Psychologist as a way to master the inner world of a person in a works of art. "Poor Lisa"

In this lesson, we will get acquainted with N.M. Karamzin "Poor Lisa". We learn why this work turned out to be in a special place in a number of other works of Russian literature, as well as analyze the role of the landscape in this story.

Topic: LiteratureXVIII century

Lesson: "Poor Lisa". The inner world of heroes. The role of landscape

At the last lesson, we talked about the unity of everything that Karamzin was written, about one thought, which permeates everything that Karamzin wrote, from beginning to end. This thought is to write the story of the soul of the people together with the history of the state.

Everything that Karamzin is written was intended for a narrow circle of readers. First of all, for those with whom he was personally acquainted and communicating with. This is the part of the highest light, the St. Petersburg and Moscow nobility, which was involved in literature. And even for some part of people, the number of which was measured by the number of places in the Imperial Theater. Actually, those one and two thousand people who were going on performances imperial theaters And they constituted the entire audience to which Karamzin was addressed. These were people who could see each other, to see, first of all, in the theater, on the Bals, the highest light meetings, which were sometimes official, sometimes not. But always these meetings were the circle of communication and interests that have formed future Russian literature.

Everything that Karamzin is written is drawn to the circle of the people he calls friends. If we open the "letters of the Russian traveler," we read the first phrase - appeal to friends: "I broke up with you, cute, broke up! My heart is tied to you with all the most gentle feelings, and I am constantly removing from you and will be deleted! " After 18 months, returning from the journey, Karamzin finishes "Letters of the Russian Traveler" again by contacting friends: "Coast! Fatherland! Bless you! I am in Russia and in a few days I will be with you, my friends! .. "And then:" And you, courtesy, rather cook me a neglence in which I could have fun Chinese shadows of my imagination, sad with my heart and Consider friends. " Appeal to friends, like a cross-cutting motive, is constantly present in the text, and in the text of any product of Karamzin.

Fig. 2. Title page "Letters of the Russian traveler" ()

About landscape

The story "Poor Lisa" consists of fragments related to the story about the experiences of the author, and these are fragments of two birth. The first one (and the story begins with this) is a description of Nature. Description of nature, which serves as Karamzin exclusively as a reflection of the internal state of the author-narrator. There is some idea of \u200b\u200ba person who writes the text. Without this view, read, it is impossible. In order to read the text, it is necessary to get into the place of one who wrote it, you need to merge with the author and see it with my eyes what he saw, and feel for him what he felt. This is a special kind of landscape that Karamzin appears for the first time in Russian literature. Here is the beginning: "... no one else happens in the field, no one wanders on foot, without a plan, without a goal - where the eyes look - in the meadows and groves, along the hills and plains. Any summer I find new pleasant places or in old new beauties. "

Karamzin does not stop on the details, he does not describe the color, he does not pass the sound, he does not talk about some small details, items ... He speaks of impressions, about what a trace leaves visible objects (their colors and sounds) in his soul . And it configures a reader in some way and makes him think and feel in unison with the same as the author thinks. And I wanted this Karamzin or not, deliberately he did or accidentally, it appeared. But it was precisely this in such a real sign of Russian prose for several future centuries.

Fig. 3. Illustration for the story "Poor Lisa". GD Epifanov (1947) ()

And "poor Lisa" in a number of these works is in a special place. The fact is that the friendly meetings of the times of Karamzin were a very clear line between the male and female part of the Society. Men, as a rule, communicated separately. If this is not a ball, not a children's holiday, then most often in the meeting where there were future or current Russian writers, there were exclusively men. The appearance of a woman was still impossible. However, women constituted the subject of men's conversations, male interests, and women most often appealed what men wrote. Already Karamzin noticed that the Russian reader at the turn of the XVIII-XIX centuries is predominantly women. And the story of him dedicated to the woman the main heroine which the woman became, was addressed mainly to the reader, and not to the reader. Karamzin turned to the men's reader later in his many-volume "history of the Russian state." He addressed the reader to the woman at the very moment when, apparently, the thought was born about the unity of the country's history and the history of the soul. It was the female soul that was of particular interest.

It should be understood that in the education system, in the communication system that existed in that era (and separate training of boys and girls, and separate communication of men and women) was a very important part. And in this sense, in the men's community, women writers were something like an ideal, who served, before which led to which texts written by them.

Fig. 4. "Poor Lisa". O.A. Cyprian (1827) ()

"Poor Lisa" is the embodiment of female idealwho sees Karamzin and a circle of his friends. At the same time, it is necessary to understand that the fiction, some kind of artificiality, the schematic content of the entire plot of "poor Lisa" is quite natural for that time thing.

There is a gap between the nobleman and the peasant, there is a gulf between Barin and his hat. Love story Between the rich and noble person named Eraste and the poor girl-peasant named Lisa is quite a real story. And in a circle of friends who Karamzin addresses their story, most were supposed to learn real prototypes - those people whose history Karamzin tells in his story. All the others who personally did not know about these circumstances could guess what characters are worth real people. And Karamzin does not agree, does not give any actual instructions, no hints on those who really stand behind these characters. But everyone guess that the story is interspersedy, the story is actually the most common and traditional: Barin seduces the peasant and then throws her, the peasant cums the life of suicide.

Fig. 5. Illustration to the story "Poor Lisa". M.V. Dobuzhinsky (1922) ()

This standard situation is now for us, for those who look at this story from the height of the two centuries that have passed since that time. There is nothing unusual and mysterious in it. In essence, this story of the television series. This story, which repeatedly corresponds to the notebooks, and now these notebooks moved on the Internet and are called blogs and there, in essence, the exact same dual-sorting stories are told, which girls are accustomed from the times of Karamzin. And so far these stories are extraordinary popularity. What is the feature? What keeps our attention in this story now, two centuries later? It is very interesting from this point of view to look at the reviews and comments that modern readers left on the Internet, which have just read the story "Poor Lisa". They turn out to try on this story on themselves. They put themselves in place Lisa and argue about how they would have received in similar circumstances.

A man in this story is completely different. None of the readers identifies themselves with Eraste and is not trying to try on this role. A completely different male look, a completely different idea of \u200b\u200bthe text, completely different thoughts, completely different feelings in men.

Apparently, in 1792, Nikolai Mikhailovich Karamzin opened Russian literature as a female literature. And this discovery still continues to be important and relevant. The successors of this female story, and then the female novel, who created Karamzin, completely and beside the day today, and book counters are pushing a wide selection of female leads and novels. And women do not always compose them, more often they are composed by men. But, nevertheless, these novels still enjoy very popular.

Women's literature. Modern women's stories. The pattern of the formation of Russian literature: Woman as a judge man

Following the landscapes of the second element, the second part of the texts that are included in the story is a conversation. This conversation, which, as a rule, give only a hint, canvas. They are not completely similar to those real conversations that people lead with each other. And now, and in the XVIII century, when the story of Karamzin was written, people talked otherwise. Those dialogues that Karamzine reproduces, they are rather outlined, give some hints, short designations of those feelings that people experience when they say these words. Words themselves are unimportant, those feelings that stand behind them are important. Here Mother Lisa speaks of the impression that ERAST produces on her:

"" How do we call you, kind, tender barin? " - asked the old woman. "My name is a tavern," he answered. "Estra," said Lisa Tikonko, - Eraste! " She once again repeated this name, as if trying to harden it. Erast said goodbye to them and went. Lisa accompanied his eyes, and the mother sat in his thoughtfulness and, taking his daughter his daughter, told her: "Ah, Lisa! How good it is good! If your groom was like that! " Everything lysino hearts fluttered. "Mother! Mother! How to become? He is a barin, and between the peasants ... "- Lisa did not negotiate his speech."

Maybe this is the first in the entire history of Russian literature when the talked speech of the character gives more than its continuation. What is silent Lisa, more importantlyWhat she says about. Reception of defaults, when an unprotected word acts much stronger, perceived much brighter than soundwordwas known in poetry. Actually, Karamzin has a poem "Melancholy", where he enjoys it. This imitation is divided, which ends with the words: "There is a feast ... But you do not see, you do not listen and keep your head on your hand; Having fun - thinking, silent and for the last gaze to pay. " In the poem attempt to convey feelings through silence - this is something like what makes a pause in music. When the sound of a voice or musical instrument stops, a pause appears at the listener, the time appears when it can survive, feel just heard. Karamzin gives the same thing: he interrupts the monologue of Lisa, and she does not mean that she worries her most. She is worried about the abyss, which between her and sweetheart. She is worried that their marriage is impossible.

Lisa sacrifices himself, she refuses the rich bride-peasant, who made her an offer. And she is silent here about what is most important for the reader. This is the ability to give the reader to hear, feel, understand what it is impossible to convey words, Karamzin has largely discovered as the possibility of literature.

Speaking that "poor liza" begins women's literature In Russia, it is necessary to understand that women's literature is not forbidden for men. And when we say that the characters do not identify themselves with a negative character of this story, we mean not at all that this story causes a man's reader a disgust. We are talking about what a man's reader identifies himself with another hero. This hero is the narrator author.

A man who walking around Moscow came across the hut, where Lisa lived with her mother and tells all this story at all in order to find the next morality to read the descendants and contemporaries. Not. He talks about his experiences, that he was touched. Pay attention: words "touch" and "feel" - one of those that Karamzin used in Russian for the first time.

Another thing is that he borrowed these words from french And sometimes it simply used French words, replacing the French roots by the Russians, sometimes without changing. Nevertheless, readers (and men, women) remain readers of Karamzin, because it is important for them to monitor the movement of the soul, which makes sense that makes up the rod, the essence of the narrative.

This opening of Karamzin is much more important than its discoveries in literature and history. And the opening of the soul, the opening of the opportunity to look deep into the man, as an opportunity to look into the soul to another person and look into your own soul and read something that is unknown earlier - and there is the main opening of Karamzin. The discovery, which determined in many ways the entire future course of Russian literature.

1. Korovina V.Ya., Zhuravleov V.P., Korovin V.I. Literature. Grade 9. M.: Enlightenment, 2008.

2. Ladygin M.B., Esin A. B., Nefodeova N.A. Literature. Grade 9. M.: Drop, 2011.

3. Damn V.F., Trubina L.A., Antipova A.M. Literature. Grade 9. M.: Enlightenment, 2012.

1. What was the audience to which N.M. Karamzin? Describe the circle of his readers.

2. What is the work of N.M. Karamzin is predominantly addressed to the men's reader, and what - to the woman reader?

3. With which character from the story of N.M. Karamzin "Poor Lisa" often identified by readers men?

4. How much contributes to the understanding of the emotional state of the heroes of the technique of defaults, used by N.M. Karamzin?

5. * Read the text "Poor Lisa" N.M. Karamzin. Tell us about your impressions.

1. Psychological detail.

S. Yesenin

Here it is, stupid happiness,

With white windows in the garden!

On the pond swan red

Sailing a quiet sunset.

Hello, malicious calm,

With a shadow of birch in the water!

Talking flock on the roof

Serves an evening star.

Somewhere behind the garden looked

Where Kalina blooms,

Tender girl in white

The gentle song sings.

Sleeping blue Ryasoy

From the field of night chill ...

Cute, stupid happiness,

Fresh pinkness shoes!

1. What is the "Sovereign Stream", embodied in this poem? What details help you in the definition of the "race" of the work?

2. How can the poem be called?

Such details that transmit the inner world of the hero: his thoughts, feelings, moods, sensations, ideas, desires, experiences - the state of the soul, are called psychological details.

The task. Read the first chapter from the story L.N. Tolstoy "teacher Karl Ivanch". Reference on the following issues:

1. What kind of "order in the shower" was established at you while reading the work?

2. The first chapter of L. N. Tolstoy "Childhood» called "teacher Karl Ivanovich". Why?

3. And what did you know about the main hero of the story? What is your first impression from meeting with Nikolya?

4. Who is written: "... a nasty man! And bathrobe, and cap, and brush - what nasty» and "What is he kind and how does it love us ..."? Whose reasoning is it? Why are they so different? Who are they characterized in the first place?

5. Find the details in the text that transmit the mood of the hero, his feelings, thoughts, desires, i.e. Psychological did.

6. Why are things belonging to Karl Ivanch described in such detail? Cando these details call psychological?

The task. Alone read the chapter "Mother" in the story "Childhood" L. N. Tolstoy. Find portrait and psychological details. How are they interrelated? For example, "Maman" smile?

2. Detail of gesture as a psychological detail

A.S. Pushkin. Eugene Onegin.

Struck XXI

Everything claps. Onegin enters

Goes between the chairs on the feet,

Double Laurenet Squeezing

On lodges of strangers;

All tiers looked at the eyes,

I saw everything: faces

He is terribly dissatisfied;

With men from all sides

Crushed, then on the scene

In the big scatter glanced,

Dug up - and yawned

And Milns: "It's time for shifts;

I suffered ballets for a long time

But Dido I'm tired.

1. In this stubborn, Pushkin shows the hero in motion. Pay attention to the actions that Onegin (views, gestures, Mimica).

2. What does the behavior of the hero about his inner state say?

Look, Mimic, the gesture helps the reader to guess the spiritual state of the hero. These are signs of communication, behavior of people, their relationship to each other.

The task. Read the chapter "Dad" from the story "Childhood" L. P. Tolstoy. When reading the chapter, pay attention to the description of the movements of Dad and Yakov. What "say" gestures? Think about questions:

1. What mood is embodied in this chapter? Does it remain unchanged?

What details of the text allow you to judge about it?

2. What details in the description of the behavior and state of Yakov, in your opinion, are the most bright? And in the description of dad? Who will celebrate these details?

3. Find the subject item, details in the description of the interior of the cabinet. Are there many of them? What is the impression they create about dad? Whose impression?

4. Why are the details of the gesture, descriptions of movements, expressions of individuals characters, not the details of the interior? Do you not tell you these details about Nicolenka? What exactly? Find a description of the mental experiences of the main character after talking with dad. What feelings is he experiencing? Why did Nicanyka cry?

Details of the gesture, the facial expressions of the view - external manifestations of the inner state of the hero.

Methods of plotting in drama can be different. The dramatic genus of literature, as well as the epic, and direct and indirect embodiment of conflicts in the events depicted; and external and internal action; Concentric, and chronicle plots. Modern literary criticism and theatersmen are increasingly opposed to dogmatic restrictions in the field of dramatic plugs, which insisted theorists and past epochs (the requirement of a single conflict between the heroes and the direct image of their struggle convened). The "compacted" in the stagnation time of the drama is usually quite active and purposeful. Goethe in letters to Schiller

it rightly noted that for drama in a much greater extent than for the epic, the motives are characterized, non-stop aspiring action forward. At the same time, dramatic works as it were extremely filled with events. The drama, compared to any other literary form, is eliminated by a greater number of events in a smaller space and time.

In many plays, complex and intricate incidents "are concentrated" at small intervals of the storytime. Punched by the rotary events of the "LED" of Cornel, "Fedra" Racina, the comedy of Moliere, "Marrying Figaro" Boualersche, "Mount from the mind" of Griboedov, "Auditor" of Gogol.

The concentration of events is characteristic (albeit to a lesser extent) also for many drams whose action is launched at a long time. For example, Chekhov in some acts of its plays (despite the fact that the internal action prevails here is a lot of important for heroes. So, in the first act of "three sisters" a vertex appears, meets with him and first interested in Masha; Explained in love Irina Tubenbach; Makes the offer Natasha Andrei. And all this in the same room (living room in the house of prozorovy) for less than an hour!

With richness of events, sharpness and tensions are recreated in the conflict drama. In the novel, the story or the story may prevail episodes that reveal the state of equilibrium and peace ("Daphnis and Chloe" Long, "Starvetsky landowners" of Gogol, "Chorre and Kalinich" Turgenev, "Childhood" of Tolstoy). In the drama, life provisions associated with some antagonism and clashes are invariably.

Conflict in different dramatic genres has a different character. Farce, as well as many comedies, abound with misunderstandings and funny skirmishes of characters. In tragedies, actually dramas and so-called " high Comedy"Conmplies are embodied serious and deep. The dramatic genus of literature in general is to the proclaiming positions. Shegel also noted that "rich in conflicts" (i.e. conflicts. - V. X.)the situation is a predominant subject of dramatic art " (43, 1, 213).

The conflict in the overwhelming majority of cases permeates all the dramatic work and falls into

the basis of each his episode. Therefore, drama characters are characterized by the tensions of experiences. The actors of the tragedies, comedies, dram almost all the time are in a state of emotion and anxiety, expectations and anxiety (the first scenes of "Hamlet", "Faust" and "grief from the mind", "thunderstorms", "optimistic tragedy"). The director of the Art Theater V. I. Nemirovich-Danchenko, working on the play of Chekhov "Three sisters", inspired artists that they need to "nationalize" the dismantle, imbued with the concerns of the acting persons, feel their nervousness and infancy. Dramatic tension is also inherent in many comedies. Thus, in the "boastful warrior" of the plate, by mail, all the characters are concerned about salvation from the captivity of young philosassium; In the "Revolution" of Gogol, county officials are alarmed by the arrival of the auditor. Comedy's tension often feeds on small, unworthy of man desires and aspirations. But it, in the overwhelming majority, is present in this genre.

Hence the originality psychological image. Feelings and intentions that have not been insufficient, who are in intertwining with others, as a rule, do not become the subject of a dramatic image. In the drama it is difficult to imagine something like the episode from the "war and the world" when Peter Rostov on the eve of the fateful battle for him, near the night fire, dreams and listens to the most sound in him. Sophisticated, not possessing the definition of experiences are fully available only epic form - internal monologue with its accompanying copyright characteristics.

Psychological sphere Dramas are strong, completely seized man feelings, conscious intentions that have formed thoughts. According to Schiller, the theater and drama arose from the need of a person "Feel yourself in a state of passion" (107, fifteen). For playwright and actor, according to Stanislavsky's thought, primarily the volitional rod of emotions is important. So, Chekhov, carefully traced the change of mood of their heroes, detected their constant alarms, in its own way active dissatisfaction with life. Even metrylink, who was interested in the Irrational, mystical experiences of a person, in such plays as "the death of the tentupile", attached certain feelings of certainty and strength.

The tensions of the experiences, the ability to be furiously indulge in passions, sharpness of assessments, suddenness of solving

it is characteristic of the actors of the drama significantly more than for the characters of epic works. The famous French tragian Talma noted that the playwright "connects in close space, in the interval of any two hours all movements ... which even a passionate creature can often only survive in a long period of life" (56, 33).

Not surprisingly, therefore, the characters with a few, sharply pronounced features prevail in the plays. "... the dramatic heroes mostly easier inside ourselves," hegel noticed - than epic images " (43, 1, 247). Although the drama and the nuance of the impressions, the mindset and the experiences of the heroes (remind the plays of Ibsen and Chekhov), in this area, it is noticeably inferior to epic genres, primarily the socio-psychological novel.

Composition plot

Designed for stage execution, drama members' members on acts (actions) separated by one from another direct or indirect indication for a break in theatrical representation (intermission). The division of the plays on the acts laid the beginning of ancient Roman drama (Float, Terentics). The five -act form that has arisen in antique literatureFor a long time rooted in the European Drama of the New Time. In the literature of the last centuries, four-hour and trichat dramatic works are also often often.

However, such membership of the text of the plays was not universal. It was not in medieval European drama and in creation of Shakespearewhose plays were only subsequently broken into acts in accordance with the standards of classicism. There is no membership in acts also in a number of drams of the XIX-XX centuries. (The first part of the "Faust" Goethe, "Boris Godunov" Pushkin, Brecht's plays, numerous single-acting dramas of small volume).

In the limits of acts, phenomena are allocated (it. Auftritt), sometimes inaccurately called "scenes" (lat. SCENA). This is part of the text of the dramatic work, throughout which the composition of the persons acting on the scene remains unchanged. Textual selection of phenomena is already in Roman comedies. It becomes the norm from classicists and keeps until the XIX century. inclusive. In the medieval drama, in the work of Shakespeare,

the writers of predocutantism and romanticism (gothen, melting) are not marked.

In dramagia turn XIX-XX BB. Replicas of characters within the act amounted to now as if a solid stream (Pieces of Ibsen, Hauptman, Meterlinka, Show). Significant phenomena in early drams Chekhov and the absence of them in the "seagull" and subsequent plays. No phenomena also have a block, bitter, most playwrights recent decades.

Acts and phenomena are usually recorded in dramatic works with sharply pronounced, performed speakers, a single external conflict. The textual designation of acts and phenomena gives the plays to an external composite completion: the steps of action reported greatness.

But a different aspect of the composition of dramatic works is particularly significant: their membership on stage episodes, often referred to as paintings or scenes (see ch. X, p. 221).

For a small dramatic form, the plays consisting of only one stage episode is characterized. These are "Bear", "Wedding", "Anniversary" Chekhov. The works of a large dramatic form that occupy the theater representation entirely, consist of several episodes: the time of action here is somehow interrupted here, often changes its place.

In the prevailing forms of European (including Russian) theatrical and dramatic art, the action focuses on a few and fairly large episodes. This artistic principle goes back to antique tragedies.

At the time of classicism, the membership of the drama on stage episodes coincided with their membership on the actions (acts). It is typical and later dramatic works (most of the Pieces of A. Ostrovsky, Chekhov, Gorky). At the same time, the actions (acts) of drama often consist of two, three or more episodes.

The concentration of action in relatively few and lengthy stage episodes, on the one hand, does the writer: deprives him of the freedom of the register of the plot, which is inherent in epic works. But on the other hand, such a construction makes dramatic

the action is more detailed. In the deployed episodes, thoughts and senses of characters are fully identified. At the same time, the concentration of action in space and time creates the illusion of the reality of the depicted, important for theatrical viewer.

For the classic Eastern and medieval European drama (the traditions of the latter are preserved in folk theatrical ideas), on the contrary, characteristic crushing of action on numerous and short fragments. So, in the performances of the Chinese People's Theater, the place and time of action are changing very often. With such a crushing of the depicted dramatic form approaches epic. The playwright is likened to the narrator. He seems to be readers and viewers: and now we will pass there, they compare these two facts, we will skip some time lapse, etc. Therefore, the drama, where the action is crushed into fragments, is often called epic. This expression ("Epic drama", " epic Theater.") Enjoyed Brecht. The term "epic drama" is not strict enough. Like "ordinary" dramatic works, plays, called epic, are made up of stage episodes employed speech actions Characters. They are like narrative, as if epic.

Epic construction gives drama a lot. First, with its help, life in space and time is covered more freely. Secondly, the modern epic drama is widely based on self-composite effects. Due to the crushing of stage episodes, it turns out to be in high degree "Mounting". At the same time, frequent operations in space and time destroy the illusion of the accuracy of the depicted and resemble readers, especially the audience that they do not deal with reality, but with fetas of fiction and the game.

Drama XX century. - Including Soviet - based on the ways of organizing stage episodes and the experience of epic drama in Western Europe and Russia.

Features of speech

The playwrights use such forms of speech, which allow actors-characters to contact immediately and to partners in the scene and to the viewer: dramatic speech

at the same time carries out live speech contact of heroes with each other and communication of actors with the auditorium. The statements have a special emotionally convincing force here, which brings them closer with oratorical performances and lyrical works. The main speech "carrier" dramatic action is a dialogue: the characters communicate (and in particular, conflict) with each other, exchanged by replicas. The dialogue with maximum activity reveals the positions of this moment in their uniqueness, "materializes" the course of events and the dynamics of the relationship between the heroes.

Being addressed to the public, dramatic speech acts as a monologic, more precisely - as a converted monologue, for the contact of actor actors with the audience is one-sided: the latter are not able to influence the course of speech programmed by the playwright. The monologic starts of the dramatic speech are manifested by two: first, as a set-up component of the dialogical replicas that are indirectly, the audience is not despicable; Secondly, in the form of monologues actually - extended statements going beyond the mutual communication of characters and directly addressed to the public. A pronounced dialogue in dramatic works, speaking otherwise, invariably coexists with monologue both hidden, internal and explicit, external.

The monologue in the drama is a unique and invaluable important artistic agent. He reveals the meaning of the depicted, strengthens the drama of the action and expresses it really. About the monologue as the disclosure of the inner world of the heroes of the drama has repeatedly spoke classicists and enlighteners. According to D. Didro, "the monologue is a moment of respite for action and unrest for the character"; Monologists "produce a very strong effect" because "dedicate the heroes to the secret intentions" (53, 409-410, 381).

In addition, the monological starts of dramas are involved in the creation of an emotional atmosphere, common to the author, character, actor and perceiving public. This is the most important means of unity of the scene and the auditorium, the "materialization" of the feelings caused by the public. These are the speeches of the choir in tragedies and comedies of antiquity, the tirades of resonants in the drama of classicism, as well as the statements of the heroes of realistic plays, as if waiting for the compassionate response of the audience (final

monologists "Uncle Vanya" and "three sisters"), songs ("prog") in the modern epic theater.

Along with extensive monologues, contact with the auditorium successfully implement a brief, aphorististant-taking judgment, maxims, proverbs, often being a kind of reduced monologues. Such replicas have a summary character, and therefore are capable of taking equally for living both direct participants in the conversation and its witnesses (including theatrical audiences). Aphoricism of speech makes itself felt in antique drama (especially in comedies), and in the People's Theater of the Middle Ages, and in the work of Shakespeare, and in Schiller's tragedies. In invaluable, witty replicas - generalizations, who later became the proverbs, in the "grief from the mind" of Griboedov; Talking folk spares in the plays of Ostrovsky; Aphorisms in Gorky drama. "The actors in a good play must speak aphorisms. This tradition goes long ago, "the author" at the bottom "claimed (82, 1, 745).

Relations in the drama between the dialogic and monologic speech are historically changeable. "Dorealist" dramaturgy is largely monologue, it pronounced song-lyrical and rhetoric and poetic starts. Throughout the last two centuries, the monologue is emphasized significantly less; In realistic pieces, it is usually leveled in the chain of ease-conversational dialogues. "For the monologists" Grief from the mind, "said G. O. Vinokur, - significantly primarily the fact that the overwhelming majority of them directly participate in the stage dialogue and clothe into the appropriate external dialogic forms. (38, 278). Dialogical techniques prevail over the monologic in the plays of Gogol and Ostrovsky, Chekhov and Gorky, in the Soviet playwright of the last decades, in particular in the Pieces of A. Vampilov. Throughout the XIX-XX centuries. Dramatic speech was released from the former rhetorical "assignment", gained greater energy of the individualizing characteristic of the character, how it is currently an action in this mental state. However, in realistic drama, monologists remain their significance. Recall the numerous meditation out loud of Katerina from the "thunderstorms", or the inspired speeches of Chekhovsky Petit Trofimov about the past and the future of Russia, or the reasoning of the Gorky Satin on a man.

Dialogue and monologue in the drama, as can be seen, complement each other and are equally necessary. At the same time, they actively interact, often by constituting a single, unstatched verbal alloy: a colloquial-free dialogue is poetically and rhetorically transformed, and monologues filled with lyrics and rhetoric, on the contrary, are painted in conversational dialogic tones.

Drama in reading and on stage

Drama is at the point of intersection of the theater as the art of synthetic (in performances dramatic Theater. The art of the word is connected to the Pantomimoy, that is, the image of a person through movements, gestures and facial expressions, and often with other arts - decorative painting, music, dance) and literature.

It is advisable to terminologically distinguish between the concepts of drama and drama. Dramaturgium is a plot-com-positional basis for performances and films. It may have either the form of a literary dramatic work consisting mainly from the statements of the characters, or the form of a script (a work where, along with the statements of characters, the descriptions of what the viewer will subsequently see on stage or screen). The scenario form of drama dominates in cinema. The dramatic theater in most cases is based on the drama created by the writer, which subsequently turns the director-director in the script, and then to the performance. By compiling the dramatic basis of the performance, everyday in their composition, the drama has itself a literary significance. She is perceived in reading, acting as a completed verbal and artistic work. Drama, speaking otherwise, has in art as if two lives.

But so the situation is not always. The emancipation of drama from the scene was gradually carried out - over a number of centuries and ended relatively recently: in the XVIII-XIX centuries. World-significant patterns of dramaturgy (from antiquity to the XVII century) at the time of their creation were practically not realized as literary works: they were only part of scenic art. Neither Shakespeare, no Moliere perceived by their contemporaries as writers. A decisive role in strengthening the idea of \u200b\u200bdrama as a work designed not only for the stage formulation, but also for

reading, "Opening" played in the second half of the XVIII century Shakespeare as a great dramatic poet. From now on, the dramas began to read intensively. Thanks to numerous printed publications In the XIX-XX centuries. Dramatic works turned out to be an important variety of fiction.

In the XIX century (especially in his first half), the literary advantages of the drama were sometimes raised above the scenic. So, Goethe believed that the "works of Shakespeare was not for bodily soles" (44, 410-411), and Griboedov called "childish" his desire to hear the poems "grief from the mind" from the scene. The so-called LEDRAMA (drama for reading), created with the installation, first of all on perception in reading, was distributed. These are the "Faust" Goethe, the dramatic works of Bairon, the small tragedies of Pushkin, Turgenev drama, about which the author of them noticed: "My plays, unsatisfactory on stage, can imagine some interest in reading" (94, 542).

The fundamental differences between Lesedrama and plays, which are focused by the authors on stage formulation, does not exist. Dramas created for reading are often potentially scenic. And the theater (including modern) is stubbornly looking for and sometimes finds the keys to them, testimony of which - the successful productions of the Turgenev "month in the village" (first of all it is the famous pre-revolutionary performance of the artistic theater) and numerous (although far and not always successful) scenic readings Pushkin Little Tragedies in the XX century.

An old truth remains in force: the most important, the main purpose of the drama is a scene. "Only during the stage execution," A. N. Ostrovsky noted, "the author's drama fiction receives a completely preconcted form and produces exactly that moral action, the achievement of which the author set itself" (72, 63).

The full drama has both both literary advantages and the scenario. The dramatic work is staged, which is able to embody in the rich intonational-gesture drawing of acting roles and impressive directorial miceanscenes. Criteria of the stage is historically changeable. They depend on what is theatrical art of a country in this era, which established

in it, the ratios between the stage speech and the Pantomimoy, how important in the play is an external, household action, to what extent initiative and independent director, etc.

So, the singular pathetic declamation was an integral line of the classic theater, but she is alien to the modern scene. Therefore, the tragedies of Cornel and Racina in the era of their creation were highly staged, and in the XX century, when spectacular, pantomime principles are accentuated in the theater, they have significantly lost this quality. The statements focused on the declamation manner of execution began to cause distrust already in the past century. Even the texts of the creations of Shakespeare and Moliere turn out to be overwhelmed for the realistic theater. Directors reduce or even eliminate some monologues of characters, and also introduce new "scenes without words". It is in this direction that K. S. Stanislavsky processed the tragedy of Shakespeare "Othello". IN such cases The work of the old era is given in accordance with the new requirements of the scene.

In our age, when the creative director's creative initiative has increased and produced technique has enriched, a potentially stage start is often found in works that do not belong to the dramatic genus of literature. This is evidenced by numerous staging of epic works, the best of which entered the Golden Fund of Our Theater. These are "dead souls", "Anna Karenina" (1930s) and "Lord Golovy" (1980s) in the Moscow Art Theater, "Life of Klim Samgin" in the Mayakovsky Theater, Petersburg Dreams in the Theater named after the Moscow Council (on "Crime and Punishment"), "Quiet Don" in the Leningrad Great Drama Theater.

The creation of a performance on the basis of a dramatic performance, one way or another, is associated with its creative completion: the actors create an intonational-plastic drawings of executable roles, the artist declares the stage space, the director develops the Misanessen. In this regard, the informative concept of the play is changing somewhat (one of its parties is given more, to others - less attention) is largely specified and enriched: new semantic shades in drama contributes to drama. At the same time, for the theater, it is paramount to significantly significant

ti reading literature. The director and actors are called upon to convey the made work to the audience with the highest possible. The loyalty to the scenic reading takes place where the actors deeply comprehend the literary work in its main content, genre, style features And they match him as people of their era and culture with their own views and tastes. The stage performances (as well as the screening) are legitimate only in cases where there is a consent (let the relative) director and actors with the circle of the ideas of the playwright writer, when the scene figures are carefully attentive to the meaning of his work, to the peculiarities of his genre, the features of his style and to The text itself.

IN classic aesthetics XVIII-XIX centuries, in particular, Hegel and Belinsky, drama (primarily the genre of the tragedy) was considered as the highest form of literary creativity: as a "crown of poetry". A number of epochs and in fact imprinted itself by the advantage in dramatic art. Eschil and Sophocles "During the flourishing period of slave democracy, Moliere, Rasin and Cornell at the time of classicism did not have equal to themselves among the authors of epic works. Gota's creativity is significant in this regard. For the great German writer, all literary labor has been available for the Great German writer The art of creating a dramatic work - the immortal "fausta".

In the past century (up to XVIII century) The drama not only successfully competed with the epic, but also often became the leading form of artistic reproduction of life in space and time. This is explained by a number of reasons. First, theatrical art was played a huge role, affordable (unlike handwritten and printed book) the widest layers of society. Secondly, the properties of dramatic works (the image of the characters with sharply pronounced features of the character, undecided reproduction human passions, Pattaic and Grotesque) in the pre-market epochs quite responded to the trends in general practitioners and generally educational.

And although in the XIX-XX centuries. on the advancement of literature

the socio-psychological novel - the genre of the epic kind of literature, dramatic works in art belongs to the honorable place.

Chapter XII.Lyrical works

Item and content lyrics

The main thing in the lyrics is emotionally painted descriptions and reflections. Playing the same relationship between people and their actions here does not play a big role, most often it is not available at all. Lyrical statements are not accompanied by an image of any events. Where, when, under what circumstances a poet spoke, to whom he turned to, - all this is either clarifies from his words themselves, or it turns out to be insignificant.

And I hate her and love. "Why?" - You ask. I myself do not know, but I feel so - and tombs.

(Per. F. Petrovsky)

The reduced two-befed Ancient Roman poet Katulla is a complete artistic work. From the Katullovsky poem, the reader will not know anything about those events and facts that caused a sense expressed here. Nothing is known to him about the woman who is dedicated to the biennial, nor about the fate of a person who speaks. In the poem, the sense of a person in itself is in itself, in the soul of which the hatred and love merged, the feeling, before which he himself stops in bewilderment.

The main object of the artistic knowledge in lyrics is the nature of the "speech carrier" itself, primarily his inner world, his mindset and emotions. Unlike novels and epics, leads and novel, tragedies and comedy lyrics, mastering the inner world of man, does not depict events, actions, actions, relationships. In this sense, she acquires the features of expressive arts.

At the same time, there is a fundamental difference between lyrics, on the one hand, and dance, music, architecture - on the other. In the last mood and experiences, they are recreated outside the specific connections of them with external, subject world. Lyrics, being like litera

tours, invariably retains an infant start to verbal art. In the lyrical work there are always impressions of some facts, thinking about something and the experience of something.

Pure expression of speech sounds (background) does not exist. This was proved (in the way "from the opponent") extremely left futurists, in particular twisted, which proposed pointless sounding as samples of poetic statements. Lyrical speech (as opposed to musical sounds) It is invariably relied on the meaning of words, the cognitive and fine possibilities of the language. Unlike expressive arts, Lyrics recreates not only the mood themselves (sadness and sadness, lively and fun, thoughtfulness and contemplation, determination and effectiveness), but also thoughts and feelings caused by the substantive peace and directed.

Larically expressed experiences can belong both to the poet itself and others who do not look like him. The ability "Alien IMG to feel your own" is such, according to Feta, one of the properties of poetic dating. The lyrics in which the experiences of the face are noticeably different from the author, called the Rol-in O and. These are the poems "there is no name, my distant ..." block is a spiritual outpouring of a girl who lives a vague expectation of love, or "I am killed by Rzhevsky" Tvardovsky, or "Goya" Voznesensky, where the "vision of the world" is lyribically, inherent in the Great Spanish artist. It happens even (though it happens rarely) that the subject of lyrical statement is exposed by the author. Such " moral man"In the poem of Nekrasov, the same name that caused many sorrows and misfortunes around the same name, but persistently repeated by the phrase:" Living according to strict morality, I did not make an evil in my life. " Something similar to seeing in some poems of the city of Heine, performed by a sorry and stinging irony. The definition of lyrics Aristotle (the poet "remains himself, without changing his face"), thus, inaccurately: the lyrical poet may well change his face and reproduce the experience belonging to someone else.

But in most cases the lyrics captures the mentality of the author himself. Poems whose lyrical entity is identical or at least

zok poet, called autoxicheological. Lyrical creativity is mainly autopsychological. So, according to poems of Pushkin and Lermontov, Blok and Yesenin, Mayakovsky and Tsvetaeva, you can make a bright and complete idea of \u200b\u200bintellectual and emotional world The authors themselves.

The immediacy and directness of "self-expression" is one of the most important properties of lyrics. "He (lyrical poet) - Hegel wrote, - Maybe inside himselfsearch for motivations to creativity and content, stopping on internal situations, states, experiences and passions of your heart and spirit. Here is the man in his subjective internal life It becomes a artistic product, while the epic poet serve as a content of hero herself, his feats and incidents happening to him " (43, 3, 501). Such thoughts have repeatedly spoken and subsequently. Lirik, argued the German poet I. Becher, this is "a person expressing himself. He himself - "hero" of his lyrics " (31, 388).

In the lyrical creativity, the "object" and "subject" of an artistic image is close to each other and in most cases, as it were to merge: the other is the inner world of the author. The knowledge of life here appears primarily as a self-knowledge. This is one of the reasons for special charm of lyrics. The reader enters with a poet to such a direct and cramped mental contact that is impossible when perceiving epic or dramatic works.

Lyrical self-expression may be different. Most often, the author embodies the thoughts and feelings inherent in both individuality, and in his works there is some kind of lyric "I". But sometimes the poet Lirik acts as a direct expressant of views, sentiment and aspirations of a group of people, sometimes a whole class, of the whole people and even humanity. Here, the lyrical "me" comes to replace the lyrical "we" ("to Chaaadaev" Pushkin, Scythians of the block, the Internationale of Mayakovsky, the "left march" of Mayakovsky).

The self-expression in the lyrics is noticeably different from the expression by the person of his thoughts, feelings and intentions in everyday life. Larically embodied intricacies are not a literal copy of the poet. Lyrics are in no way the transcript of those feelings that could experience the author in real life.

The lyrical poet embodies in verses not everything experienced. The most significant emotions usually fall into the scope of his work. Sometimes poetic experiences differ sharply from everyday, ordinary feelings of the poet. Recall the Pushkin poem "Poet":

So far, it does not require the poet to the sacred sacrifice of Apollo, in the concerns of the bay light, he is briefly immersed; His holy lira is silent; The soul comes in a cold dream, and between children of insignificant world, perhaps, everyone is insignificant.

But only the divine verb to hearing the sensitive will affect the poet's soul, as an awakened eagle.

Lyrics do not just reproduce the feelings of the poet, but they will largely activate them, ennobles, creates anew. Lyrical experience therefore acquires special intensity and saturation. The poet as it were, "obsessed" by the emotion, which he poetically expresses.

At the same time, the author in the process of creativity often creates the power of imagination those psychological situations that were not at all in real reality. Literary criticism was repeatedly convinced that many lyrical poems could not be correlated with specific facts of the writer's biography. In particular, the content of love poems Pushkin is not always consistent with the facts of his personal life. There is a significant signature that the block made on the fields of the manuscript of one of his poem: "There was nothing like that." The poet has imprinted itself in the lyrical image of the junior monk, the fan of mystically mysterious Beautiful lady, then in the "mask" of Shakespeare Hamlet, then in the role of regular restaurants.

Autopsychological and role-playing began lyrical creativity, therefore, are not restlessly interconnected. The poet Lirik, according to E. Vinokurova, is one in two faces. This is, first, a person with a definite fate, life experience, mindshores and views, secondly, the hero of their own poems (40, 31). Protection of the personality of the poet in the image of the lyrical hero - essential property lyrics.

Non-identity of a subject of lyrical statement

individuality of the poet itself & is quite natural. Poetically embodied experience is the result of artistic generalization. "Expressing yourself," I. Becher wrote, "the lyrical poet expresses the problem of his century, and ... the personality of the poet should rise in the character representing the age" (31, 386). The feelings expressed in lyrics have a socio-historical nature. Printing national cultural traditions and public relations One way or another lies on the subject of lyrical speech. Wherein lyrical work, like any other, always contains understanding by the poet life - let it be his own inner world. Therefore, those concepts (theme, problem, emotional assessment) are fully applicable to the lyrics, with the help of which the content of other literary works understands.

At the same time, the content of lyrical works has special quality, very essential for readers. Getting acquainted with the novel, novel or drama, we perceive depicted from a certain psychological distance, to a certain extent removed. Upon the will of the author (and sometimes in his own) we accept or do not accept the positions of the characters, we share or do not share their mindset, approve or not approve of their actions, they are thinking about them or sympathize with them. Another thing is lyrics. To fully perceive the lyrical work - it means to penetrate the aspirations of the poet, to experience it and once again survive them as something your own, personal, sincere. "The feeling expressed in the poem - wrote I. Becher, - it should not be identical to our feeling, but it is

Psychologist - The system of means and techniques aimed at full, deep and detailed disclosure of the inner world of heroes. The primary element of literary patterns is a word, and a significant part of the mental processes flow in verbal form, which fixes the literature. Examples of psychologism in the literature: a special image of the human inner world by means of artistic, depth and acuteness of the writer's penetration into the artistic world of the hero, the ability to describe various psychological states and processes in detail.

IN lyrics Psychology is expressive. Lyrical hero Directly expresses his feelings and emotions (Lermontov "I will not be harmed before you ..."), either engaged in psychological self-analysis (Nekrasov "I am deeply despised ..."), or is indulging in lyrical meditation (Pushkin "It's time, my friend, it's time ... ")

IN dramaturgia The main way to reproduce the inner world are monologues of acting persons, in many people similar to lyrical statements. In the XIX-XX other ways: sore-mimic behavior, scenery, effects ...

Psychologist does not occur in cultures based on authoritarianism (because it is necessary that the unique human personality is aware of as a value) psychologism - a form for the embodiment of ideological and moral search for personal truth. First narratives psychological works - Heliodor's novels "Ethiopic", Long "Daphnis and Chloe". Renaissance: "Decameron" Bokccho, "Don Quixote" Servants, "Hamlet", "King Lear", "Macbeth" Shakespeare.

3 basic forms Psychological image (2 first are allocated by insurance):

The image of the characters from the inside, by the artistic knowledge of the inner world of existing persons expressed in internal speech, memory images and imagination.

Psychological analysis "From the outside", expressed in the psychological interpretation by the writer of expressive peculiarities of speech, speech behavior, mimic and other means of manifestation of the psyche.

Total-designated form. It is achieved with the help of the name, extremely brief designation of those processes that proceed in the inner world. Feelings are named, but not shown.

Psychological image techniques:

From the first person. Such a story creates a greater illusion of the likelihood of a psychological picture (+ - confession that increases art perception)

From a third party. The form allows you to enter the reader into the inner world character and show it in detail and deep. For the author there are no secrets in the soul of the hero: he knows about him weight, can trace the internal processes in detail, explain the causal relationship.

Incomply-direct speech. Formally belongs to the author, but he carries the imprint of the stylistic and psychological characteristics of the speech of the hero.

Psychological analysis and self-analysis. The essence of them is that complex mental states are laid out to the elements and thereby explain, become clear for the reader. Psycho. The analysis is used in the first person narrative, self-analysis - both from the first and on the third, as well as in the form of an infirm-direct speech.

Inner monologue - Direct fixation and reproduction of the thoughts of the hero, to a greater or less imitating real psychological patterns of internal speech. The inner monologue reproduces the speech manner of the character, and, consequently, the manner of thinking.

Mindflow - an internal monologue, brought to its logical limit, extreme form internal monologue. This technique creates the illusion of absolutely chaotic, disordered movement of thoughts and experiences.

Artistic detail It has long been used for the psychological image of mental states in the system of indirect form of psychologism. This or that portrait detail Definitely correlated with one mental motion. Details of the landscape often have a psychological meaning. Certain conditions of nature are somehow correlated with those or others. human feelings and experiences. ("The word about the regiment of Igor") was still mastered the possibility of not directly, but indirectly correlated soul Movements With one state or another.

Impression(On the example of Czechov's creativity), they act as the symptoms of the changes that occur in the consciousness of the heroes. The psychological state of the hero, the fracture in the mood is practically exhaustively transferred to just one word - an example of a rare expressiveness of the artistic part. (Czechs "At the acquaintances" Start: "Old home shoes", end "" stranch Shoes »)

Receive default. Writer B. certain moment Nothing does not speak anything about the inner world of the hero, forcing the reader himself to conduct a psychological analysis, hinting that the inner world of the hero, although he is directly and not depicted, rich enough and deserves attention.

Ways to image characteristics

In order to analyze the characterization of the character image in specific works, you must familiarize yourself with the methods of its image.

Consider the character image image. L.A. Kozyro, in his tutorial for students "Theory of Literature and Practice of Reading Activity," means two characteristics, of which the character is folded. This is an external and internal characteristics.

IN literary work Psychologist represents a combination of funds used to display the inner world of the hero - for a detailed analysis of his thoughts, feelings and experiences.

This method of the character's image means that the author places the task to show the character and identity of the hero directly from the psychological side, and make such a way to awareness of the hero. Often, ways to image the inner world of the hero are divided into "from within" and on "out".

The inner world of the character "From within" is depicted with the help of internal dialogues, its imagination and memories, monologues and dialogues with themselves, sometimes - through dreams, letters and personal diaries. The image is "outside" consists in describing the inner world of the character through the symptoms of his psychological state, which appear externally.

Most often that portrait description The hero is his facial expressions and gestures, speech turnover and trial manner, it also turns on the part and description of the landscape, as an external element that reflects the internal state of the person. Many writers use for this type of psychologist description of life, clothing, behavior and housing.

Psychologist - a set of funds used for the image of the inner world of the character, his psychology, mental state, thoughts, experiences.

Epic and dramatic works have the wide opportunities to master the internal life of a person. Carefully individualized reproduction of character experiences in their relationship and dynamics are the term psychologism.

The external characteristic serves as a means: a) objectification of the character image and b) the expression of the subjective copyright to him .

Sorokin V.I. In the story of the literature lists the twelve variety of character image products.

If the reader does not imagine the appearance of the character, perceive the character as a living being becomes very difficult. Therefore, the acquaintance of the reader with the character begins, as a rule, with the description of his face, figures, hands, gait, manners keep themselves, dress, etc., that is, with the portrait characteristic of the character.

Each talented writer has its own manner of portraits of heroes. The portrait depends not only on the author's manner, but also from the environment that the writer depicts, that is, indicates the social personality of the character. So, in the story of A. P. Chekhov "Devora" Portrait of "Kukharkina Son" Andrei contrasts with the images of the filled, well-groomed noble children: "Fifth partner, Kukharkin Son Andrei, Chernomaz, painful boy, in a stem shirt and a copper cross on his chest, It should be motionless and dreamy looks into numbers. "

Portrait helps uncover intellectual opportunities, moral qualities, psychological condition Character.

Portrait characteristic is used in the creation of not only the image of a person, but also an image of an animal. But we are interested in the ways of image image of a person.

Portrait as a means to create a character image is not present in each work. But even a separate portrait item helps create an image.

Under the literary portrait it is understood as an image in the artwork of the entire appearance of a person, including a person and a person and a physique, and clothing, and a manner of behavior, and gesticulation, and facial expressions.

Creating a character-character, many writers describe its appearance. They do it in different ways: some details portrait the portrait of the hero in one place, assembled; Others B. different places The works are celebrated individual portrait thoughts, as a result of which the reader eventually gets a clear idea of \u200b\u200bits outfit. Some writers use this technique almost always, others - rarely, this is also associated with a feature of the individual manner of the artist, and with the genre of the work, and with many other conditions of creativity, but always a writer describing the outcome of the acting person, seeks to emphasize the details that allow you to submit and external I. internal appearance The hero is to create a living visually tangible image and identify the most significant features of the nature of this acting person, and express the copyright to it.

It is noted that every portrait in one degree or another is characteristic - this means that according to the external features we can at least beat and approximately judge the nature of man. At the same time, the portrait can be supplied with a copyright commentary, revealing the connections of a portrait and character.

Compliance of the trait features of character - the thing is quite conditional and relative; It depends on the views and beliefs adopted in this culture, on the nature of the artistic convention. In the early stages of the development of the culture, it was assumed that a beautiful appearance corresponds to soul beauty; Negative characters were depicted by ugly and disgusting. In the future connection of external and internal in literary portrait Significantly complicated. In particular, in the 19th century, the return ratio between the portrait and character becomes possible: positive hero Maybe ugly, and negative - beautiful.

Thus, we see that the portrait in the literature has always performed not only depicting, but also an estimated function.

Kozyro L.A. In his work calls three types of portrait - this is a portrait description, a portrait-comparison, a portrait-impression.

Portrait description is the easiest and most commonly applied portrait characteristic. In it sequentially, with different degrees of completeness, a kind of list of portrait parts is given.

Kozyro L.A. Calculates example: "Chechevitsyn was the same age and growth as Volodya, but not so plump and white, and Hood, dark, covered with freckles. His hair was bristly, the eyes are narrow, the lips are thick, in general it was very ugly, and if there was a gymnasic jacket on it, it could be taken for the son's son "(A. P. Chekhov." Boys " ).

Sometimes the description is equipped with a generalizing output or copyright comment on the character of the character, manifested in the portrait. Sometimes one or two leading parts are emphasized in the description.

The portrait-comparison is a more complex view of the portrait characteristic. It is important not only to help the reader more clearly imagine the appearance of the hero, but also to create a certain impression of a person, his appearance.

Portrait-impression is the most complex portrait variety. A feature is that portrait features and details here as such are not at all or extremely few, only the impression of the appearance of the hero on a third-party observer or some of the character characters remains.

Often, the portrait is given through the perception of another character, which expands the portrait functions in the work, because it is characterized by this other.

Static (remaining unchanged throughout the work) and dynamic (changing during the text) portraits should be distinguished.

The portrait can be detailed and sketch, represented only by one or more the most expressive details.

We agree with the conclusion of Kozyro L.A., that the portrait in the literary work performs two main functions: the visual (it gives the opportunity to present the depicted person) and the characteristic (serves as a means of expressing the content of the image and the author's attitude towards it).

The following characteristic noted by scientists is a subject (real) environment that surrounds actor. It also helps to characterize the character from the outside.

The character is detected not only in its outfit, but and then what things he surrounds himself, as they applies to them. This is used by writers for the artistic characteristic of the character ... By means of a subject characteristic, the author also creates an individual character, and social type, and expresses the idea.

The image of the hero of the artwork is consisted of a variety of factors - this is character, appearance, and profession, and hobbies, and a circle of dating, and attitude towards themselves and others. One of the mains is a speech of the character, fully revealing and the inner world, and lifestyle.

It should be warmed from mixing concepts when analyzing the speech of heroes. Often, under the speech characteristic of the character, they understand the content of his statements, that is, the character says what thoughts and judgments expresses. Actually speech characteristic - Something different.

It is necessary to look at the wrong "what" they say the heroes, but on that "how" they say it. Look at the speech manner, its stylistic painting, the nature of vocabulary, the construction of intonational-syntactic structures, etc.

The speech is the most important indicator of the national, social affiliation of a person, the evidence of its temperament, mind, giftedness, degree and nature of education, etc.

The vivid character of a person manifests itself in his speech, in what and how he says. The writer creating a typical character, always gives his heroes characteristic of them individualized speech.

Kozyro L.A. Says that acts and actions are the most important characteristics of the character character, his worldview, total spiritual world. We judge people, first of all, according to their affairs.

Sorokin V.I. Calls this tool "the behavior of the hero."

Especially bright character of a person manifests itself, of course, in his actions ... the character of a person is particularly pronounced in difficulties of life when it falls into an unusual, complex position, but for characteristics the daily behavior of a person is important, "the writer uses those and other cases.

The author of the artistic work draws readership attention not only to the creatures of actions, words, experiences, character thoughts, but also on the Maneru of the Action, i.e. on the forms of behavior. Under the term, the behavior of the character means the embodiment of his inner life in the aggregate of external features: in gestures, facial expressions, manner, intonation, in the position of the body (poses), as well as in clothing and hairstyle (in this Rada - and cosmetics). The form of behavior is not just a set of external details of the commission, but some unity, a totality, integrity.

Forms of behavior attach to the inner being of a person (installations, peacefulness, experiences) distinctness, certainty, completeness.

Sometimes a writer when creating an image of a character reveals its character not only indirectly, by image its portrait, actions, experiences, etc., but in direct form: he speaks of its own behalf about the essential features of his character.

Self-characteristic when the character himself speaks about himself, about his qualities.

Mutual characteristic is an assessment of one character on behalf of other characters.

Characterizing the name when the character of the character reflects its quality, features.

In the work of Sorokina V.I. This tool is indicated as "characterizing the surname".

All this applied to external characteristics. Let's look at the methods of internal characteristics.

Reception of the disclosure of the character is the immediate image of its inner world. Recreation of the spiritual life of the character is called psychological analysis. Each writer and in each work, psychological analysis takes its unique forms.

One of these techniques is an internal monologue, which records the flow of thoughts, feelings, impressions that are currently the soul of the hero.

The most important admission of the psychological characteristics of the character in many writers is the description of the character being depicted in terms of this character.

Chekhov "Grisha": "Grisha, a small, chubby boy, born two years and eight months ago, walks with a nanny of the boulevard .... Until now, Grisha knew Oin only a quadrangular world, where his bed stands in one corner, in the other - Nyankin Chest, in the third - a chair, and in the fourth - a lamp is burning. If you look under the bed, you will see a doll with a broken hand and drum, and there are a lot of different things behind a nanny chest: coils from threads, paper, a box without a lid and a broken soldering. In this world, except for nanny and gris, there are often mom and cat. Mom looks like a doll, and a cat on dad's fur coat, only the fur coat has no eyes and tail. From the world, which is called a nursery, the door leads to the space where tea dinner and drink. There is a Grishin chair in high legs and hang clocks that exist for only to wave a pendulum and call. From the dining room you can go into the room where the red chairs are. Here on the carpet darkens the stain for which Grisha is still threatened with their fingers. Behind this room there is another, where they are not allowed and where dad flashes - the person is highly mysterious! Nanny and Mom are understandable: they dress Grisha, feed and put it to sleep, but for which there is dad - unknown. "

Highly great importance For the image of a living person, it has the show that in different moments he thinks and he feels, -th of the writer "move to the soul" of his hero.

Character worldview is one of the characteristics of the character.

The image of the views and beliefs of the acting persons is one of the most important means of artistic characteristics in the literature, especially if the writer depicts ideological struggle in society.

There is a hidden analysis of the spiritual life of heroes, when their psyche is revealed directly, but how it is expressed in the actions, gestures, facial expressions of people.

F. Engels noted that "... personality is characterized not only by what she does, but also how she does." For the characteristics of the characters, the writer and enjoys the image of the characteristic features of its actions.

Highlight the hero's biography. It can be framed, for example, as a prehistory.

For the purposes of artistic characteristics, some authors set out the history of the life of actors or tell individual moments from this story.

Important not only what exactly artistic means Uses the author to create a character image, but also the order of their inclusion in the text. All the named artistic means allow the reader to draw conclusions about the attitude of the author to the hero.

Creatively working artists find many diverse techniques in order to show the appearance and inner world of man. They use all the most diverse tools for this, but each in their own way, depending on the individual manner of creativity, from the genre of works, from the dominant at the time of its activities literary direction and from many other conditions.

The image of the character develops from the external and internal characteristics.

The main external characteristics include:

· Portrait characteristic

· Description of the substitution

· Speech characteristic

· Self-characteristic

· Mutual characteristic

· Characterizing name

To the mainstream internal characteristics relate:

· Inner monologue Description of this character depicted in terms of this character.

· Character worldview

· Character imagination and memories

· Dream character

· Letters and personal diaries

This list does not exhaust all the abundance of funds that use writers for artistic characteristics.

Withdrawal to chapter 1

Thus, after considering scientific literature on the subject of the study, the following conclusions were made.

1. Artistic image - part of reality, recreated in the work with the help of copyright imaging, it is the final result of aesthetic activity.

2. Artistic image has its own specific features This is integrity, expressiveness, self-sufficiency, associativity, concreteness, clarity, metaphoricity, maximum capacity and multi-consciousness, typical value.

3. In the literature distinguishes the images and patterns, landscape images, things. At the level of origin, two large groups of artistic images are distinguished: author and traditional.

4. Character - the acting face of the artistic work with its inherent behavior, appearance, by world.

5. In the same meaning as the "character" in modern literature is often used by the phrase "acting person" and " literary hero" But the concept of "character" is neutral and does not contain an assessing function.

6. According to the degree of generalization artistic images divided into individual, characteristic, typical.

7. A special system is formed in artworks between characters. The system of characters is a strict hierarchical structure. The character system is a certain ratio of characters.

8. There are three types of characters: the main, secondary, episodic.

· According to the degree of participation in the plot and, accordingly, the volume of the text that this character is given to

· According to the degree of importance of this character to disclose the parties to artistic content.

10. The image of the character develops from the external and internal characteristics.

11. The main external characteristics include: portrait characteristic, Description of the subject situation, speech characteristic, description of the "hero behavior", author's characteristics, self-characteristics, mutual characteristics characterizing the name.

12. The main internal characteristics include: an internal monologue Description of the character being depicted from the point of view of this character, the worldview of the character, imagination and memories of the character, the dreams of a character, letters and personal diaries.

13. Highlight the biography of the hero. It can be framed, for example, as a prehistory.