Composition in the literature: description, application and rules

The word "composition" first meets in school, in the future it becomes a term, then a concept, gradually expanding to a key in any plan comprehending the literary work. There are a variety of ways and forms of artistic representation of reality, and as one of the main formative units is considered a compositional device.

Compilation

"Composition" in Latin is translated this way. Or "composition". It is this phenomenon that gives the reader an integral narrative and, in general, any text. How to treat the composition technique, helping to arrange all parts of the text in the correct order, which is determined solely by the content of this work? Of course, the composition - not just a chain of scenes and episodes, in the compilation of parts of the text there is a much more sophisticated creative work.

So, one of the ways to reduce all the elements to a composition is to compose a single whole narrative from descriptions, monologues, dialogues, figurative system, false stories, authorial digressions, characteristics of heroes, plot narrative and its plot, landscapes and portraits. This will be the first composition reception.

The views of the past and future

Retrospection takes the reader back in time, where the author immerses him in events that have happened to the hero as long as you like, and thus the root cause of what is happening in the present is clarified. Composite reception retrospection is used by the authors very widely and often both in prose and in poetry.

Very intrigue is created when the author alternates chapters, giving them in turn to several heroes, or events, or localities. And ends each chapter with an incomplete and intriguing scene. A huge stimulus appears in the reader's quicker flipping on. Such compositional techniques in the literature are called breaks. In addition, the composition itself can be arranged thematically, mirrored, on a ring or in the reverse order of events.

Four receptions

The composition of any real work is certainly multilayered, each of them has a "double" and even "triple bottom", "underwater currents" and even whirlpools. How does the author achieve such polysemy? Of course, using a variety of compositional techniques in the literature. Their incredible variety. The main - four: installation, opposition, reinforcement and repetition.

Repeat - from simple and extremely effective, it pours in ordinary words an unexpected context, gives harmony to sound, helps to designate the main thing. Here is the most appropriate example of Blok's poem "Night, street, lantern, pharmacy ...", where the main compositional techniques - repetition and amplification - show the looping of the circle of life and the constant return to the past. Similarly, in prose, some repeating detail or a certain image is deduced into the leitmotifs of a work that is permeated by them and thereby acquires integrity. For example, the resurrection of Lazarus from Dostoevsky ("Crime and Punishment") or the image of a thunderstorm near Ostrovsky.

Strengthening and contrasting

The amplification as a reception is close to the repetition, but there is more effect in the artistic transmission of a phenomenon or event, since details or images similar to the first are selected, which with each new output strengthen the emotional tension of the reader and quickly fill the picture depicted with new details and visual images. Especially good in this reception is Gogol (a description of the house of Sobakevich or Plyushkin). In Chekhov, this technique is used in the story "A Man in a Case".

The opposite reception is no less good and effective. Contrast, otherwise - the antithesis, the use of contrasting images. With great force these compositional techniques are manifested in poems. Let us recall Lermontov, where the black blood of haughty descendants is shed alongside the poet with righteous blood, as the very depth of each reader's heart shudders from such oppositions. A compositionally opposing is present almost everywhere, without it you can not do: storm and peace ("Sail" Lermontov), Onegin and Lensky. Without contrast, there will not be a single work, even poetry, even prose, the reception of this powerful and expressive.

Contamination and erection

This combination of two techniques - opposition and repetition. This results in a particularly strong effect - a mirror composition. The contamination in translation means mixing, so it's easier to remember what the composition method is called, combining values that are polar different. With a mirror composition, the repetition is almost literally exact, but with the opposite meaning. Let's recall: the scene of Tatiana and Onegin with Tatiana's rebuke in the beginning and the scene of Onegin and Tatiana with a rebuke to Onegin - at the end of the novel. Mirror composition is a very advantageous and powerful tool.

Installation - a more sophisticated, sophisticated search, but beating on the spot. When reading, however, this is felt as an insight, although for sure the author thought for a very long time which compositional device to choose, collected puzzles, rearranging two different images side by side so that a third, new meaning was born from their neighborhood. For example, Pavel Petrovich, an aristocrat who has on his desk a silver ashtray in the form of a bast. Silver. Lapot. We now know everything about the aristocrat Pavel Petrovich through an oxymoron compiled by Turgenev, who skillfully used compositional means.

Receptions and their levels

In the composition of a work, all the techniques used perform one of two functions that differ from one another. Compositional reception organizes either a separate fragment of the text - a micro-level, or the entire text as a principle of composition - a macro level. Repeating in a separate part of the poetic text often uses such paths as anaphora (onehead) and rhyme (sound repetition in the endings of verses).

The use of amplification in prose is often appropriate at the microlevel, in the description of an object or phenomenon, and in a poem it is an excellent way to create a common unity of composition. As an example, one can recall Pushkin's poem "The Prophet" (and Rimsky-Korsakov wrote music so well to him that it seems possible to even feel the reception of amplification). The editing also sometimes becomes a macro level and organizes the composition of the whole work, even very voluminous, as, for example, Pushkin (Boris Godunov) or Bulgakov (Master and Margarita).

Compositional tricks and effects

Installation and reinforcement, opposition and repetition - any of the main compositional techniques, and not only basic ones, can expand its value to the principle of compositing. But at the heart of each such principle is primarily an effect. Otherwise, why all the fuss with compositional techniques, if you can retell the information on the principle of a telephone directory.

What compositional tweaks will add to the product effect? For example, if the action does not begin with the beginning of events, but vice versa - from the end, gradually building in the following episodes the course of time and explaining the reasons for the events that have occurred. This is the so-called inverse composition, a very interesting technique ("What to do?" Chernyshevsky). And if a repetition of stanzas is used, as if framing a poem, or a description that takes place at the beginning and end of a work, ringing the composition with a ring, this technique will be called a ring composition or a composition of the frame. It is used very often in verse and in prose.

Artistic image

The artistic image is an excellent organizer of the composition. Gogol, for example, conducted a red thread through the entire poem "Dead Souls", an image of the road that served as a clear diagram of the whole narrative: the road to the city of NN, from there the road to Manilovka, the road to Korobochka, the road to the tavern with Nozdryov there, the road to Nozdryov, The road goes on - from house to house. And Gogol ends too dear. Hence, this is the structure-forming element.

Also the author can make an organizing element of the exposition, as, for example, Pushkin in the novel "Eugene Onegin", where it is the entire first chapter. Compositional reception is also the symmetry of episodes, images, words, as well as phenomena, chapters, scenes - anything, and this principle of composition is also very popular so far. About the contamination and the composite gap has already been said, you can only add that most often the latter are used by the authors of detectives and adventure novels to enhance intrigue.

Themes

This is also quite a compositional technique, when the author most clearly highlights the relationship between the protagonists of the work or its central images. This method is preferred by poets-lyrics.

The sequence of narration, logical reasoning that develops from thought to thought, leading to the final conclusion, as in many of the poems of Pushkin, Tyutchev, Mayakovsky, is called a sequential composition, where the sequence is a reception.