Learning to be readers. About the character of a literary hero

At first glance, the image, the character, the literary type, and the lyrical hero are the same concepts, or at least very similar. Let's try to understand the twists and turns of the meanings of the concepts under study.

Image Is an artistic generalization of human properties, character traits in the individual appearance of the hero. The image is artistic category, which we can evaluate from the point of view of the author's skill: one cannot despise the image of Plyushkin, since he admires the skill of Gogol, one can not like the type of Plyushkin.

Concept "character" broader than the concept of "image". A character is any character in a work, therefore, it is wrong to replace the concept of "image" or "lyrical hero" with this concept. But we note that in relation to the minor persons of the work, we can use only this concept. Sometimes you can come across this definition: a character is a person who does not influence the event, not important in revealing the main problems and ideological conflicts.

Lyrical hero- the image of the hero in lyric work, experiences, thoughts, feelings of which reflect the author's perception of the world; it is an artistic "double" of the author, which has its own inner world, its own destiny. Is not autobiographical character, although it embodies the author's spiritual world. For example, the lyrical hero M.Yu. Lermontov is a "son of suffering", disappointed in reality, romantic, lonely, constantly looking for freedom.

Literary type Is a generalized image of human individuality, the most possible, characteristic, for a certain social environment in certain time... The literary type is the unity of the individual and the typical, and the “typical” is not synonymous with the “average”: the type always incorporates all the most striking features characteristic of a particular group of people. The apogee of the author's skill in developing a type is the transition of the type to the category of common nouns (Manilov is a common noun image of an idle dreamer, Nozdrev is a liar and a braggart, etc.).

We often come across one more concept - character... Character is a human individuality, formed from certain spiritual, moral, mental traits; it is a unity of emotional reaction, temperament, will and the type of behavior determined by the socio-historical situation and time. Each character has a dominant trait that gives a living unity to the whole variety of qualities and properties.

Thus, when characterizing a hero, it is very important not to forget about the differences discussed above.

I wish you success in characterizing your favorite literary heroes!

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The generalization that the character encompasses is usually called character (from the Greek character - a sign, a distinctive feature) or type (from the Greek. typos - imprint, imprint). By character we mean socially significant traits that manifest themselves with sufficient clarity in the behavior and mentality of people; highest degree specificity - type.

When creating a literary hero, the writer usually endows him with one or another character: one-sided or multilateral, whole or contradictory, static or developing, arousing respect or contempt, etc.

In the stories of A.P. Chekhov "" Death of an official "and" Thick and thin "Worms and" thin "as images are unique; the first we meet in the theater," at the top of bliss ", the second - at the station," loaded "with his luggage; the first is endowed with a surname and position, the second - name and rank; different plots of works, their denouements.But the stories are interchangeable when discussing the topic of honor in Chekhov, the characters of the heroes are so similar: both act stereotypically, not noticing the comic nature of their voluntary servility, which brings them only harm. Characters are reduced to a comic discrepancy between behavior characters and an ethical norm, unknown to them, as a result, the death of Chervyakov causes laughter: this is "the death of an official", a comic hero.

Concepts character and a type are close to each other and are often used synonymously. However, there is still a difference: the type is associated with the significance of artistic generalization, a high measure universal in character. Characters, especially in the work of one writer, are often the essence of variations, the development of one type. Writers return to the type they discovered, finding new facets in it, achieving the aesthetic perfection of the image.

The type, first of all, expresses the generic mass origin. In character, on the contrary, the emphasis is on individuality. The type expresses one quality or property, it is psychologically one-sided. The character is dialectical, contradictory, psychologically complex, multifaceted. The type is always static, devoid of mobility, does not change. The character is dynamic, capable of self-development. For example, Tatyana Larina and Anna Karenina, who do not behave at all according to the author's idea. The type exists outside of time. The character is seen against the background historical era, interacts with her.

Character

The literary character is considered to be the image of a person, which is outlined with completeness and individual certainty. It is through character that a certain type of behavior is revealed, often the one that is inherent in a certain historical time and social consciousness.

Also, through character, the author reveals his moral and aesthetic concept of human existence. Character is spoken of as organic unity the general and the individual, that is, both individual traits and those inherent in the public are expressed in the character. In a broader sense, a character is an artistically created personality, but one that reflects an actual human type.

To create a certain character in a literary work, there is a whole system of elements. These are external and internal gestures: speech and thoughts. The appearance, place and role of the hero in the development of the plot also forms a certain type of character. The character may also contain contradictions, which are already embodied in artistic conflicts. Contradictions can be part of a certain nature.

Speech and action as ways of creating character

Some of the main ways to create character in literary works are speech and act... The linguistic form of expression of the character of the hero is inherent in almost all literary works, it is thanks to this method that readers can fully understand the subtleties of the character of the literary hero and his inner world.

It is quite difficult to create a certain character without speech. For a genre like drama, speech characters performs one of the most important characterological functions.

Deed is one of the brightest forms of expression literary character... The actions of the hero, his decisions and choices tell us about his nature and the character that the author wanted to express in him. Actions sometimes have great importance than speech for the final understanding of the character of the literary hero.

When reading works of art, we first of all pay attention to its main actors... All of them have clear characteristics in the theory of literature. We will find out which ones from this article.

The word "image" in Russian literary criticism has several meanings.

First, all art is figurative, i.e. reality is recreated by the artist with the help of images. In the image, the general, the generic is revealed through the individual, is transformed. In this sense, we can say: the image of the Motherland, the image of nature, the image of a person, i.e. the image in the artistic form of the Motherland, nature, man.

Secondly, at the linguistic level of the work, the image is identical with the concept of "trope". In this case it comes about metaphor, comparison, hyperbole, etc. about figurative means of poetic language. If we imagine the figurative structure of the work, then the first figurative layer is the images-details. From them, a second figurative layer grows, consisting of actions, events, moods, i.e. all that is dynamically deployed in time. The third layer is the images of characters and circumstances, heroes who find themselves in conflicts. The images of the third layer add up holistic image fate and peace, i.e. the concept of being.

The image of the hero is an artistic generalization of human properties, character traits in the individual appearance of the hero. The hero can arouse admiration or repulse, perform deeds, act. The image is an artistic category. You cannot, for example, say: "I despise the image of Molchalin." One can despise the type of the silent, but his image as an artistic phenomenon evokes admiration for the skill of Griboyedov. Sometimes, instead of the concept of "image", the concept of "character" is used.

The concept of "character" is broader than the concept of "image". A character is any character in a work. You cannot say "lyrical character" instead of "lyric hero". A lyrical hero is an image of a hero in a lyric work, experiences, feelings, whose thoughts reflect the author's worldview. This is the artistic "double" of the author-poet, which has its own inner world, its own destiny. The lyrical hero is not an autobiographical image, although it reflects personal experiences, attitudes towards different sides of the "life of the author himself. The lyrical hero embodies the spiritual world of the author and his contemporaries. The lyric hero of Alexander Pushkin is a harmonious, spiritually rich person who believes in love and friendship. , optimistic in outlook on life. Another lyrical hero of M. Yu. Lermontov. This is the "son of suffering", disappointed in reality, lonely, romantically striving for freedom and freedom and tragically not finding them. Characters, like heroes, can be the main and minor, but when applied to episodic characters, only the term "character" is used.

Often, a character is understood as a minor person who does not influence events, and a literary hero is a multi-faceted character, an actor important for expressing the idea of ​​a work. One can come across the judgment that the hero is only that character who bears positive principles and is the spokesman for the author's ideal (Chatsky, Tatiana Larina, Bolkonsky, Katerina). The statement that negative satirical characters(Plyushkin, Judushka Golovlev, Kabanikha) are not heroes, it is not true. Two concepts are mixed here - the hero as a character and heroic as a way of human behavior.

The satirical hero of the work is the protagonist, the character against whom the edge of satire is directed. Naturally, such a hero is hardly capable of heroic deeds, i.e. is not a hero in the behavioral sense of the word. In the creative process of creating images of heroes, “some of them embody the most characteristic features for a given time and environment. This image is called a literary type.

The literary type is a generalized image of human individuality, the most possible, characteristic of a certain social environment at a certain time. Regularities are reflected in the literary type social development... It combines two sides: the individual (singular) and the general. Typical (and this is important to remember) does not mean average; type always concentrates in itself all the brightest, characteristic of whole group people - social, national, age, etc. In literature, the types of positive characters (Tatyana Larina, Chatsky), "superfluous people" (Eugene Onegin, Pechorin), Turgenev girls have been created. In aesthetically perfect works, each type is a character.

Character is a human individuality, formed from certain spiritual, moral, mental traits. This is the unity of emotional reaction, temperament, will and the type of behavior determined by the socio-historical situation and time (era). Character consists of diverse traits and qualities, but this is not an accidental combination of them. Each character has a main, dominant feature, which gives a living unity to the whole variety of qualities and properties. The character in a work can be static, already formed and manifested in actions. But most often the character is served in change, in development, evolution. A pattern is manifested in the development of character. The logic of character development sometimes contradicts the author's intention (even A. Pushkin complained to Pushchin that Tatiana got married without his "knowledge"). Obeying this logic, the author is not always able to turn the hero's fate the way he wants.

Character(from Lat. persona - person, face, mask) - a type of artistic image, a subject of action, experience, expression in a work. In the same sense in modern literary criticism, the phrases literary hero, character are used (mainly in a drama, where the list of characters traditionally follows the title of the play). In this synonymous series, the word character is the most neutral, its etymology (persona is the mask worn by the actor in antique theater) is imperceptible. A hero (from gr. Heros-demigod, deified person) in some contexts is embarrassing to call someone who is devoid of heroic features (“It is impossible for the hero to be shallow and insignificant” 1, Boileau wrote about the tragedy), and an inactive person is an actor (Podkolesin or Oblomov).

The concept of a character (hero, character) is the most important in the analysis of epic and dramatic works, where exactly the characters that form a certain system, and the plot (system of events) form the basis of the objective world. V epic the narrator (narrator) can also be a hero if he participates in the plot (Grinev in “ Captain's daughter»AS. Pushkin, Makar Devushkin and Varenka Dobroselova in the epistolary novel by F.M. Dostoevsky "Poor People"). V lyrics the same, which recreates primarily the inner world of a person, the characters (if any) are depicted in dotted lines, fragmentarily, and most importantly - in an inextricable connection with the experiences of the lyric.The illusion of the characters' own lives in the lyrics (in comparison with the epic and drama) is sharply weakening.

The character that receives the most acute and vivid emotional coloring is called a hero. Hero- the person who is followed with the greatest stress and attention by the reader. The hero evokes compassion, sympathy, joy and grief in the reader. The emotional attitude towards the hero is a fact of the artistic construction of the work, and only in primitive forms does it necessarily coincide with the traditional code of morality and community. This point was often missed by publicists-critics of the 60s of the XIX century, who regarded the heroes from the point of view of the social usefulness of their character and ideology, taking the hero out of a work of art, in which an emotional attitude towards the hero was predetermined. Thus, the Russian entrepreneur Vasilkov ("Mad Money"), deduced by Ostrovsky as a positive type, opposed to the decaying nobility, was regarded by our critics from the populist intelligentsia as a negative type of the emerging capitalist exploiter, for this type in life was antipathetic to them.

The hero is not at all a necessary part of the plot. The plot as a system of motives can do without the hero and his characteristics altogether. The hero appears as a result of the plotting of the material and is, on the one hand, a means of stringing motives, on the other, as it were, an embodied and personified motivation of the connection of motives.

Most often, a literary character is Human... The degree of concreteness of his presentation can be different and depends on many reasons: from the place in the system of characters (cf. in Pushkin's "Station superintendent" of the protagonist, Samson Vyrin, and the "crooked boy", as if replacing his St. Petersburg grandchildren and introduced into the story for completeness of the story about Vyrin). Along with people in the work, they can act and talk animals, plants, things, natural elements, fantastic creatures, robots, etc. ("Blue Bird" by M. Maeterlinck, "Mowgli" by R. Kipling, "Amphibian Man" by A. Belyaev.). The character sphere of literature is made up not only of isolated individuals, but also collective heroes (their prototype is the chorus in the ancient drama.

The number of characters and characters in a work (as well as in the writer's work as a whole) usually does not coincide: there are much more characters. There are persons who do not have a character, performing only a plot role (for example, in "Poor Liza" by NM Karamzin - the heroine's friend, who informed the mother about the death of her daughter). There is doubles, variants of one type (six princesses Tugoukhovsky in "Woe from Wit" by AS Griboyedov, Dobninsky and Bobchinsky in "The Inspector General" by NV Gogol).

The usual method of grouping and stringing motives is to bring out characters, living carriers of certain motives. By characteristic, we mean a system of motives inextricably linked with a given character. In a narrow sense, the characteristic is understood as the motives that determine the psychology of the character, his "character".

Types of characteristics:

Assigning a name to the hero, without any other characteristic ("an abstract hero"), in order to fix the actions necessary for the fabular development behind him.

Direct, i.e. his character is reported directly either from the author, or in the speeches of other characters, or in the self-characterization ("confessions") of the hero.

Indirect characteristic: character emerges from the actions and behavior of the hero. Sometimes these actions at the beginning of the story are given not in a plot connection, but solely for the purpose of characterization, and therefore these actions not related to the plot are, as it were, part of the exposition. So, in the story of K. Fedin "Anna Timofevna" in the first chapter, the anecdote about Yakovlev and the nun is given to characterize the character.

A special case of an indirect or suggestive characteristic is the reception of masks, i.e. development of specific motives in harmony with the psychology of the character. So, the description of the hero's appearance, his clothes, the furnishings of his home (for example, Plyushkin at Gogol's) - all these are the techniques of masks.

In the methods of characterizing the characters, two main cases should be distinguished: the character is unchanged, which remains the same in the story throughout the story, and the character changes, when, as the plot develops, we follow the change in the character of the character itself.

Positive and negative"Types" are a necessary element of plot construction. The attraction of the reader's sympathy to the side of some and the repulsive characteristic of others cause the reader's emotional participation (“experience”) in the events described, his personal interest in the fate of the heroes.

The images are particularly cost-effective. off-stage heroes(for example, in Chekhov's play "Three Sisters" - Protopopov, who has a "romance" with Natasha; in the story "Chameleon" - the general and his brother, lovers of dogs of different breeds).

There is another way of studying the character, exclusively as a participant in the plot, an actor (but not as a character). With regard to archaic genres of folklore (in particular, to Russian fairy tale considered by V.Ya. Propp in the book "The Morphology of a Tale", 1928), to the early stages of the development of literature, this approach is to one degree or another motivated by material: there are no characters as such, or they are less important than action.

Character system- this is a certain ratio of characters. At least two subjects are required to form a character system; their equivalent can be a “bifurcation” of the character (for example, in a miniature by D. Kharms from the series “Cases” - Semyon Semenovich with glasses and without glasses). In the early stages of narrative art, the number of characters and the connections between them were determined primarily by the logic of the development of the plot. “The single hero of a primitive fairy tale once demanded his antithesis, a warring hero; even later, the thought of the heroine as an excuse for this struggle appeared - and the number three for a long time became sacred number narrative composition ". Around the main characters, minor ones are grouped, participating in the struggle on one side or the other ( essential property structures - hierarchy): Aeschylus was the first to introduce two instead of one; he also reduced the parts of the choir and put dialogue in the first place, while Sophocles introduced three actors and sets. " This established the custom of performing the play by three actors (each could play several roles), which was also observed by the Romans.

To understand the main problematic hero (heroes), secondary characters can play a large role, shading various properties of his character; as a result, a whole system of parallels and oppositions, dissimilarities in similarities and similarities in dissimilarities arises. In the novel by I.A. Goncharov's "Oblomov" the type of the protagonist is explained by his antipode, the "German" Stolz, and Zakhar (who is a psychological parallel to his master).

Introduction of free motives (deviations from the main plot), combination in the work of non-intersecting or weakly connected with each other plot lines, the very detailing of the action, its inhibition by descriptive, static episodes (portrait, landscape, interior, genre scenes etc.) - these and other complications in the composition of epic and dramatic works open up various ways for the writer to embody the creative concept, including the possibility of revealing character not only in connection with his participation in the plot. ("Oblomov's Dream")

Ariadne's thread that allows us to see the system of characters behind the characters is, first of all, the creative concept, the idea of ​​the work; it is she who creates the unity of the most complex compositions. V.G. Belinsky in the analysis of "A Hero of Our Time" M.Yu. Lermontov saw a connection between the five parts of this novel-cycle, with their different heroes and plots, in "one thought" - in the psychological riddle of Pechorin's character. All the other faces, “each so interesting in itself, so fully educated, stand around one face, form a group with him, whose focus is this one face, together with you they look at him, some with love, some with hatred ... "

The eccentricity of the technique is not inferior to the out-of-stage representation of the bifurcation of the character, which signifies different beginnings in man ("The Good Man from Sesuan" by B. Brecht, "The Shadow" by E. Schwartz, which develops the motive coming from A. Chamisso), as well as its transformation (into an animal, insect: "Metamorphosis" by F. Kafka, " dog's heart"M. A. Bulgakov, "The Bedbug" by V. Mayakovsky). The complex, twofold plot here reveals essentially one character.

Talk about proper lyrical hero it is possible only when the image of the personality that arises in poetry and has stable features is "not only the subject, but also the object of the work." The same point is emphasized by Corman, drawing the line between “the author proper” and the lyrical hero: if the first is not an object for himself, then the second “is both a subject and an object in a straightforward evaluative point of view. Actually, the author has a grammatically expressed face and is present in the text as "I" or "we", to whom the speech belongs. But at the same time he “is not an object for himself<...>In the foreground, not he himself, but some event, circumstance, situation, phenomenon "

You also need to distinguish the lyric hero from the hero of role-playing lyrics (see, for example, N. Nekrasov's poems "Kalistrat" ​​or "Green Noise"): the subject to whom the statement belongs here openly acts as a "other", a hero, close, as considered to be dramatic. In "Kalistrat" ​​he is a peasant ("Mother sang above me, / My cradle is shaking: /" You will be happy, Kalist-town hall, / You will live happily ever after. "

The essential difference between the lyrical hero and the previously considered forms is that he is not only a subject-in-himself, but also a subject-for-himself, that is, he becomes his own own theme, and therefore more distinctly than the lyrical "I" is separated from the primary author, but at the same time it seems as close as possible to the biographical author.

Similar information.

Topic 19. The problem of a literary hero. Character, character, type

I. Dictionaries

Hero and character (story function) 1) Sierotwiński S. Słownik terminów literackich. " Hero. One of the central characters in a literary work, active in incidents that are essential for the development of action, focusing attention on himself. Main hero... A literary character most involved in the action, whose fate is in the center of the plot ”(p. 47). “Character is literary. The bearer of a constructive role in a work, autonomous and personified in the representation of the imagination (it can be a person, but also an animal, plant, landscape, utensil, a fantastic creature, a concept), involved in an action (hero) or only occasionally indicated (for example, a person, important for the characteristics of the environment). Taking into account the role of literary characters in the integrity of the work, they can be divided into main (first plan), secondary (second plan) and episodic, and from the point of view of their participation in the development of the plot - into incoming (active) and passive ”(p. 200). 2) Wilpert G. von. Character (lat.figura - image)<...>4. any acting in poetry, esp. in epic and drama, a fictitious personality, also called a character; however, one should prefer the area of ​​"literary P." in contrast to natural personalities and from often only contoured characters ”(p. 298). " Hero, initial the embodiment of the heroic. deeds and virtues, which, thanks to exemplary behavior, arouses admiration, so in heroic poetry, epic, song and sage, many times stemming from the ancient cult of heroes and ancestors. It is assumed by virtue of terms of rank ändeklausel> high social origin. With bourgeoisization lit. in the 18th Art. the representative of the social and the characteristic turns into a genre role, therefore today in general the area for the main characters and roles of drama or epic poetry is the center of action without regard to social background, gender or person. properties; therefore, also for non-heroic, passive, problematic, negative G. or - antihero, which in modern lit. (with the exception of trivial literary and socialist realism), as a suffering person or a victim, he replaced the shining G. of the early time. - positive G., - protagonist, - negative G., - Antihero "(S. 365 - 366). 3) Dictionary of World Literary Terms / By J. Shipley. " Hero... The central figure or protagonist in a literary work; a character the reader or listeners sympathize with ”(p. 144). 4) The Longman Dictionary of Poetic Terms / By J. Myers, M. Simms. " Hero(from the Greek for "protector") - originally a man - or a woman, a heroine - whose supernatural abilities and character raise him - or her - to the level of a god, demigod, or warrior king. The most common modern understanding of the term also assumes a high moral character of a person whose courage, feats and nobility of goals make him or her admire exclusively. The term is also often misused as a synonym for the main character in literature ”(p. 133). " Protagonist(from the Greek for "first presenter") in classical Greek drama, the actor who plays the first role. The term began to denote the main or central character in a literary work, but one who may not be a hero. The protagonist confronts with whom he is in conflict, with antagonist”(P. 247). " Minor hero(deuteragonist) (from Greek "minor character") - a character of secondary importance in relation to the main character (protagonist) in the classic Greek drama... Often a minor character is antagonist”(P. 78). 5) Cuddon J.A. The Pinguin Dictionary of Literary Terms and Literary Theory. " Antihero. The “non-hero,” or the antithesis to the old-fashioned hero, who was capable of heroic deeds, was dashing, strong, brave and resourceful. It is a little doubtful whether such a hero ever existed in any quantity in fiction, with the exception of some novels of mass (cheap) literature and the romantic novella. However, there are many literary heroes who display noble qualities and signs of virtue. An antihero is a person who is endowed with a tendency to fail. The antihero is incompetent, unlucky, tactless, clumsy, stupid and ridiculous ”(p. 46). " Hero and heroine. Chief male and female characters in a literary work. Critically, these terms have no connotations of virtue or honor. Negative characters can also be central ”(p. 406). 6) A. Character // Dictionary of literary terms. P. 267. " P... (French personnage, from Lat. persona - person, person) - the protagonist of a drama, novel, story and other works of art. The term "P." more often used in relation to minor characters ”. 7) KLE. a) Baryshnikov E.P. Literary hero. T. 4. Stlb. 315-318. “L. G. - the image of a person in the literature. Unambiguously with L., the concepts of "character" and "character" are often used. Sometimes they are delimited: L. g. Refers to the characters (characters), drawn more multifaceted and more significant for the idea of ​​the work. Sometimes the concept "L. G." refer only to actors close to the author's ideal human (so-called " positive hero") Or embodying heroic. beginning (see. Heroic in literature). It should be noted, however, that in lit. criticized these concepts, along with the concepts character, type and the image are interchangeable. " “With t. Sp. figurative structure of L. g. unites character as the internal content of the character and his behavior, actions (as something external). The character allows us to consider the actions of the person being portrayed as natural, going back to some vital reason; he is content and law ( motivation) behavior of L. g. " "Detective, adventure novel<...>- an extreme case, when L. g. becomes a protagonist for the most part, an unfilled shell, edges merging with the plot, turning into its function ”. b) E.B. Magazannik Character // T. 5. Stlb. 697-698. " P... (French personage from Latin persona - person, person) - in the usual sense the same as literary hero... In literary terms, the term "P." used in a narrower, but not always the same sense.<...>Most often, P. is understood as a character. But here, too, two interpretations differ: 1) the person represented and characterized in action, and not in descriptions; then the concept of P. most of all corresponds to the heroes of the drama, the role-images.<...>2) Any actor, subject of action in general<...>In this interpretation, the actor is opposed only to the "pure" subject of the experience, acting in the lyrics<...>that's why the term "P."<...>not applicable to the so-called "Lyric hero": you cannot say "lyrical character". P. is sometimes understood only as a minor person.<...>In this understanding, the term "P." correlates with the narrowed meaning of the term "hero" - the center. face or one of the center. persons of the work. On this basis, the expression "episodic P." (not an episodic hero!) ”. 8) LES. a) Maslovsky V.I. Literary hero. S. 195. “L. G., artist image, one of the designations of the integral existence of a person in the art of the word. The term "L. G." has a double meaning. 1) He emphasizes dominance. the position of the character in the work (as the main hero versus character), indicating that this person carries the main. problem-thematic. load.<...>In some cases, the concept "L. G." used to designate any character in the work. 2) Under the term "L. G." is understood holistic the image of a person - in the aggregate of his appearance, way of thinking, behavior and mental world; the closely related term "character" (see. Character), if you take it in a narrow, and not in an extension. value, denotes int. psychol. personality profile, her natural properties, nature ”. b) [ B. a.] Character. S. 276. " P. <...>usually the same as literary hero... In literary terms, the term "P." is used in a narrower, but not always the same sense, which is often revealed only in the context ”. 9) Ilyin I.P. Character // Modern foreign literary criticism: encyclopedic Dictionary... S. 98-99. " P. - fr. personnage, eng. character, it. person, figur - according to ideas narratology, a complex, multi-component phenomenon at the intersection different aspects of the communicative whole, which is the artist. work. As a rule, P. has two functions: action and storytelling. Thus, he fulfills either the role actor, or the narrator- narrator”. Character and type ("content" of the character) 1) Sierotwiński S. Słownik terminów literackich. Wroclaw, 1966. " Character... 1. A literary character, highly individualized, as opposed to type<...>”(S. 51). " A type... A literary character presented in a significant generalization, in the most outstanding features ”(S. 290). 2) Wilpert G. von. Sachwörterbuch der Literatur. " Character(Greek - imprint), in literary criticism, in general, any character acting in drama. or a narrative work that copies reality or fictional, but stands out due to individual characteristics his personal originality against the background of a naked, indistinct type”(S. 143). 3) Dictionary of World Literary Terms / By J. Shipley. " A type... A person (in a novel or drama) who is not a complete single image, but demonstrates specific traits a certain class of people ”(p. 346). 4) The Longman Dictionary of Poetic Terms / By J. Myers, M. Simms. " Character(from Greek "to make different") - a person in a literary work, whose distinctive features are easily recognizable (albeit sometimes quite complex) moral, intellectual and ethical qualities ”(p. 44). 5) Blagoy D. Type // Dictionary literary terms: B 2 t. T. 2. Stlb. 951-958. "... in the broad sense of this word, all images and faces of any work of art inevitably have a typical character, are literary types." “... under the concept literary type in its own meaning, not all characters of poetic works are suitable, but only images of heroes and persons with realized artistry, that is, possessing tremendous generalizing power ... "" ... in addition to typical images, we find images-symbols and images in literary works -portraits ”. "While the portraits carry an excess of individual features to the detriment of their typical meaning, in symbolic images the breadth of this latter completely dissolves their individual forms." 6) Dictionary of literary terms. a) Abramovich G. Literary type. S. 413-414. "T. l.(from the Greek. typos - image, imprint, sample) - an artistic image of a certain individual, in which the features characteristic of a particular group, class, people, humanity are embodied. Both sides that make up an organic unity - the living individuality and the general significance of literary T. - are equally important ... ”b) Vladimirova N. Literary character. S. 443-444. "X. l.(from the Greek charakter - trait, feature) - the image of a person in verbal art, which determines the originality of the content and form of a work of art ”. " Special kind H. l. is narrator image(cm.)". 7) KLE. a) Baryshnikov E.P. Type // T. 7. Stlb. 507-508. " T... (from the Greek tupoV - sample, imprint) - the image of human individuality, the most possible, typical for a particular society. " “The category of T. took shape in the Roman“ epic of private life ”precisely as a response to the need of the artist. cognition and classification of varieties common man and his relationship to life ”. “... class, professional, local circumstances seemed to“ complete ”the personality of lit. character<...>and this “completeness” of theirs called into question his vitality, that is, the ability to unlimited growth and improvement ”. b) Tyupa V.I. Literary character // T. 8. Stlb. 215-219. " X... l. - the image of a person, delineated with a certain completeness and individual certainty, through which they are revealed as conditioned by a given socio-historian. situation, the type of behavior (actions, thoughts, experiences, speech activity), and the inherent moral and aesthetic of the author. human concept. existence. Lit. H. is an artist. integrity, organic unity general, repetitive and individual, unique; objective(some - socially - psychological . realityhuman . life , which served as a prototype for lit. H.) and subjective(comprehension and assessment of the prototype by the author). As a result, lit. H. appears “ new reality", Artistically" created "personality, edges, displaying a real human. type, ideologically clarifies it ”. eight) [ B. a.]. Type // Les. S. 440: “ T. <...>in literature and art - a generalized image of human individuality, the most possible, characteristic of a particular society. Wednesday ”.

II. Textbooks, tutorials

1) Farino J. Introduction to Literary Studies. Part 1. (4. Literary characters. 4.0. General characteristics). "... by the concept of" character "we mean any person (with anthropomorphic creatures inclusive) who receives in a work the status of an object of description (in a literary text), an image (in painting), demonstration (in a drama, play, film)" ... “Not all anthropomorphic creatures or persons found in the text of a work are present in it in the same way. Some of them have the status of objects of the world of the given work there. These are, so to speak, “characters-objects”. Others of them are given only as images, but the works themselves do not appear in the world. These are "image characters". Others are just mentioned, but not displayed in the text either as present objects, or even as images. These are “missing characters”. They should be distinguished from references to persons who, according to the convention of the given world, cannot appear in it at all. “Absent” are not excluded by the convention, but on the contrary, are allowed. Therefore, their absence is noticeable and by this very - meaningfully”(P. 103).

III. Special studies

Character and type 1) Hegel G.V. F. Aesthetics: In 4 volumes. T. I. “We proceeded from general substantial forces of action. For their active implementation, they need human individuality in which they act as a driving force pathos... The general content of these forces should close in itself and appear in individual individuals as integrity and singularity... Such integrity is a person in his concrete spirituality and subjectivity, an integral human individuality as a character. Gods become human pathos, and pathos in concrete activity is human character ”(p. 244). “Only this versatility gives the character a lively interest. At the same time, this completeness should act as a merged into a single subject, and not be scattered, superficial and simply diverse excitability.<...>For the depiction of such a solid character, epic poetry is most suitable, less dramatic and lyrical ”(pp. 246-247). “Such versatility within a single dominant certainty may seem inconsistent when viewed through the eyes of reason<...>But for the one who comprehends the rationality of an integral within himself and therefore a living character, this inconsistency is precisely what constitutes consistency and coherence. For man is distinguished by the fact that he not only carries within himself the contradiction of diversity, but also endures this contradiction and remains in him equal and true to himself ”(p. 248-249). “If a person does not have such a single center, then the various aspects of his diverse inner life disintegrate and appear devoid of any meaning.<...>On this side, firmness and determination are an important point. perfect image character ”(p. 249). 2) Bakhtin M.M. Author and hero in aesthetic activities // Bakhtin M.M. Aesthetics of verbal creativity. " The character we call this form of interaction between the hero and the author, which carries out the task of creating the whole of the hero as a certain personality<...>the hero is given as a whole from the very beginning<...>everything is perceived as a moment of characterizing the hero, carries a characterological function, everything is reduced and serves the answer to the question: who is he. ”(p. 151)“ Character building can go in two main directions. We will call the first classic character construction, the second romantic. For the first type of character building, the basis is artistic value fate... "(p. 152). “Unlike the classic, the romantic character is self-directed and value-driven.<...>The presupposing genus and tradition value of fate for artistic completion is unsuitable here.<..>Here the personality of the hero is revealed not as fate, but as an idea or, more precisely, as the embodiment of an idea ”(p. 156-157). “If character is established in relation to the latest values ​​of the worldview<...>expresses the cognitive and ethical attitude of a person in the world<...>, then the type is far from the boundaries of the world and expresses a person's attitude towards values ​​already concretized and limited by the era and the environment, towards benefits, that is, to the meaning that has already become being (in an act of character, meaning for the first time becomes being). Character in the past, type in the present; the environment of the character is somewhat symbolic, objective world around the type of inventory. A type - passive the position of the collective personality ”(p. 159). “The type is not only sharply intertwined with the world around it (the objective environment), but is depicted as conditioned by it in all its moments, the type is a necessary moment of some environment (not the whole, but only a part of the whole).<...>The type presupposes the superiority of the author over the hero and the complete valuelessness of his world of the hero; hence the author is quite critical. The hero's independence in type is significantly reduced ... ”(p. 160). 3) Mikhailov A.V. From the history of character // Man and culture: Individuality in the history of culture. “... charactër gradually reveals its orientation“ inward ”and, as soon as this word comes in conjunction with the“ inner ”person, it builds this inner from the outside - from the external and superficial. On the contrary, the new European character is built from the inside out: “character” refers to the foundation or foundation laid down in human nature, the core, as it were, a generative scheme of all human manifestations, and the discrepancies can only relate to whether “character” is the deepest in a person, or in his inner being has an even deeper beginning ”(p. 54). Hero and aesthetic appreciation 1) Fry N. Anatomy of criticism. First essay / Per. A.S. Kozlov and V.T. Oleinik // Foreign aesthetics and theory literature XIX-XX centuries: Treatises, articles, essays / Comp., total. ed. G.K. Kosikova. "Plot literary work- it is always a story about how someone does something. “Someone”, if it’s a person, is a hero, and “something” that he succeeds or fails to accomplish is determined by what he can or could do, depending on the author's intention and the resulting audience expectations.<...>1. If the hero is superior to people and their environment in quality, then he is a deity and the story about him is myth in the usual sense of the word, that is, the story of God<...>2. If the hero is superior to people and his environment in degree, that is - typical hero legends. His actions are wonderful, but he himself is portrayed as a man. The hero of these legends is transferred to a world where the operation of the ordinary laws of nature is partially suspended.<...>Here we move away from myth in the proper sense of the word and enter the realm of legend, fairy tale, Märchen and their literary derivatives. 3. If the hero is superior to other people in degree, but depends on the conditions of earthly existence, then this is a leader. He is endowed with power, passion and the power of expression, but his actions are still subject to public criticism and obey the laws of nature. This is a hero high mimetic mode, first of all - the hero of the epic and tragedy<...>4. If the hero does not surpass either other people or his own environment, then he is one of us: we treat him like to an ordinary person, and demand from the poet to observe those laws of plausibility that correspond to our own experience. And this is a hero low mimetic mode, first of all - comedies and realistic literature. <...>At this level, the author often finds it difficult to preserve the concept of "hero", which is used in the above modes in its strict meaning.<...>5. If the hero is lower than us in strength and intelligence, so that we have the feeling that we are watching from above the spectacle of his lack of freedom, defeats and the absurdity of existence, then the hero belongs ironic modus. This is also true in the case when the reader understands that he himself is or could be in the same position, which, however, he is able to judge from a more independent point of view ”(pp. 232-233). 2) Tyupa V.I. Artistic modes (synopsis of a cycle of lectures) // Discourse. Novosibirsk. 1998. No. 5/6. S. 163-173. “The way of such deployment (artistic integrity. - N. T.) - for example, heroization, satirization, dramatization - and acts as a mode of artistry, an aesthetic analogue of the existential mode of personal existence (the way the “I” is present in the world) ”(p. 163). "Heroic<...>is a kind of aesthetic principle of generating meaning, consisting in combining the internal givenness of being ("I") and its external givenness ( role-playing the border that connects and delimits the personality with the world order). Basically, the heroic character “is not separated from his fate, they are one, fate expresses the impersonal side of the individual, and his actions only reveal the content of fate” (A.Ya. Gurevich) ”(p. 164). " Satire is an aesthetic assimilation of the incompleteness of the personal presence of the “I” in the world order, that is, such a discrepancy between the personality and his role, in which the inner given individual life turns out to be narrower than the external task and is unable to fill one or another role boundary ”(p. 165). " Tragedy- the transformation of heroic artistry, diametrically opposite to satire<...>A tragic situation is a situation of excessive “freedom of the“ I ”within oneself” (Hegel's definition of personality) regarding one's role in the world order (fate): an excessively “wide person”<...>The tragic guilt, contrasting with the satirical guilt of imposture, consists not in the act itself, subjectively justified, but in its personality, in an unquenchable thirst to remain oneself ”(p. 167). “Considered modes of artistry<...>united in their pathetic and serious attitude to the world order. A fundamentally different aesthetic nature non-pathetic comic, whose penetration into high literature (from the era of sentimentalism) brought "a new mode of relationship between man and man" (Bakhtin), formed on the basis of carnival laughter. " “Laughing attitude to the world brings a person subjective freedom from the bonds of objectivity<...>and, bringing a living individuality out of the world order, establishes "free familiar contact between all people" (Bakhtin)<...>”. “The comic gap between the inside and outside of the self-in-the-world, between the face and the mask<...>can lead to the discovery of true personality<...>In such cases, they usually talk about humor making eccentricity (personal uniqueness of self-manifestations) a meaning-generating model of the presence of "I" in the world.<...>However, comic effects can also be detected by the absence of a face under the mask, where the "organ", "stuffed brains"<...>This kind of comic is appropriate to call sarcasm <...>Here the masquerade of life turns out to be a lie not of an imaginary role in the world order, but of an imaginary personality ”(p. 168-169). Hero and text 1) Ginzburg L. About a literary hero. (Chapter three. The structure of the literary hero). “A literary character is, in essence, a series of successive appearances of one person within a given text. Throughout one text, the hero can be found in the most different forms <...>The mechanism for the gradual build-up of these manifestations is especially evident in large novels with a large number of characters. The character disappears, gives way to others, in order to reappear in a few pages and add one more link to the growing unity. Repetitive, more or less stable features form the character's properties. It appears as one-quality or multi-quality, with qualities unidirectional or multidirectional ”(p. 89). “The behavior of the hero and his characterological characteristics are interconnected. Behavior is a reversal of its inherent properties, and properties are stereotypes of behavior processes. Moreover, the character's behavior is not only actions, actions, but also any participation in the plot movement, involvement in ongoing events and even any change in mental states. The author or the narrator informs about the properties of the character, they arise from his self-characterization or from the judgments of other characters. At the same time, the reader himself is left to define these properties - an act similar to everyday stereotyping of the behavior of our acquaintances, carried out by us every minute. An act that is similar and at the same time different, because the literary hero is given to us by someone else's creative will - as a problem with a predicted solution ”(pp. 89-90). “The unity of a literary hero is not a sum, but a system, with its dominants organizing it.<...>It is impossible, for example, to understand and perceive in its structural unity the behavior of Zola's heroes without a mechanism of biological continuity or Dostoevsky's heroes without the premise of the necessity personal decision the moral and philosophical question of life ”(p. 90). 2) Bart R. S / Z / Per. G.K. Kosikov and V.P. Murat. “At the moment when identical semes, having penetrated the proper name several times in a row, are finally assigned to it, - at this moment a character is born. The character, therefore, is nothing more than a product of combinatorics; in this case, the resulting combination differs both in relative stability (because it is formed by repeating semes) and in relative complexity (because these semes are partly consistent, and partly contradicting each other). This complexity just leads to the emergence of the "personality" of the character, which has the same combinatorial nature as the taste of a dish or a bouquet of wine. A proper name is a kind of field in which the magnetization of this takes place; virtually such a name is correlated with a certain body, thereby involving this configuration of semes in the evolutionary (biographical) movement of time ”(p. 82). “If we proceed from a realistic view of character, believing that Sarrazin (the hero of Balzac's novel. - N.T.) lives outside the paper sheet, then we should start looking for the motives of this suspension (the inspiration of the hero, unconscious rejection of the truth, etc.). If we proceed from a realistic view of discourse Considering the plot as a mechanism, the spring of which must fully unfold, we must admit that the iron law of narration, which presupposes its non-stop unfolding, requires that the word "castrat" ​​not be uttered. Although both of these views are based on different and in principle independent (even opposing) laws of likelihood, they still reinforce each other; as a result, a common phrase arises in which fragments of two different languages ​​are unexpectedly combined: Sarrazin is intoxicated, because the movement of discourse should not be interrupted, and discourse, in turn, gets the possibility of further development because intoxicated Sarrazin hears nothing, but only speaks himself ... Two chains of regularities turn out to be "insoluble". Good-quality narrative writing just represents such embodied undecidability ”(pp. 198-199).

QUESTIONS

1. Consider and Compare different definitions the concepts of "character" and "hero" in the reference and educational literature... What are the criteria by which a hero is usually distinguished from other protagonists (characters) of a work? Why are “character” and “type” usually opposed to each other? 2. Compare the definitions of character in the reference literature and Hegel's Lectures on Aesthetics. Point out the similarities and differences. 3. How does Bakhtin's interpretation of character differ from Hegel's? Which of them is closer to the definition of the concept given by A.V. Mikhailov? 4. How does Bakhtin's interpretation of the type differ from that which we find in reference literature? 5. Compare the solutions to the problem of classifying the aesthetic “modes” of the hero by N. Fry and V.I. Tyups. 6. Compare judgments about nature literary character, expressed by L.Ya. Ginsburg and Roland Bart. Point out the similarities and differences.