Literary character, hero. Literary hero and character. Images and characters

- (Greek imprint, model). The problem of T. and typification is not a specific problem of literary criticism. It takes place in the sciences of different fields of knowledge. The question of T. and typification in the literature is characterized by its own characteristics, which ... ... Literary encyclopedia

Type- TYPE (Τυπος blow, sign of blow, seal, image, in Aristotle general idea). We consider an object or phenomenon that contains features that are repeated in a large number of other similar phenomena or objects to be typical. Elementary... ... Dictionary of literary terms

type- a, m. type typos imprint, form, sample. 1. outdated Letter, letter, font. The printed sheets were hitherto called their Fryazhsky work. Where did this grydar and its type get its start in Russia, we don’t know for sure... ... Historical Dictionary of Gallicisms of the Russian Language

Literary House- This article is about the house of I. F. Lopatin at 68 Nevsky Prospekt. About the house of I. F. Lopatin at 100 Nevsky Prospect. See Nevsky, 100. This article is about the Dekhterev house on Nevsky Prospect. About Dekhterev’s house by... ... Wikipedia

Literary language- – the basic, supra-dialectal form of the existence of a language, characterized by a greater or lesser degree of processing, normalization, polyfunctionality, stylistic differentiation, and a tendency towards regulation. In its social and... Encyclopedic Dictionary of Media

LITERARY LIFE- LITERARY LIFE, special forms of life, human relations and behavior generated by literary process and constituting one of its historical contexts; the term was introduced by B. M. Eikhenbaum and Yu. N. Tynyanov (in 1927 1929). L.b., no... ...

literary character- (Greek character trait, feature) artistic embodiment a set of stable mental characteristics that form a personality literary character; in the literary character is imprinted as conditioned by the social historical... ... Terminological dictionary-thesaurus in literary studies

Literary language - Literary language the basic, supra-dialectal form of existence of a language, characterized by more or less processing, polyfunctionality, stylistic differentiation and a tendency towards regulation. In its cultural and social... Linguistic encyclopedic dictionary

LITERARY PROCESS- LITERARY PROCESS, historical existence, functioning and evolution of literature both in a certain era and throughout the history of a nation, country, region, world. L. p. In each historical moment includes both verbally... Literary encyclopedic dictionary

Literary language- – the main form of existence of the national language, accepted by its speakers as exemplary; a historically established system of commonly used linguistic means that have undergone long-term cultural processing in the works of authoritative masters... ... Stylistic encyclopedic dictionary of the Russian language

Books

• Russian archive. Historical and literary collection. 1901, . This book will be produced in accordance with your order using Print-on-Demand technology. Original title: Russian i th archive. Historical and literary collection. 1901. Issues 5-8 “Russian... Buy for 1770 rubles
• Russian archive. Historical and literary collection. 1863, . This book will be produced in accordance with your order using Print-on-Demand technology. “Russian Archive” is a monthly historical and literary magazine published in Moscow from 1863 to 1917.…

Initially heroes in folklore and literary works characterized by one main feature, one quality. In fairy tales, Baba Yaga was always evil, good fellow- brave. Koschey the Immortal is greedy, a beautiful maiden is wise and faithful. Epic hero Ilya Muromets was powerful and unshakable. Sadko is broad-minded and generous. U fairy-tale heroes There were no individual characters or personal experiences yet.

IN ancient epic a type of epic hero, endowed with an integral character, developed. For example, the hero Achilles in Homer’s poem “The Iliad” is a fearless warrior, this is his main characteristic, which determines all his actions. The character of Hector, the defender of Troy, is determined by his humanity, which is why he wavered in the battle with Achilles and was afraid of him. Epic characters are also found in the literature of later times: let us remember the hero N.V. Gogol - Taras Bulba.

In works ancient Russian literature the characters' characters were not described in detail, although they were also integral and consistent. So, in the story about Peter and Fevronia, it was important for the author to show the courage of Peter and the wisdom of Fevronia; Epiphanius the Wise - piety and feat St. Sergius Radonezh. Hagiographic literature was intended to instruct people, to provide examples of righteous behavior, describing the lives of saints.

In the literature of the Renaissance, heroes of a new type appear. They are no longer determined by any one trait or quality, but by their fate and position in the world. So, Hamlet in tragedy of the same name V. Shakespeare is a type tragic hero - a person who finds himself in hopeless situation. The hero of M. de Cervantes Don Quixote, due to his madness and absurd behavior, is considered comic hero, although gradually as we read the novel we begin to recognize the seriousness and even tragedy of the image behind this comedy. Both Hamlet and Don Quixote - heroes of lofty ideals, they strive for truth and goodness and represent the type tall hero. The image of Don Quixote became the basis for the image of a tall hero in comedy. In Russian literature, an example of a hero of this kind is, for example, Chatsky in A. S. Griboyedov’s comedy “Woe from Wit.”

Drama as a type of literature is divided into genres: tragedy, comedy and drama. If the first two genres are characterized primarily by tragic and comic heroes, then in drama the center of the conflict is dramatic hero. This is the image of the unfortunate girl Larisa Ogudalova in the play “Dowry” by A.N. Ostrovsky. The images of Karandyshev and Larisa’s mother have dramatic features. And the drunkard Robinson in the play, in contrast to the lofty images of Don Quixote and Chatsky, represents type of reduced comic hero.

The image of the merchant Kalashnikov in the poem by M.Yu. Lermontov's "Song about Tsar Ivan Vasilyevich..." contains epic, heroic and tragic features, the type of this hero cannot be determined unambiguously. However, the merchant Kalashnikov accurately represents a heroic personality - a man who resists injustice and defends his honor, his faith, and his people. This is explained by the fact that in the literature of the last two centuries literary styles, genres, as well as the characters' personalities, have become more complex, thereby reflecting the fact that people's views on life have become fuller and more diverse.

2. The hero’s place in the system of images and his role in revealing the author’s intention.

3. Typical character of a literary hero; presence or absence of prototypes.

4. Characteristics of a literary hero.

5. Means of creating a literary character

1. determining the scope of the topic (what exactly needs to be remembered, you cannot write about everything, even if you know the text of the work perfectly).

2. Learn to ask questions (to yourself in order to pose a problem): why did the author compare certain events and characters? What artistic means does the author use to depict events and characters? What role do these events or characters play in the context of the work?

3. Accuracy, focus of evidence (if you can clearly and concisely answer your own questions, then you know what to prove in your own work).

4. Selection of arguments, planning specific paragraphs of the essay.

5. Mastery in writing an introduction (for the examiner: the author of the essay is completely fluent in the material and chooses the best way disclosure of the topic).

6. Not “for peace”, but “for health” (conclusion): these are not just conclusions, this is a way out of your topic into the wide world of Russian literature - a conclusion of everything stated above.

7. Check: at least twice! the first time - checking the general ode of evidence, logic, compliance with the norms of literary language. The second time is a literacy test only. In this case, you should read the text from the end to the beginning (you abstract from the content and check only literacy).

8. And a few more tips:

never write about what you don’t know or know poorly;

Do not use words whose spelling you are not sure of; try to replace them with synonyms;

don’t be clever, don’t complicate your phrases, in this case it’s easy to get confused;

write simply, rely on the text of the work of art, a good knowledge of the text always makes a favorable impression.

Type this generalized artistic image, which embodies typical features, inherent in a certain social environment; a number of literary characters connected by common social characteristics, characteristic of works of Russian literature.

The difference between type and character

The type of literary character, in contrast to character, represents not only the individual characteristics of the hero, but also a generalization of the established qualities of a particular category of persons. A number of characters of the same type are not identical in character; they are united by social trends. A character's personality is often a variation of a single literary type. Writers usually continue to develop and improve the type of hero they founded or discover new types.

Examples and origins of literary types

The names of the types come from literary origins or the names of their discoverers:

• "extra person" type- the combination is fixed in literary theory after the publication of I. S. Turgenev’s story “The Diary of an Extra Man” (1850);
• type "lady of Balzac age"– a summary description of heroines, which came into use after the appearance of Honore de Balzac’s novel “A Thirty-Year-Old Woman” (1842);
• "double" type– the term began to be used after the publication of the story “Double. Petersburg poem" (1846) by F. M. Dostoevsky;
• "Turgenev girl" type– generalized image female characters from the works of I. S. Turgenev of the 50-80s of the 19th century;
• "tyrant" type – character hero plays by A. N. Ostrovsky (“Thunderstorm”, “Dowry”, “In someone else’s feast there is a hangover”);
• tramp type- a typical image of Gorky’s stories (“Konovalov”, “Twenty Six and One”, “The Orlov Spouses”).

"Little man" type

Under the influence of realism in the 20-30s of the 19th century, the type of little man appeared in Russian literature. "Little Man" is a character of low origin and social status, who, unlike rebellious romantic heroes, does not have superpowers, but is a sincere and kind person. By forming and cultivating the image of a little man, writers sought to democratize literature and evoke attention and humanity to to the common man, which deserves a location.

The type of little person was discovered by A. S. Pushkin in the person of the main character of the story “The Station Warden” (1831) and revealed it in subsequent works (“ Bronze Horseman"; 1837). The tradition of the literary type was continued in N.V. Gogol’s stories “Notes of a Madman” (1835), “The Overcoat” (1842). The theme of the fragile commoner is also present in the works of A. P. Chekhov, F. M. Dostoevsky, Gorky, M. A. Bulgakov and others.

Type "extra person"

“The Extra Man” is a hero typical of Russian literature of the 40-50s of the 19th century, who embodies the type of desperate Russian nobleman.

The type of superfluous person is an intellectual from the highest circles, oppressed by insoluble problems. life issues and the foundations of power. A typical hero opposes society, gets carried away by festivities, which is due to his fatigue, passivity and loss of the meaning of life.

The earliest and classic representatives of the “superfluous person” type are the main characters of the works of A. S. Pushkin “Eugene Onegin”, A. S. Griboyedov “Woe from Wit”, M. Yu. Lermontov “Hero of Our Time” - Onegin, Chatsky, Pechorin - in which disappointment is combined with the traits of a Byronic hero of the era of romanticism.

New person type

In the 50-60s of the 19th century, it was replaced by “ extra person“A type of new person has come to Russian literature, associated with changes in Russian socio-political orders.

Hero type " new person“Differentiated by insight, vigorous activity, propaganda position, strong-willed character.

Images of new people are clearly presented in the novels of I. S. Turgenev “Rudin” (1856), “On the Eve” (1860), as well as “Fathers and Sons” (1862), main character of whom Evgeny Bazarov is an uncompromising nihilist.

Meaning of type in literature

Types go back to the concept of personality literary trends, the peculiarity of which is revealed through characteristic social signs. Thus, the correlation of a literary hero with a specific type determines the essence of personality.

The word type comes from Greek typos, which means imprint, sample.

Character(with gr. - literal line) - this is a set of psychological properties that make up the image of a literary character.

Individual details of the image, manifested in action, behavior, in certain circumstances, create a multifaceted world of the hero.

The concept of “character” refers to the category of content of a work. It is appropriate to use this term when an analysis of the idea of ​​a work is given and its pathos is determined. In the broad sense of this term all images and heroes of any text inevitably have a typical character.

In antiquity, long before the emergence of a special science about man (anthropology, ethics, physiognomy), main theme literature was the involvement of man in the sphere of uncompromising laws of fate. In the epic, the hero is still entirely dependent on the deity: he cannot act independently; he, in the words of B. Snell, “may be a character, but not yet a personality.” The hero has the same qualities as the gods, but he is a victim of those properties of which he is the bearer. This explains the designation of character with a mask in the ancient theater.

IN modern literature character is a personality structure formed by individual and typological traits and manifested in behavioral characteristics and distinctive properties of nature.

In antiquity, on the contrary, character is a “stamp”, a “frozen mask”.

Literary type - an image of human individuality, the most possible, typical for a particular society.

The concept " literary type"first found in Hegel's Aesthetics .

In literary theory, “type” and “character” are close, but not interchangeable.;

"Character" in to a greater extent reveals typical personality traits, its psychological properties, A " type" is a generalization of certain social phenomena associated with typical features.

For example, Maxim Maksimych is a typical Russian soldier, “just a decent person,” as L.N. Tolstoy said about him, while Grigory Aleksandrovich Pechorin is a type of “suffering egoist,” the embodiment of “the vices of an entire generation in their full development.” The concept of “typing” includes the process of creating a holistic picture of the world and is the basis of the creative process. Recognizing typification as an internal need and a law of art, writers realize that the typical is not a copy of reality, but an artistic generalization. In Moliere, Harpagon and Tartuffe are typical characters, but they are not social, but psychological types, illustrating neglect of moral requirements. If we want to call someone a miser or a hypocrite, we use these proper names as common nouns. The strict hierarchy of genres of classicism also gives rise to the normalization of literary types. Social conflicts appear in the work reflected in the souls of the heroes.

The division of characters into positive and negative in classic aesthetics is natural. There should be no intermediate types, since art is charged with the task of correcting vices and glorifying virtues ideal person. The psychology of the “little man” was outlined by Pushkin in “ Stationmaster"("Belkin's Tales") in all the evidence of his social existence. An equally significant aspect of the topic is the analysis of dramatic family relationships.

Pushkin’s concept becomes the source of subsequent literary generalizations, predetermines the plots of Gogol (“The Overcoat”), Dostoevsky (Poor People) and Tolstoy about “unhappy families,” conflict situations where “each family is unhappy in its own way.” The “little man” becomes the dominant type in the “natural school.” L.M. Lotman wrote that “the man appeared to the writers” natural school"a cast of a social form that distorts human nature." Further evolution The literary type of the “little man” is associated with a shift in emphasis, in the words of M. M. Bakhtin, “from the environment to the person.” Already in early work“Poor People” F. M. Dostoevsky focuses on spiritual world hero, although dependence on social circumstances still determines the misfortunes of Makar Devushkin. Dobrolyubov in his article “Downtrodden People” noted: “In the works of Dostoevsky we find one common feature, more or less noticeable in everything he wrote: this is pain about a person who recognizes himself as unable or, finally, not even entitled to be a real person, a complete, independent person, in himself.”

The novel “Poor People” combines two views on the “little man” - Pushkin’s and Gogol’s; Makar Devushkin, after reading both stories, comes to the conclusion that “we are all Samson Vyrins.” This recognition points to a dramatic discovery - the tragedy is predetermined, there is no way to fight circumstances that are insurmountable. Dostoevsky’s famous phrase: “We all came out of Gogol’s “Overcoat”” - implies not so much apprenticeship as the continuation and development of the theme of mercy, immeasurable love for a person rejected by society. Akakiy Akakievich's world is confined to the dream of an overcoat, Makar Devushkin's world is caring for Varenka. Dostoevsky represents the type of dreamer who is content with little, and all his actions are dictated by the fear of losing the modest gift of fate. Thematic similarity is found between “Poor People” and the story “White Nights”, the hero of which gives himself a derogatory description: “A dreamer is not a person, but, you know, some kind of creature of the neuter kind. For the most part, he settles somewhere in an inaccessible corner, as if he were hiding there even from daylight.”

Dostoevsky reconsiders the famous type romantic hero who plunges into the world perfect dream, despising reality. Dostoevsky's heroes doomedly preach humility in life, which leads them to death. Another twist on the theme of the little man is associated with the writer’s interest in the topic of drunkenness as an allegory of rebellion against public morality. In the novel “Crime and Punishment,” this type of vice is viewed not as a consequence of social evil, but as a manifestation of selfishness and weakness. Oblivion in drunkenness does not save a person who has “nowhere else to go”; it destroys the destinies of loved ones: Sonya Marmeladova is forced to go to the panel, Katerina Ivanovna goes crazy, and, if not for chance, her children would have faced inevitable death. Chekhov expresses no compassion for " little man”, but shows the real “smallness” of his soul. The story “The Death of an Official” examines the problem of the voluntariness of social obligations undertaken by a person. It is resolved in a grotesque manner. Chervyakov dies not as a “humiliated and insulted” person, but as an official who has lost his natural appearance out of fear. Chekhov proved with all his creativity that a person should not conform his potentialities to the limits allowed by society. The spiritual needs of the individual must triumph over vulgarity and insignificance: “A person needs not three arshins of land, but the entire globe.” The isolation of “case life,” the writer insists, is harmful. The story “The Man in a Case” creates a frightening image of Belikov, an apologist for protective morality. His entire behavior is permeated with the fear that “something might not happen.” The writer exaggerates the image of a defender of social morality; a black suit, glasses, galoshes, and an umbrella are expressive details of the image that create an expressive portrait of a frightening social phenomenon. Belikov's death may seem to bring relief to people who fear the zealous guardian of morality, but an optimistic solution to a tragic collision is alien to Chekhov. The writer sadly admits that hopes to correct people who differ from Belikov in their lifestyle, but not in their inner self-awareness, are vain. At the end of the story, a symbolic emphasis is placed to make sure that protective ideas remain alive. The scene of Belikov’s funeral is framed in the image of rain, and everyone present opens their umbrellas; this is read as the inevitability of what the fearful teacher actually stood for.