“On a white night the month is red...” A. Blok

“On a white night the month is red” Alexander Blok

poetry On a white night the month is red
Floats out in the blue.
Ghostly-beautiful wanders,
Reflected in the Neva.

I see and dream
Execution of secret thoughts.
Is there goodness hidden in you?
Red moon, quiet noise?..

Analysis of Blok’s poem “On a White Night the Red Moon…”

It is no secret that Alexander Blok began his literary career as a symbolist poet, attaching great importance not so much to the content as to the cause-and-effect relationships in his works. Therefore, it is not surprising that many of the poet’s works must be interpreted from the perspective of the symbols they contain. This, in particular, applies to the poem “On a White Night the Month is Red,” written in 1901. If we consider it from a poetic point of view, then the reader is presented with a completely peaceful picture of night Petersburg, shrouded in moonlight. On such nights it is especially good to dream and make plans for the future, and also try to predict what fate has in store for you.

However, Alexander Blok, who has amazing intuition, already knows the answers to all the questions that interest him. And these answers fill him with panic mixed with horror. The first line of the poem sets the tone for the entire work. In the poet's understanding, the white color symbolizes death, and the red color symbolizes blood.. In addition, it can be perceived as predictions of impending changes, when the “whites” and “reds” will become participants in a brutal civil war that will claim the lives of tens of thousands of people. At the same time, the phrase “floats up in the blue” can be interpreted as a sign of reconciliation, but in the poet’s perception it is “ghostly beautiful,” i.e. unfeasible. The split in society will be so deep that even a century later its echoes will reach new generations who have never been able to come to terms with the imposed ideals of equality and fraternity.

The second part of the poem is devoted to the poet’s reflections on what such social changes will lead to. It is no secret that Blok supported revolutionary ideas from the very beginning, believing that the Russian monarchy had completely outlived its usefulness. However, even being an ardent supporter of social changes, the poet doubted that they would bring more benefit than harm. His doubts were dispelled after the workers' uprisings of 1905, when the author realized that it was simply unrealistic to carry out a revolution in a bloodless way. But long before this realization, in the poem “On a White Night, the Red Moon,” the poet asks the question: “Does goodness lurk in you, red moon, quiet noise?” This phrase can be perceived in different ways, but one thing is indisputable - Blok knew that the catastrophe called revolution was inevitable, and was not sure that it would bring positive changes to Russia.

On a white night the month is red
Floats out in the blue.
Ghostly-beautiful wanders,
Reflected in the Neva.

I see and dream
Execution of secret thoughts.
Is there goodness hidden in you?
Red moon, quiet noise?..
May 22, 1901
Alexander Blok.

I. Poetic form:
a) The poem consists of 2 stanzas.
Size: trochee tetrameter
Foot: two-syllable, with emphasis on the first syllable.
1st stanza – 4 lines, quatrain.
Rhymes: red-blue-beautiful-neve.
Rhyme: ABAB – cross
2nd stanza – 4 lines, quatrain.
Rhymes: dream-dum-lurk-noise.
Rhyme: ABAB – cross.
b) Language of the poem:
Epithets: ghostly beautiful, red, quiet, secret thoughts, white night, good.
Personification: ghostly-beautiful wanders, floats out in the blue.
Rhetorical question: is there goodness hidden in you, a red moon, a quiet noise?

II. The artistic world of the poem

In the poem “On a White Night the Red Month...”, which belongs to the cycle “Poems about a Beautiful Lady,” it is easy to determine the place and time of action: St. Petersburg, spring, white nights. The author paints a picture of a harmonious world: the sky is reflected in the river, and the river in the sky, so “the month floats out.” He floats along the heavenly, reflected river. “White Night”, like the month, is reflected in the river. Thus, a bright principle reigns both on earth and in heaven. The image-symbol “reflection” is enhanced by color symbols: “white night”, “red moon”. White color symbolizes purity and truth. The symbolism of red color varies. “The color red can be aggressive, vital and full of strength, akin to fire and denoting both love and life-and-death struggle.” But in the context of this poem, this color means the beginning of a new life, love, since in the last stanza there is an indication of “good” and the red month is called beautiful. The positive meaning of the color red is also suggested by the fact that the night, usually dark, turning white, symbolizes youth and transformation. The color red also symbolizes love. It is no coincidence that the word “red” receives logical emphasis. “The blue color of the sky - a symbol of the truth and eternity of God - will forever remain a sign of human immortality; in depth psychology they find its connection with spiritual liberation, a soft, easy and deliberate structure of life.” The blue color is also reflected in the river. Thus, peace is present both in heaven and on earth. The symbolism of reflections in the poem reveals the idea of ​​the harmony of the world. If you express it graphically, you get a circle divided into two halves by a watershed line. But the river connects the two halves of the circle, reflecting them symmetrically. In the first stanza, the symbol “reflection” creates an image of a harmonious world. The poem embodies the lyrical hero’s idea of ​​world harmony - the love of “earth” and “sky”. Blok believes that the Eternal Feminine is capable of reconciling “heaven” and “earth,” that is, returning to their “primordial unity.” But this poem depicts only the desire of the earth to heaven, and not their complete unity, impossible due to the watershed. Perhaps this is why the poem ends with a question expressing the author’s doubt.

This poem is not suitable for study by primary schoolchildren, because... it belongs to the high school curriculum, to the cycle of Silver Age poets.

The reeds rustled over the backwater.
The princess girl is crying by the river.

The beautiful girl told fortunes at seven o'clock.
A wave unraveled a wreath of dodder.

Oh, a girl won’t marry in the spring,
He intimidated her with forest signs.

The bark on the birch tree is eaten away, -
The mice survive the girl from the yard.

The horses fight, they wave their heads menacingly, -
Oh, the brownie doesn’t like black braids.

The smell of incense flows from the spruce grove,
The bells of the winds sing a dirge.

A sad girl walks along the bank,
A gentle foaming wave is weaving her shroud.
1914
Sergey Yesenin.

A) Poetic form:
The poem consists of 7 stanzas (14 lines in total).
Size: six-foot trochee
Foot: two-syllable with stress on the 1st syllable.
1st stanza: 2 lines, couplet.
Rhymes: reeds - rivers.
Rhyme: AA.
2nd stanza – 2 lines, couplet.
Rhymes: semik-dodder.
Rhyme: AA.
3rd stanza: 2 lines, couplet.
Rhymes: spring-forest.
Rhyme: AA.
4th stanza: 2 lines, couplet.
Rhymes: bark-dvora.
Rhyme: AA.
5th stanza: 2 lines, couplet.
Rhymes: head-brownie.
Rhyme: AA.
6th stanza: 2 lines, couplet.
Rhymes: pour-sing.
Rhyme: AA.
7th stanza: 2 lines, couplet.
Rhymes: sad-wave.
Rhyme: AA.

B) Language of the poem:
Epithets: princess girl, beautiful maiden, waving menacingly, black braids, ringing winds, sad, gentle foam.
Personification: the wave unravels, weaves a shroud for it, the winds sing a dirge.
Inversion: Oh, the girl won’t marry in the spring, I frightened her with the signs of the forest. The mice survive the girl from the yard. Oh, the brownie doesn’t like black braids. A sad girl walks along the shore, A gentle foamy wave weaves a shroud for her.
The poem “The reeds rustled over the backwater” talks about an important and fascinating event of Semitic-Trinity week - fortune-telling with wreaths.
The beautiful girl told fortunes at seven o'clock.
A wave unraveled a wreath of dodder.
The girls wove wreaths and threw them into the river. According to those who floated far away, washed up on the shore, stopped or drowned at the wreath, they judged the fate that awaited them (distant or nearby marriage, girlhood, death of the betrothed).
Oh, a girl won’t marry in the spring,
He intimidated her with forest signs.
The joyful welcome of spring is overshadowed by the premonition of approaching death, “the bark of the birch tree has been eaten away.” A tree without bark dies, and here the association is “birch tree - girl”. The motive of misfortune is reinforced by the use of such images as “mice”, “spruce”, “shroud”.

This poem is not suitable for study by primary schoolchildren, because... it belongs to the high school curriculum, to the cycle of Silver Age poets.

III
Quietly in the juniper thicket along the cliff.
Autumn, a red mare, scratches her mane.

Above the river bank cover
The blue clang of her horseshoes can be heard.

The schema-monk-wind steps cautiously
Crumples leaves along road ledges

And kisses on the rowan bush
Red ulcers for the invisible Christ.
1914
Sergey Yesenin.

A) The poem consists of 4 stanzas (8 lines in total).
Size: equal-footed trochee.
Foot: two-syllable with stress on the first syllable.
1st stanza: 2 lines, couplet.
Rhymes: break-off-mane.
Rhyme: AA.
2nd stanza: 2 lines, couplet.
Rhymes: coast-horseshoes.
Rhyme: AA.
3rd stanza: 2 lines, couplet.
Rhymes: careful-road.
Rhyme: AA.
4th stanza: 2 lines, couplet.
Rhymes: bush - Christ.
Rhyme: AB.

B) Language of the poem:
Epithets: quietly, redhead, blue clang, careful step, red.
Metaphors: “autumn, red mare”, “schemnik-wind”, “red ulcers for the invisible Christ”, “blue clang”.
Personifications: scratches manes, crumples leaves, and kisses.

The last line of the poem unambiguously states the fact of the invisible presence of a higher Principle in the world. The lyrical hero feels that there is a certain Power next to him, possessing the highest Power and Value, and Her presence is “invisible”, that is, it cannot be recorded with the help of the senses, but at the same time (at least in the context of the poem) She relies as Something – unconditionally – Real. Let’s imagine a picture painted in a verse: so, an autumn forest, a river bank, not a soul around, silence reigns, broken only by the barely audible rustle of fallen leaves. In this pristine silence, far from the noise of the city, civilization with its endless mouse fuss, the presence of God is revealed. It is known that silence is one of the most stable components of mystical experience; “silence” in many religious traditions is considered one of the most adequate and worthy ways of relating to Divine reality. It is noteworthy that the presence of God is most clearly felt precisely in the bosom of nature, and not within the confines of urban civilization; it is nature in its primary form that is the most perfect likeness of the Highest principle and bears the imprints of its Creator. The world itself, with its entire existence, becomes a kind of temple in which continuous liturgy takes place, because it is probably not accidental that the wind is likened to a schema monk. The likening of nature to a Temple, in which continuous service takes place, is found in Yesenin in other poems (for example:
“It smells like willow and resin”).
But let’s return to “Autumn”, let’s pay attention to the last two lines:

And kisses on the rowan bush
Red sores of the invisible Christ.

The rowan bunches are likened to the wounds of Christ, that is, their direct meaning fades into the background, giving way to a symbolic one. Rowan, in this case, becomes an external, visible expression of the Blood of Christ, in other words, the material embodiment of Spiritual Reality. One can say more: the entire world around us becomes the “external cover” of the Divine, a symbolic reflection of the Highest Invisible principle. The poet himself spoke about this peculiarity of his worldview in his work “The Keys of Mary”: “Almost every thing, through every sound, tells us with signs that here we are only on the way, that here we are only a “hut image”, that somewhere in the distance, under the ice of our muscular sensations, the heavenly siren sings to us and that beyond the flurry of our earthly events the shore is not far away.” The perception of the natural world as an external manifestation of the Supreme Principle and the associated sacralization of natural phenomena and elements were not specific to the perception of Yesenin himself; this feature is characteristic of the traditional folk worldview as a whole, what later in the scientific literature was called “dual faith”, confusion Christian and pagan elements: “The spiritualization of the forces of nature for many centuries after the official eradication of paganism remained an important part of the worldview of the Eastern Slavs. It supported the traditional ancient Russian system of calendar rites and rituals, the purpose of which was to live in harmony with nature.” For example, the cult of “Mother Earth” was firmly rooted in the culture of the Eastern Slavs. In addition to the cult of “Mother Earth,” the veneration of water, the cult of sacred springs and wells, as well as the veneration of sacred trees and groves, and sacred stones were firmly held in popular ideas. Traces of such forms of folk religiosity in Yesenin’s poetry are very easy to detect. It is noteworthy that the appearance of Christ in his early poems often occurs against the backdrop of nature.

This poem is not suitable for study by younger students, because... it belongs to the high school curriculum, to the cycle of Silver Age poets.

Question number 10.
The originality of drama as a literary genre
Drama - (ancient Greek action, action) is one of the literary movements. Drama as a type of literature, in contrast to lyric poetry and like epic, drama reproduces, first of all, the world external to the author - actions, relationships between people, conflicts. Unlike the epic, it has not a narrative, but a dialogic form. As a rule, there are no internal monologues, author's characteristics of characters and direct author's comments of the person depicted. In Aristotle's Poetics, drama is described as the imitation of action through action and not through telling. This provision is still not outdated. Dramatic works are characterized by acute conflict situations that prompt characters to verbal and physical actions. The author's speech can sometimes be in the drama, but it is of an auxiliary nature. Sometimes the author briefly comments on the remarks of his characters, points out their gestures and intonation.
Drama is closely related to theatrical art and must meet the needs of the theater.
Drama is seen as the crown of literary creativity. Examples of drama are the play “The Thunderstorm” by Ostrovsky and “At the Bottom” by Gorkov.

History of drama as a literary genre

Question No. 11.
Composition in a work of art

Composition in literature is the construction of a work of art, the arrangement of its parts in a certain system and sequence. But the composition cannot be considered as a sequence of chapters, scenes, etc. Composition is an integral system of certain methods and forms of artistic representation, determined by the content of the work.
The means and techniques of composition deepen the meaning of what is depicted. Elements or parts of the composition: description, narration, system of images, dialogues, monologues of characters, author's digressions, inserted stories, author's characteristics, landscape, portrait, plot and plot of the story. Depending on the genre of the work, specific methods of depiction predominate in it. Each work has its own unique composition. Some traditional genres have compositional canons. For example, three repetitions and a happy ending in a fairy tale, the five-act structure of a classical tragedy and drama. For example, we can cite the composition of Bulgakov’s literary work “The Master and Margarita”.
This is a novel within a novel. The fate of the author is reflected in the fate of the Master, the fate of the master is reflected in the fate of his hero Yeshua.
Sub-question. Observation of junior schoolchildren...

Working with a work of art. Aesthetic and spiritual-moral activities are aimed at the development of artistic and aesthetic activities, the formation of moral and ethical ideas and the activation of students’ creative activity through the means of fiction. Children will learn to distinguish between ways of depicting the world in artistic and cognitive tests (with the help of a teacher), understand differences in knowledge of the world using scientific-conceptual and artistic-imaginative thinking, comprehend the features of artistic and scientific-cognitive works, and create their own texts.
The program provides for introducing children not only to the best examples of fiction, but also to works of other types of art.
Students will learn to understand and appreciate a work of art, to distinguish it from works of scientific and educational content. They will learn that a work of art is a work of verbal art, that its author, revealing through the artistic and figurative form all the richness of the surrounding world and human relationships, strives to introduce the reader to his spiritual, moral and aesthetic values, to awaken in a person a sense of beauty, beauty and harmony .
The content of literary reading includes an elementary analysis of a work of art, which is built on the principle of “synthesis-analysis-synthesis”: students first perceive the text as a whole, then read and analyze it, and then again turn to the text as a whole, comparing its beginning and end, the main thought with the title and content of the text, giving it an artistic and aesthetic assessment.
When analyzing a literary work, the artistic image embodied in a word (without a term) comes to the fore. The word in a literary text becomes the object of attention of the young reader at all stages of reading. When analyzing an artistic text, the word as a means of artistic expression (epithets, comparisons, etc.) is considered not on its own, not in isolation, but in the figurative system of the entire work, in its real context, which fills with meaning and meaning not only figurative, but even neutral words and expressions.
The program identifies for analysis only those means of artistic expression that are available to primary schoolchildren and help them
feel the integrity of the artistic image and fully comprehend it.
The content of literary reading includes elementary ideas accessible to children about the theme and problems of a work of art, moral and aesthetic values, verbal and artistic form and the construction (composition) of the work.
The program provides analysis of the work at different levels: plot level (analysis of events and introduction to the characters); the level of the hero, the motives of the hero’s action, the reader’s attitude towards him); author's level (the author's attitude towards his characters, his intention and the general meaning of what he read. This helps to maintain a holistic view of the work and not lose its main line. The multi-stage path of analyzing the work, a kind of ascent of the reader to the top of the so-called semantic pyramid, opens up new horizons for understanding the verbal art, enriches students intellectually, morally and aesthetically. In the process of such analysis, which is associated with repeated reference to the text, children, penetrating into the secrets of artistic creativity, comprehend moral values ​​(friendship, respect, caring for others, goodwill), receive joy and pleasure from reading, learn to express their attitude to the characters through expressive reading. The content of the program includes the development of skills related to observing the natural world and the behavior of animals. The introduction of such material into the content of literary reading is determined by the nature and completeness of the primary school student’s perception of a literary work. depend not only on his ability to recreate verbal images in accordance. With the author’s intention, but also from his accumulated experience of perceiving the world around him. This experience helps the child more fully and vividly recreate the content of literary texts when reading.

Question #12
The language is spoken and literary. The language of fiction. Observation of younger schoolchildren over the language of works of verbal art
Literary language is a processed form of the national language, which has more or less written norms; the language of all manifestations of culture expressed in verbal form.
Literary language is the common written language of one or another people, and sometimes several peoples - the language of official business documents, school teaching, written and everyday communication, science, journalism, fiction, all manifestations of culture expressed in verbal form, often written, but sometimes verbally. That is why there are differences between written-book and oral-spoken forms of literary language, the emergence, correlation and interaction of which are subject to certain historical patterns.
Literary language is a historically established, socially conscious language system, which is distinguished by strict codification, but is mobile and not static, which covers all spheres of human activity: the sphere of science and education - scientific style; socio-political sphere - journalistic style; sphere of business relations - official business style.
The idea of ​​the “fixedness” of the norms of a literary language has a certain relativity (despite the importance and stability of the norm, it is mobile over time). It is impossible to imagine a developed and rich culture of a people without a developed and rich literary language. This is the great social significance of the problem of the literary language itself.
There is no consensus among linguists about the complex and multifaceted concept of literary language. Some researchers prefer to talk not about literary language as a whole, but about its varieties: either written literary language, or colloquial literary language, or the language of fiction, etc.
Literary language cannot be identified with the language of fiction. These are different, although correlative concepts

Spoken language according to Ozhegov:
colloquial, -aya, -oe. 1. ok. talk. 2. characteristic of oral speech, everyday expressions. R. style. colloquial speech (the speech of native speakers of a literary language during their direct and relaxed! communication). 3.having the character of a dialogue. R. genre (in pop art). ii noun colloquiality, -i, g. (to 2 digits).

CONVERSATIONAL SPEECH, a type of literary language, implemented primarily orally in a situation of unprepared, relaxed communication with direct interaction between communication partners. The main area of ​​implementation of spoken language is everyday communication taking place in an informal setting. Thus, one of the leading communicative parameters that determine the conditions for the implementation of spoken language is the parameter “informality of communication”; according to this parameter, it is opposed to the book and written codified literary language serving the sphere of official communication. Speakers of colloquial speech are people who speak a literary language, i.e. In terms of the “native speaker” parameter, this variety is contrasted primarily with dialects and vernacular.
The relationship between the concepts colloquial - literary, colloquial - codified, colloquial - written, colloquial - dialect, colloquial - vernacular is filled with different content in different national languages ​​and is largely determined by the peculiarities of their historical development.
B.A.Larin. Spoken language of Muscovite Rus'. (1977, www.philology.ru) An important characteristic feature of the formation of a national language should be considered an organic, penetrating convergence of previously opposed and separate systems of written and spoken language. Contamination, their ever deeper mutual influence, only begins to bear the first unstable fruits in the 17th century, but this is prepared by the entire previous development of language and society.

Question No. 13
Sound instrumentation of works of verbal art
VERBAL INSTRUMENTATION is one of the basic concepts of euphony (see). This concept embraces such phenomena of poetic language, the presence of which in a poetic passage makes it possible to establish in the poet the desire to combine words into a certain sound sequence, depending only on their sound significance.
Consideration of a known passage from the side of its verbal instrumentation is consideration of the extent to which only the sounding side of words determines their place in a word combination, into which, from the point of view of instrumentation, they enter only as elements necessary to create a certain sound, establishing both their choice and the nature of subordination, etc. Verbal instrumentation and sound writing differ, therefore, in the sense that sound writing is painting with sounds, that sounds for sound writing are a means (see euphony), from the point of view of verbal instrumentation, the meaning of the sounds of words in the sense their correspondence to what is being depicted is not taken into account, and sounds are assessed only from the point of view of whether and how they are included in the general sound system. The doctrine of verbal instrumentation, therefore, approaches the doctrine of repetition (see euphony), differing, however, from the latter in its character. The doctrine of repetition establishes a scheme of possible sound figures, outlines, as it were, their strokes, and verbal instrumentation combines these strokes to create a specific sound pattern. An excellent illustration of what has been said can be Tyutchev’s poem: “There is melodiousness in the sea waves”:
In verse I of consonance - “melody - IS”,
In verse III there is “STROYNY”, which echoes “STihiiny” in verse II and with “disputes” (stroiny) in the same verse II.
In verse IV - “STRUCTURES”, echoing “STRONG”.
In the V-th - “STRONG”, echoing everything previous.
In the VIth there is “NATURE”, which echoes the “STORY” in the fifth verse.
In verse X there is “chorus”, echoing the previous V “disputes”, “STORY”, etc.
In XII - “ROpschet”, echoing all the previous ones, etc.
The words in these examples actually create a sound system in which one word gives background to another, and all together form one whole. It cannot, of course, be said that the sounds “ST” or “RO” depict the sea or that they evoke a mood consonant with the perception of the sea, but, in any case, one thing is certain: the verbal instrumentation, in Tyutchev’s poem, as in any genuine work of art, is not a simple whim of the poet: a technique that is not justified by the task is something anti-artistic. In this poem, the need for vivid verbal instrumentation is due to the fact that the sound “structure” resulting from its use provides a contrasting background to the “discord” that, according to Tyutchev, in the same poem, man brings into the harmony of nature (“Equanimity in everything, There is complete harmony in nature, Only in our illusory freedom do we recognize discord with it").
EUPHONIA is the doctrine of the sound side of poetic language in general and poetic speech in particular.
Question No. 14
Lexical resources of the language of fiction. Special visual means: epithets, comparisons, tropes.
Fiction uses the national language in all the richness of its capabilities. This can be neutral, high or low vocabulary; outdated words and neologisms; words of foreign origin, socially and territorially limited vocabulary, etc.
Archaisms are obsolete words, phrases, grammatical forms and syntactic structures that have synonyms in modern language: for example, “rescript” - “decree”, “stogna” - “square”. In fiction, archaisms are used as a figurative device - to convey the flavor of an era, to characterize a character’s speech, to add solemnity or irony to speech.
Historicisms are words whose disappearance from the active vocabulary is associated with the disappearance of corresponding objects and phenomena from public life: for example, “scepter”, “horse horse”, “nepman”. In fiction, historicisms are used to convey the flavor of the era.
Neologisms are words created to designate a new object or phenomenon. Unlike general linguistic neologisms, which gradually merge into national speech, individual author’s new formations act as an expressive means in a certain context and do not merge into the general literary vocabulary (for example, V.V. Mayakovsky’s new formations: “hulk”, “damier”, “hammer-casty” , “sickle”, “December”, etc.).
Dialectisms are words or stable combinations characteristic of local dialects. There are dialectisms that are phonetic (conveying the features of the sound system of the dialect), word-formative (“pen” - “rooster”), lexical (“shaber” - “neighbor”, “morkotno” - “sad”), semantic (“guess” - “find out” , “freckle” - “fever”), ethnographic (“shushun”, “paneva” - names of women’s clothing). Dialectisms, especially ethnographic and lexical ones, are introduced into the language of fiction, mainly into the speech of characters, to convey local color, accurately indicate realities, and enhance the comic effect.
Professionalisms are words or expressions used in a particular professional environment. In the language of fiction, professionalisms act as a means of creating the speech characteristics of heroes and a certain “professional” flavor.
Vulgarisms are incorrect or rude words, expressions that are not accepted in literary speech; are used in the direct speech of characters for various purposes: stylization, indication of the environment to which the person belongs, the level of his culture, etc.
Barbarisms are foreign words that are unusual for the language in which the work of art is written and borrowed from another language. The types are very different: gallicisms, i.e. words and phrases taken from the French language; Germanisms taken from the German language; Polonisms taken from the Polish language, Greekisms, Arabisms, Latinisms, words of Turkish, Mongolian, Dutch origin, Sanskritisms, etc. Barbarisms are used primarily in the speech of characters, being a means of their speech characterization.
Macaroniisms are a mixture of words and forms from different languages ​​to achieve a comic effect, e.g. Russian and French in the poem by I.P. Myatlev “Sensations and remarks of Mrs. Kurdyukova abroad - given l’etrange”; Russian and English in the poems of V.V. Mayakovsky “Black and White”; Russian and German in the “Manifesto of Baron von Wrangel” by D. Bedny and others.

Specialist. Means of expression:
Figurative speech

Correctness, clarity, accuracy and purity are, as noted earlier, such properties of speech that the syllable of every writer should be distinguished by, regardless of the form of speech. An essential property of the poetic form of expression of thoughts is figurativeness, i.e. the use of such words and phrases that excite in the reader’s imagination a visual representation or living image of objects, phenomena, events and actions. Expressive speech is promoted by:
1) epithets;
2) comparisons;
3) trails;
4) figures.

Epithets

Epithets in a broad sense mean all grammatical definitions and applications (a person is kind, a path is long). But in the strict sense, only those definitions that indicate the properties of objects that make a particularly strong impression on a person are called epithets. For example: the sea is blue, the field is clean, the birch tree is curly, the forests are green-curly. This kind of epithets is called decorating. Epithets in speech contribute to a vivid and picturesque depiction of objects, indicating their most characteristic internal and external features. ...In addition to adjectives, epithets can be:
a) nouns (Volga - mother, rye - nurse),
b) nouns with adjectives (Vladimir - red sun, Moscow - golden domes),
c) qualitative adverbs (affectionately - greet, sweetly - sleep).

Constant epithets. In folk works, famous words are constantly accompanied by the same epithets. Such epithets are called permanent: the sun is red, the month is clear, a good fellow, powerful shoulders, a beautiful maiden, scarlet cheeks, black eyebrows, sugar lips, blue sea, clean field, etc.

Comparisons

A comparison is the comparison of one object with another, similar to it in some way, in order to evoke a more vivid and vivid idea of ​​the object. Eg:

And he walked, swaying like a shuttle at sea,
Camel after camel, blasting the sand.

(Lermontov)

In comparison, the less known is usually explained through the more known, the inanimate through the animate, the abstract through the material. Examples of common comparisons: sweet as sugar; bitter as wormwood; cold as ice; as light as thistledown; hard as a stone, etc.

And the bent hut,
She stands like an old lady.

(Koltsov)

Like a mother over her son's grave,
A sandpiper moans over the dull plain.

(Nekrasov)

It's almost noon. The heat is blazing.
Like a plowman, the battle rests.

(Pushkin)

Negative comparisons. A special type of comparison is represented by the so-called negative comparisons, which are especially common in folk works. They compare two objects that are similar to each other, but at the same time it is indicated that these objects are not the same thing (the identity of similar objects is denied).

Snows that were not white have turned white:
The stone chambers turned white.

Not an epic in an open field staggered:
The homeless little head began to shake...

What are not swallows, not killer whales?
The nests curl around:
My dear mother hangs out here;
She cries like a river flows.

Negative comparisons are also found in fiction:

It’s not the chamois that goes under the cliff,
Eagle heard the hard years:
The bride wanders alone in the hallway,
Trembling and waiting for a decision.

(Pushkin)

Paths (Greek tropos - turnover).
Quite a lot of words and entire phrases are often used not in their own meaning, but in a figurative one, i.e. not to express the concept they designate, but to express the concept of another, having some connection with the first. In the expressions: a person smiles, - walks, - frowns, all words are used in their own meaning; in the expressions: the morning is smiling, it is raining, the weather is frowning, the verbs are used in a figurative sense, to denote the actions and states of nature, not man. All words and phrases used in a figurative sense are called tropes.

Types of trails. According to the differences in the grounds for using words in an improper sense, tropes are divided into several types:
a) metaphor
b) allegory,
c) personification
d) metonymy,
d) synecdoche,
e) hyperbole,
g) irony.

Metaphor

Metaphors are words used in a figurative meaning based on the similarity of impressions from different objects. For example: the sounds of a flowing stream resemble the babbling of a child, on this basis they say: the stream is babbling; the noise of a storm resembles the howl of a wolf, so they say: the storm howls. In this way the metaphor conveys:
a) the properties of an animate object on an inanimate one (material and abstract); eg: the forest is thoughtful, conscience scratches the heart,
b) or the properties of an inanimate material object are transferred to an animate and abstract one. Eg:
iron man, callous soul.

Allegory

An allegory is a common metaphor. In a metaphor, the figurative meaning is limited to one word, but in an allegory it extends to a whole thought and even to a series of thoughts connected into one whole. Proverbs provide examples of short allegories:
“On the butt of a whip he threshes rye (stingy)”; “If he says his word, he will give it in rubles (the wise man).” A more complex type of allegories is represented by fables and parables. Some works of poets are of an allegorical nature (Pushkin’s “Prophet”).

Personification

Personification, like allegory, is based on metaphor. In a metaphor, the properties of an animate object are transferred to an inanimate one. By transferring one after another the properties of animate objects onto an inanimate object, we gradually, so to speak, animate the object. Giving an inanimate object the full image of a living being is called personification.
Examples of avatars:

And woe, woe, woe!
And grief was girded with a bast,
My legs are tangled with washcloths.

(Folk song)

Personification of winter:
The gray-haired sorceress is coming,
The shaggy one waves his sleeve;
And snow, and scum, and frost is pouring,
And turns water into ice.
From her cold breath
Nature's gaze is numb...

(Derzhavin)

After all, autumn is already in the yard
He looks through the spinning wheel.
Winter follows her
He walks in a warm fur coat,
The path is covered with snow,
It crunches under the sleigh...

(Koltsov)

Metonymy

Metonymy is a trope in which one concept is replaced by another based on the close connection between the concepts. A close connection exists, for example, between cause and effect, tool and effect, author and his work, owner and property, material and the thing made from it, containing and content, etc. Concepts that are in such a connection are used in speech one instead of the other. Eg:

Cause instead of effect: fire destroyed the village
A tool instead of an action: what a lively pen!
Author - work: reading Pushkin
Owner - property: neighbor is on fire!
Material - item: the entire cabinet is occupied by silver; "I ate it on silver, I ate it on gold"
Containing - contents: three-course lunch; I ate two plates.

Synecdoche

Synecdoche is a trope in which one concept is replaced by another based on a quantitative relationship between the concepts. Quantitative relations exist between part and whole, singular and plural, definite and indefinite, between genus and species. In speech it is used:

A) a part instead of the whole: a family consists of five souls, “We will stand with our heads for our homeland.”
b) singular instead of plural and vice versa: “From here we will threaten the Swede,” the enemy appeared.

Tell me, uncle, it’s not for nothing
Moscow, burned by fire,
Given to the Frenchman...
(Lermontov)

"The Pozharskys, Minins, Dionisias, Filarets, Palitsyns, Trubetskoys and many
other faithful sons of Russia... flock, take up arms, thunder and Moscow from
disasters, Russia is being liberated from the yoke of foreigners."
("Experiments" - Perevoshchikova)

C) definite instead of indefinite: “The air was filled with a thousand different bird whistles”; Millions of different flowers splashed across the surface of the steppe.
d) genus instead of species: “The beautiful luminary spread its brilliance across the earth”

Antonomasia is a special type of synecdoche, which consists of replacing a common noun with a proper one: he is a real Croesus (rich man), Hercules (strong man), Chichikov (scoundrel), etc.

Hyperbola

Hyperbole and litotes. Hyperbole consists of excessive, sometimes to the point of unnatural, enlargement of objects or actions in order to make them more expressive and through this enhance the impression of them: the boundless sea; There are mountains of corpses on the battlefield.

Derzhavin depicts Suvorov’s exploits with the following features:
Midnight whirlwind - the hero is flying!
Darkness from his brow, dust whistling from him!
Lightning from the eyes runs ahead,
Oak trees lie in a row behind.
He steps on the mountains - the mountains crack;
Lies on the waters - the abysses boil;
If it touches the hail, the hail falls,
He throws the towers behind the cloud with his hand.

Litota is an equally excessive reduction: it's not worth a damn; you can’t see him from the ground (short).

What tiny cows!
There are, indeed, less than a pinhead!
(Krylov)

Irony

Irony. The deliberate use, to express ridicule, of words with the opposite meaning to what the person wants to say. For example: they say to a stupid person: clever! to a naughty child: modest boy! In Krylov’s fable, the fox says to the donkey: “How smart are you wandering, head?” In “Song about the Merchant Kalashnikov,” Grozny pronounces a death sentence in these words:

And you go yourself, child,
To a high place on the forehead,
Lay down your wild little head.
I order the ax to be sharpened and sharpened,
I'll order the executioner to dress up,
I'll order you to ring the big bell,
So that all the people of Moscow know,
That you are not abandoned by my grace...

Sarcasm is a caustic mockery combined with indignation or contempt.

In Pushkin’s “Boris Godunov” Shuisky says about Boris:
What an honor for us, for all of Rus'!
Yesterday's slave, Tatar, Malyuta's son-in-law,
The executioner's son-in-law, and an executioner himself at heart,
He will take the crown and barmas of Monomakh!

Figures (from Latin figura - image). Figures are those figures of speech in which the writer, under the influence of the feelings that excite him, deviates from the structure of ordinary expressions. Arising under the influence of the writer’s highly excited feelings, the figures awaken a corresponding mood in the reader. Types of figures:

Appeal or apostrophe
Repetition
Gain or Gradation
Default
Exclamation

Appeal or apostrophe

Appeal or apostrophe. This figure appears in a very excited person when, under the influence of feeling, he turns in the form of a question or exclamation to God, to inanimate objects, to absent or dead objects, etc. Eg:

What are you making noise about, people?
Why are you threatening Russia with anathema?
What angered you?
(Pushkin)

Oh, my field, my pure field!
You are my wide expanse!
(Folk song)

Tell me, branch of Palestine,
Where did you grow up, where did you bloom?
(Lermontov)

Repetition

Repetition. The figure of repetition appears when the author’s thought is especially occupied with some subject, and he reveals this in speech, repeating one word or a whole picture several times.

A deep hole was dug with a spade.
Life is sad, life is lonely,
Homeless life, patient life,
Life, like an autumn night, silent, -
She walked bitterly, my poor thing...
(Nikitin)

Gain or Gradation

Gain or gradation. Strengthening consists of arranging thoughts in order of importance, strength, and persuasiveness.

“I did not say this, I did not even write: not only did I not write, but I was not at the embassy; not only was I not at the embassy, ​​but I also did not give advice to the Thebans.” Demosthenes (speech "About the wreath").

Contrast or antithesis

Contrast or antithesis. It consists of comparing completely opposite objects or phenomena in order to have a stronger effect on a person’s soul with a quick change of opposite impressions.

Where there was a table of food, there is a coffin;
Where the feasts were filled with cries,
The gravestone faces are howling there...

My body is crumbling into dust,
I command thunder with my mind,
I am a king - I am a slave, I am a worm - I am God.
(Derzhavin)

Default

Default. It consists of omitting words and entire sentences, and occurs when an excited person quickly replaces one feeling with another, one thought quickly follows another, and he does not have time to put them into verbal form.

After Gavrila Pushkin’s offer to Basmanov to go over to the side of the impostor, Basmanov’s emotional excitement was expressed in this form:

Is it easy for the disgraced exile to still have us in this life? What have we not brought upon ourselves? What punishments have we not yet suffered from God? Wasn't our land captured? Were not our cities taken? Didn’t our fathers and brothers fall dead on the earth in a short time?” (2nd word of Serapion, Bishop Vlad.)

Exclamation

Exclamation. The writer expresses feelings that deeply excite him, interrupting the consistent flow of thought with exclamations. Lomonosov, in his ode “On the accession of Elizabeth Petrovna to the throne,” suddenly interrupts his speech about the affairs of Peter the Great with an exclamation:

But ah, cruel fate!
A worthy husband of immortality,
The reason for our bliss,
To the heavenly sorrow of our souls,
The envious one is rejected by fate...

Epithets, tropes and figures appear in speech by themselves, under the influence of the vividness of the imagination, the strength of the impressions experienced and the depth of the feelings experienced. Without these conditions, no matter how hard you try.

Question No. 15
Artistic image. Imagery as a form of expressing content
The artistic image is one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
An artistic image not only reflects, but above all generalizes reality, reveals the essential, eternal in the individual, transitory. The specificity of an artistic image is determined not only by the fact that it comprehends reality, but also by the fact that it creates a new, fictional world. With the help of his imagination and fiction, the author transforms real material: using precise words, colors, sounds, the artist creates a single work.
Fiction enhances the generalized meaning of the image.
An artistic image is not only an image of a person (the image of Tatyana Larina, Andrei Bolkonsky, Raskolnikov, etc.) - it is a picture of human life, in the center of which stands a specific person, but which includes everything that is in his life surrounds. Thus, in a work of art a person is depicted in relationships with other people. Therefore, here we can talk not about one image, but about many images.
Any image is an inner world that has come into the focus of consciousness. Outside of images there is no reflection of reality, no imagination, no knowledge, no creativity. The image can take sensual and rational forms. The image can be based on a person’s fiction, or it can be factual. The artistic image is objectified in the form of both the whole and its individual parts.
An artistic image can have an expressive impact on the senses and mind.
An artistic image, on the one hand, is the artist’s answer to questions that interest him, on the other hand, it gives rise to new questions, gives rise to the understatement of the image by its subjective nature.
It provides the maximum capacity of content, is capable of expressing the infinite through the finite, it is reproduced and evaluated as a kind of whole, even if created with the help of several details. The image may be sketchy, unspoken.
An artistic image is a complex phenomenon that includes the individual and the general, the characteristic and the typical.
As an example of an artistic image, one can cite the image of the landowner Korobochka from Gogol’s novel “Dead Souls”. She was an elderly woman, thrifty, collecting all sorts of rubbish. The box is extremely stupid and slow to think. However, she knows how to trade and is afraid to sell things short. This petty thrift and commercial efficiency puts Nastasya Petrovna above Manilov, who has no enthusiasm and who knows neither good nor evil.
The landowner is very kind and caring. When Chichikov visited her, she treated him to pancakes, unleavened pie with eggs, mushrooms, and flatbreads. She even offered to scratch her guest's heels at night.

IMAGERY

Question No. 16
The world of a work of art, its main components
The inner world of a work of verbal art (literary or folklore) has a certain artistic integrity. The individual elements of reflected reality are connected to each other in this inner world in a certain system, artistic unity.
When studying the reflection of the world of reality in the world of a work of art, literary scholars limit themselves for the most part to paying attention to whether individual phenomena of reality are correctly or incorrectly depicted in the work. Literary scholars enlist the help of historians to determine the accuracy of the depiction of historical events, psychologists and even psychiatrists to determine the accuracy of the depiction of the mental life of the characters. When studying ancient Russian literature, in addition to historians, we often turn to the help of geographers, zoologists, astronomers, etc. And all this, of course, is quite correct, but, alas, not enough. Usually the inner world of a work of art is studied as a whole, limited to the search for “prototypes”: prototypes of a particular character, character, landscape, even “prototypes”, events and prototypes of the types themselves. Everything is “retail”, everything is in parts! The world of a work of art appears scattered, and its relationship to reality is fragmented and lacks integrity.
Each work of art (if it is only artistic!) reflects the world of reality from its own creative perspective. And these angles are subject to comprehensive study in connection with the specifics of the work of art and, above all, in their artistic whole. When studying the reflection of reality in a work of art, we should not limit ourselves to the question: “true or false” - and admire only fidelity, accuracy, correctness. The inner world of a work of art also has its own interconnected patterns, its own dimensions and its own meaning, like a system.
Of course, and this is very important, the inner world of a work of art does not exist on its own and not for itself. It is not autonomous. It depends on reality, “reflects” the world of reality, but the transformation of this world that a work of art allows is holistic and purposeful. The transformation of reality is connected with the idea of ​​the work, with the tasks that the artist sets for himself. The world of a work of art is the result of both a correct reflection and an active transformation of reality. In his work, the writer creates a certain space in which the action takes place. This space can be large, cover a number of countries, or even go beyond the terrestrial planet (in fantasy and romantic novels), but it can also narrow down to the tight confines of a single room. The space created by the author in his work may have peculiar “geographical” properties, be real (as in a chronicle or historical novel) or imaginary, as in a fairy tale. The writer in his work also creates the time in which the action of the work takes place. The work may cover centuries or just hours. Time in a work can move quickly or slowly, intermittently or continuously, be intensely filled with events or flow lazily and remain “empty,” rarely “populated” with events.
.
Works may also have their own psychological world, not the psychology of individual characters, but general laws of psychology that subordinate all characters, creating a “psychological environment” in which the plot unfolds. These laws may be different from the laws of psychology that actually exist, and it is useless to look for exact correspondences in psychology textbooks or psychiatry textbooks. Thus, fairy tale heroes have their own psychology: people and animals, as well as fantastic creatures. They are characterized by a special type of reaction to external events, special argumentation and special responses to the arguments of antagonists. One psychology is characteristic of the heroes of Goncharov, another - of the characters of Proust, another - of Kafka, and a very special one - of the characters of the chronicle or the lives of saints. The psychology of Karamzin's historical characters or Lermontov's romantic heroes is also special. All these psychological worlds must be studied as a whole.
The same should be said about the social structure of the world of artistic works, and this social structure of the artistic world of the work should be distinguished from the author’s views on social issues and not confuse the study of this world with scattered comparisons of it with the world of reality. The world of social relations in a work of art also requires study in its integrity and independence.
The moral side of the world of a work of art is also very important and, like everything else in this world, has a direct “constructive” meaning. So, for example, the world of medieval works knows absolute good, but evil in it is relative. Therefore, a saint cannot not only become a villain, but even commit a bad act. If he had done this, then he would not have been a saint from a medieval point of view, then he would only have been pretending, being a hypocrite, biding his time, etc., etc. But any villain in the world of medieval works can change dramatically and become a saint. Hence a kind of asymmetry and “one direction” in the moral world of artistic works of the Middle Ages. This determines the originality of the action, the construction of plots (in particular, the lives of saints), the interested expectation of the reader of medieval works, etc. (the psychology of reader interest - the reader's "expectation" of a continuation).
The building materials for constructing the inner world of a work of art are taken from the reality surrounding the artist, but he creates his own world in accordance with his ideas about what this world was, is or should be.
The world of a work of art reflects reality at the same time indirectly and directly: indirectly - through the artist’s vision, through his artistic representations, and directly, directly in those cases when the artist unconsciously, without attaching artistic significance to this, transfers phenomena of reality or ideas and concepts into the world he creates. of his era.
The world of a work of art reproduces reality in a kind of “abbreviated”, conditional version. An artist, building his world, cannot, of course, reproduce reality with the same degree of complexity inherent in reality. In the world of a literary work there is not much that exists in the real world. This is a limited world in its own way. Literature takes only some phenomena of reality and then conventionally shortens or expands them, makes them more colorful or more faded, organizes them stylistically, but at the same time, as already said, creates its own system, an internally closed system and having its own laws.
Literature “replays” reality. This “replaying” occurs in connection with those “style-forming” trends that characterize the work of this or that author, this or that literary movement or “style of the era.” These style-forming tendencies make the world of a work of art in some respects more diverse and richer than the world of reality, despite all its conventional abbreviation.

Question No. 17
Heroes, events, things in a work of art and their analysis in elementary school

II. PLANS FOR ANALYSIS OF LITERARY TEXTS OF DIFFERENT TYPES

Outline of a hero's story

Work plan for a lyric poem

It is no secret that Alexander Blok began his literary career as a symbolist poet, attaching great importance not so much to the content as to the cause-and-effect relationships in his works. Therefore, it is not surprising that many of the poet’s works must be interpreted from the perspective of the symbols they contain. This, in particular, applies to the poem “On a White Night the Month is Red,” written in 1901. If we consider it from a poetic point of view, then the reader is presented with a completely peaceful picture of night Petersburg, shrouded in moonlight. On such nights it is especially good to dream and make plans for the future, and also try to predict what fate has in store for you.

However, Alexander Blok, who has amazing intuition, already knows the answers to all the questions that interest him. And these answers fill him with panic mixed with horror. The first line of the poem sets the tone for the entire work. In the poet's understanding, the white color symbolizes death, and the red color symbolizes blood.. In addition, it can be perceived as predictions of impending changes, when the “whites” and “reds” will become participants in a brutal civil war that will claim the lives of tens of thousands of people. At the same time, the phrase “floats up in the blue” can be interpreted as a sign of reconciliation, but in the poet’s perception it is “ghostly beautiful,” i.e. unfeasible. The split in society will be so deep that even a century later its echoes will reach new generations who have never been able to come to terms with the imposed ideals of equality and fraternity.

The second part of the poem is devoted to the poet’s reflections on what such social changes will lead to. It is no secret that Blok supported revolutionary ideas from the very beginning, believing that the Russian monarchy had completely outlived its usefulness. However, even being an ardent supporter of social changes, the poet doubted that they would bring more benefit than harm. His doubts were dispelled after the workers' uprisings of 1905, when the author realized that it was simply unrealistic to carry out a revolution in a bloodless way. But long before this realization, in the poem “On a White Night, the Red Moon,” the poet asks the question: “Does goodness lurk in you, red moon, quiet noise?” This phrase can be perceived in different ways, but one thing is indisputable - Blok knew that the catastrophe called revolution was inevitable, and was not sure that it would bring positive changes to Russia.

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It is no secret that he began his literary career as a symbolist poet, attaching great importance not so much to the content as to the cause-and-effect relationships in his works. Therefore, it is not surprising that many of the poet’s works must be interpreted from the perspective of the symbols they contain. This, in particular, applies to the one written in 1901. If we consider it from a poetic point of view, then the reader is presented with a completely peaceful picture of night Petersburg, shrouded in moonlight. On such nights it is especially good to dream and make plans for the future, and also try to predict what fate has in store for you.

However, having amazing intuition, he already knows the answers to all the questions that interest him. And these answers fill him with panic mixed with horror. The first line of the poem sets the tone for the entire work. In the poet's understanding, the white color symbolizes death, and the red color symbolizes blood. In addition, it can be perceived as predictions of impending changes, when the “whites” and “reds” will become participants in a brutal civil war that will claim the lives of tens of thousands of people. At the same time, the phrase “floats up in the blue” can be interpreted as a sign of reconciliation, but in the poet’s perception it is “ghostly beautiful,” i.e. unfeasible. The split in society will be so deep that even a century later its echoes will reach new generations who have never been able to come to terms with the imposed ideals of equality and fraternity.

The second part of the poem is devoted to the poet’s reflections on what such social changes will lead to. It is no secret that Blok supported revolutionary ideas from the very beginning, believing that the Russian monarchy had completely outlived its usefulness. However, even being an ardent supporter of social changes, the poet doubted that they would bring more benefit than harm. His doubts were dispelled after the workers' uprisings of 1905, when the author realized that it was simply unrealistic to carry out a revolution in a bloodless way. But long before this realization, in the poem the poet asks the question: “Does goodness lurk in you, red moon, quiet noise?” This phrase can be perceived in different ways, but one thing is indisputable - Blok knew that the catastrophe called revolution was inevitable, and was not sure that it would bring positive changes to Russia.

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