Artistic opposition of the nature of circumstances. Literary terms

Antithesis

All artists (writers, poets, composers, painters) widely use the opposition of artistic images in their work. In literary criticism, such an opposition is called antithesis, but this term can also be used in relation to painting.

Romantics at the beginning of the 19th century liked to oppose a proud, strong, outstanding personality, towering with his spiritual qualities above the surrounding society, to this very society with its vulgar and vile interests. At the same time, the romantic hero was usually depicted as lonely, disappointed in everyone and everything, because no one could understand and appreciate the nobility and loftiness of his soul. Thus, for example, Byron portrays Childe Harold in the poem of the same name.

In this opposition of an outstanding personality to a vulgar society, the denial of reality, characteristic of artists of the era of romanticism, was expressed.

In painting, an example of such an opposition between the individual and society is Bryullov's painting "Portrait of Yu.

Samoilova is depicted in the foreground, in full growth. She leaves the masquerade ball with her mask off. The masquerade ball symbolizes the masquerade of high life, where there is no sincerity, naturalness, simplicity, and everyone puts on a mask-mask. Samoilova, distinguished by sincerity and independence, is alien to any pretense, and the mask, a symbol of hypocrisy, - the mask that Samoilova removed from her face and holds in her hand, just explains why this beautiful, majestic woman leaves the masquerade and leads her pupil away. Bryullov admires this woman, and therefore her face is lovingly written out, every detail of her luxurious clothes. The girl trustingly clung to her, which also characterizes Samoilova as a generous, kind person, capable of evoking mutual love and affection.

Secular society is depicted in the background, small. High society, where everyone is shackled by the rules of decency, makes it difficult to clearly express individuality, averages, depersonalizes a person, therefore it is depicted in sketches, without drawing details. In this apparent, but in fact conscious incompleteness of the picture, Bryullov's condemnation of high society was expressed.

The second name of this picture is "Masquerade". It is interesting that a drama with the same name was created at the same time (Bryullov's painting was painted around 1839) and M. Yu. Lermontov. It also contrasts a strong, proud personality and high society. But even more briefly and succinctly, the condemnation of high society is expressed by the poet in a poem written on January 1, 1840. Lermontov speaks indignantly about a society in which

With the noise of music and dance,
At the wild whisper of hardened speeches,
Flickering images of soulless people,
Properly tightened masks.

How amazingly this description is similar to Bryullov's depiction of high society! Such a coincidence in the assessment of high society by the artist and the poet is not accidental: it reflects the dissatisfaction of the best people in Russia with the way of life and the moral state of society at that time.

In fiction, there is often a contrast between different historical eras from the life of a particular people. Artists opposed the past to the present, usually as a reproach to modern life.

So in M. Yu. Lermontov's poem "Borodino", an old warrior, a participant in the Battle of Borodino, telling a young interlocutor about this great battle, twice, starting and ending his story, reproached the younger generation:

Yes, there were people in our time.
Not like the current tribe:
Bogatyrs - not you!

Past and present, old and new are contrasted in the novel by I. S. Turgenev "Fathers and Sons", in the story by L. N. Tolstoy "Two Hussars". In painting, too, the composition of a work is often based on the collision and opposition of two eras: one - receding into the past; the other - born to replace it.

Let us turn to the picture of the English artist of the XIX century. Turner "The last journey of the frigate" Courageous "". A beautiful military sailboat, a participant in the Battle of Trafalgar, where the British won a glorious victory, is being transported to the place of its breaking and destruction by a terrible dark steamer, spewing a pillar of fire and black smoke. This happens at sunset, which symbolizes the end of the old romantic era. The setting sun illuminates the scene with an ominous red glow.

With the whole system of the picture, with every detail of it, the artist expresses his negative attitude towards the mercantile bourgeois world with its technical progress, hostile to everything romantic and heroic.

A striking example of the opposition of different eras is Yaroshenko's painting "The Old and the Young", which depicts a dispute between a young man (probably a student) and an elderly owner of the house, typical of the 80s of the XIX century. The artist's contemporaries believed that this was a dispute between father and son.

The young man, judging by the content of the ideological struggle in Russia at that time, ardently, with conviction and inspiration preaches about freedom, equality, fraternity, progress and a happy future for mankind, and, throwing his hand forward and upward and leaning forward with his whole body, he is like as if he was ready with all his being at once to rush into this bright future. He calls on others to give up a quiet carefree life as something immoral and unworthy and devote themselves to the service of progress and humanity. Such heroes and speeches are widely reflected in our literature from Belinsky and Herzen down to Chekhov and Gorky.

The old man listens to the rousing speech calmly and is preparing to object, judging by the gesture of his hand. Away from the arguing, in the back of the room, the old woman is playing solitaire. Her indifference to the argument and her occupation indicate that such disputes occur in the house so often that they bore her to death.

In 19th-century Russia, the attitude of artists towards revolutionaries was ambivalent. The revolutionaries liked the desire to serve the people, sincere faith in their ideas, selflessness. But at the same time, they repelled with their nihilism, their desire to destroy all traditional values. Such an ambivalent attitude of the author to what is happening was reflected in this picture. The young man looks somewhat theatrical, as if showing off in front of a girl who warms up his fiery eloquence. But, despite this, the girl listens seriously, trustingly and with sympathy to his speech. And in Russian art of the 19th century, an intelligent, developed, spiritually living girl is usually a symbol of Russia's aspirations (for example, in the novels "The Cliff" by Goncharov, "The Noble Nest" by Turgenev). Yaroshenko saw that Russia, Russian society, sympathized with the revolutionaries. And we now know that Russia trusted the revolutionaries, and even in the 21st century we continue to reap the bitter fruits of this mistake.

The tragic collision of the inexorably advancing new era with the obsolete old era is depicted in the painting by N. N. Ge "Peter I interrogates Tsarevich Alexei Petrovich in Peterhof." The very theme of this picture, the very historical episode depicted on it, led to the use of antithesis in the composition of this famous work.

Peter I in an armchair near the table, on the edge of which are papers incriminating the prince in treason. The head of Peter I is turned to his son-traitor, and he himself sits almost with his back to his son, almost turning away from him in uncontrollable anger and contempt. And at the same time, on the stern face of the king, in his eyes one can see not only contempt and anger, but also bitter bewilderment, disappointment and, it seems, even pity for his son, who is standing in front of him, bowing his head, expressing stubbornness with all his appearance, barely hidden under external obedience, and some kind of sluggish, lifeless protest against his father. The characteristic of Tsarevich Alexei, given by the artist, reflects the features of the obsolete past - inert and passive. And, on the contrary, health, energy, conveyed in the compressed, springy pose of Peter I, his gaze, correspond to the spirit of change, the spirit of the new time.

The picture was created in the era of the reforms of the 1860s, carried out by Alexander II, and expresses the artist's sympathetic attitude towards these reforms. However, N. N. Ge, along with sympathy for the cause of Peter I, and hence the reforms of Alexander II, also expressed the tragedy that is inevitably inherent in any critical era and raises doubts about the beneficial outcome of the ongoing changes. After all, it was not strangers to each other who turned out to be irreconcilable enemies, but father and son. Innovations painfully severed the holy family ties, and the cruelty of the father involuntarily alerts the viewer to his work. The artist himself recalled his work on this painting in the following way: “I inflated my sympathy for Peter, saying that his public interests were higher than his father’s feelings, and this justified his cruelty, but killed the ideal” 1 .

Among the various types of contrasting images, the most important and frequent is the opposition of characters, beliefs, and views. So in the novel "Fathers and Sons" the beliefs and lifestyle of Bazarov and Pavel Petrovich Kirsanov are contrasted. In Leo Tolstoy's novel "War and Peace", which, starting from the title, is riddled with oppositions, Napoleon and Kutuzov, for example, are contrasted.

This kind of opposition of images is the main thing in painting.

Consider Titian's Denarius Caesar, an early masterpiece of the artist, depicting and contrasting Christ and the Pharisee.

The Pharisees, the opponents of Christ, were constantly looking for an excuse to bring Him to justice. They sought to discredit Him before the people, to disgrace Him, thus pushing the people away from Him, and then to destroy Him. During a sermon that a person must pay tribute first of all to God, that is, it is more important to take care of the spiritual than the bodily, a Pharisee approached Christ. He wanted to convict Christ of disobeying the authorities, perverting the meaning of the word tribute in His sermon. The Gospel of Matthew tells about it like this. "Then the Pharisees went and deliberated how to catch Him in words. And they send their disciples to Him with the Herodians, saying: Teacher! We know that You are just, and you truly teach the way of God, and do not care about pleasing anyone, you do not look at any face; therefore, tell us: what do you think? Is it lawful to give tribute to Caesar, or not? But Jesus, seeing their craftiness, said: Why are you tempting me, hypocrites? show me a coin that pays tribute. They brought him denarius. And he said to them: Whose image and inscription is this? They say to Him: Caesar's. Then he said to them: Therefore, give Caesar's to Caesar, and God's God. (Matthew 22:15-22).

How did Titian embody this story in his amazing work? And what attracted him to this story? What thoughts did the artist express when embodying this plot?

He used counterpoint. The figures are contrasted: Christ is highlighted in bright red and blue, depicted in front, occupies almost the entire plane of the picture, calmness and powerful noble spiritual energy emanates from his appearance. On the contrary, the Pharisee is depicted in profile, his figure is cut off, almost all of it is outside the canvas. The whole appearance of the Pharisee expresses insinuatingness, deceit, aggression and indicates that this person is completely immersed in the worries of accumulating material wealth and hardly knows what a soul is.

The moral state of the heroes is contrasted, which is manifested in the expression of their faces (especially in the expression of the eyes). In the unkind look of the Pharisee, there is evil triumph, and a threat, and ruthlessness. But the look of Christ is calm and penetrating, it penetrated into the very heart and thoughts of the Pharisee, it has a clear understanding of why the question is asked, what the Pharisee is seeking, in the look of Christ there is an unshakable firmness and clarity of spirit.

The moral opposition of the heroes is also emphasized by the opposition of hands: a dark, rough and strong hand with swollen veins in the Pharisee and a light, beautiful, with thin long fingers in Christ.

We find a similar opposition in the famous novel by I. S. Turgenev "Fathers and Sons": the hands of Bazarov and Pavel Petrovich Kirsanov are contrasted - the hands of a democrat who, by his labor, earns money for living and studying at the university, and the hands of an idle aristocrat, several times a day changing your outfit.

The image of hands as a means of characterizing the hero is often used by writers and artists. For example, the depiction of hands on Rembrandt's "Portrait of an Old Man in Red" and Van Dyck's "Self-Portrait" kept in the Hermitage of St. Petersburg attracts attention.

So, we see that Titian, opposing Christ and the Pharisee, depicted an irreconcilable collision of the world of high moral aspirations and thoughts with the world of base passions, that world in which irrepressible money-grubbing, insatiable greed, evil envy reign; with that world in which selfishness, enmity and cruelty dominate. And this world of evil, just like the Pharisee depicted by Titian, is constantly aggressive, ready to attack, crush, destroy at any moment, as soon as it finds a victim, which it constantly and persistently seeks.

Building the composition of this picture, Titian depicted Christ and the Pharisee alone, against a dark neutral background and did not show either the interior of the Jerusalem temple, where Christ preached at that time, or the crowd listening to His sermon, or the Pharisees plotting a provocation. Leaving Christ and the Pharisee alone, Titian thereby gave the gospel episode a generalized meaning: the eternal confrontation in the world of active good and aggressive evil, and also expressed his belief in the inevitable triumph of good.

Now let's turn to N. N. Ge's painting "What is truth?" Christ and Pilate. The composition of this picture is all permeated with oppositions. The moment is depicted when, objecting to the words of Christ that He was sent into the world to testify to the truth, Pontius Pilate asked Him: "What is truth?" (John 18:37-38).

N. N. Ge thought over the composition of the picture in such a way as to reveal the universal and social meaning of this gospel episode, as the artist himself understood it. The moment was chosen when Pilate interrogated Christ alone in the Praetorium, without the Pharisees accusing Him. The Jews did not enter the praetorium, fearing to be defiled on the eve of their Passover. And the opposition of these two figures immediately gives the picture a generalized meaning: we see how the wrong government mocks the Teacher of truth, who commanded the world the most exalted and most moral teaching to achieve the common good on earth; we see that the morality of rulers is incompatible with high morality, even hostile to it. And every detail of the picture serves as a reinforcement of this thought.

Pontius Pilate is depicted with his back to the viewer, we do not see the expression of his face, the expression of his eyes. Yes, we don’t need this, because his face can express no more than what his figure expresses eloquently and which is usually characteristic of rulers: arrogance, swaggering disdain for people, arrogance, authority.

Christ stands facing the viewer, because the moral content of the personality most clearly expresses the face. Christ is depicted as tired, with disheveled hair, as He was subjected to bullying. But He retained peace of mind, openly and directly looks into the eyes of Pontius Pilate, mockery did not break Him.

A large semantic role in the picture is played by light and shadow. Pontius Pilate is placed in the foreground and brightly lit, because Power is always in sight, it is in the center of attention: sculptors and artists create portraits of rulers, poets glorify them in verse, they are always and everywhere destined for the most prominent and honorable place. It is not for nothing that in the Russian language there is the concept of high society, and power is called secular.

Christ, on the other hand, is in the shadows. After all, those who did not achieve visible success during their lifetime are neglected by the crowd and the authorities, they are invisible to public opinion and remain, as it were, in the shadows. It happened that great people were appreciated only after their death. No wonder it says: "There is no prophet in his own country." During the life of the Savior, few understood who He was, and few believed His preaching.

In art, there is also a contrast between inexperienced ("pink") youth and skeptical, experienced maturity. Goncharov's novel "An Ordinary Story" contrasts the enthusiastically lofty views on the life of young Aduev and the skeptical, purely rational attitude towards life and people of his uncle, Aduev Sr. We meet the same thing in Pushkin's novel "Eugene Onegin": the idealist and dreamer Lensky is opposed to Onegin, in which all the illusions of youth are destroyed by the experiences of life.

A striking example of such an antithesis in painting is the painting by E. Manet "Breakfast in the Studio", which depicts a young man immersed in dreams of future accomplishments. He stands with his back to the table, laden with food, even slightly crouching on it, thereby emphasizing his disregard for the everyday side of life. Near him on an armchair lie armor - a symbol of valor. They clearly do not fit in with the environment, but characterize the direction of the young man's thoughts, involuntarily resurrecting the image of Don Quixote, especially since the helmet is an attribute of a warrior and hero and symbolizes lofty thoughts, vivid imagination and craving for dangerous adventures. And the saber near the helmet denotes spiritual activity and courage.

Behind the young man, thinking, a man with a cigar in his hand is sitting at the table. In front of him are the remnants of lunch, a bottle and a glass of unfinished wine. Both the posture of the man and the expression on his face speak of the fatigue and calmness that accompany the experience of life. He is clearly alien to youthful impulses, he calmly satisfies his daily needs.

It seems strange that both the young man and the man, while in the living quarters, did not take off their hats. But behind this detail is hidden semantic subtext. Their hats are different. Each hat is age appropriate. In the language of symbols, to change a hat means to change the way of thinking, ideas and views. The young man is wearing a bright, light straw hat, and on the man's head is a felt, solid, gray hat. This suggests that the views of the young man are attractive, bright, but fragile, while those of the man are sober, stable, but dull-gray.

It is impossible not to pay attention to the fact that in an armchair, next to knightly armor, a cat is sitting and licking under its tail. This introduces an element of irony in relation to youthful dreams. The artist makes fun of the young man, although he treats him with obvious sympathy, so the young man is depicted in the foreground, his expressive, handsome face is brightly lit - he is the main character of the picture.

In the field of sculpture, a striking example of the opposition of images are the figures of Michelangelo's "Slaves" (rising and dying), which have already been discussed in the chapter on allegory. Although these "Slaves" have survived to our time as two independent works, they were conceived as elements of the composition of one gigantic plan - the tomb of Pope Julius II, and as part of this unrealized project they were an antithesis.

Another good example of antithesis in sculpture is Klodt's "Taming the Horse" sculptural groups on the Anichkov Bridge in St. Petersburg. In each group we see the struggle of oppositely directed unequal forces, namely: powerful horses rushing to freedom and holding them, weak in comparison with them, young men. But the young men still manage to restrain the free impulse of the horses. These sculptural groups express the triumph of the spirit over the soulless flesh and the triumph of the human mind over wild nature; they visibly complement the poems of A.S. Pushkin about how

... young city,
Midnight countries beauty and wonder,
From the darkness of the forests, from the swamp blat
Ascended magnificently, proudly ...

Opposition of images is very common in music. For example, in almost any symphony, any instrumental concerto, string quartet, etc., allegro and andante are opposed.

Antithesis is used so often in art because the source material for it is the reality around us; her art reflects, studies and interprets her, and she is full of opposites, starting with simple objects, phenomena and states (big and small, hot and cold, hard and soft) and ending with complex ones (stinginess and generosity, joy and sadness, wealth and poverty). , war and peace, ruin and prosperity). In a word, art is in a sense likened to a mirror, which reflects what is in front of it and what is happening. Therefore, antithesis is one of the main elements of the composition of almost all types and genres of works of art.

Notes:
1. N. Yu. Zograf. "Nicholas Ge". "Fine Arts", M., 1974. Pp. 28.

Dictionary of Literary Terms Allegory is an allegory, when another concept is hidden under a specific image of an object, person, phenomenon. Alliteration - the repetition of homogeneous consonant sounds, betraying the literary text a special sound and intonation expressiveness; one of the types of sound recording. Amphibrach is a three-syllable meter with an accent on the second syllable. Anapaest is a three-syllable meter with the stress on the third syllable. Antithesis is an artistic opposition of characters, circumstances, concepts, creating the impression of a sharp contrast. An aphorism is a short saying that expresses a significant, deep thought in an original artistically pointed form. An aphorism resembles a proverb, but unlike it, it belongs to a certain person (writer, scientist, etc.). A ballad is one of the genres of lyrical-epic poetry: a plot poem based on some unusual incident associated with a historical event or legend; usually of a heroic, legendary, or fantastic nature. A literary hero is a protagonist, a character in a work. Hyperbole is an excessive exaggeration of the properties of the depicted object. Grotesque is the ultimate exaggeration, based on a bizarre combination of fantastic and real, terrible and funny; thickening of the satirical depiction of phenomena, objects and people. Dactyl is a three-syllable meter with the stress on the first syllable. A detail is one of the means of creating an artistic image; expressive detail in the work (part of the outside world, portrait, etc.), which helps the reader to imagine and better understand not only the character, setting, but the work as a whole, the author's attitude to the depicted. Dialogue is a conversation between two or more persons; the main form of disclosure of human characters in a dramatic work. Drama is a kind of literature, a dramatic work intended to be staged, in which the main idea is revealed through the dialogues and monologues of the characters, their actions and actions. Drama in the narrow sense of the word is a play with acute conflict, but unlike tragedy, the conflict here is more grounded, ordinary and, one way or another, resolved. Genre - a type of work of art: song, ballad, poem, story, short story, comedy, etc. The plot is an episode of a literary work in which the main conflict arises. The idea is the main idea of ​​the work. Inversion - an unusual word order, a violation of the sequence of speech in order to give the phrase a special expressiveness. Intonation is the main expressive means of sounding speech, which allows you to convey the attitude of the speaker to what he is talking about. Irony - ridicule, ridicule. Usually, the true meaning of the statement is, as it were, disguised: it says exactly the opposite of what is meant. Comedy is a dramatic work that ridicules the negative traits of a person or social phenomenon. Comic - funny in life and art. Composition is the construction of a work of art. Artistic conflict - a clash, confrontation between characters or any forces that underlies the development of the action of a literary work. The climax is an episode of a literary work in which the artistic conflict reaches its highest point in its development and requires resolution. A monologue is a detailed statement of one person, not connected with the remarks of other people. A short story is a small epic work, close to a story, which is based on a description of one event and the author's assessment of it. An artistic image is an artistic depiction of human life in an extremely specific form, but at the same time carrying a generalization and expressing the aesthetic and moral ideal of the writer (artist). An essay is one of the genres of epic, narrative literature, which differs from others in authenticity, in that the essay usually depicts events that took place in real life. At the same time, it retains the features of the figurative reflection of life. Parallelism - matching; often used in oral folk art. Landscape is a description of nature in a work of art, which not only makes it possible to see where an event takes place, but also helps to understand it. A character is a character in a work of art. Song - a small lyrical work intended for singing; a folk song usually appears along with a melody. The story is an epic genre; in terms of the nature of the development of the action, it is more complicated than a story, but less developed than a novel. A poem is one of the genres of a lyrical-epic work, which is characterized by a plot, an expression by the author or hero of his feelings. A pseudonym is a fictitious name or conventional sign under which the author publishes his work. The denouement is an episode of a literary work in which the main artistic conflict is resolved. A story is an epic genre, a small form of a literary work in which an image of an episode from the life of a hero is given. Remarque - the author's explanation in a dramatic work, with the help of which the scene of action, the external and spiritual differences of the characters, their condition are specified. A replica is a phrase of an interlocutor in a dialogue that arose as a response to the words of a partner. Rhythm is poetic - the repetition of homogeneous sound features, the alternation of stressed and unstressed syllables. Rhyme - sound matches at the end of lines. The novel is an epic work that covers the life, actions, clashes of many heroes, sometimes the history of generations, reveals the diversity of social relations. The novel is characterized by a branched plot or several storylines united by a common idea. Romance is a feature of literary creativity, which consists in the desire to depict the bright or fictional aspects of life. Sarcasm is a caustic, caustic mockery. Satire is the most merciless ridicule of the imperfection of the world, human vices. A stanza is a part of a poem, united into a single whole by rhyme, rhythm, content. Plot - an event or a series of events depicted in a work in a certain sequence, constituting the content of a work of art. The theme is what is the basis of a literary work, the main subject of the story. Tragedy is a dramatic work that depicts exceptionally sharp, irreconcilable conflicts, most often ending in the death of heroes. This struggle reveals the loftiness of aspirations and the strength of the characters of the characters. Fantasy is a kind of fiction in which the author's fiction creates an unreal, fictional world, bizarre images and phenomena. Folklore is the oral art of the word. Exposure - episodes preceding the plot, the emergence of the main conflict; delineation of the position of the characters before the action begins. An epigraph is a vivid saying placed by the author before a work or part of it in order to help the reader to better understand the content and meaning of the text. Humor is a cheerful, good-natured mockery of someone or something.

Dictionary of literary terms

Vanguard?zm- a term that denotes formalistic experiments in the literature of the 20th century, an extreme manifestation of aesthetic searches within modernism.

Hagiography- living literature.

Akmei?zm- one of the varieties of Russian neo-romanticism.

allusion- an artistic technique that consists in using a hint of some well-known everyday, literary or historical fact instead of mentioning the fact itself.

« Antirobinson? yes"- a type of literary work in which characters, being isolated (for example, on a desert island), lose their human qualities, a process of savagery occurs.

Antithesis- artistic opposition of characters, circumstances, concepts, compositional elements, etc., creating the effect of a sharp contrast.

Anthropocentric?zm- a doctrine that puts man at the center of the universe, considering man as the crown of nature.

Aphorism- a short expression that contains some kind of philosophical or worldly wisdom.

« Byronic heroic"- a literary character: an individualist, a proud loner, entering into an uncompromising struggle with the society that offended him.

Blank verse- a poem without rhymes.

Best-seller- the designation of a book that has a very great success with readers, published in a huge circulation.

Introductory (insert) episode- one of the extra-plot elements of the composition; usually has a relatively complete independent plot and its own character system, unrelated to the plot and character system of the main narrative.

Vertex composition- a type of composition that aims to increase the tension of the narrative: for this, the development of the action is omitted in the plot, and the climax follows almost immediately after the plot.

Eternal images- the name of the characters that writers of different countries and eras constantly refer to, since these characters have a universal timeless meaning.

Internal conflict- a conflict that arises in the soul of a character, associated with the confrontation in him of desires, motives, etc.

Internal monologue- the technique of psychologism, the direct reproduction of the thoughts of the character, as if "overheard" by the author.

Heroic- one of the types of pathos, an active, effective statement of lofty ideals, associated with overcoming serious obstacles by the hero.

Speaking surname- one of the literary techniques, which consists in characterizing a character by giving him a name or surname, the meaning of which indicates certain personal qualities of the character.

"Gothic" novel- the genre of “horror novel” that arose in the work of the pre-romanticists: ghosts appear in a medieval castle, diabolical forces pursue innocent victims, etc .; asserted the unknowability of the world and the omnipotence of evil in it.

Grotesque- an artistic device of intentional deformation, violation of the proportions of the depicted world or character.

Deheroization- a reduced image of characters in a literary work, emphasizing their weakness and dependence on the surrounding social environment.

Decadence- the name of the movement in literature and art at the turn of the 19th and 20th centuries; it was based on the assertion that civilization had exhausted itself and entered an era of decline and extinction, which must inevitably be followed by its death.

Artistic detail- an expressive detail, a characteristic feature of some object, part of everyday life, landscape or interior, carrying an increased emotional and meaningful load, not only characterizing the entire object of which it is a part, but also determining the reader's attitude to what is happening.

Detectives? you- the collective name of epic works of various genres in which any crimes are investigated.

Dialogue?ktika soul?- the image in the literature of human character as a manifestation of internal psychological contradictions between the desired and the possible, material possibilities and spiritual principles, and the contradictions themselves turn out to be the basis for the growth and development of character.

"Cruel romance"- lyrical-epic genre; a poetic monologue that tells about unhappy love and love suffering with increased emphasis on the experiences and torments of the lover.

Sound copy- an artistic technique that consists in the selection of such words, the combination of which imitates the sounds of nature in the text (the whistle of the wind, the sound of rain, the chirping of birds, etc.).

Ideology- the dominant philosophical doctrine in a certain historical era.

Intrigue- a complex, intricate interweaving of the actions of the characters, complicating the understanding of the meaning of the events taking place.

History? zm- the principle of depicting people and events, when the writer is trying to understand what gave rise to the phenomenon he depicts, what this phenomenon is in its essence and what will happen next as a result of what is described, that is, this is an image of something in the process of development of the world and man.

Historical coloring- the use in the work of certain words, details, images that create a sense of the historical past in the reader.

Historical novel- a type of novel depicting the private life of people during periods of major historical events; establishes a dialectical link between the present and the past; finds out the origins of contemporary social processes to the author.

Caricature- an artistic technique of a satirical image, based on the combination of schematic features with characteristic details.

Classic- the name of literary works, whose artistic significance has been preserved for a long time; these are works that have a strong aesthetic impact on each new generation of readers.

Classicism- productive creative method; it is based on the principle of imitation of nature, which its representatives rationalistically represented as harmonious. This method affirmed the idea of ​​the original rationality and goodness of man; the artistic world was built on the basis of harmony, clarity and didacticity, strict adherence to normative poetics was assumed; on the basis of this method, an artistic system was formed, which included literary movements: Renaissance classicism, classicism of the 17th century and enlightenment classicism.

collie?ziya- clash, struggle of the active forces involved in the conflict, which determines the development of the action of a literary work.

The concept of the world and man- a stable motivated idea about the structure of the reality surrounding a person and the place of the person himself in it, about the limits of his capabilities and relationships with nature and other people.

Lyrical heroic- the conditional image of the poet in the lyrics; it is usually close (but not identical) to the author himself, reflects his personal experiences, but also contains certain generalizations.

Literary struggle?- creative controversy that occurs on the pages of literary works between authors representing different aesthetic, ethical and ideological points of view.

Literary direction- a concrete historical manifestation of a productive creative method within the artistic system, as well as works created on the basis of one unproductive creative method.

Literary current– creation of works based on a common creative method in specific national literature.

Literary process? ss- the historical existence of literature in its development, in the interaction of literary phenomena and the perception of readers.

"Mass Literature? Ra"- the name of works of low aesthetic quality, mainly entertaining, published for profit and indoctrination of the reader.

World literature- a set of literary works of different peoples that are in a certain interaction: mutual influence, polemic, clarification, enrichment, denial, etc.

Modernism- the general name of the totality of literary trends and trends of the 20th century, in which attempts were made to reflect new social and psychological phenomena with new artistic means; the modernists argued that the absurd world required adequate means for its embodiment in art.

Motivation- artistic justification of the actions of the characters, conditionality, changes in situations, turn of events in a literary work.

Nationality- the property of a literary work or the entire work of the writer to embody the national ideal, as well as the national character.

Science fiction- the general name of works in which, on the basis of scientific achievements, the writer tries to predict their consequences for humanity, depicting the imagined future in his work.

National identity- manifestation in the work of the national literary tradition, on which the author relies in his work.

Neo-romantic?zm- literary direction within the romantic art system; It was characterized by an attitude towards revealing the heroic possibilities of an ordinary person, affirming the beauty and wealth of the world, glorifying the activity of a vital position.

Innovation- enrichment of literature with new artistic discoveries, organically complementing the national tradition of this literature and influencing the further development of verbal creativity.

Oh yeah- a lyrical genre, a solemn lyric-oratorical work, glorifying someone or something.

Oxymoro?n(oxymoron) - artistic technique; a combination of opposite, contradictory in meaning words in one artistic image.

Description- an extra-plot element in the composition of the work, the image of static, unchanging objects and phenomena: details of a portrait, landscape, things, etc. No events occur during the description, the plot seems to “freeze”.

Oratory techniques- techniques used in oral presentations to make speech expressive: rhetorical questions, exclamations, etc.

Open final- features of the plot-compositional construction of the work, in which there is no denouement.

Pamphlet- epic genre; a satirical and journalistic statement on any occasion or addressed to someone.

Parabola- epic genre based on allegory; it differs from fable and parable by the ambiguity of comparisons based not on allegory, but on a symbol; the content of the parabola suggests a multi-valued, sometimes contradictory interpretation.

parody?- ridiculing any writer or work by bringing it to the point of absurdity, sharpening, emphasizing the characteristic properties of his artistic manner.

Pathos- the main emotional mood of the work, its emotional richness.

Subte?kst- an artistic technique in which a phenomenon, event, feeling, etc. are not directly named, but the author only hints at them, hoping that the reader himself will think up the missing.

Polyphony (polyphony) is a special organization of a literary text, which consists in the fact that each character, as well as the narrator, has his own view of the world and, as a result, his own speech manner. A feature of polyphony is the equality of all points of view on the world.

Poem- a lyric-epic genre, a poetic narrative work with a pronounced lyrical assessment of what is being narrated.

Poetics- the doctrine of the structure of a work of art and the system of literary techniques and means on the basis of which the artistic world is created.

Preromantic?gp- a literary movement that arose as a result of the crisis of bourgeois ideology in the 18th century; asserted the unknowability of the world and the omnipotence of evil in it, but at the same time demanded from a person an active life position and decisiveness in actions.

Parable- an epic genre that, on the basis of allegory, explains any complex philosophical, social or ethical problem using simple examples.

Prototype- a real person whose appearance, character traits or life history are reflected in the creation of a literary work by the writer.

Alias?m- conditional surname, name, initials or symbol under which the writer publishes his work in order to hide his real name.

Psychologists?zm- a set of means used to depict the inner world of a character: his psychology, state of mind, experiences, etc.

Publicity?- the focus of the work on the resolution of topical problems.

Frame storytelling- a method of compositional design of the narrative according to the principle of "story within a story", when a general story "frames" one or more independent stories.

Realism- a productive creative method, which based its artistic world on the identification of social laws, requiring the image of the dialectical relationships of character and circumstances; formed a realistic art system.

Reflection- analysis of one's psychological state by any character or lyrical hero of a literary work.

Rhythmic pro?- a method of organizing artistic speech, in which a prose text is divided into rhythmic segments similar in sound, which creates the effect of melodiousness, musicality, bringing such a text closer in sound to a poetic one.

reasoner- a literary character expressing in the work the author's point of view on the events and characters depicted; may take part in the development of the plot, but often he turns out to be an outside observer, whose task is limited to commenting on what is happening.

Requiem- a literary work in memory of the deceased or the deceased.

Retardation- a plot-compositional technique used in epic genres to delay the development of an action, which allows you to delay the onset of a climax or denouement; consists in the introduction of extra-plot elements (lyrical digressions, etc.), introductory episodes, descriptions (landscapes, interiors, portraits, etc.), compositional repetitions of homogeneous episodes, descriptions, explanations, etc.

"Robinson? Yes"- a literary genre that describes the behavior of a person or people who find themselves in isolation (for example, on a desert island), but who overcome all obstacles with the power of their mind and active behavior.

Novel- an epic genre that strives to depict with the greatest completeness all the various connections of a person with the reality surrounding him and the whole complexity of the world and human character.

Romanticism– a productive creative method that affirmed the dialectical unity of the ideal and the material in the world (two worlds) and their confrontation as the basis for development, affirmed the unlimited possibilities of an active personality capable of rising above social laws and reshaping the world, influencing its ideal essence; formed the Romantic art system.

Romance- a kind of pathos, which is the experience of one or another lofty ideal and an emotional desire for it.

Romantic irony- one of the basic principles of romanticism, which consisted in the need for constant correlation of the presented ideal with reality, and the described reality with the affirmed ideal.

Sarcasm- one of the types of comic; evil, mocking sneer.

Satire- a kind of pathos based on the comic; a sharply negative attitude of the author to the depicted, expressed in an evil mockery.

Sentimentalism- an unproductive creative method and literary direction of the Enlightenment, in which the classicist cult of reason was replaced by the cult of feeling; asserted the original goodness of man and the need to develop this kindness on the basis of closeness to nature.

Symbol- one of the tropes, a hidden comparison, in which the compared object or phenomenon is not called, but is implied with a certain degree of ambiguity of choice, depending on the perception of the reader.

Symbolism- a literary trend within the artistic system of romanticism, which is characterized by the assertion of the individual perception of the world by each individual person and the setting to evoke a certain emotional reaction from the reader with the help of symbolism.

The system of versification- different principles for creating the musical rhythm of poems, depending on the characteristics of the language; ancient, syllabic, tonic and syllabic-tonic systems of versification are known.

Socialist realism?- an unproductive creative method and literary trend of the 20th century, which arose as an aesthetic reaction to the spread of the ideas of Marxism; writers of this trend sought to depict revolutionary processes in the characters' characters and the life of society, underestimating the fruitfulness of evolutionary processes; they argued that the basis of the historical process is the collective activity of the masses, so the interests of the individual must be subordinate to the interests of the collective; the poetics of this trend bizarrely combined the principles of classical realism and the normativity of classicism.

Stage of the literary process- a historical period in the development of literature, which is characterized by a commonality of aesthetic ideas and poetic teachings.

Stylization- a literary device, which consists in the fact that the author, creating his work, imitates the style and artistic means of a well-known work.

Style- a set of poetic techniques and means characteristic of a single work (the style of the work), the work of the writer (the style of the author), etc. In addition, they talk about styles of language (speech): bookish, colloquial, oratorical, etc.

creative method- the main artistic principles of selection, reproduction and evaluation of reality in a work.

Terza rima- a stanza in which the first verse rhymes with the third, and the second with the first and third of the second stanza, and so on.

Type literary? rny- a character in which the universal human traits inherent in a number of people prevail over the personal, individual traits inherent in only one particular person.

Typization- artistic convention; selection and artistic comprehension of the characteristic features, phenomena and properties of reality in the process of creating artistic images and building the artistic world.

Tragic guilt of the hero- an unintentional act of the hero, which becomes the cause of his misfortunes.

Tradition- the literary experience of many generations of authors, expressed in the ways of creating the artistic world of the work; tradition ensures the continuity and succession of the development of literature, the connection of works of art from different eras.

Treatise- genre of scientific literature; a completed essay on a scientific topic, containing a statement of the problem, a system of evidence and conclusions.

Utopia- a literary genre that describes an artificially created ideal state and social structure.

Futurism- the literary direction of modernism, whose representatives sought to convey the industrial image of the new world, to contribute to the formation of a new person.

Fantasy- a literary trend of the 20th century, which is part of the literary system of romanticism, based on the philosophical myth-making of the writer.

Character- a combination in the character of personal, psychological traits with universal, typical for a group of people, typical qualities; this combination forms the unique individuality of the character, the complexity of his inner spiritual world.

Chronicle- an epic genre, the artistic world of which is limited to a certain time period, within which a consistent narration is conducted about all events.

Artistic system- a set of literary works created on the basis of one productive creative method.

Elegy- lyrical genre; a work that is a sad reflection on some topic or on any occasion.

Epigraph- a relatively short text placed by the author before the work or part of it, designed to briefly express the main content of the text following it.