, I. Franko, more deeply and subtly than anyone at that time, understood the essence of the process of updating the content of art and its forms. He became a theoretician and practitioner of a new direction in Ukrainian literature, whose representatives main task seen in the psychological analysis of social phenomena. The essence of this direction is clearly formulated in the literary critical works of the writer. The goal was to show how the facts public life are reflected in the soul and consciousness of the unit and, conversely, in the soul of that unit new events of the social category arise and grow. These writers took spiritual conflicts and catastrophes as the theme of their works, “They, so to speak, immediately sit in the souls of their heroes and with it, like a magic lamp, they enlighten everyone around them.”. This method of depicting reality required enriching the expressive means of art, especially literature, and enhancing the aesthetic impact on the reader: “New fiction is an unusually delicate filigree work, its competition is to get as close as possible to the music. For this reason, she takes extraordinary care of the form, the melody of the word, and the rhythm of the conversation.” [4, t. 41, 526].

From this angle, I. Franko’s numerous stories touched on the life of the smallest cells of a complex social organism.

The story “Under the Fence” requires a special literary interpretation. Its interpretation may not be unambiguous. The very title of the work is allegorical and more complex than the allegorical images, say, in the stories “Teren in the Leg” or “How Yura Shikmanyuk eyebrows Cheremosh.” The appeal to the image of a child followed from civic position writer, his concerns about the future of the people. “What will happen to him? What color will develop from that navel?”- asked the writer in the story “Small Miron”. And he bitterly predicted an unenviable future for the talented child: “He will visit prison walls, and all sorts of holes of torment and violence of people against people, and will end up dying somewhere in poverty, loneliness and desolation in some kind of attic, or he will carry out fetuses from the prison walls fatal disease, which before that will drive him into the grave, or, having lost faith in the holy, lofty truth, will begin to pour vodka on the worm until he is completely insanity. Poor little Myron! .

Myron from the story “Under the Fence” is interested in literally everything that surrounds him: the fact that scorched wood does not rot, and the fact that his father indirectly turns holes, and most of all - his father’s wisdom and hard work, which were able to create such a miracle as the fence . Mironov is clearly visible from here the world, all four sides of it. The guy is haunted by two questions. The first is like those sticks “that from all directions of the world, kermovani by the wise tattoo will, so regularly and evenly coincide down to one bang” and secondly, will he ever be able to do this?

Small Myron is happy. The first paragraph of the story begins and ends with this framing. After a lifetime of labor on hay or slush, which was too much for a small boy, tormented by ten months of training, he was finally left alone. Myron goes into the forest. The feelings from the boy’s communication with nature are so subtle and individual that it is difficult for the writer to capture it and convey it to the reader with the word “forest.” I. Franko expresses this elusive feeling through a comparison of the forest with the church, which is a strong irritant for the reader. Next, the writer tells the story from such an angle to reflect those "vague feelings" which a child experiences in the forest-church in order to illuminate the healing effect of nature on her, that is “the enchantment with which the forest envelops his soul.” With the help of ordinary, almost “ugly” words, the author achieves the reproduction of mutual understanding and rapprochement between the child and nature: Miron “trembles along with an aspen leaf on a thin branch”, understands "shemrannya of a tiny stream", sympathizes with the shore, which “when there is wind, it creaks like a child crying”. Communicating with nature is the source of human kindness, compassion, and mercy. The boy's mental dialogue with mushrooms clearly illustrates these character traits. The writer, who loves scrupulous accuracy of description, here resorts to a string of endearing words: “Oh, my panic! You're a success, white above and below! Probably only this night I came back from the earth. And the spine is healthy! It's good. And you, old grandfather! Somehow they were going on a love date, so one rat lifted his hat up! Oh, bad girl! And here is the little dove, purple and round, like a snuff box! Don’t you have some slime inside?”. The landscapes in the story gradually lose their descriptive-textural function and take a turn, come to life, and become personified. This is visibly noticeable when I. Franko “raises” his hero to the curb. The paintings the boy saw more than once from here become more expressive and attractive. And the writer himself can get a better look at Miron himself here. Kindness, which was simply kindness in the forest, here turns into a new, higher quality. True, in order to illuminate it from the inside, the writer needs complex associations characteristic of a child’s worldview and specifically for his age. When thunder struck somewhere far above the forest, Mironov heard: “Wounds! Wounds, Wounds! He listened and realized that the forest ached for his long-term pain, another moment - and the forest appeared in his imagination as a living creature, which hurt because the guys made a fire under the oak tree and burned a hole in his living body (“after all, that oak tree is dying, little by little!”), and the fact that they crippled birch trees in the spring, taking sap from them; chamois, goats and wild boars, and the spruce forest died from the worm epidemic. This living pain, not his own, but that of the forest, made the boy feel terrible and painful. Through the sensation of pain, the image becomes more complex. Mironov, who was not afraid of the forest and nothing in the forest, because he knew every ravine, every clearing, every trench here, here, on his parents’ fence, it becomes scary, “as if I looked into Deep Debra early in the morning”. However, the hero does not yet understand the reasons for his fear. He carefully looks at famous landscapes and this makes the associations more complex, his thoughts work faster and faster. Looking for analogies with Myron’s feelings, I. Franko drew images from fairy tales, legends, and myths. This was the world in which the guy continues to live and which inspired his wild imagination. This beautiful world nature did not freeze in the writer’s imagination. He saw well the pictures he described, so he most simple words acquire newness under the pen, act on the reader with striking force and evoke in him those thoughts, feelings and states that the writer wanted to convey.

Listening to incomprehensible sounds, Myron sees in the sky some gigantic head on a thick neck, which with sadistic pleasure was glancing at the ground, especially at him, Myron, and smiling. The boy guessed that this was one of those giants that he had heard about when he was little, so his curiosity flared up and his imaginary pictures became more complex. Verbal gradations are introduced into the text, which create the impression of movement that gradually increases. Then he sees how the head moved, the nose became crooked, the lips began to spread wider and wider, and the wide tongue began to spit stronger and stronger. Myron enters into a dialogue with the giant, who even listens to the boy. Another moment - and the giant already reminds Mironov of the drunken rapnik who danced on the Borislavsky tract. The guy's associations are lightning fast. There, already in Drohobych, he sees the following picture: “On the highway there is a swamp up to the bone, liquid and black as pitch, and he wanders off to one end of the street, then to the other, waving his arms, twisting his head.” . These ideas, reflecting mainly the guy’s everyday ethnographic observations, quickly disappear. They do not yet motivate the ideological plan, but only “on the approaches” to it. This plan in its entirety and artistic power embodied in the image of a storm, which seems to “remained in primary integrity in the artist’s memory for more than forty years, until he “threw it out on paper”. The picture of the storm in the story is filled with I. Franko’s favorite allegories - thunder, showers, avalanches, floods, repeatedly used in poetry and prose to reveal strong public and intimate horrors. These allegories with a wide variety of semantic and emotional shades literally populate the work of I. Franko. He associatively projected landscape drawings with images of thunder, clouds, wind, and rain onto the social plane and transferred them into the mainstream of ideas of revolutionary transformations of the world.

The phenomenon of the storm evoked in Myron more and more complex associations, which are one of the main methods of psychologizing the hero in the story. What his parents told him about for a long time winter evenings in fairy tales and legends, sung in songs and thoughts, which he had already read about himself and what his rich childhood imagination was capable of - all this, refracted through the prism of Myron’s perception, becomes a strong irritant and evokes corresponding associations in the reader. To reproduce the process of thinking, thinking, and imagination of Myron, the writer takes a complex synthesis of different types of tropes - metaphors, personification, gradation, etc.

The hero’s perception of the growing force of the storm is reproduced in capacious and detailed comparisons: a violent wind burst out of the shelter, "like a fierce beast", there was a roar in the air, “as if large piles of crushed stones were poured there”, then the thunder became even louder, “It’s as if a hundred cartloads of all kinds of iron were poured onto glass teak from an immeasurable height”, lightning flashed, “as if invisible hands were tumbling there with red-hot iron staffs”, raindrops falling on Mironov’s face, “It was as if the arrows of an invisible giant were subjected to objective measurement on him”. Storm, thunder, lightning are all personified, gaining momentum and consolidating to fight Myron. Having taken a closer look at his strength and capabilities, confident in his victory, these forces try to fight the person. The escalation of the struggle is reproduced through metaphors. Myron feels “how the wind grabbed hold of the fence and began to tug at the hay...”, then he's already “leaned his mighty shoulders into the hay and fortifications to turn over the fence”. Oborig was also afraid of this power and “in horror he jumped a fathom from the ground”. Framed by contrasts of light, the paintings change quickly. Here “the clouds extinguished the sun, the purple eyes of the giant also went out, the eastern, still pure, smiling half of the sky disappeared, the whole sky was covered with a dark heavy cloud”. Bright and succinct epithets give way to expressive metaphors in the following picture, which is separated from the previous one by a red stream of lightning: “the sky is covered with thick curtains, and almost dense darkness has settled under the fence”. Against this dynamic backdrop, Myron is not an observer who, looking at natural horrors, trembles or hesitates. Masterfully using the technique of psychological parallelism, the writer recreated the storm in the hero’s soul. The boy tried to make sure that he was not afraid. More precisely, he wanted not to be afraid, to convince himself not to be afraid. But the often repeated epithet “terrible”, “terrible”, emotional vocabulary with a negative connotation, which reproduces its associations, truthfully depict how some incomprehensible feeling creeps into the soul of a child. The verb gradation emphasizes it and strengthens it as the storm in nature grows. Mironov "languished inside", “something big was pressing on his soul, coming up to his throat, choking him..., his head was working hard, his imagination was tormented..., but he couldn’t remember, he was writhing and expressing himself like a living person crushed by a stone, And the horror kept grabbing him by the breast" [4, vol. 22, 45]. Psychologization is deepening. The writer has already resorted to using some touches of external expression mental state: “the hair on the head was tingling, cold sweat covered the child’s forehead”. The boy's mental torment was interrupted by lightning - he understood why he was scared. Myron saw fields covered with ripened rye, spiked wheat, oats, clover, hayfields covered with herbs. Everything that was the fruit of human labor, human hope, could be instantly destroyed. The child was amazed that “everything right down to the ground under the furious blow of the wind”.

For a moment the storm weakens its strength - and everything “slopes”. The worries in the child’s soul are growing. It was during the period of that short-term calm that the boy felt that all that grain saw a catastrophe, but the hope of surviving still did not leave him and he was timid. "bows", further, believing in the mercy of the storm, "prays" and at a critical moment "begs": “Spare us! Spare us!.

Sound gradations seem to overlap each other and reflect "giant music in nature". The giant's threats were so loud and confident that the voice of the church bells that sounded the alarm sounded like Mironov “a jingle like a golden fly”. This comparison seemed to the writer not expressive enough to reproduce this formidable force, so he resorted to another, behind which the voice of the bells was heard against the background of the voice of the storm "languages ​​tsinkannya drymba against the mighty orchestra". Subsequently, the bells completely freeze in the roar of thunder. But Myron already hears other sounds, terrible ones. They are imaginary for now, but in a minute it may happen that the floodgates open and a fatal hail shower hits the ground. A picture floated in her imagination, causing Mironov’s head to buzz and fiery sparks to run in her eyes: “...the earth and all living things on it will fall to the ground, and all the beauty and joy on it will fall into the swamp, like wounded birds” [4, vol. 22, 46].

Myron’s association, reflected at the beginning of the work, when the forest seemed to the boy a living body in which everything hurt, was repeated. But here it is expressed more specifically and succinctly. The comparison of such concepts as fields destroyed by a storm and birds in a swamp carries a great, more than anything else in the story, semantic and emotional load. It reflects worries about the public, which in the adult Myron will develop into a struggle for this public, which will become the highest manifestation of his mercy. The plausibility of such a comparison in children’s imagination is beyond doubt, because Miron is peasant child, who not only witnessed daily labor for the sake of a piece of bread, but also suffered the torment of the day in the sunny heat or slush. The writer brings the reader very close to revealing his ideological plan. Little Myron, who lived in harmony with nature and was inseparable from it, began to compete with its dark forces for the sake of preserving the fruits of other forces of nature that bring good to people. The writer activates all the possibilities of the word and Myron’s action brings it to an expressive symbol: "Do not dare! I'm telling you, don't you dare! This is no place for you!”- little Miron shouts, shaking his fists in the air[4, vol. 22, 47]. The storm and the man gathered their last strength. The storm episode hits the reader with the weight of destructive means that are about to crumble. Words seem to become heavier and gain maximum ability to generate associations. This impression is reinforced by several rows of gradation: cloud “became rough, hung over the ground, became heavy” it seemed that “The burden will fall to the ground and fall apart, and all living things will crush him into dust.”, “the means of ruinous matter are pushing, crushing the giant and that he bends and groans under his weight”. This heavy premonition is intensified by a strong sound stimulus, which causes a negative emotional reaction - anxiety, fear. Above all that cargo the voice of the bells was heard again: “now it was clearly heard, but not as a strong, all-conquering force, but only as a plaintive lament for the dead” [4, vol. 33, 47]. Every landscape detail here is endowed with epithets, from which, as S. Shakhovskoy wrote, “the words become euphonically heavy, like blocks of earth, like whole massifs” [ 6, 57 ] . In the last episode the epithets "huge", "scary", "heavier" even repeated. Myron feels that everything that is heavy and unkind will now end and destroy the bread. He once again peers at the giant under the fence and is no longer afraid of his neck, patties or hefty belly, but "huge munch". The writer further details the psychological state of the hero by depicting his appearance: “... the face was burning, the eyes were burning, the blood was pounding in the temples like hammers, the sigh was accelerated, something was wheezing in the chest, as if he himself was moving some huge load or was struggling with someone invisible with extreme tension of all their strength". The skill of I. Franco the prose writer lies in the fact that he “there is no artificial accuracy of descriptions for all their accuracy - this is the complexity of simplicity, the transformation of the achievements of world artistic technology through creative personality the author, his temperament, living blood and nerves, this is the search for his own paths in verbal art" .

The process of the hero's weakening is conveyed by tactile images that contrast with his burning eyes and face. Myron is overcome by a feeling of coldness, which gradually increases and turns into a vivid metonymic image of a “cold hand” that squeezes the throat (arms and legs are already "got cold as ice"). Physical impotence and “immeasurable” tension of willpower are expressed in the work in short and laconic incomplete and elliptical sentences: “On your sides! On your sides! To Radicev and Panchuzhna! Don’t you dare here!”

Genre syncretism reaches such perfection that the reader cannot identify the boundaries that separate the real and the imaginary, reality and fiction. An allegorical picture of a little man’s struggle with a hail storm that ends although with mental breakdown, but still victory, ends with a meaningful image of laughter. Laughter first "unconscious", develops into mad laughter and merges with the noise of the ulcer from the cloud, rain and thunderclaps. These images are multi-valued, but they undoubtedly embody the writer’s historical optimism, the idea of ​​eternal unity and the struggle with nature, the need for a reasonable human victory in this struggle.

Literature

1. Dey O.I. From observations of the imagery of public and intimate lyrics by I. Frank// Ivan Franko - master of words and literature researcher- K., 1981.

2. Denisyuk I. O. Development of Ukrainian short prose XI X - beginning XX century - K., 1981.

3. Denisyuk I. O. On the problem of innovation in Ivan Franko's short stories// Ukrainian literary criticism.- Vol. 46. ​​- Lvov, 1986.

4. Franko I. Ya. Collected works: In 50 volumes.- K., 1976-1986.

5. Khropko P. The world of a child in the autobiographical stories of Ivan Franko// Literature. Children. Time.- K., 1981.

6. Shakhovskoy S. The mastery of Ivan Franko.- K., 1956.

Sample analysis of a lyrical work: “The cherry fish tank” by T. Shevchenko

The St. Petersburg spring of 1847 passed. It was cold in the basement of the office building of the so-called III Department. It’s also not comfortable on the upper floors of the house, where Taras Shevchenko was summoned for interrogation. Leaders II I The department knew well that among the arrested members of the “Ukrainian-Slavic society” (Cyril and Methodius Brotherhood), the main person was T. Shevchenko, although there was no direct evidence of his membership in the brotherhood. During interrogations, the poet did not betray any of the Cyril and Methodius followers and behaved with dignity. He was in a solitary cell in a casemate between April 17 and May 30, 1847. At this time, the poems that made up the cycle “In the Casemate” were written. It includes the poetry “Behind the bayrak bayrak”, “Mower”, “I am alone”, “Early in the morning recruits...”, “Don’t leave your mother! - they said...” and others. The cycle also included the famous landscape miniature “Cherry Fishing Tank”, written between May 19 and 30 - as a result of nostalgic visions of the distant May region.

5 autographs of the work have been preserved: three - among the autographs of this cycle (on a separate sheet of paper, in the “Small Book” and in the “Big Book”) and two separate ones - one called “Spring Evening” (undated) and the second called “ May Evening”, dated “1858, November 28”. The work was first published in the magazine “Russian Conversation” (1859, No. 3) under the title “Evening” and at the same time in the Russian translation by L. May in the magazine “People’s Reading” (1859, No. 3). Let us immediately note that T. Shevchenko himself was very fond of reciting this work and gave autographs to his friends.

“Cherry Kolokhaty Fish Tank” belongs to the masterpieces of Ukrainian landscape lyricism. During its writing, the number of metaphorical images of the grotesque, fantastic and symbolic planes noticeably decreases in the works of T. Shevchenko. At the same time, during the period of arrest and exile, the number of autologous (tropless) poems and poetic fragments in individual works- a tendency that corresponded to the general evolution of T. Shevchenko towards an increasingly natural artistic image, its “proseization”.

The poem recreates an idyllic picture of a spring evening in a Ukrainian village. Simple, visible, plastic images in it arise from folk and moral and ethical ideas. The strength of the emotional impact of this work lies in the naturalness and relief of the drawing, in its bright, life-affirming mood. The poetry reflected the poet's dream of a happy, harmonious life.

The most perfect analysis of poetry “The cherry blossom pond” And submitted. Franco in the aesthetic treatise “From the secrets of poetic creativity.” He repeatedly noted that the work of T. Shevchenko marks a new milestone in the development artistic skill Ukrainian literature. In the aforementioned treatise, I. Franko revealed the “secrets” of the great poet’s skill and showed them as an example of artistry.

I. Franko classifies the poetry of “The Cherry Fishing Tank” as idyllic works, that is, those in which the authors “get” associations, calm, lull the reader’s imagination, or simply express such associations that “float” in the poet’s calm imagination without any tension imagination. In the named work I. Franko wrote in particular: “The whole verse is like a snapshot of the poet’s soul mood, evoked by the image of a quiet, spring Ukrainian evening.

Cherry blossom cage,

Khrushchevs are buzzing over the cherries,

The plowmen are walking with their plows,

The girls sing as they walk,

And the mothers are waiting for dinner" .

Franco the critic emphasized that T. Shevchenko did not use any decorations in this work and described the images in almost prosaic words. But these words convey the lightest associations of ideas, so that our imagination floats from one image to another easily, like a bird, with graceful curves without flapping its wings, floats lower and lower in the air. In that ease and naturalness of associating ideas lies the whole secret of the poetic nature of these poems.” .

Further I. Franko emphasized that “true poets never allow themselves... orgies of color”. He meant, first of all, “The cherry blossom pond.” Although T. Shevchenko, as I. Franko noted before, uses a fairly wide range of coloristic symbolism, coloristic images with which he characterizes Ukrainian nature - "The cherry orchard is green and the nights are dark", "blue ocean", "red viburnum", "green ravines", "sky is blue". Shevchenko has a girlfriend « pink» , and the child “blushes like a flower in the morning under the dew”. Still, the poet, as we read in the treatise “From the Secrets of Poetic Creativity,” does not paint exclusively with “colors,” but “catches our various thoughts, evokes in the soul images of various impressions, but in such a way that they immediately merge into one organic and harmonious integrity”. In the first verse of the poetry “The Cherry Circle at Home” “the first line touches the mind of vision, the second - hearing, the third - vision and touch, the fourth - vision and hearing, and the fifth - again vision and touch; There are no special color accents at all, and yet the whole - a Ukrainian spring evening - appears before our imagination with all its colors, contours and hums, as if alive.”.

The poetry of “The Cherry Circle at Home” is full of a wide range of experiences. Here the “author” is hidden, that is, he is not specified as a specific person. Pictures of quiet picturesque nature, a gentle rural evening exist as if by themselves. The author's (lyrical narrator's) gaze moves from detail to detail until stroke by stroke a complete image is created in which everything lives and moves. The present tense of description is of a generalized nature, that is, this happens almost every summer evening, and this evening repeats itself every time.

The author’s evaluative position is clearly noticeable due to the idyllic mood, admiration for the simple, natural structure of working life with the alternation of work and rest, admiration for family happiness, the spiritual beauty of the Ukrainian people - all that the poet extols as the highest spiritual values. This emotional tone is the main content of poetry, as well as the idyllic drawings close to it “Water is flowing from under the sycamore tree...”, “Oh Dibrovo - a dark grove”, etc.

The dramatic context of feudal reality, the poet’s work and his personal fate is superimposed on these idyllic drawings, these memories-dreams and envelops them in sadness.

Literature

1. Franco I. Collection works: In 50 volumes.- K., 1931. - T. 31.

Literature

1. Introduction to literary criticism. Literary work: basic concepts and terms. -M., 1999.

2. Volynsky P.Fundamentals of literary theory. - K., 1967.

3. Galich A., Nazarets V., Vasiliev Is. Theory of literature. Textbook. - K., 2001.

4. Esin A.Principles and techniques of analyzing a literary work. Tutorial. - M., 1998.

5. Kuzmenko V.Dictionary of literary terms. A textbook on literary criticism.- K., 1997.

6. Kutsaya A.P.Fundamentals of literary criticism. A textbook for students of pedagogical specialties of higher educational institutions. - Ternopil, 2002.

7. Lesin V.Literary terms. - K., 1985.

8. Literary dictionary-reference book ( edited by G. Grom "Yaka, Yu. Kovaleva). - K., 1997.

9. Khalizev V.Theory of literature. - M., 1999.

Questions for self-control

1. What is artistry literary work? Name the prerequisites for revealing the artistry of a work.

2. Specify aspects of possible analysis plot form a work of art.

3. Reveal the essence of the principle of analysis interaction content and form .

4. What does it suggest? aesthetic analysis literary work?

5. Name the main ones ways of analysis literary work.

Instructions

Determine the boundaries of the episode being analyzed. Sometimes it is already determined by the structure of the work (for example, a chapter in a prose work, a phenomenon in a dramatic work). But more often it is necessary to delimit the episode using information about the place, time of action and the participation of the characters in the work. Title the episode.

Name the characters of the work participating in the episode. Explain who they are, what place they occupy in the system of images (main, title, extra-plot). Find within the episode quotation material related to portraiture and speech characteristics heroes expressing author's assessment characters and their actions. Tell us about your personal relationship to the characters.

Formulate the problem posed by the author in the episode. To do this, first determine the topic of the fragment (about what?), and then the conflict (between the characters, internal conflict one character). Observe how the relations between the participants in this conflict develop, what goals they pursue and how to achieve them. Pay attention to whether the episode shows the result of their actions and what it is.

Consider compositional structure episode: beginning, development of action, ending. Determine how the episode is connected to the subsequent piece of text. Find out if the tension between the characters in the episode increases or emotional background remains smooth and unchanged.

Determine the role of auxiliary artistic devices: lyrical digressions, descriptions of nature, figurative parallelism, etc.

Analyze the plot, figurative and ideological connection of the episode with other scenes, determine its place in the context of the work.

Analysis works– the process is synthetic. It is necessary to record your feelings and at the same time subordinate their presentation to strict logic. In addition, you will need to break down the poem or story into its component parts without ceasing to perceive it as a whole. An analysis plan will help you cope with these tasks. works.

Instructions

When starting to analyze any artistic works, collect information about the time and conditions of its creation. This applies to social and political events of that time, as well as the stage of development in general. Mention how the book was received by readers and critics of the era.

Regardless of type works it is necessary to determine its topic. This is the subject of the story. Also formulate the main problem that the author is considering - a question or situation that does not have a clear solution. In the context of one topic, several problems can be considered in a work.

Analyze the content and form of the book. If you have a poetic work in front of you, stop at the image of the lyrical hero. Tell us how it is created and described, what thoughts and feelings it expresses. Guess how far this is from the real, biographical author. Pay attention to the form works. Determine what size it is written in, what rhyme and rhythm the author uses, and for what purpose. Describe the tropes and figures found in the text and give names for each.

If you are analyzing epic work, after identifying the topic and problems, name all the plot lines that are in the book. Then, for each of them, write down a plot outline (exposition, beginning, development of action, climax, denouement).

Speaking of composition, pay attention to how all the parts are arranged works, are they accompanied by the author’s reasoning ( lyrical digressions), additional images and paintings, insertions of additional plots (“in the story”).

Describe the images of the main characters works, look at how they interact, how conflicts develop.

Next, define literary direction, to which the book belongs, and genre works. Name the signs that indicate this. If the author somewhat violated the “canons”, tell us how and why he did it.

The ability to analyze a work of fiction is an indicator of reading culture. In this case, it is necessary to distinguish between academic analysis and reader analysis. In order to perceive the work not in the format of the educational process, you should try to delve not so much into the ideological and artistic originality, but into the motivation of the characters’ actions.

Instructions

In the process of reading a work of fiction, it is necessary to identify the main characters, determine the role minor characters and try to understand what role they are called upon to play in the fate of the main characters. It is necessary to highlight the author’s position on the characters and what is happening - this is not difficult. The author's attitude can be expressed in a certain emotional coloring of the description; sometimes the author acts as a full-fledged character. Classic example author's presence - "Eugene Onegin".

When assessing the actions of the heroes of a work, it is necessary to start from the idea that this is a work of art and analyze the actions of the hero as a real person. Studying the “image of Pechorin,” a girl can ask herself a question: would she marry him if such an opportunity presented itself? Answer to this question will reveal positive and negative sides hero's personality. With this approach to assessing the character’s personality, contradictions may arise with the traditional literary interpretation of the work, but this real opportunity application of psychological analysis skills in reality.

When analyzing the storyline, it is interesting to fantasize and imagine the lives of the characters before they appeared on stage. Alexander Andreich Chatsky is traditionally considered a positive hero, not understood by “Famus society.” But if the released episodes are restored, the question of its “positivity” will be called into question. The hero was brought up in the Famusov family, was friends with Sophia, and then disappeared to an unknown location for several years. The play “Woe from Wit” begins with his return, and what does the reader see? Clever man begins to impose his vision of the world, demand an immediate revision of the key positions of Famus society, and most importantly, demands former love from Sophia and considers himself sincerely offended by not receiving a response. Is it possible that it was Chatsky’s incomprehensible absence that killed Sophia’s love?

The level of perception of a work of art is not limited to its analysis. We can talk about full perception if the reader can identify himself with the characters of the work, and this means through the prism of his own experience, modeling the situation and finding solutions to problems. It would be interesting to try to continue the work. What could be the future fate of the heroes? What would have happened to the characters if it had not happened, then, author? How would the heroes behave based on the characteristics that were identified during the analysis? What would have happened if Karandyshev had not killed Larisa, but only wounded her? Answers to such questions not only expand the understanding of the work, but also refer to the study additional sources. Here we can already talk about the influence of reading culture on the general culture of the individual.

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