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Part I. Questions of Poetics

ACT, or ACTION- a relatively finished part of a literary dramatic work or its theatrical performance. The division of the performance into A. was first carried out in the Roman theater. The tragedies of ancient authors, classicists, romantics were usually built in 5 A. In the realistic dramaturgy of the 19th century, along with a five-act play, a four- and three-act play appears (A.N. Ostrovsky, A.P. Chekhov). The one-act play is typical of vaudeville. In modern dramaturgy, there are plays with different amounts of A.

ALLEGORY- an allegorical expression of an abstract concept, judgment or idea through a specific image.

For example, industriousness - in the form of an ant, carelessness - in the form of a dragonfly in I.A. Krylov's fable "The Dragonfly and the Ant".

A. is unambiguous, i.e. expresses a strictly defined concept (compare with the ambiguity of a symbol). Many proverbs, sayings, fables, fairy tales are allegorical.

ALLITERATION- repetition of consonant sounds in the same or close combination in order to enhance the expressiveness of artistic speech.

howsl hello dreml em garden is darkh el eny,

Embraced by the bliss of the nightl atb oh,

through mebl they, flowersb el enna.

howsl the moon shines like hellh aboutl whoa!...

(F.I. Tyutchev)

In the above example, A. (sl - ml - zl - lb - bl - bl - sl - zl) contributes to the transfer of enjoyment of the beauty of a flowering garden.

AMPHIBRACHY- in syllabic-tonic verse - a poetic meter, the rhythm of which is based on the repetition of a three-syllable foot with an emphasis on the second syllable:

Once upon a time in the cold winter time

I came out of the forest; there was severe frost.

(N.A. Nekrasov. "Frost, Red Nose")

ANAPAEST- in syllabic-tonic verse - a poetic meter, the rhythm of which is based on the repetition of a three-syllable foot with an emphasis on the third syllable:

Name me a place like this

I didn't see that angle.

Wherever your sower and keeper,

Where would a Russian peasant not moan?

(N.A. Nekrasov. “Reflections at the front door”)

ANAPHORA, or UNITY- stylistic figure; repetition of the same word or group of words at the beginning of adjacent lines or stanzas (in verse), at the beginning of adjacent phrases or paragraphs (in prose).

I swear I am the first day of creation.

I swear his last day

I swear shame of crime

And eternal truth triumph.

(M.Yu. Lermontov. "Demon")

By analogy with lexical A., one sometimes speaks of phonic A. (repetition of identical sounds at the beginning of words), and compositional A. (repetition of identical plot motifs at the beginning of episodes).

ANTITHESIS- in a work of art, a sharp opposition of concepts, images, situations, etc.:

You are rich, I am very poor;

You are a prose writer, I am a poet;

You are blush, like a poppy color,

I am like death, and thin and pale.

(A.S. Pushkin. "You and I")

A. can be the basis of the composition of the entire work. For example, in Leo Tolstoy's story "After the Ball" the scenes of the ball and the execution are contrasted.

ANTONYMS- Words that are opposite in meaning. A. are used in order to emphasize the difference between phenomena. A.S. Pushkin characterizes Lensky and Onegin as follows:

They agreed. Wave and stone

Poetry and prose, ice and fire

Not so different from each other.

("Eugene Onegin")

A. are also used to convey the internal complexity, inconsistency of a phenomenon or feeling:

All this would be funny

When would not be so sad.

(M.Yu. Lermontov. "A.O. Smirnova")

ARCHAISM- a word that is obsolete in its lexical meaning or grammatical form. A. are used to convey the historical flavor of the era, as well as for the artistic expressiveness of the speech of the author and the hero: they, as a rule, give it solemnity. For example, A.S. Pushkin, speaking about the tasks of the poet and poetry, achieves sublime pathos with the help of A.:

Arise , prophet, andsee , andheed ,

Fulfilled by my will

And, bypassing the seas and lands,

Verb burn people's hearts.

("Prophet")

Sometimes A. are introduced into the work with a humorous or satirical purpose. For example, A.S. Pushkin in the poem "Gavriliad" creates a satirical image of St. Gabriel, combining A. ("bowed", "rose", "rivers") with reduced words and expressions ("grabbed in the temple", "hit right in the teeth").

ASSONANCE- repetition of the same or close-sounding vowel sounds in order to enhance the expressiveness of artistic speech. Stressed vowels form the basis of A., unstressed vowels can only play the role of peculiar sound echoes.

"On this moonlit night

We love to see our work!

In this phrase, the persistent repetition of sounds OU creates the impression of a groan, crying of people tortured by hard work.

ARCHETYPE- in modern literary criticism: a prototype, a model of the world and human relations, as if unconsciously "dormant" in the collective memory of mankind, ascending to its single primitive ideas (e.g. old age - wisdom; motherhood - protection). A. manifests itself in individual motifs or in the plot of the work as a whole. The images and motifs of the folklore of the peoples of the world are archetypal. Conscious or unconscious transformed (altered) archetypalness is inherent in the work of individual writers. Its opening during analysis enhances the perception of the artistic image in all its innovative originality, sharply felt, as it were, “against the background” of its eternal (archetypal) essence. For example, the motif of the transformation of a person by an evil force into some other creature (inherent in different folklore systems) in literature emphasizes the tragedy and fragility of human destiny (F. Kafka. "Transformation").

APHORISM- a deep generalizing thought, expressed with the utmost conciseness in a refined form:

The habit is given to us from above.

She is a substitute for happiness.

A. differs from a proverb in that it belongs to an author.

BLANK VERSE- syllabo-tonic non-rhyming verse. B.S. especially common in poetic dramaturgy (more often iambic pentameter), because. Suitable for conveying conversational intonations:

Everyone says: there is no truth on earth.

But there is no higher truth. For me

So it is clear, like a simple gamma.

(A.S. Pushkin. "Mozart and Salieri")

In the lyrics of B.S. occurs, but less frequently. See: “Again I visited ...” by A.S. Pushkin, “Do I hear your voice ...” by M.Yu. Lermontov.

ASYNDETON, or ASYNDETON- stylistic figure; omission of conjunctions connecting homogeneous words or sentences in phrases. B. can communicate dynamism, drama, and other shades to the depicted:

Swede, Russian stabs, cuts, cuts,

Drum beat, clicks, rattle,

The thunder of cannons, the clatter, the neighing, the groan...

(A.S. Pushkin. "Poltava")

EUPHONY, or EUPHONY- pleasant to the ear sounding of words, giving additional emotional coloring to poetic speech.

The mermaid floated on the blue river

Illuminated by the full moon:

And she tried to splash to the moon

Silvery foam waves.

(M.Yu. Lermontov. "Mermaid")

Here the words sound softly, smoothly, giving the verse a special lyrical harmony. B. is created by all types of sound repetitions (rhyme, alliteration, assonance), as well as intonation of phrases. Requirements for B. vary depending on the genre, individual poetic tastes or literary current (for example, futurists considered sharp sound combinations to be harmonious).

BARBARISM- a word of foreign origin that has not become an organic property of the national language in which it is used. For example, the Russified words “diploma” and “decree” (from French) are not barbarisms, but the words “madame”, “pardon” (from French) are barbarisms.

Monsieur l Abbe , the Frenchman is wretched.

So that the child is not exhausted,

I taught him everything in jest.

(A.S. Pushkin. "Eugene Onegin")

In Russian literature, V. are used when it is necessary to accurately name the phenomenon being described (in the absence of a corresponding Russian word), to convey the features of the life of people of other nationalities, to create a satirical image of a person who bows to everything foreign, etc.

OUTSIDE COMPOSITION ELEMENTS- when interpreting the plot as an action - those passages of a literary work that do not advance the development of the action. To V.E.K. include various descriptions of the appearance of the hero (portrait), nature (landscape), description of the dwelling (interior), as well as monologues, dialogues of heroes and lyrical digressions of the author. So, the second chapter of A.S. Pushkin's novel "Eugene Onegin" begins with a detailed description of the village, and then the house where the hero settled. V.E.K. allow a multifaceted and detailed reveal of the character of the characters (because their essence is manifested not only in actions, but also in a portrait, in the perception of nature, etc.). V.E.K. also create a background for what is happening.

FREE VERSE- syllabic-tonic rhyming verse, in which the lines have different lengths (an unequal number of feet). The free iambic (with fluctuations of stops from 1 to 6) is especially common, which is also called fable verse, because. most often found in the works of this genre.

Bear (1 foot)

Caught in a net (2 feet)

Jokes on death from afar, as you boldly want: (6 stops)

But death up close is a completely different matter! (5 stops)

(I.A. Krylov. "Bear in the nets")

VULGARISM- a rude word that does not meet the literary norm. V. are sometimes introduced into the speech of the hero in order to characterize him. For example, Sobakevich conveys his attitude towards city officials in such words: “All Christ-sellers. There is only one decent person there: the prosecutor; and even that one, to tell the truth, is a pig ”(N.V. Gogol.“ Dead Souls ”).

HYPERBOLA- artistic exaggeration of the real properties of an object or phenomenon to such an extent that in reality they cannot possess. A variety of properties are hyperbolized: size, speed, quantity, etc. For example: “Bloom pants the width of the Black Sea” (N.V. Gogol, “How Ivan Ivanovich quarreled with Ivan Nikiforovich”). G. is used especially widely in Russian epics.

GRADATION- stylistic figure; gradual increase (or, on the contrary, weakening) of the emotional and semantic meaning of words and expressions: “I knew him in love tenderly, passionately, furiously ...” (N.V. Gogol. “Old World Landowners”). G. is able to convey the development of any feeling of the hero, his emotional excitement or reflect the dynamism of events, the drama of situations, etc.

GROTESQUE- the ultimate exaggeration, giving the image a fantastic character. G. assumes the internal interaction of contrasting principles: the real and the fantastic; tragic and comic; sarcastic and humorous. G. always sharply violates the boundaries of plausibility, gives the image conditional, bizarre, strange forms. For example, the veneration of one of Gogol's heroes is so great that he bows before his own nose, which has come off his face and has become an official higher than him in rank (“The Nose”). Widely used by G. M. E. Saltykov-Shchedrin, V. V. Mayakovsky and others.

DACTYL- in syllabo-tonic verse - a poetic meter, the rhythm of which is based on the repetition of a three-syllable foot with an emphasis on the first syllable:

Glorious autumn! Healthy, vigorous

The air invigorates tired forces.

(N.A. Nekrasov. "Railway")

COUPLET- the simplest stanza, consisting of two rhyming verses:

In the sea, the prince bathes his horse;

Hearing: "Tsarevich! Look at me!"

The horse snorts and spins its ears.

It splashes and splashes and swims far away.

(M.Yu. Lermontov. "Sea Princess")

DIALECTISM- a non-literary word or expression characteristic of the speech of people living in a certain locality (in the North, in the South, in the k-l. Region). D., as a rule, have correspondences in the literary language. So, in the villages where the Cossacks live, they say: “baz” (yard), “kuren” (hut); in the North they say: "basco" (beautiful), "parya" (guy). Writers turn to D. in order to create a convincing, realistic image of the hero. In Russian literature, D. N. A. Nekrasov, N. S. Leskov, M. A. Sholokhov, A. T. Tvardovsky and others were widely used. I have come to give you freedom...”).

DIALOG- exchange of remarks of two or more persons in a literary work. D. is especially widely used in dramaturgy, and is also used in epic works. (for example, D. Chichikov and Sobakevich).

JARGON, or ARGO- a non-literary artificial language, understandable only to Ph.D. a circle of dedicated people: a certain social stratum (secular Zh., thieves Zh.), people united by a common pastime (kartezhny Zh.), etc. For example: “And the “hooks” are a damn flock! ..” (I.L. Selvinsky. “The Thief”). "Hooks" here means "police". Writers turn to Zh. to convey the social affiliation of the hero, to emphasize his spiritual limitations, etc.

STRING- an episode of the plot depicting the emergence of a contradiction (conflict) and to some extent determining the further development of events in the work. For example, in I.S. Turgenev's "Nest of Nobles" 3. is the flared love of Lavretsky and Liza, colliding with the inert morality of the environment. 3. May be motivated by prior exposure (such is 3. in the named novel) and it can be sudden, unexpected, "opening" the work, which makes the development of the action especially acute. This 3. is often used, for example, by A.P. Chekhov (“Wife”).

INTELLIGENT LANGUAGE, or ZAUM- a purely emotional language, based not on the meaning of words, but on a set of sounds, as if expressing a certain state of the poet. Nominated by futurist writers (1910-20 in Russian literature). 3. I. is, of course, the destruction of art as a form of knowledge and reflection of reality. For example:

Alebos,

Mystery Boss.

Bezve!

Boo Boo,

baoba,

Decrease!!!

(A.E. Kruchenykh. "Vesel zau")

To some extent, zaum served as a search for new artistic means, for example, author's neologisms (“wings with golden letters of the thinnest wings ...” - this is what V. Khlebnikov says about a grasshopper).

ONOMATOPOEIA- the desire with the help of sounds to hint at the sound features of c.-l. particular phenomenon of reality. 3. makes the artistic image more expressive. In a humorous story by A.P. Chekhov, the old train is described as follows: “The mail train ... rushes at full speed ... The locomotive whistles, puffs, hisses, sniffs ... “Something will happen, something will happen!” - wagons trembling from old age are knocking ... Ogogogo-hoo - oh-oh! - picks up the locomotive. ("In the wagon"). Especially often 3. is used in poetry (S. Cherny. "Easter chime").

INVERSION- stylistic figure; unusual (in terms of grammar rules) word order in a sentence or phrase. Successful I. gives the created image greater expressiveness. The youth, the lightness of Onegin, hurrying to the long-begun ball, the poet emphasizes with such an inversion:

Doorman past he's an arrow

He flew up the marble steps.

(A.S. Pushkin. "Eugene Onegin")

ALLEGORY- an expression containing a different, hidden meaning. For example, about a small child: “What a big man is coming!” I. enhances the expressiveness of artistic speech, underlies the tropes. Particularly striking types of I. are allegory and Aesopian language.

INTONATION- a melody of a sounding speech, which allows you to convey the subtlest semantic and emotional shades of a particular phrase. Thanks to I. the same statement (e.g. greeting “Hello, Maria Ivanovna!”) may sound businesslike, or coquettish, or ironic, etc. I. is created in speech by raising and lowering the tone, pauses, tempo of speech, etc. In writing, the main features of I. are conveyed with the help of punctuation, the author's explanatory words about the speech of the characters . I. plays a special role in verse, where it can be melodious, declamatory, colloquial, etc. Poetic meters, line length, rhyme, clause, pauses, and stanzas participate in creating the intonation of a verse.

INTRIGUE- a complex, tense, intricate knot of events that underlies the development of a dramatic (less often - epic) work. I. - the result of a thoughtful, stubborn, often secret struggle of characters (for example, plays by A.N. Ostrovsky, novels by F.M. Dostoevsky).

PUN- a play on words based on the identical or very similar sounding of words that are different in meaning. K. are built on homonyms or comic etymology. K. usually characterizes the hero as a witty, lively person: “I came to Moscow, crying and crying” (P.A. Vyazemsky. “Letter to my wife”, 1824).

KATREN, or QUATRAIN- the most popular stanza in Russian versification. The rhyming of lines in K. can be different:

1. abab (cross):

Do not be shy for the dear homeland ...

The Russian people have endured enough.

Carried out this railroad -

Will endure everything that the Lord does not send!

(N.A. Nekrasov. "Railway")

2. aabb (adjacent):

Can't wait for me to see freedom

And prison days are like years;

And the window is high above the ground.

And there is a sentry at the door!

(M.Yu. Lermontov. "Neighbor")

3. abba (belt):

God help the deputies, my friends,

And in storms, and in worldly grief,

In a foreign land, in a desert sea

And in the dark abysses of the earth.

COMPOSITION- this or that construction of a work of art, motivated by its ideological intent. K. is a certain arrangement and interaction of all components of works: plot (i.e., the development of action), descriptive (landscape, portrait), as well as monologues, dialogues, author's lyrical digressions, etc. Depending on artistic goals, techniques and The principles underlying K. can be very diverse. So, for example, the basis for the arrangement of pictures in L.N. Tolstoy's story "After the Ball" is the contrast, which well conveys the main idea of ​​the inhuman essence of an outwardly respectable and brilliant colonel. And in "Dead Souls" one of the compositional techniques is the repetition of the same type of situations (Chichikov's arrival to the next landowner, meeting the hero, lunch) and descriptions (estate landscape, interior, etc.). This technique allows us to convey the idea of ​​the diversity of the characters of the landlords and at the same time their uniformity, which consists in the meaninglessness of an idle existence at the expense of the peasants. In addition, the idea of ​​the many-sided opportunism of Chichikov is being carried out. The composition of epic works is especially diverse in terms of its constituent components; in the cinematography of dramatic works, the plot, monologues, and dialogues play a particularly significant role; in K. lyrical works, as a rule, there is no plot beginning.

CULMINATION- that point in the development of the plot when the conflict reaches its highest tension: the clash of opposing principles (socio-political, moral, etc.) is felt especially sharply, and the characters in their essential features are revealed to the greatest extent. For example, in I.S. Turgenev's "The Nest of Nobles", the contradiction between the love of the characters and the laws of the social environment reaches a special intensity in the episode depicting the arrival of Lavretsky's wife, Varvara Pavlovna. This is K. of the novel, because. the outcome of the conflict depends on how the main characters behave: can Lavretsky and Lisa defend their feelings or not?

VOCABULARY- the vocabulary of the language. Turning to one or another L., the writer is guided primarily by the tasks of creating an artistic image. For these purposes, it is important for the author to choose an exact and accurate word (see: synonyms, antonyms), the ability to use its figurative meaning (see: paths), as well as lexical and stylistic shades (see: archaisms, vernacular, jargon, etc.) . Features of L. in the speech of the hero serve as a means of characterizing him. For example, Manilov's speech contains many affectionate words ("darling", "mouth") and epithets expressing the highest (even "twice the highest") degree of Ph.D. qualities (“most respected”, “most amiable”), which speaks of the sentimentality and enthusiasm of his character (N.V. Gogol. “Dead Souls”). Literary analysis of literary works should lead to an understanding of the character of the hero and the author's attitude to the depicted.

AUTHOR'S LYRICAL DIRECTION- the author's deviation from a direct plot narrative, which consists in expressing his feelings and thoughts in the form of lyrical inserts on topics that are little (or not at all) related to the main theme of the work. L.O. allow expressing the author's opinion on important issues of our time, expressing reflections on certain issues. L.O. found in both poetry and prose. For example, in the second chapter of A.S. Pushkin’s novel “Eugene Onegin”, the story of Tatyana who has fallen in love is suddenly interrupted, and the author expresses his opinion on the issues of classic, romantic and realistic art (the principles of which he asserts in the novel. Then the story of Tatyana An example of a lyrical digression in prose is the author's reflections on the future of Russia in Nikolai Gogol's Dead Souls (see the end of Chapter XI).

LITOTES- artistic understatement of the real properties of an object or phenomenon to such an extent that in reality they cannot possess. For example: Chichikov's stroller is "light as a feather" (N.V. Gogol. "Dead Souls"). A variety of properties can be underestimated: size, thickness, distance, time, etc. L. increases the expressiveness of artistic speech.

METAPHOR- one of the main tropes of artistic speech; a hidden comparison of an object or phenomenon by the similarity of their features. In M. (unlike comparison), the word denotes not both objects (or phenomena) that are compared, but only the second, the first is only implied.

Bee for tribute in the field

Flies from the wax cell.

(A.S. Pushkin. "Eugene Onegin")

In this example, there are two M.: a beehive is compared by similarity with a cell, nectar is compared with a tribute, although the concepts of “beehive” and “nectar” themselves are not named. Grammatically, M. Can be expressed by different parts of speech: noun (examples given), adjective ("fire kiss"), verb (“a kiss sounded on my lips” - M.Yu. Lermontov. “Taman”), gerund (“Into every carnation of fragrant lilac, Singing, a bee creeps in” - A.A. Fet). If the image is revealed through several metaphorical expressions, then such a metaphor is called expanded: see the poem “In the mundane, sad and boundless steppe” by A.S. Pushkin, “The Cup of Life” by M.Yu. Lermontov.

METONYMY- the transfer of meaning from one phenomenon to another not on the basis of the similarity of their features (which is noted in the metaphor), but only on the basis of c.-l. their related relationship. Depending on the specific nature of the contiguity, many types of M are distinguished. Let's name the most common.

1. Content is named instead of containing: “The flooded stove is cracking” (A.S. Pushkin. “Winter Evening”);

3. The material from which the thing is made is called instead of the thing itself: “Amber smoked in his mouth” (A.S. Pushkin. “The Fountain of Bakhchisarai”);

4. The place where people are located is called instead of the people themselves: “Pairs and armchairs - everything is in full swing” (A.S. Pushkin. “Eugene Onegin”).

POLYUNION, or POLYSYNDETHONE- stylistic figure; a special construction of a phrase in which all (or almost all) homogeneous members of a sentence are connected by the same union. M. can communicate gradualness, lyricism, and other shades to artistic speech. “The earth is all in silver light, and the wonderful air is both cool and stuffy, and full of bliss, and moves an ocean of fragrance ...” (N.V. Gogol. “May Night”).

Oh! Summer red! I would love you.

If it weren't for the heat, and dust, and mosquitoes, and flies.

(A.S. Pushkin. "Autumn")

MONOLOGUE- a fairly long speech of the hero in a literary work. M. is especially significant in dramaturgy, is used in epic works, and manifests itself in a peculiar way in lyrics (M. of a lyrical hero). M. conveys the feelings, thoughts of the character, includes messages about his past or future, etc. M. can be pronounced aloud (direct M.) or mentally (internal M). An example is the famous M. Onegin, addressed to Tatyana, which begins with the words: “Whenever life is at home \ I want to limit it ...” (A.S. Pushkin. “Eugene Onegin”, ch. IV, stanzas XIII-XVI ).

NEOLOGISM- a word or phrase newly formed in the language, created to denote a new object or phenomenon, e.g. computer virus. Writers, on the other hand, create their individual N. in order to enhance the figurativeness and emotionality of artistic speech, especially poetic speech. For example, the poet conveys his impression of the silent city street in this way: “... the squat buildings of Otserkveneli are like yesterday” (L. Martynov, Novy Arbat). N. can be found in many writers of the XIX and XX centuries. Some of them, very accurately expressing c.-l. feeling or phenomenon, forever became part of the Russian language: "industry", "phenomenon" (N.M. Karamzin); "Slavophile" (K.N. Batyushkov): "to hunt" (N.M. Zagoskin); "shuffle" (F.M. Dostoevsky).

avant-garde - the general name for a number of trends in the art of the 20th century, which are united by social engagement (i.e. commitment to any political movement, more often a socialist orientation).

Alliteration - expressive means of language: repetition of identical or homogeneous consonants in order to create a sound image: " As if thunder rumble - / Heavy-voiced galloping / On the shocked pavement ...» A. Pushkin.

allusion - the use of a word, phrase, quote as a hint that activates the reader's attention and allows you to see the connection of the depicted with some known fact of literary or socio-political life.

Antithesis - expressive means of language: opposition of sharply contrasting concepts and images. For example, A.P. Chekhov's story "Thick and Thin" is built on the principle of opposing two heroes, on the principle of antithesis.

Dystopia - the genre of an epic work that creates a picture of the life of a society deceived by utopian illusions, the main pathos is a warning about the danger of implementing utopian ideas (E. Zamyatin "We", A. Platonov "The Pit", A. Kabakov "Defector").

Association - a psychological phenomenon when, when reading a work, one image, by similarity or contrast, conjures up another.

Fiction - a term sometimes used to characterize prose works of a low artistic level. V. G. Belinsky understood “easy reading” by fiction, contrasting it with serious literature. At the same time, Russian writers, in particular F.M. Dostoevsky, noted the need for the people of "pleasant and entertaining reading." Many works of literature of the Soviet period on the topic of the day (D. Furmanov "Chapaev", N. Ostrovsky "How the Steel Was Tempered", M. Sholokhov "Virgin Soil Upturned"), elevated to the rank of classics, can rightly be called fiction. Fiction as the "middle" sphere of literary creativity is in contact with both the "top" and the "bottom" - mass literature.

graphomania - a passion for literary creativity, not supported by the talent and recognition of readers.

discourse - a specific way or specific rules for organizing speech activity (written or oral).

Ying toning is a set of expressive-significant changes in the sound of the human voice. Physical (acoustic) "carriers" of intonation are the timbre and tempo of speech, the strength and pitch of the sound. Written text(if it is subjectively colored and expressive) bears a trace of intonation, which is felt primarily in syntax statements.

Intertextuality – “dialogue” between texts (artistic works), “the text reads the story and fits into it”, i.e. incorporates previous texts and becomes part of the culture.

Intrigue - the movement of the soul, action, character, with the goal of searching for the meaning of life, truth, etc. - a kind of "spring" that drives the action in a dramatic or epic work and makes it entertaining.

Catharsis - purification of the soul of the reader, experienced by him in the process of empathy with literary characters. According to Aristotle, catharsis is the goal of tragedy, ennobling the viewer and reader.

Conflict - a clash of opinions, positions, characters in a work, driving its action like an intrigue and a collision.

keynote - the main idea of ​​the work, repeatedly repeated and emphasized.

Literary direction - characterized by the commonality of literary phenomena over a certain period of time. The literary direction presupposes the unity of the attitude, aesthetic views of writers, ways of depicting life in a certain historical period. The literary direction is also characterized by the generality of the artistic method. Literary trends include classicism, sentimentalism, romanticism, etc.

literary process - the evolution of literature - reveals itself in a change in literary trends, in updating the content and form of works, in establishing new connections with other types of art, with philosophy, science. It proceeds according to its own laws and is not directly connected with the development of society.

mass literature - an ambiguous term that has several synonyms: popular, trivial, para-, tabloid literature; traditionally this term denotes: the value "bottom" of the literary hierarchy - works attributed to the marginal sphere of generally recognized literature, rejected as kitsch, pseudo-literature. Often, “maslit” is understood as the entire array of works of art of a certain cultural and historical period, which are considered as the background of the peak achievements of writers of the first row.

Method - the general principle of the artist's creative attitude to cognizable reality, i.e. its re-creation; and therefore it does not exist outside of its concrete-individual implementation. In this content, this very abstract and now unfashionable category takes on a more real shape, often under the name "style" .

Onomatopoeia (gr. onomatopoieia - production of names) - onomatopoeia, for example, "beetle buzzed" - the sound of words reproduces the phenomenon called.

Plagiarism - Literary theft.

subtext - internal, not verbally expressed meaning of the text. The subtext is hidden and can be restored by the reader, taking into account the specific historical situation. Most often present in psychological genres.

Nickname - (Greek pseudonymos from pseudos - fiction, lie and onoma - name) - a fictitious name or surname that replaces the original writer in print. For example, Boris Nikolaevich Bugaev is known under the pseudonym Andrei Bely.

Style - sustainable features of the use of poetic techniques and means, serving as an expression of originality, uniqueness of the phenomenon of art. It is studied at the level of a work of art (the style of "Eugene Onegin"), at the level of the individual manner of the writer (N. Gogol's style), at the level of a literary movement (classicist style), at the level of an era (baroque style).

artistic fiction - the fruit of the author's imagination (fantasy), the creation of plots and images that do not have direct correspondences in previous art and reality. Through fiction, the writer embodies his view of the world, and also demonstrates embodies creative energy.

Essay - an artistic and journalistic work of a small volume, containing the thoughts of the author, but not limited by any compositional framework and conditions.

(pictorial and expressive means of language or tropes).

Task 2 in the exam in literature and part B8 in Russian.

Prepared by the teacher of Russian language and literature Parfenova N.V.

Vocabulary

literary terms

Allegory- an allegory, when another concept is hidden under a specific image of an object, person, phenomenon.

Alliteration- the repetition of homogeneous consonants, betraying the literary text a special sound and intonation expressiveness; one of the types of sound recording.

Amphibrachius- three-syllable meter with stress on the second syllable.

Anapaest- three-syllable meter verse with stress on the third syllable.

Antithesis- artistic opposition of characters, circumstances, concepts, creating the impression of a sharp contrast.

Aphorism- a short saying expressing a significant, deep thought in an original artistically pointed form. An aphorism resembles a proverb, but unlike it, it belongs to a certain person (writer, scientist, etc.)

Ballad- one of the genres of lyrical-epic poetry: a plot poem, which is based on some unusual incident associated with a historical event or legend; usually of a heroic, legendary, or fantastic nature.

Literary hero - protagonist, character of the work.

Hyperbola- excessive exaggeration of the properties of the depicted object.

Grotesque- the ultimate exaggeration, based on a bizarre combination of fantastic and real, terrible and funny; thickening of the satirical depiction of phenomena, objects and people.

Dactyl- three-syllable meter with stress on the first syllable.

Detail - one of the means of creating an artistic image; expressive detail in the work (part of the outside world, portrait, etc.), which helps the reader to imagine and better understand not only the character, setting, but the work as a whole, the author's attitude to the depicted.

Dialog- a conversation between two or more people; the main form of disclosure of human characters in a dramatic work.

Drama- a kind of literature, a dramatic work intended for staging on stage, in which the main idea is revealed through the dialogues and monologues of the characters, their actions and actions.

Drama in the narrow sense of the word is a play with acute conflict, but unlike tragedy, the conflict here is more grounded, ordinary and, one way or another, resolved.

Genre- type of work of art: song, ballad, poem, story, short story, comedy, etc.

tie- an episode of a literary work in which the main conflict arises.

Idea- the main idea of ​​the work.

Inversion- an unusual word order, a violation of the sequence of speech in order to give the phrase a special expressiveness.

Intonation- the main expressive means of sounding speech, which allows you to convey the attitude of the speaker to what he is talking about.

irony - ridicule, ridicule. Usually, the true meaning of the statement is, as it were, disguised: it says exactly the opposite of what is meant.

Comedy- a dramatic work in which the negative features of a person or social phenomenon are ridiculed.

comic- funny in life and art.

Composition- the construction of a work of art.

Artistic conflict- clash, confrontation between characters or any forces that underlies the development of the action of a literary work.

climax- an episode of a literary work in which the artistic conflict reaches its highest point in its development and requires resolution.

Monologue- a detailed statement of one person, not connected with the remarks of other people.

Novella- a small epic work, close to a story, which is based on a description of one event and the author's assessment of it.

Artistic image- an artistic depiction of human life in an extremely specific form, but at the same time carrying a generalization and expressing the aesthetic and moral ideal of the writer (artist).

Feature article- one of the genres of epic, narrative literature, which differs from others in reliability, in that the essay usually depicts events that took place in real life. At the same time, it retains the features of the figurative reflection of life.

Parallelism- comparison; often used in oral folk art.

Landscape- in a work of art, a description of nature, which not only makes it possible to see where the event occurs, but also helps to understand it.

Character- the protagonist of a work of art.

Song- a small lyrical work intended for singing; a folk song usually appears along with a melody.

Tale- epic genre; in terms of the nature of the development of the action, it is more complicated than a story, but less developed than a novel.

Poem- one of the genres of the lyrical-epic work, which is characterized by plot, the expression by the author or the hero of his feelings.

Nickname- a fictitious name or conventional sign under which the author publishes his work.

denouement- an episode of a literary work in which the resolution of the main artistic conflict takes place.

Story- an epic genre, a small form of a literary work in which an image of an episode from the life of a hero is given.

Replica- a phrase of the interlocutor in the dialogue, which arose as a response to the words of the partner.

Rhythm is poetic- repetition of homogeneous sound features, alternation of stressed and unstressed syllables.

Rhyme- sound matches at the end of lines.

Novel- an epic work that covers the life, deeds, clashes of many heroes, sometimes the history of generations, reveals the diversity of social relations. The novel is characterized by a branched plot or several storylines united by a common idea.

Romance- a feature of literary creativity, which consists in the desire to depict the bright or fictional aspects of life.

Sarcasm- a caustic, caustic mockery.

Satire- the most merciless ridicule of the imperfection of the world, human vices.

Stanza- a part of a poem, united into a single whole by rhyme, rhythm, content.

Plot- an event or a series of events depicted in a work in a certain sequence, constituting the content of a work of art.

Subject- what is the basis of a literary work, the main subject of the story.

Tragedy- a dramatic work that depicts extremely sharp, irreconcilable conflicts, most often ending in the death of heroes. This struggle reveals the loftiness of aspirations and the strength of the characters of the characters.

Fantasy- a kind of fiction in which the author's fiction creates an unreal, fictional world, bizarre images and phenomena.

Folklore- oral works of art of the word.

exposition- episodes preceding the plot, the emergence of the main conflict; delineation of the position of the characters before the action begins.

Epigraph- a bright saying placed by the author before the work or part of it in order to help the reader to better understand the content and meaning of the text.

Humor- a cheerful, good-natured mockery of someone or something.