Prose analysis plan with an example. Analysis plan for a prose work

teacher of Russian language and literature

gymnasium No. 1 in Bryansk

AT recent times at Literature Olympiads, schoolchildren are invited to analyze a literary text (poetic or prose). We offer our own version of work on a comprehensive analysis of the text, which was quite successfully tested in the preparation of students of gymnasium No. 1 for various stages of the All-Russian Olympiad for schoolchildren.

Traditionally, work with a literary text includes 3 stages: emotional perception and the formation of the primary concept of the study; analysis actual material and confirmation / refutation of the theory; text synthesis.

1. 
   Emotional perception. This stage is pre-scientific. The following elements need to be identified: Features artistic world the author, the features of his own artistic world (how the problem raised by the author is solved in his own mind). The most important thing at this stage is to describe the resonance in which perception comes after reading the text. It is important not just to "catch" the mood created by the text, but to find points of refraction, discrepancies of opinions and argue their selection using a description of the author's and his own picture of the world. The result of this stage is the creation of the primary concept of the study: what is the peculiarity of the author's artistic world, how this specificity is reflected in the text, what is the peculiarity of his perception.
2. 
   Analysis of the actual material. This stage involves painstaking objective work with the text, analysis of language units at various levels. It is important to objectively study the presented text material, not paying attention to the initially set goals. The final stage of this work is the confirmation or refutation of one's own theory, its transformation or the search for a new one.
3. 
   Synthesis of "text about text". At this stage, it is necessary to combine the data obtained during the work on the emotional and factual components of the text. There is no scheme for creating this text and cannot be. !!! This is easily explained by the very specifics of the object of study. It is important to single out the general concept of the study and build evidence based on it. Emotionality and excessive "artistic" are unacceptable. Comprehensive text analysis implies a combination of research and creativity. At the same time, the creative, emotional component implies the transformation of oneself into a kind of guinea pig, i.e. the study of the subtleties of one's own feelings when perceiving the text.

1. 
   Soderangst (what?)

• 
  Problem
• 
  idea block

1. 
   Form (how?)

• 
  Plot
• 
  Conflict
• 
  Composition
• 
  figurative system
• 
  Genre specificity
• 
  Chronotop
• 
  Vocabulary
• 
  Morphology
• 
  Syntax
• 
  Phonetics WHY??????
• 
  Peculiarities artistic speech
• 
  Features of versification (for poetry)

1. 
   Additional text

• 
  header complex
• 
  Date, place of writing
• 
  Author's notes and explanations
• 
  Poster, remarks, mise-en-scène (in drama)

PROBLEMS: mythological, cultural and everyday (sociocultural), national, ideological and moral (novel), philosophical.

IDEA BLOCK: artistic idea, system of author's assessments, author's idea of ​​the ideal, pathos (heroic, dramatic, tragic, comic, satirical, humorous, pathos of sentimentality, romantic)

PLOT: dynamic / adynamic (according to the intensity of the development of events); chronicle / concentric (according to the internal connection of events); plot elements (exposition, plot, development of action, climax, denouement); extra-plot elements (prologue, epilogue, inserted episodes, lyrical digressions).

CONFLICT: local / substantial (according to the place of concentration); person-person / person-group of persons / person-society / internal (at the level of participants).

COMPOSITION: external (division into chapters, parts, actions, phenomena, stanzas), internal (sequence of events, division of characters, feature of artistic speech), basic compositional techniques (repetition, opposition, amplification, “mirror” composition, installation)

IMAGINATIONAL SYSTEM: properties of the artistic world (lifelikeness, fantasy, plot, descriptiveness, psychologism, etc.); system of images (hero, landscape, interior, detail); typology of images according to the degree of generalization (individual, typical, symbols, images-motives, images-archetypes)

Ways to analyze a hero: portrait, characterization by other characters, author's characterization, landscape, interior, artistic detail, social environment, speech characteristic, memories, dreams, letters, etc.

landscape functionsand interior: designation of time and place of action, creation of the image of a hero, form of the author's presence, influence on the course of events, designation of a historical era, visionary

GENRE SPECIFICITY: literary movement, generic and genre features text.

CHRONOTOPE: properties of artistic time (concreteness / abstractness; intensity / non-intensity; discreteness (discontinuity); free movement of images in time); properties art space(concreteness/abstractness, saturation/unsaturation with details, discreteness, free movement of images in space).

VOCABULARY: synonyms, antonyms, stylistically colored vocabulary, obsolete words, neologisms, Old Slavonicisms, borrowings, dialectisms, lexical means of artistic expression (epithet, metaphor, metonymy, comparison, oxymoron, paraphrase, symbolism, hyperbole, etc.)

MORPHOLOGY: the accumulation of words of the same part of speech that have similar properties

SYNTAX: character of punctuation, sentence structure, syntactic figures (rhetorical question, appeal, exclamation; omission, inversion, anaphora, epiphora, gradation, parallelism, default, parcellation, multi-union, non-union, etc.)

PHONETICS: assonance, alliteration

FEATURES OF ARTISTIC SPEECH: monologism, dialogue, narration in the first or third person

FEATURES OF POETRY: poetic size, type of rhyme, method of rhyming, features of stanza.

In the course of observing the specifics of the text, it is necessary to analyze all its components for an objective conclusion. When describing these observations, it is impossible to do without citation material as evidence. As for the historical, cultural and biographical blocks, it is advisable to give them the place of auxiliary information. In any case, the linguistic analysis of the text will lead to an understanding of the author's linguistic picture of the world, characteristic of a particular era or culture. Thus, knowledge of biography or history will help to state observations. During the analysis, the researcher should pay attention primarily to the linguistic personality of the author and the peculiarities of the reader's perception. It is impossible to dismiss the associative series, since it is one of the components of the text understanding system.

Poetic language is built on the internal opposition of the ordinary vision of the world to the unusual, revealing the individual essence of the subject, therefore one of the most important poetic devices becomes a metaphor. It contrasts objective reality, independent of man, and the created author's world, based not only on the destruction of basic concepts, but also on the discovery of an unexpected similarity between them. Therefore, it is very important to build the analysis of the text precisely on the analysis of the metaphorical basis of the poem. It is the metaphor that makes it possible to find points of contact between the author's worldview and the reader's.

When preparing for the Olympiad, it is necessary not only to analyze the text yourself, but also to refer to the works of the participants. It is important to teach students to see the strengths and weaknesses of such analyzes. The teacher, having various options for creative work, can offer a system of questions and tasks preparing for the Olympiad, helping to see their strengths and weaknesses.

As an example, we offer the work of a participant in the municipal stage of the All-Russian Olympiad for schoolchildren, a student of the 11th grade of the gymnasium No. 1 in Bryansk, Borisova Victoria. This analysis not perfect, it was rated 42 out of 50, but it has some interesting observations. This work can be used for educational purposes, noting its strengths and weaknesses.

Comparative analysis of poems by M. Tsvetaeva "White sun and low, low clouds ..."and N. Gumilyov "War"

M. Tsvetaeva

White sun and low, low clouds,
Along the vegetable gardens - behind a white wall - a churchyard.
And on the sand a string of straw dummies
Under the crossbars in human growth.

And, hanging over the fence stakes,
I see: roads, trees, soldiers at random.
Old woman - sprinkled with coarse salt
The black chunk at the gate is chewing and chewing...

What angered you these gray huts,
God! - and why shoot so many in the chest?
The train passed and howled, and the soldiers howled,
And dusted, dusted the retreating path ...

No, die! It would be better to never be born
Than this plaintive, pitiful, hard labor howl
About black-browed beauties. - Oh, and they sing
Now the soldiers! Oh my god you are mine!

N. Gumilyov

WAR

M. M. Chichagov

Like a dog on a heavy chain

A machine gun yapping behind the forest,

And buzzing shrapnel like bees

Harvesting bright red honey.

And "cheers" in the distance - as if singing

A hard day for the graduates of the reapers.

You will say: this is a peaceful village

On the most blissful of evenings.

And truly bright and holy

The great thing of war.

Seraphim, clear and winged,

Behind the shoulders of the soldiers are visible.

Workers walking slowly

On fields soaked in blood

The feat of those who sow and reap glory,

Now, Lord, bless.

Like those who bend over the plow,

Like those who pray and mourn,

Their hearts burn before You

They burn with wax candles.

But to that, O Lord, and the strength

And grant victory the royal hour,

Who will say to the defeated: “Darling,

Here, take my brotherly kiss!”

War... It has always been a war: cruel and tragic. Much, infinitely much has been written about the war: we know works devoted to both ancient wars and wars recent history. They contain both the bitterness of defeats and the joy of victories... Works about the war are a tribute to the memory of cruel events, people who saved the lives of millions of other people... And even if the form of the works is different, they have the same goal! One of ancient monuments literature, dedicated to the war is Homer's Iliad. Of course, there were many significant wars about which works were written, but the Patriotic War of 1812 was important for the Russian people. This war was described in the world-famous epic novel by L.N. Tolstoy "War and Peace". The next significant war for mankind began in 1914 - it was the First World War. Much later, Erich Maria Remarque will write about the horrors of this cruel war in one of his best works - “All Quiet on the Western Front” and “Three Comrades”. It would be criminal to keep silent about the fact that not only Western writers devoted their works to this catastrophe of the early 20th century, but, of course, Russian poets and prose writers wrote about it.

In your opinion, how successful or unsuccessful is such an introduction for a comparative analysis of the proposed poems? What do you think is redundant? What should be emphasized? Submit your entry.

Undoubtedly, this war left a deep scar in the souls of contemporaries - poets. And Marina Tsvetaeva's poem "The White Sun and Low, Low Clouds" is riddled with heartache.

This poem by M. Tsvetaeva is dedicated to war, a cruel and inhuman war. The lyrical heroine pours out her heartache: she sees all the horrors of the war, she is aware of them, but she cannot understand why and why these events occur. And this question "why?", "why?" and is the main idea of ​​the poem - the heroine is trying to find the answer to this question, but no one can answer it. The lyrical heroine, having a subtly feeling and wounded soul, notices the smallest details. It is this feature that allows us to imagine her, because other features, as well as her portrait as a whole in the poem, are not given to us at all, which means that the inner world of the lyrical heroine tells us that at the moment it was important for her to comprehend the essence of things, and she did not look at outward signs. We can also say about the heroine that she sincerely loves those places where she had to see these terrible events, sincerely experiences the pain of her people. Otherwise, why would she have exclaimed: “How did these gray huts anger you, Lord! “And why shoot so many in the chest?” The lyrical heroine sincerely sympathizes with the soldiers, she feels their moods and is imbued with them herself: “No, die! It would never be better to be born…!”

What do you see as the lyrical heroine of this poem? Sovpadoes your idea of ​​it with the opinion of the author of the work? Pay attention to the date of writing the poem, why did the author accurately indicate the day, month and year?

But the nature described in the poem does not sympathize with the soldiers at all: "White sun and low, low clouds ...". The sun is white, dazzling, red-hot; low clouds that do not portend good weather - an unsettling landscape; dusty road, "gray huts" - and they are nothing to please the eye. The heroine, who looks at these soldiers, also sees a dull landscape: “a string of straw dummies on the sand”, “…roads, trees…”. All these details denounce a joyless life. This dull picture can be supplemented by the image of an old woman chewing "a black chunk sprinkled with coarse salt." This speaks not so much of the poverty of the people, of hunger during the war, but of the state of stupefaction, the hopeless grief of the Russian peasant woman.

Give your interpretation of the landscape presented in the poem? What interesting observations did you see from the author of the work? Supplement the analysis with an analysis of the details, for example, how do you ponysweep "strings of straw dummies on the sand" - what is it? Remember the poem by K. Simonov “Do you remember, Alyosha, the roads of the Smolensk region”, dedicated to the Great Patriotic War, is there a similar picture in it?

The sound background heard by the heroine cannot add joyful notes to her mood - she hears a howl: the howl of a locomotive, “plaintive, pitiful, hard labor howl” - these are the songs of soldiers, they are also joyless. The lyrical heroine sees only suffering, and this spectacle again and again brings her back to the question “Why is this happening?”

What technique is used to create background sound? Why do the songs of soldiers about black-browed beauties seem like the howl of convicts to the lyrical heroine?

The current of symbolism had a huge impact on all poets silver age, and Marina Tsvetaeva as well. Her poem contains great amount details - symbols: straw effigies instead of people; White sun and a white wall, brightly contrasting with the landscape - roads, trees, black bread, a black train. The white wall itself is a symbol of the separation of the world of the lyrical heroine and the outside world, although these worlds still communicate with each other.

Express your attitude to the above observations of the student. Do you agree with them? Try to give your interpretation of the above images.

Structurally, the poem is divided into stanzas of 4 lines each, equal in meaning to each other, but lexically unrelated: the first stanza "White sun ...", the second stanza "And, hanging over the fence ...", the third stanza "How did these gray huts anger you ..." and the fourth stanza "No, die ...".

What conclusions can be drawn about the composition of the poem?

There is a lot of emotional syntax in the work of M. Tsvetaeva: there are also repetitions “... chews and chews ...”, “and the retreating path became dusty, dusty ...”; there are also exclamations that tell us about the indifference of the heroine: “No, die! ..// Oh, and they sing// Today the soldiers! Oh my God, you are mine!" There is also a rhetorical question in the poem, emphasizing the despair of the heroine from the impossibility of helping people: “... and why shoot so many in the chest?”

Is it possible to speak of a typicalsti similar syntax for the style of M. Tsvetaeva? Try to give examples.

Phonetically, the poem is saturated: there is a lot of sound writing, both direct and indirect: this is the howl of a train, and a plaintive soldier's song, and deafness in the landscape. The color scheme of the poem is based on contrast: a white sun and a black loaf of bread, a white wall and a black train. All coloring of the poem is direct.

We can say that the main means of artistic expression in this poem are emotional syntax and phonetics.

The size in which M. Tsvetaeva's poem is written is dactyl. Rhyme cross, feminine.

Are there rhythmic breaks in the poem? Give an example. What does this technique give in terms of conveying emotions?

Thus, in the poem by M. Tsvetaeva, female look to the tragedy of war. War is unjustified sacrifices, it is filth and hunger, it is endless longing. All means of artistic expression of the poem work to embody the inhumanity of war. M. Tsvetaeva expressed not only her own feelings (recall that her husband, Sergei Efron went missing during the First World War), but also the experiences of all women, without distinction of intellectual, property, class status.

How deep do you think the conclusion is? Submit yours invariant of the conclusion based on the poem by M. Tsvetaeva. Remember the statement of L. Tolstoy in the novel "War and Peace": "War is not a kindness, but the most disgusting thing in life ...". Does the meaning of M. Tsvetaeva's poem echo Tolstoy's assessment of the war?

The poem by Nikolai Gumilyov, written two years earlier than the poem by M. Tsvetaeva, is permeated with other moods. Perhaps this can be explained by the year the poem was written - 1914, when the First World War had just begun and there was hope in the hearts of people that it would end as soon as possible, since the successes of the Russian army were obvious. In addition, the faith in the sanctity of the cause of war was very great:

And truly bright and holy

The great thing of war.

Supplement this introduction with facts from the biography of the poet and characterthe truth of his lyrical hero as such.

The theme of Nikolai Gumilyov's poem is also war, but, unlike Tsvetaeva's poem, here the idea of ​​\u200b\u200bthe work is the need for mercy for the defeated enemy: "Darling, here, take my brotherly kiss!"

About the lyrical hero this work we also know only certain facts: he is a deeply religious person, he worries with his people, is not indifferent to the fate of mankind as a whole. These features unite the lyrical hero N. Gumilyov and the lyrical heroine M. Tsvetaeva.

Continue thinking about the similarities and differences between the lyrical heroes of the poems.

As in the poem by M. Tsvetaeva, Gumilyov has a landscape, but it is rather metaphorical in nature, it cannot be considered in its direct meaning: “fields soaked in blood” are described. This landscape evokes thoughts of the brutality of war.

In what other works of Russian literature are there such landscapes?

Closely connected with the landscape of the poem is the portrait of the “worker” people: “Like those who bend over the plow ...”. These features are very common, they cannot say exactly what the people felt and experienced at the beginning of the First World War, because it is no coincidence that warriors are often compared to plowmen.

Try to continue the reasoning started in the work about comparing warnew with working farmers. What does the word "orata" mean? Pick up single words. Remember the Russians folk epics, Old Russian work"The Tale of Igor's Campaign". Is it possible to say that in depicting the war Gumilev relies on the traditions of folklore and ancient Russian literature?

N. Gumilyov, being an acmeist, focused on the real details that form the basis of the work as a whole. These are such details as the “bark” of a machine gun or bees collecting “bright red honey”, these are seraphim behind the shoulders of soldiers, symbolizing the righteousness and importance of this war, these are “fields soaked in blood”, these are candles like the hearts of the people before God, symbolizing true faith. In general, if we talk about the meaning of details in the work, we can say that N. Gumilyov's "War" reflects the direction in the author's work.

Give a more detailed description of the details. ThinkWhy does Gumilyov, speaking about the war, give details from civilian life?

The author divided his poem into stanzas, syntactically and in meaning interconnected. This is one of the main differences between the work of N. Gumilyov and the works of M. Tsvetaeva. Each stanza is a quatrain connected in series with the previous one.

Follow this connection.

Syntactically, each of their stanzas is a complex sentence, supplemented by new details in the next quatrain. Emotional syntax is almost non-existent. Only at the absolute end of the work is there an exclamation that places a logical emphasis on the final stanza.

The phonetic device - sound recording - is presented in two categories: the sounds of war - a machine gun, the buzzing of shrapnel - and the sounds of peaceful life - the song of the reapers in the evening. They merge with each other, which emphasizes the everydayness, prosaic nature of the war. In this regard, the poems of the two authors are similar, since the poets of the Silver Age widely used phonetic techniques, seeking to enhance the emotional impact on readers.

The entire work of Nikolai Gumilyov is built entirely on comparisons: "Like a dog on a heavy chain ...", "... shrapnel, like bees ...". "Hurrah" is like singing ... "," Like those that bend over the plow ... ". These comparisons create the effect of the ordinary war, deprive it of a romantic coloring. In this respect, Gumilyov's portrayal of the war is close to that of M. Tsvetaeva.

One of the brightest metaphors is “And the shrapnels are buzzing like bees, /

Gathering bright red honey." Bright red honey is blood (the only color designation in the entire poem). This image is repeated in the poem once again: “... in the fields soaked in blood”, thereby emphasizing the tragedy and inhumanity of what is happening.

The size in which this work is written is dolnik, i.e. tonic verse, which brings the poem closer to a work of UNT, for example, a song. The rhyme is alternating - feminine and masculine, the rhyme is cross, which creates a rich rhythmic pattern.

Complete the analysis of the poetics of the poem by N.Gumilyov.

These two works of poets - contemporaries, are devoted to one topic, but they are different in idea and content, because. the perception of such an event as the First World War, each poet was different and subjective awareness. If M. Tsvetaeva offers a view of the events of the war from the outside (she is with those who stand behind the wattle fence), then N. Gumilyov sees everything that happens from the inside (he himself is a warrior and is with the same Russian soldiers). Therefore, the difference in the depiction of the war between the works of N. Gumilyov and M. Tsvetaeva is very noticeable.

Given all the previous work, write your own comparative analysis poems by N. Gumilyov and M. Tsvetaeva.

Comprehensive text analysis plan

(grades 9-11)

7. Determine the topic of the text.





14. Watch the vocabulary of the text:
Find strangers or incomprehensible words and set their values ​​according to the dictionary. Pay attention to the spelling of these words.
Find key words in each part of the text. Are people conditioned by their choice?
Watch for various repetitions (anaphora, epiphora, lexical repetitions, repetitions of cognate words). What are they due to?
Find lexical and contextual synonyms and/or antonyms in the text.
Find paraphrases. For what purposes are they used? K Find polysemantic words and words used in the text in a figurative sense.
Pay attention to the stylistic affiliation of the vocabulary, the use of archaisms, historicisms, neologisms of terms; into evaluative words, colloquial, colloquial or, conversely, an elephant of a sublime style. Why are they used by the author? V Select phraseological units. Why are they used?
Pay attention to the means of artistic expression and figures of speech, if they are used by the author (epithets, metaphors). (KL 9-11)
1. Read the text. When reading, use intonational underlining, highlighting both individual words and semantic segments.
2. Recall what you know about its author. (When did he live, in what era? To what literary direction belonged? What did he become famous for?) If you don’t know, try to find out from the reference literature.
3. To what functional style speech belongs to the text? (To artistic, journalistic, scientific / popular science.)
4. What type of speech is the text? (Description, narrative, reasoning.)
5. What genre does the text belong to (an episode of a work of art, an essay, a memory, a parable, a legend, a poem in prose, etc.)?
6. What mood prevails in the text?
7. Determine the topic of the text.
8. If the text does not have a title, title it. If there is already a title, think about its meaning (why the author chose such a title).
9. Divide the text into semantic parts, draw up a text plan for yourself.
10. How are the parts of the text connected? Pay attention to lexical and syntactic means of communication (repetitive words, syntactic parallels or, conversely, a sharp change in syntactic constructions and intonation, on the order of words in sentences).
11. How do the beginning and end of the text relate?
12. What method(s) is/are the text based on (comparison, opposition; gradual strengthening of feeling, gradual development of thought; rapid change of events, dynamism; unhurried contemplation, etc.)?
13. Mark the main images of the text (do not forget about the image of the author).
14. Watch the vocabulary of the text:

• Find unfamiliar or incomprehensible words and set their meanings according to the dictionary. Pay attention to the spelling of these words.
• Find key words in each part of the text. Are people conditioned by their choice?
• Watch for various repetitions (anaphora, epiphora, lexical repetitions, repetitions of cognate words). What are they due to?
• Find lexical and contextual synonyms and/or antonyms in the text.
• Find paraphrases. For what purposes are they used?
• Find polysemantic words and words used in the text in a figurative sense.
• Pay attention to the stylistic affiliation of the vocabulary, the use of archaisms, historicisms, neologisms of terms; into evaluative words, colloquial, colloquial or, conversely, an elephant of a sublime style. Why are they used by the author?
• Highlight phraseological units. Why are they used?
• Pay attention to the means of artistic expression and figures of speech, if they are used by the author (epithets, metaphors).

Benchmarking algorithm poetic text.
1.
- plot or motive
- figurative system
- vocabulary
- visual means
- syntactic constructions
- other parameters specified by the texts themselves.
2.
3. Explain the identified differences:
a) in the works of the same author;
-
-
-
- other reasons.
b)
-
- if they lived at different times, - the difference historical conditions and features of literary development;
-
4. Clarify the interpretation of each of the analyzed texts in accordance with the comparative analysis.

An approximate scheme for analyzing a poem

1. The place of the poem in the work of the poet. The history of the creation of the poem.

2. Genre features of the poem.

3. Themes and main motives.

4. Features of the composition, or the construction of a lyrical work.

5. The imagery of the poem. His lyrical hero.

6. The mood prevailing in the poem.

7. Lexical structure of the text.

8. Features of poetic language. Figurative means (paths and figures)

9. Sound writing techniques.

10. Features of stanza and rhyme.

11. The meaning of the title of the work.

Preview:

1. Find the similarities of two texts at the level:

• plot or motive;
• figurative system;
• vocabulary;
• visual means;
• syntactic constructions;

2. Find differences at the same levels.

• the difference in the time of writing, which determined the change in views;
• difference in artistic tasks;
• contradictions of outlook and attitude;
• other reasons;

b) in the works of various authors:

• difference of artistic worlds;
• if they belong to different national cultures, - the difference not only in individual, but also in national artistic worlds.

COMPARATIVE ANALYSIS ALGORITHM

1. Find the similarities of two texts at the level:

• plot or motive;
• figurative system;
• vocabulary;
• visual means;
• syntactic constructions;
• other parameters suggested by the texts themselves.

2. Find differences at the same levels.

3. Explain the identified differences

a) in the works of the same author:

• the difference in the time of writing, which determined the change in views;
• difference in artistic tasks;
• contradictions of outlook and attitude;
• other reasons;

b) in the works of various authors:

• difference of artistic worlds;
• if they lived at different times, - by the difference in historical conditions and features of literary development;
• if they belong to different national cultures, - the difference is not only individual, but also national artistic worlds.

4. Clarify the interpretation of each of the analyzed texts in accordance with the comparative analysis.

Preview:

Analysis of the prose literary work

When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. At the same time, it is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case, it means

Literary trends of the era;
the place of this work among the works of other authors written during this period;
creative history of the work;
assessment of the work in criticism;
originality of perception of this work by contemporaries of the writer;
evaluation of the work in the context of modern reading;
Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, the content plan is considered - what the author wanted to say and the expression plan - how he managed to do it).

Poem analysis plan
1. Elements of a commentary on a poem:
- Time (place) of writing, history of creation;
- Genre originality;
- The place of this poem in the poet's work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
- Explanation of obscure places, complex metaphors and other transcripts.
2. Feelings expressed by the lyrical hero of the poem; the feelings that the poem evokes in the reader.
3. The movement of the author's thoughts, feelings from the beginning to the end of the poem.
4. Interdependence of the content of the poem and its artistic form:

compositional solutions;
- Features of self-expression of the lyrical hero and the nature of the narrative;
- The sound range of the poem, the use of sound recording, assonance, alliteration;

Rhythm, stanza, graphics, their semantic role;
- Motivation and accuracy of the use of expressive means.
4. Associations caused by this poem (literary, life, musical, pictorial - any).
5. The typicality and originality of this poem in the poet's work, the deep moral or philosophical meaning of the work, which was revealed as a result of the analysis; the degree of "eternity" of the issues raised or their interpretation. Riddles and secrets of the poem.
6. Additional (free) reflections.

Analysis of a poetic work
(scheme)

Starting the analysis of a poetic work, it is necessary to determine the direct content of the lyrical work - experience, feeling;
Determine the "belonging" of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed);
- to determine the subject of the description and its connection with the poetic idea (direct - indirect);
- to determine the organization (composition) of a lyrical work;
- to determine the originality of the use of visual means by the author (active - mean); determine the lexical pattern (vernacular - book and literary vocabulary ...);
- determine the rhythm (homogeneous - heterogeneous; rhythmic movement);
- determine the sound pattern;
- determine the intonation (the attitude of the speaker to the subject of speech and the interlocutor).

Poetic vocabulary
It is necessary to find out the activity of using certain groups of words in common vocabulary - synonyms, antonyms, archaisms, neologisms;
- to find out the degree of proximity of the poetic language with the colloquial;
- to determine the originality and activity of the use of trails
EPITET - artistic definition;
COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other;
ALLEGORY (allegory) - the image of an abstract concept or phenomenon through specific objects and images;
IRONY - hidden mockery;
HYPERBOLE - artistic exaggeration used to enhance the impression;
LITOTA - artistic understatement;
PERSONIFICATION - the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel;
METAPHOR - a hidden comparison, built on the similarity or contrast of phenomena, in which the word "as", "as if", "as if" are absent, but implied.

Poetic Syntax
(syntactic devices or figures poetic speech)
- rhetorical questions, appeals, exclamations - they increase the reader's attention without requiring an answer from him;
- repetitions - repeated repetition of the same words or expressions;
- antitheses - oppositions;

Poetic phonetics
The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech.
- Alliteration - repetition of consonant sounds;
- Assonance - repetition of vowel sounds;
- Anaphora - unity of command;

Composition of a lyrical work
Necessary:
- to determine the leading experience, feeling, mood reflected in the poetic work;
- to find out the harmony of the compositional construction, its subordination to the expression of a certain thought;
- determine the lyrical situation presented in the poem (the hero's conflict with himself; the hero's inner lack of freedom, etc.)
- define life situation, which, presumably, could cause this experience;
- highlight the main parts of a poetic work: show their connection (determine the emotional "picture").

Analysis dramatic work

Scheme for analyzing a dramatic work
1. general characteristics Keywords: history of creation, vital basis, design, literary criticism.
2. Plot, composition:
- the main conflict, the stages of its development;
- the nature of the denouement /comic, tragic, dramatic/
3. Analysis of individual actions, scenes, phenomena.

4. Collecting material about the characters:
- character's appearance
- behavior,
- speech characteristic
- the content of the speech / about what? /
- manner / how? /
- style, vocabulary
- self-characteristics, mutual characteristics of the characters, author's remarks;
- the role of scenery, interior in the development of the image.

5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality.

dramatic work

The generic specificity, the “borderline” position of the drama (Between literature and the theater) obliges to analyze it in the course of development. dramatic action(this is the fundamental difference between the analysis of a dramatic work and an epic or lyrical one). Therefore, the proposed scheme is conditional, it only takes into account the conglomeration of the main generic categories of drama, the peculiarity of which can manifest itself differently in each individual case, precisely in the development of the action (according to the principle of a untwisted spring).

1. General characteristics of the dramatic action (character, plan and vector of movement, tempo, rhythm, etc.). "Through" action and "underwater" currents.

2. Type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), "vertical" and "horizontal" plan of the drama.

3. The system of actors, their place and role in the development of dramatic action and conflict resolution. Main and minor characters. Off-plot and off-stage characters.

4. The system of motives and the motive development of the plot and micro-plots of the drama. Text and subtext.

5. Compositional-structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Assembly principle.

6. Features of poetics (the semantic key of the title, the role theater poster, stage chronotype, symbolism, stage psychologism, final problem). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc.

7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author.

9. Contexts of drama (historical and cultural, creative, dramatic).

10. The problem of interpretations and stage history.

Text analysis and creative tasks

(preparation for the Literature Olympiad)

Kirsanova Elena Vladimirovna,

teacher of Russian language and literature of the highest category

Sakulinskaya basic school

• The tasks of this part are designed to test the knowledge of the biographical and historical-literary context of the work, mastering the basics of the theory of literature and the ability to correctly use literary terminology.
• Tasks allow you to determine how the participant of the Olympiad owns the terms. When answering, it is necessary to demonstrate the ability in written speech, when answering the question posed, to convey the essence of one's own understanding of the designated problem.

• The tasks are aimed at testing the skills of analysis and interpretations works of the corresponding genre: prose text or poetic texts. The tasks of this part reveal the creative abilities of students, are associated with the perception, interpretation and evaluation of works. fiction, knowledge of the theory of literature, allow to demonstrate the level of written culture of students' speech. INTERPRETATION te, interpretations, female (lat. interpretatio) ( book).
• 1. Interpretation, explanation, disclosure of the meaning of something. Law interpretation. Text interpretation.

When evaluating tasks of parts I and II, the following are taken into account:

• knowledge of literary texts;
• knowledge of factual material from the history and theory of literature and the ability to use it;
• possession literary concepts; historical and cultural erudition; correctness, completeness and accuracy of the answer;
• language and style of presentation: compositional harmony, logic, clarity, speech literacy; depth and independence in the disclosure of the topic.

When evaluating tasks of the III part, the following are taken into account:

• depth of comprehension of the text (theme, genre, plot, characters, composition, style, direction, artistic idea);
• the ability to determine the author's position;
• possession of the basics of the analysis of a poetic text;
• perception of the image of a lyrical hero and the ability to interpret it, to characterize the author's poetic individuality, and also to express one's thoughts and feelings;
• the language and style of work of the participant of the Olympiad (compositional harmony, logic, clarity of presentation, speech literacy).

• Poetic Syntax. (syntactic devices or figures of poetic speech) - rhetorical questions, appeals, exclamations - they increase the reader's attention without requiring an answer from him; - repetitions - repeated repetition of the same words or expressions; - antitheses - oppositions;

• Poetic phonetics. The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech. - Alliteration - repetition of consonant sounds; - Assonance - repetition of vowel sounds; - Anaphora - unity of command, repetition of the beginning of lines.

It is necessary: ​​- to determine leading experience, feeling, mood reflected in a poetic work; - to find out harmony of compositional construction, its subordination to the expression of a certain thought; - define lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner lack of freedom, etc.) - determine life situation, which, presumably, could cause this experience; - highlight the main parts of a poetic work: show their connection (identify the emotional "drawing").

• bliss - pleasure (obsolete);
• gaze - look, but in the text - eyes (obsolete);
• evening - yesterday (dial.);
• now - now (obsolete);
• illuminated - illuminated (obsolete);
• command - order (obsolete);
• forbid - harness, harness (dial.);
• surrender - surrender (obsolete).

• YaMB - (Greek iambos), poetic meter with strong places on even syllables of the verse
• Scheme: - / - / - / - /… That is: the first syllable in the line is unstressed, the second is stressed, the third is unstressed, the fourth is stressed, and so on.

• Write creative work in the style of G. Oster's "bad advice".
• Write an essay on the topic "A fairy tale in my life"
• Write a story on the topic "The river of my childhood ..."
• Write short essay(volume 50-70 words) on the topic "Native land, forever beloved ..."
• Compose a short connected text using the words in the given sequence (word forms may vary). One day, lumberjack, purple, balcony, hardboiled, helicopter, garden, shampoo, painting, basketball, present, husk, moonlight, school.

• A miniature essay in a given style and genre (review, review, stylization, parody), preferably taking into account regional specifics.
• Essay on the proposed beginning, on the proposed topic, on the picture, on the supporting words, in the form of a letter to a person of a different era and culture.
• Write 15-20 sentences on the topic “Is poetry needed today?”
• Write an essay-miniature "When I was (a) small (oh)"

• How do you, the heroes of the 21st century, understand happiness?

• Create a work about nature in the genre of Japanese poetry - haiku (non-rhyming three-line)

• Write an essay-reasoning on the topic “Why I love (dislike) autumn”
• Write an essay on behalf of the subject (old wardrobe, table lamp, etc.)

• Write a creative work in the genre of writing on one of the topics: “Letter to the front”, “Letter from the front”, “Letter to a front-line soldier”

Letter text outline

Letter

I Appeal.

Opening phrase about the state of correspondence

II The main content of the letter.

News announcement.

Information for the addressee.

Dear Mom!

Received your letter.

Received notice of...

III Questions addressee.

Gratitude.

Requests. Invitations.

I will describe to you how my life goes.

We have a lot of news...

We had guests...

How do you live? How is your health? What's new? Thank you for... I ask you to write to me about... Say hello...Come...

IV Farewell.

Date and place of writing.

Goodbye. Your loving son...

Yours faithfully…

• cinquain- this is a poem that requires the synthesis of information and material in brief terms, which allows you to describe or reflect on any occasion.
• Word cinquain comes from the French meaning five. Thus, a cinquain is a poem consisting of five lines.

• In the first line, the topic is called in one word (usually nouns). The second line is a description of the topic in two words (two adjectives). The third line is a description of the action within this topic in three words. The fourth line is a four-word phrase showing the relationship to the topic. The last line is a one-word synonym that repeats the essence of the topic
• In the first line, the topic is called in one word (usually nouns).
• The second line is a description of the topic in two words (two adjectives).
• The third line is a description of the action within this topic in three words.
• The fourth line is a four-word phrase showing the relationship to the topic.
• The last line is a one-word synonym that repeats the essence of the topic

Volcanoes

teaching

red hot

Reading

Difficult, heavy

Breaking out from within

Natural fire furnace

challenging, strengthening, beneficial

free, active

Participating, sharing, teaching

Linking the new to the known

Glow in the dark

Education

Education

At the Literature Olympiad (regional stage) there will be 2 options for tasks. 1 option - complex analysis prose text, 2nd option - a comparative analysis of poems

Analysis of a lyric poem

The method of analysis is dictated by the ideological and artistic features of the work, takes into account the intuitive, irrational, poetic comprehension and theoretical and logical beginning. There are general principles for the scientific analysis of poetic works, based on the typological properties of genres, types lyrical compositions etc. Analysis should not be random, fragmentary, should not be reduced to a simple transfer of impressions or retelling.

Analysis of a lyric poem reveals correspondences between the distribution grammatical categories and metric, strophic correlations, text semantics. Below is an approximate scheme of a holistic (multi-aspect) analysis of a lyrical poem in the unity of its formal and content aspects (in accordance with poetic world and the artistic system of the author).

Parsing scheme

Extratext links

Creative history of the work (date of writing, textual criticism); place of the poem creative evolution poet; historical-literary, everyday context; real-biographical commentary, history of critical evaluations.

Idea content.

Thematic structure. Motivation. Keynotes.

Type of lyrical poem (meditative, meditative-pictorial, pictorial lyrics).

Specificity genre form(elegy, ballad, sonnet, message, etc.).

Pathos.

The semantics of the title, its connection with the main poetic idea.

The construction (structure) of the verse

Architectonics.

Composition. Repetitions, contrasts, oppositions. Composition types. Ending. Comparison and development of the main verbal images (by similarity, by contrast, by association, by inference).

Morphological aspect of the poetic model. Distribution of grammatical categories, parts of speech.

Lyric hero. Speech subject and addressee of lyrics.

Forms of speech communication (dialogue, monologue).

Poetic vocabulary.

Rhythm and metrics.

Fonika. Sound (phonological) structure (alliteration, assonance, sound repetition, paronymic attraction and other types of sound instrumentation). Euphonia (euphony).

In the scheme for parsing a lyrical poem proposed below, the sequence of points is not strictly observed, the main requirement is to take into account (if possible) all of these components.

An important aspect in the study of a literary work is the definition of methods of analysis and methods of its interpretation. In modern philological research, the methodologies of various scientific systems are creatively used and complement each other, each of which is significant in its own way in the history of critical thought.

Samples 1) holistic (systemic); 2) formal; 3) structural-semiotic and 4) linguistic and poetic analysis of poems, see the following literature:

1) Muryanov M.F. Questions of interpretation of anthological lyrics (Pushkin's poem "The fire of desire burns in the blood") // Analysis of a literary work. L., 1976. S.173-212; Analysis of one poem. L., 1985; Girshman M.M. rhythmic composition and style originality poetic works // Girshman M.M. Literary work: Theory of artistic integrity. M., 2002, S.215-247; Broitman S.N. Secret poetics of A.S. Pushkin. Tver. 2002. P.13-43 (see: A. Pushkin “On the hills of Georgia lies the darkness of the night”, “For the shores of the distant homeland”, “What is in my name for you?”).

2) Jacobson R. Pushkin's poems about the virgin statue, the bacchante and the humble; About “poems composed at night during insomnia”, Texture of one quatrain by Pushkin // Yakobson R. Works on poetics. M., 1987. S. 181-197; S.198-205; pp.210-212.

3) Lotman Yu. M. Analysis of the poetic text. L., 1972. S.133-270; Ivanov Vyach. Sun. The structure of Khlebnikov's poem "They carry me on elephants" // Russian literature. From the theory of literature to the structure of the text: Anthology. M., 1997. S.245-257; Levin Yu.I. O. Mandelstam. Analysis of six poems; B. Pasternak. Analysis of three poems; A.S. Pushkin. "To the portrait of Zhukovsky"; G. Ivanov "It's good that there is no tsar ..." // Levin Yu.I. Selected works. Poetics. Semiotics. M., 1998. S.9-51; pp.156-174; pp. 267-270; pp. 271-275; Taranovsky K. Essays on the poetry of O. Mandelstam // Taranovsky K. About poetry and poetics. M., 2000; Lotman M. On Zhukov's death // How Brodsky's poem works. Sat. Art. M., 2002. S. 64 -76.

4) Fateeva N.A. “When streams sing romances almost with human words” // Language as creativity. M., 1996. S. 170-189; Shestakova L.L. Language methods of text formation in the poetry of E. Baratynsky (on the material of "Reassurance" // Language as creativity. M., 1996. P. 118-125; Shestakova L. L. Osip Mandelstam. "Sisters heaviness and tenderness, your signs are the same" // Russian Language at School, 2000, No. 2, pp. 69-75.

2. Analysis of the prose text

The scheme of complex philological analysis of the text (prosaic, first of all) includes the following stages: a generalizing characteristic of the ideological and aesthetic content, the definition of the genre of the work, the characteristics of the architectonics of the text, the consideration of the structure of the narrative, the analysis of the spatio-temporal organization of the work, the system of images and poetic language, the identification of elements of intertext .

Parsing scheme

Introduction. Creative history (textual criticism), the history of critical evaluations, the place of a work (story, essay, story, short story) in creative evolution, or art system writer, in the history of the literary process.

Problem-thematic aspect.

Text analysis.

Semantics (symbols) of the name. The breadth of the semantic area through the prism of the title.

Architectonics.

Spatio-temporal organization of the artistic world: the image of time and space ("chronotope", spatio-temporal continuum, the relationship between the character and the place of action). Spatial and temporal oppositions (up / down, far / close, day / night, etc.).

Composition. Compositional techniques(replay, editing, etc.). Reference "points" of the composition.

Plot. metadescriptive snippets.

Rhythm, tempo, tone, intonation of the story.

Functional-semantic types of speech (description, narration, reasoning).

Stylistic originality. Visual media system.

Image system. Heroes speech.

Portrait.

Artistic detail (external, psychological, symbolic detail). Functional detail. Detail.

Landscape. Interior. World of things. Zoologisms.

The role of subtext and intertextual connections.

Analysis of a literary work. L., 1976.

Girshman M.M. Rhythmic composition and stylistic originality of prose works (“After the Ball”, “The Death of Ivan Ilyich” by L.N. Tolstoy; “The Meek” by F.M. Dostoevsky; “Student” by A.P. Chekhov) and others // Girshman M. M. Literary work: Theory of artistic integrity. M., 2002, S.314-407.

Esaulov I. A. The spectrum of adequacy in the interpretation of a literary work (“Mirgorod” by N. V. Gogol). M., 1995.

Nikolina N.A. Philological analysis of the text. M., 2003 (aspect analysis of the text - “Other Shores” by V. Nabokov: genre originality of the text; “Bezhin Meadow” by I.S. Turgenev: figurative structure of the text; Story by I.A. Bunin “ Cold fall»: the conceptualization of time; "The Sun of the Dead" by I.S. Shmeleva: keywords in the structure of the text; Intertextual connections of T. Tolstoy's story "You love - you do not love"; complex analysis of the prose text - Story by I.A. Bunin "The Gentleman from San Francisco").

Shcheglov Yu.K. Poetics of Chekhov ("Anna on the neck") // Zholkovsky A.K., Shcheglov Yu.K. Works on the poetics of expressiveness: Invariants - Theme - Techniques - Text. M., 1996. S. 157-189.

Yablokov E.A. Text and subtext in the stories of M. Bulgakov ("Notes of a young doctor"). Tver, 2002.

Benchmarking poems by M. Yu. Lermontov "The Cross on the Rock" and A. S. Pushkin "The Monastery on Kazbek"

Cross on the rock

(M-lle Souchkoff)

In the gorge of the Caucasus I know a rock,

Only the steppe eagle can fly there,

But the wooden cross turns black over her,

It rots and bends from storms and rains.

And many years have passed without a trace

Since it is visible from the distant hills.

And each hand is raised up,

As if he wants to grab the clouds.

Oh, if only I could get there,

How I would pray and cry then;

And then I would throw off the chain of being

And with a storm I would call myself a brother!

MONASTERY ON KAZBEK

High above the seven mountains

Kazbek, your royal tent

Shines with eternal rays.

Your monastery behind the clouds

Like an ark flying in the sky,

Soaring, barely visible, over the mountains.

A distant, longed-for shore!

There b, saying, forgive the gorge,

Rise to the free height!

There b, in the sky-high cell,

In the neighborhood of God hide me! ..

It would be tempting to assume that M.Yu. Lermontov was familiar with the text of the poem "Monastery on Kazbek" (1829). Then it would be possible to write about the polemical response of a daring teenager to a great contemporary. But, most likely, a number of coincidences on different levels, which we will fix in a comparative analysis, are due to the specifics of the romantic method by which both works were written.

The commonality is noticed already at the first glance at the titles of the poems. The opening lines of the texts immediately set the general theme and flavor. (Caucasus). It is clear that both authors have lyrical heroes at the foot (rocks, mountains), and their views and thoughts are directed upwards. Thus, by the very location of the characters, the romantic antithesis of "here" and "there" is set. A. S. Pushkin's poem was created at a time when the poet himself regularly declared his departure from the romantic method. For example, in one of his private letters, he comments in detail on the creation of "Winter Morning", published in the same 1829, explains why all the editing went from the "Cherkasy horse" to the "brown filly", that is, to a more "prosaic" figurative system , vocabulary, syntax, and so on.

Luckily, gone are the days when we tried to straighten creative way any author and were looking for evidence that all the great poets moved "from romanticism to realism." The implication was that the realistic method was, of course, better.

The Caucasus, in almost all Russian lyricists and in any of their "creative periods", awakened and awakens a romantic worldview.

Lyrical hero of Pushkin, standing at the foot of high mountain, looks at the top of Kazbek and thinks about eternity, about God, about freedom...

In M. Yu. Lermontov's poem "The Cross on the Rock" (1830), the lyrical hero is also shocked by the Caucasian landscape, but his thoughts and feelings are completely different. The named work of M. Yu. Lermontov, like many other poems of 1830, is dedicated to E. A. Sushkova, (later Countess Rostopchina.) It should be noted that this woman was a poetess, so Lermontov turned to her not only poems on love theme, but he hoped that his girlfriend would share, understand the thoughts and moods that his lyrical hero experienced.

Images of rocks, cliffs, mountains run through all of Lermontov's work; this author has repeatedly declared his love for the mountains of the Caucasus. But the love for nature, like the love for a woman, is gloomy and hysterical in the young poet.

The lyrical hero of the "early" Lermontov calls his "familiar" and favorite place in the Caucasus a rock, on top of which there is someone's nameless grave with a simple wooden cross on it. The cross turned black and almost rotted from the rains, but 6 out of 12 lines of text are given to the description of this gloomy detail of the landscape.

This poem is very simple in “form”: it is written in four-foot amphibrach with a caesura, it consists of three quatrains with adjacent rhymes, and the rhymes are precise and banal. The work is divided into two parts: two quatrains are a description of a cross on a rock, the last four verses are an emotional response.

In the first lines, an eagle, beloved by romantics, appears, which - fortunately for him - can fly so high that he rests on the top of a rock. The lyrical hero is languishing because he cannot climb the rock, and the personified cross, resembling a man from below, stretches even higher, as if "he wants to grab the clouds." Thus, one direction of movement passes through the whole poem: from below - upwards. There are two contrasting color spots in the work: a black cross and white, unattainable clouds.

The last quatrain is one exclamatory sentence, almost entirely composed of romantic cliches and beginning, of course, with "Oh!".

The hero rushes “there”, “above”, there he will begin to “pray and cry”, because, probably, from here, from below, God does not hear his lamentations. The young romantic wants to "throw off the chain of being", get rid of the shackles and fraternize with the storm (it is worth remembering Mtsyri).

The last quatrain is written in the subjunctive mood and the repeated “would”, together with the words “dropped”, “being”, “with a storm”, “brother” give a sonorous alliteration.

In general, this poem seems to me weaker than "Sail" or "The Beggar", created around the same time. The paradox is that, although the analyzed text is imitative, it is, at the same time, very characteristic of the early Lermontov's worldview and his style, which, according to E. Maimin, was "the standard of romanticism."

Pushkin's poem creates a completely different mood in the reader. Yes, the lyrical hero also dreams of getting “there”, to the top of the mountain, where the ancient Georgian church. But he aspires just not to storms, but to peace. The top of Kazbek "shines with eternal rays", and light clouds are needed only so that not everyone can see the reserved place. The sky, like the sea, is a free element for Pushkin, which is why it is so natural to compare a barely visible church with a “floating ark” in which only the elect must be saved.

Pushkin's work is also divided into two parts, corresponding to two stanzas, but the second stanza consists of five lines, which, obviously, by the rhyming system itself, puts one of the lines in a "strong position". Here is the exclamation: “Distant, longed-for shore!” The image of the desired and unattainable shore (and even more solemnly - the archaic, eternal "shore") is also quite logical after the description of the ship-symbol. The lyrical hero of Pushkin is not looking for storms, for him happiness is "peace and freedom." He aspires to the “transcendental cell”, and it is in solitude that he hopes to find freedom, for it is inside the soul, and not bestowed from outside.

It is no coincidence that the lyrical hero dreams of the "neighborhood of God." He does not ask the Almighty for anything, he himself is almost equal to him.

The whole poem is written in the traditional iambic tetrameter, with a large number of pyrrhic verses to lighten the verse. In the first stanza, the adjacent rhyme unobtrusively divides the sextine into couplets. But the very first line of the five-line rhyme is associated with the first part, and the remaining four verses are rhymed "cross". All this, as we have already noted, highlights the key line - the impulse of the spirit to the distant, radiant, divine "shore".

In the second stanza, Pushkin, like Lermontov, concentrates a maximum of emotions. The quintet of Pushkin's text consists of three exclamatory sentences, two of which begin with a romantic impulse: "There b...!" This desire from the gorge to the top is recognized by the lyrical hero as a natural impulse of the spirit. The unattainability of this dream is also natural. Pushkin's poem is bright and wise, without youthful anguish and pain.

Thus, the comparison of the two "Caucasian" works of Pushkin and Lermontov once again emphasizes the difference in both the attitudes and the idiostyles of these Russian classics.

"MONUMENT" OF G. R. DERZHAVIN AND "MONUMENT" OF V. YA. BRYUSOV

(methodological aspect of comparative analysis)

Theme of the monument, methodological aspect, comparative analysis, poetics, figurative system

The theme of the monument takes great place in the work of Russian poets, so this topic is given considerable attention in school curricula. Comparative analysis of poems by G.R. Derzhavin and V. Ya. Bryusov will help students understand the originality of the solution to the theme of the monument in creativity poet XVIII and XX century, to reveal the individuality of style, worldview of artists.

These two poems are based on one theme, one source - Horace's ode "Monument". The poems of G. R. Derzhavin and V. Ya. Bryusov can hardly be called translations of Horace's ode in the exact sense - it is rather a free imitation or alteration of the latter, which allows literary critics to consider these works as independent and original.

Derzhavin's poem "Monument" was first published in 1795 under the title "To the Muse. Imitation of Horace". "Monument" Bryusov was written in 1912. The teacher asks the students to read the poems, compare them and answer the questions:

What exactly did each poet recognize in his work as deserving of immortality?

Compare the figurative structure of poems, rhythmic organization, stanza, syntax. How does this affect the overall pathos of the poems?

What is the originality of the lyrical hero of poems?

Pay attention to geographic names. How do they define the space of the poems? Derzhavin sees his merits in the fact that:

That I was the first to dare in a funny Russian syllable

Proclaim the virtues of Felitsa,

In the simplicity of the heart to talk about God

And tell the truth to kings with a smile.

Students comment that the poet made the Russian syllable simple, sharp, cheerful. He "dared" to write not about greatness, not about exploits, but about the virtues of the Empress, seeing in her an ordinary person. The poet managed to keep human dignity, sincerity, truthfulness.

Bryusov speaks of his merits in the fourth stanza:

For many I thought, for all I knew the torments of passion,

But it will become clear to everyone that this song is about them,

And distant dreams in invincible power

Glorify proudly every verse.

According to the author, he managed to convey human thoughts and passions in the "singing" words of his creations.

The poems of Derzhavin and Bryusov are close not only thematically, but also in terms of the external features of their construction: both are written in four-line stanzas (Derzhavin has 5 stanzas, Bryusov has 6) with male and female rhymes, alternating in all stanzas according to the scheme: avav. The meter of both poems is iambic. Derzhavin's iambic is six-meter in all lines, Bryusov's is six-meter in the first three lines and four-meter in the fourth line of each stanza.

Students note the difference at the syntactic level. Bryusov's poem is complicated not only by exclamatory forms, but also by rhetorical questions, which gives the intonation some expressiveness and tension.

In Derzhavin's poem, the image of the lyrical hero connects all the stanzas, only in the last one does the image of the muse appear, to which the hero addresses with the thought of immortality. In Bryusov, already in the first stanza, the image of a lyrical hero is opposed to those who did not understand the poet, to the “crowd”: “My monument stands, from the stanzas of consonant complex. / Shout, run amok, you can’t dump it!”. This opposition gives rise to the tragic attitude of the lyrical hero.

It is interesting to compare the spatial plans of the poems. Derzhavin: "The rumor will spread about me from the White Waters to the Black Waters, / Where the Volga, Don, Neva, the Urals pour from the Riphean; ..". Bryusov writes that his pages will fly: "To the gardens of Ukraine, to the noise and bright dream of the capital / To the thresholds of India, to the banks of the Irtysh." In the fifth stanza, the geography of the verse is enriched with new countries:

And, in new sounds, the call will penetrate beyond

Sad homeland, and a German, and a Frenchman

Dutifully repeat my orphaned verse,

Gift of supportive muses.

Students come to the conclusion that the space of the symbolist poem is much wider: it is not only the expanses of Russia, but also European countries- Germany, France. The symbolist poet is characterized by exaggeration of the theme of the monument, the scale of influence of both his own poetry and poetry in general.

The next stage of the work may be associated with a comparison of the figurative and expressive means used by the classicist poet and the symbolist poet. Students write epithets, comparisons, metaphors in a notebook, summarize examples and draw conclusions. They note the dominance of Derzhavin's epithets: "wonderful monument, eternal", "fleeting whirlwind", "uncountable peoples", "just merit", etc., as well as the use of the inversion technique, which gives solemnity, distinctness, objectivity of the image. For Bryusov, metaphors play a significant role in the poem: "the decay of melodious words", "a gift of supportive muses", etc., which, as it were, emphasizes the scale of style, a tendency to generalize. In the poem of the classical poet, the image of the empress and the theme of power associated with her are natural. The symbolist is not interested in the images of statesmen, kings, generals. Bryusov shows the inconsistency of the real world. In his poem, the “poor man’s closet” and the “king’s palace” are contrasted, which introduces a tragic beginning into the work of the symbolist poet.

The teacher can draw students' attention to vocabulary, sound and color of poems. Finding common and differences, students come to the conclusion about the continuity of traditions in Russian literature and about the diversity and richness of styles, methods, trends.

The leading principle of Bryusov's poetry is thought. The vocabulary of his poems is sonorous, close to oratorical speech. The verse is concise, strong, "with developed muscles" / D. Maksimov /. Thought dominates in the poem of the classicist poet, whose style is characterized by rhetoric, solemnity, monumentality. And at the same time, in the work of each of them there is something of their own, unique.

This form of work helps to increase the level of perception of the lyrics of Derzhavin and Bryusov, the complex and subtlest images of poetry, allows you to form and consolidate students' ideas about the theory and practice of classicism and symbolism.

1. Analysis of a work of art

1. Determine the theme and idea / main idea / of this work; the issues raised in it; the pathos with which the work is written;

2. Show the relationship between plot and composition;

3. Consider the subjective organization of the work /artistic image of a person, methods of creating a character, types of images-characters, a system of images-characters/;

5. Determine the features of the functioning of the visual and expressive means of the language in this work of literature;

6. Determine the features of the genre of the work and the style of the writer.

Note: according to this scheme, you can write an essay-review about the book you read, while also presenting in the work:

1. Emotional and evaluative attitude to what is read.

2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.

3. Detailed substantiation of the conclusions.

2. Analysis of a prose literary work

When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. At the same time, it is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case, it means

Literary trends of the era;

The place of this work among the works of other authors written during this period;

Creative history of the work;

Evaluation of the work in criticism;

The originality of the perception of this work by the contemporaries of the writer;

Evaluation of the work in the context of modern reading;

Next, one should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, the content plan is considered - what the author wanted to say and the expression plan - how he managed to do it).

Conceptual level of a work of art

(themes, problems, conflict and pathos)

The theme is what the work is about, the main problem posed and considered by the author in the work, which unites the content into a single whole; these are typical phenomena and events real life that are reflected in the work. Is the theme in tune with the main issues of its time? Is the title related to the topic? Each phenomenon of life is a separate topic; a set of topics - the theme of the work.

The problem is that side of life that is of particular interest to the writer. One and the same problem can serve as the basis for posing different problems (the theme of serfdom is the problem of the internal lack of freedom of the serf, the problem of mutual corruption, mutilation of both serfs and serfs, the problem of social injustice ...). Issues - a list of issues raised in the work. (They may be complementary and subject to the main problem.)

Paphos is the emotional and evaluative attitude of the writer to the narrated, which is distinguished by a great strength of feelings (maybe affirming, denying, justifying, elevating ...).

The level of organization of the work as an artistic whole

Composition - the construction of a literary work; unites the parts of the work into one whole.

The main means of composition:

The plot is what happens in the work; system of major events and conflicts.

Conflict is a clash of characters and circumstances, views and principles of life, which is the basis of action. The conflict can occur between the individual and society, between characters. In the mind of the hero can be explicit and hidden. Plot elements reflect the stages of development of the conflict;

Prologue - a kind of introduction to the work, which tells about the events of the past, it emotionally sets the reader up for perception (rare);

The exposition is the introduction into action, the image of the conditions and circumstances that preceded the immediate start of the action (it can be expanded and not, whole and “broken”; it can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the situation, time and circumstances of the action;

The plot is the beginning of the plot movement; the event from which the conflict begins, subsequent events develop.

The development of action is a system of events that follow from the plot; in the course of the development of the action, as a rule, the conflict escalates, and the contradictions appear more and more clearly;

The climax is the moment of the highest tension of the action, the peak of the conflict, the climax represents the main problem of the work and the characters of the characters very clearly, after it the action weakens.

The denouement is a solution to the depicted conflict or an indication of possible ways to resolve it. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental insolubility.

Epilogue - the final part of the work, which indicates the direction of further development of events and the fate of the characters (sometimes an assessment is given to the depicted); this is a short story about what happened to the characters of the work after the end of the main plot action.

The plot may be:

In direct chronological sequence of events;

With digressions into the past - a retrospective - and "excursions" into

Future;

In a deliberately changed sequence (see artistic time in the work).

Non-plot elements are:

Insert episodes;

Their main function is to expand the scope of what is depicted, to enable the author to express his thoughts and feelings about various phenomena of life that are not directly related to the plot.

Some elements of the plot may be missing in the work; sometimes it is difficult to separate these elements; sometimes there are several plots in one work - in other words, storylines. There are various interpretations of the concepts of "plot" and "plot":

1) plot - main conflict works; plot - a series of events in which it is expressed;

2) plot - the artistic order of events; plot - the natural order of events

Compositional principles and elements:

The leading compositional principle (the composition is multifaceted, linear, circular, "thread with beads"; in the chronology of events or not...).

Additional composition tools:

Lyrical digressions - forms of disclosure and transmission of the writer's feelings and thoughts about the depicted (they express the author's attitude to the characters, to the depicted life, they can be reflections on any occasion or an explanation of their goal, position);

Introductory (plug-in) episodes (not directly related to the plot of the work);

Artistic previews - the image of scenes that, as it were, predict, anticipate further development events;

Artistic framing - scenes that begin and end an event or work, complementing it, giving additional meaning;

Compositional techniques - internal monologues, diary, etc.

The level of the internal form of the work

The subjective organization of the narration (its consideration includes the following): The narration can be personal: on behalf of the lyrical hero (confession), on behalf of the hero-narrator, and impersonal (on behalf of the narrator).

1) The artistic image of a person - typical phenomena of life that are reflected in this image are considered; individual traits inherent in the character; reveals the originality of the created image of a person:

External features - face, figure, costume;

The character of the character - it is revealed in actions, in relation to other people, manifested in a portrait, in descriptions of the feelings of the hero, in his speech. Depiction of the conditions in which the character lives and acts;

An image of nature that helps to better understand the thoughts and feelings of the character;

Image of the social environment, the society in which the character lives and acts;

The presence or absence of a prototype.

2) 0 basic techniques for creating an image-character:

Characterization of the hero through his actions and deeds (in the plot system);

Portrait, portrait characteristic of the hero (often expresses the author's attitude to the character);

Psychological analysis - a detailed, in detail recreation of feelings, thoughts, motives - inner world character; here the depiction of the “dialectics of the soul” is of particular importance, i.e. movements of the hero's inner life;

Characterization of the hero by other characters;

Artistic detail - a description of objects and phenomena of the reality surrounding the character (details that reflect a broad generalization can act as symbolic details);

3) Types of images-characters:

Lyrical - in the event that the writer depicts only the feelings and thoughts of the hero, without mentioning the events of his life, the actions of the hero (found mainly in poetry);

Dramatic - in the event that the impression arises that the characters act "on their own", "without the help of the author", i.e. the author uses the technique of self-disclosure, self-characteristics (found mainly in dramatic works) to characterize the characters;

Epic - the author-narrator or narrator consistently describes the characters, their actions, characters, appearance, the environment in which they live, relationships with others (they are found in epic novels, short stories, short stories, short stories, essays).

4) The system of images-characters;

Separate images can be combined into groups (grouping of images) - their interaction helps to more fully present and reveal each character, and through them - the theme and ideological meaning of the work.

All these groups are combined into a society depicted in the work (multifaceted or one planned from a social, ethnic, etc. point of view).

Artistic space and artistic time (chronotope): space and time depicted by the author.

Artistic space can be conditional and concrete; compressed and voluminous;

Artistic time can be correlated with historical or not, intermittent and continuous, in the chronology of events (epic time) or the chronology of the characters’ internal mental processes (lyrical time), long or instantaneous, finite or endless, closed (i.e. only within the plot , out of historical time) and open (against the background of a certain historical epoch).

Creation method artistic images: narration (image of the events taking place in the work), description (successive listing of individual features, features, properties and phenomena), forms of oral speech (dialogue, monologue).

The place and significance of the artistic detail (artistic detail that enhances the idea of ​​the whole).

External form level. Speech and rhythm-melodic organization of a literary text

The speech of the characters - expressive or not, acting as a means of typing; individual features of speech; reveals the character and helps to understand the attitude of the author.

Narrator's speech - assessment of events and their participants

The peculiarity of the use of the national language (the activity of the inclusion of synonyms, antonyms, homonyms, archaisms, neologisms, dialectisms, barbarisms, professionalisms).

Techniques of figurativeness (tropes - the use of words in a figurative sense) are the simplest (epithet and comparison) and complex (metaphor, personification, allegory, litote, paraphrase).

Poem analysis plan

1. Elements of a commentary on a poem:

Time (place) of writing, history of creation;

Genre originality;

The place of this poem in the poet's work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);

Explanation of obscure places, complex metaphors and other transcripts.

2. Feelings expressed by the lyrical hero of the poem; the feelings that the poem evokes in the reader.

4. Interdependence of the content of the poem and its artistic form:

compositional solutions;

Features of self-expression of the lyrical hero and the nature of the narrative;

The sound range of the poem, the use of sound recording, assonance, alliteration;

Rhythm, stanza, graphics, their semantic role;

Motivation and accuracy of the use of expressive means.

4. Associations caused by this poem (literary, life, musical, pictorial - any).

5. The typicality and originality of this poem in the poet's work, the deep moral or philosophical meaning of the work, which was revealed as a result of the analysis; the degree of "eternity" of the issues raised or their interpretation. Riddles and secrets of the poem.

6. Additional (free) reflections.

Analysis of a poetic work

(scheme)

Starting the analysis of a poetic work, it is necessary to determine the direct content of the lyrical work - experience, feeling;

Determine the "belonging" of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed);

Determine the subject of the description and its connection with the poetic idea (direct - indirect);

Determine the organization (composition) of the lyrical work;

Determine the originality of the use of visual means by the author (active - mean); determine the lexical pattern (vernacular, bookish and literary vocabulary ...);

Determine the rhythm (homogeneous - heterogeneous; rhythmic movement);

Determine the sound pattern;

Determine intonation (the attitude of the speaker to the subject of speech and the interlocutor).

Poetic vocabulary

It is necessary to find out the activity of using separate groups of words in common vocabulary - synonyms, antonyms, archaisms, neologisms;

Find out the degree of closeness of the poetic language with the colloquial;

Determine the originality and activity of the use of trails

EPITET - artistic definition;

COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other;

ALLEGORY (allegory) - the image of an abstract concept or phenomenon through specific objects and images;

IRONY - hidden mockery;

HYPERBOLE - Artistic exaggeration used to enhance an impression;

LITOTA - artistic understatement;

PERSONATION - the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel;

METAPHOR - a hidden comparison, built on the similarity or contrast of phenomena, in which the word "as", "as if", "as if" are absent, but implied.

Poetic Syntax

(syntactic devices or figures of poetic speech)

Rhetorical questions, appeals, exclamations - they increase the reader's attention without requiring an answer from him;

Repetitions - repeated repetition of the same words or expressions;

Antitheses - oppositions;

Poetic phonetics

The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech.

Alliteration - repetition of consonant sounds;

Assonance - repetition of vowel sounds;

Anaphora - unity of command;

Composition of a lyrical work

Necessary:

Determine the leading experience, feeling, mood reflected in the poetic work;

Find out the harmony of the compositional construction, its subordination to the expression of a certain thought;

Determine the lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner lack of freedom, etc.)

Determine the life situation that, presumably, could cause this experience;

Highlight the main parts of a poetic work: show their connection (identify the emotional "picture").

Analysis of a dramatic work

Scheme for analyzing a dramatic work

1. General characteristics: history of creation, vital basis, design, literary criticism.

2. Plot, composition:

The main conflict, stages of its development;

The nature of the denouement /comic, tragic, dramatic/

3. Analysis of individual actions, scenes, phenomena.

4. Collecting material about the characters:

character appearance,

Behavior,

speech characteristic

Manner / how? /

Style, vocabulary

Self-characterization, mutual characteristics of the characters, author's remarks;

The role of scenery, interior in the development of the image.

5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality.

dramatic work

The generic specificity, the “borderline” position of the drama (Between literature and the theater) obliges it to be analyzed in the course of the development of dramatic action (this is the fundamental difference between the analysis of a dramatic work from an epic or lyrical one). Therefore, the proposed scheme is conditional, it only takes into account the conglomeration of the main generic categories of drama, the peculiarity of which can manifest itself differently in each individual case, precisely in the development of the action (according to the principle of a untwisted spring).

1. General characteristics of the dramatic action (character, plan and vector of movement, tempo, rhythm, etc.). "Through" action and "underwater" currents.

2. Type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), the "vertical" and "horizontal" plan of the drama.

3. The system of actors, their place and role in the development of dramatic action and conflict resolution. Main and secondary characters. Off-plot and off-stage characters.

4. The system of motives and the motive development of the plot and micro-plots of the drama. Text and subtext.

5. Compositional-structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Assembly principle.

6. Features of poetics (the semantic key of the title, the role of the theater poster, stage chronotype, symbolism, stage psychologism, the problem of the finale). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc.

7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author.

9. Contexts of drama (historical and cultural, creative, dramatic).

10. The problem of interpretations and stage history