In the process of preparing for the Literature Olympiad Special attention should be given to the analysis of the literary text. Olympiad tasks in literature in high school, students are offered to perform an analysis of a lyrical or prose work of their choice. Let's take a look at the poem.

It should be noted right away that the ability to analyze a lyrical work is necessary not only for potential participants in the Olympiad. All high school students should be able to analyze the text, and they go to this skill throughout the entire time of studying literature. In the upper grades, students already master the tools of analysis: the concepts of literary theory, the means artistic expressiveness, the basics of versification. It remains only to correctly apply, streamline this knowledge.

Lyric poem analysis plan

Any artistic text, including lyric, is analyzed from the point of view of content and from the point of view of form. Let's define the sequence of actions in the analysis of the poem.

Careful and thoughtful reading. We try to understand the meaning and “listen” to ourselves: what feelings, thoughts does this poem evoke?

Pay attention to Additional information, which can be given: the time of creation of the poem, brief information about the author, etc. For example, when analyzing Joseph Brodsky’s poem “1972”, we can understand by the date all the tragic mood of this work, all the pain and hopelessness - in 1972 Brodsky was expelled from the Soviet Union.

To analyze the content, we set ourselves next questions and answer them:

- What is this poem about?

What feelings, thoughts does it evoke?

What mood is it imbued with?

To analyze the form of a poem, put main question: HOW did the author manage to convey the content, with what methods and means? This ensures the analysis of the work in the unity of form and content, which is required ideally.

We re-read the poem again and note all the moments of unusual artistic speech, everything that attracts attention.

— We find trails and explain what role they play in revealing the content, give examples.

- We find the stylistic figures that the poet used, and also connect them with the content, that is, we don’t just name them, but we try to explain why we used them, what we managed to achieve with this use, etc.

- We pay attention to the poetic syntax: what sentences prevail, why it was done.

- Rhythm, stanza, meter of versification, sound writing - that is, we pay attention to the sound of the poem.

This is, in a simplified form, the procedure for parsing a lyrical work, namely PARASSING, that is, analysis, which should not be confused with interpretation, that is, the interpretation of a work. When analyzing, we go from the whole to parts, based on understanding the text, we want to determine and understand its individual elements, role in creating the text as a holistic meaning. When interpreting, we move from parts to the whole.

An approximate plan for analyzing a poem

(Perception, interpretation, evaluation of a poetic text.)

Introduction. May be "Introduction" to the artistic world of the poet, to determine the features of the poet's work, the originality of the lyrical hero.

May be "thematic": to determine the features of the sound of a given theme in the poet's lyrics, to give an idea of ​​the evolution of a given theme in his work.

May be "biographical": talk about the history of the creation of the poem, about the circumstances of the life and work of the poet, which played a role in the creation of the poem.

Main part.

Perception. Try to describe your own feelings, emotions that arise when reading a poem. Pay attention to the general mood of the poem, to its emotional background, to a number of associations that arise when reading, to the sound and color "palette" of the poem.

Interpretation. Your task is to analyze the poem in order, based on the text of the poem, to understand its essence, to identify the author's concept.

Approximate range of questions for analysis:

1 .Consider the meaning of the name poems (What associations does the title evoke? What mood does it create? What expectations does the reader have? How is it related to the content of the poem?).

2 .Define genre features if needed. How do these features appear in the poem?

3. Determine topic poems, if you did not indicate it in the introduction ..

4. Describe composition poems (Into what parts the text is divided or can be conditionally divided, how the parts are connected with each other, how they differ).

5. Determine key images each part, basic artistic means their creations:

- lexical(polysemantic words, synonyms, antonyms, stylistically colored vocabulary, archaic vocabulary, tropes, etc.);

- phonetic(soundwriting: alliteration and assonance);

- derivational(words with suffixes of emotional evaluation, author's neologisms, methods of semantization of morphemes, morphemic repetition, etc.);

- morphological ( the abundance of verbs gives the text dynamism, the abundance of adjectives - picturesque; particles, interjections - emotionality, etc.);

- syntactic(structure and size of sentences, stylistic figures, etc.);

- features of rhythm, meter, rhyme, method of rhyming, stanza.

6. Describe the state of the lyrical hero(What is it like? What caused it? How does it change? By what means does the author convey this state?).

7 .State idea poems, determine your attitude to it.

8. Compare your emotional perception of the poem with the conclusions that you came to in the process of analysis. Think about the role the study of this poem plays in understanding author's concept?

Conclusion. Must contain evaluation poetic text. (What place does this poem occupy in the poet's work, in Russian poetry? What is the universal, philosophical sound of the poem? Why is this poem rightfully considered a masterpiece? What made you familiar with the poet's lyrics and with this poem?)

Themes of lyrical works

Subject -

what is being said in the work of art; the subject of the image.

Example: creativity, life and customs of Muscovites in the 30s, power, fate, death - the themes of M. Bulgakov's novel "The Master and Margarita".

motive-

smallest element artwork;

the most significant and, as a rule, repeated in this work "supporting" artistic techniques and means in their semantic fullness.

Example: a person's departure from his usual way of life is a motive in the work of A. Chekhov; dressing up - in comedies and farces; recognition by the hero of his noble origin - in the finals of novels, short stories, comedies).

keynote-

leading motive, detail, specific image, repeated many times, passing through the work of a writer or a separate work.

Example: thunderstorms, dreams, madness, suffering are the leitmotifs of M. Bulgakov's novel The Master and Margarita.

Theme of the lyric	Characteristic	Example
Subject love (love lyrics)	Poetic works about the problem of love; about the relationship between a man and a woman, the presence of the image of a lyrical heroine. The poet's desire to convey the depth, uniqueness, transience, beauty of love feelings	“I remember a wonderful moment ...” (A. Pushkin)
Subject nature (landscape lyrics)	Poetic works describing pictures of nature, images of animals, feelings of a lyrical hero caused by the contemplation of nature	"Birch" (S. Yesenin)
Subject purpose of the poet and poetry (civic lyrics)	Lyrical works revealing the essence poetic creativity, the role of poetry, the appointment of the poet	"Death of a Poet" (M. Lermontov)
Subject search for meaning in life (philosophical lyrics)	Lyrical works about meaning human existence, about the problems of being, about life and death	“It is not given to us to predict...” (A. Fet)
Subject freedom (freedom lyrics)	Poetic works about the will, spiritual freedom of the individual	"Liberty" (A. Radishchev)
Subject friendship	Lyrical works about friendship, creating the image of a poet's friend; possible direct access to it	"To Chaadaev" (A. Pushkin)
Subject loneliness	Poetic works about the loneliness of the lyrical hero, his disunity from the outside world, misunderstanding by other people	"Sail" (M. Lermontov)
Subject homeland (patriotic lyrics)	Lyrical works about the motherland, its fate, present and past, about the defenders of the fatherland	"Russia" (A. Blok)
Subject people	Lyrical works about the fate of the people, about the life of people from the people	« Railway"(N. Nekrasov)

MAIN DIRECTIONS IN THE ANALYSIS OF A LYRICAL WORK

A comprehensive analysis of a lyrical work, like any literary text, is built in accordance with a certain logic. Knowledge of the logical structure of the analysis of a poetic text will allow the student to write any creative work(composition, review, etc.), which is based on the analysis of a poetic text. Let us give an approximate plan for the analysis of the poem.

1. The history of the creation of a lyrical work.

2. Features of the genre of this lyrical work

3. Identification of the ideological and thematic originality (problematics) of a lyrical work, its embodiment in the artistic fabric of the work.

4. Features of the composition of a lyrical work.

5. Features of the lyrical hero of the work, the expression of the lyrical "I" of the poet (the connection between the author and the lyrical hero, the presence of a lyrical plot, based on the image of feelings, mood, movement of the soul).

6. Analysis of artistic and expressive means used in the poem; their role in revealing the poet's intention.

7. Analysis lexical means used in the poem: their ideological and artistic significance.

8. Analysis of syntactic figures used in a lyrical work; their ideological and artistic role.

9. Analysis of rhetorical phonetics used in the poem, its role.

10. Definition of poetic size. How the use of this meter reveals the poetic intention.

11. Place and rolethis lyrical work in the context of the poet's work, in literary process generally.

In a lyrical work, we do not analyze either the plot, or the characters, or the substantive details. The details of the portrait found in lyrical works, the world of things, perform an exclusively psychological function. For example, in the poem "Confusion" by A.A. Akhmatova "... a red tulip, / A tulip in your buttonhole" is vivid impression lyrical heroine, indirectly denoting the intensity of the lyrical experience.

The greatest difficulty for analysis is presented by those poems in which a certain semblance of a plot and a system of characters is outlined. In this case, there is a temptation to transfer the basic principles and methods of analysis of the epic, dramatic work to the lyrical, but this is fundamentally wrong, since the main function of the lyrical plot is psychological. For example, in a poem by M.Yu. Lermontov "The Beggar", an image arises that, at first glance, has social status, and age, and appearance, but in fact all these signs that characterize the image are necessary for the author in order to emotionally and convincingly convey the main idea of ​​​​the work: there is no beggar as specific person, but there is a feeling of rejection of the lyrical hero.

One's own attitude to a lyrical work should be based on an understanding of the author's position, role this work in the context of the poet's work, identifying the role of artistic and expressive means, syntactic and stylistic devices. It is necessary to reveal the originality of the lyrical hero in this poem, find through leitmotifs poetic work; characterize the general lyrical mood works, his pathos; to analyze the reasons for the change in the emotional state of the poet.

When analyzing a lyrical work, the author's position, the sympathies and antipathies of the poet, which permeate the entire fabric of the lyrical work, from the peculiarities of the language to the structure of the text as a whole, should not disappear. And therefore, any literary analysis should be based on an understanding of the author's stump to the depicted.

The main requirements for the analysis of a lyrical work can be formulated as follows:

1. Compliance of the content of the analysis with the proposed text of the poem.

3. Evidence of the thought expressed, the argumentation of those positions that are being defended.

4. Consistency and consistency in the presentation of the material.

5. Independence in the approach to the analysis of a lyrical work.

6. Unity of presentation style, clarity, accuracy, accessibility, imagery of the language.

7. Accuracy in the use of quotes (when analyzing a lyrical work, quoting is obligatory). .

8. Rational combination of analysis of the text of a work of art literary criticism and the writer's own reasoning.

9. Absence of factual errors and inaccuracies.

10. Correct word usage, grammatical and stylistic literacy, compliance with the norms of the literary language.

HISTORY OF CREATING A LYRICAL WORK

A lyrical work is an independent, but not a closed world, therefore, on initial stage analysis of the lyric: the work must: mention the history and time of creation of the poetic text; correlate a work of art with a specific period of the poet's work; talk about ideological and cultural influences rendered on a lyrical work; explain (if there is a dedication) to whom the poem is dedicated.

Creative history of a lyrical work - main part meaningful text analysis; one of the ways to penetrate into the poet's idea, into his ideological and moral position: a way of knowing the individuality of the poet's creative work, the nature of the movement of his thoughts, feelings; search for adequate expressiveness art form. An appeal to the history of the creation of a lyrical work in the process of analyzing a literary text should not be formal. It is important that the choice of one or another aspect of the creative history of a lyrical work, stated in the analysis, be conditioned by the available documentary facts, supported by the meaningful material of the literary text. Since the work of a writer on a particular lyrical work is very individual, in choosing the materials of a creative history and in determining their place in the process of analyzing a work of art, one should rely on a text that will help determine how important the history of creation is when analyzing a lyrical work at various stages of the poet’s work: first plans, sketches for versions of drafts and a white manuscript, for author's proofreadings preceding the first and subsequent lifetime publications in literary magazines, collections, collected works). Starting in the analysis of a lyrical work from the history of creation, it is easier to overcome the limited perception of a literary text, to understand the individuality of the poet, the peculiarities of his feelings and thoughts. Knowledge of the primary meaning, sketches, photocopies of draft and white manuscripts in which the poet crosses out something, inserts above the line and in the margins, drawings, graphic "digressions" contribute to the penetration into the poet's spiritual world, his thoughts, worries, sometimes painful search for words, rhymes, rhythmic structures.

AT individual cases when analyzing lyrical works, it is necessary to set out in detail the history of the creation of a poetic text, since this is the main key to understanding the depths of its content. In other cases, on the contrary, only the period of the author's work should be indicated, or briefly compared with other works created in the same period of time.

Each of the poetic works arose on the basis of a certain feeling experienced by the poet, or some kind of reflection. This is the feeling, the thought of a particular person living in a certain historical era, which is why each poem has its own unique creative history. Its identification allows us to understand the work in all its originality, due to time, history, and the personality of the poet.

The history of the creation of a lyrical work should be organically included in the process of its analysis as an integral, integral part.

Possible options for starting the analysis of a lyrical work

1. Adolescent and youthful years of A.S. Pushkin were held at the Tsarskoye Selo Lyceum, where it was formed life position, social and political views. Studying ancient literature and history and being under strong influence artistic direction of classicism, A.S. Pushkin in 1814 writes a poem "Licinius", in which he refers to the history of Ancient Rome.

2. The poem "In the depths Siberian ores... "A.S. Pushkin was written after the defeat of the uprising on Senate Square in St. Petersburg in 1825 and addressed to the Decembrists exiled to Siberia.

3. After the October Revolution, A.A. Akhmatova writes about the homeland of those years. In the poem "Petrograd, 1919" the poetess expresses her attitude towards Russia, which is its integral part:

Nobody wanted to help us

Because we stayed at home

For loving your city,

And not winged freedom,

We kept for ourselves

His palaces, fire and water.

The question of emigration, of leaving, never stood for Akhmatova: she decided to share the fate of her homeland to the end.

4. In May 1913, in Koktebel, Marina Tsvetaeva wrote the well-known poem "To my poems written so early ...", which was subsequently included in the first poetic collection of poetry "Evening Album". Already in this early poem, the poetess threw down a kind of challenge to the established in poetry:

Scattered in the dust at the shops

(Where no one took them and does not take them!),

My poems are like precious wines

Your turn will come.

5. His poetic way N.A. Nekrasov began with the poem "On the Road". The path, the road, the wanderings became the leading motif of all the poet's lyrics.

FEATURES OF THE GENRE OF A LYRICAL WORK

The next step in the analysis of a lyrical work is to identify the belonging of a poetic text to a specific lyrical genre (poem, ode, sonnet, elegy, message, epigram, epitaph, romance, song, hymn, stanzas).

If we turn to the history of literature, then its division for lyrics, epic and drama, usually determined the following factors: the degree of the author's presence, the time of the event taking place in the work, the artist's attitude to reality and the peculiarities of the poetic content of each kind. Modern researchers, defining the features of lyrics as a literary kind, are based on the same foundations. V.D. Skvoznikov believes: “Emotionality (feeling) is only a prerequisite for the proper lyrical expression of character. It is absolutely necessary, but preliminary condition of lyric poetry. A distinctive feature of the lyrics, in his opinion, is "artistic thought given in the form of direct experience." L.Ya. Ginzburg, in turn, emphasizes in the lyrics one more feature that brings poetry closer to music: “Lyricism is a kind of literature, especially striving for the general. The image of a person in the lyrics is more or less total, and it does not at all have those means of interpreting and generalizing a single character, what has prose".

In lyrics, the subject of the image (the poet) is at the same time the object of the work of art. Reality is given in the lyrics not independently, but, as it were, dissolved in the poet's reaction to the world. The combination in one person of the creator of a lyrical work and his artistic material requires the reader to have a special "activity" of associations. The reader in the process of analysis himself recreates the objective world of the poem, using his own life impressions. The perception of lyrics is complicated by the need for direct emotional contact between the reader and the poet. This, when analyzing a lyrical work, creates the danger of an arbitrary, subjective substitution of the author's associations for the reader's.

Lyrics imposes special, rather complex requirements on the reader, who seeks to adequately analyze the poem.

Art is diverse, infinite, like life itself, which it reflects, tries to understand, comprehend, transform.

Lyrics, in turn, is also divided into works of different types, genres. A genre is a certain warehouse of a work of art, its permanent basis, a combination of certain features that unite works of this type. Genre is not something external to the meaning of the work. This is not a set of rules for the artistic design of the idea of ​​a work, but, on the contrary, a deep expression of the writer's attitude to the subject of the image. For a reader analyzing a work of art, the subtitle of the book, following the title and defining the genre of the work, is of great importance. The genre sets a certain tone for the whole work, evokes certain expectations in the reader. Speaking about the main features of the genres of lyrical works, we can compare them with the ancient patrons of art - the muses. In Greek mythology, the nine sisters, daughters of Zeus and the goddess of memory Mnemosyne, were companions of Apollo, patron of the sun and the arts. Let us dwell on those muses that are associated with lyrics as a kind of literature. Polyhymnia is a strict and noble muse of solemn chants and hymns. In her gestures, the energy of impulse and restraint. Hymn - literary genre originating in ancient times and still existing. The hymn glorifies any event, person, image; he is born of admiration, solemn, powerful, majestic. In that main feature genre. A hymn can also be written in unrhymed, free verse, but there is always a strong, solemn melody in it. Genre, collecting certain features of works of art, becomes the custodian of memory in art. From the anthem we expect solemnity, sonority, power, from a love song - spiritual sincerity, excitement. Erato - muse love poetry. It has both tenderness and suffering. Poems imbued with sadness are called elegies. They most often sound the motives of love, separation from the homeland, reflections on nature, dissatisfaction with society. Euterpe is the supreme muse of all lyric poetry, to which all other poetic genres were given.

Usually the muse was depicted with a double flute in her hand, tender and graceful, light and bold. When reading lyric poetry, it is important to feel the relationship between the reader and the poet in order to hear the music and the meaning of the verse. The reader and the poet must merge in a single feeling, like two flutes in the hands of Euterpe. Then the poem sounds, its deep meaning is revealed. The appeal of lyric poetry to the reader is especially noticeable in such a genre as a message.

The choice of genre indicates the attitude of the poet to the depicted, therefore, when analyzing a lyrical work, it is necessary to indicate to which genre the literary text belongs, and in some cases to highlight the characteristic genre features that help in understanding the ideological and thematic originality of the poem. In some cases, knowledge of the genre nature of the work helps in the analysis, indicating which aspects should be paid closer attention.

However, not all lyrical works have a clear genre structure. For example, such lyrical works by A.S. Pushkin “On the hills of Georgia lies the night haze ...”, M.Yu. Lermontov “Sail”, “Prophet”, etc.

Mainlyrical genres:

Poem- a lyrical work of a relatively small size, expressing human experiences caused by certain life circumstances, conveying the thoughts, emotions of the lyrical hero. (For example, A.A. Blok "Russia", A.A. Akhmatova "Courage", etc.)

elegy a genre of lyric poetry in which the poet's sad thoughts, feelings and reflections are clothed in poetic form. The main questions revealed in the elegy: the meaning of life, human existence, the place of the poet in the world, philosophical reflections (for example, A.S. Pushkin’s elegy “The daylight"," Crazy years of extinct fun ... ", A.A. Akhmatova "March Elegy", etc.).

stanzas- in Russian poetry of the XVIII - early XIX centuries, works of elegiac lyrics (more often meditative, less often love), usually written in quatrains, most often in iambic tetrameter (for example, A.S. Pushkin’s stanzas “In the hope of glory and goodness ...”).

Epigram- (translated from Greek epigramma means "inscription") 1) a small lyrical poem in ancient literature, written on an arbitrary theme in an elegiac distich; 2) a small satirical poem, built, as a rule, on contrast (for example, the epigram of A.S. Pushkin: "The snake stung Markel." / - "He died?" - "No, the snake, on the contrary, died!" and etc.).

Sonnet- a lyrical poem, consisting of fourteen lines, divided into two quatrains (quatrain) and two three-line (tercet); in quatrains only two rhymes are repeated, in terzets - two or three. The arrangement of rhymes allows for various options (for example, N.S. Gumilyov’s sonnet “Like a conquistador in an iron shell ...”, etc.).

Epitaph- a tombstone in poetic form: a small poem dedicated to the deceased.

Song- a genre of written poetry expressing a certain ideological and emotional attitude; the basis for subsequent musical processing.

Hymn- a solemn song, adopted as a symbol of state or social unity (for example, the anthem of Russia S.V. Mikhalkov, etc.). Types of hymns: military, state, religious.

Oh yeah- genre of lyric poetry; a solemn, pathetic, glorifying work (for example, the odes of M.V. Lomonosov, the ode of G.R. Derzhavin “Felitsa”, etc.). Types of odes: laudatory, festive, deplorable

Message- a poetic work written in the form of a letter or an appeal to a person (for example, A.S. Pushkin's messages “To Chaadaev”, “In the depths of Siberian ores ...”, etc.)

Romance- a small melodious lyrical poem, in which the experiences, moods, feelings of the lyrical hero are reflected; can be set to music (for example, S.A. Yesenin’s romance “You are my fallen maple, icy maple ...”, etc.)

Possible spellings of this part of the analysis of a lyrical work

1. To glorify the victory of Russian weapons, M.V. Lomonosov chooses the genre of the ode: "Ode on the Capture of Khotin"), since the poet needs to express the civic-patriotic content. The victorious ode opens with a "stormy" attack:

Delight sudden mind captivated,

Leads to the top of a high mountain ...

The very construction of the ode, its solemnly pathetic style, the use of high-calm vocabulary, special rhetoric, metaphorical language contribute to the emotional impact on the reader.

2. A poem by A.S. Pushkin's "Pushchin" was written in the genre of a message and addressed to the poet's best friend, lyceum comrade Ivan Pushchin.

3. Pushkin's message "To Chaadaev" is addressed not only to a close poet, but also to a distant reader. The very form of the message allows the poet to personally address the reader, to inspire him with his aspirations, ideals:

While we burn with freedom

As long as hearts are alive for honor,

My friend, we will devote to the fatherland

Souls wonderful impulses!

4. Thinking about the people, the fate of the people is already in late period creativity N.A. Nekrasov writes "Elegy", which is based on the poet's sad thoughts about the peasant world, in which little has changed. The chosen genre allows Nekrasov to generalize as much as possible the world of the people, folk characters, so the "Elegy" begins with an appeal to the youth, the future of Russia:

Let the changing fashion tell us

That the theme is the old "suffering of the people"

And that poetry must forget it,

Don't believe me guys! she doesn't age.

ANALYSIS OF A LYRICAL WORK

,

teacher of Russian language and literature

Secondary School No. 1, Kirsanov, Tambov Region

Attention! Behind full text methodological manual you can contact the author or Cabinet of the Russian Language and Literature of the Tambov Regional Institute for Advanced Studies of Educators, E-mail *****@***

SCHEME OF ANALYSIS OF A LYRICAL WORK

place in creativity, to whom it is dedicated, how the poem was received

(reviews about it).

II. The structure of images and the development of the conflict.

1. Theme and idea of ​​the poem

5. Traits of a lyrical hero.

III. Genre originality(ode, elegy, hymn, romance, ballad, etc.).

1. Paths and figures.

a) poetic phonetics (alliteration, sound writing, assonance);

b) poetic vocabulary(synonyms, antonyms, homonyms, historicisms, neologisms);

V. Rhythm, poetic size, rhyme.

VI. Personal perception of the poem.

Associations, reflections, evaluation, interpretation.

Analysis is a logical method by which we dismember objects or phenomena, highlighting in them (for further reasoning) individual parts and properties.

An analysis of a work of art is such an analysis that should lead to an in-depth reading of it, that is, to penetration into the thought and feeling expressed by the artist.

It should not be forgotten that in the center of the lyrical work is the image of the lyrical hero. Therefore, the content, the meaning of the poem must be sought in its “key words”, with the help of which the experience of the lyrical hero is expressed. This means that the analysis of a work of art involves reading, highlighting "key words" and "phrases", drawing up a plan, a selection of quotations, etc. The purpose of this work must be determined in advance. For example, you pay attention to epithets (metaphors, comparisons...) of a poem. For what? To understand their role in artistic text, what are their features of this author, what features of his talent are they talking about.

However, it is impossible to deeply and fully understand the meaning of each part singled out in the process of analysis and to draw correct conclusions on this basis, unless one is able to see these parts together, in unity, as a whole. This goal is served by synthesis - the mental union of essential properties homogeneous objects and phenomena.

And the thesis (judgment, thought), and its evidence (arguments), and logical actions (reasoning), and analysis, and synthesis - all this is like “building material”, “bricks”, of which different ways a "building" of scientific research is being built. The comparison of logical categories with building material is not accidental: it is important not only and not so much the number of judgments - theses, arguments or logical actions, but the consistency, persuasiveness, simplicity and brightness of your thoughts and feelings.

COMMENTS ON THE ANALYSIS SCHEME

LYRICAL WORK

The lyrics recreate not the outer, but the inner world, the subjective thoughts and feelings of the lyrical hero, expresses the state and experience caused by some life circumstance or containing public sentiment.

I. "Imprint".

Information about the imprint can be found in the comments to the poems, it is better to use the collected works of poets, the information in them can be exhaustive. It is necessary to reflect on the meaning of the name, to establish its direct, and perhaps figurative meaning.

II. The structure of images and the development of the conflict.

1. Theme (motive) - a circumstance, event, fact, impression that served as an occasion, stimulus for lyrical reflection or state (gone love "I loved you", real love“I remember a wonderful moment”, friendship “My first friend, my priceless friend ...”, the position of the people and the purpose of poetry “Elegy”).

The idea is the author's assessment of the depicted, his thoughts on this matter (“I loved you ...” - the blessing of the departed love, “I remember a wonderful moment” - the glorification of the image of the beloved, “Elegy” - a call to change the existing situation.

2. Emotional coloring feelings.

The theme suggests a certain mood ( emotional condition or thinking). In the poem "On the Death of a Poet" we capture both the pain and suffering caused by the death of the poet, and frank hatred for the murderer, who did not see a national genius in Pushkin, and admiration for the talent of the great poet, and anger at the reaction to this death of the conservative part of society.

Even in landscape lyrics, in which pictures of nature predominate, one should look for the transfer of the emotional state of the individual (associative image). (“A mournful wind drives a flock of clouds to the edge of heaven” (a feeling of longing, anxiety), a flock of clouds (“predatory” movement (a pack of wolves), massiveness, lack of lightness, height, oppressive darkness, a feeling of loss, etc.)

3. Composition, plot (if any).

Certain facts, events, circumstances, actions, memories and impressions mentioned in the text of the poem are usually interspersed with thoughts and emotions, which gives a sense of dynamics and movement. The change and sequence of these components constitutes the composition (construction) of a lyrical work. Although in each case the composition is unique and original, some general trends can be outlined.

Almost any poem is “divisible” into two parts (usually unequal): “empirical” (narrative) and “generalizing, which contains that comprehensive, universal, philosophical meaning for which the poem was written.

The generalizing part in the poem "On the Hills of Georgia":

And the heart burns again and loves - because

That it cannot love.

It sounds like a hymn to man in general, it is a humanistic, life-affirming chord of the entire poem. Everything else is empirical. The poem can be built in a different sequence: first the generalizing part, then the empirical part.

From the point of view of composition, the poem can be divided (conditionally) into 3 types:

Event-emotional	Emotionally pictorial	Actually pictorial or narrative
Events, facts, circumstances, actions, memories, impressions are interspersed with thoughts and emotions (“I remember a wonderful moment” (the sequence is more or less logically organized; “Please, unwashed Russia” (the sequence is not entirely logical, broken, nevertheless it is.)	The alternation of facts, impressions and emotional reactions. (“Sail” - in it 2 lines of each quatrain are, as it were, pictorial, and the next two are expressive). Often internal state is found at the end of the poem: Snowy plain, white moon // Shroud covered our side // And birches in white are crying through the forests. Who died here? Died? Am I myself? (S. Yesenin)	In poems of this kind, only alternations of facts and phenomena are presented, the emotional and mental principle is not expressed in them, but it is implied. (“This morning, this joy”, “Spring waters”, “Winter is angry for a reason”

The plot in lyrical works is most often absent. It takes place in eventful, epic poems (most often in, sometimes its lyrics are called prosaic).

4. The imagery of the poem.

Notice how the main image develops. Highlight the main, from the point of view of the development of the image, words, stanzas, lines.

Track the means by which the image is created, whether there are portrait sketches, what are the thoughts and feelings of the author that help to reveal the image.

If there are several images in the poem, trace how, in what sequence they change, how they relate to a person’s life, his feelings (directly or indirectly).

5. The main features of the lyrical hero.

The image of a lyrical hero is an image of a person who owns thoughts and experiences in a lyrical work (usually this is either the author himself or someone close to the author's personality). His character is revealed in thoughts, emotions (In the poem "In Memory of Dobrolyubov" the lyrical hero himself. Through admiration for the life of his friend and colleague, he managed to convey the attitude and mindset of the democratic intelligentsia of his time).

III. Genre originality of the poem.

Lyrical genres include ode, elegy, epigram, message, hymn and many others.

Oh yeah- a solemn poem glorifying an event, a significant phenomenon in public life, an outstanding personality, etc.

Elegy- a poem riddled with sadness, sad reflection, filled with a feeling of regret and despondency.

Epigram- a short satirical poem addressed to a certain specific or generalized person, event, phenomenon, etc.

Message- a poem addressed to a specific person or group of people.

Hymn- a song of praise in honor of the gods, heroes, winners, any significant event etc., built as an appeal or an appeal to the praised object.

stanzas- a short lyrical poem, consisting of quatrains with a complete thought in each of them, united by one theme. The stanzas suggest the poet's thoughts.

Madrigal- a poem of a playful or love nature, in which an exaggeratedly flattering description of the person addressed by the poet is given.

Taking into account the form and content of the poem, the following lyrical genres can be distinguished: poem - portrait, poem - memory, poem - reflection, poem - confession, poem - confession, poem - sketch etc.

IV. The main features of poetic language.

1. Paths and figures.

trails- These are figurative turns of speech in which words and expressions

used in a figurative sense. The figurative meanings of words are formed on the basis of a comparison of two phenomena and live in the text as a literary phenomenon; they are not listed in dictionaries.

Figurative words and expressions attract the reader's attention, make him think, see new features and facets of what is depicted, and understand its meaning more deeply.

1. Epithet- figurative definition. The epithet defines any side or property of the phenomenon only in combination with the word being defined, to which it transfers its meaning, its signs: silver skates, silk curls. Using the epithet, the writer highlights those properties and features of the phenomenon he depicts, to which he wants to draw the reader's attention.

Any definitive word can be an epithet: noun: "Tramp - wind", adjective: "wooden clock"; adverb or gerund: "you well a d n about you look", "airplanes are rushing with in e R to a I". The epithet can be converted into a comparison. Epithets serve to describe, explain, characterize any property or attribute of an object. They light up the word with new colors, give it the necessary shades and, imbued with the author's feelings, form the reader's relationship to the depicted.

Comparison- these are figurative definitions object, concept or phenomenon by comparing one with another. Comparison necessarily contains two elements: what is being compared, and what is being compared (this is different from a metaphor, where only the second element is present).

Anchar, like a formidable sentry, stands

alone in the whole universe)

Comparison is expressed using words as, as if, exactly, as if or it may simply indicate similarity (similar to ...) Often the comparison is expressed in the instrumental form:

And autumn is a quiet widow

He enters his motley tower.

Non-union comparisons are also possible:

Tomorrow is the execution, the usual feast for the people ...

There are detailed comparisons that involve a detailed comparison of a number of features or the correlation of a phenomenon with a group of phenomena.

I remember a wonderful moment:

You appeared before me

how fleeting vision,

Like a genius of pure beauty.

Helping to see the subject from a new, sometimes unexpected side, the comparison enriches and deepens our impressions.

Metaphor- This hidden comparison, in which there is only the second element of a simple comparison (what is compared with). What is compared is only implied.

Above the grandmother's hut hangs a loaf of bread (a month).

A fire blazes in the forest with the bright sun.

Expressions such as " iron verse”, “silk eyelashes”, “gray-haired morning”, simultaneously serve as an epithet and metaphors and are called metaphorical epithets. In a metaphor it is impossible to separate definitions from the defined word: meaning disappears.

Metaphor gives speech exceptional expressiveness. The metaphor, as it were, in a compressed, folded form, contains the whole picture and therefore allows the poet to exclusively economically, visually describe objects and phenomena and express his thoughts and experiences. In every carnation fragrant lilacs,

Singing, a bee crawls in.

You ascended under the blue vault

Over the vagrant crowd clouds ...

___________

A metaphor is an undivided comparison in which both members are easily seen:

With a sheaf of their oatmeal hair

You touched me forever...

The eyes of a dog rolled

Golden stars in the snow...

In addition to verbal metaphor, there are metaphorical images, or extended metaphors:

Ah, my bush withered my head,

Sucked me song captivity

I am condemned to penal servitude of feelings

Turn the millstones of poems.

In the literature of the 20th century, a detailed metaphor is spreading: a literary image covers several phrases or the entire work, turning into an independent picture. For example, in N. Gumilyov's poem "The Lost Tram", the title metaphor unfolds into a whole plot: a phantasmagoric journey through night Petersburg.

Allegory- allegory. Conditional representation of an abstract concept with the help of a specific life phenomenon. Under the animals, people, objects depicted in the allegory, other persons, things, events, facts are always meant.

Justice is a blindfolded woman with scales in her hands.

An allegory of hope is an anchor.

The allegory of world peace is the white dove.

Allegory is often used in fables and fairy tales, where cunning is allegorically depicted in the form of a fox, greed - in the form of a wolf, deceit - in the form of a snake.

Allegory underlies many riddles, proverbs, and parables:

The sieve is twisted

Covered with gold

Who will look

Everyone will pay.

Unlike a symbol, an allegory is unambiguous; it expresses a strictly defined object or phenomenon.

paraphrase- replacement of a one-word name of the subject with a descriptive expression. (The periphrase is built on the same principle as the riddle: the essential "identifying" signs of an unnamed object are listed).

Instead of saying that Onegin settled in his uncle's room, he writes:

From that peace he settled,

Where is the village old-timer

For forty years I quarreled with the housekeeper,

He looked out the window and crushed flies.

Poems-riddles are a common phenomenon in the poetry of the futurists:

And only a glowing pear

O shadow broke the spears of the fight,

On a branch of lies with plush flowers

Heavy tailcoats hung.

In the language of literal correspondences, the above passage means something like this: the lights went out, the theater filled with the public.

Paraphrase (second meaning) - the writer's use of the form of the known literary work(often ironically).

In this life, dying is not new,

But to live, of course, is not newer.

(S. Yesenin.)

It's not hard to die in this life

Make life much more difficult.

(V. Mayakovsky).

Personification - reception artistic image, consisting in the fact that animals, inanimate objects, natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts.

This is one of the constant image techniques in fairy tales, fables, and fantastic works.

personification as artistic technique is a turn of speech in which the properties of a person are transferred to natural phenomena, objects and abstract concepts. Personification is a special kind of metaphor.

Sleepy birches smiled,

Tousled silk braids.

Silent sadness will be comforted,

And frisky joy will think ...

Oxymoron- a combination of concepts that are opposite in meaning in one artistic image:

"She shone for us only sinister dark» (A. Akhmatova);

That sad joy that I survived.(S. Yesenin).

The names of some works of literature are built on the oxymoron - “Living Powers” ​​(I. Turgenev), “The Living Corpse” (L. Tolstoy), “Optimistic Tragedy” (V. Vishnevsky), Oxymoron creates a new concept or idea: “dry wine”, "honest thief", "free slaves".

Examples of an oxymoron:

1. I love magnificent wilting nature.

2. Oh how painfully I am you happy .

3. Sometimes he falls in love passionately

In my elegant sadness .

4. Look, her funny be sad,

Such smartly naked .

5. We love everything and heat cold number,

And the gift of divine visions.

Irony- a hidden laugh.

The use of a word in its opposite, opposite meaning, when, for example, with a serious look, they pretend to pretend the opposite of what they really think about any phenomenon or person.

« Where, smart, are you wandering, you head?- the Fox turns to the Donkey, considering him really stupid.

Or in the Dragonfly and Ant fable:

« Have you been singing? This business» -

The Ant says ironically to the Dragonfly, considering in reality singing as idleness.

Irony can be good-natured, sad, angry, caustic, angry.

Hyperbola- a figurative expression consisting in an exaggeration of the size, strength, significance of the depicted phenomenon (" In a hundred and forty suns the sunset burned!"(V. Mayakovsky). " A rare bird will fly to the middle of the Dnieper» ().

« My love is like an apostle time it,

I will smash along a thousand thousand roads»

(V. Mayakovsky).

Litotes- an understatement.

A figurative expression, which, in contrast to hyperbole, is an underestimation of the magnitude, strength, and significance of the phenomenon depicted, which the writer resorts to in order to enhance the expressiveness of speech.

For example, in a folk tale: a boy with a finger, a hut on chicken legs, in the "Song of Eremushka":

Below a thin blade

Gotta bow your head...

Metonymy- replacement in artistic speech of the name of an object, concept, phenomenon with another name associated with it foreign relations(by adjacency). For example, in our view, the author and the book written by him, the food and dishes in which it is served, the characteristic clothing and the person dressed in it, the action and the instrument of this action are inextricably linked:

But read Adam Smith...

No. She silver, on the eating gold...

Because here sometimes

walks small leg,

winds curl gold...

All flags will visit us -

Petersburg will become the center of maritime trade, and the ships different countries will come to this port under their national flags.

« I ate three bowls! » (three plates of fish soup)

And now, in response, something struck the strings,

Frantically bows sang ...

Metonymy differs from metaphor in that metaphor paraphrased into comparison with the help of auxiliary words "as if", like, "like"; with metonymy this cannot be done.

Synecdoche- one of the tropes, consisting in replacing the name of a life phenomenon with the name of its part instead of the whole (Moscow - instead of Russia), the singular instead of the plural (man instead of people).

From here we will threaten to the Swede .

We all look into Napoleons .

So that you can see at your feet

Uniform, and spurs, and mustaches!

Symbol- a multi-valued subject image that connects various aspects of the reality depicted by the artist.

symbolic image clarified in the process of freely arising associations. Being symbol, the symbol is in many ways similar to the allegory, but it differs from it more generalizations that cannot be unambiguously interpreted. In the poem "Sail" the human soul, overwhelmed by passions, finds correspondence with the seething sea ​​element; the personality is associated with the image of a lonely sail, torn apart by the wind and rushing at the behest of the waves. Similar symbolic correspondences can be found in such poems as "Anchar", "Fountain", "Poems about beautiful lady”, “Song of the Petrel” and many others.

(Lyrical works are able to paint pictures that appear before us as if alive, they are able to touch our hearts, because observations and experiences are embodied in them with amazing accuracy with the help of rich means of artistic speech).

Figures of speech

(syntax, construction)

Stylistic figures - a special construction of speech that enhances the expressiveness of the artistic word.

Antithesis - stylistic figure contrast, sharp opposition of objects, phenomena, their properties. It is usually expressed by antonyms:

I am a king, I am a slave, I am a worm, I am a god

They agreed. Wave and stone

Poetry and prose, ice and fire

Not so different...

You are rich, I am very poor:

You are a prose writer, I am a poet.

The clash of contrasting ideas, the combination of concepts that are opposite in meaning, makes it possible to better highlight the meanings of words, enhance the figurativeness and brightness of artistic speech. Sometimes on the principle antitheses big ones are being built prose works"War and Peace", "Crime and Punishment" and others.

gradation- the arrangement of words that are close in meaning in order of increasing or decreasing their semantic or emotional significance.

And where is Mazepa? Where the villain?

Where did you run Judas in fear?

(A. S. Pushkin. "Poltava")

Don't think to run!

This is what I called.

I will find. I'll drive it. I'll finish it. Zamuchu!

(V. Mayakovsky)

When the yellowing field worries,

And the fresh forest rustles at the sound of the breeze.

(M. Lermontov)

Fulfilled my desires, Creator

He sent you down to me, my Madonna,

The purest beauty, the purest pattern.

Parallelism- comparison of two phenomena by their parallel image. Such a comparison emphasizes the similarity or difference of phenomena, gives speech a special expressiveness.

Most often in folklore, the image of nature and the image of man are compared.

Ah, if only the flowers were not frosty,

And in winter the flowers would bloom;

Oh, no matter how hard it is for me,

I wouldn't worry about anything.

In literature, this technique has the most diverse application, and along with verbal-figurative parallelism, it can also be compositional, when parallel storylines develop.

AT blue sky the stars are shining,

Waves crash in the blue sea.

Do I wander along the noisy streets,

Do I enter a crowded temple,

Am I sitting among the foolish youths,

I surrender to my dreams.

The night has many lovely stars,

There are many beauties in Moscow.

Anaphora- repetition initial word, phrases or two independent segments of speech.

He groans through the fields, along the roads,

He groans in prisons, prisons...

When horses die, they breathe

When grasses die, they dry

When the suns die, they go out

When people die, they sing songs.

(V. Khlebnikov)

The task of the anaphora is to highlight the word, to hold the attention of readers on it. K. Simonov used a peculiar kind of "draught" anaphora in the poem "Wait for me" during the war years. Asymmetrically located, these anaphoric repetitions of "wait ..." produce the strongest effect. For 36 lines, the word "wait" is repeated 11 times.

Epiphora- expressive repetition of words or expressions at the end of a segment of speech:

Dear friend, and in this quiet house

The fever hits me.

Can't find me a place in a quiet house

Near peaceful fire!

Inversion- a peculiar arrangement of words in a sentence that violates the order established by the rules.

In inversion, the predicate precedes the subject, the attribute is placed after the noun, the circumstance and object are placed before the predicate.

And mounds turns green running away chain .

(cf .: The fleeing chain of mounds turns green).

Only muses virgin soul

In prophetic dreams the gods disturb.

(F. Tyutchev).

(cf. The gods disturb the virgin soul of the muse in prophetic dreams)

And day by day

terribly angry

me

this

became.

(cf. All this began to terribly anger me day after day)

Default- a turn of speech in which the thought remains not fully expressed, but the reader guesses what has not been said.

But is it me, is it me, the sovereign's favorite...

But death ... but power ... but the disasters of the people.

A rhetorical question is a question addressed to the reader or listener (real or imaginary) that does not require an answer.

What is he looking for in a distant country?

What did he throw in his native land?

(M. Lermontov)

Rhetorical exclamation is such a construction of speech in which one or another concept is affirmed in the form of an exclamation:

What a summer, what a summer!

Yes, it's just witchcraft..

(F. Tyutchev).

A rhetorical appeal is such a stylistic figure, which, being an appeal in form, is conditional, giving the author’s intonation to artistic speech: solemnity, enthusiasm, cordiality, confidence, irony, etc.

Moscow! Moscow!... love you like a son...

(M. Lermontov).

Wandering spirit! You are less and less

You stir the flame of your mouth.

Oh my lost freshness

A riot of eyes and a flood of feelings.

(S. Yesenin).

Asyndeton (non-union) is one of the stylistic figures: a turn of poetic speech, which consists in a gap between words and sentences connecting unions. Their absence gives speech impetuousness, expressiveness, conveys accelerated intonation. Thanks to asyndeton, speech acquires greater conciseness and compactness.

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle.

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

Polysyndeton - polyunion - one of the stylistic figures, a turn of poetic speech, which consists in a deliberate increase in the number of unions in a sentence, due to which individual words stand out, intonation slows down, and the expressiveness of speech increases.

And a sling, and an arrow, and a crafty dagger

Years spare the winner...

And boring, and sad, and there is no one to give a hand...

If we look into ourselves - there is no trace of the past:

And joy, and torment, and everything there is insignificant.

With the help of polysyndeton, the purposefulness and unity of the enumerated is emphasized. More expressive are the lines where, next to the multi-union, the opposite non-union is used:

There was typhus, and ice, and hunger, and blockade.

Everything is over: cartridges, coal, bread.

Mad city turned into a crypt

Where the cannonade resounded.

Ellipsis- stylistic figure: omission of a word, the meaning of which is restored from the context. The meaningful function of the ellipsis is to create the effect of lyrical "reticence", deliberate negligence, emphasized dynamism of speech.

Beast - lair,

Wanderer - the road

Dead - drogs

To each his own.

(M. Tsvetaeva).

2. Language level analysis:

a) poetic phonetics.

Alliteration- repetition in verse or less often in prose of identical consonant consonant sounds to enhance the expressiveness of artistic speech. Alliteration emphasizes the sound of individual words, highlighting them and giving them a particularly expressive meaning.

Not in a in Zdu in ala and re in ate,

To break off to lococha and to pecking.

The possibilities of alliteration are not limited to onomatopoeia (They beat hooves, they sang as if // Mushroom. Grab. Coffin. Rough), linking words that are different in meaning, but similar-sounding, alliteration thereby establishes non-traditional semantic connections between them.

I see lightning from the darkness

And the haze of marble thunder.

(A. Bely).

The following phrase is possible: Balmont's poem "Moisture" is entirely alliterated to "l".

Assonance

1) repetition of vowel sounds, most often percussion, for example: “Rock and cloak // rock, and cloak, and hat” (B. Pasternak)

Assonance gives the verse a melodious sound.

2) inaccurate rhyme, in which stressed vowels coincide and consonants do not coincide.

Since then, he began to move over the bowels of the park

Severe, foliage chilling October.

The dawn forged the end of navigation,

Spiral larynx and ached in the bones.

sound recording- correspondence of the phonetic composition of the phrase to the depicted picture.

Mazu R ka R gave up. used to

When g R emel mazu R ki g R om,

In og R ohm hall everything d R sting,

Pa R the cat crackled under his heel.

Shaking, rattling frames:

Now it's not the same, and we, like ladies,

We slide on varnished boards.

b) poetic vocabulary

A particularly important role in the transmission of lyrical experience belongs to artistic speech. It is made up of words in their direct meaning and words in a figurative sense (see trails).

Words used in the literal sense are neutral (child, house, eyes, fingers) and emotionally colored (child, dwelling, eyes, fingers). Emotional coloring is achieved in different ways:

a) the involvement of Slavicisms, i.e., phraseological units and individual elements in the composition of the word of Old Slavonic origin.

Show off, city of Petrov, and stop

Unshakable like Russia

Where, where did you go,

My golden days of spring?

You coldly press to my lips

Your silver rings.

Now follow me, my reader,

In the capital of the north sick

On a remote Finnish coast .

_______ (A. Blok)

d) the use of dialectisms, in other words, linguistic features characteristic of local dialects (“ Dozhzhok now for greens - the first thing»; « She rushed to run» –);

e) inclusion obsolete words, i.e. words that came out of active use existing in passive reserve and for the most part understandable to a native speaker:

Historicisms are words that have fallen into disuse due to the loss of the concepts they denoted ( The organ-grinder accompanied ... a girl, about fifteen years old, dressed as ladies I'm in crinoline e, in mantle, with gloves ();

Archaisms are words that name existing realities, but for some reason forced out of active use by synonyms.

With fingers as light as a dream

He touched my eyes.

Prophetic eyes opened,

Like a frightened eagle.

In addition, borrowings, colloquial words and expressions, jargon, slang, etc. can be found in poems (albeit extremely rarely).

When analyzing vocabulary, special attention should be paid to the presence of synonyms (they differ in shades of meaning, they help the poet express his thoughts more expressively), antonyms (they serve to express contrast), the presence phraseological units(contribute to the figurative expression of thought).

You need to carefully look for other people's voices in the poem. Are any lines, stanzas, words felt as associations with any work, author? Where do these words and images come from? How does the author relate to someone else's word - argues, agrees, develops, ironizes, turns from a new side, sums up? If there is something in the poem that requires special commentary, then it needs to be explained.

c) the use of the phenomena of morphology and syntax.

It is very important to follow the functioning in the poem various parts speech, their connection with the development of poetic thought: nouns, or rather their predominance, are able to reflect the kaleidoscopic nature of the depicted, verbs convey movements, its growth, pay attention to evaluative adjectives, adjectives that convey color, etc.

Close attention to the syntactic side of the text allows you to see the role of syntax in the organization lexical material, in the formation of intonation and mood, feel the text as a whole and trace some system syntactic means, developing, changing from the beginning to the end of the text and also directly related to the development of poetic thought.

One-part sentences:

Names allow you to succinctly depict pictures of nature, the internal state;

Definitely personal sentences make the narrative dynamic, lively, relaxed, as all attention is focused on the action;

Indefinite-personal sentences emphasize uncertainty actor, the action itself is important here;

Generalized personal sentences are a convenient form of conveying one's own observations, memories, experiences, in which the author looks at himself as if from the outside;

impersonal proposals is a concise form of denoting the state of nature or the environment. With the help of impersonal sentences, one can give an expressive description of the physical or moral state of a person. They make the stories more lyrical. With the help of impersonal sentences, action can be given a touch of spontaneity. Impersonal sentences in which the predicates are expressed by an independent infinitive have the meaning of the will or the ability to carry out an action.

Two-part sentences (balanced structure: for every action there is a performer). Two-part sentences are able to convey an even, without passionate impulses, emotional state and contemplative mood, generally elegiac.

Compound sentences express their inherent meanings: sequence, simultaneity, alternation, opposition. Complex subordinates express a variety of semantic relationships: conditional, temporary, cause-and-effect, and others.

Unionless proposals capable of conveying various semantic relationships, more expressively complex sentences, because they are characterized by emotional tension and dynamism, created due to the absence of unions (complex sentences are more strict, logical, they are much less common in poetic texts). Allied sentences allow you to recreate a complex picture - visual or sound -, they have great expressiveness and expression.

AT poetic text it is important to pay attention to the characteristics of sentences in terms of the purpose of the statement, in terms of intonation, the presence of direct speech and dialogue. Mark who owns the direct speech, what is the nature of the dialogue - with real face or an imaginary interlocutor.

IV. Rhythm, meter, rhyme.

Rhythm is the alternation of any elements at regular intervals.

Syllabo - the tonic system is based on an ordered alternation of percussion and without stressed syllables.

The unit of rhythm in poetic speech is a verse, that is, a separate poetic line, which in turn is divided into feet.

A foot is a group of syllables, including one stressed and one or more unstressed syllables, with a constant place of stress.

POETRY DIMENSIONS

Disyllabic sizes

Trochee (stressed odd syllable: 1, 3, 5, 7, etc.)

Clouds roll, clouds roll

I - / I - / I - / 1 - - four feet

(The trochee gives the verse severity, solemnity, clarity).

Iambic (stressed even syllables: 2, 4, 6, 8, etc.)

Onegin, my good friend

I / - I / - I / - I / - iambic tetrameter

(the yambu is characterized by colloquial, narrative intonations).

(The formal difference between iambic and chorea is as follows: in the word "iamb" the stress falls on the 1st syllable, and in the size - on the 2nd; in the word "trochee" the stress falls on the 2nd, and in the size - on 1 th).

Two-syllable sizes allow the possibility of skipping in some stops or, conversely, the appearance of stress where it should not be.

The omission of stress in iambic or chorea, that is, the appearance of a foot with two unstressed syllables, is called pyrrhic.

Rich and famous Kochubey

I / - I / - - / - I

light foot

(The rhythm slows down a little, and by the end it is restored).

The appearance of two stressed syllables in the composition of the foot is called spondeem.

I love my shame, it gives me the right

I I / I I / I I / - I -/ - sponday

Weighted foot

(These lines are pronounced with effort).

(The most important thing in the line is either taken to the end and underlined in rhyme, or highlighted by pyrrhic, sponde).

Pyrrhic and spondey allow you to create various combinations of stressed and unstressed syllables, enhancing expressiveness and forming a rhythmic and sound variety of poetic works.

A poetic line can contain from two to eight feet.

Trisyllabic meter

Dactyl(finger) - with stress on the first syllable, stressed 1, 4, 7, as in the words of Anna Akhmatova

Late fall. Rooksflew away.

I - - / I - - / I - - / I -

(The rhythm is disturbing, agitated, but at the same time monotonous, measured, similar to the sound of the surf).

Amphibrachius- with stress on the second syllable, stress 2, 5, 8, as in the words of Marina Tsvetaeva.

Thick nettle rustles under the window

I - / - I - / - I - / - I

(The rhythm is flexible, plastic, close to colloquial speech).

Anapaest - with stress on the 3rd syllable, stressed 3, 6, 9, as in words

Nikolai Gumilyov.

I won't tell you anything

I won't alarm you at all.

I / - - I / - - I /

I / - - I / - - I /

Rhythm conveys shades of excited, frank speech, it is flexible, plastic, verses become close in colloquial speech.

A three-syllable foot that has lost its outline stress is called tribrachium.

Lilac ice cream! Lilac ice cream

I - / - - - / - I - / - I -

Sometimes the number of stops in the lines and their arrangement in the verses is arbitrary. Such a verse is called free. The use of free verse allows the author to achieve a sharp change in intonation and combine various rhythmic patterns within one work.

("Woe from Wit").

Rhyme- consonant repetition of the ends of poetic lines.

Rhymes vary:

1) depending on the location of the stress (male with stress on the last syllable (fog - deceit, captivity - decay); female - with stress on the penultimate syllable (kingdom - deceit, hungry - barren); dactylic - with stress on the third syllable from the end (gardener - wild rose) (Male rhyme gives the verse an energetic, sharp sound; the farther the stress from the end of the poetic line, the softer the sound of the verse)

2) in form:

simple (single words rhyme: snow - meadows, nature - years);

compound (groups of words rhyme with each other or one word with several ( on the verge I am playing, my soul is the same).

3) by consonance:

exact (all sounds coincide in it: difficult - wonderful, by heart - sadness);

inaccurate (approximate), when only individual sounds match ( miraculous - rebellious, marble - froze).

A rhyme in which only stressed vowels are consonant is called poor ( water - at home, I call - I go).

4) by position in the stanza

a a steam a

b cross a b girdle

a b (adjacent) b

(on the example of an excerpt from "Eugene Onegin": "My uncle is the most honest rules... etc.")

Rhyme is not a rhythm-forming means, and its use is of an auxiliary nature, therefore poems can be written without the use of rhyme. Such verses are called white.

Silent sea, azure sea,

I stand enchanted over your abyss,

You are alive; you breathe, confused love,

You are filled with anxiety.

A stanza is a group of poetic lines united into a rhythmic whole in terms of content, method of rhyming and intonation. Depending on the number of lines and the type of rhyme used, the following types of stanzas are distinguished: couplet, three-line (tercet), quatrain (quatrain), five-line, six-line (sextine), seven-line, eight-line.

Onegin stanza consists of fourteen lines (3 quatrains and one couplet). The first quatrain uses a cross rhyme, the second uses an adjacent rhyme, and the third uses a ring rhyme.

A sonnet is a poem of fourteen lines. The general rhyming scheme of the sonnet (a b b

SCHEME OF ANALYSIS OF A LYRICAL WORK

place in creativity, to whom it is dedicated, how the poem was received

(reviews about it).

II. The structure of images and the development of the conflict.

1. Theme and idea of ​​the poem

2. Emotional coloring of feelings.

3. Composition, plot (if any).

4. The imagery of the poem.

5. Traits of a lyrical hero.

III. Genre originality (ode, elegy, anthem, romance, ballad, etc.).

IV. The main features of poetic language.

1. Paths and figures.

2. Language level analysis:

a) poetic phonetics (alliteration, sound writing, assonance);

b) poetic vocabulary (synonyms, antonyms, homonyms, historicisms, neologisms);

c) the use of the phenomena of morphology and syntax.

V. Rhythm, meter, rhyme.

VI. Personal perception of the poem.

Associations, reflections, evaluation, interpretation.

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SCHEME OF ANALYSIS OF A LYRICAL WORK

I. "Imprint".

Place in creativity, to whom it is dedicated, how the poem was received

(reviews about it).

II. The structure of images and the development of the conflict.

1. Theme and idea of ​​the poem
2. Emotional coloring of feelings.
3. Composition, plot (if any).
4. Figurative line of the poem.
5. Features of the lyrical hero.

III. Genre originality (ode, elegy, anthem, romance, ballad, etc.).

1. Paths and figures.
2. Language level analysis:

a) poetic phonetics (alliteration, sound writing, assonance);

b) poetic vocabulary (synonyms, antonyms, homonyms, historicisms, neologisms);

1. Rhythm, meter, rhyme.

VI. Personal perception of the poem.

COMMENTS ON THE ANALYSIS SCHEME

LYRICAL WORK

The lyrics recreate not the outer, but the inner world, the subjective thoughts and feelings of the lyrical hero, expresses the state and experience caused by some life circumstance or containing a public mood.

I. "Imprint".

Information about the imprint can be found in the comments to the poems, it is better to use the collected works of poets, the information in them can be exhaustive. It is necessary to reflect on the meaning of the name, to establish its direct, and perhaps figurative meaning.

II. The structure of images and the development of the conflict.

1. Theme (motive) - circumstance, event, fact, impression that served as an occasion, stimulus for lyrical reflection or state (gone love "I loved you", true love "I remember a wonderful moment", friendship "My first friend, my friend priceless...”, the position of the people and the purpose of the poetry “Elegy” by N.A. Nekrasov).

The idea is the author's assessment of the depicted, his thoughts on this matter (“I loved you ...” - the blessing of the departed love, “I remember a wonderful moment” - the glorification of the image of the beloved, “Elegy” - a call to change the existing situation.

2. Emotional coloring of feelings.

The topic suggests a certain mood (emotional state or reflection). In M.Yu. Lermontov's poem "On the Death of a Poet" we capture both the pain and suffering caused by the death of the poet, and frank hatred for the murderer, who did not see the national genius in Pushkin, and admiration for the talent of the great poet, and anger at the reaction to this the death of the conservative part of society.

Even in landscape lyrics, in which pictures of nature predominate, one should look for the transfer of the emotional state of the individual (an associative image). (“A mournful wind drives a flock of clouds to the edge of heaven” (a feeling of longing, anxiety), a flock of clouds (“predatory” movement (a pack of wolves), massiveness, lack of lightness, height, oppressive darkness, a feeling of loss, etc.)

3. Composition, plot (if any).

Certain facts, events, circumstances, actions, memories and impressions mentioned in the text of the poem are usually interspersed with thoughts and emotions, which gives a sense of dynamics and movement. The change and sequence of these components constitutes the composition (construction) of a lyrical work. Although in each case the composition is unique and original, some general trends can be outlined.

Almost any poem is “divisible” into two parts (usually unequal): “empirical” (narrative) and “generalizing”, which contains that comprehensive, universal, philosophical meaning, for which the poem was written.

The generalizing part in the poem "On the Hills of Georgia":

And the heart burns again and loves - because

That it cannot love.

It sounds like a hymn to man in general, it is a humanistic, life-affirming chord of the entire poem. Everything else is empirical. The poem can be built in a different sequence: first the generalizing part, then the empirical part.

From the point of view of composition, the poem can be divided (conditionally) into 3 types:

Event-emotional	Emotionally pictorial	Actually pictorial or narrative
Events, facts, circumstances, actions, memories, impressions are interspersed with thoughts and emotions (A.S. Pushkin “I remember a wonderful moment” (the sequence is more or less logically organized; M.Yu.Lermontov “Please, unwashed Russia” (the sequence is not entirely logical, broken, nevertheless it is.)	The alternation of facts, impressions and emotional reactions. (M.Yu. Lermontov "Sail" - in it 2 lines of each quatrain are, as it were, pictorial, and the next two are expressive). Often the inner state is found at the end of the poem: Snowy plain, white moon // Shroud covered our side // And birches in white are crying through the forests. Who died here? Died? Am I myself? (S. Yesenin)	In poems of this kind, only alternations of facts and phenomena are presented, the emotional and mental principle is not expressed in them, but it is implied. (A.A. Fet “This morning, this joy”, F.T. Tyutchev “Spring waters”, “Winter is angry for a reason”

The plot in lyrical works is most often absent. It takes place in eventful, epic poems (most often by N.A. Nekrasov, sometimes his lyrics are called prosaic).

4. The imagery of the poem.

Notice how the main image develops. Highlight the main, from the point of view of the development of the image, words, stanzas, lines.

Track the means by which the image is created, whether there are portrait sketches, what are the thoughts and feelings of the author that help to reveal the image.

If there are several images in the poem, trace how, in what sequence they change, how they relate to a person’s life, his feelings (directly or indirectly).

5. The main features of the lyrical hero.

The image of a lyrical hero is an image of a person who owns thoughts and experiences in a lyrical work (usually this is either the author himself or someone close to the author's personality). His character is revealed in thoughts, emotions (In the poem “In Memory of Dobrolyubov”, the lyrical hero himself is N.A. Nekrasov. Through admiration for the life of his friend and colleague, he managed to convey the attitude and mindset of the democratic intelligentsia of his time).

III. Genre originality of the poem.

Lyrical genres include ode, elegy, epigram, message, hymn and many others.

Oh yeah - a solemn poem glorifying an event, a significant phenomenon in public life, an outstanding personality, etc.

Elegy - a poem riddled with sadness, sad reflection, filled with a feeling of regret and despondency.

Epigram - a short satirical poem addressed to a certain specific or generalized person, event, phenomenon, etc.

Message - a poem addressed to a specific person or group of people.

Hymn - a song of praise in honor of the gods, heroes, winners, some significant event, etc., built as an appeal or appeal to the praised object.

stanzas - a short lyrical poem, consisting of quatrains with a complete thought in each of them, united by one theme. The stanzas suggest the poet's thoughts.

Madrigal - a poem of a playful or love nature, in which an exaggeratedly flattering description of the person addressed by the poet is given.

Taking into account the form and content of the poem, the following lyrical genres can be distinguished:poem - portrait, poem - memory, poem - reflection, poem - confession, poem - confession, poem - sketch etc.

IV. The main features of poetic language.

1. Paths and figures.

trails - These are figurative turns of speech in which words and expressions

used in a figurative sense. The figurative meanings of words are formed on the basis of a comparison of two phenomena and live in the text as a literary phenomenon; they are not listed in dictionaries.

Figurative words and expressions attract the reader's attention, make him think, see new features and facets of what is depicted, and understand its meaning more deeply.

1. Epithet - figurative definition. The epithet defines any side or property of the phenomenon only in combination with the word being defined, to which it transfers its meaning, its signs: silver skates, silk curls. Using the epithet, the writer highlights those properties and features of the phenomenon he depicts, to which he wants to draw the reader's attention.

Any definitive word can be an epithet: noun: "Tramp - wind", adjective: "wooden clock"; adverb or gerund: "you g a d n o you look", "airplanes are rushing s ver k a i ". The epithet can be converted into a comparison. Epithets serve to describe, explain, characterize any property or attribute of an object. They light up the word with new colors, give it the necessary shades and, imbued with the author's feelings, form the reader's relationship to the depicted.

Comparison - these are figurative definitions of an object, concept or phenomenon by comparing one with another. Comparison necessarily contains two elements: what is being compared, and what is being compared (this is different from a metaphor, where only the second element is present).

Anchar, like a formidable sentry, stands

one in the whole universe (A.S. Pushkin)

Comparison is expressed using wordsas, as if, exactly, as ifor it may simply indicate similarity (similar to ...) Often the comparison is expressed in the instrumental form:

And autumn is a quiet widow

He enters his motley tower.

Non-union comparisons are also possible:

Tomorrow is the execution, the usual feast for the people ...

There are detailed comparisons that involve a detailed comparison of a number of features or the correlation of a phenomenon with a group of phenomena.

I remember a wonderful moment:

You appeared before me

Like a fleeting vision

Like a genius of pure beauty.

Helping to see the subject from a new, sometimes unexpected side, the comparison enriches and deepens our impressions.

Metaphor - this is a hidden comparison, in which there is only the second element of a simple comparison (what is being compared with). What is compared is only implied.

Above the grandmother's hut hangs a loaf of bread (a month).

A fire blazes in the forest with the bright sun.

Such expressions as "iron verse", "silk eyelashes", "gray-haired morning" simultaneously serve as an epithet and metaphors and are called metaphorical epithets. In a metaphor it is impossible to separate definitions from the defined word: meaning disappears.

Metaphor gives speech exceptional expressiveness. The metaphor, as it were, in a compressed, folded form, contains the whole picture and therefore allows the poet to exclusively economically, visually describe objects and phenomena and express his thoughts and experiences. In every carnation of fragrant lilac,

Singing, a bee crawls in.

_______

You ascended under the blue vault

Above the wandering crowd of clouds...

___________

A metaphor is an undivided comparison in which both members are easily seen:

With a sheaf of their oatmeal hair

You touched me forever...

__________

The eyes of a dog rolled

Golden stars in the snow...

In addition to verbal metaphor, there are metaphorical images, or extended metaphors:

Ah, my bush withered my head,

Sucked me song captivity

I am condemned to penal servitude of feelings

Turn the millstones of poems.

In the literature of the 20th century, a detailed metaphor is spreading: a literary image covers several phrases or the entire work, turning into an independent picture. For example, in N. Gumilyov's poem "The Lost Tram", the title metaphor unfolds into a whole plot: a phantasmagoric journey through night Petersburg.

Allegory - allegory. Conditional representation of an abstract concept with the help of a specific life phenomenon. Under the animals, people, objects depicted in the allegory, other persons, things, events, facts are always meant.

Justice is a blindfolded woman with scales in her hands.

An allegory of hope is an anchor.

The allegory of world peace is the white dove.

Allegory is often used in fables and fairy tales, where cunning is allegorically depicted in the form of a fox, greed - in the form of a wolf, deceit - in the form of a snake.

Allegory underlies many riddles, proverbs, and parables:

The sieve is twisted

Covered with gold

Who will look

Everyone will pay.

(The sun).

Unlike a symbol, an allegory is unambiguous; it expresses a strictly defined object or phenomenon.

paraphrase - replacement of a one-word name of the subject with a descriptive expression. (The periphrase is built on the same principle as the riddle: the essential "identifying" signs of an unnamed object are listed).

Instead of saying that Onegin settled in his uncle's room, A.S. Pushkin writes:

From that peace he settled,

Where is the village old-timer

For forty years I quarreled with the housekeeper,

He looked out the window and crushed flies.

Poems-riddles are a common phenomenon in the poetry of the futurists:

And only a glowing pear

O shadow broke the spears of the fight,

On a branch of lies with plush flowers

Heavy tailcoats hung.

In the language of literal correspondences, the above passage means something like this: the lights went out, the theater filled with the public.

Paraphrase (second meaning) - the writer's use of the form of a well-known literary work (often ironically).

In this life, dying is not new,

But to live, of course, is not newer.

(S. Yesenin.)

It's not hard to die in this life

Make life much more difficult.

(V. Mayakovsky).

Personification is a method of artistic representation, which consists in the fact that animals, inanimate objects, natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts.

This is one of the constant image techniques in fairy tales, fables, and fantastic works.

Personification as an artistic technique is a turn of speech in which human properties are transferred to natural phenomena, objects and abstract concepts. Personification is a special kind of metaphor.

Sleepy birches smiled,

Tousled silk braids.

_______

Silent sadness will be comforted,

And frisky joy will think ...

Oxymoron - a combination of concepts that are opposite in meaning in one artistic image:

"She shone for us only sinister darkness "(A. Akhmatova);

That sad joy that I survived.(S. Yesenin).

The names of some works of literature are built on the oxymoron - “Living Powers” ​​(I. Turgenev), “Living Corpse” (L. Tolstoy), “Optimistic Tragedy” (V. Vishnevsky), Oxymoron creates a new concept or idea: “dry wine”, "honest thief", "free slaves".

Examples of an oxymoron:

1. I love magnificent wilting nature.
2. Oh, how painfully happy I am with you.
3. Sometimes he falls in love passionately

In your elegant sadness.

1. Look, she's happy to be sad,

So pretty naked.

1. We love everything - and the heat of cold numbers,

And the gift of divine visions.

Irony - a hidden laugh.

The use of a word in its opposite, opposite meaning, when, for example, with a serious look, they pretend to pretend the opposite of what they really think about any phenomenon or person.

« Where, smart, are you wandering, you head?- the Fox turns to the Donkey, considering him really stupid.

Or in the Dragonfly and Ant fable:

« Have you been singing? This business» -

The Ant says ironically to the Dragonfly, considering in reality singing as idleness.

Irony can be good-natured, sad, angry, caustic, angry.

Hyperbola - a figurative expression consisting in an exaggeration of the size, strength, significance of the depicted phenomenon ("In a hundred and forty suns the sunset burned!"(V. Mayakovsky). "A rare bird will fly to the middle of the Dnieper"(N.V. Gogol).

« My love is like an apostle during it,

I will smash along a thousand thousand roads»

(V. Mayakovsky).

Litotes - an understatement.

A figurative expression, which, in contrast to hyperbole, is an underestimation of the magnitude, strength, and significance of the phenomenon depicted, which the writer resorts to in order to enhance the expressiveness of speech.

For example, in a folk tale: a boy with a finger, a hut on chicken legs, by N.A. Nekrasov in the “Song of Eremushka”:

Below a thin blade

Gotta bow your head...

Metonymy - replacement in artistic speech of the name of an object, concept, phenomenon with another name associated with it by external relations (by adjacency). For example, in our view, the author and the book written by him, the food and dishes in which it is served, the characteristic clothing and the person dressed in it, the action and the instrument of this action are inextricably linked:

But read Adam Smith...

(A.S. Pushkin)

Not on silver, on gold ate ...

(A.S. Griboyedov)

Because here sometimes

Little foot walks

A curl of gold curls...

(A.S. Pushkin)

All flags will visit us -

Petersburg will become the center of maritime trade, and ships from different countries will come to this port under their national flags.

" I ate three bowls! » (three plates of fish soup)

And now, in response, something struck the strings,

The bows sang frenziedly...

Metonymy differs from metaphor in that metaphor paraphrased into comparison with the help of auxiliary words "as if", like, "like"; with metonymy this cannot be done.

Synecdoche - one of the tropes, consisting in replacing the name of a life phenomenon with the name of its part instead of the whole (Moscow - instead of Russia), the singular instead of the plural (man instead of people).

From here we will threaten to the Swede.

__________

We all look at the Napoleons.

_________

So that you can see at your feet

Uniform, and spurs, and mustaches!

Symbol - a multi-valued subject image that connects various aspects of the reality depicted by the artist.

symbolic imageclarified in the process of freely arising associations. Being a symbol, the symbol is in many respects similar to the allegory, but it differs from it in a greater degree of generalization, which is not amenable to unambiguous interpretation. In M.Yu. Lermontov’s poem “Sail”, the human soul, overwhelmed by passions, finds correspondence with the seething sea element; the personality is associated with the image of a lonely sail, torn apart by the wind and rushing at the behest of the waves. Similar symbolic correspondences can also be found in such poems as “Anchar” by A.S. Pushkin, “Fountain” by F.I. Tyutchev, “Poems about the Beautiful Lady” by A.A. Blok, “Song of the Petrel” by A.M. Gorky and many others.

(Lyrical works are able to paint pictures that appear before us as if alive, they are able to touch our hearts, because observations and experiences are embodied in them with amazing accuracy with the help of rich means of artistic speech).

Figures of speech

(syntax, construction)

Stylistic figures - a special construction of speech that enhances the expressiveness of the artistic word.

Antithesis is a stylistic figure of contrast, a sharp opposition of objects, phenomena, their properties. It is usually expressed by antonyms:

I am a king, I am a slave, I am a worm, I am a god

________ (G.R. Derzhavin)

They agreed. Wave and stone

Poetry and prose, ice and fire

Not so different...

__________ (A.S. Pushkin)

You are rich, I am very poor:

You are a prose writer, I am a poet.

(A.S. Pushkin)

The clash of contrasting ideas, the combination of concepts that are opposite in meaning, makes it possible to better highlight the meanings of words, enhance the figurativeness and brightness of artistic speech. Sometimes on the principle antitheses large prose works “War and Peace” by L.N. Tolstoy, “Crime and Punishment” by F.I. Dostoevsky and others are also being built.

gradation - the arrangement of words that are close in meaning in order of increasing or decreasing their semantic or emotional significance.

And where is Mazepa? Where is the villain?

Where did Judas flee in fear?

(A.S. Pushkin. "Poltava")

Don't think to run!

This is what I called.

I will find. I'll drive it. I'll finish it. Zamuchu!

(V. Mayakovsky)

When the yellowing field worries,

And the fresh forest rustles at the sound of the breeze.

(M. Lermontov)

Fulfilled my desires, Creator

He sent you down to me, my Madonna,

The purest beauty, the purest pattern.

(A.S. Pushkin)

Parallelism - comparison of two phenomena by their parallel image. Such a comparison emphasizes the similarity or difference of phenomena, gives speech a special expressiveness.

Most often in folklore, the image of nature and the image of man are compared.

Ah, if only the flowers were not frosty,

And in winter the flowers would bloom;

Oh, no matter how hard it is for me,

I wouldn't worry about anything.

In literature, this technique has the most diverse application, and along with verbal-figurative parallelism, it can also be compositional, when parallel storylines develop.

The stars are shining in the blue sky

Waves crash in the blue sea.

_________

Do I wander along the noisy streets,

Do I enter a crowded temple,

Am I sitting among the foolish youths,

I surrender to my dreams.

_________

The night has many lovely stars,

There are many beauties in Moscow.

Anaphora - repetition of the initial word, phrase or two independent segments of speech.

He groans through the fields, along the roads,

He groans in prisons, prisons...

(N.A. Nekrasov)

When horses die, they breathe

When grasses die, they dry

When the suns die, they go out

When people die, they sing songs.

(V. Khlebnikov)

The task of the anaphora is to highlight the word, to hold the attention of readers on it. K. Simonov used a peculiar kind of "draught" anaphora in the poem "Wait for me" during the war years. Asymmetrically located, these anaphoric repetitions of "wait ..." produce the strongest effect. For 36 lines, the word "wait" is repeated 11 times.

Epiphora - expressive repetition of words or expressions at the end of a segment of speech:

Dear friend, and in this quiet house

The fever hits me.

Can't find me a place in a quiet house

Near peaceful fire!

Inversion - a peculiar arrangement of words in a sentence that violates the order established by the rules.

In inversion, the predicate precedes the subject, the attribute is placed after the noun, the circumstance and object are placed before the predicate.

And the runaway chain of mounds turns green.

(A. Fet).

(cf .: The fleeing chain of mounds turns green).

Only muses virgin soul

In prophetic dreams the gods disturb.

(F. Tyutchev).

(cf. The gods disturb the virgin soul of the muse in prophetic dreams)

And day by day

Terribly angry

Me

This

It became .

(V.V. Mayakovsky.)

(cf. All this began to terribly anger me day after day)

Default - a turn of speech in which the thought remains not fully expressed, but the reader guesses what has not been said.

But is it me, is it me, the sovereign's favorite...

But death ... but power ... but the disasters of the people.

(A.S. Pushkin)

A rhetorical question is a question addressed to the reader or listener (real or imaginary) that does not require an answer.

What is he looking for in a distant country?

What did he throw in his native land?

(M. Lermontov)

Rhetorical exclamation is such a construction of speech in which one or another concept is affirmed in the form of an exclamation:

What a summer, what a summer!

Yes, it's just witchcraft..

(F. Tyutchev).

A rhetorical appeal is such a stylistic figure, which, being an appeal in form, is conditional, giving the author’s intonation to artistic speech: solemnity, enthusiasm, cordiality, confidence, irony, etc.

Moscow! Moscow!... love you like a son...

(M. Lermontov).

Wandering spirit! You are less and less

You stir the flame of your mouth.

Oh my lost freshness

A riot of eyes and a flood of feelings.

(S. Yesenin).

Asindeton (non-union) is one of the stylistic figures: a turn of poetic speech, which consists in a gap between words and sentences of connecting unions. Their absence gives speech impetuousness, expressiveness, conveys accelerated intonation. Thanks to asyndeton, speech acquires greater conciseness and compactness.

Swede, Russian - stabs, cuts, cuts.

Drum beat, clicks, rattle.

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

Polysyndeton - polyunion - one of the stylistic figures, a turn of poetic speech, which consists in a deliberate increase in the number of unions in a sentence, due to which individual words stand out, intonation slows down, and the expressiveness of speech increases.

And a sling, and an arrow, and a crafty dagger

Years spare the winner...

_________

And boring, and sad, and there is no one to give a hand...

_________

If we look into ourselves - there is no trace of the past:

And joy, and torment, and everything there is insignificant.

With the help of polysyndeton, the purposefulness and unity of the enumerated is emphasized. More expressive are the lines where, next to the multi-union, the opposite non-union is used:

There was typhus, and ice, and hunger, and blockade.

Everything is over: cartridges, coal, bread.

Mad city turned into a crypt

Where the cannonade resounded.

Ellipsis - stylistic figure: omission of a word, the meaning of which is restored from the context. The meaningful function of the ellipsis is to create the effect of lyrical "reticence", deliberate negligence, emphasized dynamism of speech.

Beast - lair,

Wanderer - the road

Dead - drogs

To each his own .

(M. Tsvetaeva).

2. Language level analysis:

A) poetic phonetics.

Alliteration - repetition in verse or less often in prose of identical consonant consonant sounds to enhance the expressiveness of artistic speech. Alliteration emphasizes the sound of individual words, highlighting them and giving them a particularly expressive meaning.

Not in but in the zdu in alas and re in ate,

To break off to the lococha and to kissing.

(A.S. Pushkin).

The possibilities of alliteration are not limited to onomatopoeia (They beat hooves, they sang as if // Mushroom. Grab. Coffin. Rough), linking words that are different in meaning, but similar-sounding, alliteration thereby establishes non-traditional semantic connections between them.

I see lightning from the darkness

And the haze of marble thunder.

(A. Bely).

The following phrase is possible: Balmont's poem "Moisture" is entirely alliterated to "l".

Assonance

1) repetition of vowel sounds, most often percussion, for example: “Rock and cloak // rock, and cloak, and hat” (B. Pasternak)

Assonance gives the verse a melodious sound.

2) inaccurate rhyme, in which stressed vowels coincide and consonants do not coincide.

Since then, he began to move over the bowels of the park

Severe, foliage chilling October.

The dawn forged the end of navigation,

Spiral larynx and ached in the bones.

sound recording - correspondence of the phonetic composition of the phrase to the depicted picture.

Mazu r ka r gave up. used to

When thundered mazurki thunder,

In the huge hall, everything was shaking,

Steam the cat crackled under his heel.

Shaking, rattling frames:

Now it's not the same, and we, like ladies,

We slide on varnished boards.

b) poetic vocabulary

A particularly important role in the transmission of lyrical experience belongs to artistic speech. It consists of words in their direct meaning and words in a figurative meaning (see trails).

Words used in the literal sense are neutral (child, house, eyes, fingers) and emotionally colored (child, dwelling, eyes, fingers). Emotional coloring is achieved in different ways:

A) attracting Slavicisms, i.e. phraseological units and individual elements in the composition of the word of Old Slavonic origin.

Show off, city of Petrov, and stop

Unshakable like Russia

_______

Where, where did you go,

My golden days of spring?

_______ (A.S. Pushkin)

You coldly press to my lips

Your silver rings.

_______

Now follow me, my reader,

In the capital of the north sick

On a remote Finnish coast .

_______ (A. Blok)

D) the use of dialectisms, in other words, linguistic features characteristic of local dialects ("Dozhzhok now for greens - the first thing»; « She rushed to run"- I.A. Bunin);

E) the inclusion of obsolete words, i.e. words that have fallen out of active use, exist in a passive stock and are mostly understandable to a native speaker:

Historicisms are words that have fallen into disuse due to the loss of the concepts they denoted (The organ-grinder accompanied ... a girl, about fifteen years old, dressed as young lady, in a crinoline, in a mantle, in gloves (F.M. Dostoevsky);

Archaisms are words that name existing realities, but for some reason forced out of active use by synonyms.

With fingers as light as a dream

He touched my eyes.

Prophetic eyes opened,

Like a frightened eagle.

(A.S. Pushkin).

In addition, borrowings, colloquial words and expressions, jargon, slang, etc. can be found in poems (albeit extremely rarely).

When analyzing vocabulary, special attention should be paid to the presence of synonyms (they differ in shades of meaning, they help the poet express his thoughts more expressively), antonyms (they serve to express contrast), the presence of phraseological turns (contribute to the figurative expression of thought).

You need to carefully look for other people's voices in the poem. Are any lines, stanzas, words felt as associations with any work, author? Where do these words and images come from? How does the author relate to someone else's word - argues, agrees, develops, ironizes, turns from a new side, sums up? If there is something in the poem that requires special commentary, then it needs to be explained.

C) the use of the phenomena of morphology and syntax.

It is very important to follow the functioning of various parts of speech in the poem, their connection with the development of poetic thought: nouns, or rather their predominance, are able to display the kaleidoscopic nature of the depicted, verbs convey movements, its growth, pay attention to evaluative adjectives, adjectives that convey color, etc. .

Close attention to the syntactic side of the text allows us to see the role of syntax in the organization of lexical material, in the formation of intonation and mood, to feel the text as a whole and to trace a certain system of syntactic means that develops, changes from the beginning to the end of the text and is also directly related to the development of poetic thought.

Single sentences:

Names allow you to succinctly depict pictures of nature, the internal state;

Definitely personal sentences make the narrative dynamic, lively, relaxed, as all attention is focused on the action;

Indefinitely personal sentences emphasize the indefiniteness of the protagonist, the action itself is important here;

Generalized personal sentences are a convenient form of conveying one's own observations, memories, experiences, in which the author looks at himself as if from the outside;

Impersonal sentences are a concise form of denoting the state of nature or the environment. With the help of impersonal sentences, one can give an expressive description of the physical or moral state of a person. They make the stories more lyrical. With the help of impersonal sentences, action can be given a touch of spontaneity. Impersonal sentences in which the predicates are expressed by an independent infinitive have the meaning of the will or the ability to carry out an action.

Two-part sentences (balanced structure: for every action there is a performer). Two-part sentences are able to convey an even, without passionate impulses, emotional state and contemplative mood, generally elegiac.

Compound sentences express their inherent meanings: sequence, simultaneity, alternation, opposition. Complex subordinates express a variety of semantic relationships: conditional, temporary, cause-and-effect, and others.

Non-union sentences, capable of conveying various semantic relationships, are more expressive than complex sentences, because they are characterized by emotional tension and dynamism, created due to the absence of unions (complex sentences are more strict, logical, they are much less common in poetic texts). Allied sentences allow you to recreate a complex picture - visual or sound -, they have great expressiveness and expression.

In a poetic text, it is important to pay attention to the characteristics of sentences in terms of the purpose of the utterance, in terms of intonation, the presence of direct speech and dialogue. Note who owns the direct speech, what is the nature of the dialogue - with a real person or an imaginary interlocutor.

IV. Rhythm, meter, rhyme.

Rhythm is the alternation of any elements at regular intervals.

Syllabo - the tonic system is based on an ordered alternation of stressed and unstressed syllables.

The unit of rhythm in poetic speech is the verse, i.e. a separate poetic line, which in turn is divided into stops.

A foot is a group of syllables, including one stressed and one or more unstressed syllables, with a constant place of stress.

POETRY DIMENSIONS

Disyllabic sizes

Trochee (stressed odd syllable: 1, 3, 5, 7, etc.)

Clouds roll, clouds roll

1 2 3 4

I - / I - / I - / 1 - - four feet

(The trochee gives the verse severity, solemnity, clarity).

Iambic (stressed even syllables: 2, 4, 6, 8, etc.)

Onegin, my good friend

1 2 3 4

I / - I / - I / - I / - iambic tetrameter

(the yambu is characterized by colloquial, narrative intonations).

(The formal difference between iambic and chorea is as follows: in the word "iamb" the stress falls on the 1st syllable, and in the size - on the 2nd; in the word "trochee" the stress falls on the 2nd, and in the size - on 1 th).

Two-syllable sizes allow the possibility of skipping in some stops or, conversely, the appearance of stress where it should not be.

The omission of stress in iambic or chorea, that is, the appearance of a foot with two unstressed syllables, is called Pyrrhic.

Rich and famous Kochubey

I / - I / - - / - I

light foot

(The rhythm slows down a little, and by the end it is restored).

The appearance of two stressed syllables in the composition of the foot is called spondeem .

I love my shame, it gives me the right

I I / I I / I I / - I -/ - sponday

Weighted foot

(These lines are pronounced with effort).

(The most important thing in the line is either taken to the end and underlined in rhyme, or highlighted by pyrrhic, sponde).

Pyrrhic and spondey allow you to create various combinations of stressed and unstressed syllables, enhancing expressiveness and forming a rhythmic and sound variety of poetic works.

A poetic line can contain from two to eight feet.

Trisyllabic meter

Dactyl(finger) - with stress on the first syllable, stressed 1, 4, 7, as in the words of Anna Akhmatova

I - - / I - - /

Late fall. The rooks have flown away.

I - - / I - - / I - - / I -

(The rhythm is disturbing, agitated, but at the same time monotonous, measured, similar to the sound of the surf).

Amphibrachius- with stress on the second syllable, stress 2, 5, 8, as in the words of Marina Tsvetaeva.

Thick nettle rustles under the window

- I - / - I - / - I - / - I

(The rhythm is flexible, plastic, close to colloquial speech).

Anapaest - with stress on the 3rd syllable, stressed 3, 6, 9, as in words

Nikolai Gumilyov.

I won't tell you anything

I won't alarm you at all.

• - I / - - I / - - I /
• - I / - - I / - - I /

Rhythm conveys shades of excited, frank speech, it is flexible, plastic, verses become close in colloquial speech.

A three-syllable foot that has lost its outline stress is calledtribrachium.

Lilac ice cream! Lilac ice cream

• I - / - - - / - I - / - I -

Sometimes the number of stops in the lines and their arrangement in the verses is arbitrary. Such a verse is called free. The use of free verse allows the author to achieve a sharp change in intonation and combine various rhythmic patterns within one work.

(A.S. Griboyedov "Woe from Wit").

Rhyme- consonant repetition of the ends of poetic lines.

Rhymes vary:

1) depending on the location of the stress (male with stress on the last syllable (fog - deceit, captivity - decay); female - with stress on the penultimate syllable (kingdom - deceit, hungry - barren); dactylic - with stress on the third syllable from the end (gardener - wild rose) (Male rhyme gives the verse an energetic, sharp sound; the farther the stress from the end of the poetic line, the softer the sound of the verse)

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2) in form:

simple (single words rhyme:snow - meadows, nature - years);

compound (groups of words rhyme with each other or one word with several (on the verge I am playing, my soul is the same).

3) by consonance:

exact (all sounds coincide in it:difficult - wonderful, by heart - sadness);

inaccurate (approximate), when only individual sounds match (miraculous - rebellious, marble - froze).

A rhyme in which only stressed vowels are consonant is called poor (water - at home, I call - I go).

4) by position in the stanza

a a steam a

b cross a b girdle

a b (adjacent) b

b b a

(on the example of an excerpt from "Eugene Onegin": "My uncle has the most honest rules ... etc.")

Rhyme is not a rhythm-forming means, and its use is of an auxiliary nature, therefore poems can be written without the use of rhyme. Such verses are calledwhite.

Silent sea, azure sea,

I stand enchanted over your abyss,

You are alive; you breathe, confused love,

You are filled with anxiety.

A stanza is a group of poetic lines united into a rhythmic whole in terms of content, method of rhyming and intonation. Depending on the number of lines and the type of rhyme used, the following types of stanzas are distinguished: couplet, three-line (tercet), quatrain (quatrain), five-line, six-line (sextine), seven-line, eight-line.

The Onegin stanza consists of fourteen lines (3 quatrains and one couplet). The first quatrain uses a cross rhyme, the second uses an adjacent rhyme, and the third uses a ring rhyme.

A sonnet is a poem of fourteen lines. The general rhyming scheme of a sonnet (a b b a \ a b b a \ c c d \ c d c or a b a b \ a b a b \ c c d \

e d e)

Severe Dante did not despise the sonnet;

In it, the heat of Petrarch's love poured out;

The creator of Macbeth loved his game;

They mourn the thought of Camões clothed.

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And today he captivates the poet:

Wordsworth chose him as an instrument,

When away from the vain light

Nature he draws an ideal.

Under the shadow of the distant mountains of Taurida

Singer of Lithuania in the size of his cramped

He closed his dreams instantly.

Our maidens did not know him yet,

How did Delvig forget for him

Hexameter sacred tunes.

(A. Pushkin).

VI. Personal perception of the poem.

Associations, reflections, evaluation, interpretation.

A work of art does not lend itself to the anatomist's scalpel. Dissected into pieces, it turns into a lifeless and colorless tissue. In order to understand "what's inside," as children say, there is no need to break the integrity of the work of art. You just need to look deeper into it, not giving free rein to your hands. The closer your gaze is, the more surely you will catch both the meaning and the poetic charm of the verses.

The main thing is to catch the living author's thought, the mood of the poem, and carefully, carefully, so as not to destroy the impression, try to convey all this in the composition.

Literature:

1. Kozhevnikov A.Yu. “Are you ready for the Literature exam? To help high school students and entrants. Soyuz, St. Petersburg, 1998
2. Kalganova T.A. "Compositions of various genres in high school", M., "Enlightenment", 1997.
3. Fogelson I.A. "Literature teaches", M., "Enlightenment", 1990.
4. Esalnen A.Ya. "Fundamentals of the Study of Literature". To help the applicant and the student. Moscow University Press, 1998
5. "Russian language at school", No. 5, 2001

1. Rukhlenko N.M. Lesson on the topic "One-part sentences in a literary text" in grade 9.