Plan for analyzing a lyric work. Literature Olympiads

Analysis plan for a lyric work

(Option 2)

I. Date of writing

II. Biographical commentary using factual material

III. Genre originality (monologue, confession, message, testament, etc.)

IV. Ideological content:

1. Leading topic

2. Main idea

3. Emotional coloring of feelings

4. External impressions and internal reaction to it.

V. The structure of the poem

1. The main images of the poem

2. Basic visual means: epithet, metaphor, allegory, comparison, hyperbole, litotes, irony, sarcasm, personification.

3. Speech features in terms of intonation and syntactic figures: repetition, antithesis, inversion, anaphora, etc.Poetic syntax (addresses, exclamations, rhetorical questions, inversion).

4. Poetic meter

5. Rhyme

6. Sound writing (alliteration, assonance)

7. Stanza (couple, tercet, quintet, quatrain, octave, sonnet, Onegin stanza).

Let's try to reveal the points of this scheme, this plan for analyzing a lyrical work.

1) As noted earlier, the semantic center of the poem is the description of a particular situation, often associated with the biography of the poet. You should build on this. The situation embodied in this material, which the language presents to the poet, is called the theme of the poem. Often the theme is already stated in the title: “Homesickness”; " Winter morning" Sometimes the name has a symbolic sound: such is Lermontov’s “Sail” or Tyutchev’s “Fountain”. If the poem does not have a title, you need to learn to identify “key words” in it - those that are saturated with maximum information. For example: the theme of Pushkin’s “I loved you” is the experience of passing love. So, the theme is what the poem is about.

2) The author chooses this or that topic because he saw in it something new, interesting, something that he wants to tell the reader about. This “something” is called an idea. It reflects the author’s perception of the situation being described: either the thoughts inspired by it, or the emotional impulse associated with it, and most often, both together. It is more difficult to characterize an idea than a topic. To determine the idea, after reading you need to ask yourself: why did the poet need to address this topic, what does he want to communicate with its help? Or come from the other side: what new did I discover for myself after reading the poem? Probably everyone will answer these questions in their own way. “Idea” is a subjective concept and there cannot be an unambiguous solution here in principle.

3) It should be noted that in many lyric poems there is often conflict. In this case, individual images are contrasted with each other. For example: the lyrical hero (a kind of double of the author, named in the text or hidden in its figurative fabric) confronts his surroundings; reality at this moment– memory; rest - movement; heaven to earth. The conflict requires development and is realized in a lyrical plot. There is also conflict-free lyrics (in landscape poems).

4) The next part of the analysis is related to the determination of the genre features of the verse. It should be noted that the poet is not free to choose; he is bound by literary customs and norms that reign in a particular era. There are certain, established patterns. Genre is the norm for selecting typical life situations and the means of their embodiment in a poetic text. The most popular genre of world poetry is elegy. But life introduces new situations into poetry, and their artistic embodiments arise. For example, A. Akhmatova introduced the “excerpt” genre; V. Mayakovsky – the genre of political “agitation”. Genre, in general, is a living and moving concept.

5) Formal means of constructing a poem.

1) Size. It is created by alternating strong and weak syllables.

PLAN FOR ANALYSIS OF A LYRIC WORK Author and date. History of creation. Subject. The main images or pictures created in the poem. Means of poetic language Poetic Phonetics Poetic meter. Rhyme, rhyme. My attitude.

RHYME is the consonance of the endings of two words Masculine - with stress on the last syllable Feminine - with stress on the penultimate syllable: Dactylic - with stress on the third syllable from the end

Male rhyme Both the sea and the storm rocked our boat; I, sleepy, was given over to all the whims of the waves. There were two infinities in me, and they played with me willfully. F. I. Tyutchev.

Women's rhyme on a quiet night, late summer How the stars glow in the sky, How under their gloomy light the dormant fields ripen. F. I. Tyutchev.

Dactylic rhyme Heavenly clouds, eternal wanderers! Along the azure steppe, along a chain of pearl, You rush, as if like me, exiles From the sweet north towards the south. M. Yu. Lermontov. Clouds

Love theme ( love lyrics) Theme of nature (landscape lyrics) Theme of the purpose of the poet and poetry (civil lyrics) Theme of the search for life's meaning ( philosophical lyrics) Theme of freedom (freedom-loving lyrics) Theme of friendship Theme of loneliness Theme of the motherland (patriotic lyrics) Theme of the people THEME - WHAT THE WORK OF ART IS ABOUT; SUBJECT OF THE IMAGE.

Theme of 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, fleetingness, and beauty of a love feeling. A. S. Pushkin “I remember a wonderful moment...”

Theme of nature (landscape lyrics) Poetic works describing pictures of nature, images of animals, feelings of the lyrical hero caused by the contemplation of nature S. A. Yesenin “Birch”

Theme of the purpose of the poet and poetry (civil lyrics) Lyrical works that reveal the essence poetic creativity, the role of poetry, the purpose of the poet M. Yu. Lermontov "The Death of the Poet"

The theme of the search for the meaning of life (philosophical lyrics) Lyrical works about the meaning of human existence, about the problems of existence, about life and death F. I. Tyutchev “We ​​are not given to predict...”

Theme of freedom (freedom-loving lyrics) Poetic works about will, spiritual freedom of the individual A. N. Radishchev ode “Liberty”

Theme of friendship Lyrical works about friendship, creating the image of a poet’s friend; it is possible to directly address him to A. S. Pushkin “To Chaadaev”

Theme of loneliness Poetic works about the loneliness of the lyrical hero, his disunity with the outside world, misunderstanding by other people M. Yu. Lermontov "Sail"

Theme of the Motherland (patriotic lyrics) Lyrical works about the Motherland, its fate, present and past, about the defenders of the fatherland A. A. Blok "Russia"

The theme of the people Lyrical works about the fate of the people, about the life of people from the people N. A. Nekrasov " Railway"

STEAM - (otherwise - adjacent), when two adjacent lines rhyme with each other: The spring of honor is our idol, And that’s what the world revolves on

CROSS - when the first line rhymes with the third, the second with the fourth, etc.: In the depths of the Siberian ores Keep proud patience. Your sorrowful work and your high aspiration will not be wasted

RING - (otherwise - encircling), when the first line rhymes with the fourth, and the second with the third: Love and friendship will reach you through the dark gates, As my free voice reaches these convict holes.

POETIC VOCABULARY EPITHET - artistic definition; COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other; IRONY - hidden mockery; HYPERBOLE - artistic exaggeration used to enhance impression; LITOTE - artistic understatement; PERSONIFICATION - the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel; METAPHOR - a hidden comparison built on the similarity or contrast of phenomena, in which the words “as”, “as if”, “as if” are absent, but are implied.

EPITHET But I love, golden spring, Your continuous, wonderfully mixed noise. . . (N.A. Nekrasov) I see a dried, scentless flower, forgotten in a book; And now my soul was filled with a strange dream: Where did it bloom? When? What spring? And how long did it bloom? And torn by someone, a stranger, or a familiar hand? And why was it put here? (A.S. Pushkin)

COMPARISON is the comparison of one object with another, similar to it in some way, in order to evoke a more vivid and vivid idea of ​​the object. And he walked, swaying like a shuttle in the sea, Camel after camel, blowing up the sand. (Lermontov) In comparison, the less known is usually explained through the more known, the inanimate through the animate, the abstract through the material. Examples of common comparisons: sweet as sugar; bitter as wormwood; cold as ice; as light as thistledown; hard, like a stone, etc. And the hut, bent over, stands like an old woman. (Koltsov)

IRONY. The deliberate use, to express ridicule, of words with the opposite meaning to what the person wants to say. Eg. : They say to a stupid person: clever! to a naughty child: modest boy! In Krylov’s fable, the fox says to the donkey: “How clever are you, head?” In “The Song about the Merchant Kalashnikov,” Ivan the Terrible pronounces a death sentence in these words: And you yourself, little child, go to a high place of execution, Lay down your wild little head. I will order the ax to be sharpened and sharpened, I will order the executioner to be dressed and dressed, I will order the big bell to be rung, So that all the people of Moscow will know that you have not been abandoned by my mercy. . .

HYPERBOLE consists of excessive, sometimes to the point of unnatural, enlargement of objects or actions in order to make them more expressive and through this enhance the impression of them: the boundless sea; There are mountains of corpses on the battlefield. Derzhavin depicts Suvorov's exploits with the following features: Midnight whirlwind - the hero flies! Darkness from his brow, dust whistling from him! Lightning from the gaze runs ahead, Oaks lie in a ridge behind. He steps on the mountains - the mountains crack; Lies on the waters - the abysses boil; If it touches the hail, the hail falls, and throws the towers behind the cloud with its hand.

LITOTA - an equally excessive reduction: it's not worth a damn; you can’t see him from the ground (short). What tiny cows! There are, indeed, less than a pinhead! (Krylov)

PERSONIFICATION, like allegory, is based on metaphor. In a metaphor, the properties of an animate object are transferred to an inanimate one. By transferring one after another the properties of animate objects onto an inanimate object, we gradually, so to speak, animate the object. Giving an inanimate object the full image of a living being is called personification. A gray-haired sorceress walks, waving her shaggy sleeve; And it pours snow, and scum, and frost, and turns water into ice. Her gaze became numb from the cold breath of Nature. . .

METAPHOR [Greek. metaphora - transfer] - one of the main poetic tropes: the use of a word in its figurative meaning to define an object or phenomenon that is similar to it in certain features or aspects. The use of metaphor emphasizes this similarity or, conversely, the difference between objects or phenomena that the writer wants to draw our attention to. A bee from a wax cell flies for a field tribute.

POETIC PHONETICS Alliteration - repetition of consonant sounds; Assonance – repetition of vowel sounds; Anaphora - unity of command;

ANAPHOR [Greek. anaphora - return, unity of beginning, bond] - repetition of any similar sound elements at the beginning of adjacent rhythmic rows If you love, it’s crazy, If you threaten, it’s serious, If you scold, it’s rash, If you chop, it’s reckless! If you argue, it’s too bold, If you punish, then it’s a good thing, If you forgive, then with all your soul, If you feast, then it’s a feast! (A.K. Tolstoy)

ALLITERATION is one of the types of sound writing, repetition in the text of consonant or identical consonant sounds. The wind whistles, the silver wind In the silky rustle of the snowy noise. . . (S. Yesenin)

ASSONANCE - one of the types of sound writing, repetition in the text of the same vowel sounds Chalk, chalk all over the earth To all limits. The candle was burning on the table, The candle was burning. . . (B. Pasternak)

TROCHEA A two-syllable meter consisting of stressed and unstressed syllables. Storm haze covers the sky Whirls of snow whirling... A. S. Pushkin

JAMB A two-syllable meter consisting of an unstressed and stressed syllable. My uncle has the most honest rules... A. S. Pushkin

DACTYL A three-syllable meter in which the stress falls on the first syllable and the other two are unstressed. Heavenly clouds, eternal wanderers M. Yu. Lermontov

AMFIBRACHIUM A three-syllable meter in which the stress falls on the second syllable and the other two are unstressed. The wind is not raging over the forest, The streams are not running from the mountains... N. A. Nekrasov

ANAPEST A three-syllable meter in which the stress falls on the last syllable and the other two are unstressed. Oh, spring without end and without end - Without end and without end, a dream! A. Blok

The analysis of a poetic text has always required special erudition, rare sensitivity, deep methodological approaches, and with the advent of new requirements for final state exams, the analysis of poetic works also required high professionalism. So, let's turn to the theory of verse and the methodology for studying lyric composition.

Where is it appropriate to start a conversation about a lyrical work? From some “external” but extremely important aspects.

Firstly, it is necessary to give a brief overview social, aesthetic trends era when the analyzed work was created.

Secondly, it is important to understand what period poet's creativity the poem was written under the impression of what events and experiences.

FEATURES OF THE CONTENT OF A LYRIC WORK

The actual analysis of poetry begins, of course, with consideration meaningful elements of the lyrical text. Let's structure them and give examples.

Any poem has a theme or several themes. Theme is the subject of artistic knowledge. The most common poetic themes are love, friendship, man and nature, poet and poetry, folk life, fate, memory, the meaning of creativity, human destiny, freedom, life and death. For example, the theme of A.S. Pushkin’s poem “To Chaadaev” is freedom, and in the poem “Village” there are several themes: poet and poetry, man and nature, freedom.

Poetic works, like epic and dramatic works, can have problems, although for lyric poetry this is the exception rather than the rule. The problem is the question posed in the work. And since the question also presupposes the author’s answer, then, of course, the problems are more related to analytical literary genres than with lyrical ones. Although in poems for public purposes, social topics the problems are no less obvious than in epic and drama. In Pushkin’s message “To Chaadaev”, this is the problem of the growing up of the younger generation, its liberation from the “sleep” of illusions, fantasies for the awakening of all of Russia, which, in turn, must part with the “sleep” of passivity and submission. In “The Village,” Pushkin poses the problem of liberating Russia from serfdom; this is the key question for the poet-citizen that prevents him from being happy and creatively free.

Unlike epic and dramatic works, motifs are the most frequent and significant in lyrical texts. A motif is a minimal, artistically unfinished content element that gives works a semantic individuality and expresses the author’s assessments.

The theme of different authors may be the same, but the motives will certainly be different. Thus, in Pushkin’s poem “To Chaadaev” on the theme of freedom, there are motifs of hope, youth, patriotic impulses, happiness, faith, and aspiration for the future. And in the poem “Sail” by M.Yu. Lermontov, the theme of freedom is revealed through completely different motives: storms, spiritual orphanhood, loneliness, search, rebellion. In any lyrical work there is an idea or several ideas. The main idea of ​​Pushkin’s poem “To Chaadaev” is the need for the younger generation to grow up in the name of the future freedom of Russia; the idea of ​​Pushkin’s “Village” - the happiness of the Russian people, the Russian village, the beloved Fatherland lies not in beautiful nature, not in the brilliant creativity of poets, but in the freedom of the people, liberation from serfdom. The main idea of ​​Lermontov’s “Sails” is that only in life’s storms and trials of fate can one find spiritual peace and happiness; human freedom lies in search, rebellion, and constant movement.

As is known, the content of a lyrical work is very specific and fundamentally different from epic and dramatic works in the concentration of subjective experience, the author’s presence in the text, and open emotionality. It is in lyrical works that a person’s feelings, experiences, and moods are revealed so fully and deeply. Therefore, poetic means of expressing unusual content are not always similar to the substantive elements in epic and dramatic works. Let's look at the means of “building” lyrical content.

In a poetic work there is no chronotope as such. In a lyrical text, it is enough to outline the lyrical situation in general outlines - everything else will be recreated by the inner world, the heart of the reader. A lyrical situation is a general sketch of where and when events occur or what causes the described feelings and experiences.

For example, the lyrical situation in the poem “Again I visited...” by Pushkin is associated with the lyrical hero’s visit to places near and dear to his heart. The lyrical situation in Lermontov’s poem “I go out alone on the road...” is defined in the first poetic line and is associated with the need for philosophical reflection, spiritual pilgrimage, and the search for happiness. In a poetic text, not only the chronotope is transformed, but also the plot. If we are not talking about lyric-epic genres and poetic epic works (poems, fables, ballads, poetic stories), but about purely lyrical works, then instead of a plot in these poetic texts a lyrical plot appears. In other words, this is the “dialectic of the soul” recreated by verse. Thus, in Pushkin’s work “Again I Visited...” the dynamics of the lyrical hero’s feelings and experiences are determined by his memories, philosophical reflections about the past, present and future: sadness about the past years and the death of the nanny is replaced by contemplation of Central Russian nature and observation of three pines, admiration for family, children, the younger generation, spiritual victory over physical death, the possibilities of human memory. In Lermontov’s poem “I go out alone on the road...” the lyrical plot develops from a mood of solemn loneliness, an attempt to unite the lyrical hero with nature, through painful rhetorical questions and philosophical reflections to the passionately desired acquisition of happiness and love.

In a lyrical work it is completely different compared to epic and dramatic works. figurative system. In a poem, there may be no images at all, there may not be a system of images as such, because the emotional, subjective content, states and feelings of a person come to the fore. Thus, in Pushkin’s poem “ Winter road“Attention is drawn to the images of fog, moon, clearing, road, troika, coachman, snow, etc. At the same time poetic images They do not tend to form groups; they are not represented in action and events. In a poetic work, all images are “embedded” in the lyrical plot and are subject to the dynamic development of internal experiences.

It is important to remember that in some poetic works, images can take on allegorical meaning. An allegory image is an image behind which stands one abstract idea, determined by literary traditions and reader perception.

In the fables of I.A. Krylov, the image of a fox is an allegory of cunning, the image of a hare is an allegory of cowardice. In classical works, Hymen is an allegory of family, Aurora is an allegory of the morning dawn. Metaphorical images are found in other poetic works. A metaphorical image is an image that suggests free interpretation as one abstract idea. The image-metaphor is not limited to any historical traditions or reader perception; it is a hidden contextual comparison. For example, in Pushkin’s poem “Demons,” bad weather in nature metaphorically echoes demonism in the human soul; the coachman embodies the idea of ​​the passage of time; the road is a metaphor.

Finally, in some poetic works, images take on such an unlimited amount of content that they become symbolic. An image-symbol is an image behind which there are several abstract ideas, absolutely individual and free in meaningful interpretation. The image of the sea in Pushkin’s poem “To the Sea” symbolizes elemental freedom, the unpredictable heart of the poet, inexplicable fate, and public sentiment. And in Pushkin’s poem “Anchar” the poison tree is a symbol of spiritual unrest, lack of freedom, evil, and war.

Everything that was said above about the substantive elements of a poetic text inextricably interacts with the main thing on which any poetic work is based - with the lyrical hero. The lyrical hero is the meaningful center of the poetic text; an image associated with the author of the work, but not identical to him; a generalized hero whose feelings and moods are revealed in a lyrical work.

The lyrical hero can be presented either statically or dynamically, but the range of his emotional and intellectual experiences is very significant, since the image of the lyrical hero is the unifying principle of all the substantive elements of a poetic work. What is the lyrical hero of Pushkin’s poem “I erected a monument to myself not made by hands...”? This is a poet-citizen, a strong-willed person, a true patriot, the “voice” of the people, a freedom-loving, merciful and wise person. Finally, you should pay attention to title of the essay or lack thereof. If Name there is a poem, then it is undoubtedly connected with the main ideas and general content text. The title may include main image

poems or the addressee in the case of a poetic message, the title may be the theme of the work or one of the motifs; often the title is so significant that it becomes an image-symbol, a symbol-idea for synthesizing semantic nuances.

IT IS SNOWING
It's snowing, it's snowing.
To the white stars in a snowstorm
Geranium flowers stretch

For the window frame.
It's snowing and everyone is in turmoil
Everything takes flight, -
Black staircase steps,

Crossroads turn.
It's snowing, it's snowing,
As if it weren't flakes falling,
And in a patched coat

The firmament descends to the ground.
As if looking like an eccentric,
From the top landing,
Sneaking around, playing hide and seek,

The sky is coming down from the attic.
Because life doesn't wait.
If you don’t look back, it’s Christmas time.
Only a short period,

Look, there's a new year there.
The snow is falling, thick and thick.
In step with him, in those feet,
Or at the same speed
Maybe time is passing?

Maybe year after year
Follow as the snow falls
Or like the words in a poem?

Crossroads turn.
It's snowing and everyone is in confusion:
White pedestrian
Surprised plants
Black staircase steps,

Pasternak’s poem “It’s Snowing” was written in 1957, during the late period of the poet’s work. Behind are life's difficulties, spiritual quests, creative self-determination, criticism and success; in the late 1950s - illness, the story of Doctor Zhivago, unconditional fame and moral “independence”. Perhaps these circumstances explain the philosophical themes of the poem. “It’s Snowing” is about the passage of time, the transience of human existence, the unity of man and nature.

Pasternak's life experience and the named philosophical themes of the poem determined its name. It is snowing - this is a law of nature that cannot be changed, just as it is impossible to stop the movement of life, the passage of time, which, alas, is always unilinear: from the past to the present and the future, from birth to old age and death. As the snow falls, so does time and a person’s life. But the laws of nature are different from human existence. Man is mortal, but nature is eternal. That is why it is important for Pasternak to convey this endless movement: the snow falls and brings with it other seasons, followed by snow again, changing year after year, leading a person through the endless cycle of nature, decades, eras. The title of the poem emphasizes a certain eternity, continuity, inevitability - snow is falling, and this is something that a person cannot change, it is from God.

Despite the not entirely “fun” themes, Pasternak’s poem sounds joyful and inspired, which is dictated by the author’s position expressed through motives. The poem contains motifs of movement, flight, the unity of all phenomena of the world, the inextricable connection of the earthly and the heavenly - along with them are heard the motifs of admiration, the joy of being, surprise, confusion and at the same time a certain “road”, “crossroads”. Life is always unpredictable, and who knows where fate will turn at this “crossroads”?

The themes and motifs in Pasternak’s poem are absolutely unified with the lyrical situation, which all boils down to the same “snowfall”. It snows, and the human soul begins to move. The lyrical plot is not just dynamic, it, like the existence of snowfall, is also endless, continuous and even unstoppable - the whole poem ends with the phrase “turn of the intersection”, but behind it is a new movement of life, inner world, feelings and experiences of the lyrical hero. The lyrical plot develops evenly, without sharp emotional transitions.

The calmness of the snowfall is conveyed to the lyrical hero, determining his peaceful, optimistic, conflict-free “course” of feelings. The lyrical hero is a spiritually extraordinary person, for whom the wealth of the surrounding reality lies in its unity, diversity, unexpected “connections” and associations. Everything in the world is whole, indivisible and equally significant, unique: geranium flowers, a window, steps of a staircase, a firmament, an attic, words in a poem, New Year, Christmas time, a pedestrian, plants, a turn at an intersection.

In a lyrical plot, subordinated to the feelings of the lyrical hero, all the named images “flicker” like snowflakes. There are a lot of images in the poem, as in the surrounding reality, but they are all interconnected and make up the “volume” of human existence and outside world. Like poetic images, all the meaningful elements of Pasternak's poem - themes, motives, lyrical situation, lyrical plot, lyrical hero - are also integral, interdependent and organic. This is Pasternak's philosophical uniqueness and his poetic genius.

In this context, I would like to present student work completed in the format of a written assignment for the state exam. This high school graduate's answer to the question "What is the meaning of the title of the poem A.S. Pushkin “Prophet”?.

The poem “Prophet” belongs to the realistic period of A.S. Pushkin’s work. In this work, the poet reflects on the topic of the poet and poetry. The motives of God's will, the unity of earthly and heavenly, and “spiritual thirst” sound quite definite. The title of the poem has a special meaning: a prophet is not just a poet, he is a man from God who appeared to him in the form of a six-winged Seraphim. A poet-prophet is the status of a person who combines both the earthly and the divine: his vision and hearing are much better developed, the poet-prophet has more accurate speech, he is wiser, and his heart is trembling and burning. The title of the poem determines its ideological content: the meaning of the existence of the poet-prophet is to serve the people (“Burn the hearts of people with the verb”). It is necessary to emphasize the high style of the poem, which is interconnected with the exclusive purpose of the poet (“apple”, “mouth”, “right hand”, “voice”). Gradation is also important in a poem: the content becomes more and more emotional with each verse, with each stanza, because the lyrical hero turns from a simple person into a poet-prophet. Thus, the title of Pushkin’s poem “The Prophet” has a deep meaning; it tells the reader about the poet’s chosenness, his purpose in earthly life: this meaning is in the spiritual “service to the people.”

FEATURES OF THE FORM OF A LYRIC WORK

A lyrical composition is a special, “emotional” content, and therefore the form of this “emotional-lyrical” content is specific, fundamentally different from epic and dramatic works. In a verse, every sound, every intonation is meaningful, because verse, like music, is a sounding phenomenon, saturated with additional nuances and hidden meanings. The main task of a comprehensive study of a poetic work is to determine the meaningful functions of a particular device. This is indispensable methodological requirement which must be observed: finding a poetic device - determining its meaningful meaning; discovery of the relationship between poetic means - the formulation of its ideological functions. Otherwise, the analysis of the poetic work will be “reduced” to rhymes, assonances, anaphors, and the main thing in the study will disappear: why did the author turn to these particular artistic means, what did the poet want to express and explain to his readers?

• So, poetic speech presupposes sound, which is why in lyrical works it is so significant phonetic organization and techniques related to the sound structure of the text. Most often, poets strive for euphony (euphony) of a verse, because each sound enters into a certain relationship with the others. The phonetic structure in a poetic work can be absolutely neutral - and this is also a technique, since in this case the main content of the poem is transferred to other artistic “levels” (lexical, syntactic, etc.). But often the phonics of a verse is emphasized by the author, a special aesthetic function is assigned to the sound structure of the text, and in this regard it is necessary to talk about two main phonetic techniques.

Assonance is the persistent repetition of stressed vowel sounds in a line of poetry. We are talking specifically about stressed vowels, since unstressed vowels in the Russian language are subject to reduction. In addition, it is extremely important to carry out the repetition consistently, in almost every stressed position, and not to single, “flickering” consonances of vowel sounds. Thus, in Pushkin’s poem “Winter Morning” in the first couplet there is a consistent assonance of “o” and “e”: “More O h and s O moon; d e no miracle e sleepy! //More e you dr e you're crazy, my friend e stout..."

Alliteration is the persistent repetition of consonant sounds in a line of poetry. These can be sonorant, hissing, deaf, whistling, voiced consonants. The important thing is that they are repeated in a line sequentially and not spontaneously. For example, in the poem “Message to Siberia” (“In the depths of the Siberian ores ...”), Pushkin uses alliteration of the sonorant sound “r”: “In the depths of Siberia R skies R beat // X R anite go R before you R singing, // Not p R your spirit will fall R bny t R ud..."

Assonance and alliteration are also called sound writing. It is important to remember the two artistic functions of these techniques. Firstly, most often sound painting carries out an intensifying, highlighting load in a work (strengthens and highlights the sound of a particular line or group of poems), like the two examples given from Pushkin’s works. Secondly, assonance and alliteration often serve for onomatopoeia, emphasizing the auditory impressions of the content expressed in the verse. For example, in Pushkin’s poem “It went out daylight..." in the refrain the alliterations “sh”, “m” and “n” sound - they convey both the “noisy” sounds of the wind and the “whirring” shimmer of the ocean: “ Sh at m And, w at m and, the ambassador shn oh sail, // Ox n get under pl oh, I'm angry m y ocean n…».

But perhaps the most common phonetic device in a poetic text is rhyme. Undoubtedly, rhyme in verse is also a metro-rhythmic phenomenon (male, female, dactylic, hyperdactylic rhymes), but above all, it is a sound, phonetic device (exact, inaccurate rhymes). Rhyme is the repetition of sounds at the end of poetic lines. At the same time, rhyme is also compositionally significant, since depending on the method of rhyming, poetic lines enter into certain relationships that strengthen associative connections and the semantic unity of fragments. There are three main ways of rhyming.

Paired (adjacent) rhyme (aavv)- when the first and second, third and fourth verses rhyme. As in the poem “The Prisoner” by Pushkin: “I’m sitting behind bars in a cheese dungeon Ouch. // The eagle raised in captivity is young Ouch, // My sad comrade, flapping his wings ohm, //Pecks bloody food under the window ohm…».

Cross rhyme (avav)- when the first and third, second and fourth verses rhyme. For example, in Pushkin’s poem “K***”: “I remember a wonderful moment jennier: // T appeared in front of me s, // Like a fleeting glimpse jennier, // Like a genius of pure beauty s…».

Ring (encircling) rhyme (Abba)- when the first and fourth verses rhyme, the second and third verses rhyme. As in the fourth stanza of Pushkin’s poem “To the Sea”: “How I loved your comments you, // Muffled sounds, abyss of words ac// And silence in the evening ac, // And wayward pores you!..».

Poetic text is most often rhymed, but can also be rhymed. Blank verse is a rhymeless poetic text. The absence of rhyme makes a lyrical work neither worse nor better, nor more talented, nor less talented. Without rhyme, a verse still remains a verse, since it retains the main features of poetic speech - division into poetic lines and the presence of an inter-verse pause. And whether the ending of lines with rhymes is emphasized or not is actually an insignificant factor. For example, Pushkin’s poem “Again I visited...” is written in blank verse: “...Again I visited // That corner of the earth where I spent // An exile for two unnoticed years. // Ten years have passed since then - and a lot // Has changed in life for me...”

• Along with the phonetic structure, in a poetic text it is extremely important lexico-morphological level. This refers not only to the significance and frequency of use of any parts of speech (nouns, adjectives, verbs), which is always meaningfully expressive and gives rise to either nominativity, or descriptiveness, or dynamism of the work. First of all, the expressiveness of the direct or figurative meaning of the word is implied. In a poem, figurative meanings (tropes) may not appear at all, but the lyrical text, even without them, will remain in the history of literature as brilliant. But in addition to the direct lexical meaning in a poetic work, it is the figurative meanings of the word that can be actualized - some tropes need to be known to modern school graduates and be able to identify them.

Hyperbole is an exaggeration. So, in Pushkin’s poem “Anchar” the poison tree is lonely - no more nor less - in the entire Universe: “...Anchar, like a formidable sentinel, // Stands - alone in the entire universe...”. The opposite of hyperbole litotes - artistic understatement.

An epithet is a colorful, figurative definition of an object or phenomenon. For example, expressive epithets are observed in Pushkin’s poem “Cloud”: “...And you made mysterious thunder // And watered the greedy earth with rain...”.

Constant epithets are often found in poetic works. A constant epithet is a colorful definition repeated in folklore texts or works focused on oral folk art. For example, “good fellow”, “pretty maiden”, “blue sea”, “dark sky”.

Comparison is a technique by which the meaning of one phenomenon is deepened through comparison with another. A) The comparison can be either two-part with comparative phrases “as”, “as if”, “as if” (“... An awakening has come for the soul: // And then you appeared again, // Like a fleeting vision, // Like a genius of pure beauty... ". Pushkin's poem "K***"). B) Or it can be the so-called “instrumental comparison”, where the noun is used in the instrumental case (Pushkin’s poem “Demons”: “Clouds are rushing, clouds are curling; // The invisible moon // Illumines the flying snow...”).

Metaphor is an allegory based on the similarity of phenomena. This is a hidden comparison, which can always be transformed into a complete, explicit, obvious comparison. In a poem, a metaphor is a bright, expressive surprise that needs to be “unraveled”, “translated” into the language of direct lexical meanings. “...Comrade, believe: she will rise, // The star of captivating happiness, // Russia will rise from sleep...” - in this fragment of Pushkin’s message “To Chaadaev” the “star of captivating happiness” is a metaphor for freedom, “Russia’s dream” is a metaphor for passivity , inaction, bondage.

Personification is a type of metaphorical allegory when inanimate objects are endowed with the properties of animate ones.

For example, in Pushkin’s poem “The luminary of the day has gone out...”: “...Worry under me, gloomy ocean...” - the inanimate ocean “worries” like a person, a lyrical hero, and besides, he is also “gloomy.” Metonymy is an allegory based on the contiguity of phenomena. Most often, the forms used in the function of metonymies are singular

• - instead of the plural (as in Pushkin’s “The Prisoner” - “Where the mountain whitens behind the clouds” - instead of “clouds” and “mountains”), as well as parts of one or another phenomenon - instead of the whole phenomenon (as in Pushkin’s “Winter Road” " - “The hour hand sounds sonorously // The measured circle will complete its course" - the “hour hand” replaces the entire phenomenon as a whole, “the clock”). As a result of the use of metonymies, a capacious typification, broad generalization, and strengthening of unusual semantic facets and meaningful perspectives arise. The phonetic, lexical and morphological structure “merges” into a more voluminous structural level of organization of the poetic text - intonation-syntactic . Of course, in a lyrical work it is very important which sentences predominate and form the intonation-melodic development of the content and the dynamics of feelings and experiences: simple, complicated, compound, complex, non-union or polynomial. And yet, some intonational-syntactic figures must be distinguished precisely as techniques, artistic media

Rhetorical appeals, rhetorical exclamations, rhetorical questions are rhetorical figures that do not require logical answers and contribute to deepening the content and emotional structure, revealing the inner world of the lyrical hero, and enhancing the expressive impact of the poetic text.

“...Why does the poet // Disturb the hearts with a heavy sleep? // He torments his memory fruitlessly. // So what? What does the world care? // I’m a stranger to everyone!..” (Pushkin. “Conversation between a bookseller and a poet”). Inversion - reverse rather than direct word order; violation of the generally accepted grammatical word order.

For example: “And the tired traveler grumbled at God...” (Pushkin. “Imitations of the Koran”). Parallelism is a parallel, similar construction of elements of a literary text.

There are two types of parallelism. A) Syntactic - when phrases or sentences are constructed uniformly (as in Pushkin’s “The Prisoner”: “...Where the sea edges turn blue, // Where only the wind walks... yes I!.."). B) Figurative parallelism - when two artistic images become similar, most often a person and an image from the natural world (as in the same “Prisoner” by Pushkin, the image of an unfree lyrical hero and a young eagle “fed in captivity”).

• Content aspects (history of creation, title, theme, problems, motives, ideas, lyrical situation, lyrical plot, poetic images, lyrical hero), phonetic, lexical-morphological, intonation-syntactic devices ultimately obey metro-rhythmic and compositional laws, completing the formal and artistic structuring of the lyrical work. So, let's look at the features metro-rhythmic organization lyrical works. What makes a poetic speech a verse? Primary rhythm consisting of division speech flow on poetic lines and - accordingly - in the occurrence of pauses between verses. But inside poetic lines there is also a rhythm - the so-called secondary rhythm

, which is associated with one or another system of versification, determined by the era and a certain poetic culture. Chronologically, the first system of versification in Russian literature was oral folk song verse,

the rhythmic organization of which directly depended on the music and was based on tonicity, stress, and emphasis within a poetic line. At the same time, the syllabic structure of the line was insignificant. On the contrary, in the first literary system of versification of the 17th century. - the desire for isosyllabism, the same number of syllables in poetic lines, comes to the fore, and the accent configuration plays a secondary role.

The reform of V.K. Trediakovsky - M.V. Lomonosov - A.P. Sumarokov in the middle of the 18th century contributed to the emergence of a “classical” system of versification in Russian literature - syllabo-tonic, the metro-rhythm of which was based on the correct alternation of stressed and unstressed syllables, that is, feet. A foot is a group of one stressed and one or two unstressed syllables. The repetition of feet in a line establishes a poetic meter. On the other hand, in the classical system of versification, both the tonic (accentual) and syllabic (syllabic) principles of organizing a poetic line turned out to be equally significant.

In Russian syllabic-tonic versification there are differences:

Two-syllable meters - trochee(alternation of stressed and unstressed syllables) and iambic(sequence of unstressed and stressed syllables). “Through the wavy fogs...” (Pushkin’s “Winter Road”, trochee); “Love, hope, quiet glory...” (Pushkin “To Chaadaev”, iambic).

Trisyllabic meters - dactyl(alternating one stressed and two unstressed syllables), amphibrachium(sequence of unstressed, stressed and again unstressed syllables), anapaest(alternating two unstressed and one stressed syllables). “This is the third night on this hill behind the ravine...” (A.A. Fet “Sea Bay”, dactyl); “Don’t be afraid of the evening garden...” (Fet “Evening Garden”, amphibrachium); “Don’t wake her up at dawn...” (Fet’s poem of the same name, anapest).

In poetic works, poetic lines can be of different lengths. In this case, poets most often turn to free verse. Free verse is a compositionally unordered multi-foot syllabic-tonic verse. Free verse should not be confused with blank and free verse; these are completely different poetic phenomena! “Tatyana Yuryevna told something, // Returning from St. Petersburg, // With the ministers about your connection, // Then the break...” (A.S. Griboyedov “Woe from Wit”, act 3, phenomenon 3. Alternation of hexameter, tetrameter and iambic bimeter).

At the turn of the 19th–20th centuries. modernists turned to musical and poetic innovations, which were based on the loosening of classical syllabonics. As a result of the metro-rhythmic experiments of the Symbolists, Acmeists, and Futurists, completely new stichometric forms appeared in Russian versification.

Dolnik is a transitional form with an equally stressed organization of poetic lines and variable interstress intervals of one or two syllables.

“I enter dark temples, // I perform a poor ritual...” (poem of the same name by A.A. Blok, three-beat beater).- Declamatory-tonic system of versification, or accented verseversification that arose at the turn– XIX XX

centuries, based on the alternation of lines with approximately the same number of stressed syllables and a free structure of interstressed intervals from 0 to 4 unstressed syllables. “...Here you are, man, you have cabbage in your mouth // somewhere half-eaten, half-eaten cabbage soup; // here you are, a woman, you are covered in thick white, // you look like an oyster from the shells of things...” (V.V. Mayakovsky “Here!”, four-beat accented verse).

Free verse is free verse that has no meter. We can say that this is prose divided into poetic lines. In free verse only the primary rhythm of the verse (division into lines) is preserved, and the secondary rhythm (within poetic lines) is absent. “Listen! // After all, if the stars light up, // that means someone needs it?..” (Mayakovsky “Listen!”). It is necessary to understand well that starting from the turn of the 19th–20th centuries. In Russian poetry, both classical syllabic-tonic meters and dolniks, accented verse, free verse and other stichometric forms are actively used. While in the lyrics of the second half of the 18th century. and throughout XIX century

poets turned exclusively to the five syllabic-tonic meters.

Is there some kind of “algorithm” for determining syllabic-tonic dimensions? Let's try to focus on the following “scheme”, which involves mandatory chanting (pronunciation with emphasis on verse accents). Depicting metric diagrams can only complicate matters. The metro rhythm of the poem should be heard and chanted! 1) Let’s find a line in the poem that would begin with unconditionally stressed lexical units: “Frost and sun; wonderful day!..” The word "frost" - independent part speeches with obvious lexical stress, rather than ambiguous stress service part

speeches like “only”, “already”, “about”, etc.

2) In the found line, read the beginning of the verse up to the first stressed syllable: “frost”.

• Let’s finish the conversation about the principles of holistic analysis of a poetic text by considering the most significant compositional techniques and structural patterns of lyrical works.

So, let's start with the fact that the minimum compositional and rhythmic unit in a poem is a poetic line, or verse. A verse is one poetic line. The entire work is a poem. These concepts cannot be replaced!

Found in poetry astronomical verse, that is, without dividing into stanzas, but strophic is more often used. A stanza is a group of verses. Couples, quatrains, octaves, etc. are all types of stanzas.

Stanzas, images, ideas, techniques, etc. in a lyrical text they can relate to each other on the principle of antithesis. Antithesis is opposition. In Pushkin’s “Village,” two parts of the poem are presented in antithesis: the first is written in an idyllic, lyrical tone, the second in an accusatory, angry, civil tone. The poet in Pushkin's poem is not a “pure” lyricist, he is a poet-citizen.

Often in a poetic work, the material is built not on the device of sharp opposition, but on the basis of a softer comparison. Contrast is a juxtaposition of artistic material. Pushkin’s poem “The Poet” is built on contrast, which also consists of two parts: in the first part the poet is shown as an impractical earthly person; in the second - a creatively gifted person under the power of the “divine verb”. But for Pushkin, a poet is always both an earthly man and a “man from God”; these two principles are inseparable, therefore the composition of the poem does not contain a sharp antithesis, it is just contrasting.

The composition of a poetic text may be subject to the technique of gradation. Gradation is an increase or decrease in the emotional and semantic significance of parts. For example, in “The Prophet” by Pushkin, the ideological and artistic meaning of the work rapidly increases as the lyrical plot develops and reaches its culmination in the “voice of God”: “Arise, prophet, and see, and heed... // Burn the hearts of people with the verb” - that is Pushkin's entire poem is structured by gradation.

At the same time, intonation and syntactic figures based on the technique of repetition and emphasizing the general architectonics of the poetic text are very striking in compositional terms.

Lexical repetition is a compositionally unordered repetition of a word or phrase that helps to strengthen motives, images, and ideas in a poem.

For example, in Pushkin’s “Demons”: “...I am riding, riding in an open field; // Bell ding-ding-ding...// Scary, scary involuntarily // Among the unknown plains!..” A blizzard in nature is “repeated” in the soul of the lyrical hero, in which there is also a blizzard, demonism, and unbelief. Anaphora (uniformity) - repetition of words or phrases at the beginning of independent fragments of text.

These can be anaphors of hemistiches, verses, couplets, quatrains, parts of a poem. Thus, in Pushkin’s poem “I loved you: love is still, perhaps...” the phrase “I loved you” is repeated three times at the beginning of the verses - anaphora structures not only the composition of the entire work, but also emphasizes the idea of ​​sacrificial love of the lyrical hero, who is capable of renouncing his beloved in the name of her happiness with another person. Epiphora is the repetition of words or phrases at the end of independent fragments of a poem. In the famous poem by A.A. Fet “The night shone. The garden was full of moonlight; lay..." the verse "to love you, hug you and cry over you" is repeated twice at the end of the second and fourth stanzas, revealing the two-part composition of the work. At the same time, the epiphora emphasizes the love experiences of the lyrical hero, equally strong both in the past and during new meeting

with a lyrical heroine.

Ring (ring composition) - verbal repetition at the beginning and end of any construction (stanza, poem). For example, in Pushkin’s message “To the Sea” the appeal to the “free element” is heard at the very beginning of the work (“Farewell, free element!..”) and in a slightly varied form at the end of the poem (“Farewell, sea! I will not forget...” ), which “loops” the composition of the message and confirms the lyrical hero’s devotion to the sea, elemental freedom, and spiritual “independence.”

Refrain is a repeated repetition of a compositionally isolated fragment. In Pushkin’s poem “The daylight has gone out...” The couplet “Noise, noise, obedient sail, // Worry beneath me, gloomy ocean” is carried out as a kind of chorus three times, being a completely obvious refrain that intensifies the excitement of the lyrical hero. poem by B.L. Pasternak “It’s snowing”, while analyzing the ideological and content load of all artistic means.

Pasternak's poem "It's Snowing" has an unusual artistic structure. So, for example, in unity with the content features, first of all, phonetic means appear. In the sixth stanza, Pasternak clarified that “the snow is falling DHICK-DENSE.” The feeling of the specific “thickness”, “descent” of snow from the sky to the ground is echoed by assonances that are striking in quantity: they are used in at least 23 lines out of 33. Pasternak most persistently repeats the stressed vowels “e”, “o”, “a”, "yo". As a result, one gets the impression of “enveloping”, “immersing” in the snow mass, the poems seem to be sung, filled with vocal formant: “...Sn e g id e t, sn e g id e t, // Sn e g id e t, and all e crumpled e nyi: // Ubel e pedestrian O d, // Surprised e data plants e nya, // Cross e turn O T". The quoted last stanza of the poem is completely assonant, which is quite rare.

At the same time, alliteration in the text is observed as exceptions - in five poetic lines the sonorant “n” and “r” are repeated, which, similar to assonance, also contribute to the appearance of a melodious, quite loud and even some kind of “rounded” sound: “...Che rn oh flattering n Itsy stupa n and, // Pe R ek R estka povo R from…". Although it should be noted that sound writing does not come to the fore in the poem, it only phonetically “compacts” the text, making it expressive and melodious.

Snow falls in an unpredictable way, it is a natural element - this idea is emphasized by variable rhyme and varied stanza structure. Pasternak refuses the same type of sound and strophic repetitions at the end of lines and alternates between cross and ring rhymes. The stanza and rhyme are improvisational, impromptu, like a snowstorm.

This poem is late period Pasternak's creativity, when the poet wrote clearly, simply, succinctly. Therefore, from the point of view of lexical and morphological means, words with direct lexical meaning predominate in the poem. Epithets (“surprised plants”), metaphors (“window frame”), and metonymies (“whitened pedestrian”) are exceptional. But in the poem there are clearly visible personifications: “everything takes flight, the steps of the black staircase”, “the firmament descends to the ground”, etc. This is no coincidence, because nature, time and man are one in Pasternak’s poem. It snows, and with it years and a person’s life passes. Pasternak was generally convinced that the entire universe as a whole is distinguished by its indivisibility, “indecomposability” into its constituent elements. This philosophical idea is emphasized by another extremely noticeable device in the poem - a comparison, which is carried out in detail in three stanzas: the third, fourth and seventh. Snow falls like a firmament in a “patched cloak”; the snow is falling as if the sky is coming down from the attic, “playing hide and seek”; snow falls like the words in the poem.

From an intonation-syntactic point of view, the poem is traditional and classic. In a poetic text, the division into lines coincides with the syntactic division of phrases and sentences; complex syntactic constructions predominate. Although two noteworthy simple sentences, which emphasize the interconnection of the main ideas of the poem and the irrefutable nature of natural phenomena: “It’s snowing, it’s snowing”; "Because life doesn't wait." Philosophy is also emphasized by two rhetorical questions sounding at the end of the work: “...Or with the same speed, // Maybe time passes?..”.

Speaking about metro-rhythm, we note the following. In the poem “It’s Snowing,” Pasternak turns not to the innovative stichometric forms of the 20th century, but to classical syllabonics and writes the poem in trochaic tetrameter. In the theory of verse, iambic is considered to be a “conversational” meter, and trochee is considered a “song” meter. Therefore, it seems natural that the poem was written in trochee, because in unity with numerous assonances melodiousness and musicality are born.

Although this metro-rhythmic device looks surprising: at the beginning of stanzas 1, 2, and 8 in the line “it’s snowing, it’s snowing” there is an internal truncation of the foot, which introduces a metrical interruption into these verses, since between the stressed syllables in the middle of the line it disappears necessary unstressed syllable. With this technique, Pasternak apparently wanted to emphasize the “fall” of snow and at the same time the counting of time, like a clock, the movement of the “hand”, the subjection of man to the fatal movement of years and decades. The fact that the metrical interruption sounds in three stanzas contributes to the appearance of unusual compositional relationships in the poem.

Indeed, the composition of the work is completely unique. It is characterized by end-to-end development; there is no need to look for division into parts - this will distort the author's ideas and the lyrical plot of the work. Just as the passage of time is inexorable, so the composition of the poem is one-line, like the movement of a clock hand... The integrity of the text arises thanks to two artistic techniques.

Firstly, thanks to the use of numerous anaphors and compositional repetitions: quatrains 3 and 4 are “fastened” with hidden anaphors “as if” and “comes off”, stanzas 6 and 7 - with the anaphora “maybe”. But the largest anaphora is associated with the threefold repetition of the verse “snow is falling, snow is falling” in stanzas 1, 3 and 8 and its varied changes in stanzas 2, 6, 7 and 8: “snow is falling, and everything is in confusion”, “snow is falling” , thick, thick,” “follow as the snow falls.” As a result, only quatrains 4 and 5 are without this persistent anaphora. And in the final stanza one can even observe a “double clutch”: it contains the verse “it’s snowing, it’s snowing” and two verses from the second stanza - “it’s snowing, and everything is in confusion”, “the intersection is turning”. The text turns out to be indivisible, permeated at its very foundation with a leitmotiv phrase, which is also included in the title. The composition of the poem turned out to be extremely monolithic.

Secondly, the middle of the poem does not “fall out” of general development lyrical composition due to the use of another unusual technique. The strophic division of the poem is improvisational, since it combines stanzas of different sizes: tercets, quatrains and pentaverses. But Pasternak’s strophic structure is often refuted by intonation-syntactic dynamics and approaches astronomical - intonation from one stanza requires its own further development in the next one, as can be observed at the junction of quatrains 4 and 5: “...The sky is coming down from the attic. // Because life doesn’t wait...” Between the stanzas there is an intonation and logical “coupling”, the “dot” at the end of the 4th stanza is refuted, violated, actually turning into a “comma”. A similar phenomenon can be noticed at the junction of other stanzas, which once again proves the integrity of the composition and the one-part form of Pasternak’s poem.

As you can see, all artistic techniques in Pasternak’s poem are used very organically, none of them comes to the fore, allowing the lyrical plot and philosophical ideas to develop first of all. Poetic thought is structured transparently and clearly, but at the same time associatively unpredictable and dynamic.

I would like to complete the conversation about a holistic analysis of a lyrical work with student works.

The first work is the answer of a high school graduate to the question “How are the poet’s final remarks connected with the main ideas of A.S. Pushkin’s poem “A Conversation between a Bookseller and a Poet”?”

A.S. Pushkin’s poem is associated with romantic ideas about the purpose of a poet and poetry. The motives of fame, loneliness, freedom of creativity, true art sound clear and definite. The poet's final remarks directly echo the main ideas of the entire poem. Pushkin believed that a poet is God’s chosen one, who is far from any mercantile, earthly manifestations; he must create “from inspiration, not from payment,” that is, not for the sake of fame, but for the sake of poetry itself, “the service of the muses.” According to Pushkin, a poet cannot depend on public opinion, because he is free in his creativity. But in this poem the lyrical hero, the poet, accepts the conditions of society, he is overcome by the desire for fame, the bookseller “bribes” him with his speeches, and the poet ceases to be a poet, he speaks not in poetry, but in prose. Pushkin's poem is built on an antithesis, which emphasizes the poet's special status among earthly people: he is a man from God. Thus, the poet's final remarks have great value to reveal the ideological content of the work, they contain Pushkin’s main idea: as soon as the poet accepts earthly conditions and adapts to the era, he loses his gift from God.

Second student work - answer to the question “ In which poems are the poetsversification that arose at the turncenturies reflect on philosophical topics, how can they be compared with “Sail” by M.Yu. Lermontov?”

The poem “Sail” by M.Yu. Lermontov refers to early lyrics poet, who is distinguished by a rebellious lyrical hero in a battle with fate. Arguing on the topics of freedom and the meaning of human life, the poet argues that life makes sense only when there are “storms” in it, which is what the “sail” strives for, personifying freedom, movement in the poem, but at the same time loneliness, which, According to the author, it is inextricably linked with freedom. Also, the founder of Russian romanticism V.A. Zhukovsky, who in the elegy “The Sea” embodies the idea of ​​romantic dual worlds, discusses the themes of fate, freedom and the meaning of life. In this elegy, the “sea”, personifying captivity, earthliness, strives for the “sky”, that is, a dream, an ideal, because of which it is forced, like Lermontov’s hero, to enter into a battle with fate, the “storm”. But the “storm” in the elegy only disrupts the peace and harmony between “sky” and “sea,” while in the poem “Sail” the main thing for the lyrical hero is freedom, rebellion, that is, the “storms” themselves. In addition, A.S. Pushkin also reflects on the topic of freedom. In the poem “The Prisoner,” written during the romantic period of creativity, the lyrical hero, just like Lermontov’s hero, strives for freedom. However, unlike “Sail”, the struggle with fate has not yet begun; in “The Prisoner” only aspirations towards it are manifested, expressed through the allegorical image of an eagle: it is he who calls the lyrical hero to a “storm”, escape, freedom. Thus, in the poems of V.A. Zhukovsky, A.S. Pushkin, M.Yu. Lermontov, lyrical heroes see the meaning of their life, freedom, loneliness differently and choose different forms of struggle with fate.

SCHEME FOR ANALYSIS OF A LYRIC WORK

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

(reviews about it).

II.

The structure of images and conflict development.

Theme and idea of ​​the poem

Emotional coloring of feelings.

Composition, plot (if any).

The figurative series of the poem.

Traits of a lyrical hero.

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

Paths and figures.

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. Rhythm, poetic meter

, rhyme.

VI.

Personal perception of the poem.

Analysis of a work of art is an analysis that should lead to an in-depth reading of it, i.e. to insight into the thoughts and feelings expressed by the artist.

We should not forget that in the center of a lyrical work is the image of the lyrical hero. Therefore, the content, the meaning of the poem must be sought in “ keywords ah” him, with the help of which the experience of the lyrical hero is expressed. This means that analyzing a work of art involves reading, highlighting “key words” and “phrases,” drawing up a plan, selecting quotes, etc. The purpose of this work must be determined in advance. For example, you pay attention to the epithets (metaphors, comparisons...) of the poem. For what? To understand what their role is in a literary text, what their characteristics are for a given author, what features of his talent they are talking about.

However, it is impossible to deeply and fully understand the meaning of each part highlighted in the process of analysis and draw correct conclusions on this basis if you are not able to see these parts together, in unity, as a whole. This goal is served by synthesis - the mental unification of the essential properties of 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” from which the “building” of scientific research is built in different ways . Comparing logical categories with building material is not accidental: what is important is 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.

COMMENT ON THE ANALYSIS SCHEME

LYRICAL WORK

Lyrics recreate not the external, but the internal world, the subjective thoughts and feelings of the lyrical hero, expresses the state and experience caused by some life circumstance or containing the public mood.

I. "Output data."

Information about the output can be found in the comments to the poems; it is better to use the collected works of poets, the information in them is comprehensive. You need to reflect on the meaning of the name, establish its direct, and perhaps figurative meaning.

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

1. Theme (motive) - a circumstance, event, fact, impression that served as a reason, 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 poetry "Elegy" by N.A. Nekrasov).

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

2. Emotional coloring of feelings.

The topic presupposes 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 outright hatred of 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 poetry, in which pictures of nature predominate, one should look for a transmission 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 melancholy, anxiety), a flock of clouds (“predatory” movement (a pack of wolves), massiveness, lack of lightness, height, oppressive darkness, a feeling of being lost, 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 feeling of dynamics and movement. The change and sequence of these components makes up the composition (structure) of a lyrical work. Although in each specific case the composition is unique and original, some general trends can be outlined.

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

The summary part in the poem “On the Hills of Georgia”:

And the heart burns and loves again - because

That it cannot help but love.

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

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

Event-emotional	Emotional-figurative	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 “Goodbye, unwashed Russia” (the sequence is not entirely logical, it is broken, nevertheless it exists.)	Alternation of facts, impressions and emotional reactions. (M.Yu. Lermontov’s “Sail” - in it, 2 lines of each quatrain are, as it were, figurative, and the next two are expressive). Often the internal state is revealed at the end of the poem: Snowy plain, white moon // Covered with a shroud our side // And birches in white cry through the forests. Who died here? Died? Isn't it me? (S. Yesenin)	In poems of this kind only alternations of facts and phenomena are presented; the emotional-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 good reason”

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

4. The figurative series of the poem.

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

Observe 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, track 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 the 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 and emotions (In the poem “In Memory of Dobrolyubov” the lyrical hero is N.A. Nekrasov himself. Through admiration for the life of his friend and comrade-in-arms, he was able to convey the attitude and mentality 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 permeated with sadness, sad reflection, filled with a feeling of regret and despondency.

Epigram- a short satirical poem addressed to a 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 gods, heroes, winners, some significant event, etc., constructed as an appeal or appeal to the object being praised.

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

Madrigal- a poem of a humorous or loving nature, in which an exaggeratedly flattering description of the person to whom the poet is addressing 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. Main features of poetic language.

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

Trails- these are figurative figures of speech in which words and expressions

used figuratively. 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 recorded 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. An epithet defines any aspect or property of a phenomenon only in combination with the word being defined, to which it transfers its meaning and its characteristics: silver skates, silk curls. Using an epithet, the writer highlights those properties and signs of the phenomenon he depicts to which he wants to draw the reader’s attention.

An epithet can be any defining word: noun: “Tramp - wind”, adjective: “wooden watch”; adverb or gerund: “you and A d n O look", "planes are rushing With V e R To A I" The epithet can be converted into a simile. Epithets serve to describe, explain, or 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 feeling of the author, form the reader’s relationship to what is depicted.

Comparison- these are figurative definitions of an object, concept or phenomenon by comparing one with the other. A comparison certainly contains two elements: that which is compared, and that with which it is compared (this distinguishes it from a metaphor, where only the second element is present).

Anchar, like a formidable sentinel, stands

alone in the entire universe (A.S. Pushkin)

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

And autumn is a quiet widow

He enters his colorful mansion.

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 characteristics or the correlation of a phenomenon with a group of phenomena.

I remember wonderful moment:

You appeared before me,

Like a fleeting vision

Like a genius of pure beauty.

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

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

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

A fire blazes in the forest in the bright sun.

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

Metaphor gives speech exceptional expressiveness. Metaphor, as if in a compressed, rolled-up form, contains the whole picture and therefore allows the poet to exclusively economically and clearly describe objects and phenomena and express his thoughts and experiences.

In everycarnation fragrantlilac ,

A bee crawls in singing.

You ascended under the blue vault

Above the straycrowd clouds ...

___________

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

With a sheaf of your oat hair

You fell in love with me forever...

The dog's eyes rolled

Golden stars in the snow...

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

Ah, the bush of my head has withered,

I was sucked into song captivity,

I am condemned to hard labor of feelings

Turning the millstones of poems.

In the literature of the 20th century, an extended metaphor became widespread: 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 St. Petersburg.

Allegory- allegory. A conventional image of an abstract concept using a concrete life phenomenon. The animals, people, and objects depicted in an allegory always mean other persons, things, events, facts.

Justice is a blindfolded woman with scales in her hands.

Allegory of hope - anchor.

An allegory of world peace - a 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, and deceit in the form of a snake.

Allegory underlies many riddles, proverbs, and parables:

The sieve is suited,

Covered with gold

Who will look

Everyone will cry.

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

Periphrase– replacing the one-word name of an item with a descriptive expression. (The periphrase is built on the same principle as the riddle: the essential “identifying” features of an unnamed object are listed).

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

From that peace I settled,

Where is the village old-timer?

For about forty years he was quarreling with the housekeeper,

I looked out the window and squashed flies.

Riddle poems are a common phenomenon in the poetry of 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 approximately the following: the lights went out, the theater was filled with people.

Periphrase (second meaning) is the writer’s use of the form of a famous literary work (often ironically).

Dying is nothing new in this life,

But living, of course, is not newer.

(S. Yesenin.)

In this life it is not difficult to die -

Make life much more difficult.

(V. Mayakovsky).

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

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

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

The sleepy birches smiled,

Silk braids were disheveled.

Silent sadness will be consoled,

And playful joy will reflect...

Oxymoron– a combination of opposite concepts in one artistic image:

"The only light that shines for us isominous dark » (A. Akhmatova);

That sad joy that I remained alive.”(S. Yesenin).

The names of some works of literature are based on an oxymoron - “Living Relics” (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:

I lovelush nature's decline.

Oh howpainfully by you Ihappy .

Sometimes he falls in love passionately

In yourelegant sadness .

Look, shefunny be sad ,

Suchsmartly naked .

We love everything - andheat cold number,

And the gift of divine visions.

Irony- hidden mockery.

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

« Why, smart one, are you delirious, you head?”- the Fox turns to the Donkey, considering him really stupid.

Or in the fable “The Dragonfly and the Ant”:

« Did you sing everything? This business» -

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

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

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

« My love, like an apostle in time,

I'll spread it across a thousand thousand roads»

(V. Mayakovsky).

Litotes– an understatement.

A figurative expression, which, in contrast to hyperbole, consists of understating the size, strength, and significance of the phenomenon being depicted, which the writer resorts to in order to enhance the expressiveness of speech.

For example, in folk tale: a little boy, a hut on chicken legs, in N.A. Nekrasov’s “Eremushka’s Song”:

Below a thin blade of grass

You have to 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 contiguity). For example, in our minds, the author and the book he wrote, the food and the dishes in which it is served, characteristic clothing and the person wearing it, the action and the instrument of this action are inextricably linked:

Butread Adam Smith ...

(A.S. Pushkin)

No. Shesilver , onate gold ...

(A.S. Griboyedov)

Because here sometimes

walks smallleg ,

Curls curl gold...

(A.S. Pushkin)

All flags will visit us -

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

« Iate three plates ! "(three plates of fish soup)

And now the strings struck something in response,

Franticallythe bows sang ...

Metonymy differs from metaphor in that metaphor paraphrased into comparison using 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), singular instead of plural (man instead of people).

From here we will threatenSwede .

We all look atNapoleons .

So that you can see at your feet

Uniform, spurs, and mustache!

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

Symbolic image becomes clear in the process of freely arising associations. Being a conventional designation, a symbol is in many ways similar to an allegory, but it differs from it in a greater degree of generalization, which is not amenable to unambiguous interpretation. In the poem “Sail” by M.Yu. Lermontov, the human soul, overwhelmed by passions, finds correspondence with the seething sea elements; the personality is associated with the image of a lonely sail, torn by the wind and rushing at the will of the waves. Similar symbolic correspondences can be found in such poems as “Anchar” by A.S. Pushkin, “Fountain” by F.I. Tyutchev, “Poems about a 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 they were alive, they are able to touch our hearts, because observations and experiences are embodied in them with amazing precision using the rich means of artistic speech).

Figures of speech

(syntax, construction)

Stylistic figures are a special structure of speech that enhances the expressiveness of the artistic word.

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

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

________ (G.R. Derzhavin)

They got along. Wave and stone

Poetry and prose, ice and fire

Not so different from each other...

__________ (A.S. Pushkin)

You are rich, I am very poor:

You are a prose writer, I am a poet.

(A.S. Pushkin)

The collision of contrasting ideas, combinations of concepts that are opposite in meaning allows us to better highlight the meanings of words and enhance the imagery and brightness of artistic speech. Sometimes according to 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– arrangement of words that are close in meaning in order of increasing or decreasing their semantic or emotional significance.

And where isMazepa ? Wherethe villain ?

Where did you run?Judas in fear?

(A.S. Pushkin. “Poltava”)

Don't think about running!

I called it.

I'll find it. I'll drive it. I'll finish it. I'll torture you!

(V. Mayakovsky)

When the yellowing field is agitated,

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

(M. Lermontov)

My wishes have come true, Creator

Sent you to me, my Madonna,

The purest beauty, the purest example.

(A.S. Pushkin)

Parallelism– comparison of two phenomena by parallel images of them. Such a comparison emphasizes the similarity or difference between phenomena and gives speech special expressiveness.

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

Oh, if only there were no frost on the flowers,

And in winter the flowers would bloom;

Oh, no matter how sad it is for me,

I wouldn't worry about anything.

In literature, this technique has a wide variety of applications, and along with verbal-figurative parallelism it can also be compositional, when parallel plot lines develop.