It's no secret that in order to get a high score in part C (essay) on the Unified state exam Literature requires preparatory work, independent or with a tutor. Often success depends on the initially correctly chosen strategy for preparing for the exam. Before you start preparing for the exam in literature, you should answer yourself important questions. How can a tutor systematize topics so that he does not have to start all over again with each new work? What "pitfalls" are hidden in the wording of the topic? How to plan work properly?

One of the time-tested principles of preparatory work for an essay is to break down various topics into certain types. If necessary, subgroups can be distinguished within the type. Careful work with one type of theme by different writers (four to six) allows you to better understand the originality of each of the works and at the same time learn to work with a similar theme, not be afraid of it and recognize it in any formulation. One should strive to be able to determine the type of topic for Part C and formulate it both orally and in writing. The main task of such training is to develop the ability to argue one's thoughts and draw the conclusions necessary to reveal the topic. Any form of preparation can be chosen: an essay on 1-2 pages, selection of material on a given topic, drawing up an essay plan, parsing a short text, drawing up a quotation portrait of a hero, analyzing a scene, even free reflections on a quotation from a work ...

Experience shows that the more the tutor sets homework for a certain type of topic, the more successful the work on the exam will be. Instead of writing an essay, we find it sometimes more useful to think about one type of topic and develop a plan for building several essays that can be used on an exam.

This article will focus on one type of topic - "The peculiarity of details ...". At the exam, the topic can be formulated in different ways (“Artistic detail in the lyrics ...”, “Psychological details in the novel ...”, “Function of a household detail ...”, “What does Plushkin’s garden tell us?”, “No one understood so clearly and subtly, like Anton Chekhov, the tragedy of the little things in life ... ”, etc.), the essence of this does not change: we got a topic associated with a certain literary concept - an artistic detail.

First of all, let's clarify what we mean by the term "artistic detail". A detail is a detail that the author endowed with a significant semantic load. An artistic detail is one of the means of creating or revealing the image of a character. An artistic detail is a generic concept, which is divided into many private ones. An artistic detail can reproduce the features of everyday life or furnishings. Details are also used by the author when creating a portrait or landscape (portrait and landscape detailing), an action or state (psychological detailing), a hero's speech (speech detailing), etc. Often, an artistic detail can be both portrait, everyday, and psychological at the same time. Makar Devushkin in Dostoevsky's "Poor People" invents a special gait so that his holey soles are not visible. The holey sole is the real thing; as a thing, it can cause trouble to the owner of the boots - wet feet, a cold. But for an attentive reader, a torn outsole is a sign whose content is poverty, and poverty is one of the defining symbols of St. Petersburg culture. And Dostoevsky's hero evaluates himself within the framework of this culture: he suffers not because he is cold, but because he is ashamed. After all, shame is one of the most powerful psychological levers of culture. Thus, we understand that the writer needed this artistic detail in order to visually present and characterize the characters and their environment, the life of St. Petersburg in the 19th century.

The saturation of the work with artistic details is determined, as a rule, by the desire of the author to achieve an exhaustive completeness of the image. A detail that is especially significant from an artistic point of view often becomes the motive or leitmotif of the work, an allusion or reminiscence. So, for example, Varlam Shalamov's story "At the Show" begins with the words: "We played cards at Naumov's stallion." This phrase immediately helps the reader to draw a parallel with the beginning of the "Queen of Spades": "... they played cards with the horse guard Narumov." But in addition to the literary parallel, the real meaning of this phrase is given by the terrible contrast of the life that surrounds the heroes of Shalamov. According to the writer's intention, the reader should assess the degree of the gap between the horse guardsman - an officer of one of the most privileged guards regiments - and the konogon belonging to the privileged camp aristocracy, where access is denied to "enemies of the people" and which consists of criminals. There is also a significant difference, which may elude an uninformed reader, between the typically noble surname Narumov and the common Naumov. But the most important thing is the terrible difference in the very nature of the card game. Playing cards is one of the everyday details of the work, which reflects the spirit of the era and the author's intention with particular sharpness.

Artistic detailing may be necessary or, conversely, redundant. For example, a portrait detail in the description of Vera Iosifovna from A.P. Chekhov "Ionych": "... Vera Iosifovna, a thin, pretty lady in pence-nez, wrote stories and novels and willingly read them aloud to her guests." Vera Iosifovna wears pence-nez, that is, men's glasses, this portrait detail emphasizes the author's ironic attitude to the heroine's emancipation. Chekhov, speaking about the heroine's habits, adds "I read aloud to the guests" my novels. Vera Iosifovna's hypertrophied enthusiasm for her work is emphasized by the author as if in mockery of the heroine's "education and talent". In this example, the heroine's habit of "reading aloud" is a psychological detail that reveals the character of the heroine.

Items belonging to the characters can be a means of revealing the character (Onegin's office in the estate) and a means of social characterization of the hero (Sonia Marmeladova's room); they can correspond to the hero (Manilov's estate), and even be his doubles (Sobakevich's things), or they can be opposed to the hero (the room in which Pontius Pilate lives in The Master and Margarita). The situation can affect the psyche of the hero, his mood (Raskolnikov's room). Sometimes the objective world is not depicted (for example, the significant absence of a description of Tatyana Larina's room). For Pushkin's Tatyana, the significant absence of substantive details is the result of poetization, the author, as it were, elevates the heroine above everyday life. Sometimes the importance of subject details is reduced (for example, in Pechorin's Journal), this allows the author to focus the reader's attention on the hero's inner world.

When preparing an applicant for part C, the tutor should remember that the wording of the topic may not include the term artistic (household, subject, etc.) detail, but this, nevertheless, should not confuse and distract from the topic.

Non-standard formulations of the topic in the form of a question or an unexpected detail must be analyzed by the tutor with the student in preparation for Part C, since the purpose of such exercises is to help them remember the information better and achieve a free presentation of thoughts. We recommend both the tutor and the student to use some of the topics from our list:

1. What do we know about Uncle Onegin? (mini essay)
2. The estate and its owner. (composition on "Dead Souls")
3. What does the Korobochka clock show? (mini essay)
4. The world of communal apartments in the stories of M. Zoshchenko. (essay)
5. Turbines and their home. (composition on the "White Guard")

The type of theme we have chosen - "The originality of details ..." - is more convenient to divide into two subgroups: the originality of details in the works of one author and in the works of different authors. Below is a work plan for each of the subgroups, which explains not what to write, but how to write, what to write about.

I. The originality of details in the works of one author:

1. What is meant by a household item?
2. The degree of saturation of the work with everyday details.
3. The nature of household items.
4. Organizing household items.
5. The degree of specificity of everyday details and the functions that the details perform for the time of creation of the work.

Household parts can be characterized as follows:

• the degree of saturation of space in the work with everyday details (“She squeezed her hands under a black veil ...”, A. Akhmatova);
• combining details into a certain system (the System of Significant Details in Dostoevsky's Crime and Punishment);
• detail of an expansive character (in the "Banya" Zoshchenko wears the narrator's coat with the only remaining top button, which indicates that the narrator is a bachelor and goes to public transport at rush hour);
• opposition of details to each other (the furnishings of Manilov's office and the furnishings of Sobakevich's office, the clatter of knives in the kitchen and the singing of a nightingale in the Turkins' garden in Ionych);
• repetition of the same detail or a number of similar ones (cases and cases in "The Man in the Case");
• exaggeration of details (the peasants in the "Wild Landowner" did not have a rod to sweep the hut);
• grotesque details (deformation of objects when depicting Sobakevich's house);
• endowing objects independent life(Oblomov's Persian robe becomes almost an acting character in the novel, we can trace the evolution of the relationship between Oblomov and his robe);
• color, sound, texture noted in the description of details (color detail in Chekhov's story "The Black Monk", gray color in "The Lady with the Dog");
• the angle of the image of the details (“Cranes” by V. Soloukhin: “Cranes, you probably don’t know, // How many songs are composed about you, // How many up when you fly, // Looks at misty eyes!”);
• the attitude of the author and the characters to the described household items (object-sensual description by N.V. Gogol: “a radish’s head down”, “a rare bird will fly to the middle of the Dnieper ...”).

The originality of the details in the work of one author can be fixed in the preparation of the following tasks:

1. Two eras: Onegin's office and his uncle's office.
2. The room of the man of the future in Zamyatin's dystopia "We".
3. The role of household items in early lyrics Akhmatova.

One of the skills of a professional tutor is the ability to create a complex work with a type of topic. A full-fledged work for part C must necessarily contain an answer to the question of what functions the subject-household parts perform in the work. We list the most important ones:

• characterization of the character (French sentimental novel in the hands of Tatiana);
• a method of revealing the inner world of the hero (pictures of hell in a dilapidated church, stunning Katerina);
• means of typification (furnishings at Sobakevich's house);
• a means of characterizing the social position of a person (Raskolnikov's room, similar to a coffin or closet);
• a detail as a sign of a cultural and historical nature (Onegin's office in the first chapter of the novel);
• an ethnographic detail (the image of an Ossetian sakli in Bela);
• details designed to evoke certain analogies in the reader (for example, Moscow-Yershalaim);
• a detail designed for the emotional perception of the reader (“Farewell to the New Year tree” by B.Sh. Okudzhava, “Khodiki” by Y. Vizbor);
• a symbolic detail (a dilapidated church in Groz as a symbol of the collapse of the foundations of the pre-construction world, a gift to Anna in I.I. Kuprin's story "Garnet Bracelet");
• characteristics of living conditions (life in the house of Matryona from " matryona yard» A.I. Solzhenitsyn).

As an exercise, we propose to think over a plan for the following topics:

1. The function of everyday details in the novel in verse "Eugene Onegin".
2. Functions of household parts in the "Overcoat".
3. The researchers called the heroes of the "White Guard" "commonwealth of people and things." Do you agree with this definition?
4. In Bunin's poem "The whole sea is like a pearl mirror ..." there are more signs, colors and shades than specific objects. It is all the more interesting to think about the role of subject details, for example, the legs of a seagull. How would you define this role?
5. What is the role of subject details in Bunin's poem "The old man sat, humbly and dejectedly ..." (cigar, watch, window - to choose from)? (According to Bunin's poem "The old man sat, humbly and dejectedly ...").

II. The originality of details in the works of different authors. For example, an essay on the topic “Object-household detail in the prose of A.S. Pushkin, M.Yu. Lermontov and N.V. Gogol" can be written according to the following plan:

1. What is meant by subject-household detail.
2. The difference in the author's tasks and the differences in connection with this in the selection of household items.
3. The nature of everyday details in comparison with all authors.
4. The functions of subject-household details that they perform in the work.

To answer questions C2, C4, the tutor must explain to the student how the literary tradition connected the works, show similarities and differences in the use of artistic detail in the works of different authors. In the tasks of the USE in literature, the wording of tasks C2, C4 can be different:

• In what works of Russian literature do we meet with a description of life and how does life interact with a person in them?
• In what works of Russian classics does Christian symbolism (descriptions of cathedrals, church services, Christian holidays) play an important role, as in the text of the story "Clean Monday"?
• What role does artistic detail play in Chekhov's stories? In what works of Russian literature does the artistic detail have the same meaning?

For tasks C2, C4, a small answer of 15 sentences will suffice. But the answer must necessarily include two or three examples.

For many years before his death, in house number 13 on Alekseevsky Spusk, a tiled stove in the dining room warmed and raised little Helenka, Alexei the elder and the very tiny Nikolka. As one often read near the blazing hot tiled square "Saardam Carpenter", the clock played gavotte, and always at the end of December there was a smell of pine needles, and multi-colored paraffin burned on green branches. In response, with a bronze gavotte, with the gavotte that stands in the bedroom of the mother, and now Yelenka, they beat black walls in the dining room with a tower battle. Their father bought them a long time ago, when women wore funny, bubble sleeves at the shoulders. Such sleeves disappeared, time flashed like a spark, the father-professor died, everyone grew up, but the clock remained the same and beat like a tower. Everyone is so accustomed to them that if they somehow miraculously disappeared from the wall, it would be sad, as if a native voice had died and nothing could plug an empty place. But the clock, fortunately, is completely immortal, both the Saardam Carpenter and the Dutch tile are immortal, like a wise rock, life-giving and hot in the most difficult time.

This tile, and the furniture of old red velvet, and beds with shiny knobs, worn carpets, colorful and crimson, with a falcon on the arm of Alexei Mikhailovich, with Louis XIV, basking on the shore of a silk lake in the Garden of Eden, Turkish carpets with wonderful curlicues on the eastern a field that little Nikolka imagined in the delirium of scarlet fever, a bronze lamp under a shade, the best bookcases in the world with books smelling of mysterious old chocolate, with Natasha Rostova, Captain's Daughter, gilded cups, silver, portraits, curtains - all seven dusty and full rooms that raised the young Turbins, all this the mother left to the children at the most difficult time and, already suffocating and weakening, clinging to the weeping Elena's hand, she said:

Friendly ... live.

But how to live? How to live?

M. Bulgakov.

"White Guard".

This text asks you to do two things:

• C1. The researchers called the house of the heroes of the "White Guard" "commonwealth of people and things." Do you agree with this definition? Justify your answer.
• C2. In what other works of Russian literature do we encounter descriptions of everyday life and how does everyday life interact with a person in them? Support your answer with examples.

The specificity of both questions is that they are closely related, which facilitates the task of the teacher preparing for the exam. So, answering the questions proposed in these tasks, students can remember that the image of everyday life often helps to characterize the person around whom this life is built (a typical example is the first chapter of Onegin). The relationship between man and life is different. Life can absorb a person or be hostile to him. This happens, for example, in Gogol's " Dead souls”, at Chekhov in “Gooseberry”. Everyday life can emphasize the special cordiality of a person, as if extending to surrounding things - remember “ old-world landowners» Gogol or Oblomovka. Everyday life may be absent (reduced to a minimum), and thereby emphasize the inhumanity of life (image of the camp by Solzhenitsyn and Shalamov).

War can be declared on everyday life (“On rubbish”, Mayakovsky). The image of the Turbins' house is built differently: we really have a "commonwealth of people and things." Things, the habit of them, do not make Bulgakov's heroes philistines; on the other hand, things, from a long life next to people, seem to become alive. They carry the memory of the past, warm, heal, feed, raise, educate. Such are the Turbins' stove with tiles, clocks, books; symbolic meaning in the novel is filled with images of a lampshade, cream curtains. Things in Bulgakov's world are spiritualized.

It is they who create the beauty and comfort of the house and become symbols of the eternal: “The clock, fortunately, is completely immortal, the Saardam carpenter is immortal, and the Dutch tile, like a wise rock, life-giving and hot in the most difficult time.” Recall that quoting the text when answering the exam is only welcome.

Such a theme as an artistic detail, infinitely broad, implies a creative attitude to the literary heritage. In this article, we have been able to highlight only some aspects of this broad and very interesting topic. We hope that our recommendations will help both a high school student in preparing for an exam in literature, and a teacher in preparing for classes.

An expressive detail in a work that carries a significant semantic and ideological and emotional load. A detail is capable of conveying the maximum amount of information with the help of a small text volume, with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), interior, environment. Unlike a detail, which always acts with other details, making up a complete and plausible picture of the world, a detail is always independent. Among the writers who skillfully used the detail, one can name A. Chekhov and N. Gogol.

A. Chekhov in the story uses as a detail the mention of new galoshes and snacks on the table to show the absurdity of the suicide that took place: “On the floor, at the very legs of the table, lay motionless a long body, covered with white. In the weak light of the lamp, in addition to the white bedspread, new rubber galoshes were clearly visible.. And then it says suicidal “committed suicide in a strange way, behind a samovar, spreading snacks on the table”.

Figuratively speaking, every piece of gun must fire. The well-known literary critic Efim Dobin argues, using the example of the use of details by A. Chekhov, that the detail must undergo a rigorous selection and must be placed in the foreground. A. Chekhov himself advocated the minimization of details, but for the skillful use of a small number of details. When staging plays, A. Chekhov demanded that the details in the setting and clothing match the details in his works. K.G. Paustovsky in his short story "The Old Man in the Station Buffet" explains and reflects on the meaning of details (details) in prose. Chekhov said: "A thing does not live without a detail."

According to the compositional role, details can be divided into two main types: narrative details (indicating movement, a change in the picture, situation, character) and descriptive details (depicting, painting a picture, situation, character at the moment). A detail may appear in the text once, or it may be repeated to enhance the effect, depending on the author's intention. Details can relate to everyday life, landscape, portrait, interior, as well as gesture, subjective reaction, action and speech.

AT different periods In the history of literature, the role of the detail changed: Homer used detailed everyday descriptions to reproduce a picture of reality, while the realists switched to a “talking” detail, one that served the specific purpose of a realistic depiction of a typical person in typical circumstances, and the modernists used illogical, contrasting, metaphorical details, which allowed them to further reduce the text without compromising the idea.

Literature

• Dobin E. Hero. Plot. Detail. - M.: Soviet writer, 1962
• Dobin E. Plot and reality. Art details. - L .: Soviet writer, 1981

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Functions of the artistic detail

A detail can perform important ideological and semantic functions and give an emotional load to the entire text. The functions of details can be psychological, plot and descriptive. An artistic detail is not only able to convey the necessary information. With the help of a detail in a literary work, you can get the most vivid idea of ​​the character, his appearance, psychological state, or the environment surrounding the hero.

Detail can also act as a means of figurative expression. For example:

The forest stood motionless, quiet in its dull pensiveness, just as sparse, half-naked, entirely coniferous. Only here and there were frail birch trees with rare yellow leaves. (V.P. Astafiev)

In this sentence, for example, epithets are an artistic detail, with the help of which a picture of an uncomfortable forest is drawn. The role of their use is to emphasize the frightened, tense state of the literary hero. Here, for example, what kind of Vasyutka in Astafiev's story sees nature when it realizes its loneliness.

"... Taiga... Taiga... Without end and edge, it stretched in all directions, silent, indifferent ...".

“From above, it seemed like a huge dark sea. The sky did not break off immediately, as it happens in the mountains, but stretched far, far away, closer and closer to the tops of the forest. The clouds overhead were rare, but the farther Vasyutka looked, the thicker they became, and finally the blue openings disappeared altogether. Clouds of pressed cotton wool lay on the taiga, and it dissolved in them.

The landscape indicates the boy's great inner anxiety, and also describes the cause of this anxiety. He sees a "silent" and "indifferent" taiga, similar to a dark sea, a low sky descending almost to the very forest. Combinations in the text of epithet and comparison (“compressed cotton wool”), personification and metaphor (“lay down”, “dissolved”), which is an artistic detail, help the reader to better imagine the heavy sky hanging over the dark taiga and at the same time conveys the idea that nature is indifferent to the fate of man. And here the function of the detail is semantic.

Consider another example of a detail from the text of the writer V.P. Astafyeva: “With a beating heart, he ran to the tree to feel the notch with drops of resin with his hand, but instead he found a rough fold of bark.” This descriptive and plot detail reinforces the drama of the situation in which the hero of the story finds himself.

Also in text artwork there may be a sound descriptive detail or a metaphorical detail. For example, this is a description of a helpless fly stuck in the net of a web from the same work:

“An experienced hunter - a spider stretched a web over a dead bird. The spider is no longer there - it must have gone to spend the winter in some kind of hollow, and abandoned the trap. A well-fed, large spit fly caught in it and beats, beats, buzzes with weakening wings. Something began to disturb Vasyutka at the sight of a helpless fly stuck in a net. And then it seemed to hit him: why, he got lost!

For the same purpose, to convey the internal discomfort of his hero, the writer uses the method of internal monologue more than once in the text, and this is also a striking artistic detail. For example:

"F-fu-you, damn it! Where are the grips? - Vasyutka's heart sank, perspiration appeared on his forehead. - All this capercaillie! Rushed like a goblin, now think about where to go, - Vasyutka spoke aloud to drive away the approaching fear. - Nothing, I'll think about it and find a way. So-so ... The almost bare side of the spruce - it means that the north is in that direction, and where there are more branches - the south. Ta-ak ... ".

The picture of the depicted world is made up of individual artistic details. Under the artistic detail we will understand the smallest pictorial or expressive artistic detail: an element of a landscape or portrait, a separate thing, an act, a psychological movement, etc. Being an element of an artistic whole, the detail itself is the smallest image, a micro-image. At the same time a detail almost always forms part of a larger image; it is formed by details, folding into “blocks”: for example, the habit of not waving your arms when walking, dark eyebrows and mustaches with blond hair, eyes that did not laugh - all these micro-images add up to a “block "a larger image - a portrait of Pechorin, which, in turn, merges into an even larger image - a holistic image of a person.

For ease of analysis, artistic details can be divided into several groups. Details come first external and psychological. External details, as it is easy to guess from their name, draw us the external, objective existence of people, their appearance and habitat. External details, in turn, are divided into portrait, landscape and real. Psychological details depict the inner world of a person for us, these are separate mental movements: thoughts, feelings, experiences, desires, etc.

External and psychological details are not separated by an impenetrable boundary. So, an external detail becomes psychological if it conveys, expresses certain mental movements (in this case we are talking about a psychological portrait) or is included in the course of the hero’s thoughts and experiences (for example, a real ax and the image of this ax in Raskolnikov’s mental life).

By the nature of the artistic impact, they differ details-details and symbol details. Details act in mass, describing an object or phenomenon from all conceivable sides, a symbolic detail is single, it tries to grasp the essence of the phenomenon at once, highlighting the main thing in it. In this regard, the modern literary critic E. Dobin proposes to separate details and details, believing that the detail is artistically higher than the detail*. However, this is hardly the case. Both the principle of using artistic details are equivalent, each of them is good in its place. Here, for example, is the use of detail-detail in the description of the interior in Plyushkin's house: “On the bureau ... lay a lot of all sorts of things: a bunch of finely written pieces of paper, covered with a green marble press with an egg on top, some old book bound in leather with a red edge, a lemon , all dried up, no more than a hazelnut, a broken armchair, a glass with some kind of liquid and three flies, covered with a letter, a piece of sealing wax, a piece of rag raised somewhere, two feathers stained with ink, dried up, as in consumption, a toothpick , completely yellowed. Here Gogol needs just a lot of details in order to reinforce the impression of senseless stinginess, pettiness and wretchedness of the hero's life. Detail-detail also creates a special persuasiveness in the descriptions of the objective world. With the help of details-details, complex psychological states are also transmitted, here this principle of using a detail is indispensable. The symbolic detail has its advantages, it is convenient to express the general impression of an object or phenomenon in it, with its help the general psychological tone is well captured. The detail-symbol often conveys with great clarity the author's attitude to the depicted - such, for example, is Oblomov's dressing gown in Goncharov's novel.

____________________

* Dobin EU. The Art of Detail: Observations and Analysis. L., 1975. S. 14.

Let us now turn to a concrete consideration of the varieties of artistic details.

Portrait

A literary portrait is understood as the depiction in a work of art of the entire appearance of a person, including here the face, and physique, and clothing, and demeanor, and gestures, and facial expressions. The portrait usually begins the reader's acquaintance with the character. Every portrait is more or less characterological - this means that by external features we can at least briefly and approximately judge a person's character. At the same time, the portrait can be provided with an author's commentary that reveals the relationship between the portrait and character (for example, a commentary on the portrait of Pechorin), or it can act on its own (portrait of Bazarov in Fathers and Sons). In this case, the author, as it were, relies on the reader to draw conclusions about the character of a person himself. Such a portrait requires closer attention. In general, a full-fledged perception of a portrait requires a somewhat enhanced work of the imagination, since the reader must, according to a verbal description, imagine a visible image. At speed reading this is impossible to do, so it is necessary to teach novice readers to take a short pause after the portrait; maybe read the description again. For example, let's take a portrait from Turgenev's "Date": "... he was wearing a short coat of bronze color ... a pink tie with purple tips and a black velvet cap with gold lace. The round collars of his white shirt mercilessly propped up his ears and cut his cheeks, and the starched sleeves covered his entire arm, down to his red and crooked fingers, adorned with silver and gold rings with turquoise forget-me-nots. Here it is extremely important to pay attention to the color scheme of the portrait, to visualize its diversity and bad taste in order to appreciate not only the portrait itself, but also the emotional and evaluative meaning behind it. This, of course, requires both slow reading and additional work imagination.

Correspondence of portrait features to character traits is a rather conditional and relative thing; it depends on the views and beliefs accepted in a given culture, on the nature of artistic convention. In the early stages of the development of culture, it was assumed that spiritual beauty also corresponds to a beautiful external appearance; positive characters were often depicted as beautiful and in appearance, negative ones as ugly and disgusting. In the future, the connections between the external and the internal in a literary portrait become significantly more complicated. In particular, already in the XIX century. it becomes possible to completely reverse the relationship between portrait and character: a positive hero can be ugly, and a negative hero can be beautiful. An example is Quasimodo V. Hugo and Milady from The Three Musketeers by A. Dumas. Thus, we see that the portrait in literature has always performed not only a depicting, but also an evaluative function.

If we consider the history of literary portraiture, we can see that this form of literary representation moved from a generalized-abstract portrait characteristic to an ever greater individualization. In the early stages of the development of literature, heroes are often endowed with a conventionally symbolic appearance; so, we can hardly distinguish by the portrait of the heroes of Homer's poems or Russian military stories. Such a portrait carried only a very general information about the hero this happened because literature had not yet learned at that time to individualize the characters themselves. Often, the literature of the early stages of development generally dispensed with portrait characteristics (“The Tale of Igor's Campaign”), assuming that the reader perfectly imagines the appearance of a prince, warrior, or princely wife; individual ones: the differences in the portrait, as was said, were not perceived as significant. The portrait symbolized above all social role, social status, and also performed an evaluation function.

Over time, the portrait became more and more individualized, that is, it was filled with those unique features and traits that no longer allowed us to confuse one hero with another and at the same time indicated not the social or other status of the hero, but individual differences in characters. Renaissance literature already knew a very developed individualization of the literary portrait (don Quixote and Sancho Panza are an excellent example), which was further strengthened in literature. True, in the future there were returns to a stereotypical, stereotyped portrait, but they were already perceived as an aesthetic flaw; So, Pushkin, speaking in "Eugene Onegin" about Olga's appearance, ironically refers the reader to common novels:

Eyes like the sky, blue

Smile, linen curls,

Everything in Olga ... but any romance

Take it and you will find it

Her portrait: he is very sweet,

I used to love him myself

But he bored me to no end.

An individualized detail, being assigned to a character, can become his constant sign, the sign by which the given character is identified; such, for example, are the brilliant shoulders of Helen or the radiant eyes of Princess Mary in War and Peace.

The simplest and at the same time the most commonly used form of portraiture is portrait description. It consistently, with varying degrees of completeness, gives a kind of list of portrait details, sometimes with a generalizing conclusion or the author's commentary on the nature of the character that appeared in the portrait; sometimes with a special emphasis on one or two leading details. Such, for example, is the portrait of Bazarov in "Fathers and Sons", the portrait of Natasha in "War and Peace", the portrait of Captain Lebyadkin in Dostoevsky's "Demons".

Others, more complex view portrait characteristic is portrait-comparison. In it, it is important not only to help the reader to more clearly imagine the appearance of the hero, but also to create in him a certain impression of the person, his appearance. So, Chekhov, drawing a portrait of one of his heroines, uses the method of comparison: “And in these unblinking eyes, and in a small head on a long neck, and in her harmony there was something snakelike; green, with a yellow breast, with a smile, she looked like in the spring, from young rye, a viper looks at a passer-by, stretched out and raising her head ”(“ In the ravine ”).

Finally, the most difficult kind of portrait is impression portrait. Its originality lies in the fact that there are no portrait features and details as such at all, there remains only the impression made by the appearance of the hero on an outside observer or on one of the characters in the work. So, for example, the same Chekhov characterizes the appearance of one of his heroes as follows: “His face seems to be pinched by a door or nailed down with a wet rag” (“Two in One”). It is almost impossible to draw an illustration based on such a portrait characteristic, but Chekhov does not need the reader to visualize all the portrait features of the hero, it is important that a certain emotional impression is achieved from his appearance and it is quite easy to draw a conclusion about his character. It should be noted that this technique was known in the literature long before our time. Suffice it to say that Homer used it. In his Iliad, he does not give a portrait of Elena, realizing that it is still impossible to convey all her perfect beauty in words. He gives the reader a sense of this beauty, conveying the impression that Helen made on the Trojan elders: they said that because of such a woman it was possible to wage war.

Special mention should be made of the psychological portrait, while dispelling one terminological misunderstanding. Often in teaching and scientific literature any portrait is called psychological on the grounds that it reveals character traits. But in this case, one should speak of a characteristic portrait, and actually psychological picture appears in literature when it begins to express one or another psychological condition, which the character is currently experiencing, or a change in such states. A psychological portrait feature is, for example, Raskolnikov's trembling lip in Crime and Punishment, or such a portrait of Pierre from War and Peace: “His haggard face was yellow. He didn't seem to sleep that night." Very often the author comments on this or that mimic movement that has a psychological meaning, as, for example, in the following excerpt from Anna Karenina: “She could not have expressed the train of thought that made her smile; but the last conclusion was that her husband, who admired his brother and destroyed himself before him, was insincere. Kitty knew that this insincerity of his came from love for his brother, from a sense of conscience because he was too happy, and especially from his desire to be better, which did not leave him - she loved this in him and therefore smiled.

Landscape

Landscape in literature is the image in the work of living and inanimate nature. Far from every literary work we meet with landscape sketches, but when they appear, they usually perform essential functions. The first and simplest function of a landscape is to designate a scene. However, as simple as this function may seem at first glance, its aesthetic impact on the reader should not be underestimated. Often the place of action is of fundamental importance for this work. So, for example, many Russian and foreign romantics used the exotic nature of the East as a scene of action: bright, colorful, unusual, it created a romantic atmosphere of the exceptional in the work, which was necessary. Equally fundamental are the landscapes of Ukraine in Gogol's Evenings on a Farm near Dikanka and in Taras Bulba. And vice versa, in Lermontov's "Motherland", for example, the author had to emphasize the ordinariness, ordinariness of a normal, typical landscape of central Russia - with the help of the landscape, Lermontov creates here the image of " small homeland”, opposed to the official nationality.

The landscape as a scene of action is also important because it has an imperceptible, but nevertheless very important educational influence on the formation of character. A classic example of this kind is Pushkin's Tatyana, "Russian in soul" to a large extent due to constant and deep communication with Russian nature.

Often, the attitude towards nature shows us some significant aspects of the character or worldview of the character. Thus, Onegin's indifference to the landscape shows us the extreme degree of disappointment of this hero. The discussion about nature, taking place against the backdrop of a beautiful, aesthetically significant landscape in Turgenev's novel "Fathers and Sons", reveals the differences in the characters and worldview of Arkady and Bazarov. For the latter, the attitude to nature is unambiguous (“Nature is not a temple, but a workshop, and man is a worker in it”), and Arkady, who looks thoughtfully at the landscape spreading before him, reveals a repressed, but meaningful love for nature, the ability to perceive it aesthetically.

The city often becomes the scene of action in modern literature. Moreover, in recent times nature as a scene of action is more and more inferior in this capacity to the city, in full accordance with what is happening in real life. The city as a scene has the same functions as the landscape; even an inaccurate and oxymoron term appeared in the literature: "urban landscape". As well as natural environment, the city has the ability to influence the character and psyche of people. In addition, the city in any work has its own unique image, and this is not surprising, since each writer not only creates a topographical scene, but, in accordance with his artistic tasks, builds a certain image cities. So, Petersburg in Pushkin's "Eugene Onegin" is, first of all, "restless", vain, secular. But at the same time, it is a complete, aesthetically valuable integral city that you can admire. And finally, St. Petersburg is a receptacle of high noble culture, primarily spiritual. AT " The Bronze Horseman» Petersburg personifies the strength and power of statehood, the greatness of the cause of Peter, and at the same time it is hostile « little man". For Gogol, Petersburg is, firstly, a city of bureaucracy, and secondly, a kind of almost mystical place in which the most incredible things can happen, turning reality inside out (“The Nose”, “Portrait”). For Dostoevsky, Petersburg is a city hostile to the original human and divine nature. He shows it not from the side of its ceremonial splendor, but first of all from the side of slums, corners, well-yards, lanes, etc. This is a city that crushes a person, oppresses his psyche. The image of Petersburg is almost always accompanied by such features as stink, dirt, heat, stuffiness, annoying yellow. For Tolstoy, Petersburg is an official city, where unnaturalness and soullessness reign, where the cult of form reigns, where elite with all its vices. Petersburg in Tolstoy's novel is opposed to Moscow as a primordially Russian city, where people are softer, kinder, more natural - it is not without reason that the Rostov family lives in Moscow, it is not without reason that the great Battle of Borodino is going on for Moscow. But Chekhov, for example, fundamentally transfers the action of his stories and plays from the capitals to the average Russian city, county or provincial, and its environs. The image of St. Petersburg is practically absent in him, and the image of Moscow acts as the cherished dream of many heroes about a new, bright, interesting, cultural life, etc. Finally, for Yesenin, the city is a city in general, without topographic specifics (it is not even in the "Moscow Tavern"). The city is something “stone”, “steel”, in a word, inanimate, opposed to the living life of a village, a tree, a foal, etc. As you can see, each writer, and sometimes each work has its own image of the city, which must be carefully analyzed, since this is extremely important for understanding the general meaning and figurative system of the work.

Returning to the actual literary depiction of nature, it is necessary to say about one more function of the landscape, which can be called psychological. It has long been noticed that certain states of nature are in one way or another correlated with certain human feelings and experiences: the sun - with joy, rain - with sadness; cf. also expressions like "spiritual storm". Therefore, landscape details from the most early stages The development of literature was successfully used to create a certain emotional atmosphere in the work (for example, in The Tale of Igor's Campaign, a joyful ending is created using the image of the sun) and as a form of indirect psychological depiction, when the state of mind of the characters is not described directly, but is, as it were, transmitted to their surroundings. nature, and often this technique is accompanied by psychological parallelism or comparison (“It’s not the wind that bends the branch, It’s not the oak forest that makes noise. That my heart is groaning. Like an autumn leaf is trembling”), further development literature, this technique became more and more sophisticated, it becomes possible not directly, but indirectly to correlate spiritual movements with one or another state of nature. At the same time, the character's mood can correspond to him, or vice versa - to contrast with him. So, for example, in the XI chapter of "Fathers and Sons" nature seems to accompany the dreamy-sad mood of Nikolai Petrovich Kirsanov - and he "was unable to part with the darkness, with the garden, with the feeling of fresh air on his face and with this sadness, with this anxiety ... "And for the state of mind of Pavel Petrovich, the same poetic nature already appears as a contrast:" Pavel Petrovich reached the end of the garden, and also thought, and also raised his eyes to the sky. But his beautiful dark eyes reflected nothing but the light of the stars. He was not born a romantic, and his smartly dry and passionate, French-style misanthropic soul did not know how to dream.

Special mention should be made of the rare case when nature becomes, as it were, the protagonist of a work of art. Here we do not mean fables and fairy tales, because the animal characters taking part in them are, in fact, only masks of human characters. But in some cases, animals become real characters in the work, with their own psychology and character. Most famous works Tolstoy's stories "Kholstomer" and Chekhov's "Kashtanka" and "White-browed" are of this kind.

world of things

The farther, the more a person lives not surrounded by nature, but surrounded by man-made, man-made objects, the totality of which is sometimes called “second nature”. Naturally, the world of things is also reflected in literature, and over time it becomes more and more important.

In the early stages of development, the world of things did not receive a wide reflection, and the material details themselves were little individualized. The thing was depicted only insofar as it turned out to be a sign of a person's belonging to a certain profession or a sign of social status. The indispensable attributes of the kingship were the throne, crown and scepter, the things of a warrior are, first of all, his weapons, the things of a farmer - a plow, a harrow, etc. This kind of thing, which we will call accessory, has not yet correlated with the character of a particular character, that is, the same process was going on here as in portrait detailing: the individuality of a person is not yet; was mastered by literature, and consequently, there was still no need to individualize the thing itself. With the passage of time, although an accessory item remains in literature, it loses its significance and does not carry any significant artistic information.

Another function of the material detail develops later, starting approximately from the Renaissance, but becomes the leading one for this type of detail. The detail becomes a way of characterizing a person, an expression of his individuality.

This function of material details received special development in realistic literature XIX in. So, in Pushkin's novel "Eugene Onegin", the characterization of the hero through the things belonging to him becomes almost the most important. The thing even becomes an indicator of a change in character: let's compare, for example, two studies of Onegin - Petersburg and the village. In the first -

Amber on the pipes of Tsaregrad,

Porcelain and bronze on the table

And, feelings of pampered joy,

Perfume in faceted crystal...

In another place of the first chapter, it is said that Onegin “pulled up the mourning taffeta” on the shelf with books. Before us is a "real portrait" of a wealthy secular dandy, not particularly occupied with philosophical questions of the meaning of life. Quite different things in Onegin's village office: this is a portrait of "Lord Byron", a statuette of Napoleon, books with Onegin's notes in the margins. First of all, this is the office of a thinking person, and Onegin's love for such outstanding and controversial figures as Byron and Napoleon says a lot to the thoughtful reader.

There is a description in the novel of the third "cabinet", Uncle Onegin:

Onegin opened the cupboards:

In one I found an expense notebook,

In another liquor a whole system,

Jugs of apple water

Yes, the calendar of the eighth year.

We know almost nothing about Uncle Onegin, except for a description of the world of things in which he lived, but this is enough to fully imagine the character, habits, inclinations and lifestyle of an ordinary village landowner who, in fact, does not need an office .

A material detail can sometimes extremely expressively convey the psychological state of a character; Chekhov especially liked to use this technique of psychologism. Here is how, for example, the logical state of the hero in the story “Three Years” is depicted with the help of a simple and ordinary real detail of psychosis: “At home, he saw an umbrella on a chair, forgotten by Yulia Sergeevna, grabbed it and kissed it greedily. The umbrella was silk, no longer new, intercepted with an old rubber band; the pen was made of simple, white bone, cheap. Laptev opened it above him, and it seemed to him that around him he even smelled of happiness.

A real detail has the ability to both characterize a person and express the author's attitude to the character at the same time. Here, for example, is a real detail in Turgenev's novel "Fathers and Sons" - an ashtray in the form of a silver bast shoe, standing on the table of Pavel Petrovich living abroad. This detail not only characterizes the ostentatious love of people of the character, but also expresses a negative assessment of Turgenev. The irony of the detail is that the rudest and at the same time perhaps the most essential item of a peasant's life here is made of silver and serves as an ashtray.

Completely new possibilities in the use of material details, one might say, even their new function, opened up in Gogol's work. Under his pen, the world of things has become a relatively independent object of the image. The mystery of the Gogol thing is that it not completely subordinated to the task of more vividly and convincingly recreating the character of the hero or the social environment. Gogol's thing outgrows its usual functions. Of course, the situation in Sobakevich's house - a classic example - is an indirect characteristic of a person. But not only. Even in this case, the detail still has the opportunity to live its own life, independent of the person, to have its own character. “The owner, being a healthy and strong man himself, seemed to want his room to be decorated with people who were also strong and healthy,” but with an unexpected and inexplicable dissonance “between the strong Greeks, it is not known how and why, Bagration fit, skinny, thin , with small banners and cannons at the bottom and in the narrowest frames. A detail of the same kind is Korobochka's clock or the Nozdrevskaya hurdy-gurdy: at least it would be naive to see in the nature of these things a direct parallel to the character of their owners.

Things are interesting to Gogol in themselves, to a large extent independently of their connections with a particular person. Gogol for the first time in world literature realized that by studying the world of things as such, the material environment of a person, one can understand a lot - not about the life of this or that person, but about way of life in general.

Hence the inexplicable redundancy of Gogol's detailing. Any description of Gogol is as similar as possible, he is in no hurry to move on to action, stopping lovingly and tastefully, for example, at the image of the set table, on which there were “mushrooms, pies, quick thinkers, shanizhki, spinners, pancakes, cakes with all sorts of seasonings: baking with onion , baking with poppy seeds, baking with cottage cheese, baking with snowballs. And here is another noteworthy description: “The room was hung with old striped wallpaper, pictures with some birds, between the windows there were small antique mirrors with dark frames in the form of curled leaves, behind every mirror there was either a letter, or an old deck of cards, or a stocking; wall clock with painted flowers on the dial... couldn't see anything else"(emphasis mine. - A.E.). Here in this addition to the description, it seems, lies the main effect: so much more! But no, having described every detail in detail, Gogol complains that there is nothing more to describe, he regretfully breaks away from the description, as from his favorite pastime ...

Gogol's detail seems redundant because he continues the description, enumeration, even escalation of trifles after the detailing has already fulfilled its usual auxiliary function. For example, the narrator envies “the appetite and stomach of gentlemen of the middle class, that at one station they will demand ham, at another pig, at the third a slice of sturgeon or some kind of baked sausage with onions (“with onions” is an optional clarification: what kind of we, in the very in fact, the difference - with or without a bow? - A.E.) and then, as if nothing had happened, they sit down at the table at any time you want (it seems that you can stop here: what is “appetite and stomach of middle-class gentlemen”, we already understood very tangibly. But Gogol continues. - A.E.) and sturgeon ear with burbot and milk (again, an optional clarification. - A.E.) hisses and grumbles between their teeth (enough? Gogol no. - A.E.), jammed with pie or kulebyaka (everything? not yet. - A.E.) with a catfish splash."

In general, let us recall the most detailed Gogol descriptions-lists: both the goodness of Ivan Ivanovich, and what the woman Ivan Nikiforovich hung out to air, and the device of Chichikov’s box, and even the list of characters and performers that Chichikov reads on the poster, and such, for example: “What kind of chaise and there were no carts! One has a wide butt and a narrow front, the other has a narrow butt and a wide front. One was both a cart and a wagon together, the other was neither a cart nor a wagon, another looked like a huge haystack or a fat merchant's wife, another like a disheveled Jew or a skeleton not yet completely freed from the skin, another was in profile a perfect pipe with a chibouk, the other was unlike anything, representing some strange creature ... a kind of carriage with a room window crossed with thick binding.

With all the ironic intonation of the story, you very soon begin to catch yourself thinking that the irony here is only one side of the matter, and the other is that all this is really terribly interesting. The world of things under Gogol's pen does not appear auxiliary means to characterize the world of people, but rather a special hypostasis of this world.

Psychologism

When analyzing psychological details, it must be borne in mind that in various works they can play fundamentally different roles. In one case, the psychological details are not numerous, they are of a service, auxiliary nature - then we are talking about the elements of a psychological image; their analysis can, as a rule, be neglected. In another case, the psychological image occupies a significant volume in the text, acquires relative independence and becomes extremely important for understanding the content of the work. In this case, a special artistic quality appears in the work, called psychologism. Psychologism is the development and depiction of the inner world of the hero by means of fiction: his thoughts, experiences, desires, emotional states, etc., and the image is distinguished by detail and depth.

There are three basic forms of psychological depiction, to which all concrete methods of reproducing the inner world ultimately come down. Two of these three forms were theoretically identified by I.V. Strakhov: “The main forms of psychological analysis can be divided into the image of characters “from the inside”, that is, through artistic knowledge of the inner world of the characters, expressed through inner speech, images of memory and imagination; on psychological analysis "from the outside", expressed in the writer's psychological interpretation of the expressive features of speech, speech behavior, facial expressions and other means of external manifestation of the psyche"*.

____________________

* Strakhov I.V. Psychological analysis in literary creativity. Saratov 1973 Part 1. C. 4.

Let's call the first form of psychological representation direct, and the second indirect, since in it we learn about the inner world of the hero not directly, but through the external symptoms of the psychological state. We will talk about the first form a little later, but for now we will give an example of the second, indirect form of psychological representation, which was especially widely used in the literature at the early stages of development:

A gloomy cloud of sorrow covered the face of Achilles.

He filled both handfuls with ashes, showered them on his head:

The young face turned black, the clothes turned black, and he himself

Covering great space with a great body, in dust

He was stretched out, and tore his hair, and beat on the ground.

Homer. "Iliad". Per V.A. Zhukovsky

Before us is a typical example of an indirect form of psychological depiction, in which the author draws only the external symptoms of feeling, nowhere directly intruding into the consciousness and psyche of the hero.

But the writer has another opportunity, another way to inform the reader about the thoughts and feelings of the character - with the help of naming, the extremely brief designation of those processes that take place in the inner world. We will call such a method sum-denoting. A.P. Skaftymov wrote about this device, comparing the features of Stendhal's and Tolstoy's psychological depiction: “Stendhal mainly follows the path of verbal designation of feelings. Feelings are named, but not shown”*, and Tolstoy traces in detail the process of the flow of feeling in time and thereby recreates it with greater liveliness and artistic power.

____________________

* Skaftymov A.P. On Psychologism in the Works of Stendhal and Tolstoy // Skaftymov A.P. Moral quests of Russian writers. M., 1972 . S. 175.

So, the same psychological state can be reproduced using different forms of psychological representation. You can, for example, say: “I was offended by Karl Ivanovich for waking me up,” - this will be total denoting the form. You can depict external signs of resentment: tears, furrowed eyebrows, stubborn silence, etc. - this is indirect form. And you can, as Tolstoy did, reveal the internal state with the help of straight forms of psychological representation: “Suppose,” I thought, “I am small, but why does he disturb me? Why doesn't he kill flies near Volodya's bed? Wow how many of them? No, Volodya is older than me, and I am the least of all: that's why he torments me. All his life he thinks only about that, - I whispered, - how would I make trouble. He sees very well that he woke me up and frightened me, but he shows as if he does not notice ... a nasty person! And the dressing gown, and the hat, and the tassel - how nasty!

Naturally, each form of psychological representation has different cognitive, visual and expressive possibilities. In the works of writers whom we habitually call psychologists - Lermontov, Tolstoy, Flaubert, Maupassant, Faulkner and others - as a rule, all three forms are used to embody spiritual movements. But the leading role in the system of psychologism is played, of course, by the direct form - the direct reconstruction of the processes inner life person.

Let's take a quick look at the main tricks psychologism, with the help of which the image of the inner world is achieved. Firstly, the narration about the inner life of a person can be conducted both from the first and from the third person, and the first form is historically earlier. These forms have different capabilities. First-person narration creates a greater illusion of believability psychological picture because a person talks about himself. In a number of cases, the psychological narrative in the first person takes on the character of a confession, which enhances the impression. This narrative form is used mainly when there is one main character in the work, whose consciousness and psyche are monitored by the author and the reader, and the rest of the characters are secondary, and their inner world is practically not depicted (“Confession” by Rousseau, “Childhood”, “Boyhood "and" Youth "Tolstoy, etc.).

Third person narration has its advantages in terms of depicting the inner world. This is precisely the art form that allows the author, without any restrictions, to introduce the reader into the inner world of the character and show it in the most detailed and profound way. For the author, there are no secrets in the soul of the hero - he knows everything about him, can trace in detail the internal processes, explain the causal relationship between impressions, thoughts, experiences. The narrator can comment on the hero’s introspection, talk about those spiritual movements that the hero himself cannot notice or that he does not want to admit to himself, as, for example, in the following episode from War and Peace: “Natasha, with her sensitivity, also instantly noticed the state of her brother. She noticed him, but she herself was so cheerful at that moment, she was so far from grief, sadness, reproaches, that she "..." deliberately deceived herself. "No, I'm too happy now to spoil my fun with sympathy for someone else's grief," she felt and said to herself: "No, I'm really mistaken, he should be as cheerful as I am."

At the same time, the narrator can psychologically interpret the external behavior of the hero, his facial expressions and plasticity, etc., which was discussed above in connection with psychological external details.

Artistic detail and its types

Content

Introduction …………………………………………………………………..
Chapter 1. …………………………………………………………………….	5
1.1 Artistic detail and its functioning in the text ………….	5
1.2 Classification of artistic details …………………………..	9
1.3 Artistic detail and artistic symbol………………..	13
Chapter 2. …………………………………………………………………….	16
2.1 The innovative style of E. Hemingway……………………………………..	16
2.2 An artistic detail in E. Hemingway's story "The Old Man and the Sea" ...	19
2.3 Symbol as a kind of artistic detail in E. Hemingway's story "The Old Man and the Sea" …………………………………………….	27
Conclusion …………………………………………………………………	32
Bibliography ……………………………………………………….	35

Introduction
There are few phenomena in philological science that are so often and so ambiguously mentioned as a detail. Intuitively, the detail is perceived as "something small, insignificant, meaning something big, significant." In literary criticism and stylistics, the opinion has long and rightly been established that the widespread use of artistic detail can serve as an important indicator of individual style and characterizes such, for example, different authors as Chekhov, Hemingway, Mansfield. Discussing the prose of the 20th century, critics unanimously speak of its inclination to detail, which marks only an insignificant sign of a phenomenon or situation, leaving the reader to finish the picture himself.
At the present stage of development of text linguistics and stylistics, the analysis of a literary work cannot be considered complete without studying the functioning of an artistic detail in it. In this regard, the purpose of this study is to holistically study and analyze various types of artistic details, to determine their significance in the creation of E. Hemingway's parable "The Old Man and the Sea". This work was chosen due to the fact that the topics disclosed by E. Hemingway are eternal. These are problems of human dignity, morality, the development of the human personality through struggle. The parable "The Old Man and the Sea" contains a deep subtext, which will help to understand the analysis of artistic details, which allows expanding the possibilities of interpreting a literary work.
The purpose of the work determined the specific objectives of the study:

study of the main provisions of modern literary criticism regarding the role of artistic details in works;
analysis of varieties of parts;
identification of various types of artistic details in E. Hemingway's parable "The Old Man and the Sea";
disclosure of the main functions of artistic details in this work.

The object of this study is E. Hemingway's parable "The Old Man and the Sea".
The subject of the study is an artistic detail - the smallest unit of the objective world of the writer's work.
The structure of the work is determined by the goals and objectives of the study.
The introduction substantiates the relevance of the chosen topic, defines the main goal and specific tasks of the work.
In the theoretical part, the main provisions concerning the concept of "artistic detail" are explored, the classifications of details existing in modern literary criticism are given, and their functions in a literary work are determined.
In the practical part, an analysis of the parable by E. Hemingway "The Old Man and the Sea" was carried out, highlighting the artistic details and determining their role in creating the subtext.
In conclusion, the theoretical and practical results of the study are summarized, the main provisions on the material of the work are given.

Chapter 1
1.1 Artistic detail and its functioning in the text
In literary criticism and stylistics, there are several different definitions of the concept of "artistic detail". One of the most complete and detailed definitions is given in this work.
Thus, an artistic detail (from French detail - part, detail) is a particularly significant, highlighted element of an artistic image, an expressive detail in a work that carries a significant semantic and ideological and emotional load. A detail is capable of conveying the maximum amount of information with the help of a small text volume, with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), interior, environment. Unlike a detail, which always works with other details, making up a complete and plausible picture of the world, a detail is always independent.
Artistic detail - one of the forms of depicting the world - is an integral part of the verbal and artistic image. Since the verbal-artistic image and the work as a whole are potentially polysemantic, their comparative value, the measure of adequacy or polemicalness in relation to the author's concept is also associated with the identification of the details of the depicted world of the author. Scientific research the world of the work, taking into account the subject representation, is recognized by many experts in the theory of literature as one of the main tasks of modern literary criticism.
A detail, as a rule, expresses an insignificant, purely external sign of a multilateral and complex phenomenon, for the most part it acts as a material representative of facts and processes that are not limited to the mentioned superficial sign. The very existence of the phenomenon of artistic detail is associated with the impossibility of capturing the phenomenon in its entirety and the resulting need to convey the perceived part to the addressee so that the latter gets an idea of ​​the phenomenon as a whole. The individuality of external manifestations of feelings, the individuality of the author's selective approach to these observed external manifestations gives rise to an infinite variety of details that represent human experiences.
When analyzing a text, an artistic detail is often identified with metonymy and, above all, with that variety of it, which is based on the relationship of part and whole - synecdoche. The reason for this is the presence of an external similarity between them: both the synecdoche and the detail represent the big through the small, the whole through the part. However, in their linguistic and functional nature, these are different phenomena. In synecdoche, there is a transfer of the name from the part to the whole. The details use the direct meaning of the word. To represent the whole in the synecdoche, its catchy, attention-grabbing feature is used, and its main purpose is to create an image with a general economy. means of expression. In detail, on the contrary, an inconspicuous feature is used, rather emphasizing not the external, but the internal connection of phenomena. Therefore, attention is not focused on it, it is reported in passing, as if in passing, but the attentive reader should discern a picture of reality behind it. In the synecdoche, there is an unambiguous replacement of what is called with what is meant. When deciphering a synecdoche, those lexical units that expressed it do not leave the phrase, but remain in their direct meaning.
In detail, there is not a substitution, but a reversal, an opening. When deciphering the details, there is no unambiguity. Its true content can be perceived by different readers with varying degrees of depth, depending on their personal thesaurus, attentiveness, reading mood, other personal qualities of the recipient and the conditions of perception.
The detail functions in the whole text. Its full meaning is not realized by the lexical demonstrative minimum, but requires the participation of the entire artistic system, that is, it is directly included in the action of the category of systemicity. Thus, in terms of the level of actualization, the detail and metonymy do not coincide. An artistic detail is always qualified as a sign of a laconic economical style.
Here we must remember that we are not talking about a quantitative parameter, measured by the amount of word usage, but about a qualitative one - about influencing the reader in the most effective way. And the detail is just such a way, because it saves figurative means, creates an image of the whole at the expense of its insignificant feature. Moreover, it forces the reader to engage in co-creation with the author, complementing the picture that he has not drawn to the end. A short descriptive phrase really saves words, but they are all automated, and visible, sensual clarity is not born. The detail is a powerful signal of figurativeness, awakening in the reader not only empathy with the author, but also his own creative aspirations. It is no coincidence that the pictures recreated by different readers according to the same detail, without differing in the main direction and tone, differ markedly in detail and depth of drawing.
In addition to the creative impulse, the detail also gives the reader a sense of the independence of the created representation. Not taking into account the fact that the whole is created on the basis of a detail deliberately selected for it by the artist, the reader is confident in his independence from the author's opinion. This seeming independence of the development of the reader's thought and imagination gives the narrative a tone of disinterested objectivity. For all these reasons, the detail is an extremely essential component of the artistic system of the text, actualizing a number of textual categories, and all artists thoughtfully and carefully consider its selection.
The analysis of artistic details contributes to the understanding of the moral, psychological and cultural aspects of the text, which is an expression of the writer's thoughts, who, transforming reality through his creative imagination, creates a model - his concept, the point of view of human existence.
The popularity of an artistic detail among authors, therefore, stems from its potential power, which can activate the reader's perception, encourage him to co-create, and give scope to his associative imagination. In other words, the detail actualizes, first of all, the pragmatic orientation of the text and its modality. Among the writers who masterfully used the detail, one can name E. Hemingway.

1.2 Classification of artistic details
Revealing the details or system of details chosen by the writer is one of the actual problems modern literary criticism. An important step in its solution is the classification of artistic details.
Both in style and in literary criticism, a general classification of details has not developed.
V. E. Khalizev writes in the manual “Theory of Literature”: “In some cases, writers operate with detailed characteristics of a phenomenon, in others they combine heterogeneous objectivity in the same text episodes.”
L. V. Chernets proposes to group the types of details based on the style of the work, the principles for identifying which are determined by A. B. Esin.
A. B. Esin in the classification of details highlights the details of external and psychological. External details draw the external, objective existence of people, their appearance and habitat, and are divided into portrait, landscape and real; and psychological - depict the inner world of a person.
The scientist draws attention to the conditionality of such a division: an external detail becomes psychological if it conveys, expresses certain mental movements (in this case, it means a psychological portrait) or is included in the course of thoughts and experiences of the hero.
From the point of view of the image of dynamics and statics, external and internal, the scientist determines the property of the style of a particular writer according to the “set of style dominants”. If the writer pays primary attention to the static moments of being (the appearance of the characters, the landscape, city views, interiors, things), then this property of style can be called descriptive. Descriptive details correspond to this style.
The functional load of the part is very diverse. Depending on the functions performed, the following classification of types of artistic detail can be proposed: pictorial, clarifying, characterological, implicating.
The pictorial detail is designed to create a visual image of what is being described. Most often, it enters as an integral element in the image of nature and the image of appearance. Landscape and portrait work greatly benefit from the use of detail: it is this detail that gives individuality and concreteness to a given picture of nature or the appearance of a character. In the choice of pictorial detail, the author's point of view is clearly manifested, the category of modality, pragmatic orientation, systemicity is updated. In connection with the local-temporal nature of many pictorial details, we can talk about the periodic actualization of the local-temporal continuum through the pictorial detail.
The main function of a clarifying detail is to create an impression of its reliability by fixing minor details of a fact or phenomenon. A clarifying detail, as a rule, is used in a dialogic speech or a skaz, delegated narration. For Remarque and Hemingway, for example, a description of the movement of the hero is typical, indicating the smallest details of the route - the names of streets, bridges, lanes, etc. The reader does not get an idea about the street. If he has never been to Paris or Milan, he does not have vivid associations with the scene. But he gets a picture of movement - fast or leisurely, agitated or calm, directed or aimless. And this picture will reflect the state of mind of the hero. Since the whole process of movement is firmly tied to places that really exist, known by hearsay or even from personal experience, i.e., quite reliable, the figure of the hero inscribed in this framework also acquires convincing truthfulness. Scrupulous attention to the minor details of everyday life is extremely characteristic of the prose of the middle of the 20th century. The process of morning washing, tea drinking, lunch, etc., dissected to the minimum links, is familiar to everyone (with the inevitable variability of some constituent elements). And the character, standing in the center of this activity, also acquires the features of authenticity. Moreover, since things characterize their owner, a clarifying thing detail is very essential for creating the image of a character. Consequently, without directly mentioning the person, the clarifying detail is involved in creating the anthropocentric orientation of the work.
The characterological detail is the main actualizer of anthropocentricity. But it performs its function not indirectly, as pictorial and clarifying, but directly, fixing the individual features of the depicted character. This type of artistic detail is dispersed throughout the text. The author does not give a detailed, locally concentrated characterization of the character, but places milestones - details in the text. They are usually served in passing, as something famous. The entire composition of characterological details, scattered throughout the text, can be directed either to a comprehensive description of the object, or to re-emphasizing its leading feature. In the first case, each individual detail marks a different side of the character, in the second, they are all subordinated to showing the main passion of the character and its gradual disclosure. For example, understanding the complex behind-the-scenes machinations in E. Hemingway's story "Fifty Thousand", ending with the words of the hero - boxer Jack "If funny how fast you can think when it means that much money", is prepared gradually, persistently returning to the same quality of the hero . Here is a boxer called his wife on a long-distance telephone. His staff notes that this is his first telephone conversation, he used to send letters: "a letter only costs two cents." So he leaves the training camp and gives the Negro massage therapist two dollars. At the bewildered look of his companion, he replies that he has already paid the entrepreneur the bill for the massage. Here, already in the city, having heard that a hotel room costs $ 10, he is indignant: "That" s too steep ". Here, having risen to the room, he is in no hurry to thank the battle that brought the suitcases:" Jack didn "t make any move, so I gave the boy a quarter". When playing cards, he is happy when he wins a penny: "Jack won two dollars and a half... was feeling pretty good", etc. , Hemingway makes it the leading characteristic of the passion for accumulation. The reader turns out to be internally prepared for the denouement: for a person whose goal is money, life itself is cheaper than capital. The author carefully and carefully prepares the reader's conclusion, guiding it along the milestones-details placed in the text. The pragmatic and conceptual orientation of the generalizing conclusion is thus hidden under the imaginary independence of the reader in determining his own opinion. The characterological detail creates the impression of eliminating the author's point of view and is therefore especially often used in emphatically objectified prose of the 20th century. precisely in this function.
The implicit detail marks the external characteristic of the phenomenon, by which its deep meaning is guessed. The main purpose of this detail, as can be seen from its designation, is the creation of implication, subtext. The main object of the image is the internal state of the character.
In a certain sense, all these types of details participate in the creation of subtext, because each implies a wider and deeper coverage of a fact or event than is shown in the text through a detail. However, each type has its own functional and distribution specifics, which, in fact, allows us to consider them separately. The pictorial detail creates an image of nature, an image of appearance, and is used mostly singly. Clarifying - creates a material image, an image of the situation and is distributed in a heap, 3-10 units in a descriptive passage. Characterological - participates in the formation of the image of the character and is dispersed throughout the text. Implicating - creates an image of the relationship between characters or between the hero and reality.

1.3 Artistic detail and artistic symbol
Under certain conditions, an artistic detail can become an artistic symbol. Much has been written about the symbolism of modern literature. Moreover, different critics often see different symbols in the same work. To some extent, this is due to the polysemy of the term itself. The symbol acts as a spokesman for the metonymic relationship between the concept and one of its specific representatives. The famous words "Let's beat swords into plowshares", "Sceptre and crown will tumble down" are examples of metonymic symbolism. Here the symbol has a permanent and important character for this phenomenon, the relationship between the symbol and the whole concept is real and stable, and does not require conjecture on the part of the recipient. Once discovered, they are often repeated in a variety of contexts and situations; unambiguous interpretation leads to stable interchangeability of the concept and symbol. This, in turn, determines the assignment to the symbol of the function of a stable nomination of the object, which is introduced into the semantic structure of the word, registered in the dictionary and eliminates the need for parallel mention of the symbol and symbolized in one text. The linguistic fixation of a metonymic symbol deprives it of novelty and originality, reduces its figurativeness.
The second meaning of the term "symbol" is associated with the likening of two or more heterogeneous phenomena in order to clarify the essence of one of them. There are no real connections between the like categories. They only resemble each other in appearance, size, function, etc. The associative nature of the connection between a symbol and a concept creates significant artistic possibilities for using a symbol-similarity to make the described concept concrete. The assimilation symbol during decoding can be reduced to the final transform "symbol (s) as the main concept (s)". Such a symbol often acts as the title of a work.
The dazzling and unattainable peak of Kilimanjaro is like the unfulfilled creative destiny of the hero of E. Hemingway's story "The Snows of Kilimanjaro". Gatsby's mansion from Fitzgerald's novel of the same name, at first foreign and abandoned, then flooded with the brilliance of cold lights and again empty and resonant - like his destiny with its unexpected rise and fall.
The symbol-similarity is often presented in the title. He always acts as an actualizer of the concept of the work, pragmatically directed, based on retrospection. Due to the actualization of the latter and the associated need to return to the beginning of the text, it enhances textual coherence and systemicity, i.e., the likeness symbol, in contrast to metonymy, is a phenomenon of the text level.
Finally, as already mentioned, a detail becomes a symbol under certain conditions. These conditions are the occasional connection between the detail and the concept it represents and the repeated repetition of the word expressing it within the given text. The variable, random nature of the relationship between the concept and its individual manifestation requires an explanation of their relationship.
The symbolizing detail is therefore always first used in the immediate vicinity of the concept, the symbol of which it will act in the future. Repetition, on the other hand, legitimizes, strengthens a random connection, the similarity of a number of situations assigns to the detail the role of a constant representative of the phenomenon, provides it with the possibility of independent functioning.
In the work of E. Hemingway, for example, a symbol of misfortune in the novel "Farewell to Arms!" it starts to rain, in "The Snows of Kilimanjaro" - a hyena; the symbol of courage and fearlessness is the lion in the story "The Short Happiness of Francis Macomber". The lion of flesh and blood is an important link in the development of the plot. The first repetition of the word "lion" is in close proximity to the qualification of the hero's courage. A further forty-fold repetition of the word, dispersed throughout the story, gradually weakens the meaning of correlation with a specific animal, highlighting the emerging meaning of "courage". And in the last, fortieth use, the word “lion” is the authoritative symbol of the concept: "Macomber felt unreasonable happiness that he had never known before... "You know, I"d like to try another lion," Macomber said". "lion" has nothing to do with the external development of the plot, for the hero says it while hunting a buffalo. It appears as a symbol, expressing the depth of the change that has taken place in Macomber. Having failed in the first test of courage, he wants to win in a similar situation, and this display of courage will be the final stage in the assertion of his newly acquired freedom and independence.
Thus, the detail-symbol requires an initial explication of its connection with the concept and is formed into a symbol as a result of repeated repetition in the text in similar situations. The symbol can be any type of part. For example, the pictorial detail of Galsworthy's landscape descriptions in The Forsyte Saga, related to the birth and development of love between Irene and Bosnia, is sunlight: "into the sun, in full sunlight, the long sunshine, in the sunlight, in the warm sun" . Conversely, there is no sun in any of the descriptions of the Forsytes' walk or business trip. The sun becomes a detail-symbol of love, illuminating the fate of the heroes.
The symbolic detail, therefore, is not yet another, fifth, type of detail that has its own structural and figurative specificity. It is, rather, a higher level of development of the detail, associated with the peculiarities of its inclusion in the whole text, it is a very strong and versatile text actualizer. It explicates and intensifies the concept, penetrating the text through repetition, significantly contributes to strengthening its coherence, integrity and consistency, and, finally, it is always anthropocentric.

Chapter 2
2.1 Innovative style of E. Hemingway
Around the American writer Ernest Hemingway (1899 - 1961), legends developed during his lifetime. Having made the leading theme of his books the courage, resilience and perseverance of a person in the fight against circumstances that doom him to almost certain defeat in advance, Hemingway strove to embody the type of his hero in life. A hunter, fisherman, traveler, war correspondent, and when the need arose, then a soldier, he chose the path of greatest resistance in everything, tested himself "for strength", sometimes risked his life not for the sake of thrills, but because a meaningful risk, like him thought it befits a real man.
Hemingway entered great literature in the second half of the 1920s, when, following the book of short stories In Our Time (1924), his first novels appeared - The Sun Also Rises, better known as Fiesta. (“The Sun Also Rises”, 1926) and “Farewell to Arms!” (“A Farewell to Arms”, 1929). These novels gave rise to the fact that Hemingway began to be considered one of the most prominent artists of the "lost generation" ("Lost Generation"). His largest books after 1929 are about bullfighting Death in the Afternoon (1932) and the safari Green Hills of Africa (1935). The second half of the 1930s - the novel To Have and Have Not (1937), stories about Spain, the play The Fifth Column (1938) and the famous novel For Whom the bell tolls" ("For Whom the Bell Tolls", 1940).
AT post-war years Hemingway lived in his house near Havana. The first of the works of the 50s was the novel "Across the River and into the Trees", 1950. But the real creative triumph awaited Hemingway in 1952, when he published his story "The Old Man and the Sea" ("The Old Man and the Sea"). Two years after its appearance, Hemingway was awarded the Nobel Prize in Literature.
As a correspondent, Hemingway worked hard and hard on the style, manner of presentation, and form of his works. Journalism helped him develop a basic principle: never write about what you do not know. He did not tolerate chatter and preferred to describe simple physical actions, leaving room for feelings in the subtext. He believed that there was no need to talk about feelings, emotional states, it was enough to describe the actions in which they arose.
His prose is a canvas of the external life of people, a being that contains the greatness and insignificance of feelings, desires and motives. Hemingway strove to objectify the narrative as much as possible, to exclude from it direct author's assessments, elements of didactics, to replace, where possible, the dialogue with a monologue. In the mastery of the internal monologue, Hemingway reached great heights. The components of composition and style were subordinated in his works to the interests of the development of the action. Short words, simple sentence structures, vivid descriptions, and factual details combine to create realism in his stories. The skill of the writer is expressed in his subtle ability to use repetitive images, allusions, themes, sounds, rhythms, words, and sentence structures.
The “iceberg principle” put forward by Hemingway (a special creative technique when a writer, working on the text of a novel, reduces the original version by 3-5 times, believing that the discarded pieces do not disappear without a trace, but saturate the narrative text with additional hidden meaning) is combined with the so-called “ side view" - the ability to see thousands of the smallest details that seem to be not directly related to events, but in fact play a huge role in the text, recreating the flavor of time and place. Just as the visible part of an iceberg, rising above the water, is much smaller than its main mass hidden under the surface of the ocean, so the writer’s laconic, laconic narrative captures only those external data, starting from which the reader penetrates into the depths of the author’s thought and discovers the artistic the universe.
E. Hemingway created an original, innovative style. He developed a whole system of specific methods of artistic display: editing, playing with pauses, interrupting dialogue. Among these artistic means an essential role is played by the talented use of artistic details. Already at the beginning of his writing career, E. Hemingway also found “his own dialogue” - his characters exchange insignificant phrases, cut off by chance, and the reader feels behind these words something significant and hidden in the mind, something that sometimes cannot be expressed directly.
So the writer's use various tricks and means of artistic display, including the famous Hemingway short and precise phrase, became the basis for creating a deep subtext of his works, which will help to reveal the definition and analysis of five types of artistic detail (pictorial, clarifying, characterological, implicit, symbolic), taking into account the function they perform in E. Hemingway's parable "The Old Man and the Sea".

2.2 Artistic detail in E. Hemingway's story "The Old Man and the Sea"
The Old Man and the Sea is one of the last books by Ernest Hemingway, written in 1952. The plot of the story is typical of Hemingway's style. Old Santiago struggles against unfavorable circumstances, fights desperately, to the end.
Outwardly concrete, objective narrative has philosophical overtones: man and his relationship with Nature. The story about the fisherman Santiago, about his battle with a huge fish, turned under the pen of the master into a true masterpiece. This parable revealed the magic of Hemingway's art, its ability to keep the reader's interest despite the outward simplicity of the plot. The story is extremely harmonious: the author himself called it "poetry translated into the language of prose." Main character not just a fisherman like many Cuban fishermen. He is a Man who fights destiny.
This small but extremely capacious story stands apart in Hemingway's work. It can be defined as a philosophical parable, but at the same time, its images, rising to symbolic generalizations, have an emphatically concrete, almost tangible character.
It can be argued that here, for the first time in Hemingway's work, a hard worker, who sees his life calling in his work, became a hero.
The protagonist of the story, old man Santiago, is not typical of E. Hemingway. He will not yield to anyone in valor, in readiness to fulfill his duty. Like an athlete, he shows by his heroic struggle with the fish what a person is capable of and what he can endure; asserts in deed that “But man is not made for defeat… A man can be destroyed but not defeated.”). Unlike the heroes of Hemingway's previous books, the old man has neither a sense of doom, nor the horror of "nada". He does not oppose himself to the world, but seeks to merge with it. The inhabitants of the sea are perfect and noble; the old man must not yield to them. If he "fulfills that for which he was born" and does everything in his power, then he will be admitted to the great feast of life.
The whole story of how the old man manages to catch a huge fish, how he leads
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