Reflection in the eternal form of eternal contradictions of life. System of images, "Eternal themes", "Eternal images

About Don Quixote wrote Goethe and Schiller, and German romance was the first to define him as a work of a deep and comprehensive philosophical perception of the world.

Don Quixote is one of the most famous "eternal images." It has a long history of interpretation and rethinking.

Eternal images - literary characters who received a multiple embodiment in the art of different countries, different eras and became "signs" of culture: Prometheus, Don Juan, Hamlet, Don Quixote, Faust, etc. Traditionally, the mythological, biblical, as well as legendary characters are considered traditionally eternal images. (Napoleon, Jeanne Dark), if these images were used in literary works. Often, those characters whose names turned into generalizing names of certain phenomena, human types: Plushin, Manilan, Cain, are credited to "eternal images".

Supporting concepts: knight novels, moral duty, humanist, renaissance, ideals.

Gogol, working on the "dead souls", was focused on this novel. F. Dostoevsky called his book, which "... is given to mankind one in several hundred years."

Cervantes was a great humanist, his close high ideals of the Renaissance, but he lived and created the illusions regarding the revival of the "Gold Pore" melted. In Spain, this process was happening, perhaps. That novel about Don Quixote is a kind of reassessment of renaissance values \u200b\u200bthat have not sustained checks at times. Noble dreamers failed to turn the world. The prose of life prevailed over beautiful ideals. In England, William Shakespeare showed it as a tragedy, in Spain, Servantes portrayed it in a funny and sad, along with the novel "Don Quixote". Cervantes does not laugh at the desire of his hero to act, he only shows that the congestion from life can reduce all the efforts of the "idealist and enthusiast". At the end of the novel wins a common sense: Don Quixote refuses knightly novels and his clauses. But the hero, who tries to "do good and not to make an evil to everyone, remain in memory of readers.

Alternatively, it is customary to call images of literary characters, which, as it were, step off the boundaries of a literary work or a myth that gave rise to them, and receive an independent life, embodied in the writings of other authors, centuries and cultures. Such are many biblical and evangelical images (Cain and Abel, Judah), antique (Prometheus, Fedra), Novoe European (Don Quixote, Faust, Hamlet). Successfully determined the contents of the concept of "eternal images" Russian writer and philosopher DS Memerhkovsky: "There are images whose life is associated with the life of all mankind; They rise and grow together with him ... Don Juan, Faust, Hamlet - these images made a part of the human spirit, they live with him and die only with him. "

What properties provide literary images the quality of the eternal? This is primarily incorporated by the content of the image to the role that is fixed behind it in a particular plot, and its openness for new interpretations. "Eternal images" must be in some extent "mysterious", "bottomless". They cannot be completely defined by a social and household medium, or their psychological characterity.

Like myth, the eternal image is rooted in more than a long standing, sometimes archaic layers of culture. Almost every hour, the mphological, folk or literary predecessor is calculated to the eternal.

Triangle "Karpman": executioner, victim and rescuer

There is a triangle of relations - the so-called carpman triangle, consisting of three vertices:

Savior

Persectention (tyrant, executioner, aggressor)

Victim

This triangle is also called magical, as it is worth getting into it, so his roles begin to dictate elections, reactions, feelings, perception, sequence of moves, and so on.

And most importantly, the participants are free "float" in this triangle on the roles.

The victim turns very quickly to the chassis (aggressor) for the former Savior, and the Savior - very quickly becomes a victim of the former victim.

For example, there is someone suffering from something or someone (these "something" or "someone" is the aggressor). And the sufferer (sufferer) is like, the victim.

The victim quickly finds the Savior (or Savior), which (for various reasons) tries (or rather, trying) to help the victim.

Nothing, but the triangle is magical, and the victim is absolutely no need to get rid of the aggressor, and the Savior is not needed that the victim cease to be a victim. Otherwise, she will not need her. What is the Savior without a victim? The victim "will cure", "will get rid", whom to save it?

It turns out that the Savior, and the victim are interested (unconsciously, of course) in the fact that everything remained before.

The victim should suffer, and the Savior must help.

All satisfied:

The victim receives his stability of attention and care, and the Savior - Gord, what role he plays in the life of the victim.

The victim pays the Savior to the recognition of his merit and role, and the Savior pays for this victim to the attention, time, energy, feelings, etc.

So what? - you ask. Yet satisfied!

How wrong!

This triangle does not stop. The victim becomes not enough that she gets. She starts more and more to demand and delay the attention and energy of the Savior. The Savior tries (at the conscious level), but he does not work. Of course, he is not interested in the unconscious level to help finally, he is not a fool, lose such a tasty process!

He does not work, his condition and self-esteem (self-esteem) decrease, it becomes bad, and the victim continues to wait and demand attention and help.

Gradually, and unnoticed the Savior becomes a victim, and the former victim becomes a persecutor (aggressor) for his former Savior. And the more the Savior invested in the one who he saved, by the time, he becomes more. Expectations grow, and it is obliged to implement them.

The former victim is increasingly dissatisfied with the "Savior not justified its expectations." It is more and more confusing, who is actually the aggressor. For her, a former Savior is to blame for her troubles. Somehow, the transition is inconspicuously happening, and it is almost consciously dissatisfied with the former benefactor, and he is already accused of almost more than that (that) who had previously considered his aggressor.

The former Savior becomes for a former victim by a deceiver and a new aggressor, and the former sacrifice arranges a real hunt for a former Savior.

But that's not all.

The former idol is defeated and not scattered.

The victim is looking for new saviors, because her number of aggressors increased - the former Savior did not meet expectations, by and large, deceived it, and should be punished.

The former Savior, being already a victim of his former victim, exhausted in attempts (no, not help, now worries only one thing - you will be able to escape from the "victim") - begins (already as a true victim) to look for other saviors - and for yourself, and For his ex-sacrifice. By being speaking, it may be different saviors - for the former Savior and the former sacrifice.

The circle expands. Why a triangle is called magic that:

1. Each participant happens in all its corners (plays all the role in the triangle);

2. The triangle is arranged so that involves new and new members of the orgy.

The former Savior, Used, is thrown, it is exhausted, and the victim can no longer be useful, and the victim is started in search and in chasing the new Savior (future victims)

From the point of view of the aggressor, there are also interesting things here.

The aggressor (real aggressor, the one who considers himself an aggressor, the pursuer) as a rule, does not know that the victim is not really a victim. That she is not really defenseless, it just needs this role.

The victim very quickly finds the saviors, which "suddenly" appear on the path of "aggressor", and he is very quickly becoming their victim, and the Saviors turn into the pursuers of the former aggressor.

This greatly described Eric Bern on the example of a fairy tale about a red hat.

Cap - "Sacrifice", wolf - "aggressor", hunters - "Savior".

But the fairy tale ends with a wolf belly.

Alcoholic - the victim of alcohol. His wife is the Savior.

On the other hand, an alcoholic is an aggressor for his wife, and she is looking for the Savior - a narcologist or psychotherapist.

From the third party, for an alcoholic wife - the aggressor, and his savior from his wife is alcohol.

The doctor quickly from the Savior turns to the sacrifice, because he promised to save both his wife and alcoholic, and even took money for it, and the alcoholic wife becomes his pursuer.

And the wife is looking for a new Savior.

And by the way, the wife acquires a new offender (aggressor) represented by a doctor, because he offended and deceived it, and did not fulfill his promises, taking the money.

Therefore, the wife may begin the persecution of the former Savior (doctor), but now the aggressor, finding new saviors in the form:

1. Media, judicial authorities

2. Girlfriends with which you can move the bones already and the doctor ("Oh, these doctors!")

3. A new doctor who, together with his wife, condemns the "incompetence" of the previous physician.

Below are features for which you can find out when you are in a triangle.

Feelings that experience participants of the events:

Victim:

Feeling of helplessness

irresponsibility

coercion and cause

hopelessness

impotence

nobility,

no one needs

own incorrectness

confusion

ambiguity

confusion

frequent wrong

own weakness and weakness in the situation

pity to me

Savior:

Feeling pity

wish to help

own superiority over the victim (over those who want to help)

much competence, great strength, mind, greater access to resources, "he knows more about how to act"

condescension to whom wants to help

the feeling of pleasant outbound and omnipotence towards a specific situation

confidence that can help

the conviction that he knows (or at least, can learn) how it can be done

the inability to refuse (inconveniently refuse to help, or throw a person without help)

compassion, a sharp dedication feeling of empathy (pay attention, this is a very important point: the Savior is associated with the victim! And therefore, it will never be able to help her!)

responsibility for another.

Aggressor:

The feeling of own wrong

noble perturbation and righteous anger

desire to punish the intruder

desire to restore justice

offended pride

conviction that only he knows how to

irritating to the sacrifice and especially on the Savior, which perceives, as the preventive factor (the saviors are mistaken, because only he knows how to do right now!)

azart hunting, excitement chase.

The victim is suffering.

The Savior - saves and comes to help and revenue.

The aggressor punishes, pursues, teaches (exams).

If you are in this "magic" triangle, then you know that you have to visit all the "corners" of this triangle, and try all his roles.

Events in the triangle can occur as much as possible - regardless of the conscious desires of their participants.

An alcoholic wife does not want to suffer, an alcoholic does not want to be an alcoholic, and the doctor does not want to deceive the alcoholic family. But everything is determined by the result.

So far, at least someone will not pop up from this damn triangle, the game can continue arbitrarily for a long time.

How to pop up.

Usually in the manuals give the following advice: invert roles. That is, replace the roles to others:

The aggressor should be a teacher for you. The phrase, which I speak to my disciples: "Our enemies, and those who" interfere "are our best coaches and teachers)

Savior - assistant or maximum - conductor (can be a coach, like in a fitness club: you do, and coach trains)

And the victim is a student.

These are very good tips.

If you caught yourself for the role of the victim - start learning.

If you caught yourself on the role of the Savior - throw out stupid thoughts that he, "who needs help" is weak and weak. Taking his thoughts, you make a bear service. You do something for him. You prevent him from learn to learn something important to him.

It is impossible to do anything for another person. Your desire to help - art, the sacrifice is your tempter, and you, in fact, are a tempter and a provocateur who wants to help.

Give a person to do it yourself. Let him be mistaken, but it will be his mistakes. And he will not be able to blame you when trying to move to your pursuer. A person must pass his way.

Great psychotherapist Alexander Efimovich Alekseychik says:

"You can only help someone who does something."

And continued, turning to the one who was at that moment in helplessness:

"What are you doing, so that he (one who helps) could help you?"

Gorgeous words!

In order to help you, you must do something. You can only help what they are doing. You do not - you can't help.

What do you do - in that help you and possible.

If you are lying, you can only help you lie. If you stand - you can only help stand.

It is impossible to help get a man who lies.

It is impossible to help get a man who does not think to get up.

It is impossible to help get a person who only thinks to get up.

It is impossible to help get a person who only wants to get up.

You can get up can man who gets up.

You can find only a person who is looking for.

You can only help someone who goes.

What does this girl do from what you are trying to help her?

Are you trying to help her in what she doesn't?

Does she expect actions from you in what she does not do?

So does she really need what she expects from you if she doesn't do it herself?

You can only help a person who gets up.

"Gets up" - it applies efforts to get up.

These efforts and specific and unequivocal actions are observed, they have specific and undivided signs. They are easy to learn and identify precisely for signs that the person tries to stand up.

And even something very, in my opinion important.

A person can help stand up, but if he is not ready to stand (is not ready that you will remove support), he will fall again, and it will fall many times more painful than if he continued to lie.

What person will do after it turns out to be in a vertical position?

What is a person going to do after that?

What is he going to do with it?

Why does he need to get up?

How to pop up.

The most important thing is to understand what role you entered the triangle.

Which of the corners of the triangle was for you input to it.

This is very important, and this is not described in the manuals.

Input points.

Each of us has familiar, or favorite roles in the entrances to such magic triangles. And often in different contexts each inputs have their own. A person at work can be a favorite entrance to the triangle - the role of aggressor (well, he loves to restore justice or punish fools!), And at home, for example, a typical and favorite entrance is the role of the Savior.

And each of us is worth knowing the "point of weakness" of your personality, which simply make us enter these our favorite roles.

It is necessary to study external manouses that lure us there.

One of this is someone's trouble or "helplessness", or a request for help, or a delighted view / voice:

"Oh, Great!"

"Only you can help me!"

"I disappear without you!"

Of course, you learned the Savior in the White Clothes.

Others have a mistake, stupidity, injustice, incorrectness or dishonesty. And they bravely rush to restore justice and harmony, falling into the triangle on the role of the aggressor.

Thirdly, it can be a signal from the surrounding reality that you don't need it, or she is dangerous, or she is aggressive, or she is heartless (indifferent to you, your desires or troubles), or she is poor resources for you, it is at the moment . These are lovers to be victims.

Each of us has their own shuttlecock, whose lubrication is very difficult for us to withstand. We become like zombies, showing heartlessness and stupidity, zeal and recklessness, falling into helplessness and feeling their rightness, or worthlessness.

The beginning of the transition from the role of the Savior to the role of the victim is a sense of guilt, the feeling of helplessness, the feeling of forcing and commitment to help and the impossibility of one's own refusal ("I have to help!", "I have no right to help help!", "What will think about me how I will look, if I refuse to help? ").

The beginning of the transition from the role of the Savior to the role of the pursuer - the desire to punish the "bad", the desire to restore justice aimed at you, a sense of absolute mistakes and noble righteous perturbation.

The beginning of the transition from the role of the victim to the role of the aggressor (pursuer) is a feeling of resentment and injustice, creating in relation to you personally.

The beginning of the transition from the role of the victim to the role of the Savior is a desire to help, pity for the former aggressor or the Savior.

The beginning of the transition from the role of the aggressor to the role of the victim is a sudden (or growing) feeling of helplessness and confusion.

The beginning of the transition from the role of the aggressor to the role of the Savior is a sense of guilt, a sense of responsibility for another person.

Actually:

The Savior is very pleasant to help and save, nice to stand out "in white clothes" among other people, especially before the victim. Narcissism, self-confidence.

The victim is very pleasant to suffer ("like in the movies") and be saved (take help), feel pity for yourself, earning the future of non-specific "happiness" suffering. Masochism.

The aggressor is very pleased to be a warrior, punish and restore justice, to be a carrier of standards and rules that it impresses others, it is very pleasant to stay in sparkling armor with a fiery sword, it is pleasant to feel its strength, invincibility and right. By and large, someone else's mistake and wrong for it is a legitimate (legal and "safe") reason (permission, right) to commit violence and impunity to cause another pain. Sadism.

The Savior knows how to ...

The aggressor knows that it is impossible ...

The victim wants, but can not, but more often nothing else wants, because everything got everything ...

And another interesting way to diagnose. Diagnostics by feelings of observers / listeners

Feelings of observers can suggest what role a person is playing telling you or a problem with you.

When you read (listen) the Savior (or watch him) - the heart is filled with pride for him. Or - laugh, to what a fool brought himself to his desire to help others.

When you read the texts written by the aggressor - noble outrage covers - either to those, about whom the aggressor writes, or - to the aggressor itself.

And when you read the texts written by the victim or listen to the victim - covers an acute soul pain for the sacrifice, acute pity, desire to help, the most powerful compassion.

And do not forget

that there are no savior, nor victims, no aggressors. There are live people who can play different roles. And each person falls into the trap of different roles, and happens in all the vertices of this enchanted triangle, but still, each person has some inclined to one or another top, the tendency to linger on one vertex.

It is important to remember that the entrance point in the triangle (that is, what has involved in the pathological relationship) - most often happens and the point on which a person is delayed, and for which and "flew" into this triangle. But not always it is.

In addition, it is necessary to remember that the person does not always take exactly the "vertex" on which it complains.

"Victim" may be an aggressor (hunter).

The "Savior" can actually play, tragically and death to play the role of the victim or aggressor.

In these pathological terms, as in the famous Carrolovsky "Alice ..." everything is so confused, turned over and falsely, that in each case it requires a fairly attentive observation of all the participants of this "triangular dance", including both, too - even If you do not participate in this triangle.

The power of the magic of this triangle is such that any observer or listener - begins to tighten into this Bermuda triangle of pathological relations and roles (c.)

Eternal images

Eternal images

Mythological, biblical, folklore and literary characters, vividly expressed moral and ideological maintenance for all mankind and received a multiple embodiment in the literature of different countries and eras (Prometheus, Odyssey, Cain, Faust, Mephistophele, Hamlet, Don Juan, Don Quixote, etc. ). Each era and each writer is investing in the interpretation of one or another eternal image of its meaning, which is due to their multi-stage and multigid, the richness of the opportunities laid in them (for example, Cain was interpreted and as a swarming-fratricike, and as a bold Bog Car; Faust - like a magician and Winner, as a lover of pleasure, as a scientist, obsessed with passion for knowledge, and as a seeker of the meaning of human life; Don Quixote - as a comic and tragic figure, etc.). Often, the literature creates characters-variations of eternal images that are attached by other nat. Features, or they are placed in another time (as a rule, a closer to the author of a new work) and / or in an unusual situation ("Hamlet Schigrovsky County" I. S. Turgenev, " Antigone "J. Anuua), sometimes it is ironically reduced or paroding (satirical story N. Elin and V. Kashayeva" Mephistopel error ", 1981). Close to eternal images and characters whose names have become nominated in the world and nat. Literature: Tartuf and Journey ("Tartuf" and "Promotan in the nobility" J. B. Moliere), Carmen (the eponymous novel P. Merima), Molchanin ("grief from the mind" A. with . Griboedov), Khleztakov, Plushkin ("Auditor" and "Dead Souls" N. in . Gogol) and etc.

Unlike archetypereflecting primarily "genetic", the initial features of the human psyche, the eternal images are always a product of conscious activities, have their own "nationality", the time of emergence and, therefore, reflect not only the specifics of the universal perception of the world, but also a certain historical and cultural experience, fixed In an artistic image.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Watch what is "eternal images" in other dictionaries:

- (world, "universal", "age-old" images) under them are implied by images of art, which in the perception of the subsequent reader or the viewer lost the originally inherent household or historical significance and from ... ... Wikipedia

Literary characters who are marked artistic generalization and spiritual depth inform everyone, Vastyoma (Prometheus, Don Quixote, Don Juan, Hamlet, Faust, Medezhnun) ... Big Encyclopedic Dictionary

Eternal images - Eternal images, mythological and literary characters, which marginal artistic generalization, symbolism and inexhaustibility of spiritual content are reported by a permanent, timeless meaning (Prometheus, Abel and Cain, Eternal Just, Don ... ... Illustrated Encyclopedic Dictionary

Mythological and literary characters who are limiting artistic generalization, symbolicity and inexhaustibility of spiritual content are reported by all-human, worldwide importance (Prometheus, Abel and Cain, Eternal Jet, Faust, Mephistofel, ... ... encyclopedic Dictionary

eternal images - Literary characters, which marginal artistic generalization and spiritual depth inform all-life, timeless significance. Rubric: Artistic image Example: Hamlet, Prometheus, Don Juan, Faust, Don Quixote, Hellets Eternal Images ... Terminological Dictionary-Thesaurus for Literary

eternal images - Artistic images, which, arising in specific historical conditions, acquire so obvious non-historical significance, which subsequently, turning into peculiar symbols, so-called superlocks, again and again arise in ... ... Dictionary of literary terms

Or, as their idealistic criticism, world, "universal", "eternal" images called. Under them imply images of art, to the perception of the subsequent reader or the viewer lost the originally inherent household or historical ... Literary encyclopedia

Prominent Soviet critic and literary critic. Rod. In M Ke Chernichov Volyn lips. In the wealthy Jewish family. From 15 years he participated in the Jewish work movement, from 1905 in Bunda. During the reaction, emigrated abroad, where he studied ... ... Large biographical encyclopedia

Isaac Markovich (1889) prominent Soviet critic and literary critic. R. in M \u200b\u200bKe Chernichov Volyn lips. In the wealthy Jewish family. From 15 years he participated in the Jewish work movement, from 1905 in "Bundy". During the reaction, emigrated abroad, where ... ... Literary encyclopedia

FORM - Artistic, aesthetics category, characterizing a special, inherent in the art of the method of mastering and transforming reality. O. Also called any phenomenon, creatively recreated in an artistic work (especially often - ... ... Literary Encyclopedic Dictionary

Books

• Art. Eternal art images. Mythology. Grade 5. Textbook. Vertical. Gos, Danilova Galina Ivanovna. The textbook opens the author's line G. I. Danilova in art. He introduces the most valuable heritage of mankind - works of ancient and vintone language mythology. Contains large ...
• Art. 6th grade. Eternal art images. Bible. Tutorial for general education. institutions. Gos, Danilova Galina Ivanovna. The textbook introduces the most valuable heritage of mankind - works of art created on biblical plots. Contains extensive illustrative material that gives a visual ...

The history of literature knows a lot of cases when the works of the writer were very popular for his life, but the time passed, and they forgot them almost forever. There are other examples: the writer did not recognize contemporaries, and the real value of his works opened the following generations. But in the literature there are very few works, the value of which is impossible to exaggerate, as they have created images that concern every generation of people, images that are involved in creative search for artists of different times. Such images are the name of the "eternal", as they are coat carriers that are always inherent in a person.

In poverty and loneliness lived her age Miguel Servantes de Saoveovena, although he was known for his life as the author of a talented, bright novel "Don Quixote". Neither the writer himself nor his contemporaries knew that he would pass several centuries, and his heroes would not only be forgotten, but would become "popular Spaniards", and compatriots would put a monument to them. What they come out of the novel and will be lit by their independent life in the works of prosaikov and playwrights, poets, artists, composers. Today it is even hard to recalculate how many works are artificially created under the influence of the images of Don Quixote and Sancho Pancona: Goya and Picasso, Massk and Minkus appealed to them.

The immortal book was born out of the plan to write a parody and ridiculously knight novels, such popular in Europe XVI century, when he lived and created Cervantes. And the writing of the writer expanded, and on the pages of the book, the modern Spain came to life, he also changed the hero himself: from the parody knight he grows funny and tragic figure. The conflict of the novel at the same time historically-specific (he knocks off the modern writer in Spain) and universal (as it exists in any country at all times). The essence of the conflict: the collision of ideal norms and ideas about reality with the most reality is not perfect, "earthly". The image of Don Quixote became an eternal, too, thanks to his versatility: always and everywhere there are noble idealists, defenders of good and justice, who defend their ideals, but it is not possible to realize reality. Even the notion of "Donctivity" occurred. It unites the humanistic desire for the ideal, enthusiasm, disinterestedness, on the one hand, and naivety, extremity, favorables to dreams and illusions - from the other. The inner nobility of Don Quixote is combined with the community of its external manifestations (it is able to love a simple peasant girl, but sees only a noble beautiful lady in it).

The second important eternal image of the novel is witty and earthly Sancho Pacck. He is the complete opposite of Don Quixote, but the heroes are inextricably linked, they are similar to each other in their hopes and disappointments. Cervantes shows its heroes that reality is impossible without ideals, but they should be based on reality. A completely different eternal image arises before us in the tragedy of Shakespeare "Hamlet". This is a deeply tragic image. Hamlet well understands reality, soberly appreciates everything that happens around him, firmly stands on the side of good against evil. But his tragedy lies in the fact that he cannot move to decisive actions and to punish evil. His indecision is not a manifestation of cowardiness, it is a bold, frank man. His indecision is a consequence of deep thinking about the nature of evil. Circumstances require him to kill his father's killer. He fluctuates, as he perceives this revenge as a manifestation of evil: the murder will always be murder, even when they kill the scoundrel.

The image of Hamlet is an image of a person who understands its responsibility in solving the conflict of good and evil, which stands on the side of good, but its internal moral laws are not allowed to go to decisive actions. It is no coincidence that this image has acquired a special sound in the XX century - the pores of social upheavals, when each person decided for himself the eternal "Hamletovsky question". You can bring some more examples of the "eternal" images: Faust, Mephistofel, Othello, Romeo and Juliet - they all reveal eternal human feelings and desire. And each reader studies in these images to understand not only the past, but also modern.

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Eternal images it Literary characters who received a multiple embodiment in the literature of different countries and eras, which have become peculiar "signs" of culture: Prometheus, Fedra, Don Juan, Hamlet, Don Quixote, Faust, etc. Traditionally, they include mythological and legendary characters, historical individuals (Napoleon, Zhanna d'Ark), as well as biblical persons, and the basis of eternal images is their literary mapping. Thus, the image of the antigona is associated primarily with sofoclom, and the eternal liquid leads its literary history from the "Big Chronicle" (1250) of Matvey Paris. Often in the number of eternal images include those characters whose names have become nominal: Khleilov, Plushkin, Manilan, Cain. The eternal image is able to become a means of typification and then may be an impersonal ("Turgenev girl"). There are also national options, as if generalizing the National Type: In Carmen, they often want to see, first of all, Spain, and in the brave soldier Sewing - the Czech Republic. Eternal images are able to enlighten to the symbolic designation of the whole cultural and historical era - As we gave rise to them and the later, depending on them rethinking. In the form of Hamlet, the quintessence of a late revival man who realized the infinity of peace and its capabilities and confused before this infinity was seen. At the same time, the image of Hamlet is a cross-cutting characteristic of a romantic culture (starting with the Essa I.V. "Shakespeare and bear the end", 1813-16), representing Hamlet as a kind of Faust, artist, "Cursed Poet", the Redeemer "Creative »Civilization faults. F. Freilligrarate, to whom the words belong: "Hamlet is Germany" ("Hamlet", 1844), first of all, first of all, the political inaction of the Germans, but involuntarily pointed to the possibility of such a literary identification of Germanic, and in a broader sense and a Western European person.

One of the main creators of the tragic myth about the European-Faustian resident of the 19th century, which turned out to be published in the "Way from the King" - O.Shpengler ("Sunset of Europe", 1918-22). Early and very relaxed version of such a minigue can be found from I.S. Romegenev in the articles "Two words about Granovsky" (1855) and "Hamlet and Don Quixote" (1860), where the Russian scientist is indirectly identified with Faust, and also described "two The indigenous, opposite features of human nature, "two psychological types, symbolizing passive reflection and active action (" spirit of the northern "and" spirit of the southern man "). There is an attempt to distinguish the epochs with the help of eternal images, tied 19 V. With the image of Gamlet, and the 20th century - "large wholesale deaths" - with "Macbet" characters. In the poem A.Akhmatova, "the wild honey smells will smell ..." (1934) the symbols of modernity are Pontius Pilate and Lady Macbeth. An irreversive importance can be a source of humanistic optimism, characteristic of early D.S. Memerzkovsky, who considered eternal images "satellites of mankind", inseparable from the "Human Spirit", enriching new and new generations ("Eternal satellites", 1897). I.F.annensky The inevitability of the creative clash of the writer with eternal images is drawn in tragic tones. For him, this is no longer "eternal satellites", but "problems - poison": "There is a theory, the other, the third; The symbol is supplanted by the symbol, the answer laughs over the answer ... At times we begin to doubt the problem even in cash ... Hamlet - the poisonous of poetic problems - I survived not one of the century of development, visited the stages of despair, and not one Goethe "(Annensky I. Books Reflections. M., 1979). The use of literary eternal images implies the recreation of a traditional storyline and empowering the character inherent in the original image. These parallels can be straight or hidden. Turgenev in the "Steppe King Lira" (1870) follows the canvay of the Shakespeare tragedy, while N.S. S. Lady in the "Lady Macbeth Mtsensky County" (1865) prefers less explicit analogies (the phenomenon of the poisoned Katerina Lviv Boris Timofeich in the image of the cat remotely Parodynino resembles a visit to the Pir Macbet killed by his order of the bank). Although the considerable share of copyright and reading efforts goes to build and solve such analogies, the main thing here is not possible to see a familiar image in an unexpected context for him, but the author offered by the author his new understanding and explanation. Failure to eternal images can be indirect - they do not have to be named by the author: the connection of Arbenin's images, Nina, Prince Zvdich from Masquerad (1835-36) M. Y.Lermontova with Shakespeare's Othello, Desdemonova, Cassio is obvious, but must be finally established by the reader himself.

Referring to the Bible, the authors most often follow the canonical text, to change which is not possible even in detail, so the author's will manifests itself primarily in interpretation and addition of a particular episode and verse, and not only in the new interpretation of the image associated with it (the trilogy of T. Manna "Joseph and his brothers", 1933-43). Great freedom is possible when using the mythological plot, although here, by virtue of its rootedness in the cultural consciousness, the author tries not to retreat from the traditional scheme, commenting on it to the meeting (the tragedy of M.Cvetayeva "Ariadne", 1924, "Fedra", 1927). The mention of eternal images can open a distant perspective in front of the reader, where the entire history of their existence in the literature is accomplished - for example, all "antihas", ranging from Sofoklova (442 BC), as well as mythological, legendary and folklore past (from apocryphas, Telling about Simonevolch, to the Folk Book of Ph.D.). In the "Twelve" (1918) A.Blok, the Gospel Plan is asked by the title, whether to the Mystery, or on a parody, and further repetition of this number, not allowing to forget about the twelve apostles, make the phenomenon of Christ in the final lines of the poem if not expected That is a natural (similar manner and M.Terlink in the "blind" (1891), to bring twelve characters to the stage, forces the viewer to like them to students of Christ).

The literary perspective can be perceived and ironically when the indication does not justify reading expectations. For example, M.Zoshchenko's story "repels" from the permafrost given in the title, and thus the discrepancy between the "low" subject and the declared "high", "eternal" subject ("Apollo and Tamara", 1923; "The suffering of a young verteter ", 1933). Often the parody aspect is dominant: the author seeks not to continue the tradition, but to its "exposure", summing up. "Devaling" eternal images, he is trying to get rid of the need for a new return to them. Such is the function of the "Talk about Gusare-Skimnik" in the "Twelve chairs" (1928) I. Ilf and E.Petrov: in the Top of Self (1890-98), the topic of the High Level, traced from the agiographic literature, is focused on Flaubert and F.M.Dostoevsky and represented by Ilfom and Petrov as a set of plot stereotypes, stylistic and narrative cliches. High semantic filling of eternal images sometimes leads to the fact that they are represented by self-sufficient author suitable for comparison almost without additional author's efforts. However, those who are eliminated from the context, turn out to be in the airless space, and the result of their interaction remains not fully clarified if not parody again. Postmodern aesthetics suggests active interface of eternal imagescomments that cancel and causing each other to life (X. Borex), but their multiplicity and the absence of the hierarchy deprives them of its inherent exclusivity, turns into purely gaming functions, so that they go to other quality.