1.1. Basic concepts First of all, let's define the semantic component of the concepts "sex" (sex) and "gender" (gender) and the terms directly related to them. IN English Literature the concepts of "sex" and "sex" are defined by one word "sex". In Russian, the word "sex" means

ANTITHESIS - opposition of characters, events, actions, words. It can be used at the level of details, particulars (“Black evening, white snow” - A. Blok), or it can serve as a technique for creating the entire work as a whole. Such is the contrast between the two parts of A. Pushkin's poem "The Village" (1819), where in the first part pictures of beautiful nature, peaceful and happy, are drawn, and in the second - in contrast - episodes from the life of a disenfranchised and cruelly oppressed Russian peasant.

ARCHITECTONICS - the relationship and proportionality of the main parts and elements that make up a literary work.

DIALOGUE - a conversation, conversation, dispute between two or more characters in a work.

STAGE - an element of the plot, meaning the moment of the conflict, the beginning of the events depicted in the work.

INTERIOR - a compositional tool that recreates the atmosphere in the room where the action takes place.

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

COLLISION - a clash of opposing views, aspirations, interests of the characters of a work of art.

COMPOSITION - the construction of a work of art, a certain system in the arrangement of its parts. Differ composite means(portraits of actors, interior, landscape, dialogue, monologue, including internal) and compositional techniques(montage, symbol, stream of consciousness, self-disclosure of the character, mutual disclosure, image of the character of the hero in dynamics or in statics). The composition is determined by the peculiarities of the writer's talent, genre, content and purpose of the work.

COMPONENT - an integral part of the work: in its analysis, for example, we can talk about components of content and components of form, sometimes interpenetrating.

CONFLICT - a clash of opinions, positions, characters in a work, driving, like intrigue and conflict, its action.

CULMINATION - an element of the plot: the moment of the highest tension in the development of the action of the work.

Keynote - the main idea works that are repeatedly repeated and emphasized.

MONOLOGUE - a lengthy speech of a character in a literary work, addressed, in contrast to the internal monologue, to others. An example of an internal monologue is the first stanza of A. Pushkin's novel "Eugene Onegin": "My uncle has the most honest rules ...", etc.

INSTALLATION is a compositional technique: composing a work or its section into one whole from separate parts, excerpts, quotations. An example is the book of Evg. Popov "The beauty of life".

MOTIVE - one of the components of a literary text, part of the theme of the work, more often than others acquiring symbolic meaning. Motif of the road, motif of the house, etc.

OPPOSITION - a variant of antithesis: opposition, opposition of views, behavior of characters at the level of characters (Onegin - Lensky, Oblomov - Stolz) and at the level of concepts ("wreath - crown" in M. Lermontov's poem "The Death of a Poet"; "it seemed - it turned out" in A. Chekhov's story "The Lady with the Dog").

LANDSCAPE - a compositional means: the image in the work of pictures of nature.

PORTRAIT - 1. Compositional means: image of the character's appearance - face, clothes, figure, demeanor, etc.; 2. A literary portrait is one of the prose genres.

STREAM OF CONSCIOUSNESS is a compositional technique used mainly in modernist literature. The scope of its application is the analysis of complex crisis states of the human spirit. F. Kafka, J. Joyce, M. Proust and others are recognized as masters of the "stream of consciousness". In some episodes, this technique can also be used in realistic works- Artem Vesely, V. Aksenov and others.

PROLOGUE - an extra-plot element that describes the events or persons involved before the start of the action in the work ("The Snow Maiden" by A. N. Ostrovsky, "Faust" by I. V. Goethe, etc.).

DENOUGH - an element of the plot that fixes the moment of resolution of the conflict in the work, the result of the development of events in it.

RETARDATION - a compositional technique that delays, stops or reverses the development of action in a work. It is carried out by including in the text various kinds of digressions of a lyrical and journalistic nature (“The Tale of Captain Kopeikin” in “ Dead souls"N. Gogol, autobiographical digressions in A. Pushkin's novel "Eugene Onegin", etc.).

PLOT - a system, the order of development of events in a work. Its main elements are: prologue, exposition, plot, development of action, climax, denouement; in some cases, an epilogue is possible. The plot reveals causal relationships in the relationship between characters, facts and events in the work. To evaluate various kinds of plots, such concepts as the intensity of the plot, "wandering" plots can be used.

THEME - the subject of the image in the work, its material, indicating the place and time of action. The main theme, as a rule, is specified by the theme, that is, a set of private, separate topics.

FABULA - the sequence of unfolding events of the work in time and space.

FORM - a certain system of artistic means that reveals the content of a literary work. Categories of form - plot, composition, language, genre, etc. Form as a way of existence of the content of a literary work.

CHRONOTOPE - spatio-temporal organization of material in a work of art.

Bald man with a white beard - I. Nikitin

Old Russian giant – M. Lermontov

With dogaress young – A. Pushkin

Falls on the sofa – N. Nekrasov

Used most often in postmodern works:

Under it is a stream
But not azure,
Above him ambre -
Well, no strength.
He, having given everything to literature,
Full of its fruit tasted.

Drive, man, five-kopeck piece,
And do not annoy unnecessarily.
Desert sower of freedom
Gathers a meager harvest.

(I. Irteniev)

EXPOSITION - an element of the plot: the situation, circumstances, positions of the characters in which they are before the start of the action in the work.

EPIGRAPH - a proverb, a quote, someone's statement, placed by the author before the work or its part, parts, designed to indicate his intention: “... So who are you finally? I am part of that power that always wants evil and always does good.” Goethe. "Faust" is an epigraph to M. Bulgakov's novel "The Master and Margarita".

EPILOGUE - an element of the plot that describes the events that occurred after the end of the action in the work (sometimes after many years - I. Turgenev. "Fathers and Sons").

ALLEGORY - allegory, a kind of metaphor. Allegory fixes a conditional image: in fables, a fox is cunning, a donkey is stupidity, etc. Allegory is also used in fairy tales, parables, and satire.

ALLITERATION is an expressive means of language: the repetition of identical or homogeneous consonants in order to create a sound image:

And he's empty
Runs and hears behind him -
As if thunder rumbles -
Heavy-voiced galloping
On the shaken pavement...

(A. Pushkin)

ANAphorA is an expressive means of a language: the repetition at the beginning of poetic lines, stanzas, paragraphs of the same words, sounds, syntactic constructions.

With all my insomnia I love you
With all my insomnia, I will heed you -
About that time, as throughout the Kremlin
Ringers are waking up...

But my river yes with your river,
But my hand- yes with your hand
Not converge. My joy, as long as
Not catch up with the dawn of dawn.

(M. Tsvetaeva)

ANTITHESIS is an expressive means of language: opposition of sharply contrasting concepts and images: You are poor, // You are plentiful, // You are powerful, // You are powerless, // Mother Rus'! (I. Nekrasov).

ANTONYMS - words with opposite meanings; serve to create bright contrasting images:

The rich fell in love with the poor,
The scientist fell in love - stupid,
I fell in love with ruddy - pale,
Loved the good - the bad
Golden - copper half.

(M. Tsvetaeva)

ARCHAISMS - obsolete words, turns of speech, grammatical forms. They serve in the work to recreate the color of a bygone era, characterize the character in a certain way. They can give solemnity to the language: “Show off, city of Petrov, and stand, unshakable, like Russia”, and in other cases - an ironic connotation: “This youth in Magnitogorsk gnawed at the granite of science in college and, with God's help, completed it successfully.”

UNION - an expressive means of language, accelerating the pace of speech in the work: “Clouds are rushing, clouds are winding; // Invisible moon // Illuminates the flying snow; // the sky is cloudy, the night is cloudy " (A. Pushkin).

BARBARISMS - words from a foreign language. With their help, the color of a particular era can be recreated (“Peter the Great” by A. N. Tolstoy), a literary character (“War and Peace” by L. N. Tolstoy) can be characterized. In some cases, barbarism can be the object of controversy, irony (V. Mayakovsky."About" fiascos "," apogees "and other unknown things").

RHETORICAL QUESTION - an expressive means of language: a statement in the form of a question that does not require an answer:

Why is it so painful and so difficult for me?
Waiting for what? Do I regret anything?

(M. Lermontov)

Rhetorical exclamation - an expressive means of language; an appeal that serves to increase emotionality usually creates a solemn, upbeat mood:

Oh Volga! My cradle!
Has anyone loved you like me?

(N. Nekrasov)

vulgarism - a vulgar, rude word or expression.

HYPERBOLE - an excessive exaggeration of the properties of an object, phenomenon, quality in order to enhance the impression.

From your love you can’t heal at all,
forty thousand other bridges loving.
Ah, my Arbat, Arbat,
you are my fatherland
never get past you.

(B. Okudzhava)

GRADATION is an expressive means of language, with the help of which the depicted feelings and thoughts are gradually strengthened or weakened. For example, in the poem "Poltava" A. Pushkin characterizes Mazepa as follows: "that he does not know the shrine; // that he does not remember goodness; // that he doesn't like anything; // that he is ready to pour blood like water; // that he despises freedom; // that there is no homeland for him. Anaphora can serve as the basis for gradation.

GROTESQUE is an artistic technique of exaggerated violation of the proportions of the depicted, a bizarre combination of the fantastic and the real, the tragic and the comic, the beautiful and the ugly, etc. The grotesque can be used at the level of style, genre and image: “And I see: // Half of the people are sitting. // Oh, the devil! // Where is the other half? (V. Mayakovsky).

DIALECTISMS - words from a common national language, used mainly in a certain area and used in literary works to create local color or speech characteristics characters: "Nagulnov let his mashtak bait and stopped him side of the mound "(M. Sholokhov).

JARGON - the conditional language of a small social group, which differs from the common language mainly in vocabulary: “The writing language was refined, but at the same time flavored with a good dose of maritime jargon ... how sailors and vagrants speak” (K. Paustovsky).

INTELLIGENT LANGUAGE is the result of an experiment that the Futurists were mainly fond of. Its goal is to find a correspondence between the sound of the word and the meaning and free the word from its usual meaning: “Bobeobi sang lips. // Veeomi gazes sang ... " (V. Khlebnikov).

INVERSION - changing the order of words in a sentence in order to highlight the meaning of a word or give an unusual sound to the phrase as a whole: “We switched from the highway to a piece of canvas // Barge haulers of these Repinsky legs” (Dm. Kedrin).

IRONY - a subtle hidden mockery: "He sang the faded color of life // Nearly eighteen years old" (A. Pushkin).

PUN - a witty joke based on homonyms or the use of different meanings of one word:

The area of ​​rhymes is my element
And I write poetry easily.
Without hesitation, without delay
I run to line from line.
Even to the Finnish brown rocks
I'm dealing with a pun.

(D. Minaev)

LITOTA - a pictorial means of language, built on a fantastic understatement of an object or its properties: “Your Spitz, lovely Spitz, / No more than a thimble” (A. Griboyedov).

METAPHOR - a word or expression used in a figurative sense. Fine language tool based on implicit comparison. The main types of metaphors are allegory, symbol, personification: "Hamlet, who thought with timid steps ..." (O. Mandelstam).

METONYMY - an artistic means of the language: replacing the name of the whole with the name of the part (or vice versa) on the basis of their similarity, proximity, adjacency, etc.: “What is the matter with you, blue sweater, // An anxious breeze in your eyes?” (A. Voznesensky).

NEOLOGISM - 1. A word or expression created by the author of a literary work: A. Blok - overhead, etc.; V. Mayakovsky - a hulk, hammery, etc .; I. Severyanin - sparkling, etc.; 2. Words that have acquired a new additional meaning over time - satellite, cart, etc.

RHETORICAL APPEAL - oratory, expressive means of language; a word or a group of words naming the person to whom the speech is addressed, and containing an appeal, demand, request: “Listen, comrade descendants, // agitator, bawler, leader” (V. Mayakovsky).

OXYMORON - an epithet used in a meaning opposite to the words being defined: “a miserly knight”, “a living corpse”, “blinding darkness”, “sad joy”, etc.

PERSONALIZATION is a technique of metaphorical transfer of the features of the living to the inanimate: “The river is playing”, “It is raining”, “The poplar is burdened by loneliness”, etc. The polysemantic nature of the personification is revealed in the system of other artistic means of the language.

HOMONYMS - words that sound the same, but have different meanings: scythe, oven, marriage, once, etc. “And I didn’t care. about // What a secret volume my daughter has // I dozed until morning under my pillow” (A. Pushkin).

ONOMATOPEIA - onomatopoeia, imitation of natural and everyday sounds:

Kulesh clucked in the cauldron.
Heeled under the wind
Wings of red fire.

(E. Evtushenko)

Midnight sometimes in the swamp wilderness
Slightly audible, noiselessly rustling reeds.

(K. Balmont)

PARALLELISM is a visual means of language; a similar symmetrical arrangement of speech elements, in proportion creating a harmonious artistic image. Parallelism is often found in oral folklore and in the Bible. In fiction, parallelism can be used at the verbal-sound, rhythmic, and compositional level: “Black raven in the gentle dusk, // Black velvet on swarthy shoulders” (A. Blok).

PERIPHRASE - a visual means of language; replacement of the concept with a descriptive phrase: “A sad time! Eye charm! - autumn; Foggy Albion - England; "Singer of Giaur and Juan" - Byron, etc.

PLEONASM (Greek "pleonasmos" - excess) - an expressive means of the language; repetition of words and phrases that are close in meaning: sadness, longing, once upon a time, crying - shedding tears, etc.

REPETITIONS - stylistic figures, syntactic constructions based on the repetition of words that carry a special semantic load. Types of repetitions - Anaphora, Epiphora, Refrain, Pleonasm, Tautology and etc.

REFRAIN - expressive means of language; periodic repetition of a passage that is complete in meaning, generalizing the thought expressed in it:

Mountain king on a long journey
- It's boring in a foreign country. -
Wants to find a beautiful girl.
“You won't come back to me. -
He sees the estate on a mossy mountain.
- It's boring in a foreign country. -
Little Kirsten is standing in the yard.
“You won't come back to me. -<…>

(K. Balmont )

SYMBOL (one of the meanings) - a kind of metaphor, a comparison of a generalizing nature: for M. Lermontov, "sail" is a symbol of loneliness; A. Pushkin has a “star of captivating happiness” - a symbol of freedom, etc.

SYNECDOCH - a visual means of language; view metonymy, based on replacing the name of the whole with the name of its part. Sometimes synecdoche is called "quantitative" metonymy. "The bride has now gone foolish" (A. Chekhov).

COMPARISON - a visual means of language; creating an image by comparing the already known with the unknown (old with new). Comparison is created using special words (“like”, “as if”, “exactly”, “as if”), instrumental form or comparative forms of adjectives:

And she is majestic
It floats like a pava;
And as the speech says,
Like a river murmurs.

(A. Pushkin )

TAUTOLOGY is an expressive means of language; repetition of single-root words.

Where is this house with a torn shutter,
A room with a colorful carpet on the wall?
Sweet, sweet, long time ago
My childhood is remembered to me.

(D. Kedrin )

TROPES - words used in a figurative sense. The types of trails are Metaphor, Metonymy, Epithet and etc.

DEFAULT is an expressive means of the language. The hero's speech is interrupted in order to activate the reader's imagination, designed to fill in the gap. It is usually denoted by an ellipsis:

What's wrong with me?
Father ... Mazepa ... execution - with a plea
Here, in this castle my mother -

(A. Pushkin )

EUPHEMISM is an expressive means of language; a descriptive turn that changes the assessment of an object or phenomenon.

“In private, I would call him a liar. In a newspaper note, I would use the expression - a frivolous attitude towards the truth. In Parliament, I would regret that the gentleman is ill-informed. It could be added that people get punched in the face for such information.” (D. Galsworthy"The Forsyte Saga").

EPITET - a visual means of language; a colorful definition of an object, which makes it possible to distinguish it from a number of similar ones and to discover the author's assessment of what is being described. Types of epithet - permanent, oxymoron, etc.: "The lonely sail turns white ...".

EPIPHORA - an expressive means of language; repetition of words or phrases at the end of lines of poetry. Epiphora is a rare form in Russian poetry:

Note - I love you!
Fuzzy - I love you!
Beast - I love you!
Separation - I love you!

(V. Voznesensky )

Acrostic is a poem in which the initial letters of each verse vertically form a word or phrase:

An angel lay down at the edge of the sky,
Leaning down, he marvels at the abysses.
The new world was dark and starless.
Hell was silent. Not a groan was heard.

Scarlet blood timid beating,
Fragile hands fright and shudder,
The world of dreams got into possession
Angel's holy reflection.

Close in the world! Let him live dreaming
About love, about sadness and about shadows,
Opening in the eternal darkness
ABC of their own revelations.

(N. Gumilyov)

ALEXANDRIAN VERSE - a system of couplets; six-foot iambic with a number of paired verses according to the principle of alternating male and female pairs: aaBBwwYY…

Happened together two Astronomers in a feast
A
And argued very among themselves in the heat:
A
One kept repeating: the earth, spinning, the circle of the Sun walks,
B
The other is that the Sun leads all the planets with it:
B
One Copernicus was, the other was known as Ptolemy,
V
Here the cook settled the dispute with his grin.
V
The owner asked: “Do you know the course of the stars?
G
Tell me, how do you talk about this doubt?
G
He gave this answer: “That Copernicus is right,
d
I will prove the truth, I have not been to the Sun.
d
Who saw a simpleton of cooks is
E
Who would turn the hearth around Zharkov?
E

(M. Lomonosov)

Alexandrian verse was used mainly in high classic genres - tragedies, odes, etc.

AMPHIBRACHIUM (Greek "amphi" - round; "bhaspu" - short; literal translation: "short on both sides") - a three-syllable size with an emphasis on the 2nd, 5th, 8th, 11th, etc. d. syllables.

There lived a little / cue boy
He was tall / about the size of a finger.
The face was / handsome, -
Like sparks / little eyes,
Like fluff in / calves ...

(V. A. Zhukovsky(bipedal amphibrach)

ANAPEST (Greek "anapaistos" - reflected back) - a three-syllable size with stress on the 3rd, 6th, 9th, 12th, etc. syllables.

Neither country / nor pogos / ta
I don't want / choose.
On Vasily /evsky island /trov
I will come / die.

(I. Brodsky(two-foot anapaest))

ASSONANCE - an inaccurate rhyme based on the consonance of the roots of words, not endings:

The student wants to listen to Scriabin,
And for half a month he lives a miser.

(E. Evtushenko)

ASTROPHIC TEXT - the text of a poetic work, not divided into stanzas (N. A. Nekrasov"Reflections at the front door", etc.).

BANAL RHYME - a common, familiar rhyme; sound and semantic stencil. “... There are too few rhymes in the Russian language. One calls the other. The "flame" inevitably drags the "stone" behind it. Because of the “feeling”, “art” certainly peeps out. Who is not tired of "love" and "blood", "difficult" and "wonderful", "faithful" and "hypocritical" and so on. (A. Pushkin"Journey from Moscow to St. Petersburg").

POOR RHYME - only stressed vowels are consonant in it: “near” - “earth”, “she” - “soul”, etc. Sometimes poor rhyme is called “sufficient” rhyme.

WHITE VERSE - verse without rhyme:

From the pleasures of life
Music yields to love alone;
But love is a melody...

(A. Pushkin)

White verse appeared in Russian poetry in the 18th century. (V. Trediakovsky), in the XIX century. used by A. Pushkin (“I visited again ...”),

M. Lermontov (“Song about Tsar Ivan Vasilievich ...”), N. Nekrasov (“Who should live well in Rus'”), etc. In the 20th century. blank verse is represented in the works of I. Bunin, Sasha Cherny, O. Mandelstam, A. Tarkovsky, D. Samoilov and others.

BRAHIKOLON is a one-syllable verse used to convey an energetic rhythm or as a comic form.

Forehead -
Chalk.
Bel
Coffin.
sang
Pop.
Sheaf
Arrows -
Day
Holy!
Crypt
blind
Shadow -
In hell!

(V. Khodasevich."Funeral")

BURIME - 1. A poem on given rhymes; 2. The game, which consists in compiling such poems. During the game, the following conditions are met: rhymes must be unexpected and varied; they cannot be changed or rearranged.

VERLIBR - free verse. It may lack meter, rhyme. Ver libre is a verse in which the unit of rhythmic organization (line, Rhyme, stanza) intonation appears (singing in oral performance):

I lay on top of the mountain
I was surrounded by earth.
Enchanted edge below
Lost all colors except for two:
Light blue,
Light brown where on the blue stone
wrote the pen of Azrael,
Dagestan lay around me.

(A. Tarkovsky)

INTERNAL RHYME - consonances, of which one (or both) are inside the verse. Internal rhyme can be constant (appears in a caesura and defines the boundary between half-verses) and irregular (breaks a verse into separate rhythmic unequal and non-permanent groups):

If the yard, disappearing,
Numb and shining
Snow flakes curl. -
If sleepy, distant
Now with reproach, then in love,
The sounds are crying tender.

(K. Balmont)

FREE VERSE - multi-footed verse. The predominant size of free verse is iambic with a verse length from one to six feet. This form is convenient for the transmission of live colloquial speech and therefore is used mainly in fables, verse comedies and dramas (“Woe from Wit” by A. S. Griboyedov and others).

Crosses / not, you / walked out / patience / I 4-stop.
From ra / dawn / ya, 2-stop.
What speech / ki them / and ru / cells 4-stop.
When in / dopo / lie when / mending / whether, 4-stop.
Send / ask / for yourself / upra / you are at / Rivers, 6-stop.
In ko / toru / th stream / and river / ki te / fall / whether 6-stop.

(I. Krylov)

EIGHT LINE - a stanza of eight verses with a specific rhyme pattern. For more details, see Octave. Triolet.

HEXAMETER - six-foot dactyl, favorite meter of ancient Greek poetry:

The son of the Thunderer and Lethe - Phoebus, angry with the king
He brought an evil plague on the army: peoples perished.

(Homer. Iliad; per. N. Gnedich)

Having dropped the urn with water, the maiden broke it on the rock.
The maiden sits sadly, idle holding a shard.
Miracle! Water will not dry up, pouring out of a broken urn,
The Virgin, above the eternal stream, sits forever sad.

(A. Pushkin)

HYPERDACTYLIC RHYME - a consonance in which the stress falls on the fourth and further syllable from the end of the verse:

Goes, Balda, grunts,
And the pope, seeing Balda, jumps up ...

(A. Pushkin)

Dactylic rhyme - a consonance in which the stress falls on the third syllable from the end of the verse:

I, the Mother of God, now with a prayer
Before your image, bright radiance,
Not about salvation, not before the battle
Not with gratitude or repentance,
I do not pray for my desert soul,
For the soul of a wanderer in the light of the rootless...

(M. Yu. Lermontov)

DACTIL - three-syllable size with stress on the 1st, 4th, 7th, 10th, etc. syllables:

Approaching / dove-eyed for / cat
The air was / gentle and / intoxicated,
And otu / beckoning / garden
Somehow about / especially / green.

(I. Annensky(3-foot dactyl))

COUPLET - 1. A stanza of two verses with a paired rhyme:

Pale blue mysterious face
On withered roses drooped.

And the lamps gild the coffin
And their children are transparently flowing ...

(I. Bunin)

2. Kind of lyrics; complete poem of two verses:

From others I praise - that the ashes,
From you and blasphemy - praise.

(A. Akhmatova)

DOLNIK (Pauznik) - poetic size on the verge syllabo-tonic And tonic versification. Based on the rhythmic repetition of the strong (cf. Ict) and weak points, as well as variable pauses between stressed syllables. The range of inter-ict intervals ranges from 0 to 4 shockless. The length of a verse is determined by the number of shocks in a line. Dolnik came into wide use at the beginning of the 20th century:

Autumn is late. The sky is open
And the forests are silent.
Lay down on the blurry shore
The head of a mermaid is sick.

(A. Blok(triple dolnik))

FEMALE RHYME - a consonance in which the stress falls on the second syllable from the end of the verse:

These poor villages
This meager nature
The land of native long-suffering,
The land of the Russian people!

(F. I. Tyutchev)

ZEVGMA (from ancient Greek literally “bundle”, “bridge”) - an indication of the commonality of various poetic forms, literary movements, art forms (see: Biryukov SE. Zeugma: Russian poetry from mannerism to postmodernism. - M., 1994).

ICT is a strong rhythm-forming syllable in verse.

KATRAIN - 1. The most common stanza in Russian poetry, consisting of four verses: “In the depths of Siberian ores” by A. Pushkin, “Sail” by M. Lermontov, “Why are you looking eagerly at the road” by N. Nekrasov, “Portrait” by N. Zabolotsky, "It's snowing" by B. Pasternak and others. The rhyming method can be paired (aabb), ring (abba) cross (abab); 2. Kind of lyrics; a poem of four lines of predominantly philosophical content, expressing a complete thought:

To persuasiveness, to
Kills are simple:
Two birds made a nest for me:
Truth - and Orphanhood.

(M. Tsvetaeva)

A CLAUSE is a group of final syllables in a line of poetry.

LIMERIK - 1. The solid form of the stanza; quintuple with double consonance according to the principle of rhyming aabba. The English poet Edward Lear introduced limerick into literature as a kind of comic poem telling about an unusual incident:

There lived an old man from Morocco,
He saw surprisingly poorly.
- Is that your leg?
- I doubt a little -
An old man from Morocco answered.

2. Literary game, which consists in compiling similar comic poems; at the same time, the limerick must necessarily begin with the words: “Once upon a time ...”, “There once lived an old man ...”, etc.

LIPOGRAM - a poem in which no particular sound is used. So, in the poem by G. R. Derzhavin "The Nightingale in a Dream" there is no sound "r":

I slept high on the hill
I heard your voice, nightingale;
Even in the deepest sleep
He was intelligible to my soul:
It sounded, then it was given,
He groaned, then he smiled
In hearing from afar he, -
And in the arms of Callista
Songs, sighs, clicks, whistles
Enjoyed a sweet dream.<…>

MACARONIC POETRY - poetry of a satirical or parodic orientation; comic effect is achieved in it by mixing words from different languages and styles:

Here I am on the road:
I dragged myself into the city of Peter
And crafted a ticket
For myself e pur Anet,
And pur Khariton le medic
Sur le pyroscaphe "Heir",
Loaded the crew
Prepared for the voyage<…>

(I. Myatlev("Sensations and remarks of Mrs. Kurdyukova abroad given l "etrange"))

MESOSTIKH - a poem in which the letters in the middle of the line vertically form a word.

METER - a certain rhythmic ordering of repetitions within poetic lines. Types of meter in syllabic-tonic versification are two-syllable (see. Chorey, Yamb), tripartite (cf. Dactyl, Amphibrach, Anapaest) and other poetic sizes.

METRICA is a branch of versification that studies the rhythmic organization of verse.

MONORYM - a poem using one rhyme:

When you will be, children, students,
Don't break your head over the moments
Over Hamlets, Lyres, Kents,
Over kings and over presidents,
Over the seas and over the continents
Do not hang out with opponents there,
Be smart with your competitors
And how do you finish the course with eminents
And you will go to the service with patents -
Do not look at the service of assistant professors
And do not hesitate, children, with presents!<…>

(A. Apukhtin)

MONOSTIKH is a poem consisting of one verse.

I
All-expressiveness is the key to worlds and mysteries.
II
Love is fire, and blood is fire, and life is fire, we are fiery.

(K. Balmont)

MORA - in ancient versification, a unit of time for pronouncing one short syllable.

MALE RHYME - a consonance in which the stress falls on the last syllable of the verse:

We are free birds; it's time, brother, it's time!
There, where the mountain turns white behind the cloud,
There, where the sea edges turn blue,
There, where we walk only the wind ... yes, I!

(A. Pushkin)

ODIC STROPHE - a stanza of ten verses with a rhyming method AbAbVVgDDg:

Oh, you who are waiting
Fatherland from its bowels
And wants to see them
Which calls from foreign countries.
Oh, your days are blessed!
Be emboldened now
Show with your care
What can own Platos
And quick-witted Newtons
Russian land to give birth.

(M. V. Lomonosov(“Ode on the day of the accession to the All-Russian throne of Her Majesty the Empress Elisaveta Petrovna. 1747”))

OCTAVA - a stanza of eight verses with triple consonance due to rhyming abababwww:

Harmonies of verse divine mysteries
Do not think to unravel from the books of the sages:
By the shore of sleepy waters, wandering alone, by chance,
Listen with your soul to the whispering of the reeds,

Oak forests speak: their sound is extraordinary
Feel and understand... In harmony with poetry
Involuntarily from your lips dimensional octaves
They will pour, sonorous, like the music of oak forests.

(A. Maykov)

The octave is found in Byron, A. Pushkin, A. K. Tolstoy and other poets.

ONEGIN STROPHE - a stanza consisting of 14 verses (AbAbVVg-gDeeJj); created by A. Pushkin (the novel "Eugene Onegin"). A characteristic sign of the Onegin stanza is the obligatory use of iambic tetrameter.

Let me be known as an old believer,
I don't care - I'm even glad:
I write Onegin in size:
I sing, friends, in the old way.
Please listen to this story!
Her unexpected denouement
Approve, maybe you
A slight bow of the head.
An ancient custom of observing
We are beneficent wine
Let's drink the rough verses,
And they will run, limping,
For a peaceful family
To the river of oblivion to rest.<…>

(M. Lermontov(Tambov Treasurer))

PALINDROME (Greek "palindromos" - running back), or Flipping - a word, phrase, verse, equally read both from left to right and from right to left. A whole poem can be built on a palindrome (V. Khlebnikov "Ustrug Razin", V. Gershuni "Tat", etc.):

The weaker the spirit - the worse dashing,
cunning (especially quiet quarrel).
Those are in Viya's swara. Faith in the world.

(V. Palchikov)

PENTAMETER - pentameter dactyl. Used in combination with hexameter how elegiac distich:

I hear the silent sound of the divine Hellenic speech.
I feel the shadow of the great old man with a confused soul.

(A. Pushkin)

PENTON is a five-syllable foot consisting of one stressed and four unstressed syllables. In Russian poetry, “mainly the third penton is used, bearing the stress on the third syllable:

red frying pan
Dawn flashed;
On the face of the earth
The fog rolls in...

(A. Koltsov)

PEON is a four-syllable foot consisting of one stressed and three unstressed syllables. Peons differ in the place of stress - from the first to the fourth:

Sleep, half / dead y / withered flowers / you,
So do not ties / naschie races / colors are beautiful / you,
Near the paths behind / traveled grown up / schennye by the creator,
Crumpled not / who saw you / by the yellow cole / catfish ...

(K. Balmont(five-foot peon first))

Flashlights - / sudariki,
Tell me / you tell me
What they saw / what they heard
In the night you ti/tire?…

(I. Myatlev(two-foot peon second))

Listening to the wind, / the poplar bends, / rain from the sky oh / hay pours,
Above Me / there is a / measured knock of the cha / owls of the walls;
No one / smiles at me, / and my heart beats anxiously
And a monotonous / sad verse is not / freely torn from the mouth;
And like a quiet / distant stomp, / outside the window I / hear a murmur,
Incomprehensible / strange whisper / - whisper of drops / rain.

(K. Balmont(four-foot peon third))

Let us use the third peon more in Russian poetry; peon of the fourth type is not found as an independent meter.

TRANSFER - rhythmic mismatch; the end of the sentence does not coincide with the end of the verse; serves as a means of creating conversational intonation:

Winter. What should we do in the village? I meet
The servant who brings me a cup of tea in the morning,
Questions: is it warm? Has the blizzard subsided?

(A. Pushkin)

PYRRICHIUS - foot with a missed accent:

Storm / mist / sky / covers,
Whirlwinds / snowy / e cool / heavy ...

(A. Pushkin(the third foot of the second verse is pyrrhic))

PENTISTIC - stanza-quatrain with double consonance:

Like a pillar of smoke brightens in the sky! -
How the shadow below glides elusively! ..
“This is our life,” you said to me,
Not light smoke, shining in the moonlight,
And this shadow running from the smoke ... "

(F. Tyutchev)

The type of quintuple is Limerick.

RHYTHM - repeatability, proportionality of the same phenomena at regular intervals of time and space. In a work of art, rhythm is realized at different levels: plot, composition, language, verse.

RIFMA (Consent) - the same sounding clauses. Rhymes are characterized by location (pair, cross, ring), by stress (masculine, feminine, dactylic, hyperdactylic), by composition (simple, compound), by sound (exact, root or assonance), monorhyme, etc.

SEXTINE - a stanza of six verses (ababab). Rarely found in Russian poetry:

King-Fire with Water-Queen. -
World beauty.
The white-faced day serves them
Darkness undies at night,
Half-dark with the Moon Maiden.
Their foot is three whales.<…>

(K. Balmont)

SILLABIC VERSION - A system of versification based on an equal number of syllables in alternating verses. With a large number of syllables, a caesura is introduced, which divides the line into two parts. Syllabic versification is used predominantly in languages ​​that have constant stress. In Russian poetry was used in the XVII-XVIII centuries. S. Polotsky, A. Kantemir and others.

SYLLABO-TONIC POSTER - a system of versification based on the orderly arrangement of stressed and unstressed syllables in a verse. Basic meters (dimensions) - disyllabic (Yamb, Chorey) and trisyllabic (Dactyl, Amphibrachius, Anapaest).

SONNET - 1. A stanza consisting of 14 verses with various ways of rhyming. Sonnet types: Italian (rhyming method: abab//abab//vgv//gvg)\ French (rhyming method: abba/abba//vvg//ddg)\ English (way of rhyming: abab//vgvg//dede//lj). In Russian literature, “irregular” sonnet forms with unfixed rhyming methods are also developing.

2. Kind of lyrics; a poem consisting of 14 verses, mainly philosophical, love, elegiac content - sonnets by V. Shakespeare, A. Pushkin, Vyach. Ivanova and others.

SPONDEY - foot with an additional (super-scheme) stress:

Swede, Russian / ko / let, ru / bit, re / jet.

(A. Pushkin)

(iambic tetrameter - first spondei foot)

VERSE - 1. Line in a poem; 2. The totality of the features of the versification of a poet: the verse of Marina Tsvetaeva, A. Tvardovsky and others.

STOP - a repeated combination of stressed and unstressed vowels. The foot serves as a unit of verse in the syllabic-tonic system of versification: iambic three-foot, anapaest four-foot, etc.

STROE - a group of verses united by a repeating meter, rhyming method, intonation, etc.

STROFIKA - a section of versification that studies the compositional techniques of the structure of a verse.

TAKTOVIK - poetic meter on the verge of syllabo-tonic and tonic versification. Based on the rhythmic repetition of the strong (cf. Ict) and weak points, as well as variable pauses between stressed syllables. The range of inter-ict intervals ranges from 2 to 3 shockless. The length of a verse is determined by the number of shocks in a line. The tactician came into wide use at the beginning of the 20th century:

A black man was running around the city.
He extinguished the lanterns, climbing the stairs.
Slow, white dawn approached,
Together with the man he climbed the stairs.

(A. Blok(four-shot tactician))

TERCETS - a stanza of three verses (ahh, bbb, eeee etc.). Tercet is rarely used in Russian poetry:

She, like a mermaid, is airy and strangely pale,
In her eyes, escaping, a wave plays,
In her green eyes, her depth is cold.

Come - and she will embrace, caress you,
Not sparing himself, tormenting, perhaps destroying,
But still she kisses you without loving.

And in an instant he will turn away, and will be a soul away,
And will be silent under the moon in golden dust
Watching indifferently as the ships sink in the distance.

(K. Balmont)

TERZINA - a stanza of three verses (aba, bvb, vgv etc.):

And far away we went - and fear embraced me.
Imp, tucking his hoof under him
Twisted the moneylender at the hellfire.

Hot fat dripped into a smoked trough,
And the baked usurer burst on fire
And I: “Tell me: what is hidden in this execution?

(A. Pushkin)

Dante's Divine Comedy was written in tercines.

TONIC VERSION - a system of versification based on an ordered arrangement of stressed syllables in a verse, while the number of unstressed syllables is not taken into account.

EXACT RHYME - a rhyme in which sounds clause match up:

Blue evening, moonlit evening
I used to be handsome and young.
Unstoppable, unique
Everything flew ... far ... past ...
The heart has cooled, and the eyes have faded ...
Blue happiness! Lunar nights!

(WITH. Yesenin)

TRIOLET - a stanza of eight verses (abbaabab) with repetition of the same lines:

I'm lying in the grass on the shore
Night river I hear splashing.
Through fields and copses,
I'm lying in the grass on the shore.
On a misty meadow
Green shimmery glitters
I'm lying in the grass on the shore
Night river and I hear splashes.

(V. Bryusov)

FIGURED POEMS - poems, the lines of which form the outlines of an object or geometric figure:

in vain
Dawn
Rays
How about things
I shine in the dark
I delight my whole soul.
But what? - from the sun in it only a lovely brilliance?
No! - Pyramid - good memories of deeds.

(G. Derzhavin)

PHONICS is a section of versification that studies the sound organization of a verse.

CHOREA (Trocheus) - two-syllable size with stress on the 1st, 3rd, 5th, 7th, 9th, etc. syllables:

Fields / compressed, / groves / naked,
From water / dy that / man and / dampness.
Kole / catfish for / blue / mountains
The sun / quietly / e_ska / hushed.

(WITH. Yesenin(four-foot trochee))

A caesura is a pause in the middle of a line of poetry. Usually the caesura appears in verses of six feet or more:

Science is stripped, // sheathed in rags,
Out of almost all the houses // Shot down with a curse;
They don’t want to know her, // her friendship is running away,
As, suffering at sea, // ship service.

(A. Cantemir(Satire 1. On those who blaspheme the teaching: To your own mind))

SIX-LINE - a six-line stanza with a triple consonance; rhyming method can be different:

This morning, this joy A
This power of both day and light, A
This blue vault b
This cry and strings IN
These flocks, these birds, IN
This voice of water... b

(A. Fet)

The type of six-line is Sextina.

YaMB is the most common two-syllable size in Russian poetry with stress on the 2nd, 4th, 6th, 8th, etc. syllables:

Girl friend / ga doo / we are celebrating / noah
Ink / niya / mine!
My age / rdno / image / ny
You / ukra / I am strong.

(A. Pushkin(iambic trimeter))

AVANT-GARDISM is the common name for a number of trends in the art of the 20th century, which are united by the rejection of the traditions of their predecessors, primarily realists. The principles of avant-garde as a literary and artistic movement were realized in different ways in Futurism, Cubism, Dadaism, Surrealism, Expressionism, etc.

ACMEISM - a trend in Russian poetry of the 1910-1920s. Representatives: N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, M. Kuzmin and others. In contrast to symbolism, acmeism proclaimed a return to the material world, the subject, the exact meaning of the word. va. The acmeists formed the literary group "The Workshop of Poets", published an almanac and the journal "Hyperborea" (1912-1913).

UNDERGROUND (English "undergraund" - underground) - the general name of works of Russian unofficial art of the 70-80s. 20th century

BAROQUE (Italian "Lagosso" - pretentious) - a style in the art of the 16th-18th centuries, characterized by exaggeration, pomp of forms, pathos, the desire for oppositions and contrasts.

ETERNAL IMAGES - images, artistic value which went beyond the scope of a specific literary work and the historical era that gave rise to them. Hamlet (W. Shakespeare), Don Quixote (M. Cervantes), etc.

DADAISM (French "dada" - a wooden horse, a toy; in a figurative sense - "baby talk") is one of the directions of the literary avant-garde that has developed in Europe (1916-1922). Dada preceded surrealism And expressionism.

Decadence (lat. "decadentia" - decline) - the general name of the crisis phenomena in the culture of the late XIX - early XX centuries, marked by moods of hopelessness, rejection of life. Decadence is characterized by the rejection of citizenship in art, the proclamation of the cult of beauty as the highest goal. Many motives of decadence have become the property of artistic movements modernism.

IMAGENISTS (French “image” - image) - a literary group of 1919–1927, which included S. Yesenin, A. Mariengof, R. Ivnev, V. Shershenevich and others. The Imagists cultivated the image: “we who polish the image who cleans the form from the dust of content better than a street shoe shiner, we affirm that the only law of art, the only and incomparable method is to reveal life through the image and rhythm of images ... ”In literary work, the Imagists relied on complicated metaphor, the play of rhythms, etc. .

IMPRESSIONISM - a trend in art of the late XIX - early XX century. In literature, impressionism strove to convey fragmentary lyrical impressions, designed for the associative thinking of the reader, capable of ultimately recreating a complete picture. A. Chekhov, I. Bunin, A. Fet, K. Balmont and many others resorted to the impressionistic manner. others

CLASSICISM - a literary trend of the 17th-18th centuries, arose in France and proclaimed a return to ancient art as a role model. The rationalistic poetics of classicism is set forth in the work of N. Boileau "Poetic Art". characteristic features classicism are the predominance of reason over feelings; the object of the image is the sublime in human life. The requirements put forward by this direction are: rigor of style; the image of the hero in the fateful moments of life; the unity of time, action and place - most clearly manifested in dramaturgy. In Russia, classicism appears in the 30-50s. 18th century in the work of A. Kantemir, V. Trediakovsky, M. Lomonosov, D. Fonvizin.

CONCEPTUALISTS - a literary association that arose at the end of the 20th century, denies the need to create artistic images: an artistic idea exists outside the material (at the level of an application, project or commentary). Conceptualists are D. A. Prigov, L. Rubinshtein, N. Iskrenko and others.

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

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

MODERNISM (French "modern" - modern) is a general definition of a number of trends in the art of the 20th century, characterized by a break with the traditions of realism. The term "modernism" is used to refer to a variety of non-realist movements in the art and literature of the 20th century. – from symbolism at its beginning to postmodernism at its end.

OBERIU (Association real art) - a group of writers and artists: D. Kharms, A. Vvedensky, N. Zabolotsky, O. Malevich, K. Vaginov, N. Oleinikov and others - worked in Leningrad in 1926–1931. The Oberiuts inherited the Futurists, professing the art of the absurd, the rejection of logic, the usual time calculation, etc. The Oberiuts were especially active in the field of theater. nogo art and poetry.

POSTMODERNISM is a type of aesthetic consciousness in the art of the late 20th century. In the artistic world of a postmodernist writer, as a rule, either causes and effects are not indicated, or they are easily interchanged. Here, ideas about time and space are blurred, the relationship between the author and the hero is unusual. The essential elements of style are irony and parody. The works of postmodernism are designed for the associative nature of perception, for the active co-creation of the reader. Many of them contain a detailed critical self-assessment, that is, literature and literary criticism are combined. Postmodern creations are characterized by a specific figurativeness, the so-called simulators, i.e., images-copies, images without new original content, using the already known, simulating reality and parodying it. Postmodernism destroys all sorts of hierarchies and oppositions, replacing them with allusions, reminiscences, and quotations. Unlike avant-gardism, he does not deny his predecessors, but all traditions in art are of equal value to him.

Representatives of postmodernism in Russian literature are Sasha Sokolov ("School for Fools"), A. Bitov ("Pushkin House"), Ven. Erofeev ("Moscow - Petushki") and others.

REALISM is an artistic method based on an objective depiction of reality, reproduced and typified in accordance with the author's ideals. Realism depicts the character in his interactions ("clutches") with the surrounding world and people. An important feature of realism is the desire for credibility, for authenticity. In the process of historical development, realism acquired specific forms of literary trends: ancient realism, Renaissance realism, classicism, sentimentalism, etc.

In the XIX and XX centuries. realism successfully assimilated individual artistic techniques of romantic and modernist movements.

ROMANTISM - 1. artistic method, based on the subjective ideas of the author, based mainly on his imagination, intuition, fantasies, dreams. Like realism, romanticism appears only in the form of a specific literary movement in several varieties: civil, psychological, philosophical, etc. Hero romantic work- an exceptional, outstanding personality, outlined with great expression. The style of the romantic writer is emotional, rich in visual and expressive means.

2. A literary trend that arose at the turn of the 18th-19th centuries, when the freedom of society and the freedom of man were proclaimed the ideal. Romanticism is characterized by an interest in the past, the development of folklore; his favorite genres are elegy, ballad, poem, etc. (“Svetlana” by V. Zhukovsky, “Mtsyri”, “Demon” by M. Lermontov, etc.).

SENTIMENTALISM (French "sentimental" - sensitive) - the literary direction of the second half of XVIII- early 19th century The book of L. Stern "Sentimental Journey" (1768) became the manifesto of Western European sentimentalism. Sentimentalism proclaimed, in contrast to the rationalism of the Enlightenment, the cult of natural feelings in Everyday life person. Sentimentalism arose in Russian literature at the end of the 18th century. and is associated with the names of N. Karamzin (“ Poor Lisa”), V. Zhukovsky, Radishchev poets, etc. The genres of this literary trend are epistolary, family and everyday novel; confessional story, elegy, travel notes, etc.

SYMBOLISM - a literary trend of the late 19th - early 20th centuries: D. Merezhkovsky, K. Balmont, V. Bryusov, A. Blok, I. Annensky, A. Bely, F. Sologub, etc. Based on associative thinking, on subjective reproduction reality. The system of paintings (images) offered in the work is created by means of the author's symbols and is based on the personal perception and emotional feelings of the artist. An important role in the creation and perception of works of symbolism belongs to intuition.

SOC-ART is one of the characteristic phenomena of Soviet unofficial art of the 70-80s. It arose as a reaction to the all-penetrating ideologization of Soviet society and all types of art, choosing the path of ironic confrontation. Parodying also European and American pop art, she used the techniques of the grotesque, satirical outrageousness, and caricature in literature. Sots Art achieved particular success in painting.

SOCIALIST REALISM is a trend in the art of the Soviet period. As in the system of classicism, the artist was obliged to strictly adhere to a certain set of rules governing the results of the creative process. The main ideological postulates in the field of literature were formulated at the First Congress of Soviet Writers in 1934: “Socialist realism, being the main method of Soviet fiction and literary criticism, requires from the artist a truthful, historically concrete depiction of reality in its revolutionary development. At the same time, the truthfulness and historical concreteness of the artistic image must be combined with the task of ideologically reshaping and educating working people in the spirit of socialism. Actually socialist realism took away the writer's freedom of choice, depriving art of research functions, leaving him only the right to illustrate ideological attitudes, serving as a means of party agitation and propaganda.

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

SURREALISM is an avant-garde art movement of the 1920s. XX century, which proclaimed the source of inspiration to the human subconscious (his instincts, dreams, hallucinations). Surrealism breaks logical connections, replaces them with subjective associations, creates fantastic combinations of real and unreal objects and phenomena. Surrealism most clearly manifested itself in painting - Salvador Dali, Juan Miro and others.

FUTURISM is an avant-garde trend in art of the 10-20s. 20th century Based on the denial of established traditions, the destruction of traditional genre and language forms, on the intuitive perception of the rapid flow of time, the combination of documentary material and science fiction. Futurism is characterized by self-sufficing form-creation, the creation of an abstruse language. Greatest development Futurism received in Italy and in Russia. Its prominent representatives in Russian poetry were V. Mayakovsky, V. Khlebnikov, A. Kruchenykh and others.

EXISTENTIALISM (lat. "existentia" - existence) - a trend in the art of the middle of the 20th century, consonant with the teachings of the philosophers S. Kierkegaard and M. Heidegger, partly N. Berdyaev. The personality is depicted in a closed space where anxiety, fear, loneliness reign. The character comprehends his existence in the boundary situations of struggle, catastrophe, death. Seeing the light, a person cognizes himself, becomes free. Existentialism denies determinism, asserts intuition as the main, if not the only, way of knowing a work of art. Representatives: J. - P. Sartre, A. Camus, W. Golding and others.

EXPRESSIONISM (lat. "expressio" - expression) is an avant-garde trend in art of the first quarter of the 20th century, which proclaimed the only reality of the spiritual world of the individual. The basic principle of depicting human consciousness (the main object) is the boundless emotional tension, which is achieved by violating real proportions, up to giving the depicted world a grotesque fracture, reaching abstraction. Representatives: L. Andreev, I. Becher, F. Durrenmat.

ADEQUATE - equal, identical.

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

ALMANAC is a non-periodic collection of works selected according to thematic, genre, territorial, etc. features: "Northern Flowers", "Physiology of St. Petersburg", "Day of Poetry", "Tarus Pages", "Prometheus", "Metropol", etc.

"ALTER EGO" - the second "I"; reflection in the literary hero of a part of the author's consciousness.

ANACREONTICA POETRY - poems that glorify the joy of life. Anacreon is an ancient Greek lyricist who wrote love poems, drinking songs, etc. Translations into Russian by G. Derzhavin, K. Batyushkov, A. Delvig, A. Pushkin, and others.

ABSTRACT (lat. "annotatio" - note) - a brief note explaining the content of the book. The abstract is given, as a rule, on the back of the title page of the book, after the bibliographic description of the work.

ANONYMOUS (Greek "anonymos" - nameless) - the author of a published literary work, who did not give his name and did not use a pseudonym. The first edition of Journey from St. Petersburg to Moscow was published in 1790 without indicating the author's name on the title page of the book.

ANTI-UTOPIA is a genre of epic work, most often a novel, creating a picture of the life of a society deceived by utopian illusions. - J. Orwell "1984", Evg. Zamyatin "We", O. Huxley "O Brave New World", V. Voinovich "Moscow 2042", etc.

ANTHOLOGY - 1. A collection of selected works by one author or a group of poets of a certain direction and content. - Petersburg in Russian poetry (XVIII - early XX century): Poetic anthology. - L., 1988; Rainbow: Children's anthology / Comp. Sasha Black. - Berlin, 1922 and others; 2. In the XIX century. anthological verses were called poems written in the spirit of ancient lyric poetry: A. Pushkin "Tsarskoye Selo statue", A. Fet "Diana", etc.

Apocrypha (Greek "anokryhos" - secret) - 1. A work with a biblical story, the content of which does not completely coincide with the text of the holy books. For example, “Lemonar, that is, Meadow Dukhovny” by A. Remizov and others. 2. An essay attributed with a low degree of certainty to any author. In ancient Russian literature, for example, "Tales of Tsar Constantine", "Tales of Books" and some others were supposed to have been written by Ivan Peresvetov.

ASSOCIATION (literary) is a psychological phenomenon when, when reading a literary work, one representation (image), by similarity or contrast, conjures up another.

ATRIBUTION (lat. "attributio" - attribution) - a textological problem: the establishment of the author of the work as a whole or its parts.

APHORISM - a laconic saying expressing a capacious generalized thought: “I would be glad to serve, it’s sickening to serve” (A. S. Griboedov).

BALLAD - a lyrical-epic poem with a historical or heroic plot, with the obligatory presence of a fantastic (or mystical) element. In the 19th century the ballad was developed in the works of V. Zhukovsky ("Svetlana"), A. Pushkin ("Song of the Prophetic Oleg"), A. Tolstoy ("Vasily Shibanov"). In the XX century. the ballad was revived in the works of N. Tikhonov, A. Tvardovsky, E. Yevtushenko and others.

A FABLE is an epic work of an allegorical and moralizing nature. The narrative in the fable is colored with irony and in the conclusion contains the so-called morality - an instructive conclusion. The fable traces its history back to the legendary ancient Greek poet Aesop (VI-V centuries BC). The greatest masters of the fable were the Frenchman La Fontaine (XVII century), the German Lessing (XVIII century) and our I. Krylov (XVIII-XIX centuries). In the XX century. the fable was presented in the works of D. Bedny, S. Mikhalkov, F. Krivin and others.

BIBLIOGRAPHY is a branch of literary criticism that provides a purposeful systematic description of books and articles under various headings. Reference bibliographic manuals on fiction prepared by N. Rubakin, I. Vladislavlev, K. Muratova, N. Matsuev and others are widely known. about publications of literary texts, and about scientific and critical literature on each of the authors included in this manual. There are other types of bibliographic publications. Such, for example, are the five-volume bibliographic dictionary Russian Writers 1800–1917, The Lexicon of Russian Literature of the 20th Century, compiled by V. Kazak, or Russian Writers of the 20th Century. and etc.

Operational information about novelties is provided by a special monthly bulletin "Literary Studies", published by the Institute of Scientific Information RAI. New items in fiction, scientific and critical literature are also systematically reported by the newspaper Knizhnoye Obozreniye, the journals Voprosy Literature, Russkaya Literature, Literary Review, New Literary Review, and others.

BUFF (Italian “buffo” - buffoon) is a comic, mainly circus genre.

WREATH OF SONNETS - a poem of 15 sonnets, forming a kind of chain: each of the 14 sonnets begins with the last line of the previous one. The fifteenth sonnet consists of these fourteen repeated lines and is called the "key" or "pipeline." A wreath of sonnets is presented in the works of V. Bryusov (“The Lamp of Thought”), M. Voloshin (“Sogopa astralis”), Vyach. Ivanov ("A wreath of sonnets"). It also occurs in contemporary poetry.

VAUDEVILLE is a type of sitcom. A light entertaining play of domestic content, built on an entertaining, most often, love affair with music, songs, and dances. Vaudeville is represented in the works of D. Lensky, N. Nekrasov, V. Sologub, A. Chekhov, V. Kataev and others.

VOLYAPYUK (Volapyuk) - 1. An artificial language that was tried to be used as an international one; 2. Gibberish, meaningless set of words, abracadabra.

DEMIURG - creator, creator.

DETERMINISM is a materialistic philosophical concept about objective patterns and cause-and-effect relationships of all phenomena of nature and society.

DRAMA - 1. A kind of art that has a synthetic character (a combination of lyrical and epic principles) and belongs equally to literature and theater (cinema, television, circus, etc.); 2. Drama itself is a type of literary work depicting acutely conflicting relations between a person and society. - A. Chekhov "Three Sisters", "Uncle Vanya", M. Gorky "At the Bottom", "Children of the Sun", etc.

DUMA - 1. Ukrainian folk song or poem on a historical theme; 2. Genre of lyrics; poems of a meditative nature, devoted to philosophical and social problems. - See “Thoughts” by K. Ryleev, A. Koltsov, M. Lermontov.

SPIRITUAL POETRY - poetic works of various types and genres containing religious motifs: Yu. Kublanovskiy, S. Averintsev, 3. Mirkina, etc.

GENRE - a type of literary work, the features of which, although historically developed, are in the process of constant change. The concept of genre is used at three levels: generic - the genre of epic, lyric or drama; specific - the genre of the novel, elegy, comedy; genre proper - a historical novel, a philosophical elegy, a comedy of manners, etc.

idyll - a kind of lyrical or lyrical poetry. In an idyll, as a rule, a peaceful serene life of people in the bosom of beautiful nature is depicted. - Antique idylls, as well as Russian idylls of the 18th - early 19th centuries. A. Sumarokov, V. Zhukovsky, N. Gnedich and others.

HIERARCHY - the arrangement of elements or parts of the whole according to the sign from the highest to the lowest and vice versa.

INVECTIVE - An angry denunciation.

HYPOSTASIS (Greek “hipostasis” – face, essence) – 1. The name of each person of the Holy Trinity: One God appears in three hypostases – God the Father, God the Son, God the Holy Spirit; 2. Two or more sides of one phenomenon or object.

HISTORIOGRAPHY is a branch of literary criticism that studies the history of its development.

HISTORY OF LITERATURE - a section of literary criticism that studies the development of the literary process and determines the place of the literary movement, writer, literary work in this process.

TRAFFIC - a copy, an exact translation from one language into another.

CANONICAL TEXT (corresponds to the Greek "kapop" - rule) - is established in the process of textual verification of publishing and manuscript versions of the work and meets the last "author's will".

CANZONA - a kind of lyrics, mainly love. The heyday of the canzona is the Middle Ages (the work of the troubadours). Rarely found in Russian poetry (V. Bryusov "To the Lady").

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

COMEDY is one of the types of literary creativity belonging to the dramatic genus. Action and characters In comedy, the goal is to ridicule the ugly in life. Comedy originated in ancient literature and is actively developing right up to our time. Comedies of positions and comedies of characters differ. Hence the genre diversity of comedy: social, psychological, everyday, satirical.

(pictorial and expressive means of language or tropes).

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

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

Basic theoretical and literary concepts

1. Fiction as the art of the word

Literature- this is the art of the word, one of the main types of art. Literature refers to works of art fixed in the written word. Unlike painting, sculpture, music, dance, which have an object-sensory form from some matter (paint, stone, etc.) or from action (string sound, body movement), literature creates its form from words, from language, which, embodied in sounds and letters, is comprehended not in sensory perception, but in intellectual understanding. It is in the art of the word that a person as a bearer of spirituality becomes an object of reproduction and comprehension from various points of view, the main point of application of artistic forces, even when it is not directly about him, but about the world around him. In its diverse and multifaceted manifestations, literature is studied by various branches of literary criticism.

2. Artistic image - is the main artistic creativity way perception and reflection of reality, a form of knowledge of life specific to art and the expression of this knowledge.

3. Folklore- this is (from English - folk wisdom) oral folk art. Features: variability, contact of the creator or performer with the listener, collectivity of creation and distribution. Folklore is the most important part of the national culture of each people, however, despite the expressive national coloring folklore works, many of their themes, motifs, images and plots are very close to different peoples. Among the numerous genres folklore stand out epics, fairy tales, riddles, proverbs, sayings, ballads, songs, ditties, ritual poetry, parables, legends, spiritual poems.

4. Literary genera and genres

Genus- this is one of the main divisions in the systematics of literary works, defining three different forms: epic, lyric, drama.

Lyrics- an expressive kind of literature. The subject is inner world man, his thoughts and feelings. Lyric genres: ode, poem (landscape, civil, intimate, philosophical lyrics), elegy, song, thought, message, epigram.

epic- figurative literature. The subject is the reality in its objective, material reality: characters, events, everyday and natural environment in which the characters exist and interact. Genres: small odds ( short story, essay, novella), middle forms ( story), large forms ( novel, epic novel).

Story- a story about one event in a person's life; a single example shows a clash of characters, views; the capacity of details and the depth of subtext are characteristic.

Feature article- a short narrative depicting the customs of any environment, one or another human type; artistic and journalistic genre.

Novella- an extraordinary incident with a dynamic development of the plot and its sharp turns.

Tale- tale of ups and downs human life; this example shows some patterns of life itself.

Novel- a story about many actors whose fates are intertwined; the subject of the image is life in its complexity and inconsistency.

Drama- figurative literature. The subject is an objective material being, represented not in its entirety, but through the characters of people, manifested in their purposeful actions. Genres: tragedy, drama, comedy.

Tragedy recreates acute, insoluble conflicts and contradictions in which exceptional personalities are involved; irreconcilable clash of warring forces; one of the warring parties perishes.

Drama- the image of the personality in its dramatic relations with society and difficult experiences; however, there is a possibility of a successful resolution of the conflict of the colliding forces.

Comedy reproduces mainly the private life of people with the aim of ridiculing the backward, obsolete.

5. Main literary trends

Classicism(XVII - beginning of the XIX century) Imitation of the images of ancient literature; faith in the reason of rationalism; strict hierarchy of genres: high - tragedy, ode, epic; low - satire, comedy, fable. Representatives: Moliere, A.D. Kantemir, M.V. Lomonosov, A.P. Sumarokov, D.I. Fonvizin, G.R. Derzhavin.

• Submission requirement personal interests a person's public duty.
• The presence of civic motives.
• Antagonistic contradictions at the heart of the conflict.
• The tragic intensity of the conflict.
• The desire to emphasize the general in a person; satirical typography.

Sentimentalism(2nd half of the 18th century) Priority of feelings; the significance of the concept of "natural" man; genres: elegy, message, epistolary novel, travel notes, diaries. Representatives: S. Richardson, L. Stern, J.J. Russo, G.E. Lessing, N.M. Karamzin.

• The cult of feelings.
• Cult of nature.
• Emphasis on spiritual world heroes (including those belonging to the lower class).
• The priority of natural feeling over reason.
• Sympathy for the common man.
• Frankness in the depiction of a person.

Romanticism(late 18th - 1st half of the 19th century) The embodiment of the discord of personality with reality; reflection of pessimism; historicism, striving for the exotic; flowering of lyrics; genres: historical novel, idyll, ballad; romantic poem . Representatives: THIS. Hoffman, J. Byron, V. Hugo, V.A. Zhukovsky, A.S. Pushkin, E.A. Baratynsky, M.Yu. Lermontov, F.I. Tyutchev.

• Character system with one main character.
• The immutability of the characters of the characters.
• The irresistibility and demonism of the hero is the "charm of Evil."
• Exotic plot and scene.
• The theme of fate (fatum) in the fate of the hero.

Realism(2nd half of the 19th century - 20th century) Research human nature in its connection with the environment; focus on an objective, truthful reflection of life; reflection of the depth and breadth of coverage of reality; the embodiment of the socio-critical principle; lifelikeness: creation of a living image of reality; genre presentation: novel, short story, epic, lyric-epic drama, lyrics. Representatives: O. Balzac, C. Dickens, J.S. Turgenev, I.A. Goncharov, L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.

• A true and authentic depiction of life.
• Depiction of a historically specific society.
• An image of a hero typical of a given era and environment.
• Motivation of plot collisions and actions of characters.
• Depiction of life and characters in development.
• Rethinking the romantic conflict "hero - society".
• Unresolved and unresolvable conflict (open ending).

6. Shape and content literary works are inseparable from each other.

Content: theme, problem, idea, conflict, pathos.

Subject- the range of events and phenomena underlying the work of art, the subject of the artistic image (the area of ​​reflection of reality).

Issues- a list of problems.

Problem- an acute vital contradiction, a point of tension between the existing and the proper, the desired and the real. One and the same topic can serve as the basis for posing different problems (the topic of serfdom is the problem of the internal lack of freedom of the serf, the problem of mutual corruption, mutilation of both serfs and serf owners, the problem of social injustice).

Idea- the essence of the writer's attitude to life; the main generalizing thought underlying the work of art and expressed in figurative form; author's attitude to the depicted; solution main problem. It is expressed in the entire artistic structure of the work.

Conflict- clash of characters and circumstances, views and principles of life, which is the basis of action.

art form: plot, composition, central and secondary characters, characters, methods of creating characters' images, landscape, interior, artistic details, artistic speech.

Plot- a set of events in a work of art, presented in a certain connection, revealing the characters of the characters and the attitude of the writer to the depicted life phenomena; sequence, the course of events that constitutes the content of a work of art.

Composition- consistent construction, arrangement and interconnection of parts, images, episodes of a work of art.

Stages of action development

exposition- the conditions that brought the conflict to life, the general background of the action, can be direct (at the beginning of the work) or delayed (in the middle or end of the work).

tie is an event that is the beginning of an action.

Climax - the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly sharp form.

denouement- outcome of events. This is the final moment in the creation of artistic conflict.

Epilogue- always concludes the work. The epilogue tells about the further fate of the heroes.

Lyrical digression(extra-plot, inserted element) - the author's deviation from the plot, the author's lyrical inserts on topics that have little or no connection with the main theme of the work. On the one hand, they hinder the plot development of the work, and on the other hand, they allow the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme.

Imaging Tools

1. Epigraph To literary work may indicate the main character trait of the hero.

3. Hero speech. Internal monologues, dialogues with other heroes of the work characterize the character, reveal his inclinations, addictions.

4. deeds, the actions of the hero.

5. Psychological analysis of the character: a detailed, in detail recreation of feelings, thoughts, motives - the inner world of the character; here, the image of the “dialectic of the soul” (the movement of the hero’s inner life) is of particular importance.

6. The relationship of the character with other heroes of the work.

7. Hero portrait. The image of the external appearance of the hero: his face, figure, clothes, behavior.

Portrait types:

• naturalistic (portrait copied from a real person);
• psychological (through the appearance of the hero, the inner world of the hero, his character is revealed);
• idealizing or grotesque (spectacular and bright, replete with metaphors, comparisons, epithets).

8. Social environment, society.

9. Scenery helps to better understand the thoughts and feelings of the character.

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

11. The history of the hero's life.

Image of the author- a character, the protagonist of a work of art, considered in a number of other characters, a conditional carrier of the author's speech in a prose work. It cannot be identified with the writer, as it is the product of the latter's creative imagination.

Literary hero - the image of a person in a work of art. Often used in the meaning of "character", "character". An additional semantic connotation is the positive dominant of the personality, its originality, exclusivity.

Lyric hero - the image of the poet (his lyrical "I"), whose experiences, thoughts, feelings are reflected in the lyrical work. The lyrical hero is not identical to the biographical personality.

7. Language of the artwork:

• artistic vocabulary : trails (words and expressions used in a figurative sense), groups of words of a certain origin and sphere of use;
• syntactic figures : repetition, parallelism, antithesis, inversion, rhetorical questions, appeals, exclamations;
• euphony (sound features): euphony, rhythm, rhyme, anaphora, epiphora, alliteration, assonance, dissonance, sound repetitions.

trails(figurative and expressive means)

Epithet- a figurative definition that characterizes a property, quality, concept, phenomenon.

Metaphor- figurative meaning of the word based on similarity.

Comparison- comparison of two objects, concepts or states that have a common feature.

Hyperbola- artistic exaggeration.

Allegory- transferring the meanings of one circle of phenomena to another, for example, from the world of people to the world of animals, allegory.

8. Prose and poetry: similarities and differences

Basics of versification

Poetic size - consistently expressed form of poetic rhythm. It is determined by the number of syllables, stresses or stops.

Chorey- two-syllable meter with stress on the first syllable. | ` _ |

Yamb- two-syllable meter with stress on the second syllable. | _ ` |

Dactyl- three-syllable meter with stress on the first syllable. | ` _ _ |.

Amphibrachius("surrounded") - three-syllable size with stress on the second syllable. | _ ` _ |

Anapaest("inverted, reflected") - three-syllable size with stress on the third syllable. | _ _ ` |

Rhythm - repetition in poetic speech of homogeneous sound, intonation, syntactic features; periodic repetition of any elements of poetic speech at certain intervals; orderliness of its sound structure.

Rhyme - repetition of sounds linking the endings of two or more lines.

stanza - a group of verses repeated in poetic speech, related in meaning, as well as the arrangement of rhymes; a combination of verses, forming a rhythmic and syntactic whole, united by a certain system of rhyming; additional rhythmic element of the verse.

Sources and literature:

1. Culture of written speech [Electronic resource]: St. Petersburg: 2001-2016 - http://gramma.ru/
2. Meshcheryakova M. I. Literature in tables and diagrams: Theory. Story. Dictionary. - 8th edition. - Moscow: Iris-press, 2008. - 224. - (Home tutor).