What is linear composition in literature. What is composition? Definition

Composition is an important component regarding organization art form, literary, visual, voluminous. The composition gives the work integrity and unity, subordinates its elements to each other and correlates with the general idea of ​​the artist. More precise definition what a composition is depends on the sphere to which this or that work of art belongs. This may be the distribution of objects in space, the structure of the text, the ratio of volumes, colors, light and shadow.

What is composition in literature

In literature, the concept of composition means the construction of a literary work, the structure of its constituent parts, their sequence and system. But composition in literature is not just a sequence of scenes, chapters, sections, acts. This is a system of production, which includes all forms artistic image used by the writer.

The parts of the composition in literature are: portraits, monologues and dialogues of characters, author's and digressions, landscapes, descriptions, systems of images, plots and plots of works. Often the authors choose for their works a cyclic structure or a spiral development of the plot, and these are also components of the composition. For example, the composition "The Master and Margarita" by Mikhail Bulgakov is a novel within a novel. The main plot, which tells the reader about the history of the Master and his girlfriend, contains one more story - the story of Yeshua Ha-Nozri and the procurator Pontius Pilate.

What is the composition of a work of art

Composition in fine arts is the most important organizing factor. The composition of a painting, sculpture, architectural creation gives it integrity, unity, combines all its elements in harmony, gives it content and character.

Composition creates perfect shape giving harmony to the whole work. For example, Leonardo da Vinci's work " The Last Supper". And the image on famous fresco balanced not only visually, but also in the plot itself, the images of the picture.

What is composition in photography

Composition for photography is a harmonious, balanced arrangement of objects in the frame. How often does such a situation arise that the pictures of one photographer seem almost brilliant to us, and the pictures of the second evoke a feeling of hacky or amateur work, although they depict the same cats and trees. Most often, in this case, it's all about a well-chosen or unsuccessful composition. There are the following compositional techniques for building the most successful photograph:

Conciseness

You should not throw all the most beautiful and interesting little things into the frame - the viewer's eye will get tired instantly. Choose one, but one that is the most important and impressive. In a photo in a gray boring building, a girl's red flowing dress can become such a detail.

golden section rule

The face and body of a person obeys the da Vinci rule of the "golden section", the same rule obeys all nature and a successful shot of the photographer.

Guide lines

Leading lines are also important in the frame. Alternating identical fragments will help add dynamics to the picture and direct the viewer's eye from one edge of the photo to another, more important one. For example, a frame from a combination of vertical stripes of massive columns and horizontal stripes of stairs outlined by the sun will look good.

Balance of elements

A person is used to feeling support under his feet and the absence of it, even in a photograph, will create an extremely uncomfortable feeling for him. The balance of light and shadow, color elements, objects in the photo - all this is important for the balance of the frame. A bad example of balance is the girl in the frame in the lower left corner facing the photographer. good example there will be the same girl in the same corner, but with her face turned to the sky, where she soars balloon(in the upper right corner of the frame) the same color as her dress.

Rhythm

Rhythm is also good for creating frame dynamics. The alternation of light and shadow, colors, repeating elements - it can be anything that your imagination is rich in.

Significantly affects the expression of his ideas. The writer focuses his attention on attracting him to given time life phenomena and embodies them through the artistic depiction of characters, landscapes, moods. At the same time, he seeks to connect them in such a way that they are truly convincing and really reveal what he wanted to show, so that they encourage the reader to think.

The fact that the composition in literature significantly influences the disclosure of the writer's ideological intent was constantly pointed out in his works by Belinsky. He believed that main idea the author must meet the following criteria: isolation and completeness of the whole, completeness, commensurate distribution of roles between the heroes of a work of art. Thus, the composition in literature is determined by the positions of the author: ideological and aesthetic. But the idea and theme can be harmoniously combined only in a mature work.

The composition of the text is considered by literary critics from different points of view. And on common definition they haven't gotten along to this day. Most often, the composition in the literature is defined as the construction of the correlation of all its parts with a single whole. It is known that it has many components that writers use in their works to complete the depiction of life pictures. The main elements that make up the composition in literature are lyrical digressions, and portraits, and inserted episodes, epigraphs, titles, landscapes, and the environment.

Epigraphs and titles carry a special load.

The title, as a rule, indicates the following aspects of the work:

Subject (for example, Bazhov "Malachite Box");

Images (for example, George Sand "Countess Rudolfstadt", "Valentina");

Problematics (E. Rich "What Moves the Sun and the Luminaries").

An epigraph is a kind of additional name, which is usually associated with the main idea of ​​​​the work or hints at bright features Main character.

Lyrical digressions stand apart from storyline. With their help, the author has the opportunity to express his own attitude to those events, phenomena and images that he depicts. There are also such lyrical digressions in which the experiences of several characters merge, but it is still clear that here the writer expressed his feelings and thoughts. For example, as in the digression about mother's hands in the novel "The Young Guard" by Fadeev.

Choosing the sequence of connection of the listed elements, their own principles of their "assembly", each author creates a unique work. And he uses the following:

• Ring composition, or frame composition. Writer repeats artistic descriptions, stanzas at the beginning of the work, and then at the end; the same events or characters at the beginning of the story and at the end. This technique is found in both prose and poetry.
• Reverse composition. When the author places the ending at the beginning of the work, and then shows how events developed, explains why it was that way and not otherwise.
• Using the technique of flashback - when the writer places readers in the past, when the causes of those events that happened in this moment. Sometimes a flashback is presented in the form of reminiscences of the main character or his story (the so-called "story within a story").
• A compositional break in events, when one chapter ends at the most intriguing moment, and the next begins with a completely different action. This technique is more common in the works of the detective, adventurous genre.
• Using exposure. It may precede the main action, or it may be completely absent.

Composition

Composition

COMPOSITION (from the Latin "componere" - to fold, build) - a term used in art history. In music, K. is called the creation of a musical work, hence: composer - author musical works. In literary criticism, the concept of k. passed from painting and architecture, where it denotes the connection of individual parts of a work into an artistic whole. K. is a branch of literary criticism that studies the construction of a literary work as a whole. Sometimes the term K. is replaced by the term "architectonics". Each theory of poetry is characterized by a corresponding doctrine of K., even if this term is not used.
The dialectical-materialist theory of cosmology does not yet exist in its developed form. However, the main provisions of the Marxist science of literature and individual excursus of Marxist literary critics in the field of composition study allow us to outline the right decision problems K. G. V. Plekhanov wrote: “The form of an object is identical with its appearance only in a certain and, moreover, superficial sense: in the sense of external form. A deeper analysis leads us to an understanding of form as the law of an object, or, better, its structure” (“Letters without an Address”).
In its worldview, the social class expresses its understanding of the connections and processes in nature and society. This understanding of connections and processes, becoming the content of a poetic work, determines the principles of arrangement and deployment of material - the law of construction; First of all, one should proceed from the K. of characters and motives and through it proceed to the composition of verbal material. Each style that expresses the psycho-ideology of a particular class has its own type of K. various genres of one style, this type sometimes varies greatly, while retaining its main features.
For more details on the problems of K., see the articles Style, Poetics, Plot, Versification, Theme, Image.

Literary Encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

Composition

(from lat. compposito - compilation, binding), construction of a work of art, organization, structure of the form of a work. The concept of "composition" is close in meaning to the concept of "structure of a work of art", but the structure of a work means all its elements in their relationship, including those related to the content (plot roles of characters, correlation of characters among themselves, author's position, a system of motives, an image of the movement of time, etc.). We can talk about ideological or motive structure works, but not about the ideological or motive composition. AT lyrical works composition includes the sequence lines and stanza, the principle of rhyme (rhyme composition, stanza), sound repetitions and repetitions of expressions, lines or stanzas, contrasts ( antitheses) between different verses or stanzas. In dramaturgy, the composition of a work consists of a sequence scenes and acts contained in them replicas and monologues actors and copyright explanations remarks). In narrative genres, composition is the depiction of events ( plot) and extra-plot elements: descriptions of the situation of the action (landscape - descriptions of nature, interior - description of the decoration of the room); descriptions of the appearance of the characters (portrait), their inner peace (internal monologues, improperly direct speech, generalized reproduction of thoughts, etc.), deviations from the plot narrative, in which the thoughts and feelings of the author are expressed about what is happening (the so-called author's digressions).
The plot is characteristic of dramatic and narrative genres also has its own composition. Elements of plot composition: exposition (image of the situation in which the conflict arises, presentation of characters); the plot (the origin of the conflict, the starting point of the plot), the development of the action, the culmination (the moment of the highest aggravation of the conflict, the plot peak) and the denouement (the exhaustion of the conflict, the "end" of the plot). Some works also have an epilogue (a story about the subsequent fates of the characters). Individual elements of the composition of the plot may be repeated. So, in the novel by A.S. Pushkin « Captain's daughter" three climactic episode(take Belogorsk fortress, Grinev at Pugachev's headquarters in the Berdskaya Sloboda, the meeting of Masha Mironova with Catherine II), and in the comedy N.V. Gogol"Inspector" three denouement (false denouement - Khlestakov's engagement with the daughter of Gorodnichiy, the second denouement - the arrival of the postmaster with the news of who Khlestakov really is, the third denouement - the arrival of the gendarme with the news of the arrival of the true auditor).
The composition of the work also includes the structure of the narrative: the change of narrators, the change in narrative points of view.
There are certain recurring types of composition: ring composition (repetition of the initial fragment at the end of the text); concentric composition (plot spiral, repetition of similar events in the course of the development of the action), mirror symmetry (repetition, in which for the first time one character performs a certain action in relation to another, and then he performs the same action in relation to the first character). An example of mirror symmetry is the novel in verse by A. S. Pushkin "Eugene Onegin": first, Tatyana Larina sends a letter to Onegin with a declaration of love, and he rejects her; then Onegin, having fallen in love with Tatyana, writes to her, but she rejects him.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

Composition

COMPOSITION. The composition of a work in the broadest sense of the word should be understood as a set of techniques used by the author to “arrange” his work, techniques that create a general pattern of this latter, the order of its individual parts, transitions between them, etc. The essence of compositional techniques is thus reduced to the creation of some complex unity, a complex whole, and their significance is determined by the role they play against the background of this whole in the subordination of its parts. Therefore, being one of highlights embodiment of a poetic idea, composition this work is determined by this idea, but it differs from other of these moments by the immediacy of its connection with the general spiritual disposition of the poet. Indeed, if, for example, the poet’s metaphors (see this word) reveal the integral image in which the world is before him, if the rhythm (see this word) reveals the “natural melodiousness” of the poet’s soul, then it is precisely the nature of the location of the metaphors that determines their significance in recreating the image of the whole, and compositional features rhythmic units - their very sound (see "Enjambement" and "Strophe"). Vivid proof of the noted fact of the direct determinability of well-known compositional techniques by the general spiritual mood of the poet can, for example, be Gogol's frequent lyrical digressions, which undoubtedly reflect his preaching and teaching aspirations or Victor Hugo's compositional moves, as noted by Emile Fage. Thus, one of Hugo's favorite moves is the gradual development of mood, or, to put it musical terms, as it were, a gradual transition from pianissimo to piano, etc. As Fage quite rightly emphasizes, such a move in itself speaks for the fact that the genius of Hugo is a “florid” genius, and such a conclusion is really justified general idea about Hugo (purely oratory in the sense of emotionality, the effectiveness of this move is clearly manifested when Hugo omits some term of the gradation and abruptly passes from one step to another). Also interesting from the side under consideration is another technique of Hugo's composition noted by Faguet - to develop his thought in a way that is widespread in everyday life, namely to pile up repetitions instead of proofs. Such repetition, leading to an abundance of " common places” and itself being one of the forms of the latter, undoubtedly indicates, as Fage notes, Hugo’s “ideas” are limited, and at the same time again confirms the “ornateness” (bias of influencing the will of the reader) of his genius. Already from the above examples, showing the determinability of compositional techniques in general by the general spiritual mood of the poet, it simultaneously follows that certain special assignments require one method or another. Of the main types of composition, along with the named oratory, one can name narrative, descriptive, explanatory composition (see, for example, "A guide to the English language" edited by H. C. O. Neill, London, 1915) Of course, separate techniques in each of these types are determined both by the holistic "I" of the poet, and by the specificity of a separate idea (see, "Strophe" - about the construction of Pushkin's "I remember wonderful moment”), but some general sticky characteristic of each of the compositional species. So, the narrative can develop in one direction and events follow in kind. chronological order or, conversely, the temporal sequence may not be observed in the story, and events develop in different directions, arranged according to the degree of growth of action. It also occurs (in Gogol), for example, compositional technique narration, consisting in a branch from the general narrative stream of individual streams that do not merge with each other, but merge into the general stream at certain intervals. From the characteristic methods of compositions of a descriptive type, one can, for example, indicate the composition of the description according to the principle of a general impression or the opposite, when one proceeds from a clear fixation of individual particulars. Gogol, for example, often uses a combination of these techniques in his portraits. Having illuminated some image with hyperbolic light (see Hyperbole) in order to sharply outline it as a whole, Gogol then writes out individual particulars, sometimes completely insignificant, but acquiring special significance against the background of hyperbole that has deepened the usual perspective. As for the fourth of these types of composition - explanatory, then first of all it is necessary to stipulate the conventionality of this term in its application to poetic works. Having a very definite meaning as a technique for the embodiment of thought in general (this may include, for example, the technique of classification, illustration, etc.), an explanatory composition in a work of art can manifest itself in the parallelism of the arrangement of individual moments (see, for example, the parallel arrangement of Ivan's characteristics Ivanovich and Ivan Nikiforovich in Gogol's story) or, conversely, in their contrasting opposition (for example, by delaying the action by describing the characters), etc. If we approach works of art from the point of view of their traditional belonging to the epic, lyrical and dramatic, then here you can find specific features each group, as well as within their smaller divisions (composition of a novel, poem, etc.). In Russian literature, in this respect, something has been done only in the most recent times. See, for example, the collections "Poetics", books - Zhirmunsky - "Composition of Lyric Poems", Shklovsky "Tristan Shandy", "Rozanov", etc., Eikhenbaum "Young Tolstoy", etc. It should, however, be said, that the approach of these authors to art only as a set of techniques makes them move away from the most essential in their work on literary text- from establishing the determinability of certain methods creative theme. This approach turns these works into a collection dead materials and raw observations, very valuable, but waiting to be animated (see Reception).

Ya. Zundelovich. Literary Encyclopedia: Dictionary literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

The composition of a literary work. The main aspects of the composition.

The composition of the figurative system.

The system of images-characters of a work of art.

Plot composition and composition of non-plot elements

1. Composition of a literary work. The main aspects of the composition.

Composition(from lat. compositio - compilation, connection) - the connection of parts or components into a whole; the structure of the literary and artistic form. Composition- this is the composition and a certain arrangement of parts, elements of the work in some significant sequence.

Composition is a combination of parts, but not these parts themselves; depending on what level (layer) of the art form in question, there are aspects of composition. This is the arrangement of characters, and the event (plot) connections of the work, and the installation of details (psychological, portrait, landscape, etc.), and the repetition of symbolic details (forming motives and leitmotifs), and the change in the flow of speech of its forms such as narration , description, dialogue, reasoning, as well as the change of subjects of speech, and the division of the text into parts (including the frame and main text), and the dynamics of speech style, and much more.

The aspects of composition are manifold. At the same time, the approach to a work as an aesthetic object makes it possible to identify at least two layers in its artistic form and, accordingly, two compositions that combine components of different nature - textual and subject (figurative). Sometimes in the first case one speaks of the outer layer of the composition (or “outer composition”), in the second one – of the inner one.

Perhaps, the difference between subject and textual composition is not so clearly manifested in anything, as in applying the concepts of “beginning” and “end” to them, otherwise “frame” (frame, frame components). Framework components are title, subtitle, sometimes - epigraph, dedication, preface, always - First line, first and last paragraphs.

In modern literary criticism, apparently, the term " strong position of the text” (it applies, in particular, to titles, the first line, the first paragraph, the ending).

Researchers show increased attention to the frame components of the text, in particular, to its absolute beginning, which creates a certain horizon of expectation, and is structurally distinguished. For example: A.S. Pushkin. Captain's daughter. Next is the epigraph: Take care of honor from a young age". Or: N.V. Gogol. Auditor. Comedy in five acts. Epigraph: " There is nothing to blame on the mirror if the face is crooked. folk proverb". Followed by " Characters» (traditional drama component side text), « Characters and costumes. Notes for gentlemen actors(for understanding the author's concept, the role of this metatext is very important).

Compared to epic and dramatic works, the lyrics are more modest in the design of the “entrance” to the text: often there is no title at all, and the text gives its name First line, which simultaneously introduces the rhythm of the poem (therefore, it cannot be shortened in the table of contents).

Parts of the text have their frame components, which also form relative units. epic works can be divided into volumes, books, parts, chapters, subchapters, etc. Their names will form their own expressive text (component of the frame of the work).

In drama, it is usually divided into acts (actions), scenes (pictures), phenomena (in modern plays, breakdown into phenomena is rare). The entire text is clearly divided into character (main) and author's (side), which includes, in addition to the heading component, various kinds of stage indications: a description of the place, time of action, etc. at the beginning of acts and scenes, the designation of speakers, remarks, etc.

Parts of the text in lyrics (and in poetic speech in general) are a verse, a stanza. The thesis about the “unity and tightness of the verse series”, put forward by Yu.N. Tynyanov in the book "Problems of Poetic Language" (1924) allows us to consider the verse (usually written in a separate line) by analogy with larger units, parts of the text. One can even say that the function of frame components in the verse is performed by the anacrusis and the clause, often enriched with rhyme and noticeable as the border of the verse in case of transfer.

In all kinds of literature, individual works can form cycles. The sequence of texts within a cycle (a book of poems) usually gives rise to interpretations in which the arguments are the arrangement of characters, a similar structure of plots, and characteristic associations of images (in the free composition of lyrical poems), and other - spatial and temporal - connections of the objective worlds of the work.

So there is text components and components of the objective world works. Successful analysis of the overall composition of a work requires tracing their interaction, often very tense. The composition of the text is always "superimposed" in the perception of the reader on the deep, objective structure of the work, interacts with it; it is thanks to this interaction that certain devices are read as signs of the presence of the author in the text.

Considering the subject composition, it should be noted that its first function is to “hold” the elements of the whole, to make it from separate parts; without a deliberate and meaningful composition, it is impossible to create a full-fledged work of art. The second function of composition is to express some artistic sense.

Before proceeding to the analysis of the subject composition, you should familiarize yourself with the most important compositional techniques. The main ones among them are: repetition, amplification, contrast and montage(Esin A.B. Principles and methods of analysis of a literary work - M., 1999, p. 128 - 131).

Repeat- one of the simplest and at the same time the most effective composition techniques. It allows you to easily and naturally "round" the work, to give it a compositional harmony. The so-called ring composition looks especially impressive when a “roll call” is established between the beginning and end of the work.

A frequently repeated detail or image becomes the leitmotif (leading motive) of the work. For example, the motif of the cherry orchard as a symbol of the Home, the beauty and stability of life, its bright beginning runs through the entire play by A.P. Chekhov. In the play by A.N. Ostrovsky, the image of a thunderstorm becomes the leitmotif. In poems, a kind of repetition is a refrain (repetition of individual lines).

A technique close to repetition is gain. This technique is used in cases where a simple repetition is not enough to create an artistic effect, when it is necessary to enhance the impression by selecting homogeneous images or details. So, according to the principle of amplification, a description of the interior decoration of Sobakevich’s house in “Dead Souls” by N.V. Gogol: every new detail reinforces the previous one: “everything was solid, clumsy to the highest degree and had some strange resemblance to the owner of the house; in the corner of the living room stood a pot-bellied walnut office on absurd four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and most restless quality—in a word, every object, every chair seemed to say: “Me, too, Sobakevich!” or “and I am very similar to Sobakevich!”.

According to the same principle of amplification, the selection of artistic images in the story of A.P. Chekhov's "The Man in the Case", used to describe the main character - Belikov: "He was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella and certainly in a warm coat with wadding. And his umbrella was in a case made of gray suede, and when he took out his penknife to sharpen his pencil, his knife was also in a case; and his face, it seemed, was also in a case, since he always hid it in his upturned collar.

The opposite of repetition and amplification is opposition- a compositional technique based on antithesis. For example, in a poem by M.Yu. Lermontov's "The Death of a Poet": "And you will not wash away all your black blood / Poet's righteous blood."

In the broad sense of the word, opposition is any opposition of images, for example, Onegin and Lensky, Bazarov and Pavel Petrovich Kirsanov, images of storm and peace in the poem by M.Yu. Lermontov "Sail", etc.

Contamination, combining the techniques of repetition and opposition, gives a special compositional effect: the so-called "mirror composition". As a rule, when mirror composition the initial and final images are repeated exactly the opposite. A classic example of a mirror composition is the novel by A.S. Pushkin “Eugene Onegin”, It seems to repeat the situation already depicted earlier, only with a change of position: at first Tatyana is in love with Onegin, writes him a letter and listens to his cold rebuke At the end of the work, on the contrary: Onegin in love writes a letter and listens to Tatyana’s answer.

The essence of the reception installation, lies in the fact that the images located side by side in the work give rise to a new, third meaning, which appears precisely from their proximity. So, for example, in the story of A.P. Chekhov's "Ionych", the description of the "art salon" of Vera Iosifovna Turkina is adjacent to the mention that the clink of knives was heard from the kitchen and the smell of fried onions was heard. Together, these two details create that atmosphere of vulgarity, which A.P. tried to reproduce in the story. Chekhov.

All compositional techniques can perform two functions in the composition of a work, somewhat different from each other: they can organize either a separate small fragment of text (at the micro level), or the entire text (at the macro level), becoming in the latter case the principle of composition.

For example, the most common device for the microstructure of a poetic text is the sound repetition at the end of poetic lines - rhyme.

In the above examples from the works of N.V. Gogol and A.P. Chekhov's technique of amplification organizes separate fragments of texts, and in A.S. Pushkin's "Prophet" becomes the general principle of organizing the entire artistic whole.

In the same way, montage can become the compositional principle of organizing the entire work (this can be observed in the tragedy of A.S. Pushkin "Boris Godunov", in the novel "The Master and Margarita" by M.A. Bulgakov).

Thus, it is necessary to distinguish between repetition, opposition, amplification and montage as proper compositional techniques and as a principle of composition.

Conventionally, two types of composition can be distinguished: simple and complex. In the first case, the role of the composition is reduced to combining the content elements of the work into a single whole without highlighting particularly important, key scenes, subject details, artistic images. In the area of ​​plot, this is a direct chronological sequence of events, one and the use of a traditional compositional scheme: exposition, plot, development of action, climax, denouement. However, this type practically does not occur, but is only a compositional “formula”, which the authors fill with rich content, moving on to a complex composition. Ring refers to complex type. The purpose of this type of composition is to embody a special artistic meaning, using an unusual order and combination of elements, parts of a work, supporting details, symbols, images, means of expression. In this case, the concept of composition approaches the concept of structure, it becomes the stylistic dominant of the work and determines it. artistic originality. The ring composition is based on the principle of framing, repetition at the end of the work of any elements of its beginning. Depending on the type of repetition at the end of a line, stanza, the work as a whole determines the sound, lexical, syntactic, semantic ring. The sound ring is characterized by the repetition of individual sounds at the end of a poetic line or stanza and is a kind of sound writing techniques. “Do not sing, beauty, with me ...” (A.S. Pushkin) A lexical ring is at the end of a poetic line or stanza. “I will give a shawl from Khorasan / And I will give a Shiraz carpet.” (S.A. Yesenin) The syntactic ring is a repetition of a phrase or a whole at the end of a poetic stanza. “Shagane you are mine, Shagane! / Because I'm from the north, or something, / I'm ready to tell you the field, / About wavy rye in the moonlight. / Shagane you are mine, Shagane. (S.A. Yesenin) The semantic ring is found most often in works and prose, helping to highlight the key artistic image, scenes, "closing" the author and reinforcing the impression of the closedness of the circle of life. For example, in the story of I.A. Bunin's "The Gentleman from San Francisco" in the finale, the famous "Atlantis" is again described? steamer returning to America the body of the deceased from heart attack the hero who once went on a cruise on it. The ring composition not only gives the story completeness and harmony in proportion to the parts, but also seems to expand the boundaries of the picture created in the work in accordance with the author's intention. Do not confuse the ring with the mirror, which is also based on the reception of repetition. But the main thing in it is not the principle of framing, but the principle of "reflection", i.e. the beginning and end of the work in opposition. For example, elements of a mirror composition are found in M. Gorky's play "At the Bottom" (Luke's parable of the righteous and the scene of the Actor's suicide).

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The parable is interesting instructive story. She has one feature that attracts the reader's attention and characterizes her very accurately. The truth in it never "lies on the surface." It opens in the right perspective, because. Everyone is different and at different stages of development. The meaning of the parable is understood not only by the mind, but also by the feelings, by the whole being.

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In a phrase, one word is the main one, and the second is dependent. The connection in the phrase is always subordinate. Words are connected in meaning and syntactically. Any independent part of speech can be both the main and the dependent word.

Independent parts of speech in Russian are nouns, adjectives, pronouns, numerals, verbs, gerunds and adverbs. The remaining parts of speech - prepositions, conjunctions, particles - are auxiliary.

From the main word, you can ask a question to the dependent: “how to fly? - high"; "What mountain? - high"; "circle where? - in the sky".

If you change the form of the main word in a phrase, for example, the case, gender or number of nouns, then this may affect the dependent word.

Three types of syntactic connection in phrases

In total, there are three types of syntactic connection in phrases: agreement, control and adjacency.

When the dependent word changes along with the main word in gender, case and number, we are talking about agreement. The connection is called "coordination" because the parts of speech in it are completely consistent. This is typical for combinations of a noun with an adjective, ordinal number, participle and some: “ big house”, “first day”, “laughing man”, “what century” and so on. At the same time, it is a noun.

If the dependent word does not agree with the main word according to the above criteria, then we are talking about either control or adjacency.

When the case of the dependent word is determined by the main word, this is control. At the same time, if you change the form of the main word, the dependent word will not change. This type of connection is often found in combinations of verbs and nouns, where the main word is a verb: “stop”, “leave the house”, “break a leg”.

When words are related only in meaning, and the main word does not affect the form of the dependent word in any way, we are talking about adjunction. So often adverbs, verbs with adverbs are combined, while dependent words are adverbs. For example: "talk quietly", "terribly stupid."

Syntactic links in sentences

As a rule, when it comes to syntactic connection, you are dealing with phrases. But sometimes you need to define syntactic link in . Then you will have to choose between composing (also called "composing") or subordinating ("subordinating").

AT writing connection sentences are independent of each other. If we put a dot between them, then common sense this will not change. Such sentences are usually separated either by the unions "and", "a", "but".

AT subordination it is impossible to break the sentence into two independent ones, since the meaning of the text will suffer in this case. The subordinate clause is preceded by the unions "that", "what", "when", "how", "where", "why", "what for", "how", "who", "which", "what" and others : "When she entered the hall, it had already begun." But sometimes there is no union: "He did not know whether they were telling him the truth or lying."

The main clause can be both at the beginning of a complex sentence and at its end.