What is Paphos? Types of Paphos Production Romantic Paphos Examples of works.

Deep and historically truthful understanding and assessment of the characters depicted, generated by their objective value, is a pathos of the creative thought of the writer and his work.

Works that do not differ in deep problems, comprehension and assessment of characters are not towering to Paphos. By virtue of significant differences in the most important life, pathos of literary works also discovers several varieties. It can be a heroic, tragic, dramatic or sentimental and romantic, or humorous and satirical.

Heroic and romance, drama and tragedy, humor and satire - all this is deep and true awareness and an emotional assessment of what is happening and exists in reality.

Heroic Paphos - concludes the approval of the magnitude of the admiration of a separate personality and a whole team that has a great importance to him for the development of the people, nation, humanity. The heroic always implies the free self-determination of the individual, its effective initiative, and not obedient operation.

Starting from the era of the revival, the content of national - historical heroes is largely due to the processes of the formation of feudal states. In the works of fiction, reflecting and charming heroic, historical events are often reproduced, real historical persons operate.

Tragic pathos

Belinsky noted: "The tragic consists in a collision of the natural attraction of the heart with a debt idea - steming from that struggle and finally victory and fall." From this definition it follows that one side is "a natural attraction of the heart", i.e. Mental personal attachments and love feelings, etc., and the other side is the "idea of \u200b\u200bdebt", what prevents the "leaning heart", then with what a loving associates the consciousness of moral law. This is usually the laws of marriage, data of vows, responsibility to the family, but also before the birthplace, the state.

The authorities of the dominant classes have already lost their progressiveness, became the reactionary, but the public forces that could overthrow it, are still too weak for this. Such a conflict often determined the tragedy of popular uprisings and revolutionary movements.

Tragic contradictions often manifest themselves in privacy inflicted directly with political conflicts and having attitudes towards moral and household sphere.

Tragic contradictions arise in the process of the development of society, they have not an individual, not random, but meaningful historical. They manifest themselves in the public behavior of people, condemning them to suffering, sometimes to death. Reproducing the tragic contradictions in their works, comprehending them, typifying, writers are strengthening in the plots of works of the painful experiences of their heroes and injected heavy events taking place in their lives.

Satirian pathos is the most powerful and sharp, indignant and mockery of certain sides of public life. Satyric pathos is generated by the objective comic properties of life, and in it, an ironic mockery over the community of life is connected with a sharp decoration, indignation. Satyric laughter is different from simple supry or mockery with its cognitive content. This laughter does not apply to a separate person or event, but to those common characteristic features of social life, which found their manifestation in them.

Satira appeared later than heroic, tragedy. In Russia, the development of satire is closely connected with the historical life of society. In the 17th century, Satira is presented in folk creativity.

Humor is a laughter over harmless, comic contradictions connected with pity for people showing this comicness. In Russian literature, the greatest humorists were N.V.Gogol, the greatest Satir Saltykov, generous, M.Zoshchenko and many others

Sentimental pathos is a mental sensitivity caused by the awareness of moral advantages in the characters of people socially-humiliated. The Sentimentalism In Russia is N. Karamzin's sonor. A sample of sentimental literature serves his story "Poor Lisa".

In literary works, sentimentality has ideologically - approving orientation.

Pafos sentimentality manifests itself in the works of the second half of the 18th century. The sentimental focus often occurred in the literature of the 19th century. So, in some works of Russian literature 40-60 years of the 19th century, a sensual attitude towards the life of a serf peasant is expressed. For example, in the "Bezhin Meadow" I. Turgenev, some poems Nekrasov "Orina, Mother Soldiers'," Frost, Red Nose ", in the story of Dostoevsky" Poor People ".

Literature

• 1. G. N. Pospelov. Paphos artwork, M., 1983.
• 2. Dubrovina I. M. Romance in artwork. M.1989
• 3. "Basics of the theory of literature" ed. Acad. Timofeeva, M., 1963.
• 4. Literary encyclopedia. M., 1990.
• 1. Mintz Yu.V. Poetics of Russian romanticism. M., 1957.

Finally, the last element belonging to the ideological world of the work is pathos, which can be defined as a leading emotional tone of the work, its emotional mood.

The synonym for the term "Paphos" is the expression "emotional and value orientation". Analyze the pathos in the artistic work - it means to establish its typological species, the type of emotional and value orientation, attitudes towards peace and man in the world. We now refer to the consideration of these typological varieties of pathos.

Paphos Epico-dramatic represents a deep and undoubted acceptance of the world as a whole and himself in it, which is the essence of epic worldview. At the same time, this is not a thoughtless acceptance of a cloudless harmonious world: being is aware of its initial and unconditional conflict (drama), but this conflict itself is perceived as the necessary and fair side of the world, because conflicts arise and are permitted, they ensure the very existence and dialectical development of being .

Epico-dramatic pathos is the maximum confidence in the objective world in all its real versatility and contradictions. Note that this type of pathos is rarely represented in the literature, even less often it acts in its pure form.

As based on the whole on the epics and dramatic pathos, the works can be called "Ilia" and "Odyssey" of Homer, Roman Rabl "Gargantua and Pantagruel", the play of Shakespeare "Storma", the poem of Pushkin "Will I go along the streets of noisy ...", Roman-epic Tolstoy "War and Peace", the poem of the Tvardovsky "Vasily Terkin".

The objective basis of pathos of heroics is the struggle of individuals or teams for the implementation and protection of ideals that are necessarily recognized as sublime.

At the same time, the actions of people are certainly associated with personal risk, personal danger, conjugate with the real possibility of losing a person of some significant values \u200b\u200b- up to life itself. Another condition of the manifestation of heroic in reality is free will and a person's initiative: forced actions, as the hegel pointed out, cannot be heroic.

The ideological and emotional awareness of the writer objectively heroic leads to the emergence of pathos of heroics. "Heroic pathos in literature<...> Approves the greatness of the admiration of a separate person or a whole team, the value and necessity of it for the development of the nation, people, humanity. " The desire to alter the world, whose device seems unfair, or the desire to defend the world perfect (as well as close to the ideal and the apparent one) is the emotional basis of the heroic.

In the literature it is easy to find works, entirely or mainly built on the heroic pathos, and specific situations, as well as the elevated ideals of the heroes, can be quite different. With the heroic, we meet in the "song about Roland" and in the "Word about the regiment of Gogol", in the "Taras Bouvube" of Gogol and in the "fuel", in the novel of the Gorky "mother", in the stories of Sholokhov and many other works.

With the heroic as a pathos based on the elevated, other types of pathos, having a sublime character, are primarily a tragedy and romance. Romance relates to the heroic desire for an exalted ideal.

But if the heroic is a sphere of active action, then romance is an area of \u200b\u200bemotional experience and the desire that does not go into force. The objective basis of romance is such situations in personal and public life, when the implementation of the sublime ideal is either impossible in principle, or is impracticable at this historical moment.

However, on such an objective basis, not only the pathos of romance, but also tragedy, and irony, and satire, so that decisive in Romantics is still a subjective moment, the moment of the experience of the faint break between the dream and reality is.

One of the private (and very common) cases of romance is a dream of a heroic, orientation for the heroic ideal in the absence of the possibility of transforming it in reality.

This kind of romance is peculiar, for example, young people in "calm" periods of history: young men and girls often seem to be "late to be born to participate in revolutions and wars - an example of this type of romance can serve as early creativity V. Vysotsky:" .. . And in the basements and semi-oats // the children wanted under the tanks // did not even go on the pool ... "

However, the sphere of romantics is wider than this thrust for heroic. This emotional-value orientation refers all values \u200b\u200bto the area of \u200b\u200bfundamentally unattainable.

The natural world of romance - a dream, fantasy, gold, so romantic works are so often addressed either to the past ("Borodino" and "Song about the merchant Kalashnikov" Lermontov, "Tsar Fyodor John" A.K. Tolstoy, "Sullaith" Kupper), or To frank exotic (South Pushkin's poems, McIraffe, Lermontov, Giraffe), or to something fundamentally not existing ("Double" A. Pogorelsky, "Demon" Lermontov, "Aelita" A.N. Tolstoy).

In the history of literature, Pafosomes of Romantic marked many works. Romantics should not be confused with romanticism as a literary direction of the end of the XVIII-early XIX century; It is found in a wide variety of historical era, which also pointed out Belinsky.

Obviously, romantic pathos originated in the ancient lyrics; From works closest to us, we will point out "Evenings on the farm near Dikanka" Gogol, "MTSI" Lermontov, "First Love" Turgenev, "Old Man Izergil" Gorky, early creativity of the block and Mayakovsky.

Pafos romance can act in the literature and in combination with other types of pathos, in particular, with irony (block), heroic ("Good!" Mayakovsky), satire (Nekrasov).

Paphos Tragism is a realization of loss, with the loss of irreparable, some important life values \u200b\u200b- human life, social, national or personal freedom, the possibility of personal happiness, cultural values, etc.

The objective basis of tragic literary crituals and aesthetics has long been considered an insoluble character of a particular conflict. In principle, this is true, but not quite exactly, because the intractability of the conflict is a thing, strictly speaking, conditional and not necessarily tragic.

The first condition of the tragic is the pattern of this conflict, such a situation when it is impossible to put up with its unresolvedness. Secondly, under the insoluability of the conflict, we mean the impossibility of his prosperous permission - it is certainly associated with victims, with the death of certain indisputable humanistic values. Such, for example, the nature of the conflict in the "small tragedies" of Pushkin, the "thunderstorm" of Ostrovsky, "White Guard" Bulgakov, the poems of the Twardovsky "I killed under Rzhev ...", "I know there is no my guilt ..." and t. P.

The tragic situation in life may occur both by chance, as a result of an unfavorable coincidence, but such situations are not very interested in literature. It is more characteristic of interest in the tragic lawful, arising from the essence of characters and provisions.

The most fruitful for art becomes such a tragic conflict when an insoluble contradictions - in the soul of the hero, when the hero is in a free choice situation between two equally necessary, but mutually exclusive values.

In this case, the tragic acquires the maximum depth, at such a tragedy, "Hamlet" Shakespeare, "Hero of Our Time" Lermontov, "Crime and Punishment" of Dostoevsky, "Quiet Don" Sholokhov, "Fall" by Cami, "Prach Dexter" Falkner and many others Works.

In sentimentality, another type of pathos - we, as in romantics, are observing the predominance of subjective above objective. Sentimentality literally translated from French means sensitivity; It is one of the first manifestations of humanism, but very peculiar.

In some situations, almost every person happens to be sentimentality - so, most of the normal people cannot pass indifferently by the suffering of a child, a helpless person or even an animal.

Sentimentality as the ability to "regret" quite often combines a subject and an object (a person regrets himself; this feeling, apparently, is familiar to everyone in childhood and found the perfect artistic embodiment in the "childhood" of Tolstoy).

But even if sentimental pity is aimed at the phenomena of the surrounding world, the personality respondent always remains in the center - the dying, compassioning. At the same time, the sympathy of another in sentimentality is fundamentally inactivity, it acts as a psychological substitute for real assistance (such, for example, artistically pronounced sympathy in the peasant in the works of Radishchev and Nekrasov).

In its developed form, sentimentality appears in the literature in the middle of the XVIII century, giving the name of the literary direction of sentimentalism. Often, the dominant role of Pafos sentimentality played in the works of Richardson, Rousseau, Karamzin, Radishchev, partly Goethe and Stern.

In the future, the development of literature, we also meet, although infrequently, with a pathos of sentimentality, for example, in the "Starlavetsky landowners" and "shelters" of Gogol, some stories from the "Hunter's Notes" of Turgenev ("Singers", "Bezhin Mead"), in his The same story "Mumu", in the works of Dickens, Dostoevsky ("humiliated and offended", "poor people"), Nekrasov.

Turning to the consideration of the following typological species of pathos - humor and satire - we note that they are based on a total basis of comic. The problem of determining the comic and its essence of literary critics and aesthetics was engaged in extremely many, noting mainly that the comic is based on the internal contradictions of the subject or phenomenon.

The essence of the comic conflict, perhaps, most accurately determined N.G. Chernyshevsky: "Inner emptiness and insignificance, covered by appearance, having a claim for content and a real meaning."

Wider the objective basis of the comic can be denoted as a contradiction of ideal and reality, norms and reality. It should only be noted that it is not always and not necessarily subjective understanding of such a contradiction will occur in a comic key.

The satirical image appears in the work when the satire object is realized by the author as an irreconcilable opposite ideal, which is in antagonistic relations. F. Schiller wrote that "in satire reality, as a certain imperfection, is opposed to the ideal as the highest reality."

Satira is directed to those phenomena that actively impede the establishment or being of the ideal, and sometimes directly dangerous for its existence. Satyrian pathos is known in the literature from ancient times (for example, riding the enemy in folklore legends and songs, satirical fairy tales, etc.), however, in the developed form of satire, it is called to life first of all with a public struggle, so we find wide distribution of satirical pathos in literature Antiquity. Renaissance and enlightenment; Such is the Satira of Russian revolutionary democrats, satire in the domestic literature of the XX century.

Sometimes the satire object turns out to be so dangerous for the existence of the ideal, and its activities are so dramatic and even tragic in its consequences that his understanding no longer causes anything - this situation develops, for example, in the novel of Saltykov-Shchedrin "Lord Golovy".

It violates the communication of satire with comic, so such a denying pathos, not associated with ridiculous, should be obviously considered to be a special, independent type of ideological and emotional attitude towards life, denoting this type by the term "Inkiva".

We find such a decision, in particular, in the literary encyclopedic dictionary: "There is, however, not a comic satire inspired by one indignation (see Inkiva)." The need to especially allocate non-native, but such a major specialist in this area as E.Ya. Ellberg.

Paphos Invective has, for example, the poem of Lermontov "Farewell, unwashed Russia ...". It expresses a sharply negative attitude towards the autocarete-police state, but there is no ridiculation, comism, calculating laughter. In the work, no element of self-satiric poetics is not used, designed to create a comic effect: there is no hyperbolism, nor grotesque, nor ridiculous, alogichic situations and speech structures.

In form and content, this is a short lyrical monologue, expressing a very serious feeling of the poet - a sense of hatred for the "country of slaves, the country of the Lord." Pafos of the same type of characteristic and poem of Lermontov "On the death of the poet" (or rather, the second part of it), many "satiram" Horace, journalistic discoveries in "Traveling from St. Petersburg to Moscow" Radishchev, the story of A. Platonova "Inanimate enemy", Simonov's poem "If your house is your home ..." (which, by the way, in the first edition of 1942, was called the name "kill him!") And many other works.

Esin AB Principles and techniques for analyzing the literary work. - M., 1998.

The heroic pathos encompasses the approval of the magnitude of the admiration of the individual and the whole team, the huge meaning of it for the development of the people, the nation, humanity. The subject of heroic pathos in the literature is the heroic of the reality itself - the active activity of people, thanks to which the great national and progressive tasks are carried out.

The content of heroics is different in different national historical circumstances. Mastering the elements of nature, responding into foreign invaders, the fight against the reactionary forces of society for the advanced forms of socio-political life, for the development of culture - all this requires the ability to rise to the interests and objectives of the team, to realize them as their own blood business. Then the common interests become an internal need of personality, mobilize her strength, courage, will and inspire her to the feat. According to Hegel, the "universal strength of the action" of human society becomes the "soul forces" of a separate person, as if embodied -113

in his character, in his actions (43, 1, 195). The heroic always implies the free self-determination of the individual, its effective initiative, and not obedient operation.

The embodiment in the actions of a separate personality, with all the limitedness of its forces, the Great, National LD, regressive aspirations, is such a positive inner contradiction of heroic in life.

The figuratively revealing the main qualities of heroic characters, admiring them and singing them, the artist of the word creates works imbued with heroic pathos 1. It does not just reproduce and emotionally comments the heroic of reality, butideano-creatively rethinking her in the light of his ideal of civil valor, honor, debt. He implements life into the artwork of the work, expressing his idea of \u200b\u200ba feat, about the essence of a heroic nature, his fate and meaning. The act of reality is reflected in the artistic product refraction and hyperbolically in fictional, sometimes even fantastic characters and events. It is therefore diverse therefore not only real heroic situations and characters, but also the interpretation of them in the literature.

Interest in the heroic is found in the most ancient works of syncretic creativity, in which, along with the images of the gods, the images of heroes appeared, or, as they were called in Greece, Heroes (gr. Heros - Vladyka, Mr.), committing unprecedented feats for the benefit of their people. Such images were created in the healing era of the generic system - in the "eyelid of heroes" 2, when the independence of a separate person was noticeably increased, the importance of its initiative actions in the life of the people's team increased. On holidays, in honor of the victorious battle, the choir picked the winners, and they told about the recent

1 It should be noted that in the history of the literature meets and
false, fake heroization, such as conquerors, colonizers,
Defenders of the reactionary mode, etc. It distorts the essence of the real
the historical situation gives the work a false ideological direction
.

2 The name "Age of Heroes" first appeared in the poem ancient Greek
the poet of the Gesiod "Theogony" ("The Origin of the Gods") and Save
Elk still in modern historical science. It means og
Roma period in the life of humanity - from the highest level of development
Generic building to education and early existence of the state
as the organization of class society.

they are fights with enemies. As shown in his study, A. N. Veselovsky (36, 267), such stories, becoming the property of the tribe, laid the foundation of historical legends, songs, myths. In oral transmission, the details changed, the hyperbolic image and fantastic interpretation were obtained. So there were images of heroes - valiant, courageous capable of committing the great feats causing admiration, worship, the desire to imitate them. In the ancient Greek myths, this is Hercules with his twelve fell or Perseus, who cut off the head of Gorgon Medusa. In Iliad, Homer is Achilles, Patrole, Hector, famous in Bi! Wash under Troy.

Heroic images of myths and legends were widely used in the literature of subsequent eras. By rethinking, they nevertheless retain the value of the perpetual characters of human heroism. They approve the value of the feat and heroic as the highest norm of behavior for each member of the national team.

At the later stages of social development, in a class society, heroic issues acquired a new sharpness and more wider importance. In the works of folklore - historical songs, epic, warrior fairy tales, epic, military ones - in the center there is a mighty, fair warrior warrior, protecting his people from foreign invaders. He risks life not on the prescription of over, not responsibilities - he himself freely makes a decision and gives everything herself a great goal. Its actions are less arbitrary, more conscious of the mythological character, they are caused by a sense of honor, debt, internal responsibility. And the epic singer often reveals a high national identity of the hero, the patriotic meaning of his acts.

"For the cute France" dies Roland in "Song about Roland". Standingly fight with Sarcins, Saksami, Normans and other heroes of the French "Chanson de Gestsel" ("songs about acts"), glorifying the perfect, kind, invincible in the battle of King Charles Great. The Hero of the Spanish "Song about my Side" Rodrigo de Bivar brave beats with Moors for the liberation of his native land. In the glory of the Great Kiev, Russian Bogati Dobrynyn Nikitich, Alyosha Popovich, Ilya Muromets make their feats. The epic singer sees in the heroes the incarnation of the relics of the people, approving its national independence.

In the heroic works of artistic l and t

r A T U R Y, created in the process of individual creativity, the peculiarity of the ideological beliefs of the author affects more definitely than in folklore. For example, the ancient Greek Ponddar poet, famous in his own heroes, proceeds from the understanding of the "valor", which was characteristic of the aristocracy: he sees in valor not personal, and hereditary, family quality. The contemporary of Pondara Simonide expresses a different, democratic point of view, when the heroes fallen in the fight against Persians. This is how his inscription in the place of the Battle of Spartans, who fallen in Fermopils sounds:

Travelers, go, build our citizens in Lacceedava, that, their covenants are dishes, here we have fallen bones.

Restrained, full of sorrow words ideologically argue the dignity of all citizens, to the end of the remaining loyal debt. Thus, in the ancient Greek literature, the heroic is comprehended from various ideological positions.

Starting from the Renaissance, the content of N and C and the O-nation-historical heroic is largely due to the processes of formation of feudal states, later - with the formation of bourgeois nations. In the works of fiction, reflecting and charming heroic, real events are often reproduced, historical persons operate. In the initiative free actions of the heroes find a visible embodiment of the movement of history. Thus, in the Russian literature, Peter I was the suspension of Lomonosov in the sides and the Petr Great Poem, and later Pushkin in the lyrics, in the Poem "Poltava", in joining the "copper rider". A response to the war of 1812 was the "singer in the village of Russian warriors" Zhukovsky, "Memories in the royal village" Pushkin, "Borodino" Lermontov. The heroic of this struggle in the "War and the World" was reproduced with epic latitude in the "war and the world" L. N. Tolstoy.

But the heroes require not only the fight against the external enemy. The resolution of internal civil conflicts, without which there is no development of society, generates a revolutionary heroic. It is a heroic of freely accepted civil debt, high responsibility for the fate of the Motherland, willingness to join unequal struggle with the dominant reaction forces. It requires a hero not only big courage, purposefulness, dedication, but also much more ideological

independence than fighting an external enemy. In the artistic literature, Eschil, using the ancient myth of Promethea - Titan, who gave people a fire and punished for this by Zeus, argued the heroic of thiranoborch. Later, Milton, contacting biblical legends, handed over the heroic of the English bourgeois revolution in the "lost paradise". In his own way, the heroic character of Prometheus Shelly in the poem "Prometheus liberated" was revealed.

A revolutionary interpretation often received the heroic of the national struggle for freedom. So, glorifying the struggle of the Greek people for independence, Pushkin and the Peppets-Decembrists protested against the oppression of Russian autocracy.

The most consistently and openly revolutionary heroic argues the literature of socialist realism. "Mother" and "enemies" of Gorky, the "left march" of Mayakovsky, "Iron Stream" of Serafimovich, "Armor Train 14-69" Ivanova, "Ballada of nails" Tikhonov, "Chapaev" Furmanova reveal the rise of self-consciousness, social activity of broad democratic circles, covered by revolutionary impulse. The element of the revolution in these works appears as element heroic, not only destructive, but also creative in its historical meaning. This is a new understanding of the heroic of the mass movement for the revolutionary transformation of society.

So, the heroic pathos expresses the desire of the artist to show the greatness of a person who makes a feat in the name of a common cause, ideologically approve in the consciousness of society the meaning of this nature and its moral readiness for the feat.

The heroic pathos in the artworks of different eras is most often complicated by dramatic and tragic motifs. The victory over national and class enemies is often conquered by the price of the life of the heroes and the suffering of the people. In the heroic poem of Homer "Iliad", the struggle between the Aheitsy and Trojans leads to the dramatic episodes - the death of Patrole and Hector, heavily experienced by their friends and loved ones. Full of drama and the image of the death of Roland in a collision with stronger detachments of enemies.

In the heroic works of poets, the Decembrists reflect the dramatic moments of the death of heroes and the tragic premonition of the defeat.

I know: the death is waiting for the one who is the first to rise

On the weakest people, the fate of me really did. But where, tell me when it was

Without victims atone, freedom? (...)

In this monologue, Nalyvayiko from the same name of the poem Ryleev discloses the tragic self-awareness of a person, ready to sacrifice the sake of ideals of freedom.

In the works of socialist realism, the heroic pathos is most often combined with a romantic and dramatic pathos.

Pathos- This is the main emotional tone, the main emotional mood of the work, as well as the emotional-nations-evaluation lighting of one or another character, events, phenomena by the author.

Heroicor heroic Paphos,it is associated with an active, effective statement of sublime ideals, in the name of which heroes have to overcome very serious obstacles, risk their own blast, and often life. The heroic pathos permeated the ballad M.Yu. Lermontov "Borodino".

Tragedy,or tragic pathosexpressing suffering unbearable sorrow. As a rule, it is associated with the situation, in which any decision of the hero will inevitably lead it to unfortunately, and its choice is the choice of "two angry". The trait pathos relies on a conflict that does not have a blast permission (such a conflict between Danila Burulbash and sorcerer in the "terrible revenge" N. V. Gogol). The tragic pathos is characterized by Novella I. A. Buni-on "Lapti".

Romance,or romantic pathos,in terms of its manifestations, heroic pathos is very similar, because there is a strong emotional experience, aspiration to a sublime and significant ideal. But the Roman Pafos is not based on an active incarnation of the goal, but on the experience of dreams (often under-hearth), in search of means of incarnation of this dream in reality. The poem M. Yu. Lermontov "MTSYry" is based on the romantic pathos.

Sentimentality,or sentimental pathos,it appears when the author intentionally emphasizes its emotional attitude towards the depicted and persistently seeks to cause similar emotions from the reader. Example: STI-HOTVING N. A. Nekrasov "Peasant children".

Dramaor dramatic pathosmanifests itself in devices where the relationships of characters or the character of the character with the outside world are characterized by the battery, conflict, but, unlike the tragic situations, a favorable outcome is possible here, although it requires the characters to make the right decisions and Activity, decisive action. Example: Novella V. G. Rasputina "Lessons of French".

Humor,or humorous pathos,we feel in the programs that represent the comic characters and situations. This pathos, as a rule, is accompanied by a Dob-fruitful smile of the reader. Example: Waterville A.P. Czech Va "Bear".

Satire,or satirian pathosdirected against the rocks, which "begged" with a laugh, causing not so much fun as the resentment of the reader. Example: Novella A. P. Chekhov "Chameleon".

Invectiveas a view of Paphos implies a frank prosecution to people or events. At-Merc: A. S. Pushkin "Freedom Desert Seduel", where the poet clearly expresses his indignation against people, Native Laintains of slave psychology, deprived of the concepts of honor.

Lyrical pathosit assumes the creation of a special atmosphere in the work, a prolonged reader to the manifestation of a subjectively interested attitudes towards the author described.

Pafos is closely connected with the idea (Greek Pathos - feeling, passion) - inspiration, passionate experience of the mental lift caused by the idea or event. In Pafos, the thought and feeling make up a single whole. Ari Intytel under Paphos understood the passion that encourages the writing of the work. By. Belinsky, Paphos is the "idea - passion" "from here," notes. A. Tkachenko, - the conceptual tautology takes its beginning: you are determined through pathos, and Paphos - through the idea. The apogee of the departure from the initial essence of the concept of Paphos can be considered the approval, According to which all types of pathos are created by the contradictions of social characters, I ki writers are comprehended on the basis of ideological positions. These positions include partialness of public thinking of writers and are due. Classity of their worldview "a. Tkachenko believes that the authors textbook A "Introduction to. Literary criticism" edited. G. Pospelova, calling such types of pathos as heroic, dramatic, tragic, satirical, humorous, sentimental, romantic, do not respect the unity of other classification criteria. Drama, tragic, satyric is associated with genres, and sentimental and romantic - literary directions. Pafos, according to. A. Tkachenko, is excessive rhetorical theatricality. It proposes to use the term "tonality" by the type of tonality is the patience. In addition to the pathetic tonality, lyric with such subspecies, like sentimentality, romanticism, humorists Ching, Melancholy; dramatic with tragic, satirical, sarcastic, sentimental, romantic subspecies; Epic with subspecies: heroic, descriptive, fantastic erids; Epіchna s pivydami: HeroїCHNA, described, fantastic.

Each type of tonality has its shades. So, in lyrics, the tonality can be nostalgic, melancholic, mathematical. Positive emotions are associated with major tonality. According to. A. Tkachenko, Paphos is more infernal, deliberate than tonality.

Heroic Paphos

The heroic pathos is the heroic of the reality itself - the activities of people who overcome the element of nature are struggling with the reactionary forces of society, defending freedom and independence. Fatherland. Heroic Za Yama is an important place in mythology. Ancient. Greece, where along with the images of the gods there are images of heroes, carrying out majestic feats, cause admiration and the desire to imitate them. Such. Achilles. Patrole. Hector from the "Iliad" of Homer, the heroes of the myths. Prometheus,. Hercules. Perserakl,. Perseus.

Italian philosopher. D. Vico in the work "The foundations of the new science on the general nature of Nations wrote that heroism is characterized only for the initial state of development of humanity -" age of heroes "in his opinion, each people take three stages - theocratic, aristocratic and democratic. The first stage corresponds to the "age of the gods", this period when people associate their history with mythology, presenting that they manage the gods. The third stage is the "age of people" between the "age of the gods" and "age of people" is the "age of heroes", which reign in the aristocratic republics. Vico believed that these heroes are coarse, wild, low-cultural, cruel, with an unlimited Passionamitzi Hero - Rough, Diki, Malokuntsnі, Zhorstoki, with difficult addies.

According to. Hegel, the heroic provides free self-determination of the individual, is not subject to the laws. The general tasks of the hero performs as their personal. Hegel believed that heroic activity was inherent and people who live in the "age of heroes", i.e. in a good period. When the state reaches a significant development, it comes, according to him, "prosaic ordered reality", "each individual receives only a certain and limited part in the work of a whole" and "the state as a whole cannot be trusted by arbitrariness, strength, masculinity, courage, and understanding A separate personality, Khorobrostі, І Rosuminnunya Okramino Ozzle. "

Hegel is the right that the "age of heroes" was the historical stage of the development of national states when heroism could be detected directly and freely. But with the emergence of states heroism, contrary to the statement. GSGS lay, does not disappear, but changes its character, becomes conscious and morally responsible. So, the graph. Roland "Song about. Roland" dies for the freedom of native. France. However, the state may not only be progressive, but also a reaction force that impedes national development, hence the need for the anti-state activities of progressive people aimed against the suspended power. This struggle requires significant heroic Hero-Hero Susilles.

Starting from the era. Renaissance, national historical heroic is closely related to the formation of feudal states, and subsequently - bourgeois nations

In the sociology of the 20th century there are two opposite trends: one is the hoof the heroic personality, the second eliminates the possibility of a heroic personality in modern society. Englishman. Rulen wrote that the heroes are a product of social myths. According to the American sociologist. Daniel. Bristin, today the hero turns into a celebrity, which is the antipode of the heroev.

Each era characterizes its type of heroism: either the liberation impulse, or self-sacrifice, or just sacrifice in the name of universal values. Heroic can manifest themselves through the beautiful, elevated, trak agicine and comortion.

Paphos drama

Like the heroic, drama will generate contradictions of life. Dramaticism occurs when there is a high desire of people, and sometimes life threatens defeat or death. Dramatic events and situations can be generally natural and random, but only the first are themes of works. Hegel noted that art is interested primarily by the socio-historical nature of the lifetime of individuals depicted individuals.

When people lead acute political struggle, become victims of repression, consciously prepare for liberation wars, there are deep drama of actions and experiences of people. The writer can sympathize with the characters who were in the dramatic situation, such drama is ideologically affiring Paphos. It can and condemn the characters that are guilty of the emergence of a dramatic state. In the tragedy. Eschil "Persians" describes how to hit the Persian fleet in the conciliatory war against the Greeks. For. Eschil and. Ancient. Greece experienced by the Persians of Dramatic Events is an act of condemning the enemy, I encroached the freedom of the Greeks. Paphos of drama. There is a "word about the regiment. Igor" on the example. Igor, the author of the work shows that the princesses lead the princely interdisciplotry to the princess mіzhusobitsi.

In the story. M. Kotsyubinsky "Fata Morgana", in the novel. Balzaka "Father Gorio" Dramism arises due to social inequality. The drama of events and experiences may have ideologically affiring character. Such dwarm is characterized by the "Song of Roland", which shows the struggle of the Franksky troops. Karl V with Saracines and death. Roland and. Oliver in. Roncilvansky gorgelisser in. Rons_lvansky gorisy.

Often drama characterize personal relationships between people. The heroine of the novel. L. Tolstoy "Anna. Karenina", which did not experience happiness in family life, first recognized him with. Vronsky, left her husband broke with the hypocritical world, took over the severity of the estate Wignannants, but did not stand it and committed suicide life.

Sentimentality

Sentimentality as pathos needs to be distinguished from sentimentalism as directions. Theorist of German sentimentalism. F. Schiller in the article

"On naive and sentimental poetry" (1796), the founder of sentimental poetry called the Roman poet. Horace, extols in his. Tibur "Calm luxury" f. Schiller calls. Horace by post "Ovvice Enoi and spoiled era" Schiller wrote that sentimentality arose when the naive life with his moral integrity and purity was revealed into the past or seeing periphery of social relations. For me, the emergence of the sentimental worldview was necessary that there was dissatisfaction with his shortcomings in society and that the progressive forces were pleasure in the desire for morally clean and cycl of Inemi life, it goes in the passenger lifestyle, yak.

G. Pospelov believes that talking about the sentimental pathos of works. Horace, "bullics" Virgin, Idyllius. Foocrita, story. The foal "Daphnis and. Chloe" is not worth it, because they have no "emotional reflection themselves Agiv and even more - their authors" The first glimpses of sentimentality he finds in the works of Provencal Troubadurov (XII B). Paphos sentimentality brightly manifested itself in the literature of the XVIII century her gear. OEM was a simple, modest, sincere person who retained the remnants of patriarchal. This hero became the subject of artistic reflexes becoming the subject of artistic reflex.

The origins of a sentimental feeling in Ukrainian literature reach the XVII-XVIII centuries, they originate in the baroque era. Sentimentalist writers penetrate sympathy for heroes that do not find Garm. Monet in real life they are far from social and political conflicts, but close to nature, their sensitivity comes from the "heart" for heroes. I. Kotlyarevsky ("Natalka. Poltavka") ,. Mr. Kvitka-basicanenko. There is. The comb ("Tchaikovsky") are characterized by the moral beliefs, the desire to overcome their suffering, the internal staicism of their state, internal state of state.

The formation of Ukrainian sentimentalism was a noticeable influence of the Cordinarian character of Ukrainian philosophy "Unlike the Western European philosophical tradition, where the" heart "had never had an ontola oogical aspect, - notes. I. Limborsky, - in Ukrainian thinkers it is already since the times. G .. frying pan It acts as a source of all feelings and the instrument of knowledge that should be unconditionally trusting Dovіryti. "

In the textbook "Introduction in. Literary criticism" ed. Mr. Pospelova has such a definition of sentimental pathos: "This spiritual touchiness is caused by the awareness of morality in the characters of people socially humiliated or related to immoral privileged medium-sided hearth."

The conditions for the emergence of sentimental pathos exist in the literature of the XIX-XX centuries. A vivid example is a story. F. Dostoevsky "Poor People" His hero official. Girls are a poor, a small person who knows the employees for the fact that only rewrites paper. But he is proud, which honestly earns a piece of bread, considers himself a respectful citizen, highly appreciates his "ambition", his reputation, to defend himself from humiliating himself.

Pafos sentimentality is present in the works. Y. Fedkovich (Lyuba-Paguba),. P. Grabovsky ("Seam")

The ability to emotional reflection contributed not only sentimentality, but also romance

Romance

Sentimentality is the reflection of the dignity, the dignity, caused by the last life with his simplicity, moral perfection of relations and experiences. Romance is a reflective passion, addressed to the sublime, to the ideal. The word "romantic" (Franz Romantique) first appeared in English poetry and criticism in the middle of the XVIII in (Thomson, Collins) to define Paphos creativity creativity.

Romance is most often related to the idea of \u200b\u200bnational independence, civil liberty, equality and fraternity of peoples, this is a raised mood.

O. Veselovsky called Romantic Writers with enthusiasts. Romance is the enthusiasm of emotional aspirations and feelings. She appeared in the Epoch of the Middle Ages, the works of the legendary knights, L Love Lyrics penetrate it. Petrarki, Roman. Cervantes "Don. Kiheot", tragedy. Shakespeare "Romeo and. Juliet" Romantic Paphos is present in the works of sentimentalists, romantics, realists and. Neoromanticalіstiv і neoromantikiv.

Y. Kuznetsov determines the romantic pathos as "a dreamily elevated mood, which is inherent in the feelings of feelings, a sharpened experience of unusual events, the process of activity, opposed by the ordinaryness"

Humor and satire

Humor (Lat Humor - moisture) is a reflection of a funny, fun in life phenomena and character, the manifestation of an optimistic, cheerful attitude to reality, the celebration of healthy forces over the backwardness, without promising. Humor may be soft, benevolent, sad, sarcastic, ulcer, vulgar "object of humor, - by observation. Yu. Kuznetsov, - It appears not a holistic phenomenon, an object or face, and separate and flaws in general positive phenomena, inadequate specific situations of human proven Links ...

Humor, including contradictions and contrasts of life, is created before the metaphor, and not by comparison, which allows you to disclose an elevated in a limited, small fact, so in artistic terms, it is not so critical as optimistic color;

Humor is mainly a manifestation of an optimistic, humanistic attitude to reality, the triumph of healthy forces over the bladder, unpromising. According to. Voltaire, satire must be barbed and at the same time in the fun. The sting of satire is directed against socially significant ugly facts. The satire object is a socio-comic, dangerous for society and a person, the object of humor - elementary-comic. Laughs in satire and sk worker has different tones, various levels of social and artistic understanding of life phenomena. In one product, humorous and satirical tonality coexist. In humor and satire, such types of comic, as wit, irony, sarcasm, and methods such as Paphos, pun, caricature, parody, joke, hyperbrailer can be combined.