The ideological and thematic content of the work. Literary criticism as a science

Tyutchev is a poet-philosopher, and therefore the main content of his work is thoughts about life, man, and the universe. The poet's philosophical view colors all the themes of his lyrics. In its fundamentals, Tyutchev’s philosophy is close to the ideas of Schelling, which became widespread in Russia through members of the literary and philosophical circle “Society of the wise” (1823-1825), among whom was the young poet. Schelling perceived the universe as a living and spiritual being that develops and grows, rushing towards the triumph of truth, goodness and beauty, towards world harmony. “There is no dead nature,” Schelling argued, considering all natural phenomena as organs of the World Soul. This teaching was called natural philosophy; it was most fully reflected in Russian poetry by the work of Tyutchev. The originality of the theme of nature in his lyrics is connected with this.
Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
There is love in it, there is language in it -

the poet asserts after the German philosopher. Nature is alive, Tyutchev believes, but people don’t want to see it have a meaningful, independent life:
They don't see or hear
They live in this world as if in the dark...

The idea of the animation of nature - pantheism - permeates all of Tyutchev’s landscape lyrics. For him, nature is an animated whole, and natural phenomena seem to be “a great drama, conceived and staged according to all the rules of art,” as the poet wrote. In this universal performance, as in a myth, the Sun, Day, Night, Ocean, Earth act, and various natural elements turn into mythological images. The well-known poem “I love a thunderstorm in early May...” ends with an unexpected comparison of a thunderstorm with the goddess of youth Hebe from ancient Greek mythology:
You will say: windy Hebe,
Feeding Zeus's eagle,
A thunderous goblet from the sky,
Laughing, she spilled it on the ground.

Equally mythological are the images of Winter and Spring in the poems “It’s not for nothing that Winter is angry...”, “The Enchantress of Winter”, “Spring Waters” and others. Like an ancient idolater, the poet freezes before the grandeur and beauty of nature. She delights in the diversity of its colors, sounds, and smells. “How good you are, O night sea!” - exclaims the poet. “I love thunderstorms at the beginning of May...” he admits.

Peering intently into the mysterious face of nature, the poet strives to catch the slightest changes in it, to capture fleeting moments. That is why his poems so often depict transitional, intermediate moments in the life of nature. An autumn day reminds him of the recent summer (“There is in the original autumn...”), and an autumn evening carries a premonition of winter (“Autumn Evening”), he strives to capture the first awakening of nature, when spring is just beginning to assert its rights (“ The earth still looks sad, but the air already breathes spring...", "Spring Waters"). He even paints a thunderstorm not in the summer, when it happens often, but “in early May,” when the “first thunder of spring” is heard for the first time after a long winter.

Tyutchev’s nature is changeable, dynamic, knows no rest, it is in a constant struggle of opposing forces: chaos, the elements of rebellion and destruction, and space, the elements of reconciliation and harmony. They embody the eternal struggle between demonic and divine forces, the outcome of which has not yet been decided:
When nature's last hour strikes,
The composition of the parts of the earth will collapse,
Everything visible will be covered by waters again,
And God's face will be depicted in them!
("The Last Cataclysm")

The antithesis of day and night, characteristic of Tyutchev’s lyrics, also correlates with this. The night is like " unsolved mystery“,” “burning abyss,” the embodiment of chaos simultaneously frightens and attracts a person:
ABOUT! Don't sing these scary songs
About ancient chaos, about my dear!
How greedily the world of the soul is at night
He listens to the story of his beloved!..
(“What are you howling about, night wind?..”)

Tyutchev's pictures of nature are always a reason for thinking about man, his relationship with the universe, about the nature of the human personality itself. Parallels of the natural and human world are constantly present in the poet’s poems (“The earth still looks sad…”, “Autumn Evening”, “Fountain”), At the same time he in a new way comprehends the problem of personality, which absorbs the contradictions of the world. After all, according to Tyutchev’s concept, the struggle of the cosmos with chaos is most intense not in nature, but in social life and in the human soul. At the same time, the romantic idea of two worlds organically enters into the poet’s system of ideas about man and his place in the world. Man, according to Tyutchev, has lost his integrity, his soul finds itself involved in two worlds:
O my prophetic soul!
O heart full of anxiety,
Oh, how you beat on the threshold
As if double existence!..

This is why Tyutchev’s man turns out to be infinitely lonely. This is especially felt at night, when chaos manifests itself most strongly in the world. It is then that a person feels himself on the edge of an abyss, listening into the abyss of the world night. The lyrical hero fears her and at the same time longs to touch this secret:
Blessed is he who has visited this world
His moments are fatal!
He was called by the all-good
As a companion to a feast!

Tyutchev’s man is not just dual, he is as much a mystery as nature. The world of the human soul is inherently tragic; it contains the elements of destruction and self-destruction. The personality, being “on the threshold of a kind of double existence,” experiences the insolubility of the contradictions tearing it apart, entering into a hopeless struggle with the surrounding world and itself.

This position of the poet is felt especially clearly in love lyrics. For Tyutchev, love is a “fatal duel” in which destructive and intoxicating power merge, filling human life meaning and suffering:
Love, love - says the legend -
Union of the soul with the dear soul -
Their union, combination,
And their fatal merger,
And... the duel is fatal.
"Predestination"

This understanding of love as a destructive force was influenced by the poet’s personal spiritual experience, reflected in the “Denisiev cycle.” This is the name of a cycle of poems created in 1850-1864, which reflects the complex and contradictory relationship of the poet with Elena Alexandrovna Denisyeva. Tyutchev's love brought her both happiness and suffering: her family abandoned her, she was not accepted in the world, her illegitimate children could not inherit Tyutchev's name. That is why the lyrical hero exclaims bitterly: “Oh, how murderously we love.” The poet turns his attention to inner world beloved, whose image is endowed with brightly individualized psychological traits: she is a suffering, but passionately loving woman, ready for self-denial in the struggle for her happiness. Denisyeva’s death cut short this tragic romance, but the poet forever preserved her image in his memory: “My angel, do you see me?” - he asks his beloved who has passed into another world. Thus, the theme of “memory of the heart” becomes the basis of many of the poet’s poems, the most famous of which is the poem “I Met You...” (“K.B”) - a masterpiece of Tyutchev’s late lyrics. Set to music, this poem became one of the most popular romances. It is dedicated to Amalia von Lerchenfeld (married Baroness Krudener), whom Tyutchev met back in 1823. For half a century, they were connected by a romantic relationship, accompanied by dramatic breaks, partings and meetings. One of the last meetings in 1870 served as the impetus for the creation of the poem “I Met You...”. The “golden time” that the poet recalls turns out to be so vivid in his memory that it is no longer just a memory:
There is more than one memory here,
Here life spoke again, -
And you have the same charm,
And that love is in my soul!..

But such harmony and tranquility, which allows us to see parallels with the masterpiece of Pushkin’s lyrics, the poem “I remember a wonderful moment...”, is for Tyutchev only a short moment in the endless struggle of a person with the world and himself. Close and beloved people pass away, leaving only the light of memory in a lonely and suffering person. But this loneliness contains not only tragedy. After all, a person in Tyutchev’s romantic world is a creator creating his own world. “There is a whole world in your soul / Of mysteriously magical thoughts,” the poet claims. But this one mysterious world the soul is inaccessible to anyone, and therefore the theme of loneliness in Tyutchev is inextricably linked with the theme of “inexpressibility” - so characteristic of Russian romantic poetry, starting with Zhukovsky.

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Ideological and thematic content. The tragicomedy “Martyn Borulya” was written in 1886, during his exile in Novocherkassk. With this work, Ivan Karpenko-Kary satirically exposes the then public order- bureaucracy, judicial system based on bribery. The plot is based on a real fact: the long-term petition of the playwright’s father Karp Adamovich in order to document the restoration of the nobility lost by his ancestors. The author himself expressed interesting thoughts about his hero in his declining years: “I remember Borulya, although people laugh at him, because it seems to them that they are not such eccentrics as Borulya, and when you take a good look, there is nothing to laugh about: no matter who wanted to bring your children to the noble line so that they would not have a stale piece of bread?!”

Genre and style features. This position of I. Karpenko-Kary is very interesting, as it directs the reader to see in comedic situations the not so funny sides of reality, as in N. Gogol’s “The Government Inspector”: “What are you laughing at? You’re laughing at yourself.” It is this Gogolian laughter through tears that determines the pathos of I. Karpenko-Kary’s work. Hence the genre feature of this play - tragicomedy. The plot of the work (a peculiar, clearly national version of Molière’s famous comedy “The Bourgeois-Szlyakhtich”) presents humorous scenes from the life of a wealthy farmer Martyn Boruli, who is seeking his lost noble rights.

True, in Molière, moralizing has an abstract and instructive character, while in Karpenko-Kary it is directed against specific everyday and social phenomena presented in the national artistic context. This, by the way, is one of the significant differences between the works of classicism (“Meshchanin-Shlyakhtich”) and realism (“Martyn Borulya”). Unlike Bubble (“The Master”), Moshny (“One Hundred Thousand”), Martyn Borulya does not shake for every penny, does not mock those who are poorer than him, but he, like Molière’s Jourdain, in his desire to officially become a nobleman, in essentially loses common sense. Borulya is trying to establish “noble order” in his house. The comedy here is achieved through the striking discrepancy between the long-established way of life of a peasant farmer and the dream-like lordly nobility.

In particular, Martyn Borulya:

He orders himself and his family members to sleep for a long time, although sleep makes him bored and his sides hurt; plans to breed dogs and go hunting; wants to give her daughter Marisya to a “noble” man, who then runs away from her due to a funny misunderstanding; seeks to formalize his “noble” origin, but it turns out that a fatal mistake for our hero has crept into the documents (the entry was made under the surname Berulya, not Borulya).

All Boruli's endeavors aimed at achieving illusory happiness end in defeat. It couldn’t be otherwise, because for Boruli, nobility is something that can be used to cover up one’s peasant origins from the outside; the concepts of “spirituality”, “culture”, “education”, “nobility”, “ethics” are not accessible to him. The author sarcastically depicts this trait of the hero in the episode where he orders Palazhka’s wife to learn how to serve tea and coffee to a “noble” guest: “Well, that’s enough! Sit down, darling! Omelko will bring samuvar, tea, sugar and... coffee. I drank tea and I know how to infuse it, I’ll tell you myself, but I don’t know how to make coffee. Go to Sidorovichka now - she knows - and learn from her. And ask carefully how it is made and when it is served: either with borscht, or at night?” The episode in which Borulya tries to destroy good folk customs also causes laughter through tears:

“Marisya. Father, Stepan, go: mother is called! Martin. Marisya, how many times have I already ordered you, don’t speak like a peasant like that: mom, dad. And you do everything in your own way... You are lashing me in the ear with these words, like a whip. Marisya. Well, what about it? I forget. Martin. Look how Stepan says: daddy, mommy... Stepan. Or: dad, mom. Martin. We heard: dad, mom... you need to say it like noble children say. Marisya. I will never say it. Martin. Get used to it: you are on such a line.”

In general, Marisya is the most resistant to change, since she has a strong moral foundation, she tries to maintain her happiness, she has no need for the master’s life that her father dreams of. In fact, Martyn Borulya raised his children in the spirit of healthy folk morality, as evidenced by Marisina’s words: “The first father said that every person in the world lives to do, and that only he has the right to eat who earns food.”

The complete opposite of Marisa is her brother Stepan: he strives to achieve an official position not so much through some kind of intellectual effort, work on himself, daily diligent work, but rather through deception and cunning - that is, the way it was customary in the bureaucratic circle. And the father teaches how to survive in this rotten system: “Well, now with God! (Rises). Goodbye. (Kisses Stepan). Listen to your elders, write down your handwriting, memorize papers... rub, rub with people - and you will become people!” A sad tone is painted in the picture in which the father advises his son to break up with his childhood friend Nikolai, since now, as Borula seems to him, he is no longer equal to their family: “You, son, do not make friends with unequals, it is better with the higher ones than with the lower ones. What kind of company do you like Nikolai? Man - one word, and you are on such a line, rubbing between people of a different tribe... look at yourself and look at Nikolai. This is a real guy, and you’re a clerk!”

A bright satirical character is attorney Trendelev. His specialty is document fraud, he personifies a bureaucratic society, morally degenerate and engulfed in corruption. The writer constantly dealt with such businessmen, working as an official, knew their psychology well, and therefore neglected them to the core. Characters in dramatic works are revealed through dialogues or monologues.

Ideological and thematic content of the tragicomedy “Martyn Borulya”

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Ideological and thematic content. A.A. Fet (real name Shenshin) is a Russian poet, prose writer, publicist, translator. He entered the history of Russian literature as one of the finest lyricists who opened up new possibilities for the poetic word. Fet is the brightest representative of the poetry of “pure art,” an ideological and aesthetic movement in Russian poetry of the mid-19th century. The theory of “pure art” is based on the assertion of independence artistic creativity from society, proclaiming the self-sufficiency of art, contrasting the perfection of classical (ancient) forms with the imperfection and “dirt” of the surrounding reality. In accordance with these provisions, the subject matter of Fet's lyrics is somewhat limited: he deliberately moves away from the social problems that worried his contemporaries so much, avoids the realities of “low” life and everything that does not belong to the sphere of “beauty.” “Of course, no one will assume that, unlike all people, we alone do not feel, on the one hand, the inevitable burden of everyday life, and on the other, those periodic trends that are capable of filling every practical worker with civil sorrow,” Fet wrote, defining your poetic credo. “But this grief could not inspire us in any way: on the contrary, these hardships of life forced us ... from time to time to turn away from them and break through the everyday ice in order to breathe for a moment in the clean and free air of poetry.” Thus, Fet believed that lyrics should not contain signs of historical time, everyday life, or descriptions of the darker sides of life; its content is enjoying the beauty of nature, art, chanting the delight of love and the joy of creativity. All this constitutes the main themes of his poetry. From this follows Fet’s special position on the issue of the essence and tasks of art, reflected in his poems, which can be attributed to the topic of the poet and poetry. He sees its purpose in Whispering about something that makes the tongue go numb, Intensifying the battle of fearless hearts - This is what only a chosen singer can master, This is his sign and crown! Poetry is called, according to Fet, to remove the oppression of earthly passions from a person, to call him from the earthly into the “blue of heaven,” to elevate and inspire. The leitmotif of his lyrics is the theme of flight: dreams in his poems “swarm and fly”; in a moment of inspiration, he feels how his “outstretched wings” “grow and immediately carry into the sky.” He calls his poetry “a swallow with a lightning wing.” In moments of inspiration, he seems to lose earthly gravity and surrender to the will of the Creator: The earth, like a vague, silent dream, was carried away unknown, and I, as the first inhabitant of paradise, saw the night alone in person. Muse Feta - “on a cloud, invisible to the earth, in a crown of stars, an imperishable goddess.” She brings “healing from torment” to earth. There is no doubt that Fet's lyrics are connected with the romantic line of Russian poetry, with its dream of a beautiful ideal and the desire to get off the ground. At a new stage of its development, Fet picks up the traditional romantic theme of “poverty of words,” begun in Russian literature by Zhukovsky. “Oh, if only it were possible to speak with one’s soul without a word!” - the poet dreams. For him, this topic becomes especially relevant, because in his poetry he strives to convey unclear, vague mental movements that are difficult to describe in an exact word. Fet's poetry is close to such states of the soul that are farthest from reason: “dreams”, “dreams”, “unclear delirium”, “dreams”, “fantasies”. All this, as the poet says, “has no name.” But this, he believes, is the main task of poetry - to be able to express these unclear movements of the soul: Share your living dreams, Speak to my soul; What cannot be expressed in words - bring sound to the soul. In his poetic work, Fet proceeds from the fact that words are imprecise, “powerless”, “speeches are insignificant”, only sounds - natural, musical and poetic - convey true feelings. This is where the extraordinary kinship between Fetov’s lyrics and music comes from. His poetry is literally filled with “sweet” sounds that convey the beauty and harmony of the surrounding world: Sounded over clear river, Ringed in a darkened meadow, Rolled over a silent grove, Lighted up on the other side... “Evening” This gives a completely special sound to even such a traditional theme for poetry as the theme of nature. For Fet, nature is a means of expressing a lyrical feeling of delight, pleasure, and joy. It is in the landscape lyricism that the main tonality of his poetry, the major key, the mood of spiritual uplift, is best manifested: I came to you with greetings To tell you that the sun has risen, That it trembled with hot light Through the sheets. The poet, contemplating nature, is literally overwhelmed with joy: “This is morning, this joy...”. It is noteworthy that it is not exotic, but quite ordinary, quiet nature that evokes such delight in him: “wonderful twists on the bark near the oak tree,” “thick nettles” that “make noise under the window.” None of the Russian poets before Fet had such an abundance of descriptions of colors, shades, smells, and various states of nature. Fetov's landscapes are characterized by special detail and concreteness, which reveals the poet's extraordinary powers of observation. Among the trees he has not only the oak, birch, and willow familiar to poetry, but also fir, elm, and broom; among the birds there are not only the nightingale, lark, eagle, swan, but also the harrier, owl, and bullfinch. The acuteness of perception of nature is reflected in Fet’s lyrics in the wealth of epithets and metaphors that convey various aromas (“the smell of honey,” “fragrant spring bliss”), sounds (“midnight images groan,” “deadwood whistled on the fire”), colors (“along the sleepy lakes quickly the river / ran like a golden snake", "silver tears"). In Fet's lyrics, the natural world is harmonious and beautiful, contrasted with the everyday world of “earthly, oppressive malice.” “His nature is like the first day of creation: thickets of trees, a light ribbon of a river, a nightingale’s peace, a sweetly murmuring spring,” noted S. Ya. Marshak. But only poetry, from Fet’s point of view, gives the opportunity to unify with nature, therefore, with all the specificity of the descriptions, Fet’s landscape is not so much real as “apparent”. It is created using special techniques, for example, describing the reflection of an object in water. At the same time, the reflected reproduction of the object becomes more accurate and valuable than the object itself: In this mirror under the willow, my jealous gaze caught the sweet features of my heart... External world in Feta’s poems, he is colored by the mood of the lyrical hero, animated and enlivened by him, therefore “the grass is sobbing”, and “the flowers look with the longing of a lover.” Such images often caused misunderstanding and hostility among the poet’s contemporaries, but the most sensitive connoisseurs of words were allowed to talk about Fet’s “lyrical audacity” (L.N. Tolstoy). In general, Fet’s poetic landscape paints a symbolic picture of the living unity of the world: various connections between man and nature, spiritual fusion with it. Nature seems to him to be an “omnipotent” and “unconscious” force that saves man and gives him the opportunity to defeat death itself. The poet’s interlocutors are the stars, the sky, Space: One star breathes between them all And trembles like that, She shines with a diamond ray And speaks... Love becomes an equally powerful force in Fet’s lyrics, which, according to the poet, is “the grain and center on which it is wound.” every poetic thread." At the same time, the feeling of love turns out to be in tune with the elusive natural principle. Sometimes it is difficult to distinguish between Fet’s poems by theme: his motifs of love and nature are so closely intertwined. A remarkable example of this is the famous poem “Whisper, timid breathing...”, the most “Fetovsky” of the poet’s poems, his unique self-portrait, a recognized masterpiece of his lyrics. Built on nominal sentences alone, it does not so much depict objects and phenomena as express signs of feelings and states. An elusive movement arises from subtle, bizarre associations, although there is not a single verb in the poem. The unity of mood and feeling that permeates the poem is cemented by the melodic structure of the verse. This feeling is vague, indistinct, and the images that express it are simple to the point of banality (“the trill of a nightingale”), but, entering into associative connections, strung together in a single emotional series, they express the general idea of the poem: the idea of the elusiveness of the beauty of nature and love, the impossibility of end to understand and express it. The half-asleep, sleepy state of nature, unclear outlines and the night, in which “endless shadows” swarm, is a kind of magic that envelops the lyrical hero, absorbed in the experience of love. Reflections, shadows, swaying nature become one row of “magical changes in a sweet face,” which, in turn, begins to be perceived as one of the shadows of the night, which is being replaced by dawn. Love in Fet's lyrics seems to be outside of time and place, it is abstracted from specific conditions, the images of the lyrical hero and his beloved are pale and not individualized. This happens because the main interest for the poet is the feeling itself, conveyed in the finest shades and nuances. For the lyrical hero, love is joy, happiness, delight: “Oh friend, how happy I am, how completely happy I am!”, “The heart easily surrenders to happiness.” The joy of love is inspired by such poems as “I came to you with greetings...”, “Whisper, timid breathing...” and the famous, which became a romance, “At dawn, don’t wake her up...”. The poet's beloved is as beautiful as nature itself, with which she is inextricably fused. But the dramatic events of the love story between Fet and Maria Lazic, who died in a fire, destroyed the positive mood of the poet’s lyrics: love turned out to be a source of suffering and sadness. Images of a spring forest, a fluffy willow, a fresh wreath, corresponding to the happy state of the lyrical hero, are replaced by images of a fallen rose, a fading dawn, and faded grass. The image of burnt (literally) love was embodied in various variations: “Your soul, the star of your beauty, / In front of me, rushing away, will light up,” “There is a man burned!” Now even happy love “resounds with something bitter.” But at the same time, she does not lose her beauty and attractive power. Real love, over which time and death are powerless, captures the poet’s entire being. Fetov’s poem, which became another masterpiece of Russian poetry, “The night was shining,” sounds like an oath of allegiance to love and memory. The garden was full of the moon...": That there are no insults from fate and burning torment in the heart, And there is no end to life, and there is no other goal, As soon as to believe in the sobbing sounds, To love you, to hug and cry over you! Thus, Fet’s lyrics, which are characterized by the study of the subtlest overflows of spiritual feeling, delve into the artistic study of the existence of a person who is in constant communication with nature, loving, suffering and believing in the triumph of beauty and harmony. Tickets for the Basics of Literary Theory.

1.Literary criticism as a science.

Literary criticism as a science arose at the beginning of the 19th century. Of course, since antiquity there have been the literary works of Aristotle Plato. Boileau, etc. At the beginning of the 19th century, the era of the dominance of romanticism began in ideology, philosophy, and art. At this time, the Brothers Grimm created their theory. Literature is an art form; it creates aesthetic values, and therefore is studied from the point of view of various sciences. Literary studies studies the fiction of various peoples of the world in order to understand the features and patterns of its own content and the forms that express them. The subject of literary criticism is not only fiction, but also all the artistic literature of the world - written and oral.

^ 2. Interaction of literary criticism with other sciences.

Diverse connections between L. and others humanities , some of which serve as its methodological basis (philosophy, aesthetics), others are close to it in tasks and subject of research (folkloristics, general art history ), others with a general humanitarian orientation (history, psychology, sociology). L.'s multifaceted connections withlinguistics, based not only on the generality of the material (language as a means of communication and as construction material literature), but also on some contact between the epistemological functions of word and image and some similarity of their structures.

3.Origin of art The word art originally meant any skill of a higher and special kind - the art of thinking, the art of warfare. In the generally accepted sense, it denotes mastery in aesthetic terms, and the works of art created thanks to it, which differ, on the one hand, from the creations of nature, on the other, from works of science, crafts, and technology. Moreover, the boundaries between these areas human activity very fuzzy, because in greatest achievements the forces of art also participate in these areas. Real and spiritual sources of art, i.e. artistic creativity are seen in various phenomena of fantasy, romanticism, the diverse desire for change in Schiller, the desire to imitate Aristotle, modern naturalism, the desire for symbolic depiction of German idealism, expressionism and much more. But that's all figurative definitions art. Philosophy gives the following definition. There is art special shape public consciousness and spiritual activity, the specificity of which is to reflect reality through artistic images. In practical activity, people form and develop aesthetic ideas in which the phenomena of reality are reflected as beautiful and ugly, tragic and comic, i.e. aesthetically.

^ 4.Literature as the art of words . The main means of literature isword. Through the images created by words, the author tries to captivate the reader,"turn it on" into action, make it presence in time and space the work is “real”. Such “participation” is necessary for a full and deeper understanding of what is written: for example, the reader worries about Tatyana in“Eugene Onegin”, tries to understand the reasons for Katerina’s actions in"Thunderstorm" and the complex spiritual world of Natasha Rostova in"War and Peace" the tragedy of Grigory Melekhov in"Quiet Don" It is ours (“the reader’s”) perception and deep experience the fate of the heroes indicates that literature isThis is art, the art of words.

^ 5.Literary and artistic criticism as a part of literary criticism. A kind of avant-garde of the reading public (more precisely, its artistic educational part) consists of literary critics. Their activities are manifest. a very essential component of the functioning of literature. The calling and task of criticism is to evaluate art. works, and at the same time justify their judgments. Lit. criticism is a kind of mediator between writers and readers. She is able to stimulate and guide writing activity.

^ 6. Artistic image.

An artistic image is a universal category of artistic creativity, a form of interpretation and exploration of the world from the position of a certain aesthetic ideal by creating aesthetically affecting objects. Any phenomenon creatively recreated in a work of art is also called an artistic image. An artistic image is an image from art that is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. The artistic image is created by the author for the fullest possible development of the artistic world of the work. First of all, through the artistic image, the reader reveals the picture of the world, plot moves and features of psychologism in the work. The artistic image is dialectical: it unites living contemplation, its subjective interpretation and evaluation by the author (as well as the performer, listener, reader, viewer).
7. ^ Ideological and thematic content of a literary work. Issues. The core of the artistic system, its center, is considered to be ideological and thematic content. The inextricable unity of the crown and the idea constitutes an extract of the object and subject of creativity, the object of art, and its author’s awareness, which extends its influence to all other elements of the system. Problematics is the development of a problem (a more or less conscious contradiction) in the process of reflection. For example, analysis of the sense of duty and freedom related to moral issues
^ 8. Content and form of a literary work.

The content and form of a literary work are opposite “poles” in the artistic integrity of the work. It does not just report something or point to something, it contains the aesthetic reality of the artistic world, in which the depicted events, experiences, actions, their understanding and evaluation are transformed. The artistic world is the content of a literary work. It is the literary text that becomes the only possible form of embodiment of this content “Living poems themselves speak / And they don’t talk about something, but something.” (S.Ya. Marshak).
Internal unity with. and f. it is necessary to distinguish from various kinds of external correspondences of what is said in the work, and with the help of what techniques and means the text is constructed. “Content is nothing more than the transition of form into content. And “form is nothing more than the transition of content into form”
^ 9. Artistic time and space.

Any literary work in one way or another reproduces real world. The natural forms of existence of this world are time and space. Time and space in literature are conditional. However, literature, compared to other types of art, communicates most freely with time and space. In particular, events occurring simultaneously in different places. It is enough for the narrator to say: “in the meantime, this and that was happening.” Literature used this technique of transferring from one space to another. Another important property of literary time and space is their discreteness, that is, discontinuity. The discrete nature of space is manifested primarily in the fact that it is usually not described in detail, but is only indicated by the most significant details for the author. The nature of the conventions of time and space greatly depends on the type of literature. Conditionality is maximum inlyricism, since it is closer to the expressive arts. There may be no space here. IN drama the convention of time and space is established mainly on the theater. Amid the drama epic has more ample opportunities. Transitions from one time to another, spatial movements occur thanks to the narrator. The narrator can compress or stretch time.

10.Composition of a literary work. The external composition of the work is divided into chapters (in lyric-epic works they can be small in volume), subchapters, parts, volumes, books. Dramatic works consist of acts (actions), pictures (scenes), phenomena from beginning to end + extra-plot elements.
internal composition: motives, character system, plot framing, point of view.
Composition ensures the unity and integrity of artistic creations. Totality compositional techniques and means stimulates and organizes the perception of a literary work. The foundation of the composition is the organization (orderliness) of the fictional reality and the reality depicted by the writer, i.e. structural aspects of the world of the work itself. But the main and specific beginning of artistic construction is the methods of “presenting” the depicted, as well as speech units.

^ 11. The plot and plot of a literary work.

The plot is the course of action and the sequence of its development, which serve in a work as a form of unfolding and concretizing its plot. The plot is something that, although it exists in the plot, does not completely coincide with it. The plot is the same chain of actions, but changes taken in the author's lighting, in the development of the author's view from the beginning to the end of the work. the plot is something that can be translated, when a television announcer briefly tells us the events of the previous episodes of the film, he retells the plot; we will get an idea of the plot only by seeing these episodes on the screen. The original content of the word “plot” is a fable, a fairy tale, a story, a translation. “Plot” means “subject”, that is, what the work is written for. The plot is the author’s goal, and the plot is the means to achieve this goal.”

^ 12. Conflict of a literary work .Conflict- clash, struggle, on which the development of the plot in a work of art is built; contradiction as a principle of interaction between the images of a literary (epic or dramatic) work. The conflict determines the ideological orientation and compositionally organizes piece of art at all levels, giving each image its qualitative definition in contrast to other images. Love - relationships between people built on love conflicts; characteristic of the traditional drama of classicism and love story. Social-everyday (public) - social relationships, characteristic of realistic works. Philosophical - formulation and solution of philosophical problems: life and death, the cardinal foundations of existence, human destiny. Ideological clash different ideas having the right to exist. Psychological - internal contradictions of the individual; characteristic of romantic works. Symbolic - confrontation, collision of reality with its symbolic reincarnation; characteristic of works of symbolism.

The ideological content includes: 1) the theme of the work - the socio-historical characters chosen by the writer in their interaction; 2) problematics - the most significant properties and aspects of the already reflected characters for the author, highlighted and strengthened by him in the artistic depiction; 3) pathos of the work - the writer’s ideological and emotional attitude towards the depicted social characters (heroics, tragedy, drama, satire, humor, romance and sentimentality). Paphos - highest form ideological and emotional assessment of the writer’s life, revealed in his work. The affirmation of the greatness of the feat of an individual hero or an entire team is an expression of heroic pathos, and the actions of the hero or team are distinguished by free initiative and are aimed at the implementation of high humanistic principles. The prerequisite for heroism in fiction is the heroism of reality, the fight against the elements of nature, for national freedom and independence, for the free labor of people, the fight for peace. When the author affirms the deeds and experiences of people who are characterized by a deep and irremovable contradiction between the desire for a sublime ideal and the fundamental impossibility of achieving it, then we have tragic pathos. The forms of the tragic are very diverse and historically changeable. Dramatic pathos is distinguished by the absence of the fundamental nature of a person’s opposition to extrapersonal hostile circumstances. A tragic character is always marked by exceptional moral height and significance. The differences in the characters of Katerina in "The Thunderstorm" and Larisa in Ostrovsky's "Dowry" clearly demonstrate the difference in these types of pathos. Great importance in the art of the 19th-20th centuries it acquired a romantic pathos, with the help of which the significance of the individual’s desire for an emotionally anticipated universal ideal is affirmed. Sentimental pathos is close to the romantic, although its range is limited to the family and everyday sphere of manifestation of the feelings of the heroes and the writer. All these types of pathos carry an affirming principle and realize the sublime as the main and most general aesthetic category. The general aesthetic category for the negation of negative tendencies is the category of the comic. The comic is a form of life that claims to be significant, but has historically outlived its positive content and therefore causes laughter. Comic contradictions as an objective source of laughter can be realized satirically or humorously. The angry denial of socially dangerous comic phenomena determines the civil nature of the pathos of satire. Mocking the comic contradictions in the moral and everyday sphere of human relations evokes a humorous attitude towards what is depicted. Ridicule can be either a denial or an affirmation of the depicted contradiction. Laughter in literature, as in life, is extremely diverse in its manifestations: smile, mockery, sarcasm, irony, sardonic grin, Homeric laughter.